CREDO 2008 : The Light of the Ideal City

8/14/2019 CREDO 2008 : The Light of the Ideal City

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WORKSHOP 2008ATELIER 2008

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Lanc en juin 2006 de faon exprimentale,dans le cadre dIntelligence Design,latelier CREDO a trois buts principaux :- tablir une plateforme dchanges pourla pratique et lenseignement du design,- fournir une vision prospective de lvolutionde nos socits,- permettre une large audience de dcouvrirles processus cratifs luvre dans le design.

Cet atelier fait partie dun programme triennal(2007-2009), conclu entre Lcole de designNantes Atlantique et la Rgion des Pays dela Loire, en partenariat avec lAbbaye royalede Fontevraud et lassociation Cumulus.Il reprsente le volet recherche duprogramme Designin Pays de La Loire . Il se base sur lengagement volontairedtudiants, denseignants et de chercheursissus de diffrents tablissements europensdenseignement suprieur. Chaque sessionest construite autour dun thme unique.

Launched in 2006 as an experiment, duringIntelligence Design, the CREDO workshop hasthree main goals:- setting up a platorm or pedagogical exchangeabout design practice and education,- providing a prospective vision o our societiesuture,- allowing a broad audience to discoverthe creative processes in design.

This workshop is part o a three-year program(2007-2009) resulting rom an agreement betweenLcole de design Nantes Atlantique and the Paysde la Loire Region, in partnership with the RoyalAbbey o Fontevraud and the Cumulus association.It represents the research part o the DesigninPays de La Loire program . It revolves around thevoluntary commitment o students, proessors andresearchers rom various higher education designinstitutions. Each session is constructed arounda common theme acting as a keystone.


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Not only is the Royal Abbey o Fontevrauda cultural centre but it is also a thriving spaceor creation. The workshop comes within thescope o the abbeys tradition o welcomingstrangers inside its walls, a custom standingat the crossroads o age-old heritage andcontemporary creation.

Centre culturel de rencontre, lAbbaye royalede Fontevraud est galement un lieu de cration.Latelier sinscrit donc dans sa tradition daccueil,entre patrimoine et cration contemporaine.

www.abbaye-ontevraud.com

The Cumulus association was ounded outo a common desire to enhance the qualityo education thanks to cooperation. Havinggrown in size and s cope, it has reacheda truly international dimension which acts asan essential spur or the CREDO workshop.

Lassociation Cumulus a t cre avecle dsir commun damliorer la qualitde lenseignement par la coopration.Elle a cr en taille et en ambition, avec unevritable dimension internationale qui en faitle partenaire incontournable de CREDO .

www.cumulusassociation.org

The Pays de la Loire regional authoritiessupport the workshop as part o an initiativecalled Designin Pays de La Loire. In doingso they help tighten the bonds between humancreativity and technological innovation so thatliving solutions or tomorrow can be thoughtup today.

En soutenant latelier dans le cadredu programme Designin Pays de la Loire ,la Rgion des Pays de la Loire encouragela rencontre entre la crativit des Hommeset linnovation technologique an dimaginerds aujourdhui nos solutions de vie de demain.

www.paysdelaloire.rwww.designin.paysdelaloire.r

Acknowledged as one o the major highereducation design institutions in France,Lcole de design Nantes Atlantique ollowsan outward-looking policy that ostersexchanges and interactions on a global scale.

Lcole de design Nantes Atlantique estreconnue comme lun des tablissementsfranais majeurs dans lenseignementdu design, avec une politique activedouverture internationale et dchange.

www.lecolededesign.com


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LAbbaye de Fontevraud est situe dansla valle de la Loire, lextrmit de la RgionPays de la Loire, dans lOuest de la France.Inscrite au Patrimoine Mondial de lHumanit,elle fut la plus grande abbaye dEurope, avecun ordre spcique ayant pour caractristiquedaccueillir hommes et femmes sous la direction

dune abbesse. Transforme en prison aprsla Rvolution franaise, elle est aujourdhuiun centre culturel.Lieu fascinant et singulier, labbaye est la foisune retraite charge dhistoire et un endroitneutre pour la rexion et la cration.

The Abbey o Fontevraud is located in theLoire Valley at the border o the Pays de la Loireregion in Western France. Part o a WorldHeritage Site it once was the largest abbeyin Europe. It used to house its own religiousorder that had the particularity o taking in bothmen and women under the supervision o

an abbess. Turned into a prison in the atermatho the French Revolution, it has now becomea cultural center.A ascinating and peculiar site, the abbey isboth an ideal place or a history-laden retreatand a neutral space suitable or reection andcreation.


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Une des mthodes permettant de partageret de rendre au mieux le processus de designconsiste considrer les acteurs delenseignement du design (professeurs,tudiants et autres) comme une communautde pratique.

