TANGO Graphic Design project #1
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Transcript of TANGO Graphic Design project #1
7/29/2019 TANGO Graphic Design project #1
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PROJET TANGOPHASE 3
MARINE GAILLARDON & CAMILLE DECHARTRES - G3G
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SOMMAIRE
introduction au projet
rapport d ’expérience
objet communicant
synthèse
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CAHIER DES CHARGES
Demande
- Objet communicant- Rapport d’expérience
Pour qui ?
- Designers, Créatis, Grand public- Partenaires institutionnels européens
Contexte
- Dialogue intergénérationnel, solutions durables- Augmentation du nombre de personnes âgées
Message
- Partage d’expériences entre générations- Renorcer le dialogue entre les générations
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PROBLÉMATIQUE
Comment créer des supports de communication onctionnant dans 3 paysdierents et retranscrivant l’expérience Tango tout en étant éco-concu ?
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AXE & PISTE
- Tango, lieu de simplicité et de transparence
- Authenticité
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RAPPORT D’EXPÉRIENCEscénario d ’usage
Objet institutionnel / Milieu calme, sérieux / Résistant, durable / Lecture Fluide
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RAPPORT D’EXPÉRIENCEformat du document
Gain de place / Pas de gâche de papier / Une euille d’impression pour 8 doubles
16 cm
22 cm
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LES POSSIBLES : AN INNOVATIVE SYSTEM OF PRODUCT ANDSERVICES (PSS) FOSTERING SOCIAL INCLUSION TROUGHOUTA CO-DESIGN PROCESS
THE PLACES OF INTERACTIONS:
THE PARK AND THE STATION
one. When a person start a new story theower will give him/her a sort o git:a small clip as a sign o participation tothe teller community. Tis sign enablesmembers o Kannelmäki district torecognize each other within andoutside the neighborhood and thusencourage them to interact.
Te park installation will be a memoriesdiary, where to create indirect interactions
with participants. Tese rst contacts canbecome new riendships, thanks to thevoice recording, which allows people to.
Indirect and slow interactions:telling your story in the park.
Te park closed to the river is a wellknown place in the district, where every year some estivals and activities arehappening. Te inhabitants like to walk there and the eeling they described are“reedom, relax, calm,…”. Tese mentalconditions have been taken as goodstarting point to create a s low interactioninstallation, where participatereely according to personal eelings,modalities and attitudes.
Helsinki, Kannelmäki in May 2012.
RAPPORT D’EXPÉRIENCEtypographie
NIVEAU 5 :Garamond : Corps 10 pt, Interlignage 12 pt
NIVEAU 4:Garamond : Corps 12 pt, Interlignage 12 pt
NIVEAU 6 :Garamond : Italique, Corps 8 pt,Interlignage 10 pt
NIVEAU 1:KABEL, Corps 37 pt, Interlignage 36 pt,Inter lettrage 50
NIVEAU 2 :KABEL, Corps 12 pt, Interlignage 14 pt,Inter lettrage 50
NIVEAU 3 :
KABEL, Corps 10 pt, Interlignage 14 pt,Inter lettrage 50
LES POSSIBLESPROJECT
Hiérarchisation des inormations / Lecture agréable et uide
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RAPPORT D’EXPÉRIENCEmise en page
INPRAC-
TICE
Helsinki, Kannelmäki in May 2012.
Ouverture de partie / Une couleur par partie
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RAPPORT D’EXPÉRIENCEmise en page
MILANDISCUSSION
Becoming an active citizen needs own
activity and participation. Inhabitants
own participation creates dialogue and
trust or each other. Active people create
active neighborhood and this imply social
wellbeing. A good neighborhood is an
active, lively place. Trough inhabitants’
own activities the neighborhood begins
to be a place o trust, joy, sharing and
experimenting good everyday lie
with others, which increases
people’s social wellbeing.
When the design brie is open and theproblem area very abstract, it has to be
approached through collaborative and
experimental way. A good neighborhood
and social wellbeing were typically this
kind o abstract and not easy to reach
design problems. Tese needed an open
dialogue process between students and
between students and local inhabitants.
Te method, a collaborative and
exploratory learning resulted
interesting design bries and design
experimentations, shared knowledge
and deep understanding.
While aiming or participation
and dialogue designers can create
processes, systems and moreover
design experimentations to collect
insight inormation, to include locals
in the design process and to t est
ideas and collect eedback. Exploring
Kannelmäki through experimentationsa understanding o a good neighborhood
and the meaning o participation in
social wellbeing were gained.
Designers can work in a real lie context
and gain insights into the problem areas
as well as create opportunities to
activate local people to increase
social wellbeing through own
participation and open dialogue.
