With a belief in the infinite advance of science and industry, design relegated a part of its conscience over time and blindly commited to the quest for progress and the comforts of a more pleasant life. But the most visible manifestation of our perpetual search for improvement–our industry–has come to a critical point of development. Are the benefits of industrialization at their height equal to the damage that’s been done in our world? And how did this occur? The Renaissance of the 14th to 17th centuries provides some answers. Art was to be our conscience in the world. It became our partaking of God, nature or all things incomprehensible in contrast to the common acts of men. The artist was at the heart of the creative experience–poesis–to get lost in oneself and face the uncertainty of our condition alone. Next, praxis left questioning behind, going back to the world and our responsibilities, and charging science with finding a solution. Finally came the making, the representation of the new equation of knowledge and technical progress–the aesthetic. When art is inscribed in techniques and science, it is called design. It is human thought that invents and creates. This process reconciles the artist’s act and suffering to embrace the human condition and nature in the world. But there is no compromise with other entities that humans rub shoulders with, no consideration of what might underlie humanity’s total inscription in the ecosystem. The world we live in today has become artificial by our invention. It offers no other externalities than our human nature. The world has become our manifestation. There is no nature, but instead only a dialogue, constantly renewed, with the elements and devices of our self-created living environments. Our dialogues are with an artificial world, because true opposition between the natural and the artificial has ceased to exist. The human evolves at the heart of the artificial we have created. It is built on a nature that has been de-natured—hybridization achieved through systematic convocation of all resources. Natural resources, materials, processes and systems proven through millennia and up to our current way of thinking, are redefining (with bio-mimicry, but also by more humble means) a new contract with industry. Could we create a harmonious vision of our well-being, a vision without any negative impact or imprint on what surrounds us? Could we design towards this idea, rather than one of unequal and arbitrary well-being built on predation and alienation of all the natural ecosystems around us? But take care! In a re-invented symbiosis, design will operate only in harmony and fulfillment of the exhaustive conditions of our experiences. We can choose to continue with more science, increased processes and further instrumentation of nature with the only criteria being how useful it is for our own progress; or we can believe in a new way of thinking that comes from us, our inner journey, taming our inner anxiety by ceasing to believe that the solution lies "elsewhere," whereas it is truly within us. Our creative ability, our inventiveness must come first; with science to help, we must no longer let software without artistic thought guide us, but rather have the creative, the aesthetic, precede all our industry acts. The art that had been disqualified as a vector of our questioning after the Renaissance by the industrial era now again becomes essential in a new Industry Renaissance. Once again the deep bonds of art resurface at the very heart of technology and industry. The posture of art, of the artist, of the craftsman, of design has now changed. Art and design must now contribute to our creation and our re-foundation: the designer questioning how we can behave more as a repairer of our acts and impacts, rather than a perpetual discoverer and conqueror. Design never dissociates concepts and technical devices from the principles of organizations and social modes of thought. The design of the designer is not the design of the user. It is therefore essential to understand what design can do—no longer just as an aesthetic generator for the viewer, but a maker implementing our most intimate thoughts holistically in relation to the world. Design is futuring in the sense that it shows us viable possibilities. Design is a story-maker. It can offer options for better resilience or even regenerate modes of existence. Creating the future in the present, design mediates between thinking and processes, and is essential to the reversal, the re-generation of our environment. The achievements of designers are direct manifestations of what design thinking does and can project by seizing the means and techniques for the well-being of all and the survival of the world. In the Age of Experience, the present is everywhere, the future uncertain. But the urgency is that we must question our experiences, not in their quality, but in what they contribute—the level of what they contain in positive and negative imprints and impacts on nature, the world and our kind. Dassault Systèmes’ Design in the Age of Experience event at Milan Design Week in April will present design as a force for positive change with significant societal and environmental impacts. The event will showcase technologies and business approaches critical to creating a built and living environment that delivers not only great performance, but also elevates the human experience.