Quest-ce quune communaut de pratique ? Les communauts de pratique sont desgroupes dindividus partageant un intrtou une passion commun(e) pour une activitquils font et apprennent faire de mieuxen mieux en interagissant ensemble.

Latelier CREDO a t conu de manireexprimentale pour permettre lmergencedune telle communaut.

La russite dun atelier de ce type reposesur plusieurs critres :

Temps : il doit tre limit une courte dure

(une semaine).Lieu : il doit se drouler sur un seul lieu.Participants : il doit runir des acteurs issusde cultures et de formations diffrentes.Information : chaque participant doit,au pralable, tre au fait de lorganisation etdes objectifs viss par latelier.Savoir : chaque participant doit formulersa propre opinion.

One possible way to share and to docum entthe dynamic process o design is to considerthe design education community learners,teachers and other players as a communityo practice.

What is a community of practice?

Communities o practice are groups opeople who share a concern or a passionor something they do and learn how to do itbetter as they interact regularly.

The CREDO workshop is an experimentdesigned to give birth to such a community.

The success o a workshop is based onseveral actors:

Time: it should not exceed a period o oneweek.Space: it should take place in one singlelocation.Participants: it should gather people romdierent cultures, with dierent backgrounds.Information: every participant should beaware o the organization and the general goal.Knowledge: every participant should voicehis/her own perception o the theme.

Design is a creative activity rooted in a widelyinductive conception process. It avors a pragmaticapproach and requires a composite knowledge inwhich the artistic education o design proessionnalsplays an essential part. It advocates a human-centered approach, doted with an ethical dimensionwhich implies an involvement in social, economical,technical and cultural felds.

Le design est une activit de cration base surun processus de conception largement inductif.Sappuyant sur une connaissance composite,il ncessite une dmarche dans laquellelenseignement artistique des praticiens estdune importance capitale. Il prne une dmarcheanthropocentre double dune dimension thiqueimpliquant un engagement sur les plans social,conomique, thique, technique et culturel.


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Lumire et espace sont des lments insparables de notreenvironnement de vie : bien public et trsor intime, crationarticielle et ressources naturelles, les lumires qui nousentourent participent de la vision dune Cit Idale dans unavenir proche. Lorganisation de la lumire dans nos socitsse base sur une srie dambivalences et doppositions : lieupublic et espace privatif, quipement collectif et initiative prive,espace intrieur et extrieur ou bien encore signalisation etclairage. Dans un contexte de proccupation environnementale,nombre de dispositifs doivent tre remis en cause dans leurfonctionnement actuel.

Au-del dune rponse esthtique, ou simplement factuelleet pratique, ces lumires de la Cit Idale nous renvoient aussila question des valeurs qui clairent aujourdhui la pratique desdesigners, dans un contexte de proccupations grandissantesautour du dveloppement durable. Quel avenir souhaitable peuttre aujourdhui imagin par de jeunes designers en formationet vers quelle nalit ? Telle pourrait tre en dernier ressortla question souleve par ce thme

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Light and space are inextricable elements o our dailyenvironment: whether they have to do with public interestsor inner lie, man-made creations or natural resources, all thelights surrounding us are part o our mental picture o what anIdeal City should look like in the near uture. In our societiesthe use o light is o rganized around a series o oppositions andambiguous elements: public place and private space, collectiveequipment and individual initiatives, indoor and outdoor space,signage and lighting. As each and everyone grows more andmore environmentally concerned the current mechanisms omany a device and system must be questioned and challenged.

The lights o the Ideal City not so much provide us with anaesthetic, actual or practical response to the issue o light asthey compel us to address the values enlightening designersmethods as they comply with the growing concern osustainable development. What kind o livable uture could bethought up by young designers-to-be, and what or? This mightbe the main issue raised by the theme o this session


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Today as 19 % o the worldwide electricity production is used or lightingpurposes the link between light and electric energy is very intricate. To givethe workshop participants an insight into the bond between electricity andlight the design department at EDF (lectricit de France, the French NationalElectricity Company) was invited to take part in the workshop as a partner.Leading player on the European energy market EDF is involved in every singleelectricity-related area o activity rom production to business. The Researchand Development department works in collaboration with the dierentboards o the company; it aims at fnding solutions to improve operationalunit perormance while anticipating the uture and providing the companywith growth engines. The Design Department is composed o three in-housedesigners conducting business intelligence and research activities centeredon the interactions between design, services and sus tainable development.During the 2008 CREDO workshop session these designers acted as expertsand counselors their company was not involved as an ordering party. Theirrole was to give the students an account o what research is like in the feld

o lighting and to advise or guide them throughout their work in progress.

Who took part in the workshop on behal o EDF?Guillaume Foissac, in-house designer in charge o the technologicaldevelopment o sustainable-energy-related products,Gilles Rougon, Head o the Design Department,Stphane Villard, in-house designer.

