English Guide I N T R O D U C T I O N

The “Designer(s) of Design” exhibition aims to draw the landscape, the diversity, the evolutions and the proposals of French design from the designers and their projects. Imagined by NoDesign in conversation with the figures of contemporary design, this exhibition presents around sixty designers, projects, business approaches, personalities, but above all the ways in which designers create, get involved, transmit and produce in a diversity of practices.

The designers presented illustrate the French universal spirit, because they are both designer authors – they have proposals to make –, designers involved – they want to share them with the greatest number –, and transmitters – they have taught, formed, transmitted or inspired the following generations.

English guide I N T R O D U C T I O N

05. Propose

03. Questioning Video installation

02. Layout

01. Initiate

2 I N T R O 09. Bring together D U C T I O N 07. Surprise

08. Interact

06. Wonder

04. Extra-ordinary

02. Layout

3 I N I Initiate T I 01 A Design as it is practised today can be traced back T to the post-war period. The iconic figures pre-sented E here laid down its parameters in France. Jacques Viénot fought for an autonomous body of thought on industrial aesthetics. Charlotte Perriand ensured the transition between decor and home facilities. Jean Prouvé wove links between the workshop, design and industry. Roger Tallon shaped the landscape of France with his train designs. Pierre Paulin and his design agency ADSA invented both the style of French modernity and the concept of design management, while Marc Berthier defined the design project with the influence of the Italian and American cultures of industry and retailing. He was the final pillar in the early years of French design and trained many of today’s designers. Finally, as the age of deindustrialisation began, Savinel and Rozé, two rigorous practitioners, embodied the last industrial designers, before the advent of the image era.

4 Charlotte Perriand culture developing in the West I N (1903-1999) and its influence on the lifestyles I of mankind, whose well-being T Inhabiting time she always placed at the cen- I tre of her preoccupations? The A This interior architect, urban vernacular craftsmanship of T planner, furniture designer otherworldly cultures, in par- E and all-round adventurer in ticular that of Japan, which she the world of design was born visited three times (1940–1941) at the turn of the century and and where she reinterpreted her had the most astonishing life. 1928 chaise longue in the sup- Although more than anything ple language of bamboo? Or many of us may remember her perhaps she would contemplate collaboration with Le Corbusier the future, into which she cease- and Pierre Jeanneret, as well as lessly projected herself? ©Léopoldine Siaud her furniture, so emblematic of the modern mindset, Charlotte Charlotte Perriand was autono- Perriand influenced contempo- mous but not solitary and for 10 rary lifestyles with remarkable years worked in Le Corbusier’s synthesis, in constant equilib- workshop, surrounding herself rium between tradition and mo- in her many different projects dernity. with specialists like Jean Prouvé for Cité universitaire in Paris What would Charlotte Perri- (1933). She had an appetite and contemplate as she gazed for teamwork, the pinnacle of through the vast bay windows which was no doubt the work in her chalet in Méribel? The on the resort of Les Arcs (1967– raw force of the mountains, 1989), which she coordinated ready to welcome the mass of for 20 years, contributing to city dwellers who had recently its architecture, urban planning taken to winter sports? Outdoor and the apartment facilities, in- space, whatever the scale, re- cluding the famous block-unit flecting on a rational approach bathrooms in polyester. Char- to architecture and urban lotte Perriand moved with un- planning? Or perhaps indoor rivalled ease from functionalist space, for which her Parisian tubular furniture to wickerwork apartment/workshop served as armchairs, from interior decor a terrain for experimentation, to prefabricated facilities: her to optimise space and the fluid life and practices involved con- succession of its dividing lines, stant to-ing and fro-ing between and the design of embassies or seemingly analogous worlds. her economical and Spartan design of the Maison du Jeune Homme (1935)? The industrial

5 I Jacques Viénot nobility must now be followed, N (1893-1959) by us first of all but also by all I those who have a sense that man T I L’industrie, l’éthique, is battling with life, to whom A l’esthétique you have revealed a truth.” T E “Industrial aesthetics”: a con- Constructing and reflecting on cept, a discipline, a movement, the forms of the future: Jacques but above all one man, Jaques Viénot provided us, like a pre- Viénot, the pioneering designer amble to his laws, with a defi- behind its original definition. nition of useful beauty. “Indus- Although relatively unknown trial aesthetics is the science of to the wider public, he was re- beauty in the field of industrial sponsible for the creation in production.” A functional syn- ©Léopoldine Siaud 1949, alongside Jean Parthenay ergy in which beauty is indisso- de Technès, of France’s first de- ciable from what is good, a design agency. Two years later, he sire for the convergence between founded the Institut d’esthétique aesthetics and ethics, between industrielle, “a magnificent body economics and technical culture. for public relations, information A veritable vade mecum for the and dissemination” 1, and the design profession. Yet no-one eponymous journal. He was a has met the challenge of adapt- great humanist who maintained ing these laws – now outdated close links with both the worlds and even forgotten in the design of industry and art. of today which is all about image – to the contemporary era, 1951: on the cover of the sec- even though Viénot himself was ond issue of Esthétique indus- the first to point out that they trielle, rather than the beautiful “in no way bind a discipline that and useful object you might has barely emerged to a rigid expect, readers discovered Les definition.” Constructeurs by the painter Fernand Léger, which depicts 1 – Denis Huisman and Georges Patrix, the world as a building site, a L’esthétique industrielle, Presses universi- taires de France, 1961. social metaphor for the post- war period and the ongoing reconstruction. A few pages in, in a letter to the artist, Jacques Viénot wrote these words: “You have demonstrated that art can find a healthy and fruitful inspiration in the world of ‘machines’. We who defend industrial beauty were in need of such a demonstration, and this exam- 6 ple you have provided with such Marc Berthier project as a life aesthetic. I N Throughout his career, Marc I Elegance and Lightness Berthier has developed and T applied research on lightness, I Although discreet, Marc which he sees as a veritable de- A Berthier is considered one of sign philosophy in terms of lib- T the most talented and prolific erty, mobility, technology, econ- E designers of his generation, in- omy and ecology. This founding fused with multiple cultures and credo and precursor is the com- influences. mon theoretical and aesthetic thread running through his From Mies Van der Rohe’s vi- practice. Developed as early as sion to the “preppy” Bostonian the 1970s, it magni-fies the es- spirit, the minimalism of the sential but is also a key for the Shakers, the delicate balance of future of design, as is now clear ©Hermès Wabi Sabi, the formal rigour in the contempo-rary era. of Rietveld, or the seductive design of 1960s Italy — which For Marc Berthier, producing he brought to France in 1967 and transmitting go hand-in- exhibition entitled “Domus, hand: he is a unit director at Italian forms” —, with one mas- ENSCI – Les Ateliers, a father ter, if not two, Giò Ponti and Le figure for the whole of today’s Corbusier, an appetite for travel generation of renowned de-sign- inter alia, and having trained ers, with whom he has shared the younger generations, Marc his vision of design: “design is Berthier is a figure who has about cultural, artistic, scientific, as many facets as his 360° ap- technical and economic interac- proach to design. tions,” transcending the dualism between art and technique. This many-sided creator and pioneer of global design marked One could use the term “exact a major turn in the history of creativity” to describe his pro- French design, decompartmen- duction, which has stretched talising the discipline’s strict over more than a half-century of scope of intervention into many design, for more than anyone he creative areas, including his af- has managed to recon-cile for- fordable furniture during his mal rigour, elegance and seduc- plastic years with Ozoo and its tion in industrial creation. seductive product design, whose Tykho radio became an international icon. Whether working on artistic direction, interior architecture, corporate design, luxury industry or industrialisa- ble housing, Berthier adopts the same approach, treating each 7 I sion and promotion of design in formal, aesthetic and cultural N France – the Centre de Création references. Honesty shaped I Industrielle (CCI) had just been their approach to each project T I established and the design jour- and piece. Rigorous purists, A nal CRÉÉ was first published Yves Savinel and Gilles Rozé T in the same year (1969) –, the brought an end to the cycle of E design profession remained rela- industrial design in France, now tively unknown: industry strug- struggling with new objectives gled to appreciate its real con- and profound changes – both tribution and kept its distance. methodological and socio-eco- To compensate for this gap and nomic – and the strong revival gain credibility, Yves Savinel and of “decor design.” They served Gilles Rozé decided to team up as department directors at EN- with the support of a robust and SCI – Les Ateliers until 2011 and multidisciplinary group, Sopha, in turn trained a new generation where in 1974 they created of designers, just as they had Savinel & Rozé Sopha Praxis, a branch special- inherited the legacy of earlier Gilles Rozé and Yves Savinel ized in industrial design. masters.

Filiations/Mutations Intent on working hands-on and concentrating on their preferred Yves Savinel and Gilles Rozé activity, product design, in 1981 symbolised the generation of they set up their own agency, designers trained in France in Savinel & Rozé – Designers As- the late 1960s, who benefited sociés, and collaborated closely from the teachings of the pio- with a wide variety of clients, neers of industrial aesthetics, including Look, Prisunic, Bosch, Jacques Viénot and Jean Prouvé, Saint-Gobain, SEB (home ap- or Serge Mouille in the case of pliances) and Baccarat (glass- applied arts. Their early experi- ware manufacturer), whose ences in professional structures, collections they created by suc- already established by their el- cessfully applying an approach ders, completed their extensive that was specific to industrial training as industrial designers. design. The broad range of areas Gilles Rozé started out in 1969 in which they worked included with Technès, alongside Jean the design of interactive installa- Parthenay and Roger Tallon. tions in the Mathematics section Yves Savinel joined Recherche et of the permanent exhibition at Design, which was run by Éric the Cité des Sciences et de l’In- Brenzinger, who had previously dustrie. worked at Raymond Loewy’s Compagnie d’Esthétique Indus- Their design found the right trielle. synthesis between all the different components of the object, its Although the climate was cul- functional, technical and eco- 8 turally conducive to the diffu- nomic definitions, but also its Pierre Paulin beyond their eminent style, more I N (1927-2009) than anything they revealed the I qualities of their creator, the T La vie des formes designer/inventor of “seating I volumes” without any apparent A Pierre Paulin is an iconic figure of structure, made from latex foam T E French design who gained public covered with stretch jersey fabric renown through his talents as an borrowed from the prêt à porter interior architect, displayed with sector. brilliance in the spaces of the Palais de l’Elysée. For Georges In 1975, he set up the ADSA Pompidou (1969 – 1972) and design agency with his future François Mitterrand (1984), using wife Maia Wodzislawska and two very different style registers, grounded his practices in the he produced a design that meas- field of industrial design as well ured up to the two presidents, in as consultancy for businesses. both cases underpinned by the Styles changed and successive cri- desire to upset tradition. Pierre ses in the oil sector shook things Paulin was self-taught but inher- up for his profession. From home ited a natural artistic and techni- appliances to architecture, he cal disposition from his family: went on to design irons and ra- one grand-uncle was a sculptor, zors for Calor (1984 – 1990) and another the inventor of the sys- bathroom furniture for Allibert tem for the retractable car roof. (cc 1985) as well as the layout for Merging his creative talent and the TGV arrivals hall at the Gare intuitive know-how, he turned de Lyon (1980 – 1981) and the his attention to design. Airbus A320 hangar (1986).

Pierre Paulin was influenced Discreet and eclectic, over a ca- by the Scandinavian furniture reer of almost six decades, Pierre designer Eero Saarinen and the Paulin produced a form-shifting pieces by Americans Charles and collection of pieces and actively Ray Eames. He ceaselessly ex- helped construct the strong im- plored and revolutionised form, age of modernity à la française. as is apparent from his prolific collection of coloured chairs and armchairs designed between the late 1950s and the 1970s – he was the official designer for Dutch firm Artifor at the time – or the pieces developed with Mobilier National. These particularly pho- togenic seats with organic and sensual forms were met with rave reviews in the burgeoning decor sections of magazines. But 9 I a curtain wall to be built in in his name, Jean Prouvé was N France. For Jean Prouvé, a de- nonetheless, in the words of his I signer before his time, whether elder Le Corbusier, “an engi- T I constructing a piece of furniture neer-cum-architect – combined A or a building, the same philoso- in a single man –, which is ex- T phy applied: design must com- ceptional.”1 This opinion was E bine function and manufacture, shared by many of his spiritual and aesthetics that stand the test sons like Renzo Piano and of the tool defy all artifice. Richard Rogers, whose project Transferred to Maxéville at emerged as the winner of the the end of the war, the Prouvé Centre Pompidou competition workshops took on an indus- under the influence of Prouvé, trial dimension to contribute to chairman of the jury. When cho- the reconstruction effort. Jean sen as the sponsor of the École ©Léopoldine Siaud Prouvé called on architects and Nationale de Création Industri- politicians to address the eco- elle – Les Ateliers, founded in nomic and technical need for 1982, he finally gained the offi- Jean Prouvé prefabricated housing. Various cial recognition of his peers. (1901-1984) buildings (schools, housing and a home for Abbot Pierre) were A constructor's mindset built, although not on the scale 1 – Jean Prouvé : une architecture par l’in- he had called for. The partial dustrie, édité par Benedikt Huber et Jean Claude Steinegger, Les Éditions d’architec- Son of Victor Prouvé, a painter buyout and restructuring of the ture Artémis, Zurich, 1971. and decorator who trained at Maxéville plant by L’Aluminium the École de Nancy, Jean Prouvé Français distanced him from the started out as an apprentice production process, which was ironworker. In 1923 he estab- indissociable from his design ap- lished his first workshop, where proach. “A project begins in the he made atriums, banisters workshop and is theorised on and entrance gates. By quickly the design table,” he used to say. acquiring cutting-edge tools – And so, somewhat dispirited, he press brake and electric welding rejoined the engineering and de- station – he was able to turn his sign department in Paris. attention to what would become his preferred technique: folded Jean Prouvé was asked to oc- sheet iron. cupy the chair in applied arts at The Jean Prouvé workshops the Conservatoire National des set up one after the other pro- Arts et Métiers in Paris from duced not only furniture items 1957 to 1970, where he found for public authorities, including the opportunity to share with the famous two-seater school passionate students the funda- desk (cc 1950) and the Standard mentals of the construction pro- chair (1934), but also avant- fession, with which, modestly, he garde buildings like the Maison had always sought to identify. du Peuple in Clichy (1935), the Despite lacking any professional 10 first prefabricated structure with title or construction projects Roger Tallon In 1973, Roger Tallon set up I N (1929-2011) his own agency, Design Pro- I grammes. There he worked on T The allure of reality the most topical projects: ergo- I nomics – the SX90 ski boots for A Late 1950s France. In literature, Salomon (1974) – and brand im- T cinema and the arts, newness age for the most ordinary items E was de rigueur: the New novel, – car and motorbike oil cans for the New wave, New realism ... Elf (1973–1986). He developed The world of industrial aesthet- the graphic charter for Art Press ics was not to be left behind: magazine in 1972, as well as the driven by Roger Tallon, the new visual identity and signposting concept of design, borrowed for the RER network on behalf from his American counterparts, of RATP and SNCF in 1977. re-sketched its parameters. But it was in “railway design” ©Léopoldine Siaud that Roger Tallon was to make An engineer by training, Roger a name for himself. SNCF, busy Tallon collaborated in the early modernising its equipment, took part of his career with the Eu- him on as a collaborator. He ropean subsidiaries of Cater- put in place a comprehensive pillar and DuPont de Nemours design programme and applied and discovered American work the new criteria of comfort methods. In 1953 he joined and space management usually Jacques Viénot’s agency Tech- reserved for aeroplanes to the nès, convinced that design as Corail train and successive TGV part of a comprehensive process models. supplanted the notion of “useful beauty” developed by his elders. Roger Tallon was a designer During the Trente Glorieuses, with multi-centred activities the consumer society created who liked to define himself as a new needs. Roger Tallon took “link in the production chain,”1 this reality on board with un- the coordinator of complex precedented productive inten- programmes. His radically new sity. More than 400 industrial approach, in the short history of products were released during industrial design in France, was the 20 years he spent at Tech- exemplary. nès, from the most anonymous objects – home appliances, cam- 1 – Un artiste à l’usine: Roger Tallon, L’En- eras, office materials – to the jeu, TF1, 07/1982 (source INA). most symbolic, like the Portavia 111 for Téléavia (1963), the first portable television set, which was light and indicative of the aesthetics of the era and its changing lifestyles. 11

L A Layout Y O 02 U Making a city is about organising and giving shape T to collective living spaces: squares, streets, etc. This is done through features like urban furniture – from benches to the railings around trees and from information panels to emerging services like municipal bikes – which beyond their utility also have symbolic functions. But it is also about organising flows and mobility services, the transport infrastructure that helps link up and bring territories together. In the 1970s, RATP and SNCF defined quality standards, where the object became a comprehensive system that includ-ed equipment, information, colours, signposting and aspects of identity, all of which had to evolve over time. For added to the design of space now came the design of time and events.

a laboratory where all trades and gloabal spectrum due to its meet, he coordinates and su- worldwide scope. 01. Sylvain pervises internal and external Grandpierre talents, serving a common language: user experience, all over 01.1. Abri-voyageurs Director of Graphic, Digital and the world. Doing this, with a With Patrick Jouin · Bus stop Product Designs at JCDecaux collaborative approach, in or- · JCDecaux · 2019 since 2016, Sylvain Grandpierre der to achieve the right balance Designed by Patrick Jouin, this joined the company in 1993 as and the necessary coherence bus-stop has a precise, robust an engineer in the design office. between the scales - of the ur- and radical design and revis- The various functions he suc- ban territory as a whole at the its the traditional typology of cessively occupied have enabled corner of the street -, the times street furniture, in the benefit him to forge a detailed knowl- - simultaneously in motion and of user comfort. Elegant, with a edge of the peculiarities of street suspended -, and the uses - col- slightly futuristic outlook, it can furniture - between functionality, lective and individual -, for a therefore be perfectly integrated aesthetics, technique, ergonom- city that is livable, practicable. into any environment, whether ics, etc. -, essential to his job as Street furniture, iconic struc- urban or historical. The curve of a design manager, to offer daily, tures in airports, self-service bi- the roof brings softness, while accessible and simple services. cycles, lighting poles and display lightness. Next main bus-stop Within the design department, furniture: it results with a large from the company which in- 13 L vented the services around the kilometers of range. As such, he is also involved in A street furniture, the design is On loan from JCDecaux the Urbanopolis program, the Y at the heart of the strategy of group’s transversal network of O U JCDecaux since its beginnings. innovation laboratories on be- T The coherence of the whole is 01.3. Signalétique half of the Research and Devel- ensured by its design manager lumineuse opment department. Also part Sylvain Granpierre. Signage pole · of the Design and Culture plat-

On loan from JCDecaux JCDecaux Design Studio form of the International Un- · JCDecaux · 1975 ion of Public Transport (UITP), In 1975, JCDecaux created a of which he was the president 01.2. Velo’v, light signage pole, which of- from 2009 to 2015, he sits on BiclooPlus fered to cities with bus-stop and the boards of directors of or- and Vel’oH MUPIs - street furniture that ganizations for the promotion Self-service bicycle · Marcelo featured municipal information of design in France. (APCI and Joulia (direction artistique) on one side and advertising on Cité du design de Saint-Étienne). and JCDecaux Design Studio · the other. From Paris to the Côte His long expertise in design JCDecaux · 2018 d´Azur, the French Government management, in particular for In 2003, JCDecaux offered to will adopt it as the standard for the urban transport, also led cities a new service, responding all signage in the country. him to take charge of curating

to an emerging need in urban On loan from JCDecaux exhibitions as well as the direc- mobility: a self-service bicylce tion of books on this theme. system. The first one will be installed in Vienna Austria in 2003, then in many metrop- 02. Yo Kaminagai 02.1. Le Tram des olises, like Lyon (2005), Paris Maréchaux (2007), or Nantes (2008), under Graduated of the École Na- Tramway · RATP · 2019 various names (Velov, Velib' or tionale des Ponts et Chaussées The tram redesigns the urban even Bicloo), and in various var- in the early 1980s, Yo Kamina- landscape and remakes the city. iations. In 2018, the company gai joined the RATP marketing The Tram des Maréchaux pro- asked to the designer and archi- department upon graduation. ject, the first section of which tect Marcelo Jouia to reinvent Initially specialized in traveler was commissioned in 2006, is the Lyon's, Nantes's and Lux- information, over time he as- the result of a total design ap- embourg's bicycles, with an ease sumed the function of design proach, including urban plan- of use specification. In Lyon, manager of the group, with a ning, landscaping, lighting the robust and light model is small dedicated unit which was design, public art, design of ve- equipped with an aluminum subsequently expanded, to in- hicles, stations, furniture and in- frame, an easily adjustable seat tegrate, in a transversal way, all formation systems. This project post, a smartphone holder and the design disciplines inherent was carried out by a multidisci- an electronic locking system. In in transport design: product, of plinary team led by RATP and Nantes, the designer imagines a course, but also information, ar- made up of architecture and de- hybrid model with a portable chitecture, cultural engineering, sign agencies, with varied exper- battery that transforms the bike etc. Today delegate of design for tise, as well as transport manu- into an electric bicycle that can the Director of the Department facturers. The Wilmotte agency recharges electronic devices. Fi- of Project Ownership, he helps signs the street furniture, RCP nally in Luxembourg, the model enrich the company's strategy, Design Global (under the lead- 14 is fully electric with nearly 60 for a global creative approach. ership of Régine Charvet-Pello) has developed the general con- she was Deputy Mayor for Ed- sign of a major urban mobility L cept of interior, exterior and ucation and Higher Education project, serving the attractive- A Y front design of rolling stock on in Tours -, decorated several ness of a territory and its users. O an Alstom Citadis tram base. times - she was named Chevalier This Tram allows the creation of U A global project, which illus- de l'Ordre national du Mérite a new urban landscape, with an T trates the capacity of design and obtained the Academic strong identity, contextualized management to link and co- Palms -, in 2010 she initiated a and connected with the influen- ordinate the scales, needs and consultancy laboratory for sen- cial areas that border it, but also cultures of heterogeneous com- sorial technologies, Certesens, a redefinition of the city around panies, in the service of the com- to develop the sciences of per- its tram. The Tours project is mon good. ception, sensation and emotion one of Alston’s most successful

