Design is not dead, design is alive*, and it’s called experience design (not User eXperience).

Design is not dead, design is alive*, and it’s called experience design (not User eXperience).

In spite of the strikes, in spite of the bad weather, and to close 2019, a balance sheet and a big week for Choregraphy with the meeting of not 1, not 2 but 3 ministers!

Indeed, the design experience was shown this week at the crossroads of 3 major ministerial commitments with :

1_ The meeting between Bruno Le Maire and Franck Riester and the commitments in favour of design made during the 2019 Design Forum.

2_ The meeting of Marlène Schiappa and her recommendations in favour of women’s economic and entrepreneurial emancipation

3_ Advances in experiential design and Choregraphy as a company with a mission and impact!

1_ The foundations of 2019 design

It was in the Pierre Mendès-France amphitheatre at Bercy that Bruno le Maire and Franck Riester made strong commitments in the presence of the community of design professionals, and professional associations such as the Institut Français du design, the APCI, and Ensadlab by recognizing :

  1. that work on the innovative form classically attributed to design must be supported by the research tax credit, in the same way as the invention of a new technology.
  2. that tax and investment incentive schemes such as the PIA and the Productive Pact must also support design, long forgotten, as an original way of thinking that supports French economic growth through differentiation.

The Minister of Economy and Finance reminds us that design enables the 3Vs: life, value and vision, and we affirm that our public services, cities, hospitals, organizations, financial institutions, industry, our digital, our culture, our museums have an interest in taking advantage of experiential design to think about a convivial, warm and lively digital transformation!

V of life, because experience design is what makes us design technologies, scenarios, and models that are disorienting and confusing and that deserve to be lived.

V of value, because indeed a large part of the value of an innovative project is the meaning we put on it, and therefore its design. On this point, following the example of Tim Burton who says “I never write the script alone, otherwise it would only make sense to me”, experiential design proposes a sharing of meaning and therefore of value through the notion of double-empathy design of the experiential script. This double empathy is part of the identification and collection of the motivating and irritating moments of all stakeholders. From the one who holds the pen to the one who reads, perceives or feels the message.

The film industry and the performing arts should inspire more widely designers and innovators to embody meaning and incapacitate their audience in understanding their product, service, or experience.

The tools of script and storyboard (or choreographic score) underpin and illustrate each transformation project and allow for the acceleration of innovation and the engagement of collaborators, such as a film crew and actors who understand the film that is about to be played from the script.

V of vision, because indeed the French economy will prosper in the long term, if we are able to seize the skills, tools and creative genius of design and its cultural inspirations: performing arts, cinema, contemporary art.

Imagine what our public services could look like if they were designed using experiential design (and not UX)!

The first steps of Scenary, our community of experienced designers that brings together designers, teachers, researchers, innovators, industrialists, artists and people curious about innovation and transformation issues, bear witness to this.

Every month, new adventurers come to try their hand at living design and dive into our Creative Expeditions to build with us the disorienting, the confusing.

Some of them rediscover themselves and even become poets:

“The Creative Expedition is first of all a welcoming moment of sharing. I played hooky there a bit. And it reminds me of Alain Souchon’s song: “I’m 10 years old, I know it’s not true, but I’m 10, let me dream I’m 10…”. I’ve fallen back into childhood, a childhood of art that said, in a space where escape, creative activities, entertainment, fun and laughter (we like to make clowns with all its symbolism, as in a human comedy, the commedia dell’arte), a space that invites us to development and awakening, as any educational game aspires to.

Because like Alice (Lewis Carroll), “to enter this beautiful garden through the little door”, you have to be “ten inches tall”. There is no rabbit, merry-go-round, little train, ball pool or slide, but it’s just as well.

It’s an indoor playground, literally (indoor) as well as figuratively. It is an indoor playground, literally (indoor) as well as figuratively, an exploration of the labyrinth of any individual or collective conception, indoor or outdoor, new representations or new things (idea, behaviour, object), a labyrinth where getting lost and getting away actually brings us closer to the outcome.

