Modèles d’intégration des designers créatifs dans les processus de conception industriels

Many studies show that industrial design is key to triggering, fostering andsustaining innovation. However, the unique capacities of creation and innovationof industrial designers make it challenging for them to thrive within industrialenvironments.The challenge for companies is to create the optimal work environment forthose professionals, while ensuring their work can be integrated smoothly intothe existing industrial design processes. We assume this dilemma is partiallystemming from the intensive use of sequential design models in the industry.Design tools were developed on the assumption that creative front end andproduct development should be separated.We introduce here a new model, aiming at depicting accurately the reasoningmodes and the nature of the object being designed with the digital ComputerAided Design (CAD) suites. This model is the result of the joint mobilization offour academic fields : computer, cognitive and management science and designtheories. Dassault Systèmes and their CATIA software have proven to be an excellentresearch environment for such questions. As we have been thinking, thenew model (laminated) makes three new hypothesis. Those unheard assertionshave been suggested and validated with this thesis :1/ Some specific design workshops are able to provide simultaneously robust andgenerative design capacities. We call this characteristic «acquired originality».2/ The object representations within by the software are not the result of successiverefinements but derive directly from a parameterized set of rules.3/ Industrial designers have specific requirements for CAD tools, different fromtheir engineers and artists counterparts because what they design is fundamentallydifferent. IDs generate conceptual models using a mass singularity technique.Those results sketch the emergence of a new generation of CAD tools forindustrial designers and able to foster innovation.De décisifs et puissants enjeux d'innovation ainsi que de renouvellement del'identité des objets bouleversent le monde industriel. De telles aptitudes créativessont usuellement associées aux designers industriels. Cependant, ces professionnelsne sont actuellement pas intégrés dans les processus numériques deconception.Afin de décrire ce paradoxe, nous formulons l'hypothèse que, l'omniprésencedans l'industrie de modèles de la conception de type séquentiel, qui juxtaposentcréativité et développement produit, entrave l'intégration des designers industrielsau sein des processus industriels. En effet, en compartimentant la conceptionen silos, ce type de modèles généralistes inhibe les méthodes spécifiquesdes concepteurs créatifs. Bien plus, les outils numériques adjoints au modèle séquentielétant calqués sur sa logique, ils reproduisent et les inconvénients d'unetelle structuration.En mobilisant quatre disciplines académiques qui traitent des outils numériques,à savoir les sciences informatiques, cognitives, de gestion et les théoriesde la conception, nous élaborons un nouveau modèle «dit stratifié». Ce dernierrévèle les modes de raisonnement empruntés par les concepteurs créatifs ainsique la nature des produits élaborés dans les environnements logiciels. A ce titre,l'entreprise Dassault Systèmes ainsi que la suite CATIA se sont révélés un substratde recherche idéal. Comme attendu, notre nouveau modèle propose desassertions inédites qui sont validées au cours de notre travail. Nous avons alorsdémontré que :1/ Certains ateliers de conception favorisent simultanément robustesse et générativité.Nous qualifions cette nouvelle propriété d'«originalité acquise».2/ Les avatars dans le logiciel ne résultent pas d'un raffinement progressif del'objet mais sont plutôt l'instanciation d'une base de règles paramétrée.3/ Les designers industriels requièrent des outils distincts de ceux employés parles artistes 3D ou les ingénieurs, de par la nature de leur conception. Plus exactement,ces professionnels génèrent des modèles conceptuels selon une logiquede singularité de masse.Ces résultats offrent ainsi la perspective engageante de l'émergence d'unenouvelle génération d'outils numériques de conception. Ces outils inédits serontaptes à intégrer les designers industriels et à proposer de l'innovation à la d

Breaking the dilemma between robustness and generativeness: a comparative experiment on the use of new design software at the design-gap: A Comparative Experiment on the use of New Design Software at the Design-Gap

International audienceAre creative designers doomed to loose in creativity when integrated in NPD processes? While a lot of studies point the necessity to achieve both creativity and feasibility, it remains hard to make more than a frustrating trade off. Still a new generation of design software have recently been proposed to better integrate industrial designers in engineering design processes. Based on a comparative experiment, we show that some of these tools enable to break the dilemma between creativity and robustness. Focusing on the design gap, a sample of 6 industrial designers was asked to design from a handmade rough sketch a 3D-digital object integrated in a CAD software suite. We compare the performance in term of gain or loss of originality and robustness (measured by 5 independent experts) between the uses of two representative digital design tools. It appears that the use of one of the software significantly increased simultaneously to Generativeness and Robustness of a design. It confirms that it is possible to ground creativity on constraint and show the possibility of new design processes characterized by their capacity to avoid loss in Originality and to improve what we call an "acquired creativity" all along the design process