Kirsi Niinimäki
Sous ouverture / Fonctionne au début comme à la fn d’un article
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RAPPORT D’EXPÉRIENCEmise en page
Pages interieures / Interaction images et texte / Agréable à lire
personal experiences and knowledge.
Social wellbeing means ensuring the
residents a sense o security and o belonging
to the place where they live. Tis goal may
be pursued promoting iniatives or the
interaction between people and sharing o knowledge linked to diferent cultures.
Te eeling o socially integration grows
rom trust and the eeling that people
are living in a sae neighborhood (Keys
1998). People that eel socially integrated
volunteer to maintain their neighborhood
and thereore own commitment, own
engagement and participation lead to
eeling that person is living in a nice
and sae neighborhood. Inhabitants eel
that their actions are meaningul to the
neighborhood and urther these attitudes
and actions lead to social wellbeing. Te
eeling o belonging to the community
and neighborhood is important or one’s
own mental health. “Healthy individuals
eel that they are a part o society” (Keys
1998,122). Tereore own participation.
Wellbeing can be dived at least into
two dierent levels; individual’s own
capacities and own identity with
connection to community. While
students were constructing their
understanding or social wellbeing,they separated these two areas and
together these areas aects into the
social wellbeing. One student separated
the social wellbeing into three dierent
areas. One was the community aspect
and it includes et al. sharing knowledge,
experiences and skills and this
needs solidarity and empathy towards
others. Te second area is identity,
which includes et al. person’s skills,
capacities and memories. Te third
one is local development, which
includes social cohesion and mutual
respect aspects. Interactions and social
relationships are quite undamental
or social wellbeing.
One student described the social
wellbeing in the suburban area
While design students were approaching
social wellbeing in a neighborhood
area during the course, one primary
aspect was that the learning and
experimentation has to happen in a
real lie context outside the University
building. Te intensive workshop was
organized in the middle o the suburban
area Kannelmäki as an open workshop
and exhibition simultaneously. In this
way the designers’ learning process
was open towards the community and
interaction with local inhabitants were
possible. Moreover the students were
surrounded by the real context they
in a small group, in a ramed cognitive
community and through problem
solving it aims or shared knowledge
and understanding (Häkkinen & Arvaja
1999). In the middle o collaborative
learning is the idea that through common
actions the new knowledge and shared
deep understanding o
the problem areas are created together
(Soini 2001). Exploratory learning
process aims to understand deeper
the problem and additionally it
uses descriptive explanations o the
phenomena under study.
Exploratory learning process happens
LEARNING PROCESS IN A SOCIALWELLBEING CONTEXT
SOCIAL WELLBEING IN A GOODNEIGHBORHOOD
Helsinki, Kannelmäki in May 2012
Picture by Marie Sand.
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RAPPORT D’EXPÉRIENCEreliure
Reliure apparente / Jaquette
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RAPPORT D’EXPÉRIENCEtraitement iconographique
LESSON LEARNED SOFAR ALONG THECO-DESIGN PROCESS :
First o all, to show and share the
project and the achieved results in the
district, could be planned an interactive
artistic installation in the Art Museum
o Helsinki, where the visitors can be
a active part o the exhibition process.
Furthermore the project could be
re-proposed as base or cohesive projects
in other districts o Helsinki. Tis could
be a possibility or the Helsinki city
and exploit need and potentialitiesrom the eld. Furthermore the
experimentations made with the
Kannelmäki inhabitants highlighted
the need o approaches and skills as
well as methods and tools to give
to the need o approachesand
skills as well as methods and
tools to give to the nal users an active
role in the co-design process.
Some activities have been made efcient,
some others were difcult to be accessed
without specic design knowledge. About
the les project the use o the voice as
predominant channel, has a value
in itsel, but still need a test ground
where rst conrmation and eedbacks
are expected, and urther investigationTe les possibles experience inside the
ango (AH-DEsign) project shown the
undamental role o a co-design approach
while designing Product Service System
innovations dedicated to a specicDesigned by: Elisa Bacchetti, Marie Paquier le Tiec, Swanny Serrand, Marie Serrano.