Aujourdhui, alors que lclairage consomme 19% de la production mondialedlectricit, lumire et nergie lectrique sont troitement lies. Pour introduireles enjeux de cette relation aux participants de latelier, la cellule design dEDF(lectricit De France) a t invite intervenir en tant que partenaire.Entreprise leader de lnergie au niveau europen. EDF est prsente dans tousles mtiers de llectricit, de la production au ngoce. Le service Recherche& Dveloppement travaille en lien avec les diffrentes directions du groupe ;il a pour mission principale de proposer des solutions pour amliorer lesperformances des units oprationnelles, mais aussi de prparer lavenir etde trouver des relais de croissance pour lentreprise. La cellule Design compte trois designers intgrs qui mnent une activit de veille et de recherchesur les interactions entre design, services et dveloppement durable.Lors de ldition 2008 de latelier CREDO, ceux-ci sont intervenus en tantquexperts et conseillers. Lentreprise navait donc pas une position decommanditaire. Leur rle a davantage consist informer les tudiants sur ltatde la recherche dans le domaine de lclairage et les conseiller et les guiderdans leur dmarche de projet.

Sont intervenus pour EDF :Guillaume Foissac, designer intgr responsable du dveloppement

technologique des produits lis aux nergies renouvelables,Gilles Rougon, responsable du design,Stphane Villard, designer intgr.

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MAKING CONTACT

PRISE DE CONTACT

PHASE DE RFLEXION

PHASE DE CONCEPTUALISATION

DISCOVERY OF THE ABBEY

DISCOVERY OF THE PARTICIPANTS/

CREATION OF TEAMS

DISCOVERY OF THE THEME

DCOUVERTE DE L'ABBAYE

DCOUVERTE DES AUTRES PARTICIPANTS/

FORMATION DES QUIPES

DCOUVERTE DU THME

SCENARIOS

MATERIALIZATION

SCNARIOS

MATRIALISATION

PRELIMINARY RESEARCH

COMING UP WITH CONCEPTS

RECHERCHE PRALABLE

GNRATION DE CONCEPTS

REFLECTION PHASE

CONCEPTUALIZATION PHASE

PHASE DE PRODUCTION

PRSENTATION DES CONCEPTS

EXHIBITION AND PRESENTATION TO THE PUBLIC

PARTNER'S FEEDBACK

EXPOSITION ET PRSENTATION PUBLIQUE

COMMENTAIRES DU PARTENAIRE

PRODUCTION PHASE

PRESENTING CONCEPTS

PARTNER'S INTERVENTION

INTERVENTION DU PARTENAIRE

PRESENTATION OF THE FIRST RESULTS

AND PARTNER'S FEEDBACK

PRSENTATION DES PREMIERS RSULTATS

ET RACTION DU PARTENAIRE

Academy o Fine Arts o Warsaw, PolandAcadmie des beaux-arts de Varsovie, Pologne

Academy o Fine Arts o Krakow, PolandAcadmie des beaux-arts de Cracovie, Pologne

Kathiolieke Hogeschool Limburg,Academy o Media and Design, Genk, BelgiumUniversit Catholique du Limburg,facult de Design et Mdia, Genk, Belgique

University o Art and Design, (TAIK), Helsinki, FinlandUniversit dArt et de Design dHelsinki, Finlande

Hochschule r Gestaltung und Kunst, Zrich, SwitzerlandHaute cole dArt et de Design, Zrich, Suisse

Lcole de design Nantes Atlantique, FranceLcole de design Nantes Atlantique, France

Estonian Academy o Arts, EstoniaAcadmie des beaux-arts dEstonie

Politecnico di Milano, Italycole Polytechnique de Milan, Italie

32 participants9 nationalities8 higher education institutions

A wide range o design activities wasrepresented during this workshop:spatial design, product design,interaction design and graphic design.

One common language: English.

32 participants9 nationalits8 tablissements denseignementsuprieur.

Une varit des mtiers du designreprsents :designer despace, designer produit,designer interactif, designer graphique.

Une langue commune : langlais.

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This years session was supervised by NathalieCiprian and Laurent Neyssensas who bothteach at Lcole de design Nantes Atlantique and Luc Vanlessen design teacher at theDesign Department o the Limburg CatholicUniversity (Belgium).The other participants were divided into fvegroups ( Mirror, Firey, Not so heavy,Voltarm, Space racoons ping pongorchestra) and a team o observers(Eyeliner) composed o two students romNantes whose comments and analysis thisbooklet is based on.

Pour cette dition, latelier tait encadrpar Nathalie Ciprian et Laurent Neyssensas,enseignants de Lcole de design NantesAtlantique, et Luc Vanlessen, enseignanten design du Dpartement de Design delUniversit Catholique du Limbourg (Belgique).Les autres participants taient rpartis en cinqquipes( Mirror , Firey , Not so heavy , Voltfarm , Space racoons ping pongorchestra ), auxquelles sajoutait un groupedobservation compos de deux tudiantsde Nantes ( Eyeliner ). Ce sont les travaux de

ces derniers qui ont servi de base ce livret.