On loan from RATP at the service of uses. She's now Citadis, notably for the quality Partners: STIF, Mairie de Paris a reference in the sensory design of use but also for the cultural sector, and puts, among other dimension of the project.

things, her expertise at the ser- On loan from RCP vice of the city, mobility and the 03. Xavier Allard identity of territories. Alstom, Île-de-France Mobilités, Nantes Métropole, the cities of Lyon 05. Yellow Window and Toulouse, Stélia, Valéo and PGA Astronic are among her 04. Régine Charvet- partners. Pello 06. Patrick Jouin Régine Charvet-Pello has for 04.1. Tramway de more than 30 years put her sen- Tours “I am convinced that you can sitive experience at the service Tramway · Alstom · 2009 act on space with a pencil and of the creative strategies of or- Régine Charvet-Pello (design ideas.” Patrick Jouin embod- ganizations of all kinds (com- management), Daniel Buren ies the industrial designer for panies, State, communities, etc.). (plastic artist), Roger Tallon whom the rigorous design pro- Trained at the Boulle School, and (designer), Jacques Levy et cess is the crucible of strong after having worked for major Serge Thibault (geographer), personal expression, vision, and construction sites in Saudi Ara- Patrick Rimoux (lights), commitment. For more than bia, and the Society of Decora- Louis Dandrel (musician) twenty years, this generous and tive Artists (SAD) of the Grand The design of the Tours tram- deeply humanist designer has Palais, in 1986 she founded the way is the result of a rich, global been developing a precise, sub- RCP Design Global agency, to and collaborative creative tle and poetic approach - on all offer innovative and diffentiat- thougt carried out by designer levels and in all contexts - from ing solutions, human-centered, Régine Charvet-Pello. Under publishing to industrial research allowing precise definition of her leadership, the collective and urban spaces: he designed places, products and services. “Ensemble, la ligne” dreamed, the Vélib' station terminals, the A company manager particu- investigated, imagined and pro- sanitary facilities for the City of larly committed to design, bet- posed a sensory journey in 15 Paris and street furniture for JC- ter living and the influence of square kilometers of design. The Decaux. He creates objects that French creation abroad, as well project thus embodies a vision will be looked at, touched, han- as at the scale of the territory - of management through the de- dled, and used, where design and 15 L quality of use are equally impor- Design platform, and has been 07.2. Maquettes du A tant. In France and abroad, his a member of the International Grand Paris Express Y work has always married this Graphic Alliance (AGI) since Ruedi Baur and Patrick Jouin O U pragmatic approach with the 1992. · Société du Grand Paris T necessary symbolic aspect that (SGP) · 2020 imbues necessary meaning and Based on the idea of a "sensi- poetry that renders the world 07.1. Grand Paris tive station" proposed by the livable. Express architect Jacques Ferrier, Patrick New Ile-de-France transport Jouin and Ruedi Baur imagine network · Ruedi Baur and a common visual and formal Patrick Jouin · Société du vocabulary, favoring the phys- 07. Ruedi Baur Grand Paris (SGP) · 2020 ical experience of travelers. In In response to the stakes and response to new mobility prac- Claiming an interdisciplinary challenges of the 21st century, tices, they design furniture and and civic design, Ruedi Baur the Grand Paris Express plans signage that respects both the works on issues related to iden- to build 200 kilometers of auto- plurality of bodies and uses, tification, orientation, scenog- matic metro lines, i.e. a network the waiting and pausing times, raphy and urban design as well equivalent in distance to the those of action and exchanges. as the representation of institu- Paris intramural network. More The models presented here al- tions and political territories. In than a century after the opening low us to grasp the full scope his Integral Ruedi Baur design of the first metro lines, and 50 and diversity of the situations to studio, he thus leads numer- years after the deployment of which they respond. ous projects combining signage, the Regional Express Network 1. Quay facade visual identity and scenography. (RER), this project constitutes 2. Reception point Recently, he designed the pas- a new revolution in the history 3. Control line senger information system for of Parisian public transport. At 4. Passenger information, the lines of the future Grand the heart of this monumental freestanding Paris metro (2022 - 2030). A and daring project, designers 5. Seat and waste receptacle, committed teacher, in 2004 he Patrick Jouin and Ruedi Baur self-supporting created the Design2context re- were invited to collaborate on search institute at the Zürcher the design of a complete range Hochschule der Künste (ZHdK), of furniture and signage for the 07.3. Maquettes du then in 2011, the Civic city insti- 68 new stations in the network. Grand Paris Express tute with Vera Baur. He teaches Bringing citizens together in Ruedi Baur et Patrick Jouin · at the HEAD in Geneva, EN- the diversity of the territories Société du Grand Paris (SGP) SAD Paris and Marc Bloch Uni- of Greater Paris, opening up to · 2020 versity in Strasbourg, where he the world while responding to Based on the idea of a "sensi- defended a thesis entitled "Be- a local context and needs, but tive station" proposed by the tween identity and identification, also making information and architect Jacques Ferrier, Patrick the civic values of territorial uses accessible to as many peo- Jouin and Ruedi Baur imagine representation systems". Since ple as possible, were the main a common visual and formal 2018, he has also been working objectives of this unique order. vocabulary, favoring the phys- at the EHESS and at Sciences addressed to the two designers. ical experience of travelers. In

po in Paris. He is the author of On loan from SGP response to new mobility prac- numerous books on graphic de- tices, they design furniture and 16 sign, is the initiator of the Social signage that respects both the plurality of bodies and uses, L the waiting and pausing times, A Y those of action and exchanges. O The models presented here al- U low us to grasp the full scope T and diversity of the situations to which they respond. 1. Rest furniture 2. Station name 3. Iconic illustration of territory 4. Wall flag 5. Fixing and power covers

17 P R O Questioning P O 03 S E

Why engage in design?

Approximately 30 minutes video

Anne Asensio Constance Guisset

Mathilde Bretillot Patrick Jouin

Stéphane Bureaux Mathieu Lehanneur

Clémentine Chambon Jean-Marie Massaud

matali crasset Philippe Starck

Isabelle Daëron

Jean-Louis Frechin

18 E X Questioning Extra- T R A 04 - ordinary O R If there is one designer who has perfectly D I demonstrated the absence of any limitations in design, N A it is Philippe Starck. His projects are eminently poetic R and political, but also benevolent, pragmatic and Y generous, and relate to a wide variety of subjects. Otherworldly, unclassifiable, inventive, shape-shifting, subversive and rebellious, he is endowed with a unique understanding of our times and an unrivalled capacity for synthesis. Philippe Starck is an extraordinary designer.

vergence and dematerialisation 01.1. V+ phenomena, and has always Electric car · Volteis · 2010 01. Philippe Starck developed objects with the over- “I wanted to offer an alternative riding quest for more with less. so we can return to a minimal- The man behind more than His profound understanding of istic definition of what a vehicle 10,000 completed or ongoing contemporary shifts, his deter- is,” explains Philippe Starck. “A projects, Philippe Starck is pur- mination to change the world, vehicle for transport. Practically suing his mission and vision: his commitment for positive nothing. So we can have more. creativity, in whatever form, degrowth and his love of ideas More humanity. More respect. should make life better for the transport him from one iconic More choice to show that we greatest number. From everyday project to another. Philippe care about our environment.” products to revolutionary me- Starck sees the duty to create as Through this project with its gayachts and stimulating, phan- one that is eminently poetic and minimalistic design, he is ex- tasmagorical hotels and res- political, rebellious and benevo- ploring new territories of mobil- taurants, he ceaselessly pushes lent, pragmatic and subversive. ity. The vehicle’s structure and back the boundaries of design, He believes this duty should be steering column are made from becoming one of the most pop- shared by all and sums it up as aluminium foundry, its chassis ular and visionary designers on follows: “No-one is obliged to and steering wheel are stainless the contemporary international be a genius, but we should all steel, and it has a woven trim stage. He is a pioneer of the con- participate.” and boot. This innovative and 19 E forward-looking project has Lounge Gun the West. The innovation. Its design relies on a X been met with enthusiasm. black lampshade represents unique and patented technique: T On loan from Starck Network 2020 death, and the crosses on the in- the wood is moulded to create a R A side remind us of our departed.” 3D effect which, up to now, was - Part of the profits generated go only possible in 2D. The side O 01.2. Éolienne to the association Frères des panels create enveloping curves R Pramac Hommes. like an embrace, offering the D Individual wind turbine · On loan from Starck Network 2020 utmost in comfort. This collec- I N Pramac · 2008 tion and its unique technology A Philippe Starck’s civic-minded promote best practices in terms R combat, aware of the urgent 01.4. A.I. of sustainability and production Y need to develop a democratic Chair · Kartell · 2016 using recyclable raw materials form of ecology, is radicalising: The A.I. collection was a collab- with a low environmental im- with personal commitment but orative project between Philippe pact.

also a stern invitation to join Starck, Kartell and Autodesk. On loan from Kartell 2020 him. In 2008, for Italian indus- It is the fruit of a joint effort trial firmPramac , the designer between artificial and human invented an individual wind intelligence, which the designer 01.6. Aeklys turbine with dematerialised el- defines as “natural intelligence.” by Starck egance that was affordable and Starck explains: “We asked the Smart ring · Icare could be used by all. It was built following question of artificial Technologies · 2017 on the desire to establish ecol- intelligence: would you be able Philippe Starck teamed up with ogy as one of the fundamental to make our body relax using as Corsican start-up Icare Technol- parameters of creativity and little material as possible? A.I., ogies to create Aeklys by Starck, make it accessible to everyone. without culture, without mem- the smart ring that connects you

On loan from Starck Network 2020 ories, without influence, replied to your environment as if by only with its ‘artificial’ intelli- magic. More than just another gence. A.I. is the first seat not to smart device, Aeklys by Starck 01.3. Gun have been shaped by the human functions in symbiosis with the Collection de lampes · Flos brain with its usual habits and body for augmented humanity. · 2003 reasoning. A new world is open- Using a unique patented tech- Philippe Starck says the Gun ing up. An unlimited world.” nology and an ultra-ergonomic

lamp collection by Flos is a On loan from Kartell 2020 minimalistic design, this ring “sign of the times” that violently replaces all of your payment inscribes death in our everyday cards, public transport tickets, landscape and denounces the 01.5. Q/WOOD and the keys for your car and connivance between war and Armchair · Kartell · 2016 house, and also allows you to money. These iconic lamps are The constant search for innova- manage your home automation subversive and political and tion, an ecological commitment systems and user identity for all convey the wild poetry of their and the perpetual quest for of your current contactless de- designer, who calls on our col- structural minimalism underpin vices. Infinite functions bringing lective memory: “The blood the SMART WOOD collection. greater freedom and security to on the weapons represents the It comprises three armchairs, a your daily life.

collusion between money and footrest and a small coffee ta- On loan from Icare Technologies 2020 war. Table Gun represents the ble, combining timeless elegance 20 East, Bedside Gun Europe and with contemporary forms and 01.7. Peau and by nature. The minimum for dematerialisation. Venus is E X Collection of perfumes · amount of materials is used “a void born out of research and T Starck Paris · 2014 along with cutting-edge tech- quality of such intensity that R As a child, Philippe Starck liked nology, as in the case of Gravity it becomes stronger than any A to hide away in his mother’s Evo®, with ultralight titanium, whole,” says the designer. -

perfume store, where he could combined with exclusive pat- On loan from Starck Network 2020 O Model by: Jean-Philippe Hazard, 2018 embark on a journey through ented technologies, Biolink® and R D the powerful abstraction of the Sphere®, for greater freedom of I 01.10. perfumes, the most direct link movement and unique comfort. MY/A Motor N to our subconscious. In 2014 he Yacht A A created the Starck Paris brand SH9901 Yacht (model) · 2004 R Y and the Peau collection, embod- Titanium glasses , Biolink® “I designed one of the first hulls ied by five fragrances developed technology · Starck Biotech in harmony with the sea, as it in collaboration with master Paris · Luxottica · 2017 is inspired by the curves of the

perfumers around the world On loan from Starck Biotech Paris 2020 whale and the rhythm of the (Peau de Soie, Peau d'Ailleurs, waves,” explains Philippe Starck Peau de Pierre, Peau de Lumière SH1043X about MY/A Motor Yacht A. Magique, Peau de Nuit Infinie). Gravity Evo® glasses, Biolink® This boat is 109m long and A unique and diagonal creative technology · Starck Biotech was built using completely new process, a new language that Paris · Luxottica · 2017 hydrodynamic methods. The

could translate words into fra- On loan from Starck Biotech Paris 2020 design is organic and ultra-tech- grances and dreams into per- nological, with a revolutionary fumes. Midway between poetry SH13062 immersive stem and astonishing and science, his brand explores Gravity Evo® and titanium results in terms of environmen- “unknown territories of infinite glasses · Sphere® technology tal impact.

wealth.” The phials of the Peau · Starck Biotech Paris · On loan from Starck Network 2020 Model by: Jean-Philippe Hazard, 2018 collection are elongated to cre- Luxottica, 2018

ate an organic and poetic sculp- On loan from Starck Biotech Paris 2020 ture. 01.11. SY/A Sailing

On loan from Starck Paris 2020 Model Yacht A Model of the bone of a Voilier (maquette) · 2012 human micro-clavicle, a SY/A Sailing Yacht A, a three- 01.8. Starck biomechanism with patented masted motorised megayacht, Biotech Paris technology Biolink®, inspired is the world’s largest private Glasses with patented bionic by the human body. sailing boat. The scale of its

joints · Starck Biotech Model by: Jean-Philippe Hazard, 2018 construction is exceptional: On loan from Starck Biotech Paris 2020 Paris · 1994 – 2017 142.81m long, 25m wide, with “Starck Biotech Paris is an ex- eight decks linked with several ploration. It is not ephemeral, 01.9. Venus lifts and suspended spiral stairs, it is not a fashion. It is part of Megayacht (model) · 2008 complete with garages for four the history of our evolution,” Designed in 2008 by Philippe tenders and a submarine as well Philippe Starck explains in ref- Starck and commissioned as a helicopter pad on the bow. erence to the collection. Since by Steve Jobs, Venus is a “SY/A is a cruising castle in 1994, this designer and Starck 78.2m-long megayacht. The phi- which you can live year-round Biotech Paris have been creat- losophy behind it is based on the in absolute comfort thanks to ing glasses inspired by humans elegance of minimalism, striving the harmony of the layout and 21 E the beauty of its volumes,” says X Philippe Starck. “It is designed T to travel anywhere at any time R A for any duration, and above all - whatever the conditions. More O than anything, SY/A is a gigan- R tic research laboratory. Dozens D of technologies emerged from I N its development, and these won- A derful discoveries can be applied R and adapted to other technolo- Y gies, other fields, other dimensions and ultimately for Us.”

On loan from Starck Network 2020 Model by: Jean-Philippe Hazard, 2020

22 P R Propose O P 05 O Forms must not erase what is essential: design is S above all an ambition, a mission, driven by a vision of E sharing and the diffusion of its contributions through serial production. Through the ideas it conveys, its apparent inventiveness and the creative synthesis it achieves, it fills the gap be-tween pure utility and desire, allowing it to propose, unlike the artisan, the very best for the great-est number. The resulting objects bring about new usages and practices accordingly, with the objective of improving life. And of doing so with the lightest possible touch. For we must now learn frugality and how to manage and reuse resources.

lective responsibilities, whether dressed several aspects of urban addressing the way we occupy integration: a seamless land- 01. Elium Studio public space and the relation- scape by borrowing from the ships we form there, the role of aesthetic codes of street furni- Set up in 2002 by Marc Berthier, technology in our everyday lives, ture and avoiding clutter in pub- Pierre Garner, Frédéric Lintz or individual or community ges- lic thoroughfares. The patented and Élise Berthier, Elium Studio tures that allow us to preserve “stowaway” locking mechanism, is a product design agency. To- our resources and our environ- made using electromagnets inte- day it has a team of 10 designers ment. grated into the frame, means the and has developed an approach bikes can be juxtaposed one on driven by the idea of applying top of the other with a docking artistic flair to the field of indus- 01.1. Zoov station that has the simple ap- try. Whatever the area it works Self-service electric bike and pearance of a railing. Embedded in – home appliances, connected docking station · 2019 sensors supply data to the local objects, healthcare, urban plan- Zoov is an urban electric authorities on the conditions in ning or soft mobility – the sce- bike-sharing service that can be public thoroughfares and traffic narios and initiatives proposed accessed via mobile app. With flow management.

by Elium Studio aim to give their approach to the bicycle, On loan from Zoov shape to benevolent and human docking station and locking situations that engage our col- system, the designers have ad- 23 P 01.2. Pure account of diversity guides his use and for the precision of its R Drinking fountain · Castalie approach is a design manager, as flavours, the automatic espresso O · 2013 part of an inclusive and human machine Evidence brought an al- P O Pure is a fountain that filters design approach with a view to most professional-quality coffee S and purifies tap water, offer- helping create promising and preparation and tasting to the E ing a sustainable alternative to extraordinary futures. home, from bean to cup. Precise plastic bottles. Going against settings, a variety of pre-pro- the traditional aesthetic codes, grammed and customisable rec- this simpler and more radical 02.1. GranCafé ipes, a high-quality, high-speed eco-design, using high-quality Espresso maker · grinder and automatic rinsing materials like glass and stain- Savinel & Rozé · SEB · 1988 of the steam nozzle to ensure less steel, is underpinned by In the late 1980s, designers long-lasting performance were the notion of user benefits. As Savinel & Rozé came up with some of the features that un- well as offering filtration, it can the first espresso machine with derpinned its development. The produce sparkling water, served a high-pressure boiler to offer end product was a compact and cold or at an ambient tempera- French consumers a new coffee high-end but affordable object ture. A comprehensive approach experience. Borrowing as much that was easy-to-use and could to challenge our assumptions from the world of architecture seamlessly integrate any kitchen.

about the way we consume pub- as the automobile sector, it was On loan from groupe SEB lic water. a unique project. First, unu-

On loan from Castalie sual positioning methods were used to explain, convince and 02.3. Yaourtière demonstrate the appeal of leav- Automatic yoghurt maker · ing behind the traditional regis- Savinel & Rozé · SEB · 1974 02. Kim Helmbold ter of the kitchen, giving their When it was first sold in the machine the status of an excep- mid-1970s, the electric yoghurt Kim Helmbold is a graduate of tional object. Next, its produc- maker was a precursor, complete the ENSCI – Les Ateliers, where tion included a certain number with an automatic stop function. he took classes with Marc of firsts: the design was done After warming up for an hour, it Berthier, and later joined the entirely with CAD, with painted reached the ideal temperature Tim Thom team at Thomson, plastic and a container in un- for milk fermentation, the light managed by Philippe Starck. He polished ribbed polycarbonate went out and 5 to 6 hours later went on to be a part of Sam- without a draft. Lastly, devel- the yoghurts were ready. Deliv- sung’s Innovative Design Lab in oped and produced in less than ered with a recipe book and the Seoul and the Samsung Design eight months in Italy, it was the option of purchasing additional Centre in London, before pursu- perfect illustration of the “rapid jars, this item, with its curved ing his career at Philips Design project” concept in an industrial lines and bright “pop” colours, in Eindhoven, Paris, Boston, context. was the perfect embodiment of

Hong Kong and Amsterdam. On loan from Gilles Rozé the way in which, beginning in Building on this international the 1950s, design and industry experience in integrated design, tackled the market for house- he joined SEB in 2017, where 02.2. Evidence EA89 hold appliances, transforming he took over as vice president Espresso machine · In-house the kitchen into a delightful lab- of design. Cultures are not static, design, Groupe SEB · Krups oratory for technical innovation, codes evolve and change, and · 2017 serving the greatest number of 24 new meanings emerge: taking Designed to be a pleasure to users and optimising daily tasks. flanges, equipped with an ad- when Société d’Emboutissage P R On loan from groupe SEB justable thermostat, centring de Bourgogne (SEB) first put its O function and automatic pop-up, Super Cocotte on sale in 1953, P it could toast all types of bread it started a small revolution. O 02.4. Multidélices of varying thickness (1 to 3 cm), This pressure cooker, entirely S Express YG661 without the user having to lift new at the time, owed its suc- E Yoghurt maker · In-house a finger. This object marks the cess to a novel design approach design – Groupe SEB · 2018 triumph of the prevailing user that combined industrial intel- Express dairy desserts worthy of context and sociology: “It will ligence (reducing the number a great chef? The Multi Délices even toast your baguette!” with of components to a minimum), Express yoghurt maker was all the comfort of North Ameri- a focus on usage (a cover and designed to enable any user to can toasters. clamp to tighten, a valve to

easily make yoghurts and other On loan from groupe SEB open, and that was it) and safety creamy desserts in record time. (no ejectable rubber valve, but Its boost express 4-hour setting instead one on springs, and a used advanced steam technol- 02.6. Toaster 2 Slots clamp that allowed the steam to ogy to produce optimal results. TT640 escape by changing shape when Five programmes also offered a Grille-pain · In-house design the pressure became too high), variety of options with person- – Groupe SEB (Tefal) · 2019 as well as an innovative promo- alised flavours. With practical The design of the 2 Slots toaster tional campaign. It was twice as functions and improved ergo- uses technology to achieve pre- cheap as its competitors, but a nomics, this project illustrates cision for all tastes. A discreet pressure cooker was nonethe- the capacity of design to use digital screen integrated into the less a significant investment for technical innovation in the ser- appliance’s elegant black hood consumers looking to “save vice of users. allows it to be operated intui- time.” The company offered a