Managing radical innovation as an innovative design process: generative constraints and cumulative sets of rules

International audienceThis paper focuses on the organization of design processes and the difficulty of simultaneously achieving control and exploration while aiming to achieve radical innovation. After a first generation of works that tended to oppose NPD processes (with controlled convergence and very limited exploration) to Innovation processes (with poorly controlled convergence and random (uncontrolled) exploration, the new generation of works proposed ways to combine control and convergence either through concept shift or through stable architectures. Relying a generic analytical framework (design space / value management) it appears that each model makes restrictive hypotheses (respectively smart leadership or stable architecture) to address two critical questions: Q1. How can one increase the efficiency of exploration? Q2. How can one ensure forms of cumulative convergence? Relying on the ame analytical framework we analyze two cases that explore the unknown in a controlled way and still don't correspond two either of the two models. We show that these two anomalies and the two models actually have two critical features in common: a focus on generative constraint and a logic of cumulative design rules. As a consequence these two features might generic to several processes where teams have to explore the unknown and still have to keep a rigorous control of exploration and convergence

Uncovering the specificities of CAD tools for industrial design with design theory – style models for generic singularity

International audienceAccording to some casual observers, computer-aided design (CAD) tools are very similar. These tools are used to design new artifacts in a digital environment; hence, they share typical software components, such as a computing engine and human-machine interface. However, CAD software is dedicated to specific professionals—such as engineers, three-dimensional (3D) artists, and industrial designers (IDs)—who claim that, despite their apparent similarities, CAD tools are so different that they are not substitutable. Moreover, CAD tools do not fully meet the needs of IDs. This paper aims at better characterizing CAD tools by taking into account their underlying design logic, which involves relying on recent advances in design theory. We show that engineering CAD tools are actually modeling tools that design a generic variety of products; 3D artist CAD tools not only design but immediately produce single digital artefacts; and ID CAD tools are neither a mix nor an hybridization of engineering CAD and 3D artist CAD tools but have their own logic, namely to create new conceptual models for a large variety of products, that is, the creation of a unique original style that leads to a generic singularity. Such tools are useful for many creative designers beyond IDs

Genetic Structure of Human A/H1N1 and A/H3N2 Influenza Virus on Corsica Island: Phylogenetic Analysis and Vaccine Strain Match, 2006–2010

Background: The aim of this study was to analyse the genetic patterns of Hemagglutinin (HA) genes of influenza A strains circulating on Corsica Island during the 2006-2009 epidemic seasons and the 2009-2010 pandemic season. [br/] Methods: Nasopharyngeal samples from 371 patients with influenza-like illness (ILI) were collected by General Practitioners (GPs) of the Sentinelles Network through a randomised selection routine. [br/] Results: Phylogenetic analysis of HA revealed that A/H3N2 strains circulating on Corsica were closely related to the WHO recommended vaccine strains in each analyzed season (2006-2007 to 2008-2009). Seasonal Corsican influenza A/H1N1 isolated during the 2007-2008 season had drifted towards the A/Brisbane/59/2007 lineage, the A/H1N1 vaccine strain for the 2008-2009 season. The A/H1N1 2009 (A/H1N1pdm) strains isolated on Corsica Island were characterized by the S220T mutation specific to clade 7 isolates. It should be noted that Corsican isolates formed a separate sub-clade of clade 7 as a consequence of the presence of the fixed substitution D222E. The percentages of the perfect match vaccine efficacy, estimated by using the p(epitope) model, against influenza viruses circulating on Corsica Island varied substantially across the four seasons analyzed, and tend to be highest for A/H1N1 compared with A/H3N2 vaccines, suggesting that cross-immunity seems to be stronger for the H1 HA gene. [br/] Conclusion: The molecular analysis of the HA gene of influenza viruses that circulated on Corsica Island between 2006-2010 showed for each season the presence of a dominant lineage characterized by at least one fixed mutation. The A/H3N2 and A/H1N1pdm isolates were characterized by multiples fixation at antigenic sites. The fixation of specific mutations at each outbreak could be explained by the combination of a neutral phenomenon and a founder effect, favoring the presence of a dominant lineage in a closed environment such as Corsica Island