Laurent Neyssensas

Phuc Tran

Marie Buet

Nathalie Ciprian

Luc Vanlessen


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Composed o quite diligent members this group ollowsthe instructions word or word, thereore ailing to appropriatethe main issue addressed in the workshop. The encounterwith the partner is a turning point in the progress o theteams project: on the one hand it enables each memberto come to a better understanding o the workshops maingoals and thus to become more involved and on theother hand the comments made by the EDF design team even though they conuse the group at some point give the groups thought process a new dynamic start.

Studieux, ce groupe suit scrupuleusement les consignesmais sapproprie peu, de ce fait, la problmatique de latelier.La rencontre avec le partenaire sera dcisive : dune part,elle permet aux membres de mieux percevoir les enjeuxde latelier et donc de simpliquer davantage, dautre part,les commentaires des intervenants dEDF, mme silsperturbent momentanment le groupe, relancent sarexion de faon plus dynamique.

Maciej STEFANSKI

Andrea SOHNREY

Jerme DE KERAUTEM

Jan-Laurens FEYTONGS

Piotr HOJDA

Valentina FARAVELLI

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samedi dimanche lundi mardi mercredi jeudi

REFLECTION PHASE

PHASE DE RFLEXIONCONCEPTUALIZATION PHASE

PHASE DE CONCEPTUALISATION

Les encadrants proposent plusieurspistes mais le groupe prendses distances par rapport auxinterventions extrieures

Arrive dunnouveau membre

Les encadrantsapprouvent la dmarche

du groupe et lui donnentquelques pistes

Le partenaire remet en questionles ides prsentes par le groupe

Les encadrants interviennentauprs du groupe et conrmentles remarques du partenaire

The supervisors approvethe approach chosenby the group andsuggest several possibleorientations the teamcould ollow

The partner questionsthe ideas presentedby the group: the groupis conused

The partners criticalcomments areconfrmed by thesupervisors

The supervisors once again proposeseveral possible orientations but theteam tends to ward o any inuencerom the outside

A new memberjoins the team.

PRODUCTION PHASE

PHASE DE RALISATION

Mood curves of the team

Courbe de dynamisme du groupe


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A pragmatic approach to the theme: frst the group leads a reectionrevolving around the properties and uses o light and then ocuses itsmusings upon the role o light within the City.

Pragmatique : le groupe part des proprits et des usages de la lumirepour tayer sa rexion avant de recentrer sa dmarche sur la placede la lumire dans la Cit.

In Da Flow was born rom a reection led by the group about the link between lightand energy consumption. Where does energy come rom? What is the use o all thosecables hanging above the streets o our cities? The bond between energy sources,energy consumption and lighting is n ot easily perceived by city dwellers. In Da Flow is a luminescent electric cable thanks to which city inhabitants can visualize how muchenergy is being used and thus eel compelled to make a more responsible useo energy.

In Da Flow est un projet issu de la rexion du groupe sur le lien entre lumire et

consommation dnergie. Do vient lnergie ? quoi servent tous les cbles quenous voyons dans les rues de nos villes ? La relation entre la source dnergie, laconsommation et lclairage nest pas facilement perceptible pour les citadins. InDa Flow est un concept de cble lectrique lumineux qui matrialise visuellementles quantits dnergie consomme, an dinciter un usage plus responsable delnergie.

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The group keeps switching rom experimentation to discussion. Thoughthey preer working separately, team members get together several timesto support one another and thus overcome the difculties encountered.

Le groupe alterne des priodes dexprimentation et de discussion.

Les membres de lquipe travaillent de prfrence sparment, maisse regroupent plusieurs reprises pour mieux surmonter les difcults.


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Right rom the beginning o the workshop this group a team gathering numerous strong-minded students seems quite worried and lacking u nity. However thegroup soon reaches a certain efciency by choosingan outward-looking working method: they exchangea lot with the two supervisors and the partner whilekeeping an eye on the other groups works in progress.The intervention o designers rom EDF proves veryruitul to this group in supporting their approachto the design project.

Ds le dbut de latelier, le groupe se rvle inquietet dispers, avec une quipe nombreuse rassemblantdes personnalits fortes. Cependant, lorganisationdu groupe lui permet dtre efcace : il changebeaucoup avec les encadrants et le partenaire tout

en restant attentif au travail des autres groupes.Lintervention des designers dEDF sest donc avretrs riche pour ce groupe en le confortant danssa dmarche de projet.