On loan from groupe SEB tively, with the option to record credit facility to purchase it and your preferred toast settings. was very quick to adopt mod- The programme offers seven dif- ern marketing and advertising 02.5. Grille tout pain ferent levels of darkness, as well methods (shop window layout Automatic toaster · Technes, as additional practical func- competition, promotional ve- Gilles Rozé · SEB · 1973 tions: cancel, defrost and reheat hicles, media and billboard ad- At the beginning of the second with an indicator, as well as vertising, etc.). In 1956, it came half of the 20th century, the automatic centring of the bread. with a book of recipes and al- kitchen became a place of high Handling is simplified with a most immediately acquired the technology and innovation, a removable crumb tray for easy status of popular icon.

kind of laboratory of the fu- cleaning and a lever to lift the On loan from groupe SEB ture where electrical appliances toast up high when it’s ready.

sometimes appeared to operate On loan from groupe SEB as if by magic, with everyday tasks looking after themselves. 03. Normal Studio The televised coverage that ac- 02.7. Cookeo Touch companied the launch of SEB’s CE902 Jean-François Dingjian and Eloi Grille Tout Pain in 1973 was Pressure cooker · In-house Chafaï founded Normal Studio particularly indicative of this design – Groupe SEB · in 2006 and, since then, have mindset. Under its white lac- Moulinex · 2020 defended elementary design. quer-finish hood and its orange Safe, functional and affordable: Having worked for industry – 25 P they have designed products jects developed by the designers 03.3. Ovalis R for Tolix, where they served as for the Burgundy-based manu- Range of switches · O artistic directors from 2007 to facturer, the Tolix Y trestles are Schneider Electrics · 2011 P O 2013, SEB, Tefal and Schneider a perfect illustration of design’s The design behind the range S Electric – and created small ex- capacity to use existing produc- of Ovalis switches reveals an E perimental series for the CIRVA, tion tools and know how differ- approach of surgical precision, Eno and Manufacture de Sèvres, ently – here, industrial drawing both technical and aesthetic, they embody and promote the and folding of sheet metal – as a with one overriding objective: tradition of industrial designers way to project a company into a to create a new basic switch that in the contemporary world. The new economic and market con- would be accessible to all. This founders of Normal Studio are text and new usage in a way that meant accommodating very committed teachers and pro- consistently reflects its history considerable constraints (adapt- foundly attached to the social and culture. ing to the existing mechanisms,

and cultural values of Euro- On loan from Tolix staying within the standard di- pean design. They call for the mensions of the housing units production of objects that are to avoid having to produce new just, timeless and removed from 03.2. Couture moulds, etc.), while at the same any fashions or statements, pos- Lamp · Maiori · 2017 time offering the desired con- tulating that an object’s form The Couture lamp was made temporary and decorative ap- deserves the same attention as by assembling simple and re- proach. This balance is found in the tool that shapes it. And this petitive geometric forms and the details: sharp angles slightly applies from the very first brush- is a new take on the typology rounded so the switch is deli- strokes in the design of a chair, and usage of the Asian paper cately proud of the wall, like a light switch or luminaire. lantern. It is intended for use second skin, careful reworking outdoors, equipped with a small of the white plastic’s grainy tex- photovoltaic module, LEDs, a ture, or the subtle usage feature, battery that can store and use a slight hollow indicating the 03.1. Tolix Y solar energy, and a sensor that button’s tipping point. More Trestles · Tolix · 2006 automatically turns the light on than 20 million switches have Here, the design is underpinned at nightfall, all contained in the been sold since it was launched.

by an in-depth study of the pro- smallest of volumes and covered On loan from Schneider Electrics duction tool, in the search for with a technical, tight-weave cost optimisation (by simplify- fabric sewn using ultrasound, ing the processes involved) and which gives off a soft ambient 03.4. Delicate the creation of more contem- light that delicately fills the sur- Panneau mural décoratif · porary typologies. These folded rounding space. Using a simul- Concrete LCDA · 2017 sheet metal trestles, which are taneously technical and sensual The design behind the Delicate stackable and support a wooden approach, this design empha- collection of decorative wall or steel board, borrow from the sises the evident presence of the panels, made from Panbéton® – ingenuity of the iconic chair A object in its environment, and a an ultra-light panel with large (1934) in the Tolix catalogue, relationship with its user that is dimensions and an exposed having simplified its assembly both direct and apposite. concrete outer side, intended for

methods and forms, which are On loan from Maiori renovation projects –, is a poetic now more round and welcom- play on a paradox: the concrete, ing and better suited for domes- considered the quintessential 26 tic use. Among the earliest pro- architectural and building material, is poured into a mould flatable sailing dinghy that can also the reason the studio takes P made from folded and assem- be stored in two bags, weighs time out to enjoy the freedom of R O bled sheets, a bit like origami. 40 kg and can be assembled in prospection, dream and come P As it solidifies, it renders static 15 minutes. But above all it is up with breakaway projects, O all of this fragility and delicacy, fun to sail. Its design ensures it free from the constraints of the S like a plaster cast. It is a sensi- is compact and quick to assem- market and inspired by daily life. E tive and light-touch production ble, easy to control and handles “Free expressions” says Antoine in which texture contributes to excellently on the water, mak- Fritsch, to grow, share a positive the construction of space. ing dinghy sailing accessible to vision of the future and further

On loan from Concrete LCDA all. Once unfolded, you simply enrich our offerings. inflate the high pressure hull, assemble the aluminium structure and then just insert the pre- 05.1. Yakka 04. Marion Excoffon rigged carbon mast and dagger- Kayak · Bic Sport · 2006 board. Take your boat with you The Yakka kayak is the product Marion Excoffon is a graduate by boat or by car, head off to of a comprehensive approach, a of ENSCI – Les Ateliers and explore new creeks or play with form of collaboration that drew works as an industrial designer the wind: use it however you as much on industrial design as and entrepreneur. Mastery of like. on strategic and image design. materials and their transforma- On loan from Tiwal The aim of the project was to tion, a thought process based on enable the commissioning firm, prototypes, the creation of syn- an established presence in the ergies with experts and manu- windsurfer market, to diversify facturers in a particular sector to 05. Fritsch + and enter the mainstream kayak offer products that are fair, sim- Durisotti market with a competitive of- ple and straightforward, with fer and high-performance, safe every detail worked out from Founded in 1993 by Antoine products. Here, the design of the idea phase to production: all Fritsch, the FRITSCH + DURI- a comprehensive range cover- this marks the commitment be- SOTTI studio practices an ing various uses (leisure trips, hind the challenge taken up by industrial design that is multi- fishing, family excursions, etc.) this lover of air and water – her faceted, curious, creative and focused on the bottom of the father refused to let her borrow genuinely collaborative, apply- hull – the part that remains sub- the family sailing boat – to build ing the same rigour to the dis- merged – with a cross discipli- her first inflatable sailing dinghy. cipline’s traditional and com- nary approach combining good A few prototypes and a nautical plex field – from sailboats to hydrodynamics, refined ergo- trade fair in Paris later, and in horse-riding boots and from nomics and stability with a clear 2012 she co-founded Tiwal with furniture to home appliances and specific product identity. a view to industrialising and and prefabricated housing –, as On loan from Studio Fritsch + Durisotti selling her model far and wide … to the emerging practices linked on all of the world’s continents. for example to the new technologies of rapid prototyping. Its 05.2. Ôzento approach is driven by its ex- Concept for prefabricated 04.1. Tiwal 2 pression of a humanist and op- eco-housing · Ôzento · 2016 Inflatable sailing dinghy · timistic view of the world, a sine Ôzento is a model for sustain- Tiwal · 2012 qua non to ensure meaning can able, immersive and non-intru- Tiwal 2 is a new-generation in- emerge from production. This is sive prefabricated housing. It 27 P boasts a panoramic loft installed 05.4. T2O TechShop, and then combined R in a natural setting, factory built Bicycle · 2014 with standard DIY materials in O to reduce the environmental Half bicycle half scooter, T2O a personalised way, the intelli- P O impact and assembled on site is a vehicle entirely made from gence of design here brings crea- S in just one week, occupying natural fibres – its structure tivity to all. Each of us is invited E minimum ground space thanks is bamboo – that explores the to take part in the ongoing col- to a structure on stilts. It can world of soft mobility and short laborative revolution in a way be rolled out for various uses journeys. It is driven by an elec- that is accessible.

(housing, hotels, restaurants, tric motor which, during the On loan from Studio Fritsch + Durisotti etc.) and represents a frugal mi- acceleration phase, is assisted by cro-architectural solution that the user, like on a push scooter. embraces the codes of contem- It offers a cruising speed of porary comfort while offering a around 35 km/h and autonomy 06. Stéphane measured response to our desire of up to 40 km. Offering an Thirouin for nature, with a virtuous and alternative mode of transport, beneficial synergy established this forward-looking project Stéphane Thirouin, who grad- with the user’s biotope and en- illustrates design’s capacity to uated from the ESDI in the vironment. accompany emerging societal early 1990s, is fundamentally a

On loan from Studio Fritsch + Durisotti trends, while embodying the designer. From Legrand to SEB values of a world that is respect- and tool manufacturers Facom ful of resources and people. The and Devialet, throughout his 05.3. Class 2M natural fibres prove they have career he learned to manage the Sailboat · 2008 their place in an unexpected industrial constraints intrinsic Intended for use on protected sector. in large-scale production and

waterways, this Class 2M keel- On loan from Studio Fritsch + Durisotti offer the wider public access to boat is ideal for both experi- useful, high-performance and enced racers and leisure sailors, desirable objects as part of a alone or accompanied. It comes 05.5. Drôles user-focused approach. In 2017, with a spacious cockpit and has d’oiseaux building on his extensive expe- a retractable keel, an innova- DIY furniture · Leroy Merlin rience, he decided to become an tion on a boat of this type that · 2015 entrepreneur and went on to de- makes it easy to put in the wa- How to illustrate the digital turn velop a fan that would bear the ter and transport. Here, design and familiarise the wider public name of his company: Williwaw. can be seen to serve the user with 3D printing? The Drôles The quality and durability of through a minimalistic product d'oiseaux programme is built Thirouin’s end products are the that opens up access to a sport on the assumption that com- fruit of his ability to put himself for a greater number of people, bining the pleasure of DIY with in the user’s shoes, immerse him- without compromising on per- collective activities could be the self in his production tools and formance. The hull cuts through key to a curious and joyful ap- quickly accommodate manufac- the water and is driven by a propriation of new technologies. turing constraints to avoid prob- generous and powerful sail that By offering a collection of DIY lems during the industrialisation will meet the most experienced furniture (wardrobes, seating, phase. user’s expectations. lighting, etc.) made from con-

On loan from Studio Fritsch + Durisotti necting pieces to be downloaded on a dedicated website and 3D 28 printed in the project partner’s 06.1. Williwaw lescence. In 2016, they teamed 2001 to 2009, are some of the P R Fan · Williwaw · 2017 up and established L’Increvable, companies whose development, O Cool down your home without a business entirely dedicated to transformation and restructur- P stifling the planet: as an alterna- the development and sale of sus- ing he has accompanied through O tive to energy-hungry domestic tainable home appliances that design. With an emphasis on S air conditioners, the Williwaw are upgradable and can be easily design’s cross-disciplinarity, its E fan is designed to provide op- repaired by their users. capacity to bring together the timal thermal and acoustic technical, philosophical, social, comfort – it is twice as silent economic, aesthetic and even as its competitors with dou- 07.1. L’increvable environmental concerns of a ble the airflow – in winter and Washing machine · 2014 project in the broadest sense – in summer alike. And it does this Adopting a reasoned, frugal and terms of the organization, from with seamless integration in in- pragmatic approach, design can its position to what it produces terior spaces: it is an independ- be used to create sustainable –, he has shaped, structured and ent object whose materials and and accessible objects in the influenced the role of design aesthetics have been borrowed shift towards more responsi- manager. Building on this ex- from contemporary furniture. ble modes of production and pertise, Philippe now shares and Connected to an app designed consumption. L’Increvable, a passes on his experience in a by the agency NoDesign, it washing machine that can be wide range of institutions. comes with separate sensors repaired by any user, perfectly that intelligently harmonise the illustrates this approach. With interior temperature, thus limit- stainless steel rather than plastic 08.1. Look Graphic, ing heating expenses used to manufacture the outer Galaxy 9 et Galaxy

On loan from Stéphane Thirouin – Williwaw drum, and reversible assembly 40x procedures to facilitate the re- Scientific calculators · Texas placement of faulty parts, this Instruments · 1988 and 1991 design combats planned obso- In the late 1980s, Texas In- 07. Julien lescence in an essential everyday struments decided to develop Phedyaeff item. a range of scientific calculators and Christopher On loan from the authors for the European market. The Santerre design approach was highly innovative, with detailed analysis Both graduates of ENSCI – Les of the user experience as well Ateliers, Julien Phedyaeff and 08. Philippe Picaud as technological innovations Christopher Santerre have a capable of meeting the specifica- shared outlook on our uses, con- Throughout his long career as tions that emerged from studies sumption habits and alternative an in-house designer, Philippe and test sessions on prototypes production methods. As such, Picaud has ceaselessly demon- involving secondary school they have reinterpreted the tra- strated with conviction that students in France, England ditional figure of the designer/ design is of strategic impor- and Germany. The design team builder, emerging today thanks tance for companies. Texas worked hard on industrial op- to the Makers. They aim to re- Instruments, Alcatel Mobile timisation to create a common think the icons of domestic mo- Communications, Philips-Lu- platform for all three products, dernity as part of a sustainable cent, Carrefour, and in particu- even developing a new technol- approach, moving as far away lar DECATHLON, where he ogy: in-mould printing involved as possible from planned obso- headed the design team from plunging the plastic-injected 29 P outer shells into a bath over reassure users, not yet accus- a cross-departmental unit made R which a printed film was then tomed to this type of product. up of designers, engineers and O rolled. Their commercial success Its success enabled the develop- product managers who work to- P O allows the firm to remain mar- ment of new models which were gether to make sports activities S ket leader until the mid-1990s. retailed worldwide. accessible to the greatest num-

E On loan from the author. On loan from the author. ber. Organising missions and in- R teractions between the different business lines and project con- 08.2. HC400 08.4. Set Rollnet tributors, he has implemented GSM telephone· Alcatel · Table tennis set · DECATHLON an overall strategic approach 1994 Design · Pongori (DECATHLON) that looks at usage, production At the beginning of the 1990s, · 2008 procedures as well as form with the HC400 was one of the first The idea of producing for the a view to designing the right widely available mobile phones greatest possible number is products and making them ac- launched on the market. Its de- written into the genes of indus- cessible and respectful of hu- sign was the fruit of close col- trial design. Accessible, com- mans and their environment. laboration between mechanics mon-sense products combine and computer engineering re- utility with democratisation. search departments on the one The Rollnet enabled hundreds of 09.1. B’twin hand – a specialist in cognitive thousands of people worldwide Multi-purpose bike · ergonomics joined the design to access table tennis wherever Christophe François et Jean- team to work on operating pro- they chose. With an extendable Marc Seynhaeve (designers), cedures and give instructions to net that could be attached to a Louis Grivot-Brunhes (project the coders – and the marketing table, two bats and balls, this manager) · DECATHLON · 1999 department on the other. This is a just and social product in This bike, designed in 1999, re- device marked the shift from terms of both usage and price. It invented the universal bicycle as the professional phone, with its has proved hugely popular since a mixed, multi-purpose, inno- black brick-like appearance, to first launched on the market. vative and affordable mode of

a colourful product with attrac- On loan from Pongori, DECATHLON transport for the general public. tive packaging. Here the design team focused

On loan from the author. their reflections on fine-tuning the frame and tyres to simulta- 09. Emerson neously address usage (riding 08.3. Génie Delcourt on tarmac and hilly paths, easy Super compact mobile phone mounting with a lower cross- · Philips · 1997 Emerson Delcourt graduated bar, etc.) but also industrial When the Génie first went on from the Institut Supérieur de concerns (optimise production sale, the already fast-develop- Design in Valenciennes. He be- phases while limiting the num- ing mobile phone sector entered gan as a designer at Lazer and ber of SKUs), and therefore cost. a new era. Philips took on this later Doublet, before joining In recognition of its success, market segment, investing heav- DECATHLON in 2002 as B’twin became the name for ily to become a leading player. product engineer and later tech- DECATHLON’s urban cycling This was the smallest and light- nical director, product manager brand.

est phone on the market. Indeed, and director of the fitness divi- On loan from de Christophe Gaudet the Génie had to be equipped sion. Since 2018 he has headed 30 with a micro-retractable tab to DECATHLON United Design, 09.2. Tente 2 simply by raising one’s head. 09.5. Quick-Zip P seconds In Milan, during the Covid-19 Bibtight R O Instant foldout tent · crisis this snorkelling mask was Bib tights for women · P Vincent Chiffoleau repurposed so it could be con- Émilie Taupe · Van Rysel O (designer), Benjamin nected using a 3D adapter to a (DECATHLON) · 2019 S Mettavant (engineer), respirator for patients or to pro- Designed for winter use by fe- E Abi Elaaman (prototype tect healthcare workers using a male cyclists, these bib tights technician), Jean-François filter at the tip so it could work come with a zip at the hips that Ratel (project manager) · as an FFP2 mask. The success of runs to the top of the thigh. This Quechua (DECATHLON) · 2005 this initiative demonstrates that feature makes loo stops easier Tent complete with flysheet open innovation succeeds when during training, avoiding the which opens as you throw it in the sources of new ideas come hassle for the user of having the air and falls to the ground from outside the company and to remove her jacket and jersey, ready to use. Designed for easier the company agrees. particularly in cold conditions.

installation for hikers moving On loan from Subea, DECATHLON On loan from Van Rysel, DECATHLON from base to base, the Tente 2 Seconds combines its instant foldout feature with a self-bear- 09.4. Strenfit X500 09.6. Vioo Clip ing structure and well-ventilated Inflatable kayak · LED bike lighting · space for 2 that evacuates hu- Emmanuelle Pion Brice Benoit (designer), midity and facilitates air circu- (designer), Nicolas Senie Maxence Couthier (designer), lation internally. Waterproofing (product engineer) · Itiwit Frederic Jung (product is ensured with optimised seams. (DECATHLON) · 2018 manager) · DECATHLON · 2015 Lastly, all elements can be sepa- Is there a way to contain a Be seen: a key safety concern rated and replaced if needed. kayak in a backpack while at when riding by night. Vioo is

On loan from DECATHLON the same time offering the user a rechargeable front and rear a level of performance similar to lighting system with an empha- that of a rigid kayak, with the sis on adaptable use, in particu- 09.3. EasyBreath freedom to paddle anywhere? lar its attachment features: an Snorkelling mask · Cédric For this product the design team elastic strap or sticker enables Caprice (designer), Erwan developed an inflatable model, it to be attached to the cyclist Loret (product manager) · obtained by cutting and assem- or bike (helmet, clothing or seat Subea (DECATHLON) · 2014 bling materials subject to patent. tube/handlebar). It also offers Is there a way for us all to see Comfortable seating and ease of two lighting modes: flashing or and breathe underwater as on use were central concerns: the steady. It is light and easy to land? Combining two functions kayak inflates in three minutes, carry anywhere. with a full-face mask and an ad- can be dried with a towel, and On loan from DECATHLON justable elastic and textile strap, comes with adjustable footholds.

the design team focused on ease On loan from Itiwit, DECATHLON of use, air circulation and seal- ing for optimal breathing by the 10. Charles mouth or nose, limiting conden- Cambianica sation and widening the field of vision to 180°. A purge valve sit- Having graduated from the In- uated at the bottom of the mask stitut Supérieur de Design in Va- can be used to evacuate water lenciennes, and after seven years 31 P at BMW Design Works, the the environmental impact of R car manufacturer’s prospective production and allowed for O design studio, Charles Cambi- competitive relocation of man- P O anica joined DECATHLON in ufacturing to France. S 2015 to manage its Advanced On loan from Forclaz, DECATHLON E Design, the firm’s design-driven R research department. He over- sees forward-looking projects that draw on the diversity of DECATHLON’s expertise and know-how to develop a process of cross-departmental reflection on shared problems, whether theme-specific (mobility, evolv- ing sports activities, etc.) or methodological, towards new procedures and design methods. Used in this way, design can project what already exists further into the future, giving shape to an overview of the value chain and the firm’s identity, at once embracing the user experience (digital and physical), products and services.

