 Now we will have a serious presentation, not just about co-creation by Anna, but with a title, Beyond Co-creation. So I'm hoping to learn what will come, what's next. Okay, here it goes. What's with them? What's co? Thank you. So the presentation I called Beyond Co-creation because we will, I will try to show you things that probably you already know about how the world is now changing and how there are so many meaningful and interesting things to build up the design world of tomorrow. Many experiences from different people working in design at a different level that I put on together. So let's start with a very generalized thing about, we have to understand, as I said before, the context we are living in. And in most design school, as I said before, we don't have the chance to really grab how these things are changing and why we shouldn't, we have to worry about that. We have to understand the situation and students and tomorrow's designer have to really grab the thing that our Western industrial economy is turning to a point that it has to take another direction and doing other things. So in the culture and the behavior has to go with it, not anticipate, go with it. Everybody knows about the 20-80 issues and the 22 issues now, 20% of the country consume 80% of the resources, so the 20% of the country uses 2% of the resources. So there is a huge disparity among how we as people and we as a society use the resources that the earth is giving to us. And so without these resources, designers can do anything, so that should be a starting point for every designer. So we have to, the first thing is what Chris also said before is that the thing we have to change is probably the concept of well-being and the designers is the person who, we hope, will bring about a better concept of well-being. And we have to co-create this well-being and facilitate alternative and valuable economic models. At both scales, we have to do and build new economic models together. How to build these new economic models and how to bring values to the thing we will produce, we will bring to the world without knowing the value of these things. And the interesting thing I found is that you probably know Vendana Shiva, you probably know Tim Brown of IDA, they are in two very different positions. From one side we have Vendana Shiva, biologist and consultant of the government too and vice president of the Slow Food International. And she is saying that we have to bring a value, we have to understand and reclaim the interesting value of everything on earth. And says of course that everything is the evil, is the greed that we have and the thing that we consider everything as a commodity, even the people. On the other end we have Tim Brown of IDA, everybody knows the company IDA, so a consultant company working with the most of western societies saying exactly the same thing, which is curious. Is it all the marketing or are they really believing it? I hope they believe it. I want to look at it in a very positive way, try to be very positive. And so what Tim Brown says is value is based on knowledge and not on stuff, that's strange, he produces a lot of stuff at IDA, but he says that. And today's participatory behaviors are an indication of this change going on, participatory behaviors, co-creation. How do we make meaning out of this value and not obligatory money out of everything? He who has invented the computer, so to say. Here you have the photo again, and an explanation that I gave just before. So the urgent need to build shared visions for a sustainable future, thanks to innovation initiatives, either product services, systems. Of course you know that the European community is doing a lot in designing for social innovation and helping with innovation policies. There are a few methodologies on co-creation around that will help us probably to live better, consume less environmental resources, regenerate our context of life. I want to stay in this ideal. I hope that we will engage everybody and inspire our future designers to go in this direction. And there is somebody called Halisa Fouadlouk who has theorized the slow design in 2004 who is talking about, but I said are we talking about slow methodologies or slow co-design methodologies? Because the co-design is always implied in this kind of methodologies. Yes, if you design spaces, real or virtual, that enables us to think, react, dream and use. Yes. There is no the S, I'm sorry. If you design for social cultural benefits and well-being, I won't explain you the images because I suppose that you know that, but if you don't know that please stop me and say, I would like to know more about that. Yes, if you design to catalyze behavioral change and in general social cultural transformation. Yes, if you design for people first, I'm repeating myself what I said before, but it's never enough for me. And commercialization second, yes, if you design for the planet's regenerative environmental benefits and well-being, yes, if you design for local first, global second, if you design to create new economic and business models and opportunity, but of course in this, in the same mindset, and yes, if you democratize design by encouraging self-initiated design. There are signals and visions already of these things already happening all around. So I gather here plenty of information of medias already working in this, in this direction and communicating in this, in this direction. There is, there are medias like we're changing of Alex Stefan, Grace. There are consulting community members like the Clear Village Observatory. There are consulting companies in the U.S. proposing citizens a tailored follow-up for doing design, their own design in a sustainable way. There are also societies like this one who work with the people who want to invest in a greener economy worldwide. There are schools like the Living School who is just next door in Paris where I live. There is this school who is proposing to children from the ground school an holistic approach to, to, to