Lyan WEI

Frank DIVAY

Stanislaw PLOSKI

Aino SETALA

Andrej SUCHOV

Alice LENIHAN

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Ater deeming the groupsapproach interesting thepartner suggests that thegroup ocus on some specifcideas


REFLECTION PHASE


PHASE DE CONCEPTUALISATIONPRODUCTION PHASE

PHASE DE RALISATION

Le groupe se recentresur son ide de dpart

Partage des tches:travail efcace

Tedious start

Le partenaire juge lapprochedu groupe intressante etlinvite se concentrer surcertaines ides

Les encadrants conseillentau groupe de revoir la fonctiondu concept choisi

The supervisors advisethe group to reconsiderthe unctions o the conceptchosen

The group re-ocuseson its initial idea

Dmarrage difcile

Task sharing :efcient work


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The Glo concept stems rom a reection upon the role olight in the daily exchanges between city dwellers. G lo isa luminescent meeting platorm located in places scarcelyrequented at night (parks, squares...) and ed by user-generatedenergy. The motions o the people walking about the platormproduce light; their passage is high lighted by colored stripestaking shape in their wake. The platorm also brings to the orehuman interactions by modulating the brightness level.

Glo est un concept issu dune rexion sur le rle de lalumire dans les changes entre habitants dune ville. Il sagitdune plate-forme de rencontre lumineuse, localise dans desendroits habituellement peu frquents de nuit (parcs, places...)et alimente par lnergie humaine. Les mouvements despersonnes qui circulent dessus gnrent de la lumire ; leurpassage se matrialise par des tranes colores. La plateformervle galement les interactions entre personnes, retranscritespar des modulations de luminosit.

Firey is a group constantly exchanging In a sometimes chaoticway. First, the members o the group wor k mainly with the writtenword; then as soon as they have defned their concept, they decideto switch means o expression and to use drawings and sketches assupports.

Firey est un groupe aux changes nombreux et parfoismouvements. Dans un premier temps, les membres du groupetravaillent principalement lcrit ; puis, partir du moment dela dnition du concept, ils dcident de changer de mthodedexpression pour travailler daprs des dessins.

Society-oriented: during the frst days o the w orkshop the groupdiscusses and researches the use and properties o light. From theirreection emerge thoughts about the social unction o lightingin the City.

Socitale : dans les premiers jours de latelier, le groupe sintresseaux usages et aux proprits de la lumire. Sa rexion le conduiravers la fonction sociale de lclairage dans la Cit.

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The So Dark concept emerged as a response against theoverabundance o light in our cities: wouldnt it be great to havethe opportunity to enjoy public spaces devoid o light once ina while? So Dark is a lighting device that absorbs light andwraps users in total darkness: being deprived o the senseo sight helps one perceive ones own body and the surroundingurban environment through other senses.

So Dark part du postulat dune surabondance dclairagedans nos villes. De ce fait nous aimerions parfois disposerdespaces publics sans lumire. So Dark est un luminairequi absorbe la lumire et nous plonge dans lobscurit : ne rienvoir permet de percevoir son propre corps ainsi que lespaceurbain environnant par les biais des autres sens.

A sensitive approach to the theme: the members o thegroup start to reect upon the sensory perception o light byconducting various experiments. Then they use the obtainedresults in an eort to defne an urban-lie-oriented concept.

Sensible : le groupe sinterroge tout dabord sur la perceptionsensorielle de la lumire, en sappuyant sur diverses expriences.Dans un deuxime temps, les rsultats de cette rexion sontintgrs la recherche dun concept adapt au contexte urbain.

Not So Heavy is a closely-knit group spu rred by an efcient team spirit.Though not very inquisitive as to the work produced by other groups itsmembers take good note o the supervisors comments. This group isthe one who resorts the most to experimentation right rom the reectionphase.

Not So Heavy est une quipe trs soude, travaillant efcacement engroupe. Ses membres sont peu curieux du travail des autres groupes maisattentifs en revanche aux remarques des intervenants. Cest le groupe quiexprimente le plus, et ce ds la phase de rexion.

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REFLECTION PHASE



PHASE DE RALISATION

The concept the group hascome up with appeals to thesupervisors and the groupenters the production phase

Le groupe a du mal fairecomprendre ses ides au partenairequi est incapable de leur fairedes remarques constructives

Les encadrants confortentle groupe dans sa dmarche

The group ails to explain its ideasto the partner who is thereore not ina position to make relevant remarks

Le concept prsent sduitles encadrants et le groupese lance dans la phase deproduction

Supervisors back up the groupin its approach to the theme

A tightly held together team, Voltarm relies oncollective and regular work. The members o thegroup start to discuss at length what their personalunderstanding o the theme was beore arriving inFontevraud and how they perceive the partners role.The group ails to explain its ideas clearly to the EDFteam and thereore only receives a limited eedback,which prevents it rom bouncing back to give itsthought process a resh start. The group then optsor a quite original approach to the assignment whe-reby it strives to identiy the partners expectations inorder to fnd a appropriate concept.