10.1. Onnight 50 Bivouacking headlamp · Charles Cambianica, Constant Melchior, Victor Gleizes et Bruno Legras · Forclaz (DECATHLON) · 2016 The design team went back to the drawing board to simplify as much as possible an essential bivouacking item, the headlamp, while maintaining performance levels and affordability. The design of the housing, with a supple and malleable structure, allowed them to reduce fourfold the number of parts necessary for manufacture. An economic approach in terms of raw mate- 32 rials and tooling which reduced W O Wonder N D 06 E R Forms embody functions but also ideas, concepts and sentiments. They address our senses and often our intelligence. They inspire in us awe, emotions and wonder. For objects are more than mere utility and usage. They speak of us as much as they speak to us. Who among us can say that desire is not useful? The desire for a better, more balanced life, the desire for less illu-sion and more accomplishment, humanity and a meaningful existence, etc. It is our duty to inspire wonder in addressing these desires.

problems, he prefers enquiry, pounds (VOCs) in the astronauts’ pursuing enigmas and compar- organisms due to the absorption 01. Mathieu ing ideas as part of striking and of toxic micro particles emitted Lehanneur magical projects that combine by the materials used to make design, science and art for the the capsule: polymers, fibre glass, Described by Paola Antonelli, well-being of users. His work, insulators and flame retardants, head curator of the Architecture widely exhibited and published, the same particles emitted by & Design department of the has been recognised by multiple the manufactured objects found New York Museum of Modern awards and many of his pieces in all of our homes. In the mid- Art (MoMA), as a “champion of have been added to the most 1980s, the US agency identified intellectual agility in the field of important museum collections several plants that could absorb contemporary design”, Mathieu in the world. these VOCs: Gerbera, Philoden- Lehanneur, a graduate of ENS- dron Spathiphyllum, Pothos and CI-Les Ateliers, is a unique fig- Chlorophytum. Andrea is a liv- ure. Cultivated and astute, his 01.1. Andrea ing filter whose design is based work spans almost all fields of Purification system for on that research. The indoor air creativity, exploring hybrid, po- indoor air · 2009 that travels through the device rous areas far beyond the tra- When the first spaceflights -re is successively cleaned by the ditional boundaries of design. turned, NASA recorded high plant’s leaves and then its roots, Rather than simply resolving levels of volatile organic com- thereby purified. This project il- 33 W lustrates the capacity of design 01.3. Éléphant O to combine and transpose the re- Armchair · 2017 N sults of scientific research for the Here once again, the design 02. Jean-Marie D E benefit of the greatest number. of the hybrid Éléphant Massaud R On loan from the author. armchair conveys technological considerations in a domestic “I want to take on projects which object – the backrest is made offer ‘things’ that will serve over 01.2. Domestic from carbon fibre, a thin and time, that generate awe and are Forest resistant material that is at once loved perennially.” Designer Bench · 2019 supple and rigid and not often Jean-Marie Massaud defines Illustrating the idea that con- used in the world of furniture himself as a “pragmatic ideal- temporary design must inte- – as well as sensitive and poetic ist”. As comfortable drawing an grate complex and more global considerations. The leather automobile as a seating system, considerations – materials used, and generous curves evoke a he embodies that generation energy expenditure, social, col- familiar animal, opening up a of designers who have broken lective, local dimensions, etc. –, little world within the greater down the boundaries between the Domestic Forest bench ex- world, powerfully evocative. industrial design and decoration

plores a new production process On loan from the author in favour of “life programmes” with a technological-cum-poetic modelled by usage, provid- approach. It is made from a tree ing potential responses to the trunk that is literally swallowed 01.4. Demain est un challenges of our era, whether by the machine that shapes autre jour environmental, societal or eco- it, metaphorically reconciling Meteorological device · 2011 nomic. This hands-on designer craftwork and industry, the raw This meteorological device was emphasises the need to “replace resource, which emerges rela- originally designed for the pal- quantitative productive models tively unaltered, and function liative care unit at Diaconesses with light, desirable and quali- (sitting), projected into an ele- – Croix-Saint-Simon hospital in tative approaches”. He believes gant and delicate world. Paris. At once a sculpture and an that provoking, nourishing and

On loan from the author. object of meditation and infor- working in partnership with oth- mation, it defies the impenetra- ers, sharing fruitful energies and ble passage of time by offering synergies with companies, is the the user the chance to contem- best path towards inspirational plate tomorrow’s sky. The infor- products that enrich our daily mation about upcoming weather lives, catalysts for the imagina- patterns, taken from the Internet, tion. “Design brings the dreams are poetically materialised in a of children to life”, he smiles.

bright, atmospheric and impres- © Pierre Monetta sionist image of the sky. Allow- ing us to get one day ahead of time itself, Demain est un autre 02.1. Flow jour is an invitation to reflect on Seats · MDF Italia · 2009 – the permanence and imperma- 2019 nence of things, on the principles More than a collection of seats, of uncertainty and ineluctability, Flow is designed as a system. A and on spirituality. system of seating spaces made

34 On loan from the author. from an injection-moulded organic shell, compatible with 02.3. tronomic experience to better W various types of bases and savour the Earth from the skies. O N completed with accessories These two complete collections D 02.4. (cushions, upholstery, etc.) so ME.WE of tableware designed for on- E they can be adapted to various Concept car · with Laurent board service in aeroplanes R contexts (domestic or collective Bouzige · Toyota · 2012 demonstrates design’s capacity seating), needs or desires. This ME.WE is a concept car. In to offer a comprehensive ap- is an industrialised but di-ver- brief, it is a hypothesis that proach that can address multiple sifiable series that demonstrates postulates an alternative future challenges – brand image and its the capacity of design to opti- for the automobile, both from internationalisation, technical mise production processes and an industrial perspective and in and functional constraints, con- develop aesthetic languages terms of usage. It is light and re- sistent and meaningful usage that are sufficiently radical and sistant – it has a tubular alumin- scenario, etc. – to generate an supple to adapt to the great-est ium structure and the bodywork experience that is rich, evocative number. is made from expanded poly- and culturally situated.

On loan from MDF Italia propylene –, standardised but On loan from the author. customisable, and is designed as an electrical vehicle with 02.2. IN/OUT a focus on user comfort and 02.6. Be-Unique Couch · Cappellini · 2001 large capacity but with com- Perfume phial · 1998 “We carry the responsibility of pact volume – it can carry five How to reconcile desire and moral elegance in everything passengers and luggage. It is de- responsibility in a sector that we propose,” wrote designer sirable but not a status symbol is synonymous with overabun- Jean-Marie Massaud in the cat- and represents one possible and dance, ephemerality and wilful alogue for the Human nature immediately workable response use of resources: perfume? The exhibition dedicated to him in to contemporary environmental design of this phial seeks sus- Ja-pan in November 2005. In challenges in a sector that needs tainability through attachment short, sustainability through to ques-tion the impact of indi- and affection – a product that beauty that can be found in the vidual journeys. It also demon- is beautiful, elegant, compe-tent writing of the In/out bench: a strates the capacity of design to and intelligently designed, one sculptural, dynamic form, as if bring to-gether sometimes con- that is loved and therefore kept sketched in a single stroke, three tradictory or paradoxical objec- – based on an organic vision of metres long and produced using tives – human, environmental the object. It comprises a spray various materials depending and indus-trial. And does so in that is a lasting, monolithic and on the usage context (domes- the most tangible way. high-end object of de-sire made

tic, collec-tive, interior, exterior On loan from ME.WE Toyota & Massaud with precious and customisable seating, etc.), on a satin-finished materials (wood, fine marble, stainless steel base. metals, etc.), as well as glass re- 02.5. On loan from Cappellini La première & fills for the fragrance.

Business On loan from the author. On-board tableware · Air France · 2014 – 2016 This is about creating the ide- 02.7. Le Club, alised memory of fine dining confort suspendu while travelling through the air Armchair · Poliform · 2020 or offering an atmospheric gas- The Club armchair is a unique 35 W and iconic item of the 20 th cen- O tury home, both in terms of the N symbols and images it evokes D E and because of the demand- R ing nature of its production. Jean-Marie Massaud here offers his own reinterpretation of this “selfish” object: a refined, elegant and timeless piece. “I wanted to pare down this icon of ‘comfort for the self’ of all unnecessary materials and ostentatious or status-symbol trimmings,” he explains. “I propose to retain only the working lines, lightness, elegance and evident qualities of the drawing, in the service of unique comfort.” The ambition behind the project lies in blending the know-how of artistic craft and the technology of aeronautics, combining a coach- hide “ravioli” envelope or thick linen cloth with medical foam and high-modulus aluminium tubing. The Club embodies Ital- ian excel-lence with the aim of offering the finest to those who appreciate discreet things to be loved for a long time.

On loan from Poliform

36 S U Surprise R P 07 R Invent a way to cross the river rather than design I a bridge: designers ask as many questions as they do S E provide solutions. They are a source of proposition. They explore newness, invent, cre-ate, experiment or reinvent what we thought we knew. For design is a powerful tool with which mankind shapes both his tools and his environment. And in doing so, he blurs the boundaries between designers, artisans and industrialists, between that which is useful and futile, beautiful and good, light and sustainable… So how can we imagine things in a neutral loop, in symbiosis rather than as part of a value chain? Must we consume to live? How can we live well? These are all questions asked by designers and for which their projects provide possible answers.

hibitions and interior architec- deploys its enveloping structure tural projects (for Van Cleef & to form an intimate space, the 01. Constance Arpels and Accor). Through the Vertigo light fixture is a best- Guisset stories and scenarios they depict, seller among the projects devel- her objects represent attempts oped by Petite Friture. Nova is The work of designer Con- to explore the embodiment of an evolved model, a reinvention stance Guisset, a graduate of movement through lightness or that is both technical and poetic, ENSCI – Les Ateliers, is marked surprise, while defending the born of the desire to work with by the search for a balance be- need for comfort and accommo- the light, introducing softness tween ergonomics, delicacy and dating features for our bodies and nuances. Its technical as- imagination. Since she first cre- and their postures. Her work pects are now swallowed up by ated her studio in 2009, she has will soon be on display at the mysterious sandblasted glass, developed her very own style French Institute in Milan and at further sublimating this object’s of design, creating objects and the Villa Noailles in Hyères. function, leaving visible only the furniture for a diverse clientele essential: a film floating between from France and internation- two layers of water, delicately ally (including Petite Friture, 01.1. Vertigo Nova pierced by an immaterial glow.

Zanotta and Molteni&C), stage Suspended light fixture · On loan from the producer designs for shows (Angelin Prel- Petite Friture · 2019 jocaj and Wang Ramirez), ex- Designed as a luminaire-hut that 37 S 01.2. Oliva and the Innovation Grand Prix des Arts Décoratifs in Paris. U Armchair · Zanotta · 2019 at the Foire d’Automne in the R With the contours of a dancer, Coup de cœur category in 2015. P 02.1. R the Oliva armchair is designed On loan from the producer Moto I as an invitation to comfort. It Wall-mounted light · S plays with the contrast between Moustache · 2013 E the generosity of its padded A mysterious object stuck to curves and the more radical 02. Jean-Baptiste the wall like a contemporary lines of its legs, which soar Fastrez relic, with its iridescent PMMA through the seat and embrace visor, a literal take on the mo- as they reach the backrest. An Jean-Baptiste Fastrez, a gradu- torbike or skiing helmet, the approach that gives this arm- ate of ENSCI-Les Ateliers, ex- Moto wall-mounted light hy- chair a presence that is at once plores the plasticity of design bridises categories, registers and light, familiar and sculptural. in every sense of the word. His materials, offering an improved Here, design can be seen to seek work is built on the creation of reinterpretation of an everyday out the right proportions as the fertile exchanges between the item. This project illustrates the interplay of forms generates a industrial, artisanal and artistic capacity of design to initiate small narrative: the promise of worlds. By combining contem- unique encounters and, through delightful comfort. porary techniques and tradi- the strangely familiar narratives

On loan from the producer tional know-how, he designs it helps construct, to question unique pieces as well as serial our relationships with the things productions, fusing the archaic around us, both in the way we 01.3. D-Vine and the technological, minimal- use them and the way they are Wine aerating machine · 10- ism and narration, function and produced.

vins · 2015 ornament. Whether collaborat- On loan from the author. D-Vine allows you to taste a ing with producers like Mous- glass of wine in optimal condi- tache, institutions like Manu- tions. The user places the glass facture de Sèvres or the Kreo 02.2. Venice and inserts in the device an indi- Gallery, the hybridisation of Glasses · Tarian · 2016 vidual flask of wine made from meanings, technologies, forms On the pretext of revisiting an old grape varieties selected by wine and contexts that he brings to classic, butterfly glasses, theVenice experts. The machine recognises light is embodied in lasting ob- model is also an emblem of tech- the wine thanks to a chip and jects which forever stand out nical innovation. Continuing the adapts it to the ideal tempera- through their uniqueness and insect metaphor, the outer face of ture and ventilation in just one intrigue. His unique form of its lenses carries a winged pattern, minute. Its architecture, borrow- design is a deliberate source of invisible to the eyes of the wearer. ing from a familiar register, is a proposition, ceaselessly ques- A unique process that required jewel of cutting-edge technology. tioning our era, our relationship several development phases and The objective here was to give with things, possessions and which allows us to re-examine an it a shape that would be easy consumption through rich nar- everyday object from an alterna- to appropriate while offering ratives. He is the recipient of the tive angle. The pattern is reminis- a straightforward and familiar 2019 Grand prix de la Création cent of Venice’s great carnival and user scenario. D-Vine received awarded by the city of Paris, and the classic elegance of its masks, the award for the best start-up his pieces feature in the perma- but also of California’s legendary at the Las Vegas CES in 2016, nent collections of the CNAP, Venice beach and its image culture.

38 the Serbotel innovation award Centre Pompidou and Musée On loan from the author. porcelain body with a remov- coastal resort – borrows its S able leather handle, delicately appearance from the air ducts U R 03. Ionna Vautrin embossed with the seal of the found on the decks of ships. It P Palais des Thés. Made in France projects light downwards like R Midway between poetry and in- as a limited series with num- your very own private light- I dustry, designer Ionna Vautrin, bered production by the porce- house. Its architecture is simple S a graduate of the Nantes At- lain manufacturer Haviland and yet surprising: on a conical base E lantique design school, designs artisanal saddler Selaneuf, it is sits a large rounded head that everyday objects that all share the perfect embodiment of how seems to defy the force of grav- a kind of simplicity and self-ev- design, subtly borrowing from ity. An object with a story, like a idence that is always marked by past heritage, savoir-faire and character, that sketches an alter- an element of surprise, vivacity uses, can transpose practices native domestic landscape. and warmth. She trained with through narratives that are at On loan from the author. the Bouroullec brothers, and once hybrid yet familiar. after some time with Camper in On loan from the producer Spain and George J. Sowden in Italy, she opened her own studio 04. Patrick Jouin in 2011, having won the Grand 03.2. Lampe TGV prix de la Création awarded by Table lamp · SNCF and “I am convinced that you can the city of Paris. She has since Moustache · 2017 act on space with a pencil and embodied a unique brand of Designed for the new TGV with ideas.” Patrick Jouin embodies French-style industrial design, its layout by Saguez & Partners, the industrial designer for whom burgeoning with meaning and the Lampe TGV comes with the rigorous design process is soft joy. Whether working with two light sources and emits a the crucible of strong personal producers – Foscarini, Mous- strong and welcoming signal expression, vision, and com- tache, Kvadrat, Sancal, Lexon, that can be seen from the plat- mitment. For more than twenty Serralunga, etc. –, the SNCF, form, at the same time symbolis- years, this generous and deeply J.-C. Decaux or Monoprix, her ing the notion of accompanying humanist designer has been de- projects, from small to large each passenger on their journey. veloping a precise, subtle and po- scale, combine geometric and For an office desk or bedside etic approach - on all levels and organic forms, a playful and col- table, this object reformulates in all contexts - from publishing ourful approach and intuitive travel space as an extension of to industrial research and urban and functional uses with rigour the home. A companion, with spaces: he designed the Vélib' and precision, sketching out fa- its sculptural silhouette, in- station terminals, the sanitary miliar and inhabited landscapes. spired by our rail history, at the facilities for the City of Paris and crossroads between art, industry street furniture for JCDecaux. and technology, now available He creates objects that will be 03.1. La cavalière in the Moustache catalogue. looked at, touched, handled, and

Teapot · Le palais des thés On loan from the producer used, where design and quality · 2016 of use are equally important. In To come up with a French-style France and abroad, his work has tea ceremony, here the design 03.3. Binic always married this pragmatic drew from our culture of life- Table lamp · Foscarini · 2010 approach with the necessary style arts and know-how. This Inspired by the marine world, symbolic aspect that imbues nec- teapot, with its soft and benev- the Binic lamp – named after essary meaning and poetry that olent lines, combines a Limoges a small lighthouse in a Breton renders the world livable. 39 S 04.1. Elipse in various ways, aiming to ac- outdoor chair, the fruit of ex- U Chair · Zanotta · 2018 complish the maximum with ploratory work with a material R The Elipse chair blends the ra- the minimum. Their meticulous made up of shavings obtained P R tionality of a functional object strategy achieved the right bal- from fully recycled tyres. Once I with the power of a revolution- ance between form, professions, moulded, it offers interesting S ary creation. Its square-section and uses, all the while formulat- properties: it is rotten-proof, E tubular aluminum structure ing solutions to meet financial flexible and does not age, offer- endows it with lightness and and environmental restrictions ing robust resistance to adverse strength, and efficiently asserts inherent in each project. The weather conditions and there- its essence of clear simplicity. In duo continually seeks out the fore sustainability. Here the contrast, the softness and flexi- fundamental form (what should agility of design is a way to look bility of the support zones - seat already be obvious but isn’t) and at things differently, opening up and backrest - made of injected when designing products, strives potential fields of application plastic (30% recycled) guaran- to let materials speak for them- and projecting uses into new ar- tees comfort. The mischievous selves, whether it be furniture, eas for a more inhabitable and circular perforation of the back- spaces, graphic design, or their frugal world.

rest makes it easy to use. The research. This allows them to On loan from the authors cost, durability, symbolic value, streamline each object’s design, poetic sensitivity, and a sense ridding it of all superfluity to of purpose of this project stems better exalt its emotional power. 05.2. Toul from a rigorous search for bal- Surprisingly, Briand takes a trip Stool · Saintluc · 2013 ance that places user comfort every two years to meet crea- Toul is a stool made using jute at the heart of the project, in tive people and entrepreneurs fibre from Bangladesh, com- harmony with production con- who are passionate about the bined with resin. This manifest straints. ocean and surfing. He writes object allows an underutilised

On loan from the author. books about these little travel eco-material to express itself. odysseys - the first is devoted to By demonstrating the mechan- California, the second to France ical, economic and sustainable and the third, West is the Best, features of this fibre, it opens up 05. Briand & to Mexico - halfway between possibilities for industrial appli- Berthereau a feel-good and on- the-road cations that would enable the book. Surfing is a common development of a responsible Joran Briand and Arnaud source of inspiration for this di- economic sector on a local scale.