life. And so I'm sure, but I'm sure that these people who are educated into the respect of the nature of the staff of the people surrounding them could be and will be, I hope, good designers. There are, in the energy field, there are also alternatives and people already choosing for alternative way of, how do you say it, to, I don't know, alternative way to, to use the electricity, which is the main resource and to use energy, how to reconsider, not only in using alternative energies. It exists, but everybody has the habit to do and not to change the things that they used to. So even in France, most of the people use the F and they don't look for alternative solutions like this one, for example. It's very difficult to, to help people, to help citizens to take a step and go ahead and say, hey, there is an alternative, there is a possibility to do things differently. And that's the role that the designer will have to, to have. There are other design medias, like the TreeHugger, design education, the DASIS network that was started in, in Milano by, in the Politecnico by Yatzeman Zini. The Lens, which is another learning network sustainability. There are design community networks like a social innovation exchange, the Tree, the designers accord. I will pass by it and then I will, I can go into it if you want more. International Network for Sustainable Design, too. There is also here in Luxembourg, I know. There is also this social innovation award that's from the design point of view. I would criticize a little bit because the designers also have to bring, I didn't talk about that before, a certain aesthetics to convince the people to, to bring them to an idea. So this one is not really a good example. But for me it was interesting to see that in the social innovation awards there are, there were things like finance, purchasing, product design, philanthropy for this kind of a word. There are also design social environmental enterprise like the Seed Foundation at the UK with Claire Bras, who now is leading a transversal sustainability program at the Royal College of Art. There is, of course, architecture for humanity as a social design organization. And here I took an example that Sophie gave me of good examples here also in Luxembourg that I didn't know before, working internationally to help and give solutions to people that don't live in the same condition as we do. And this one, too. So there is somebody of this, of this two organization. Well done. This is another example of saying that, yeah, before you saw that Tim Brown was talking about rediscovering the value, et cetera. And he's, this actually is a site belonging to IDEO, which is called Living Climate Change. And they're doing scenarios and to see how the future will look like for the company in 20 or 30 years in not a completely peak oil perspective, but kind of. So it's really interesting to know that companies like IDEO are doing this. Of course, citizens are more and more responsible. And probably you know about this transition times. There is also in Holland the first group, research group at the Erasmus University called Great, Great, that they are working on transition and research, design research on transition at the Erasmus University. And I don't know if you are familiar to this concept. They are just small towns for the moment. The size is really small of towns all over the world. Who decided to do, to advance from now on in a provision of peak oil. And so they are bringing about memory banks, time banks, and this kind of social innovation activities to rediscover and see what you were saying before also, trace the memory to see what we were, to understand who we are, to understand really the context they have to act on and what will be the next step. So they are putting everything and restarting from scratch, which I found very interesting. And I was kind of happy to know that the first transition town in Italy was just next to Bologna, which is my hometown, which is Montevélio. Okay, this is another initiative, time banking, Fix My Street, Neighborhoods Initiative. This is a very good friend of mine. I don't know if you know this network. It's called La Ruche qui dit oui, that it's kind of co-op initiative. That is, there are people all over France for the moment, they say, I would like to buy healthy food and vegetables from this kind of fruit and vegetables. And when there is an amount of fruit and vegetables that is enough for one person who cultivates to say, yes, I'm ready to deliver you, then La Ruche says yes, and they deliver the people that need for this more healthy food and sustainable food. It's another kind of service compared to the co-op or the AMAP, as we called it in France. So it's, go and have a look what it is. Very interesting. Then there is Supermah Meet between neighbors that everybody working in the street and say, oh, I would like to have, I eat something different than a sandwich or something quick. Who is cooking in my, so it's kind of app in your mobile that you say, okay, in my neighbor there is this people cooking this for me. He has cooked a little bit more so I can go there and hit something. So how has the role of the designer evolved? I cite here something, a phrase of Gunta Parli that we don't have to think about, we have to give up. But what we can create thanks to design. There are many theories about the croissants, how do you say it in English? The growth. But actually I don't think that's the thinking of sacrifice is good to people. We have to think and we have to design to give people's ideas a form. I completely agree. But what is this form? It's just not a plastic form like this one, which I completely disagree, for example. This is an object by ideal. And it's called aqueduct. It was meant to be for the third world countries. But can you imagine going with this bicycle on the street in Africa? And then there is here you put, of course, undrinkable water. And then by cycling it becomes drinkable. So I don't think they really have studied