Voltfarm est un groupe solidaire, adepte dun travailcollectif et rgulier. Les membres commencent parchanger longuement sur la vision que chacun avaitdu thme avant de rejoindre Fontevraud, puis sur lerle du partenaire. Le groupe prsente ses ides lquipe dEDF sans bien russir les communiquer ;en retour, il reoit trs peu de remarques et il a doncdu mal relancer sa r exion. Le groupe entamealors une dmarche originale en sinterrogeant sur lesattentes du partenaire et en recherchant un conceptappropri.

Philipp SCHULER

Jadwiga RATAJ

Marcin EBERT

Pieter VAN LANCKER

Mathilde SZUREK

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Vitrail is a luminescent interactive screen-window meant

to control lighting intensity: it can become more opaqueso as to dim the interior or become brighter soas to lighten up the exterior. The screen-window is alsoa means o communication in that it can support all typeso media (videos, posters, personal notes, inormationscreen).

Vitrail est un projet de fentre-cran lumineuse etinteractive. Le dispositif permet de matriser lclairage :la fentre peut sopacier pour assombrir lintrieur ou,au contraire, silluminer pour clairer lextrieur. La fentre-cran permet galement de communiquer en servant desupport tous types de mdias (vido, afche, messagepersonnel, cran dinformation...).

A global approach to the theme: frst the group embraces thecomplexity o the theme as a whole by observing the propertieso light and discussing the issues o community lie. Then assoon as it enters the conceptualization phase the group starts toocus more particularly upon the role o light as experienced byindividuals.

Globale : dans un premier temps, le groupe embrassele thme dans toute sa complexit en observant les propritsde la lumire et en changeant sur les enjeux de la vie encommunaut. Puis, partir de la phase de conceptualisation,lquipe sintresse plus particulirement au rle de la lumire lchelle de lexprience individuelle.

Voltarm is an open-minded team responsive to thesupervisors suggestions and inquisitive about the workproduced by other groups. This team progresses through theworkshop using the spoken and written word but very littleexperimentation.

Voltfarm est un groupe ouvert, lcoute des intervenantset curieux du travail des autres groupes. Il avance principalementen discutant et en crivant, avec trs peu dexprimentation.

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Presentation to thesupervisors: the groupdecides to keep all fveconcepts

The supervisors voice their concernabout the abstractness o the

presentation, which they think is outo touch with reality

Le partenaire est convaincu maisne dpartage pas les diffrentesides, ce qui freine le groupe

Though quite convinced, the partnerwill not rule between the dierentpropositions, which hinders theprogression o the project

Les encadrants expriment leurinquitude face une prsentationtrop abstraite qui leur parait utopiste

Prsentation auxencadrants : le groupedcide nalement degarder les cinq concepts


REFLECTION PHASE



PHASE DE RALISATION



Ilkka KARHU

As its name shows Space Racoons Ping Pong Orchestrais a blend o strong-minded students rom diverse backgroundswho rely mostly on the accumulation o ideas. The memberso the group see this workshop as an opportunity to let outtheir creativity rather than as a school assignm ent. They donot always stick to the rules: right rom the reection phasethey propose fve concepts that all arouse the partnersinterest. Thereore the EDF designers are unable to selectone in particular, which makes it hard on the group todetermine which idea should be urthered. In the end themembers decide that the only solution likely to satisyall o them would be a fnal project compiling all their

contributions.

Comme son nom le suggre, le groupe Space RacoonsPing Pong Orchestra rassemble de fortes personnalits,issues dunivers diffrents et fonctionne par accumulationdides. Il considre latelier comme une opportunit pourla cration et non comme un exercice scolaire. Il ne suitdonc pas toujours les consignes : cinq concepts seront ainsiproposs ds la phase de rexion, qui tous intresserontle partenaire. Celui-ci ne dpartagera donc pas le groupequi peine alors isoler une ide commune. La solutionsatisfaisante pour tous sera de prsenter un projet nalcompilant les contributions de chacun des membres.

Andries VANVINCKENROYE

Valentin MILLETZofa STRUMILLO

Marit MIHKLEPP

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The House o the Rising Sun is a house eaturing several alternative waysto use light. As electric light bu lbs are bound to disappear The House oThe Rising Sun has us rediscover the qualities o natural light through fveconcepts. Enjoying light is not enough: we must also strive to share it.Moon Dial: ambient lamp with moonbeam-generated eects.

World Switch: interace enabling users to choose and enjoy a lightingsource coming rom anywhere in the world.Nurture your love: interace enabling users to produce the amount o lightnecessary or indoor plants growth when they are having sexual intercourses.Wall: interace enabling users to write notes to riends rom their windowconnected to the Internet via fber-optic communication.Buzz Light: ambient lamp with eects generated by insect motions.