Berthereau met in classroom verse group of personalities and On loan from the authors Partners: Gold of Bengal, VIA at ESAD. After Briand spent serves as a pretext to explore a period working alongside viewpoints, insights about oth- the designer Noé Duchauf- ers, and the planet. And it is Bri- 05.3. Splash four-Lawrence, and Berthereau and & Berthereau’s touchstone: Surfboard · 2013 collaborated a few times with the one who moves you, who Splash invites us to reconsider the Kreo gallery, they founded gives you breath, who takes you the way we view surfboards, the studio Briand & Berthreau to new horizons. using alternative materials and in 2001. An international de- production techniques that re- sign agency with deep aware- spect the environment and draw ness of the ecological stakes and 05.1. Rubber on artisanal skills. Combining the globalization of the world, Chair prototype · 2012 jute fibre from Bangladesh, a 40 which they explore and inhabit Rubber is a prototype for an light and rigid foam made using bread dough, and embroidery, tie Cotellon is a material science the workers to treat the coating S the board offers the mechanical engineer, responsible for design differently. By proposing a new U R qualities of resistance needed and user experience for the relationship with materials, de- P to surf and adaptable usage. By Saint-Gobain group. She is an sign has triggered a soft revolu- R addressing a problem generated all-terrain designer and teacher tion in the very stable world of I by materials, here design opens who has seized the opportuni- construction and the skills used, S up new approaches for more ties during her career to reflect as part of a shift towards new E responsible and less onerous on the thousand and one ways facade aesthetics.

production. of integrating design (in all its On loan from Saint-Gobain Partner: ENSCI – Les Ateliers, Studio Souple On loan from the authors various forms) in companies, in- workshop Partners: Gold of Bengal, Cuisse de Grenouille, Atao et Marie-Charlotte Marlot (manufacture) cluding strategic leadership - at EDF, BETC, and Attoma - to develop services and interactions, 05.4. West is the well beyond the complex issues 07. Studio GGSV best, Mexique of interfaces. Today, working at Travel log · Pyramyd éditions the crossroads between R&D, Founded in 2011 by Gaëlle · 2018 marketing, the command chain, Gabillet and Stéphane Villard, Design is a way to contemplate and the construction industry, Studio GGSV develops an atyp- the world, a journey, nourished she and her team design the ma- ical and polymorphic design by other places and shared val- terials and building systems of practice, where matter is its key ues. West is the Best is a travel tomorrow for the group's vari- concern. Whether exhibition cu- log that retraces the swerve of ous brands (Weber, Point P, etc.), rating, research, product design, designers towards other hori- unlocking every form of value: installation design, and interior zons, to meet artists, designers economic, usage, reputation, architecture, the duo's in-depth and artisans passionate about innovative, etc. From 2012 to knowledge of corporate de- the ocean who share that source 2016, she directed the Master’s sign enables them to turn clear of inspiration as well as their Degree in Innovation by Design proposals into highly visible know-how. Together they de- and headed the Executive Edu- projects, all of which are com- velop tailored lifestyles where cation Program at the ENSCI - mitted to reducing material im- work and pleasure are one. Les Ateliers in Paris. pact. The designers explain, "if Their life gravitates around surf- design assumes its industrial vo- ing, with just the right balance cation while taking into account between hedonism and spirit- 06.1. Weber Graphic the environmental stakes of pro- uality, in open third places and Technique for facade duction, we would literally have ecosystems that allow them to finishes · Internal design, to create 'more' objects whose dream together. This issue, ded- Saint-Gobain Research Paris · vocation would be to generate icated to Mexico, recounts how Weber · 2019 'less' objects. ‘Black hole’ objects, certain utopias became reality. Building techniques, which so to speak." With this con-

On loan from the author. can often be traced back to cept, they won the VIA's Carte Partners: Ici, Cuisse de Grenouille, Galerie du côté, Corona, Wrecked et Surf Disrupt quasi-ancestral skills, evolve Blanche in 2011. In 2017, they slowly. To initiate change, We- created the installation Galerie ber Graphic set about renew- Party for the 40th anniversary ing a 40-year-old technique for of the Centre Pompidou. In 06. Katie Cotellon facade finishes, the brush finish, 2018, the Galerie des Galeries by inventing a (triple-patented) presents their surreal and eco- Trained in industrial design, Ka- printing procedure that allows logical installation Demain, le 41 Vaisseau Chimère, which won 07.2. Objet 2822 2019. Deeply committed to en- the Frame Awards. In 2020, Bottles · Petite Friture · vironmental causes, she assists with H2O Architects, they 2012 associations in their resource re- were contracted to redevelop These black glass bottles can be covery (Alliance Carton Nature, the Musée d'Art moderne de used to hold household prod- ReSeaclons). Some of her works la Ville de Paris. As residents at ucts such as soap, shampoo, are part of the permanent collec- the Villa Medici (2018 – 2019), dishwashing liquid, or laundry tion at the Centre national des they continued their research in detergent. We are encouraged arts plastiques (CNAP). Rome, exploring architectural to use refillable contains to re- modes of representation. Now duce plastic packaging, or we they move towards a new aes- may play the chemist by mak- 08.1. Paperwork thetic, capable of modifying our ing your own household prod- Experimental luminaire · relationship to space and matter. ucts and limit the use of toxic 2020 substances. These bottles are Paperwork is a research project equipped with a funnel neck that explores processes to make 07.1. War Paint and a pipette cap. They sport a paper give off light: printing Installation · Villa Medici, mysterious look and take their techniques using conductive ink Private Collection · 2019 name from the number of plas- on paper, combined with flexi- In a world in shambles popu- tic bottles thrown away every ble conductors and micro LEDs. lated by domestic and indus- second in France. Available as a box set, like a DIY

trial objects, can the banal, the On loan from the producer kit, it gives the user the chance insignificant and even rubbish to appropriate traditional print- reclaim lost elegance in our eyes ing techniques and those of flex- if we superficially change its ap- ible electronics (95% recycla- pearance? Stemming from ob- 08. Clémentine ble) in one tangible application servations of how the classical Chambon (lamp). This project illustrates architectural tradition of paving how design uses and repurposes stones, frescoes, and ornate ceil- Clémentine Chambon is a grad- technologies to produce new ings influence our perceptions of uate of the Ecole Boulle and of scenarios and solutions.

space, the installation War Paint the ENSCI - Les Ateliers (where On loan from the author. Partners: ADM Print and ENSCI – Les Ateliers considers painting as a powerful she was awarded a research res- tool to transform things, in or- idency in 2018 on the theme of der to renew the surface of the Light and Paper). In addition 08.2. Spectrum surrounding elements by meta- to her traditional work as a de- et Disappearing morphosing them. Continuing signer, she works with Nodus Spectrum the tradition of faux marble, the Rug, Roche Bobois, Bonacina Rug · Nodus Rugs · 2019 designers investigate the poten- 1889, and Leroy Merlin: here Loosely inspired by optical dia- tial hidden in disguising objects. she engages in an artistic explo- grams, the Spectrum rug, made They reconsider illusionism as ration harnessing drawing and from hand-tufted wool, maps the foundation of new decor. volume to question our notions the light that illuminates it. Each Here, the design issue is there- of domestic landscape and how line corresponds to a ray of light. fore not strictly a matter of we perceive it. After working Disappearing Spectrum conveys form. It is also the art of manag- three years with designer Marc the passage to nightfall and the ing visual perceptions, even if it Newson, she co-founded the changes in colour triggered by means deceiving them. Design Percept Studio, before this moment. As it takes up po-

42 On loan from the authors creating her own agency in sition on the ground, shade in- tensifies hues and leaves a more 09.1. Twill Light oration of living organisms. Its S U vivid and contrasted mark. You Luminaire · 2017 – 2018 aim is to brainstorm projects R can touch it, plunge your hand Bombyx mori – a species of silk- compatible with environmen- P into it and marvel at its senso- worm – excretes unwoven white tal challenges and to improve R rial qualities. The designer has silk known as Sericyne®, which contemporary life. The themes I invested a phenomenon that is is particularly resistant and are varied: future bioinspired S invisible to the naked eye with shiny. In this it is unique since it home, energy, health, food, mo- E material properties, based on does not produce a cocoon but bility, exercise, and even space. her experimental work, decod- instead places its silk directly on He is also a professor-researcher, ing the real world with sensitive various shapes. Twill Light liter- chair of the Nature-Inspired representation. ally illuminates the potential of Design Masters at the ENSCI -

On loan from the producer these insects, who actually pro- Les Ateliers, and a professor at duce the object alongside the Sciences Po and lecturer. designer. On a slightly twisted metal ring, chequered with a 09. Élise Fouin grid of metal threads and mini 10.1. Growduce LEDs, designed like a path, the Bio-manufacturing initiative Graduate of the Boulle School, silkworms slowly produced and · 2015 designer Élise Fouin has de- wove kilometres of sparkling Growduce is a domestic veloped a sensitive, surprising silk, producing a bright and bio-manufacturing initiative and poetic relationship with dreamlike mobile. This collabo- that uses organic waste pro- material, constantly challenging rative project with living insects duced in the home as its raw and questioning it, always with demonstrates how design can material. It enables the cul- a certain amount of whimsy. It help create forms of symbiosis ture of a colony of 24 types of is a question of not imprisoning and new modes of transforma- yeast and bacteria that digest, material in form, but of observ- tion. transform and shape the waste ing it, of turning around it, of al- On loan from the author. into everyday objects directly Partners: Sericyne, R3ilab, Ufacto lowing it to take flight and free in a system of interchangeable its spirit. In her work, moreover, moulds. Underpinned by the inspiration often arises when idea that biology can become she visits production sites. From an alternative production tech- the workbenches or the open air, 10. Guillian Graves nique to recycling, this project she cultivates a particular art of illustrates the capacity of de- the unexpected, of shifting forms, A graduate of the ENSCI - Les sign to propose light modes of of transformation. Materials are Ateliers, Guillian Graves created transformation and production transfigured, and through them, the Big Bang Project in part- as part of a frugal approach to typologies are reformulated, nership with the EPFL. It is a raw materials. sometimes combined with new research and innovation agency On loan from the author. technologies. "Design is like that brings together designers, nature – a field of possibilities," engineers, and scientists, to re- she says smiling. The designer imagine new and bioinspired subverts constraints, striving to solutions suited to tomorrow's 11. 5•5 designers reveal new horizons, both in lifestyles. A creative and trans- terms of production and use. disciplinary structure that Sometimes described as the trou- strives to develop new methods blemakers of the design world and tools relying on the collab- or as a think tank, the 5-5 col- 43 S lective have defined themselves 11.1. Print your to reinvent heritage, to better U as furniture surgeons, political Duralex suit our time, by using ... an R DIYers, and also as artisans of Object Complement · Duralex eraser. The volume becomes a P R ideas. Studio 5-5 was founded · 2015 perfect sphere, glazed with a I in 2003 by Vincent Baranger, “A Duralex glass,” explain the bright yellow, like a wink from S Jean-Sébastien Blanc, Anthony designers, "is the very essence of the sun, emblematic symbol of E Lebossé and Claire Renard – what we stand for in design: an the pastis of Marseille. The han- who all studied at the École object with integrity and time- dle, now even rounder, sprouts Nationale Supérieure des Arts lessness. Nothing superfluous from the sphere, and the beak Appliqués – and it has shocked and nothing artificial in its de- looking like a thirsty mouth and provoked the design world, sign. Everything is designed for draws an imaginary line point- systematically questioning the functionality. Its beauty stems ing skyward. The upper opening profession and its influence on from here." To celebrate the remains tilted to prevent the the creative process, as well as brand's 70th anniversary, the ice cubes from escaping when questioning what it owes con- studio has designed 70 add-ons pouring. Reminiscent with just sumers. This unique collective with a 3D printable objects - the right amount of nostalgia, revisits the tradition of global egg holder, juicer tip, perforated the brand logo is raised to bet- industrial design agencies, de- lid, etc. - that can be printed in ter imprint on our collective signing as much for mass-pro- 3D and simply attached to the memory. And it is the Revol duced good as for small pro- iconic Picardie glass. A new Factory, the historic manufac- ducers and various brands. The life, in the form of a joyful and turer, which once again ensures designers have also had the op- obvious homage, through new its production. A nice way to portunity to express themselves everyday uses: depending on the return to our roots, using design.

in the world of luxury consumer accessory, the object becomes On loan from the authors goods, in scenography, event a juicer, a salt shaker, an egg planning, and interior design. cup, or even a hanging lamp. Many experiences and interac- This event-driven project, later 11.3. Obersound tions have shaped their particu- produced by Designerbox, illus- Decorative and Acoustic lar practice and forged a joyful trates design’s capacity to inves- Panels · Oberflex · 2008 and resolutely optimistic state tigate the obvious, in the service Obersound is an acoustic panel of mind. Since then, studio 5-5 of straightforward, simple, and concept offering both a decora- has naturally brought together useful interventions. tive and technical solution for

multidisciplinary creative tal- On loan from the authors interior design projects. Here, ents in a global design approach the approach illustrates the abil- all the while staying true to the ity of design to fit in with a com- same convictions of its roots: to 11.2. Broc Ricard pany's know-how, the existing remain close to people, through Water Pitcher · Ricard · 2018 situation and its constraints, in useful projects, for the broadest An intergenerational icon of order to imagine flexible, open population, to brighten daily popular culture if ever there and adaptable proposals. The lives through common sense. was one, the Ricard pitcher is project is based on the design part of our national heritage. of a range of perforated designs, In 2018, the studio tackled the applicable to all of the brand's challenging mission of reinvent- decorative surfaces - more than ing it. With reverence to Paul 250 options in wood, solid Ricard's original drawing of colors or metal - and it provides 44 1935, the project uses humor paneling with an additional function: sound absorption. In by the VIA, CNAP and distrib- interior design projects. Her S 2018, it further expanded with uted by Ligne Roset, Habitat, clear lines, carefully selected U R the design of a new collection Moustache, MICA gallery, and materials, and color palettes P based on the same idea and Great Design Gallery. reinterpret the tradition of the R coupled with a configurator. French interior decorator, and I Actions 5•5 is thus a series of firmly rooted them in her time. S graphic proposals, but also a 12.1. Surfaces This very French form of seduc- E tool allowing architects and de- sonores tion inspired by the materials signers to build their own mod- Listening Device · 2015 selected and their innate charac- els. Recognized in 2007 and By playing with the codes of the teristics, explores shapes where 2008, this partnership between musical instrument, the project robustness and usefulness min- Oberflex and Studio 5•5 was investigates the iconic living gle with sensual poetry. Her cli- awarded the Gold Medal for room loudspeaker to create a ents include Tolix, Sogo & Seibu, Design at Salon Batimat in 2012. new listening device. Surface JINS, Lexon, Yellow Innovation

On loan from the authors sonores diffuse sound without a (La Poste), Alessi, COR, MUJI, loudspeaker, thanks to an acous- HEM, Ames, Kvadrat, Japan tic vibrator attached to the back Creative, Arita 2016 (Japan), of the object. They are made CVL, Puiforcat and LaCie. 12. Pierre Charrié of maple plywood shaped by a mold. The achieved curvature Pierre Charrié's design is based endows them with stability, ri- 13.1. Patio on proposals and sensitive ex- gidity and lightness for optimal Outside Furniture · Tolix · ploration, through research sound quality. Depending on 2019 into the sensorial dimension of their format, they can be used Drawing on Tolix’s expertise, everyday objects. The son of a to amplify high, medium or low Patio reinterprets with refine- musician and an occupational frequencies. Each one plays the ment and sensuality production therapist, he is interested in score of a distinct instrument, techniques developed by the how material, sound, action, reproducing the acoustic envi- Burgundian manufacture over and movement shape new in- ronment of a musical ensemble, nearly 100 years. The collection, teractions, change uses, and such as a string quartet. The de- composed of armchairs, chairs unveil magic in the ordinary. sign of this simple, inexpensive and tables, is entirely made of To do so, he applies either sim- and sophisticated device stems recyclable steel, 100% made in ple, complex, cutting-edge or from luthier techniques. France. Reminiscent of calligra- ancient techniques, to various On loan from the author. phy, the clear and supple lines materials such as wood, metal, form a simultaneously light and ceramic, paper, mother-of-pearl, powerful design that fulfills the feather, leather, or glass. A free- particular function specifica- lance designer since 2008, he 13. Pauline Deltour tions in every way. Stackable, was awarded the Agora Grant light, and specially designed in 2013, then Grand Prix de la Designer Pauline Deltour for outdoor use, the chairs Création for the city of Paris in opened her firm in Paris in are available in three versions 2015. He was named Young De- 2011. Since then, she has been (stainless steel, slatted stainless signer of the Year by Elle Déco- developing a unique style, both steel, wood and stainless steel) ration Magazine in 2017 and sensual and meticulous, using that can be mixed together, and won the Kaldewei Future Award delicate curves in the fields of produced with or without arm- in 2019. His work is promoted product creation, furniture and rests. Precise and elegant, it was 45 designed with use in mind. 14.1. Sole Mio the Design Section. Recently,

On loan from the producer Luminaire · Galerie Peyroulet he presided over the Execu- · 2010 tive Master Food Design at the Part of the Siamese Objects Royal Academy of Brussels. For Collection shown at the Galerie him, "there is no forbidden field 14. Mathilde Peyroulet in 2010, the Sole Mio for design, as long as it offers Bretillot light uses its lacquered metal, meaningful products. Design fluorescent tube, and plexiglass does not have to specialize. It Designer, interior architect to create a delicate interplay feeds on interdisciplinary work. and teacher, Mathilde Bretil- with the very spatial lines it lot graduated from Camondo generates. With precision, grace, School, and began her career and poetry, the designer seizes 15.1. Duomo in the mid-1980s in Milan and the void and employs color, Chocolate Bar · 2014 London. Her eclectic, generous light and line, to investigate con- Two bars back to back, with and singular practice ranges cepts of scale, livability, and the sensual curves, are suspended from furniture to objects and perceptible horizon. in a transparent case... Despite

includes scenography, jewelry On loan from CNAP small carefully aligned squares, and teaching. It always favors chocolate bars nevertheless hyp- interactions, the connection be- notize us, revealing our most tween know-how and traditions, unspeakable weaknesses, the the bridge between contempo- 15. Stéphane most tenacious addictions, and rary art and design, in order Bureaux the most unbridled desires. This to continuously discover new project takes into account these fields of exploration. Decorated Stéphane Bureaux opened his addictive qualities and attempts Chevalier de l'ordre national du international design agency in to convey all the good it brings Mérite and equally at ease serv- 1990 and he still applies the us. To accomplish this, packaging luxury houses such as Daum, same enthusiasm and rigor to ing and content are designed Baccarat or Christofle, as well baby bottles, a set design for Re- side by side, each sharing their as institutions such as the Mo- nault, and a vase for the Manu- specific requirements to achieve bilier national or in the gallery's facture Nationale de Sèvres. In a complete and light object. The intermediate space, she founded 1997, he became a trailblazer PET box is in fact made up of the International Design Expe- in culinary design. Contribut- two identical sides that clip ditions (IDE). A research and ing greatly to this discipline, he together, securely holding the development program aimed at established it as a legitimate re- two chocolate bars in air and designers and small businesses search and design field. In 2005, preserving their immaculate around the world, where travel one of his remarkable creations, smooth surface. It is a new sen- and new encounters nourish and his entremets dedicated to Jean sorial and marketing scenario. grow new creative languages Prouvé, were recognized by the This pack is then entrusted to its based on other cultures and cus- Agence Pour la Promotion de favorite craftsman for the max- toms. Equipped with a mobile la Création Industrielle (APCI), imum pleasure of the chocolate studio, IDE works in local con- a first for this organization. In lovers...

texts to create and produce new 2010, he co-authored the book On loan from the author. objects, giving voice to a rich Design Culinaire published by and multifaceted world where Eyrolles. He was also a profes- every detail deserves a fresh eye. sor at the ESAD in Reims from 46 1993 to 2003, where he chaired 15.2. Hyperbol guarantees an efficient and Gaulle has partnered with the S U Culinary Installation · 2015 long-lasting cut; the spring that company Novespace, headed by R Make a bowl of milk... from opens and closes the knife is em- French astronaut Jean-François P a bowl of milk. Playing with bedded in the hollow shaft; and Clervoy, and regularly flies on R the culinary word in an alche- the shaft performs three func- the Airbus A310 Zero-G, the I mist-style scenario, this creation tions - rotation axis, spring lock company's flying laboratory, en- S goes back in history to the first and blade play limitation. The abling him to develop a unique E plastic materials. Based on an model, patented and registered, expertise of weightlessness, an ancient technique, which con- demonstrates design’s ability to essential prerequisite for think- sists of extracting casein from closely observe use in order to ing about a living in space. milk, then purifying it, trans- deduce radical, clear, simple and forming it into a paste, molding long-lasting improvements. 16.1. it, and soaking it in a watery On loan from the author. Distiller formaldehyde solution before Model of a Wine Bar in Space drying it. The finished material · 2014 Galalith is completely biode- The future democratization gradable and can be sanded and 16. Octave de of space is on the horizon and polished. The project’s transfor- Gaulle the designer explains that “civ- mation of the contents into the ilizing it means thinking about container – the center into the Octave De Gaulle calls himself new physical solutions that hollow, the liquid into a solid a space designer. A graduate of will render possible not only – combination of materials and the ENSCI - Les Ateliers, with comfort but also Earthly ritu- words to turn a bowl of milk his feet firmly planted on the als and habits. Designing these into Hyperbole, and also invi- ground but his mind in the future experiences means im- tation to witness it, conjures up clouds, he focuses on weight- agining the ergonomics of this the start of the Industrial Rev- lessness. In his thesis project very particular context as well olution and organic FabLabs to Distiller, a wine service in space, as redefining comfort, passen- better shape words... and things. he investigates and hypothesizes ger fulfilment, and conviviality

On loan from the author. on extra-terrestrial civilizations on board and confronting these of the future, enabled him to lay challenges within design.” Based the foundation for his design on these observations, the pro- 15.3. Le Forez work in a very particular con- ject explores a scenario captur- Couteau · 2004 text. His detailed reflection, at ing a particular art de vivre, the The Forez is a folding knife with the crossroads of science (some- tasting of wine in weightlessness. double notches (open/close), in- times fictional), astronautics, Based on extensive space docu- spired by the iconic Opinel knife, and creation, led him to form mentation, scientific principles, but with visual and mechanical the Spade Agency with designer tests, prototyping, and real-life simplifications. Consisting of Matt Sindall in 2015. Together experiments with astronauts only four parts - a handle, a they research objects and sur- carried out aboard Novaspace’s blade, a shaft and a spring - it roundings that future astronauts A310 Zero-G, Distillery is a performs its function with mini- might use. They are particularly new type of wine service, con- mum means, while preserving its focused on cultural rituals in sisting of a torus-shaped (circu- ease of use. The curved wooden space, the rise of civil space and lar) bottle and a partially enam- handle offers a very good grip; the complete lack of relevant eled steel goblet. This is a mental its straight 440C stainless steel and functional forms in weight- exercise brainstorming future blade is easily sharpened and lessness. Since 2017, Octave de design that suggesting shapes 47 S and objects, without tops or U bottoms, that can constantly R levitate and that could accom- P R pany civilization in space. I On loan from the author. Partners: Novaspace, ENSCI, MADD Bordeaux et S Cité du vin à Bordeaux E

16.2. Mumm Grand Cordon Stellar Zero Gravity Champagne Bottle · Mumm · 2018 How do you transport champagne in space and preserve its integrity and a traditional tasting experience? Imagining a bottle that can allow for a bubbly wine tasting in orbit, the designer and a team of experts (scientists and oenologists) focused their research on the scientific restrictions in zero gravity for gaseous liquids: how to get the liquid out of the bottle? How to capture it as it comes out? How to drink it? The result: a double-bottomed glass bottle containing a mechanical system topped with a ring encir- cling the cork and a uniquely ta- pered stemware that allows the traditional taste experience to be faithfully reproduced. Except that in this context, the wine es- capes in the form of foam, then turns into liquid and coats the palate and tongue, releasing aro- mas by capillary action. Design, marketing, and science come together and create a good and its significance moves beyond its conception.

