Conception centrée sur l'utilisateur Un article de Wikipédia, l'encyclopédie libre. La conception centrée sur l'utilisateur ou conception orientée utilisateur (UCD, User-Centered Design en anglais) est une philosophie et une démarche de conception surtout présente en ergonomie informatique, où les besoins, les attentes et les caractéristiques propres des utilisateurs finaux sont pris en compte à chaque étape du processus de développement d'un produit[1]. La norme ISO 9241-210 qui annule et remplace la norme ISO 13407[2] définit sept ensembles de pratique de base pour mettre en œuvre le processus de conception centrée sur l'humain. La conception centrée sur l'utilisateur est principalement utilisée en conception informatique et s'appuie sur des critères d'ergonomie et d'utilisabilité. Cette démarche se distingue fortement d'autres démarches de conception en cherchant à adapter le produit (généralement l'interface utilisateur) à l'utilisateur final plutôt que de lui imposer un mode d'utilisation choisi par les concepteurs.
Slow design Slow Design is a branch of the Slow Movement, which began with the concept of Slow Food, a term coined in contrast to fast food. As with every branch of the Slow Movement, the overarching goal of Slow Design is to promote well being for individuals, society, and the natural environment. Slow Design seeks a holistic approach to designing that takes into consideration a wide range of material and social factors as well as the short and long term impacts of the design. Origin and meaning[edit] Slow Design refers to the goals and approach of the designer, rather than the object of the design. While Fuad-Luke focused on the design of physical products, the concept can be applied to the design of non-material things such as experiences, processes, services, and organizations. Beth Meredith and Eric Storm attempt to summarize the concept, stating: Current and future practice[edit] Common qualities of Slow Design include: See also[edit] References[edit] External links[edit]
Designer as integrator: reality or rhetoric? - Northumbria Research Link Participatory design Participatory design (originally Cooperative Design, also known in the USA as co-design) is an approach to design attempting to actively involve all stakeholders (e.g. employees, partners, customers, citizens, end users) in the design process to help ensure the result meets their needs and is usable. The term is used in a variety of fields e.g. software design, urban design, architecture, landscape architecture, product design, sustainability, graphic design, planning, and even medicine as a way of creating environments that are more responsive and appropriate to their inhabitants' and users' cultural, emotional, spiritual and practical needs. It is one approach to placemaking. In several Scandinavian countries, during the 1960s and 1970s, it was rooted in work with trade unions; its ancestry also includes action research and sociotechnical design.[1] Definition[edit] History[edit] History in Scandinavia[edit] Fields of participatory design[edit] Community planning and placemaking[edit]
Après le crowdsourcing, voici le starsourcing Le fait que le designer Philippe Starck travaille gracieusement pour des marchés publics provoque une polémique chez les professionnels du design. L’AFD reçoit de nombreux messages à ce propos. Sollicité par l’hebdomadaire Designfax 786 pour avoir son point de vue, Philippe Starck explique que : « Cela me paraissait juste, civique et en phase avec ma volonté de rendre un petit service à un maximum de personnes.» Sur Wikipedia, on peut lire que des « approches collaboratives, sociales ou altruistes existent, faisant appel à des réseaux spécialisés ou au grand public ». Le point commun de ces articles est la fourniture de design gratuitement ou à prix si bas qu'ils provoquent du dumping. Civisme Qu’est-ce qu’être juste et civique pour un designer ? Est-ce juste et faire preuve de civisme de la part d’une collectivité que d’accepter de faire appel aux designers sans les rémunérer ? La dépense en design serait-elle plus valable à mesure que la réponse du designer est talentueuse ?
Slow Movement The Slow Movement advocates a cultural shift toward slowing down life's pace. It began with Carlo Petrini's protest against the opening of a McDonald's restaurant in Piazza di Spagna, Rome in 1986 that sparked the creation of the Slow Food organization. Over time, this developed into a subculture in other areas, such as Cittaslow (Slow Cities), Slow living, Slow Travel, and Slow Design. Geir Berthelsen and his creation of The World Institute of Slowness[1] presented a vision in 1999 for an entire "Slow Planet" and a need to teach the world the way of Slow. "It is a cultural revolution against the notion that faster is always better. Professor Guttorm Fløistad summarizes the philosophy, stating: "The only thing for certain is that everything changes. The Slow Movement is not organized and controlled by a single organization. Cittaslow[edit] The goal of the Cittaslow movement is to resist the homogenization and globalization of towns and cities. Slow ageing[edit] Main article: Slow ageing
- Entreprises Le pôle développement économique de la Cité du design a pour mission d'accompagner les acteurs économiques (entreprises, commerces, collectivités...) dans leur projet de design et d'innovation par les usages. En qualité d'expert en design, la Cité du design a développé une offre de services assurant un accompagnement spécifique, par la mobilisation d'outils structurants (matériauthèque, LUPI®) développés dans le cadre de ses activités. L'accompagnement de l'entreprise dans l'innovation par les usages s'inscrit dans le cadre du Living Lab Design Creative City Living Lab, offrant un véritable écosystème d'innovation ouverte et un terrain d'expérimentation sur le quartier créatif, le Campus Manufacture Plaine Achille. Le Living Lab s'appuie et se matérialise par le LUPI® (Laboratoire des Usages et des Pratiques Innovantes), méthodologie de co-création originale créée et animée par la Cité du design.
The Octarine argument. Yes, yes - colour corresponds with real properties. But colour itself is not in the external physical world. It's like those cases where a picture from a telescope or a microscope is given colours artificially to help show up the different substances. The colours are not real, but they do help you understand more about what you're seeing. It turns out that all colour is more or less like that -yes, it's helpful, but that doesn't mean it directly reflects the physical reality. After all, we only actually sense three different wavelengths. If you think about it, though, this means that the way we see things is actually wrong. All the same, it is possible to do a bit better, and some animals detect more than three different wavelengths.
The Design Society | The Design Society is dedicated to the goals of raising the general standard of design in Singapore and is focused on Applied Graphic Design and its contributions to Singapore visual culture and society. We hope to inspire local desig ParadigmOfComplexity The last few decades have seen the emergence of a growing body of literature devoted to a critique of the so-called “old” or “Cartesian-Newtonian” paradigm which, in the wake of the prodigious successes of modern natural science, came to dominate the full range of authoritative intellectual discourse and its associated worldviews. Often coupled with a materialistic, and indeed atomistic, metaphysics, this paradigm has been guided by the methodological principle of reductionism. The critics of reductionism have tended to promote various forms of holism, a term which, perhaps more than any other, has served as the rallying cry for those who see themselves as creators of a “new paradigm.” At the forefront of such a challenge, and in many ways the herald of the new paradigm, is the relatively new movement of transpersonal psychology. In taking seriously such experiences, transpersonal theory has been compelled to transcend the disciplinary boundaries of mainstream psychology. C.
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