enough the context where this object had to, should be for. So that's a problem. So we give a former, but after having understand. So it's the people who should tell and not the designers as somebody criticizes me before. I agree. It's the people first and the designer have to be the translators, the facilitators. This is a criticise of a Dutch designer. I found it very funny. I'm here to create an environment of love, live with passion and make the most exciting dreams come true. I don't think that's the way we have to do design. That's the thing, the freedom that Illich was talking before. We have had too much freedom. Now try to focalize again on what is essential and what should be the next step. So we designers more have to not only to have fun and do what they like. They have to listen to people. They have to be able to create new economic models and use their creativity to trigger that. To stimulate that. To enhance that. And of course with empathy. A lot of empathy. So this model can make people happier and healthier. Why not? That's what the transition movement says. This is another example of shareable cities. This modes make people independent. That's the probably you know I fix. The example of I fix this platform where you can go and discover how to fix your own thing. So you can be the designer. The repairing and the designers for yourself. And then of course there is a question of whom belongs the idea. So of course everybody I think among you knows the creative comments. And yeah in Milan I was in Milan last week. So the dome of the product design and the most interesting exhibition. I thought it was the one organized by the review Domus. Which was the future of making or the future of what was the title. The future of making of the making I think. And it was the first time that they showed actually the results of Kickstarter. Kickstarter allows to change completely the chain of the designer that he designs. And there is a producer then there is a distributor. And with Kickstarter so people asking money for building their own project. And if people believe in this project that they give money. And in most of the cases they showed they collect much more money than what they asked for. And they had the possibility to produce these objects. So it's really a way of thinking the product completely different. And I think the designers have to think about that. Because we have the tools to do that now. So how will this impact the design world. This kind of activities. There are of course open source possibility. All these open source possibilities change the way designers will look at the artifacts they will do. Because they will be common artifacts. They will be a part of that could be done from very different parts of the world. And be produced for example in the home of the final user with 3D printers etc etc. And they are now available in every house. So it's a real production and distribution revolution. These are other examples of models that allow this knowledge share. New knowledge share and then collaboration opportunities. These models foster of course behavioral change. I can also show this but I think I will pass. Because these are examples of my students unless you want to have a look at it. But I think we will go to the conclusion I think. But I can just quickly explain to you this one. It's a cube that is inside a cafe associative association cafe. And this kind of modules of cubes have allowed this space to live in a completely different way that it used to live before. So the designer when they studied the fluxes and the movement of the people living in this building. The different activities. And after having listed and your archives to all the different activities and understood them talk to people etc. Has come to a module that has helped them really to reorganize their activity. And this is the low bar. It's another complex project but it's mainly why cycling. You produce the energy to heat the food that you serve. And the food is of course a zero carbon produced in the neighborhood of Paris etc. And the person who is riding the bike is a person who was unemployed. So he's an employment scheme etc. So it's a very complex multi-layered project. So the conclusion. I liked what the transition movement to say okay. Probably if we do the things this way we will be happier. We know all about the button and the happiness. What is called the happiness index. And so considering that happiness is not dependent on material wealth. We have to rethink of our own definition of wealth. Of course of the designers that bring this new wealth. So designing for the social innovation needs to reconsider I think the full cardinal virtues of antiquity. The need the wisdom to see hey what am I doing. Am I responsible for the thing I'm doing. Do I know what this what would be the consequence of the thing of the act of the product of the service I'm developing right now. Do I know this am I wise enough. The second is the courage the courage to make probably a choice that's like Mustafa did that probably not everybody does. And to say I give a meaning to my life and I think to give meaning to the life of of of a community. And because this will work it will spread very simple model. And the justice of course hoping that there will be a just distribution of welfare and everything with moderation. Another very important thing is the modesty that the designer have to have. I didn't spoke about that designers have to be translator facilitator so they have they have to have the capability of listening. And then speak like like for everything. So moderation in everything we consume and require for a good life and a fair standard of living. And of course everything that the designer has to produce. And it's not just about design. It's about redesigning everything education integrity politeness amnesty. And yeah I'm probably too positive. But I think that a kind of renaissance of humanism and humans as a social creator thanks to design should be welcome. Thank you.