On loan from the author.

48 I N Interact T E 08 R A One hundred years after the industrial revolution, C T which gave birth to design, the digital revolution has profoundly expanded the role and potential of objects. Whether in the case of goods or ser-vices, they extend the design project by opening up a palette of new possibilities, whether in terms of information, astonishment, play, education or the creation of relationships between peo-ple. They generate new modes of understanding and action. And so digital technology is not a solution but rather the driver behind a sustainable transformation of the world.

serving our resources, under- ters (where the data is accessed standing and controlling our by tapping on the glass), this 01. Guillaume energy consumption is about digital weather station combines Foissac more than simply technology or the home’s energy information equipment. It is also a human with local meteorological data. Designer Guillaume Foissac, a story, it is about practices and It comes with an e-ink screen – a graduate of ENSCI-Les Atel- uses that we must embody and digital display that requires very iers, is head of EDF’s Design make visible through objects, in- little power and uses electronic Lab – the energy firm’s inte- terfaces and prospective scenar- ink and ambient light – and grated R&D unit – but also a ios that encourage us to take on runs on a small solar panel. It lecturer and head of the “De- both individual and collective uses very little energy and offers sign boundaries” department responsibilitie. a poetic way to reconnect users at ENSCI-Les Ateliers, and a with their external environment.

member of the design research On loan from Design Lab, EDF R&D Pulse Explorer centre at ENS Paris-Saclay and 01.1. Station ENSCI-Les Ateliers. Building météorologique cross-disciplinary bridges be- Prototype of a connected tween industrial and academic object · Design Lab, EDF R&D, research, he ensures that design EPX · 2019 serves the common good. Pre- Inspired by the use of barome- 49 I 01.2. Chargeur send detailed information about iers. This twofold and interdisci- N à induction home energy consumption to a plinary theoretical and practical T Prototype of a connected smartphone. approach, combining scientific E R object · Design Lab EDF, R&D On loan from Design Lab, EDF R&D Pulse Explorer and historical research, supports A EPX · 2019 the emergence of new fields of C As well as its primary function application and investigation T (recharge smartphones via in- 01.4. Horloge for and through design. It also duction), this connected home Prototype of a connected sheds light on the contemporary appliance provides a daily en- object · Design Lab EDF, R&D challenges facing industry, tech- ergy consumption tally on the EPX · 2019 nical sectors and design itself, user’s phone, both vocally and How best to develop an explicit helping us to better understand visually. Using a position detec- and analogue understanding of what these disciplines can pro- tion system and without inter- the notion of energy availabil- duce together. rupting the recharge, it allows ity? By materially representing the user to look at this energy timeslots with simple coloured information – cost in euros of clips placed around its edge, this 02.1. Design en the previous day’s consumption, connected clock indicates the recherche au comparison with the previous times of the day most likely to Plateau des day, etc. – by simply rotating the see spikes in home energy usage. systèmes orbitaux phone on the charger. By offer- This makes it possible to organ- (PASO) ing a material representation of ise one’s daily routine and tasks Design-led research project energy consumption and raising based on off-peak hours, sun- · 2017 awareness of its usage, this de- shine if solar panels are avail- Design is in essence an explora- vice develops a new frugal rela- able, or the carbon content of tory and cross-disciplinary field, tionship with everyday objects. the electricity provided by the and when it engages with the

On loan from Design Lab, EDF R&D Pulse Explorer network. world of scientific research it

On loan from Design Lab, EDF R&D Pulse Explorer can serve as an organizational and methodological tool of un- 01.3. Interrupteur derstanding and representation Prototype of a connected that can form bridges between object · Design Lab EDF, R&D 02. Laure Garreau disciplines. This notebook is an EPX · 2019 account of design-led research As well as its initial function, Laure Garreau is a graduate of work conducted at the Plateau this connected wall switch ma- ENSCI-Les Ateliers and holds des systèmes orbitaux (PASO), terialises instantaneous power a Master’s degree in design a CNRS body whose mission is usage, i.e. the total amount of research (ENS-Paris-Saclay – to design preliminary projects energy being consumed at time ENSCI-Les Ateliers – Télécom for space missions based on sci- T by all of the electrical ap- ParisTech). She works as a de- entific studies. By mapping the pliances running in the home, signer and researcher. She joined needs and recording the organ- allowing the user to better un- the design centre at Thales, izational and design challenges derstand how to manage and where she imagines and designs regularly identified by various regulate them. This is displayed complex digital products and experts and scientists, this re- with a luminous halo whose in- tools and is also an associate search was a way to formalise tensity indicates consumption member of the design research potential methods of manag- levels. By swiping the object, centre (CRD) at the ENS Par- ing and archiving the results of 50 like a touchscreen, the user can is-Saclay and ENSCI-Les Atel- studies on which the design of space systems is based, but also art in 1964, it also sheds light ures the user’s physical activity I of rediscovering the ways in on the contemporary stakes of and sleep quality, while also N T which a model can be used as this relationship. allowing other connected ob- E a tool to represent and explore On loan from the author. jects nearby to be controlled. R specific needs and the primary A system of haptic alerts warns A parameters of technical feasibil- the user of incoming calls or C ity. In short, this is about sketch- can be used to set a vibrating T ing out possible landscapes that 03. Inès le Bihan alarm clock during a phase of can be appropriated by various light sleep. The central module stakeholders and thereby better Twentysomething designer Inès is a ceramic disc made using explored. Le Bihan exemplifies the sin- traditional manufacturing tech-

On loan from the author.. gularity and appeal of French niques. The wireless bracelet is Partners: Plateau d’architecture des systèmes orbitaux (PASO), Centre national des études spa- design when it is exported and recharged by induction. tiales (CNES), ENS Paris-Saclay, ENSCI – Les Ateliers, Télécom Paristech travels. This graduate of the On loan from the author. In collaboration with Mathias Béjean École de Design Nantes Atlan- tique has spent time in Paris 02.2. L’étrange oubli and Shanghai, Tokyo and San 03.2. Mi Scale 2 d’une exposition de Francisco, and her collabora- Connected weighing scales · Jean Prouvé tive work alongside Xiaomi, Xiaomi · 2017 Research article on the Nendo, Louis Vuitton, Cinna These ultra-thin augmented history of design · T&P and Kartell is an illustration of weighing scales, made from a Publishing · 2019 the absence of boundaries be- flexible and washable silicone Over the course of the 20th cen- tween products and styles. Her shell and four metal sensors tury the practice of design was projects are fuelled by techno- flush with the device’s surface, accompanied by theoretical logical innovation, the history allow the user to record highly work produced by designers of things and storms. Elected precise data via an app: weight, themselves – revealing, locating “Expat Breton of the year” by muscle mass, intra-abdominal and constructing both the intel- West Web Valley and featuring fat, body fat, bone fat, water lectual and practical principles in the Forbes 30 Under 30 Eu- percentage or body mass index. and challenges of the discipline. rope rankings, in her presence On loan from the author. But this was not necessarily everything seems simple, easy done in a way that reflected the and elegant. Now working for rigour or structure of academia. Facebook in Seattle, she invents 03.3. Stylo In France, things are changing objects that it is difficult to im- Oreillette Bluetooth · Logitec little by little, as is clear in this agine might one day exist. et Nendo · 2012 research article on the history of The design of this Bluetooth design exhibitions, which pon- headset emerged from reflec- ders the meaning of the disap- 03.1. Jade tions on its production process: pearance of the historiograph- Connected bracelet · Huami an old production line used ical landscape of an exhibition Amazfit · 2016 by Logitec to create pens was entitled “Jean Prouvé industriel Part of China’s traditional jew- brought back into use. The elec- du bâtiment” (21 January – 31 ellery culture, the Jade bracelet tronic components are inserted March 1964, Pavillon de Mar- is a symbol of a happy life. It into a fin aluminium tube with san, Musée des Arts Décoratifs). is also a service. Designed as a an assembly technique identi- By highlighting the tensions that hybrid fashion accessory with cal to that of an ink cartridge. existed between industry and a customisable style, it meas- The tube’s surface can then be 51 I scratched and polished over grams, Figs studio illustrates in 04.2. Datalegreya N time as the device is used, cre- the field of digital technology the Hybrid font · 2016 T ating a sense of attachment for capacity of design to establish Smart devices are now present E R the user. a culture, sensitivity, empathy in many aspects of our daily A On loan from the author. and creativity in the service of life, whether private or profes- C users. It does this in a way that sional. Yet most of them come T is intuitive, practical and pleas- with a small screen and all of 03.4. Quille ant. The conviction underpin- them process sometimes com- With Thomas Droze · Desk ning the studio’s project is that plex and often voluminous data, lamp · Ligne Roset · 2016 respect for human beings is an which needs to be materialised Quille is an ethereal lamp that essential condition for a product in a way that is clear, succinct lights up a space more than one to be taken up. Since 2015, this and easily readable for the user. metre long. It casts soft shad- firm has been in charge of de- Datalegreya is a hybrid font ows and its light is suitable for signing digital media providing that can combine text and data work, whether with a screen Grand Paris Express travellers curves with minimum clutter. or absorbed in a text. Securely with information. Its founders, By reorienting part of the com- balanced with a simple coun- alongside Yves Sépulchre, Oliv- plexity of programs towards in- terweight, it takes up no more ier Cornet and Laurent Herbet, terfaces, this project provides a space than a pen on the table all teach at ESAD in Amiens. realistic and elegant response to on which it rests. This project a specific problem on a market illustrates the evocative power that is rapidly developing, for of design which, in giving shape, 04.1. Transatlantic the benefit of the end user.

projects objects and usage into Cultures On loan from the author. poetic and fertile realms of the Online encyclopaedia · 2020 imagination. Transatlantic Cultures is a

On loan from the author. digital platform that enables research and members of the 05. wider public to better understand the processes behind the 04. Figs globalisation of knowledge through the analysis of cultural Founded in 2011, Figs is an exchanges and dynamics since 06. Ian Ardouin- international digital design stu- 1700 on both sides of the Atlan- Fumat dio based in Paris and Tokyo. tic. Designed as an online ency- It specialises in software and clopaedia and available in four Ian Ardouin-Fumat, a graduate user interface (UI) design for languages, this project is at once of the Nantes Atlantique school all types of media and clients a database and a space for ex- of design, uses code as a creative (SMEs, start-ups, large firms, in- changes and collaboration. With material and as a critical tool stitutions, etc.). Although “the a focus on developing a brows- to help ensure proper usage of wealth of the digital ecosystem ing experience and usage that technological resources. Based is constantly increasing,” pro- evolve in accordance with the in New York, for many years he viding access to functions is no user’s needs, this project uses has collaborated with the Office longer enough. Through the design to facilitate the legibility, for Creative Research, a hybrid architecture and graphics of the acquisition, sharing and expan- working group that runs explor- interfaces it designs, masking or sion of knowledge. atory projects to improve our

52 shifting the complexity of pro- On loan from the author. understanding of the humani- sation of complex data systems. head of design at Fabernovel, ern France), at the same time I Working with Twitter, he has where she comes up with tools offering versatile usage. Here, N T developed Helios, a data instal- and scenarios that use design to design has been used to address E lation that explores the spread support the digital transforma- aesthetics, usage as well as tech- R of conversations across social tion in major firms (e.g. Société nical and contextual concerns to A networks. Ian now works as a Générale, MAIF, Engie). Her ap- make a product that provides a C freelancer designing programs proach involves both diffusing a useful response to the contem- T that use information technolo- design culture internally and ex- porary changes in the way we gies like data visualisation and ternally and using her methods work. cryptography to serve the com- and her capacity to offer an al- On loan from the producer vvorker/Fabernovel mon good, individual rights and ternative view of practices with freedoms. Information about a view to initiating profound his projects has been published structural changes in organiza- in media outlets like the New tions. In 2019, together with 08. NoDesign York Times, CNN, National Ge- Stéphane Distinguin, chairman ographic and Wired Magazine. and founder of Fabernovel, and Founded by designer Jean-Louis Thomas Borie, who manages Frechin in 2001, and joined product and space design pro- by Angelo Chiacchio in 2010, 06.1. CodeTalker jects, she set up vvorker, a pub- NoDesign is a pioneering agency Software · 2015 – 2020 lishing house that “puts objects in the world of digital design Our usage of the Internet and back to work.” Here, product with renowned expertise and social networks generates such design tests and embodies the the recipient of multiple awards. quantities of personal data that theories, concepts and reflec- For nearly 20 years, NoDesign. it is difficult for us to control tions at work in the changes af- net has tirelessly questioned the how it is used. Deface is soft- fecting today’s workplace. ways in which we inhabit the ware – a suite of applications digital world. Regardless of the for computers and phones – that context – it has collaborated encrypts content posted online 07.1. vvorker with major firms (e.g. Renault, so that only those it is intended With Pauline Deltour · Bag · Orange, Parrot, Leroy Merlin), for can access it. This project il- vvorker · 2019 start-ups, institutions, teaching lustrates the capacity of design In the era of flexitime and tele- bodies, curators and publish- to use complex technologies working, what are the objects ing houses – and whatever the to serve the common good. By that we need? Responding to subject – strategy, objects, ser- enabling each of us to reappro- urban mobility imperatives, vices, interfaces, research pro- priate digital spaces, it fashions vvorker is a bag that invites us jects, production processes, data an inhabitable digital ecosystem to rethink this timeless object or urban design –, its role is to that is respectful of individual which urban workers can use to propose objects and practices freedoms. carry their belongings. Intended that both provoke and respond

On loan from the author. as a “designer item” that is sober, to new situations, as well as to discreet yet elegant, it uses tech- imagine innovative, immersive, nical materials that prove effec- human and sensitive modes tive for this context (Dyneema of interaction that sketch out 07. Mathilde Maître is a light and resistant fabric comprehensible representations fashioned without seams for of what technology enables us Mathilde Maître is a graduate this project by a workshop in to do. And it does this for the of ENSCI – Les Ateliers and the Drôme department in south- greatest number, ever mindful 53 I of the societal, economic and tions in automatic mode, such ing, this project combines tech- N environmental changes we face. as Follow Me, Cameraman or nology, activism and humour to T In 2019 Jean-Louis Frechin SmartDronies, particular at- have an impact on our collective E R published Le design des choses tention was paid to the pilot’s behaviour. A à l’heure du numérique (FYP learning process in order to pro- On loan from the author. C Éditions). duce high-quality images from T a technical (perfect histogram) but also aesthetic perspective. 08.4. Lavoisier 08.1. Parrot The project is based on the de- Smart lighting unit · 2020 FreeFlight 6 sign of a tool that allows artists Playing with optics and the Piloting application for the to produce stills and films that contrast between the material- Parrot Anafi camera drone · inspire awe and astonishment. ity and immateriality of light, 2017 It is the ultimate in software between the living presence The arrival of drones, veritable design. and absence of objects, the

flying cameras, changed the dis- On loan from du drone : Parrot Lavoisier lighting unit offers a tance between the eye and the sensual experience. Via a smart- lens, radically changing the pho- phone app, the user is free to tographer’s perspective of the 08.2. Parrot modify the brightness and hue world and making the produc- FreeFlight Thermal (graded from cold to warm) of tion of cinematographic-qual- Application de pilotage the light produced by a series ity aerial shots available to all. drone Anafi Thermal · Parrot of floating rings. By combining Central to the collaboration · 2018 timeless materials traditionally between NoDesign and Parrot – associated with the world of which invented the mass-public decorative arts (marble, glass drone – is a process of reflection 08.3. AirO and brass) with an experimen- on the capacity to create beau- Pollution sensor badge · tal approach to technology, this tiful images with this type of 2019 project broadens the notion device. The application Parrot You can’t see pollution. The of the function of objects, part FreeFlight 6 enables the user to augmented badge AirO offers science part poetry. Under the steer and adjust a flying camera urban dwellers the chance to name of Lampe Frechin, it is ed- with great precision. It is possi- measure their exposure to pol- ited by DCW éditions, the pro- ble to pilot the device and film at lutants and express it using ducer of the Lampe Gras, and the same time, organise a flight simple messages like “We are revealed in september 2020.

plan or programme the drone to suffocating!”, “Get out of here!” Prototype : On loan from the author. Serie : DCW Paris follow and film the user auto- or “Breathe”, addressed to oth- matically. And this can be done ers as a reflection of their own in a way that is simple and easy peril. The information is evalu- 08.5. WaB to understand. The design chal- ated in real time, analysed and Communicating device · 2014 lenge here was to set the func- shared with the community via WaB is a communicating device tions, architecture and uses of a companion app that comple- that explores a computer algo- the application and its interface ments the information with a rithm, the cellular automaton – to accommodate the practical detailed approach to the nature one of the standard models used aspects of photography and of the contamination measured. to study complex systems –, cinema in a way that would By making the quality of the air materialised here in an interplay be straightforward, logical and we breathe visible in a way that between matter and light that 54 predictable. For the many func- is militant and thought-provok- creates changing patterns at the surface of the object. Developed latest mobile and web-based a decarbonised world, musical I using the electronic prototyp- technologies, exploring the new objects, mobility and the future N T ing platform WeIo designed by relationship which, with the of the automobile in the digital E NoDesign, WaB comprises an emergence of tangible interfaces, era, as in the Affranchie project, R experimental opto-digital screen augmented reality and the am- which he developed with tex- A that explores the nature of im- bient web, has been established tile designer Nolwenn Le Scao. C ages and the behaviour between between media, instruments, us- Nolwenn trained as a costume T objects. It displays opaque, sen- ers and their environment. artist and graduated from Ecole

sitive and analogue information On loan from the MNAM. Duperré and ENSCI-Les Atel- Partner: Ircam, projet CoSiMa (Médias collabo- and builds a relationship be- ratifs situés) porté par l’Agence nationale de la iers. She is currently developing recherche (ANR) tween the digital image and the new materials that are supple, physical medium that is close to sensitive and sustainable using that between paper and printing. 08.7. Mini-Coloop a technical and industrial ap- WaB can be used with various Mini collective sequencer · proach to textiles for the auto- programs: interaction between 2017 mobile, interior architecture and objects, algorithm simulator or This mini version evolved from fashion sectors. sound interaction. This project the Coloop sequencer, part of explores the idea of interface the CoSiMa (ANR) project in objects that exploit technology partnership with Ircam. It re- 09.1. L’affranchie while at the same time freeing tains the power and software Open source-designed themselves of the traditional capacity of its larger predecessor automobile · 2014 functions of screens to produce but in a format that is compact Digital technology may not an alternative material expres- and transportable. Using the change the nature of things, but sion of information that is more latest mobile and web-based it transforms the way we make contemplative and discreet. technologies, eight phones can them collectively. L’Affranchie

On loan from the author. simultaneously connect via is an automobile designed on Bluetooth to play music collec- the basis of an open source tively. The device is small, water- chassis developed by Italian 08.6. Coloop proof, battery-operated and can firm OpenMotors. Presented Smart and collaborative be easily transported anywhere. here in its electric version, this music sequencer · 2017 On loan from the author. vehicle is intended to be assem- Described as the ghetto blaster bled within a small network of of the 21st-century by its design- collaborators, on demand, and ers, Coloop is at once a musical finished using the know-how instrument – a sequencer – and 09. Loïc Le Guen of businesses available locally. a powerful sound diffuser. It and Nolwenn With its open design approach, is collectively operated via an Le Scao this project proposes an alterna- app installed on the phones of tive to the traditional automo- its users, who select a sound – Loïc Le Guen, a graduate of bile industry, one that is lighter, sampled or from an electronic ENSCI-les Ateliers, has ex- flexible, reconfigurable and -af instrument – as well as its inten- plored the potential of digital fordable. The experimental pro- sity. It then memorises, executes technologies as a resident at cedure, based on a development and diffuses the samples cre- CEA de Grenoble and at Or- platform that can be accessed ated in real time. Coloop offers ange Labs and Fabernovel. He by anyone, without the need for unique interfaces and collabora- now works for NoDesign.net, significant investment, makes it tive production tools using the where he continues to reflect on possible to quickly prototype 55 I and test new types of individ- 10.1. Katakuchi et explore the conditions of sen- N ual or shared mobility, such as Lotus sitive and desirable innovation, T car sharing or urban or rural Fruit bowls · 2018 with a focus on human aspects, E R micro-mobility. In so doing, it These 3D-printed fruit bowl with a view to creating positive A resituates the designers and en- prototypes emerged from ex- and sustainable life experiences. C gineers at the heart of an inte- ploratory work on the rela- Anne Asensio has received T grated production process that tionship between hand gestures, several design and innovation reflects the environmental and colour, digital design tools and awards and sits on advisory and social concerns of our era. contemporary practices in the strategic committees in design

On loan from the authors decorative arts. They loosely schools worldwide. Project supervised by Jean-Louis Frechin, chassis by OpenMotors.co reinterpret Japanese tableware, deformed and remodelled using digital painting. Playing with 11.1. Tamu both light and digital material, Chair prototype · Patrick 10. Laureline the shifting colours contribute Jouin & Design Studio Galliot to the invention of a new aes- Dassault Systèmes · Dassault thetic language that stems di- Systèmes · 2019 Laureline Galliot, a graduate of rectly from the tool itself. Tamu is a light, foldable and

ENSAAMA and ENSCI – Les On loan from the author. 3D-printable chair that represents Partners: Institut Français (Villa Kujoyama), Bet- Ateliers, is developing an ap- tencourt Schueller Foundation a new unique and organic aes- proach to the decorative arts, us- thetic. It is the fruit of exploratory ing the plastic arts and her sensi- work with an innovative design bilities to explore tools of design, tool, the 3DEXPERIENCE plat- painting, sculpture and digital 11. Anne Asensio form by Dassault Systèmes, a vir- manufacturing. You might say tual production space that relies she is a digital artisan who ques- With extensive experience in on advanced technological solutions the role and status of col- design management and innovations (topological optimisation, our, as well as the processes used tion strategy in the automobile 3D modelling, behavioural simu- to generate forms in applied arts sector (Renault and General lation, generative and parametric and contemporary mass pro- Motors), Anne Asensio joined design). By initiating a productive duction. Vases, tapestries, rugs Dassault Systèmes in 2007 as and creative dialogue with artifi- and other textiles carry so many vice-president of design. The cial intelligence, this project puts possibilities, all from a single following year, she set up the design to work reconciling the vir- technique, at the crossroads company’s Design Studio, a cre- tual and tangible worlds, digital between Fauvism and technol- ative and innovative laboratory and analogue technologies. Here, ogy. The work of this designer, focused on the exploration of the material is virtual and the ma- winner of the Grand Prix du cutting-edge digital technolo- nipulations of the designer/artisan Festival Design Parade in 2013, gies (generative design, virtual are augmented using technical re- is regularly included exhibitions and augmented reality, simu- sources. This is a forward-looking and is part of the permanent lation, etc.), as well as opening approach that uses the capacities collections of the Centre Pompi- up new practices, cultures and of the engineer and industrial ex- dou, the CNAP and the Madd conceptual frameworks in the pertise to favour a more human in Bordeaux. field of design for the benefit of and sensitive usage of technology, all designers and firms (e.g. Air drawing on the know-how and Liquide, Bel, Eiffage TP, Miele, imagination of the designer.

