Cycle 2 design

In light of the upheavals that a model of overproduction imposes on the environments in which we live, we must reexamine the material conditions of our existence, modes of production, energy sources, dietary habits, urban structures, and modes of transportation on which we depend. This objective requires a new approach to the contexts we examine, paying particular attention to the specific characteristics of territories, the practices of residents, the organizations at work, and the interactions between the living and non-living elements of an ecosystem.

Thus, the distinctive nature of the program stems in part from fieldwork. Confronted with diverse, real-world project contexts, students are introduced to observing, analyzing, and exploring these contexts in order to engage as closely as possible with the key stakeholders and the specific characteristics of the territories. It is also defined by workshop-based practice, a space where a spirit of ingenuity and inventiveness is cultivated to conceive and create—with a focus on adaptability and reparability—forms and proposals capable of making the world more livable on a daily basis, whether by designing symbols, objects, or spaces.

Acquisitions

Throughout the program, students learn to situate a project within its production context by considering energy resources, material choices, and scales of production (from local craftsmanship to third places, from workshops to small-scale industries), and by identifying the stakeholders and skills that drive it. They also develop the ability to integrate multiple scales of intervention within a single project, as an object may extend into a signage system or become part of a spatial design.

This contextual approach is accompanied by the ability to analyze and document a complex situation using sound, video, and photography; to frame this situation within the field of design; and to identify a network of stakeholders and resources working together to support an ecosystem, through the mapping of controversies and field research. Added to this is the ability to draw upon the tools and skills of a designer—from technical drawing to 3D modeling, from physical models to AI—to critically examine them and put them into perspective in order to devise appropriate solutions.

A series of one-time or recurring educational activities encourages students to explore and develop their practice in a variety of work settings: these activities may facilitate the discovery of a material, a tool, a field of inquiry, or a context; they also include introductory workshops on interdisciplinary artistic research that span different departments.

Finally, the program prepares students to present and communicate the coherence of a project-based approach by experimenting with various visualization and representation tools, as well as mediation formats: scenographic installations, summary graphics, articles, oral defenses, staged presentations, and role-playing exercises with an audience of stakeholders specific to the student’s project context.

Defining the Research Area and Mentoring

Starting at the beginning of Semester 7, students define their own personal research area as part of the courses on research methodology and the development of their personal projects. These weekly courses alternate between group and individual sessions. The thesis, the parameters of which are defined as early as Semester 7, enables students to develop the theoretical tools necessary to firmly ground their project within its thematic context, medium, and contemporary design issues. At the beginning of Semester 8, the teaching team assigns each student a faculty advisor to guide them through the development, design, and execution of their DNSEP project.

Career Objectives

The methodological skills, tools, and expertise acquired enable graduates of the DNSEP in “Spaces, Objects, Ecosystems” to take on key roles in small- and medium-sized architecture, landscape architecture, interior design, or scenography studios; to join companies developing strategies for social innovation and sustainable development; or to work as designers, interior architect, or scenographer as an entrepreneur, whether working independently or as part of a collective effort that combines multiple skill sets. They may also pursue a postgraduate research program or graduate studies, engage in critical or theoretical work—whether alongside their design practice or not—join associations, cooperatives, or public institutions to develop tools for consultation and co-creation, join schools as teachers or teaching assistants, or participate in research and creative residencies.