I was looking for the word, one could say it’s a Serious game, partly real and partly virtual, where our benevolent hosts take us. And then there’s the finale, a healthy and friendly aperitif. »

- Gilbert Giacomoni, Head of GIPE AgroParistech

Blessed is he or she who has not yet experienced it.

If the younger generation is bored with routine design, we invite them to the Story Room to discover experiential design. The journey starts here!

Our recent articles on :

- > Experiential Culture

- > experiential finance

- > the experiential city

- > experiential data

2_ 1st Women’s Impact Day

It was at the BPCE headquarters that Marlène Schiappa and the event organizers Willa, Sista et Mouves and the speakers Éva Sadoun, Noémie Philippe, Stéphanie Goujon, Raphaëlle Martin-Neuville, Merete Buljo recalled the main social injustices facing women entrepreneurs today: between 2009 and 2019 the percentage of funds raised by women entrepreneurs is 2%, 70% of them base their businesses on personal funds and face 20% of questioning oriented towards failure in interviews.

These actors formulate recommendations in favour of the deployment of the visions held by women, particularly in the health, sanitary and social fields, which suffer from a lack of transition towards innovation, particularly digital innovation, and for this reason they ask :

1. Achieving parity in the teams of investment fund partners

2. Introduce quotas to support more women-led projects in the funding phases.

While women designers were only mentioned at the Assises du design 2019 because they are designers’ wives, Swedish or Danish, I am a woman, a French designer, and I am paving the way for mission-oriented experience design and wish to bear witness to this:

3. Testimony on the 1st Choregraphy mission committee (prototype)

Choregraphy in the wake of companies such as Camif, Maif and Open Class Rooms, Émery Jacquillat, Pascal Démurger, Pierre Dubuc wished to embark on the path of global legal innovation proposed by France in 2019 to repair capitalism: the Company with a Mission (Pact Law). The purpose of this status is to protect by law the business project and the values of the entrepreneur.

  • At its creation, in 2016 Choregraphy has a cumulative status, the extended corporate purpose company, with societal commitments to employees and customers. Our gaze was already set high.
  • Since 2017, Choregraphy has been involved in the Community of Mission Companies, participating in workgroups and dedicating a creative expedition to the subject :

- > the experiential policy:

  • In November 2019, three years after its birth, it meets its 1st mission committee. Choregraphy is very proud to unveil the members of its mission committee!

- Elizabeth Crémieu — Professor of Geography and History — Specialist in issues of women’s education in the world

- Elodie Mielczareck — Semiologist and author of the book Thwart the Manipulators

- Julie Blaise — Third Party Contractor in Burgundy, discosoupe, and XR

- Jérémy Levêque — PhD student at MinesParisTech with Kevin Levillain and Blanche Segrestin on mission-critical companies

- Alain Schnapper — Responsible Governance and Spokesperson for the Mission Business Community

- Maurille Larivière — Founder of the Sustainable Design School (and former founder of Strate — School of Design)

- Gilbert Giacomoni — Head of the innovation programme at AgroParisTech

- Freddy Gaved — Evaluator and creator of a Futurability Cooperative

This committee’s role is to formulate its report once a year to evaluate the commitments, and its roadmap is to meet once every quarter in 2020 in order to validate its raison d’être, mission and commitments to stakeholders.

  • Finally, next June 2020, we have a strong ambition:

To use our ability to immerse ourselves, to encourage subjectivity and identification, and to create triggers to encourage action and co-creation in the service of a major challenge of our time, the Climate Emergency. The next major topic of Experiential Design will be Experiential Ecology, aimed at top managers and senior executives in Lille World Design Capital in 2020. Stay Tuned!

See you there:

  • January 13, 2020 for our next creative expedition on experiential ecology, dear experimenters!
  • Or our intervention “From industrial design to experimental design” of February 14, 2020 at the Universities for All of Arras: program here

Some useful links on experience design:

the book — the podcast — instagram — youtube

All the recommendations of the Assises du design can be downloaded here :

*title in reference to the article Benoît Drouillat, interactive designers, “How UX has killed design” https://blog.fastandfresh.fr/benoit-drouillat-pourquoi-lux-tue-le-design/

We make (and teach) experience design for transformation, innovation and strategy, the perfect mix of innovation management, design and living arts

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