56 Renault, SNCF). Her aim is to On loan from de Dassault Systèmes and humidity. It contains six pre- 13.1. World of Yo-Ho I N cut silkscreen paper toys with an Augmented board game · T 12. Pinaffo & electricity-conducting ink, each Les éditions Volumiques · E Pluvinage of which produces sound that 2015 – 2016 R illustrates the different physical World of Yo-Ho is a game of A Marion Pinaffo and Raphaël principle used by the sensors. By adventure and battle that takes C Pluvinage graduated from EN- giving users – through play – the place in a world of pirates with T SCI – Les Ateliers. They teamed chance to understand what a a hint of fantasy, combining the up in 2015 to explore “behind conductive material is, this pro- pleasure of board games with the the scenes of the virtual world” ject uses design to easily decipher interactive mechanisms of video and develop tangible, accessible reality, drawing on intuition, de- games. Each player’s phone and joyful systems of representa- duction and pleasure. serves as a ship, which is simply tion for the complex and invis- On loan from the authors placed on the board to begin the ible technological phenomena adventure. Combining a tradi- that are now part of our daily tional box with a smartphone lives. Sensitive experimentation, app, this project seamlessly inte- intuition, analysis of forms and 13. Étienne Mineur grates digital technology into our physical systems are central to everyday life. their work, allowing them to Étienne Mineur is a designer, On loan from the author. better explore the interactions teacher, guest speaker at interna- between the mathematical logic tional conferences, inventor and of automatons and the creative publisher. For nearly 30 years he 13.2. Collection sensitivity of humans. Their has been exploring the relation- Zéphyr work has been put on display at ship between graphic design and Books and applications · Les the Gaîté Lyrique, the decorative interactivity. As artistic director éditions Volumiques · 2015 arts museums in Bordeaux and in the early 1990s, he developed The Zéphyr collection, combin- Paris, the Triennale in Milan and CD-ROMs, websites and in- ing books, paper toys and video the Centre Pompidou. They won terfaces for Yves Saint-Laurent, games, gives young players the the Te Ataata residency award in Gallimard, Issey Miyake, Chanel, chance to tackle the principles New Zealand in 2015, the Audi Nokia and the Cartier Founda- of tangible interaction. They can Talents prize in 2016, and were tion. In 2009 he founded Volum- explore the digital ecosystem and selected for the 2019 Hublot ique, a publishing house and stu- interact with it through tangible Prize. dio that designed and developed objects and materials that are new types of games, toys and manipulated via the user inter- books based on the principles of face. The collection includes five 12.1. Papier Machine tangible interaction. This is an volumes, each of which presents Book/game · 2014 – 2017 area in which he has innovated a story that children can then Every day we use electronic and developed technical and cre- follow via a tablet. Through a objects, but their internal func- ative expertise, leading to many fictitious scenario that stimulates tions are a mystery to us, almost patents. As guest professor at the the player’s imagination, this is a magical. Papier Machine is the Haute Ecole d’Art et de Design sensitive initiation to the world first volume in a collection of in Geneva, he regularly speaks at of video games, like a base from books that allows each of us to events in France and abroad. which to explore the augmented explore the mechanisms of the world. world of electronics: sensors to On loan from the author. detect light, movement, breath 57 I 13.3. Maisons 13.5. Pluie à midi 13.7. Pinceaux N fantômes Tablet-based book and Prototype for a drawing app T Livre-jeu · Les éditions application · Les éditions · Les éditions Volumiques · E R Volumiques · 2015 Volumiques · 2013 2020 A This is the last item to be pub- This hybrid story recounts the This prototype for a drawing C lished in the Zéphyr collection, underwater adventures of Joe, a app uses a real paintbrush that T an augmented book/game that goldfish who dreams of becom- is detected by a tablet. The soft- invites the young user to try ing a shark. The screen, a poetic ware offers various functions and catch as many members metaphor of the water on which that enable the painter’s brush- as possible of a charming fam- the paper modules are placed, strokes to be translated into a ily of ghosts to save them from immerses the spectator in an ev- range of graphic shapes. Here, the consequences of the storm er-changing aquatic world that the interface becomes a sensual that destroyed their home. It extends the experience of the web that connects an everyday includes a book, the original book. By bringing the principles object to a digital space.

medium in which the story is of tangible interaction into play, On loan from the author. presented, and a pre-cut paper this project creates a material toy for the child to make and link between two media of a place on the touchscreen tablet. different nature, revealing their It is then up to the player to complementarity and enhancing 14. Adrien Husson demonstrate skill and speed on the imagination of the user.

the digital interface! On loan from the author. Trained at the Arts et Métiers en-

On loan from the author. gineering school and the Strate design school, Adrien Husson is 13.6. Papiers both an engineer and a designer. 13.4. Paper Alarm musique At the Motion Lab, part of the Clock Prototype de piano en papier interdisciplinary research centre Paper alarm clock · Les · Les éditions Volumiques · (CRI) in Paris which he jointly éditions Volumiques · 2013 2020 set up in 2016, he develops re- Paper Alarm Clock functions in Papier musique explores the search projects that look at the tandem with the user’s smart- potential of connected paper role and possible relevant uses phone via a dedicated app. A through a musical scenario. of digital technologies in edu- small theatre stage is provided Linked to a smartphone, the cation generally. Exploring and which is folded and the phone is paper keyboard uses an app to hybridising physical and digital then placed inside. In the morn- produce sound, represented in realities, he works on the design ing, the user is awoken with a the form of moving symbols on of sensitive learning tools. Here, presentation of the weather fore- the interface. This project uses design – a new protagonist of cast for the day. Here, design of- design to create an interaction laboratory science – leaves be- fers a material representation in between the tangible and digital hind its traditional terrain and 3D of the interface and graphic worlds in a way that is fun, de- teases out new worlds within and sound effects to provide a lightful and creative. the one we know. By occupying

poetic manifestation of weather On loan from the author. and modelling unknown territo- data. ries, it tames complexity to de-

On loan from the author. velop intuitive and inhabitable scenarios.

58 14.1. Hitbox an annual research journal – I N Interactive punching bag · Units Research Review – which T CRI · 2018 records and offers visibility to 16. Dataveyes E Can digital technologies be use- the work of plastic artists and R ful to learn and perfect sports researchers in this area. In 2019 The era of rich data and smart A activities? Designed in collabo- the duo received the Audi Talent objects is radically changing C ration with the Cité des Sciences, award for their Experimental our habits. A revolution is tak- T this augmented and connected Party Unit. ing place in the interactions be-

punching bag materially rep- © Matthieu Gauchet tween humans and data and we resents the boxer’s movements must determine its form so we and the impacts of punches in can all understand this new en- real time using an illuminated 15.1. Turning Speed vironment shaped by algorithms. surface. This provides the user 1.A (T.S.1.A) To accompany us in these with direct and precise infor- Interactive dancing machine changes, Benoît Vidal, a gradu- mation (accuracy of punches, · 2019 ate of HETIC and specialised in force, speed of movement, etc.), Turning Speed 1.A (T.S.1.A) web-based and digital technol- as well as limiting the risk of is one of a range of machines ogies, co-founded Dataveyes in injury. Training takes place with designed as part of the Ambi- 2011 with Caroline Vidal and bags placed in front of the boxer ent Party Machines project, an Léo Gourven, who specialise in rather than an opponent. The experimental and festive unit the creation of interfaces that learning experience is thereby inspired by the practices of enable users to understand, ma- immersive, tangible and varied. rave, but capable of colonising nipulate and communicate their

On loan from du CRI a wide diversity of spaces and data. Using a creative approach Desinger: Adrien Husson Coordinators : Amodsen Chotia et Joël Chevrier locations, in some cases unique. to code and the way we present The robots that make up this digital information, they use project – dynamic, interactive, design to transform this infor- bright and sonorous devices mation into an experience that 15. Units – involve the whole body, caus- enriches our data usage. ing it to enter a machine-like Tom Formont and Roman Weil trance as part of an experience are graduates of ENSCI – Les that is part plastic, part rhythm, 16.1. Better driving Ateliers and Centrale Supélec part technique. T.S.1.A is an community and work as engineers and de- interactive dancing robot that Data-visualisation · Michelin signers. In 2019 they founded reveals the levels of sound with Data Driven Intelligence Units, a design studio and lab- which it interacts, an ode to this (DDI) · 2019 oratory that explores different never-ending movement, to its By revealing the information uses of technological machines, changing rhythms. With its long contained within a huge volume from micro-robotics to new arms fitted with small spotlights of data using advanced visual- medical diagnostic tools. They that create kinetic forms of light, isation techniques, design can have developed an approach it serves as a point of reference help us to understand its com- that is midway between scien- in a party environment – and as plexity and make otherwise in- tific research and contemporary a reminder of its ceaseless effer- visible phenomena perceptible. art, with a view to better explor- vescence. The Better Driving Community ing the relationships between On loan from the authors project shows how the data Recipient of the 2019 Audi Talents Award technical systems and human taken from 50,000 connected sensibilities. They also publish vehicles in the Michelin com- 59 I munity, transformed into infor- manising these black boxes. precursor of interaction design N mation that itself then generates On loan from the author. and a pioneering agency among T knowledge, can help us to build France’s coders/designers. This E R better infrastructure. interactive panorama displays A On loan from the author. a series of interactive experi- C 17. Ici la lune ments and complex web-based T projects: adventures of 3D char- 16.2. ROMI Arnaud Le Ouëdec, Benoît Plâ- acters (Cosmix), an interactive Data visualisation · 2019 tre and Vincent Quéguiner stud- alphabet (Fine Font), a brand Using data visualisation, ied digital design in Amiens at universe (Chanel), the agency’s whereby data is materially rep- the beginning of the 1990s, ex- first website App( lunaire), the resented to make it perceptible, ploring interactivity in its many travels of corks around the design can help change the way guises through experimental world (Moët Explorer) and a businesses work with data by projects that combined creativ- poetic world of sound devel- transforming it into tangible ity and coding. The arrival of a oped for Kenzo (Luniaq). It is and comprehensible informa- new medium, the Internet, was a reflection of the changes in tion. The ROMI project enables met with circumspection among digital design over the last 25 biology researchers to visualise many professionals and teachers. years, offering a striking per- 3D data taken from plant scan- In 1998, the trio founded Ici spective of the acceleration of ners and thereby improve their la Lune, one of the first agen- technologies, how they are used analyses. The aim is to renew cies in France to specialise in creatively and the invention of a the ways in which we interact the design and development of new profession: coder/designer. with the complex information tailored web applications cou- The project uses Modulæ, a we collect to increase the capac- pled with information systems. software solution designed and ities of experts and non-experts Chanel, Dior, Infogrames, Moët published by Ici la Lune that al- alike in a given professional sec- & Chandon and Kenzo were lows the user to quickly create tor and at the same time create among their first clients. Since hybrid and multimedia digital more harmonious work syner- then, the now international experiences.

gies and fruitful collaboratio. agency has built up a global On loan from the authors

On loan from the author. vision of the design of appli- Partners: ENS LYON / CNRS, Sony CLS, INRIA cations, with expertise in open source web-based technologies, 16.3. Commute and has developed a solution for 18. David Bihanic Data visualisation · 2018 the creation and dissemination Commute is a data visualisation of customised training content. David Bihanic, a designer and project that makes sound pollu- It ceaselessly explores the crea- lecturer at Université Paris 1 tion in public transport percepti- tive and technological limits of a Panthéon-Sorbonne and a re- ble – for both our eyes and ears. digital and ever-changing world. searcher at EnsadLab, part of It demonstrates the capacity of the École Nationale Supérieure design to give us languages that des Arts Décoratifs, is devel- are at once visual, sonorous and 17.1. L’odyssée oping a hybrid approach that palpable and which enable us to Interactive digital design combines scientific research combat the obscurity of algo- panorama · 2020 and creativity. He is the author rithms in a way that is creative L’Odyssée presents a selection of many books and articles ad- and familiar, to some extent hu- of digital projects run between dressing new digital realms and 60 1996 and 2001 by Ici la Lune, a explorers the facets of design in its collaboration with engineer- includes designers, researchers I ing. This practical work, centred and developers, sees design as a N T on data visualisation, studies creative process, a way to think 20. Claire Éliot E the different paradigms for the and innovate with others with R representation/visualisation of a view to improving life and Claire Éliot is a designer, re- A mass information, with the aim each individual’s relationship searcher, teacher and graduate C of making it more expressive. with his or her environment, a of the Ecole Duperré and EN- T Through the design of forms pre-requisite for technological SCI – Les Ateliers. She works at that offer an alternative way to innovations that are both useful the crossroads between fashion, sketch the contours of reality, he and meaningful. In 2018, the industry and science, explor- offers us unique ways to under- studio launched Interaction Lab, ing the potential uses of flexi- stand and read that reality. an in-house research laboratory ble materials when combined that looks at interactive aesthet- with electronics. In 2015 she ics so as to better explore and founded Fashion Tech, an or- 18.1. Air traffic prototype new forms of sensi- ganization that aims to reunite patterns tive interactions that establish the ecosystems of fashion and Data visualisation · 2017 links between the physical and technology as part of a sustain- With the subtitle “rankings of digital dimensions and benefit able development approach. In the world’s busiest international the greatest number. 2017 she took part in a research airports and air traffic routes”, programme at the Motion Lab this data visualisation project (CRI Paris) on interactivity, the sketches out a new geography 19.1. Objet body and movement. Her work of the world based on human d’attention currently focuses on the aesthet- behaviour. Every day, across Interactive meditation ics and functionality of digital the planet, tens of thousands device · 2019 objects, which she deconstructs, of planes criss-cross our skies. Permanent ultra-connectivity is a reorients and reinvents to make A precise comparison of their factor contributing to stress and them as tangible and embodied frequency allows us to isolate everyday anxiety. The constant as possible. the destinations that clearly requests and alerts and steady emerge as those favoured by stream of images and video passengers. Once these journeys content may offer us means of 20.1. Soft Mirror have been materialised on a escapism, but they come in the Supple textile interface · map, they make up a grid whose form of distractions that un- 2019 irregular geometry provides a dermine our self-awareness and Soft Mirror is a supple textile whole new reading of our in- calm. This project involves an interface that interacts with the habited territories. interactive device designed to user when he or she moves. Like

On loan from the author. be installed in a collective space, a mirror, its surface – made up of exploring our physical relation- multiple scales – moves, thereby ship with digital objects with a reflecting the body’s gestures in focus on re-centring through three dimensions. The fabric’s 19. Meaningful meditation and breathing. Us- lightness and the natural and ers sit comfortably opposite the supple movements of the scales, Meaningful is a studio that de- device, focusing their gaze on it once triggered, make this ro- signs digital products. It was and allowing themselves to be botic system an organic object. created in 2014 by Marine guided by its pulsating light. This is achieved through a ma-

Rouit-Leduc. The team, which On loan from the authors trix of motors with electromag- 61 I netic fields that cover the whole 21.1. AR Cut & Paste N surface. This project illustrates Prototype d’application · T design’s capacity for invention 2020 E R and innovation through the new AR Cut & Paste is an applica- A relationships it can weave be- tion prototype which uses a C tween materials and interactive smartphone camera to capture T techniques, creating living, reac- images of objects around us tive and astonishing objects. and insert them into a digital

On loan from the author. document in a natural and in- With the support of the Centre de recherches interdisciplinaire (CRI) tuitive way: capture, redirect the object, and then position it in the document with a single touch in just a few seconds. Its 21. Cyril Diagne interactive system draws on augmented reality and machine Cyril Diagne is an artist, inter- learning techniques and these action designer and programmer, analysis capabilities allow for who uses his knowledge of code an extremely simplified inter- and algorithms as the basis for face compared to existing ones. designing artistic systems and in- This project is part of a larger stallations. He presents scenarios research project and part of a for perceptive visualization and series of prototypes the designer exploration of the digital world. produces every week. Its source Based in Paris, he co-founded the code is published on the Github collective Lab212 in 2008. He is platform.

often recognized for his work - On loan from de l'auteur WNO Performance Award recipient 2015 with designer Béatrice Lartigue; DevArt Prize recipient in 2016 for Les Métamorpho- ses with M. Kalia, exhibited at the Barbican Center in London; E-Fashion Award recipient in 2018 with designer Karen To- pacio, for Drape – and he is currently in residence at the Google Cultural Institute Lab in Paris. His projects explore artificial intelligence (Viral Art Selfie, 20 Years of Search, the interactive visualization featuring 20 years of Google). Since 2015, he also teaches and heads the Bachelor of Media & Interaction Design at the Ecole Cantonale d'Art de 62 Lausanne (ECAL) in Switzerland. I N T E R A C T

63 R A S Bring S E 09 M B together L E Being together, assembling, bringing together and R uniting that which is apart: design has the capacity to create links, to define, stage and sketch out shared places and goods. Whether about new situations, services or objectives, each project focuses on symbolic social functions and representations to embody a lasting collective. We must now lead the vital battle to accept our own limitations. In that vein, how can we build new shared narratives and eliminate our traces? The designers we have brought together here tackle all of these questions in the general interest for a more inhabitable world.

profit organization based in 01.1. Design Co Zimbabwe, that develops prod- Operation 01. Pierre-Yves ucts adapted to local, informal, Non-Profit Organization · Panis small-scale, low-tech produc- 1991 tion, based on industrial design In the early 1990s, Pierre-Yves Pierre-Yves Panis is a graduate methodologies. Later he lent Panis arrived in Zimbabwe and of the ENSCI-Les Ateliers and his talent to Orange and Leg- observed the growing informal for nearly twenty-five years he rand in France and then Moen economy in the Harare region. has honed an efficient, compas- in the United States. After two Two years of work and research sionate, flexible, and contextu- terms as a board member of the bore Design Co-Operation, a alized approach to design, both World Design Organization, he non-profit organization using elegant and intelligent, that ben- is now an advisor for the De- design to steer production to- efits large international groups sign Management Institute and wards products more suited as well as those in emerging eco- also participates in international to new markets, with smarter nomic contexts. Director of the structures promoting design. design and higher quality to

design center Signify (Philips © Signify ensure a sustainable income for Lighting) since 2015, he has craftsmen. Good design imple- devoted almost ten years to the mented without prejudice in the creation and development of local context and with tools and 64 Design Co Operation, a non- skills craftsmen already possess. This project is founded as much users and question new design R on the design of a viable ecosys- and production methods made A S tem (production, distribution, 02. Bold possible by the democratization S economic model, etc.) as on the of digital tools, as well as the E design of the organization it- Created in 2008 by William distribution and marketing of M self, jointly built with the main Boujon and Julien Benayoun, consumer goods. B L shareholders. They must decide Bold is a multidisciplinary de- On loan from Dood Studio E what to do, how to work, how sign agency that is both a crea- R to be a designer, and even how tive workshop and a laboratory to use design. for experimentation, firmly 02.2. Poilu