The House of the Rising Sun rassemble, dans une maison hypothtique,diffrents usages alternatifs de la lumire. Alors que lampoule lectriqueest appele disparatre, The House of The Rising Sun nous proposede redcouvrir les vertus de la lumire naturelle au travers de cinq concepts.Nous bncions tous de la lumire, mais nous pourrions faire bien plus :la partager. Moon Dial :lampe dambiance dont les effets sont crs par la lune World Switch : interface permettant de choisir la source de son clairagenimporte o sur la plante. Nurture your love : interface permettant de produire la lumire ncessaireaux plantes dappartement grce lacte damour. Wall : interface permettant dcrire des messages ses amis partirde sa fentre connecte Internet par bre optique. Buzz Light :lampe dambiance dont les effets sont crs par les mouvementsdes insectes capturs.

The Space Racoons divide their time into two main steps:frst they talk and write down their ideas. Then during theconcept creation and development phase the group drawssketches and conducts experimentations.

Lorganisation du travail des Space Racoons se distingueen deux temps : tout dabord le groupe discute et crit.Puis lors de la phase de cration et de perfectionnementdu concept le groupe dessine et exprimente.

A multiaceted approach to the theme: the group generatesa multitude o creative hypotheses, putting none on the side.

Multiple : Le groupe multiplie les hypothses cratives sansen carter aucune priori.


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Quelles taient vos attentes envers latelier CREDO ?

Plus que des attentes prcises, cest surtout la curiosit qui nous a attirs vers cet atelier.Nous tions ouverts toutes sortes de rponses et avions envie dtre tonns, surpris, bousculs.La dimension internationale de latelier a galement retenu notre attention car elle creune occasion la fois rare et riche de partager et dchanger avec une grande diversit de pointsde vue. Avant tout, nous tions curieux de savoir ce que les tudiants allaient bien pouvoir faireen une semaine sur un tel sujet !

Que pensez-vous de lvolution des projets prpars par les tudiants entre vos deux

interventions ?Il est difcile de juger prcisment de lvolution des projets, au vu de nos interventions, sommetoute rapides. Nanmoins, il semble que les tudiants se sont globalement intresss au(x) sujet(s)et ont tous pris en compte les problmatiques qui ont t exposes, mais de diffrentes manires.Certains ont tent dy rpondre directement en intgrant les paramtres de lexercice, dautresont retourn, dpass les contraintes pour formuler des r ponses plus libres, plus inattendues.Linteraction a bien eu lieu et tous se sont positionns sur le sujet, ce qui est apprciable.

Quelles ides fortes retenez-vous des projets prsents ?Cest dabord la qualit et la gnrosit des encadrants qui est souligner. Ensuite,chaque projet vhicule plusieurs dimensions ; sil fallait nen citer quune, ce serait : la fusionesthtique et fonctionnelle de linfrastructure de transport de llectricit et de la lumire pour Mirror ; la dnition dun quipement rversible , la fois individuel et collectif, pour la vitreinteractive de Voltfarm ; la dimension trs sociale de la lumire et les possibles interactionscommunautaires pour Firey ; les dcapantes utopies de Space Racoons et notammentlincroyable installation de Moon Dial ; la touchante intensit de lexprience vcue par le groupe Not So Heavy autour de la lumire noire.

Enn, au-del des propositions et de leur exploitation possible ou pas, ce qui est intressantcest la facult des groupes se saisir des problmatiques (qui les concernent autant quenous) et les traiter en commun. Quels accords passent-ils, quels modles de rapports sociauxconvoquent-ils, quelles formalisations imaginent-ils pour rpondre collectivement la problmatiquenergtique ? ce titre, lanalyse produite par Eyeliner tait remarquable. Voil qui mrite aussiapprofondissement dans un second temps.

Avez-vous particip des ateliers durant votre formation de designer ? Si oui, quel souvenir

en gardez-vous ?Oui, aussi souvent que possible. Jen retiens des moments trs intenses dapprentissage etdexprimentation qui ouvrent sur dautres horizons que les modes traditionnels denseignement.Je suis convaincu des vertus pdagogiques et sociales de ce type de formule ainsi que de leurefcacit lors du processus de projet ; elles mriteraient dailleurs dtre plus employes dansle cadre professionnel entre entreprises et agences. renouveler donc !

What did you expect from the CREDO workshop?

We did not take part in this workshop to meet a set o precise expectations but rather out o curiosity.We were open to all kinds o responses and eager to be surprised, shaken o ground. Our interestwas also aroused by the workshops international scope which oers a special opportunity to shareand exchange a wide range o ideas with an eclectic bunch o peers. We were especially anxiousto see how the students wou ld handle and appropriate such a theme in a one-week span!

What do you think of the progression of the projects in-between your two interventions?