Pixellisation : Noir & Blanc : Authenticité, passé / Éco-responsable / Bande colorée sur Humains
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RAPPORT D’EXPÉRIENCEéco-conception
Moindre impact sur l’environnement : papier, ormat, encres et colle végétales
RAPPORT D’EXPÉRIENCES
Papier
Poids
Nombre de couleursEncombrement
Encres
Papier
Imprimeur
Format
Façonnage
Réutilisation
Eco-label, FSC
288 g
Quadrichromie
Environ 650 - 700 mots
Encres à huiles végétales
Cyclus 100% recyclé
Imprim’ Vert
16 x 22,5 cm
Colle
Stockable et reconsultable
ASPECTS INDICATEUR/VALEURS
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RAPPORT D’EXPÉRIENCEmise en situation
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OBJET COMMUNICANTscénario d ’usage
Objet interacti / Deuxième vie / Petit ormat / Compréhensible par tous
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OBJET COMMUNICANTformat du document
14,8 cm
21 cm
4 euilles A3 pliées en 4 / Peu de gâche de papier / Une seule euille d’impression
A5
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DESCRIPTION PROJET MILAN
THÈME BANLIEUE ENGAGÉE
Croyez-moi consolez-vous, cela vaut mieux ! Ordinairementelle aboutit à des erreurs plussubtiles. Remplacé par un ofcier
d’artillerie de petite taille. Ci-gîtle plus grand doute sur le lieu oùils se serraient l’une contre l’autreavec l’air ou du commerçantdont la ressource, après unepause, est-ce beau, cela ? Placésau milieu d’impraticables rochers.Imaginons que cette gure de
jeune lle. Abus et incohérencesde la distribution actuelleprobable des petites planètes ;nous savons l’aection que ma soeur seule aura l’argent que j’ailes sacristains en horreur. iré parle coeur et le rattacha à l’existence.
typographie
NIVEAU 3:Garamond : Corps 11 pt, Interlignage 13 pt
NIVEAU 1:KABEL, Corps 16 pt, Interlettrage 50
NIVEAU 2 :KABEL, Corps 9,6 pt, Interlettrage 50
Hiérarchisation des inormtions / Lecture agréable et uide / Accessible à tous
OBJET COMMUNICANT
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OBJET COMMUNICANTmise en page
DESCRIPTION PROJET NANTES
Croyez-moi consolez-vous, cela vaut mieux ! Ordinairementelle aboutit à des erreurs plussubtiles. Remplacé par un ofcierd’artillerie de petite taille. Ci-gîtle plus grand doute sur le lieu oùils se serraient l’une contre l’autreavec l’air ou du commerçantdont la ressource, après unepause, est-ce beau, cela ? Placésau milieu d’impraticables rochers.Imaginons que cette gure de jeune lle. Abus et incohérencesde la distribution actuelleprobable des petites planètes ;nous savons l’aection que ma soeur seule aura l’argent que j’ailes sacristains en horreur. iré parle coeur et le rattacha à l’existence.
Believe me and cheer up, it’sbetter! Usually it leads to moresubtle errors.Replaced by an artillery ofcersmall. Here lies the greatestdoubt about where they pressedagainst each other with the aircrazy shopping resource which,ater a pause, is it beautiul, it?Placed in the middle o impassable rocks.Imagine this gure girl. Abuses and inconsistencies o thecurrent distribution likely smallplanets we know the aectionthat my sister will only money I sextons in horror.Shot through the heart andattached it to lie.
THÈME EMPATHIE
Nantes - L’École de Design Nantes Altant ique , by Mar ie San d
Deux langues : Anglais en couleur / Même charte que le rapport d’expériences
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OBJET COMMUNICANTreliure
Colle végétale recyclable / Peu de moyens techniques / Détachable acilement
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OBJET COMMUNICANTtraitement iconographique
Mira Kallio, avin, Carlo Vezzoli, Kirsi Niinimäki, Elisa Bacchetti,
Elisa Bacchetti, Sara Cortesi, Alberto Aprea, Ben Walker,
Geneviève Correia, Matthias Rischewski, Nathalie emplier, Malin
Bäckman, Claudio Sarcì, Solene Constant, uula Mäkiniemi,
Marie Paquier Le Tiec, Marie Serrano, Swanny Serrand, Jenni
Nurmenniemi, oni Ledentsa, Suvi Saloniemi, Lida Jääskeläinen,
Minna Nyqvist, uuli Rouhiainen, Alberto Fossati, Sara Hate,
Janne Salovaara, et toutes la classe des graphistes de Nantes.
DESIGNER & ARTISTES
Forte Pixellisation : Abstraction / Couleurs : Présent de l’exposition, chaleureux
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OBJET COMMUNICANTéco-conception
OBJET COMMUNICANT
Poids
Couleurs
Format
Façonnage
Réutilisation
50 g
Quadrichomie
4 A3 pliés = ormat A5
Plié et collé comme bloc note
Feuilles de création + mur d’or
ASPECTS INDICATEUR/VALEURS
Papier
Encombrement
Encres
Papier
Imprimeur
Eco-label, FSC
Environ 190 mots
Encres à huiles végétales
Cyclus 100% recyclé
Imprim’ Vert
Moindre impact sur l’environnement : papier, ormat, encres et colle végétales / Réutilisation
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OBJET COMMUNICANTmise en situation
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SYNTHÈSE
Cohérence de la ligne graphique
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MERCI DEVOTRE ATTENTION.