Design operation in an immersive virtual environment

A computer-implemented method of designing a modeled assembly of at least one object in a computer-aided design system, the method comprising the steps of providing a set of icons, each icon being representative of a range of scales of size; determining the dimensions of a view (40) of said modeled assembly; and displaying continuously the icon representative of the range of scales of size corresponding to said dimensions

Integration models for creative designers inside the industrial design process

De décisifs et puissants enjeux d'innovation ainsi que de renouvellement del'identité des objets bouleversent le monde industriel. De telles aptitudes créativessont usuellement associées aux designers industriels. Cependant, ces professionnelsne sont actuellement pas intégrés dans les processus numériques deconception.Afin de décrire ce paradoxe, nous formulons l'hypothèse que, l'omniprésencedans l'industrie de modèles de la conception de type séquentiel, qui juxtaposentcréativité et développement produit, entrave l'intégration des designers industrielsau sein des processus industriels. En effet, en compartimentant la conceptionen silos, ce type de modèles généralistes inhibe les méthodes spécifiquesdes concepteurs créatifs. Bien plus, les outils numériques adjoints au modèle séquentielétant calqués sur sa logique, ils reproduisent et les inconvénients d'unetelle structuration.En mobilisant quatre disciplines académiques qui traitent des outils numériques,à savoir les sciences informatiques, cognitives, de gestion et les théoriesde la conception, nous élaborons un nouveau modèle «dit stratifié». Ce dernierrévèle les modes de raisonnement empruntés par les concepteurs créatifs ainsique la nature des produits élaborés dans les environnements logiciels. A ce titre,l'entreprise Dassault Systèmes ainsi que la suite CATIA se sont révélés un substratde recherche idéal. Comme attendu, notre nouveau modèle propose desassertions inédites qui sont validées au cours de notre travail. Nous avons alorsdémontré que :1/ Certains ateliers de conception favorisent simultanément robustesse et générativité.Nous qualifions cette nouvelle propriété d'«originalité acquise».2/ Les avatars dans le logiciel ne résultent pas d'un raffinement progressif del'objet mais sont plutôt l'instanciation d'une base de règles paramétrée.3/ Les designers industriels requièrent des outils distincts de ceux employés parles artistes 3D ou les ingénieurs, de par la nature de leur conception. Plus exactement,ces professionnels génèrent des modèles conceptuels selon une logiquede singularité de masse.Ces résultats offrent ainsi la perspective engageante de l'émergence d'unenouvelle génération d'outils numériques de conception. Ces outils inédits serontaptes à intégrer les designers industriels et à proposer de l'innovation à la deMany studies show that industrial design is key to triggering, fostering andsustaining innovation. However, the unique capacities of creation and innovationof industrial designers make it challenging for them to thrive within industrialenvironments.The challenge for companies is to create the optimal work environment forthose professionals, while ensuring their work can be integrated smoothly intothe existing industrial design processes. We assume this dilemma is partiallystemming from the intensive use of sequential design models in the industry.Design tools were developed on the assumption that creative front end andproduct development should be separated.We introduce here a new model, aiming at depicting accurately the reasoningmodes and the nature of the object being designed with the digital ComputerAided Design (CAD) suites. This model is the result of the joint mobilization offour academic fields : computer, cognitive and management science and designtheories. Dassault Systèmes and their CATIA software have proven to be an excellentresearch environment for such questions. As we have been thinking, thenew model (laminated) makes three new hypothesis. Those unheard assertionshave been suggested and validated with this thesis :1/ Some specific design workshops are able to provide simultaneously robust andgenerative design capacities. We call this characteristic «acquired originality».2/ The object representations within by the software are not the result of successiverefinements but derive directly from a parameterized set of rules.3/ Industrial designers have specific requirements for CAD tools, different fromtheir engineers and artists counterparts because what they design is fundamentallydifferent. IDs generate conceptual models using a mass singularity technique.Those results sketch the emergence of a new generation of CAD tools forindustrial designers and able to foster innovation