Its difcult to evaluate the impact weve had on the evolution o the projects Our interventionswere so brie. However we really have the eeling that all the students took an in terest in the chosentheme(s) and took into account all related issues each in his/her own way, though. While someopted or a straightorward approach to the issue and relied mostly on the parameters inherent inthe assignment, others turned the theme(s) upside down and inside out, reached beyond the scapeo the assignment and fnally came up with more open and surprising answers. All participants didinteract with one another and all o them took a stance as to the theme, and this we particularlyappreciated.

During this workshop what ideas struck you as the most powerful?

First and oremost we were particularly pleased with the human quality and generosity o the supervisingteam. Then each project conveyed several dimensions; to name but one quality per group we wouldhighlight: the way aesthetic and unctional eatures merge in the transport system or electricity andlight thought up by Mirror ; the successul designing o a reversible equipment both or individualand collective use or the interactive window invented by Voltarm ; the emphasis put on thesocial dimension o light and possible community interactions brought to the ore by Firey ;the radical utopias imagined by Space Racoon ... and especially their amazing Moon Dialinstallation ; the moving intensity o the trip experienced by the Not So Heavy group as theytinkled with black light.Putting aside the propositions and their being marketable or not, what I ound particularly interestingis the groups ability to grasp and appropriate issues that matter to them as m uch as they doto us and to address them with a team spirit. What type o unspoken agreements bond them?What social schemes do they rely on? What concrete orms do they come up with to providean efcient collective answer to energy consumption issues? Speaking o which, the analysis

conducted by Eyeliner was really outstanding. This initiative should defnitely be urtheredin the uture.

Have you ever participated in workshops during your t raining in design? If so, what kind

of memories have you kept of such experiences?

Yes I have, indeed. As oten as possible. From those wor kshops Ive kept memories o very intenselearning and experimenting that allowed me to discover new horizons that reached ar beyondtraditional teaching methods. In my view this type o initiatives are ruitul in that they enablestudents to learn dierently while improving their social skills. Moreover workshops also provideefcient solutions to enhance design processes; these initiatives should also be implementedin the industrial world as a means to ensure interaction between companies and agencies.To be continued!

Stphane Villard - designer intgr - EDFin-house designer - EDF


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This booklet is published by Lcole de design Nantes Atlantique onthe occasion o the 2008 session o the international workshop CREDO(Cooperation in Research and Education or Design Options). /Ce livret estdit par Lcole de design Nantes Atlantique loccasion de la tenue de lasession 2008 de latelier international CREDO (Cooperation in Research and

Education for Design Options).

Editor /Responsable de publication : Frdric DegouzonWriting and iconography /Rdaction et iconographie : Franoise TargowskiTranslation into english /Traductions en anglais : Morgane SaysanaGraphic design /Conception graphique : Nathalie PapeilSchemas /Schmas : Phuc Tran, Marie Buet, Franoise Targowski

Photo credits and visual projects: CREDO participants on behal o Lcolede design Nantes Atlantique. /Crdits photographiques et visuels projets :participants CREDO pour Lcole de design Nantes Atlantique.

The international workshop CREDO is supported by the Pays de laLoire Region in collaboration with the Royal Abbey o Fontevraud andthe Cumulus association, as a part o the Designin Pays de la Loire program. /Latelier international CREDO est soutenu par la Rgion desPays de la Loire, en partenariat avec lAbbaye royale de Fontevraud etlassociation Cumulus dans le cadre du programme Designin Pays de laLoire .

Acknowledgments /Remerciements :Guillaume Foissac, Gilles Rougon, Stephane Villard pour EDF; Marie-Jolle Brisseau, Bertrand Mnard, Emmanuel Morin, Herv Regignano,

Halia Smal, Xavier Kawa-Topor et toute lquipe de Fontevraud/ and theFontevraud team ; Eija Salmi and the Cumulus ofce; Anne Schoonbrodt,Michal Steanowski, Grzegorz Niwinski, Piotr Bozyk, Sanna Tekonen,Sandra Sule, Luk van der Hallen et toutes les personnes qui ont permisesla ralisation de CREDO /and all the people rom participating institutionswho made CREDO come true ; Nathalie Ciprian, Laurent Neyssensas,Nathalie Papeil, Franoise Targowski, Morgane Saysana, Herv Martin,Jean-Charles Qulec, Christian Mouraud, et toute lquipe/ and thewhole team ; Jean Quessada, Dominique Roynette, Marion Laporte ettoute lquipe de la Rgion Pays de la Loire et de la SEM Pays de la Loire/ and the whole team o the Pays de la L oire Region and the SEM Paysde la Loire ; and to all the participants in past, present and uture CREDOworkshops. /et tous les participants aux ditions passes, prsentes etfutures de CREDO.

http://credo.lecolededesign.com


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CREDO 2008 : The Light of the Ideal City

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