NoDesign

The lack of practice and highlighted the roles of design, when the foundations of the digital point again late in the France of Design. The recent maturity of digital industries call time usage and design.

Objects are now changing. On solitary objects, they become objects of services connected to networks. Intangible, they become immaterial services. the Web, but also the UbiComp, the ambient intelligence, ubiquitous information, overwhelmed by new communication. ICTs are reconfiguring our entire social and personal space, it begs designers to question their role in the future and the emphasis on design in the innovation process.
The future is inherently unknowable. Futures thinking could be the art of being wrong. It is not about to predict the changes that will occur, but rather to announce a change in age and to propose an actor. Each new century is marked by changes in the way human lives and shape the world. The mass production of objects is passed successively throughout the nineteenth and twentieth centuries of equipment market to a mass market, then a market offer. Technological progress that we promised a "comfort" and a "better life" has apparently contributed to the trivialization and the fear of the very idea of progress. The twenty-first century confirms the birth of a new industrial world that celebrates a society based on an economy of intangibles, services, trade and relationship. This new industrial society raises important questions whose answers will shape our future: What to do? What to produce? Which vision of society? Today, Europe is at a crossroads and is presented as the future leader of the knowledge society. According to the strategy defined at the European Summit in Lisbon, we are compelled to innovate to "survive". However to do so, should we persevere in the system as it now the same way or property to change the current system? There, we believe, a space for the invention of new innovation strategies focused on integrating the human and sensitive intelligence, creativity, from our unique, our values, our culture and our history. This goal requires thoughtful design of our project "human, social, economic, political and philosophical. In light of the upheavals caused by numerical and announced the lineup of matter and life, it is imperative to quickly grasp the potential of these technologies into "situations" dialog sincere, responsible, appropriate and transparent . The challenge is now on the forms and values of world we want to live as French and Europeans. A question arises designers: what is a "technical object"? More specifically: how does one live and what will be tomorrow with him?

New items: new design?
Objects of the future will be relational objects, objects, interfaces, information and communication. They will have to resolve issues of use and sense of purpose and duration, pleasure and reason. We can then perhaps, again, to love and live with these objects of desire. These developments will create new paradigms of relationship, and lived experience of individuals with technical subjects. We propose to name all these devices using the new information technologies and communication in the metaphor of "NéObjet" because they expand the traditional scope of objects to the hybridizing concepts in situations of services, information, relationships, practices and new representations. The "NéObjet, therefore challenges us in terms of its existence, its use, its temporality, its representations and its modes of design, but also in terms of politics, economics, society, philosophy, knowledge, technology, and culture. It disrupts patterns of ideas and innovations. In this new industrial context that is emerging, what should the role of design? The design is an activity that is difficult to define the contours. Born in Europe at the end of the industrial revolution, the need to create essential items (in keeping with the man, his environment and his time), the design can now be regarded as a "form of active proposal" based on the project. It is a plan. It offers a sensible and human expertise and an interdisciplinary mediation. The design, unlike science does not meet the requirement of truth, he should instead underscore a knowledge which is genuinely human experience, it is complementary. The design is in this context, a meta-sensible part of the universe which can not directly be expressed by the technique or by a possible observation of users' expectations. The designer is an innovator in posture, it is governed by passion, and as creator, he assumes to be able to deceive. It is therefore a factor of humanizing technology and catalyst for real practices that enable the transformation of a hunch or a problem in a creative synthesis that is embodied in a solution sensitive, sensible, appropriate and desirable. Emerging issues in human, technological, scientific and economic lead us to propose the integration of design teams of research and scientific and technological innovations. This new design should be defined as a creative activity that captures the notion of project in a holistic and cross looking at the utilization of that "produce" and "what to do." The design would then be the bearer of approaches to non-technological innovations, or innovations in human, by its ability to examine the disciplines and to imagine, write and formalize the representations and situations inspired technology, or research, transforming products / services preferred, usable and desirable. Design crystallized a new vision and important: the invention of "new materiality. In the hypercomplex space opens, the design, "the gap between technology, product and practice, becomes economics and factory collective imaginations. For him to assume the responsibilities is an issue of modernity and competitiveness.

Jean-Louis Fréchin Frechin is a designer and architect. (NoDesign) He is also director of digital design studio ENSCI-Workshops. Article Published in Technology Review No (s) Future (s) June-July 2008