On loan from Pierre-Yves Panis rooted in its time. Bold tackles Vase Collection · 2017 publishing or self-initiated pro- The research project Poilu Col- jects, research, design of services lection explores the possible 01.2. Signify and spaces, materials or appli- shapes that 3D printing tech- 3D printed luminaire · Signify cations, and experimentation nologies can produce by toying Design Team · 2020 around new 3D printing tech- with computer codes, the laws By minimizing the time it takes nologies and interaction design. of gravity, and also the intrinsic to manufacture, deliver, and Its founders embody this new properties of the printing mate- install a product, we reduce generation of designers-makers rials (here PLA, and the vegeta- its carbon footprint and pave who work as much on the de- ble fibers of wood, bamboo or the way for more innovative, sign of their tools as on what coconut). To make the vase, and shared, customizable creation they enable to make, broaden- the "hairs" that cover its surface, techniques: these are the design ing perspectives on alternative the machine interprets a code goals for Signify’s polycarbonate modes of production, distribu- composed of coordinates half- lamp printed in 3D, on-site, and tion, and consumerism. way between computer logic on demand and it is also recy- and natural law. The result can clable. Designs are stored online, only be appreciated once the ob- then users can adapt the model 02.1. DOOD ject is made. The project inves- to their needs, including size, lu- 3D Office Printer · 2015 tigates digital design and pro- minous flux, driver, and optics. The DOOD – Digital Objects duction tools in order to clearly In line with the brand's quality On Demand – is a commer- demonstrates design’s capacity standards for lighting and ma- cial 3D office printer that uses to modify creation methods and terials, the component parts of wire deposition technology to know-how. The collection was the object are reduced to a min- produce objects on demand. acquired by the Centre National imum. The result is lighter than Efficient, fast, accurate, relia- des Arts Plastiques (CNAP). a conventionally manufactured ble, versatile, its development is On loan from the authors Partner: AYBAR Gallery, Miami metal light fixture. And the de- based on an open source model sign, based on new design and famous in the maker commu- manufacturing technologies, nity (the Rep Rap), which has opens up a more fluid, less ex- now been perfected. Featuring pensive possibility, allowing us a patented steel structure, its 03. Alexandre to rethink our approach. heated floor allows all types of Echasseriau

On loan from Signify materials to be printed and it decrypts 3D files sent to it. By A graduate of the Ecole Boulle designing this manufacturing and the ENSCI-Les Ateliers, tool, the designers empower Alexandre Echasseriau is a de- 65 R signer and a maker. Trained in space so those involved can emphasizing that we are above A industrial design, he works as work on their projects literally all else citizens of the world, of S much on the creation of his tools on-site. It embodies a new-age an alternative, future world that S E as on what he can produce with and shared approach to explor- can be positive. M them and, with great finesse, he ing, managing and resolving B intervenes in ecosystems to var- contemporary complexity. L 04.1. ious extents. Independent since On loan from the author. Uritonnoir E Project partiners: Daher Aerospace, Tarbes (finan- 2013, he created the company cement) et Loutiny House, Loubajac (fabrication). Dry Urinal · 2013 R Crafter Studio in 2016 which A hybrid of two everyday ob- boasts a wide range of activi- jects, a urinal and a funnel, the ties. In his mobile design studio Uritonnoir (Funinal) is a dry, Flying FabLab, he guides stake- 04. Faltazi ecodesigned urinal made for holders in innovative projects outdoor events (festivals, etc.) and fruitful encounters – from Victor Massip and Laurent or for use in private gardens. In product design to fundamen- Lebot met at the ENSCI in the addition to its primary function, tal research and craftsmanship early 1990s. Designers, even the device makes it possible to – borrowing from the fields industrialists, they founded the fill a specific volume of straw of art, science and traditional Faltazi Agency in 2000, and (carbon) with urine (nitrogen) craftmanship. From conception partnered with Schneider Elec- to obtain human manure. Once to manufacturing the proto- tric and Bébé Confort as well as composted, the manure can be type, his experimental and flex- the SEB group - they designed used, for example, as a soil im- ible approach to his profession irons and vacuums for them. prover for plants and vegetables. brings him as close as possible They have always imagined for- By establishing a virtuous use to the project context. ward-looking projects such as both from the point of view of Monsieur Faltazi, the Ekokook preserving public space and the Kitchen – they received carte production of fertilizer through 03.1. Flying Fablab blanche from VIA in 2009 - or an essential function, the project Mobile prototyping Les Ekovores, a circular, local, demonstrates the capacity of de- workshopm · 2018 resilient system to feed cities. sign to connect individual and Often seen simply as the imple- Their ecological and civic com- collective issues, for the benefit mentation of an idea, prototyp- mitment, their real aspiration of all, through simple and frugal ing is in fact a powerful tool for to develop a sustainable world, devices.

the design and production of combined with their experience On loan from the authors knowledge. The Flying Fablab is in industrial design, makes their a mobile design and prototyping approach interesting and unique. workshop. It runs out of a small Without shunning production, 04.2. Uritrottoir wooden house installed on the they imagine alternative, col- Dry Urinal · 2017 back of a 3.5 tonne truck and lective scenarios that question A long-term, urban version of carries both the tools (3D print- and structurally modify the the Uritonnoir, the Uritrottoir ers, 4-axis digital milling ma- long-established paradigms of (Sidinal) is a dry, public and chine, laser die cutter, manual design as the privileged partner ecological urinal designed to and electrical hand tools, etc.) of industry. The user, his actions fight urinary incivility in the city. and facilities (office space and and his real needs are always Urine (nitrogen) is collected in a material library) needed for creat the heart of design with one tank filled with wood shavings ative production. This all takes stipulation: limit the ecological (carbon). This "manure" (hu- 66 place in an ultra-streamlined footprint. This is their way of man manure), recovered in the form of compost will be used supply toilets or washing ma- 21st century challenges: climate R to enrich soil for ornamental chines on each floor in addi- vulnerability, political and indi- A S plants. tion to the public water system. vidual challenges, etc. They are S On loan from the authors Pragmatic and simple, the pro- practicing "design with care" E ject demonstrates the capacity for private and public organiza- M of design to construct well-rea- tions for the common good. B 04.3. Ekovore soned, contextual, and frugal L E Collective Composter · 2014 solutions that enhancement the R The Ekovore community waste availability, and better the use, 05.1. Banquet composter offers a collective of natural resources. Reënstok sismique and functional solution to recy- is being developed as part of the Festival · With Cynthia Fleury cling organic refuse in the city. Faire Program, the first acceler- (philosopher) · 2019 It is discreet and easy to use, ator of innovative urban and ar- The Banquet sismique is a fes- thanks in particular to a turn- chitectural projects launched by tival that was first held in July ing device that facilitates the the Pavillon de l'Arsenal, with 2019, at the Commanderie transfer of compost between the the City of Paris, the Caisse des hospitalière de Lavaufranche in initial deposit and the matura- Dépôts and the MINI car brand. Creuse, France. A project where

tion silos. It is connected, which On loan from the authors design must first of all redesign makes it possible to monitor the context. It is three days of re- remotely and in real time the thinking, creating and enjoying amount of biowaste in each silo the culinary, design and dance as well as the compost produc- 05. Sismo workshops, exchanges with tion. In addition, it is equipped breeders, philosophers, per- with a green roof and collects The founders of Les Sismo macultivators as well as artists; rainwater in a tank. This highly Agency, Frédéric Lecourt and film screenings, shows, concerts, compelling industrial design Antoine Fénoglio are deeply storytelling, and also tastings. helps as many people as pos- rooted in the French tradition One common goal drives festi- sible, encouraging responsible of industrial designers and prac- val-goers: actively participate in and resource-friendly practices tice their profession with a sin- designing a great contemporary in public spaces for the benefit cere and SINGULAR humanist banquet. This project embodies of all. commitment. For twenty-three the multifaceted, polymorphous,

On loan from the authors years, deeply independent and and humanistic dimension of free, they refused to limit them- design, that generates common selves to a formal field or a sense, joyfully shared and free 04.4. Reënstok particular practice, working as of traditional limitations.

Réservoir de façade · 2019 much in the industry as in open- On loan from the authors Reënstok is a wall reservoir that sourced interdisciplinary re- replaces the rainwater down- search and event-driven projects. spouts installed on buildings. Their relationship with philos- 05.2. Design with The water stored in these buffer opher Cynthia Fleury – she is care cisterns no longer flows directly inspired by William Morris and Séminaire · Avec Cynthia into sewers, but is collected and Hegel – these last few years have Fleury (philosophe) · 2018 stored for use locally: watering prompted them to revisit this as- The Design with Care seminar flowerpots, gardens at the foot piration and brainstorm how it explores connections between of the building, and green walls. can be used as a tool for reflec- philosophy, ethics, and design, The system can also be used to tion and creativity in the face of with the goal of developing pro- 67 R ject methodologies in line with He works with a variety of or- A the Concept Proof of Care © ganizations: companies, public S developed by the designers and services, universities, publishers, 07. Isabelle Daëron S E philosopher Cynthia Fleury. cities and institutions. For him, M This hypotheses and methods the multidisciplinary nature of A graduate of ENSCI-Les At- B were tested in various contexts design brings together collective eliers and ESAD in Reims, Isa- L (in nature, the city, the world of intelligence and memory and is belle Daëron designs scenarios E economy and business, etc.) and a prerequisite for tackling the combining natural resources R make possible in all phases of challenges of the future, design- and habitability. Since 2010, her design the involvement of both ing better and producing a sus- studio Idaë has furthered urban the diverse participants from a tainable and worthwhile future. design, spatial design, and de- given situation and their feed- sign research, and she has led back. Working with the Chair the project Les Topiques, deal- of Philosophy at GHU Paris 06.1. HighFive ing with the use of natural flows Hospital since 2019, the design- Urban Furniture · Escofet · (water, air, light) in urban envi- ers have applied this concept 2019 ronments. Building on her re- in an on-going research project HighFive offers an integrative, search, her projects seek to high- to rethink emergency rooms tailored, and more flexible al- light the importance of current for people with disabilities and ternative to traditional anti-in- environmental challenges and elderly people suffering loss of trusion street furniture, which the fields of application – in- autonomy. Observation, inter- is often anxiety-inducing. Com- cluding flows, mobility or pub- views, workshops, and all other prising of five interconnected lic space – while simultaneously project phases took place in the planters that incorporate an in- privileging local resources in a emergency department at the novative ground anchoring sys- given region. Some of her sys- Georges Pompidou European tem that is triggered in the event tems have received awards, such Hospital. of an impact, the system can as the Grand Prix from the city

On loan from the authors be planted or fitted with seats of Paris, the Audi Talents Award Partners: Chaire Humanités et Santé / GHU-Paris Psychiatrie & Neurosciences / Conservatoire - each unit can be combined in and Faire Design. National des Arts et Métiers various configurations - thus striking the right balance between safety and user-friendli- 07.1. Aéro-Seine ness. This is done so that is may Urban cooling initiative · 06. Quentin Vaulot adapt to the needs of a specific 2018 site. HighFive is developed as Our dense and concrete-reliant A graduate of the ENSCI-Les part of the FAIRE Program, the cities will increasingly face the Ateliers, Quentin Vaulot created first accelerator for innovative phenomenon of urban heat is- his studio in 2009. Since then, urban and architectural projects lands during heatwaves. Aéro- he used his creativity to further launched by the Pavillon de Seine is an urban cooling initi- coherent, fair and sincere ob- l'Arsenal with the City of Paris, ative that uses the network of jects and scenarios, exploring Caisse des Dépôts and MINI. non-drinking water in the city of the limitations of creation, to In 2020, Lille will be installing Paris. Like the flush and wash- make societal, economic, tech- HighFive in the heart of the city out hydrants already found in nological and environmental to beautify, increase urban vege- the streets, it works on an over- changes the lifeblood of innova- tation, and safeguard pedestrian flow system: once opened, the tion rending life more pleasant areas. water rises and spreads over a

68 and harmonious with our world. On loan from the author. surface made from a porous material. By increasing the contact the designers developed visual R surface between the water and representation techniques and A S the air, it cools ambient air. Here, 08. Grrr eventually created a set of "love" S using an inexpensive approach maps of the entire Finistère E that exploits and capitalises on For the founders of the Grrr coastline. Design mediates a liv- M locally available resources, we Agency Pierre Cahurel and ing space, to better represent it, B see that design can offer the Jacky Foucher, being designers and allow its users to share it in L E means and scenarios to adapt consists first and foremost of a new way. R our regions to climate chal- taking a sincere interest in hu- On loan from the authors lenges, thereby making our large man beings, their needs, desires, cities more inhabitable. This paradoxes, and sometimes even project, which won the 2018 their limitations, as well as their 08.2. Nantes Sud Faire Design award, was rolled capacity for being unreasonable. Town Hall out as part of the redevelopment Since 2003, the duo has devel- Collaborative Creation of Rue Blanchard in Paris (20th oped and exemplified every- Workshop · The City of arrondissement). day design, deeply rooted in Nantes · 2017

On loan from the author. customs and regions, to create The designers assisted in the solutions and systems adapted creation of an additional town to our complex surroundings. hall for the City of Nantes to 07.2. Chantepleure To formulate coherent, often house services and neighbor- Watering can · 2016 jointly constructed strategies in hood events. They designed and Chantepleure, a reinterpretation the field, they rely on humor, po- conducted three workshops of its mediaeval earthenware an- etry and their rigorous approach bringing together the various cestor, is a watering can that is which has always served as their participants: residents, officers, refilled by immersion. It comes starting point for each project, and community officials. This in the shape of a drop and can whatever the interlocutors and outreach through use, citizen be combined with a rainwater contexts, from local authorities participation, and public image, catch basin. It is suitable for use to businesses. made it possible to delineate outdoors or indoors (commu- needs and design an adequate nal or individual gardens and program in the form of a func- balconies). Its usage and history 08.1. Personal and tional diagram that served as are at once simple, incarnate Love Cards a foundation for architects in and poetic, and this project il- Cartography · Since 2008 charge of the project. This ap- lustrates design’s capacity to How to represent the lived ex- proach shows the capacity of project scenarios that capture perience? The agency took part design to bring together and the imagination, gently raising in a particular and participatory articulate the different layers of our awareness of the need to mapping exercise, first in an ar- a community by contextualizing preserve a precious natural re- tistic residency, with the "Sub- needs, for the benefit of all its source – water. jective Geography" project, and users, whoever they may be.

On loan from the author. then on behalf of Finistère 360, On loan from the authors with a tourist focus this time. Based on workshops conducted with the residents on how they live in the area, how they make use of their surroundings, or what they like about it, 69 R 08.3. Services the collective immerses itself in A Voltige the daily life of its interlocutors, S Global Design Team · Services experiencing without prejudice 10. Vraiment Vraiment S E Voltige · 2012 the needs and their possible M The collaboration initiated in solutions, building prototypes B 2012 by the designers and the of objects, scenarios, and ser- L company Services Voltige exem- vices in the specific context, E plifies their approach to global co-designed, free and adaptable. 11. matali crasset R design on a daily basis. Con- Design is practiced here as a tacted to create a website, the local, continuous, and socially matali crasset trained as an in- agency gradually carried out a distributed process, attempting dustrial engineer and sees design whole range of communication to (re)configure the form of col- as a creative tool for research work for the company, to the lective action. and exploration to develop pro- point of finally assisting it in posals for profoundly human developing a more global and and new ways of living. Her ex- strategic approach: opening a 09.1. do•doc pert and perennially fresh vision second agency, creating mean- Practical data collection of the world illustrates design’s ingful proposals for the client system · 2014 – 2020 capacity for invention, the way and designing its future offices. do•doc is a documentation it plays with codes to shed them, The project here demonstrates tool. It includes free upgradable observing ordinary practices the capacity of design to unite software – to collect, process and challenging our certainties. the divergent aspects of a busi- and share various types of doc- Having worked on projects for ness development issue in a uments – as well as a physical hotels and libraries, innovative coherent, strong and profitable system that is also upgrada- schools in collaboration with strategy, by creating tools pre- ble – mobi •doc – enabling the major retailers, artists and arti- cisely adapted to an activity. capture and recording of data sans, she has imagined a wide

On loan from the authors generated during an activity range of scenarios, opening up so it can be documented and new – and always joyous – per- shared with other members in spectives on the way we live. a group. The system’s upgrades, Her extensive experience means 09. L’Atelier des developed collectively, reflect she is increasingly involved in chercheurs the diversity of user practices participatory projects on both while at the same time gradually local and global scales, in ru- Louis Eveillard, Sarah Garcin uniting a community (educators, ral and urban areas. She works and Pauline Gourlet founded makers, etc.) brought together with others who all share the the designers' collective L'Atel- to address documentation needs. conviction that collective dy- ier des chercheurs and have been Here, design enables the crea- namics produce plausible ways combining design, prototyping, tion of a continuous flow that is to strengthen social links. For and research since 2013. With coordinated and shared, struc- ultimately the fictions, narra- its partners, the studio develops turing new ways of sharing that tives and meaning of her work knowledge, practices and tools are flexible, fluid and adaptable always come back to the notion relating to learning, education and, what’s more, freed of the of shared living. and the labor market to com- constraints associated with pro- passionately assist with changes. prietary software.

This approach is similar to a On loan from the authors 70 form of action research, where 11.1. Mediakiosk association Le Vent des Forêts the earth and upwards in search R A Urban Kiosk · Ville de Paris has been developing artistic cre- of light. Depending on whether S · 2017 ations and now – in response it is placed upside down or S The newspaper kiosk, the heart to a public commission – the upside down, it is a shelter to E of neighborhood life and a rare experimental and collabora- recharge one's batteries and M commercial space that remains tive project Maisons Sylvestres to return to one's roots, or a B on a human scale, is explored, (Forest Homes) dots the 45 platform to embrace the world. L E reinvented, developed, and im- kilometers of Meuse trails. The Halfway between a concept R proved in this project. Its curved designer closely worked with and an artistic project, Stump roof and glass facade framed by the association's residents and City develops a formal language corner posts were inspired by volunteers to develop a project that broadens our view of home Parisian workshops and roofs. that reveals the forest as a living design and how we live with However, its urban integration material and demonstrates how nature: human beings and the is not only architectural: it also it stimulates the imagination. environment.

includes new services - touch These habitable microarchitec- On loan from the author. screens with interactive maps tures, entirely created by local and information on local ser- craftsmen and organizations vices, the possibility of having using local materials, were en- press titles delivered to you visioned as habitable artworks 12. Martin de Bie when you order them via a ki- to welcome adventurers as well osk application, or even the pos- as art and nature enthusiasts A graduate of the ESADSE and sibility of mailboxes etc. - and it wanting to live a simple and the EnsADLab research depart- is also an opportunity to create exceptional experience in a tiny, ment of EnsAD, Martin De a new kind of urban environ- optimized space. Each minia- Bie is a designer, professor and ment. It permeates the entire city ture refuge or hut encourages researcher. Marrying artisanal and is aimed at everyone, from the curious hiker to explore the know-how and innovative pro- local residents to those passing surrounding woods. These light cesses, his practice is centered through, tourists, and so on. A structures are delicately placed on design procedures and the thought through use, attempt- on the forest floor and do not contexts that shape them. Also, ing to connect people and places. damaging nature or disrupting his practice attempts to move The kiosk operator's comfort the ecosystem. forward by designing techni-

has been improved (heating, On loan from Le vent des Forêts cal or technological objects storage, sanitary facilities, etc.), for everyday life, and by docu- and his or her training altered so menting the stages of creation, that he or she can provide these 11.3. Stump City resilient scenarios, adaptable to new services and better promote Microarchitectural and in line with current envi- the press offering, this vehicle of Experiments · 2017 ronmental issues. Winner of the freedom, public expression and The perceptive manifesto Stump Agora Grant for design in 2019, democracy. City explores philosophical, co-founder of the DataPaulette

On loan from JCDecaux ecological, humanist and botan- collective, he divides his time be- ical dimensions of trees and ar- tween teaching digital cultures boreal symbolism. This project and practices, and his personal 11.2. Les maisons experiments with architectural research. sylvestres shapes, pursuing the metaphor Micro architectures · 2013 force of nature – moving down- For nearly seventeen years the wards to draw resources from 71 R 12.1. Énergies cities, he developed a design noticeable and practicable ob- A communes practice as a catalyst for change, jects and spaces, those where S Auxiliary Generator · With uniting the city’s residents we clearly see and understand S E Émile de Visscher · 2020 around shared scenarios and their use, structure, and func- M This program attempts to make creating a collective, tangible tion, offer a limitless diversity B Lomé, Togo an test city for a and intelligible reappropriation for practices, the possibility for L new model of participatory of the urban area. each to customize them, to alter E urban planning that combines and repair them. In other words, R local tradition, urban agricul- to take care of them, and ulti- ture, and hacker culture - the 13.1. Station Noon mately to understand and trans- Énergies community project Tiers-lieu · 2020 form our world. was based on the analysis of lo- Tiers-lieu is a 600 square me- cal needs and resources and was ter hybrid space located in the conceived and designed within center of the Lille metropolis. 14.1. Food2rue the Hub Cité framework. With It features activities, mixed use A cooking association · 2018 a frugal approach, consistent spaces, events as well as public The Food2rue project adopts with the context, the designers receptions, and experiments a comprehensive approach. It utilized local plastic and elec- with regional and social inno- includes a food hall concept, tronic waste deposits and the vation. Simultaneously a work- fruit & veg storage units that coastal city’s weather condi- place for design and architec- do not rely on fossil fuels, and tions: the wind. The aim was ture agencies, associations, and a 3-wheel scooter, all part of to design an object that looks a co-working space, this reha- the eponymous association like a wind turbine that acts as bilitated industrial hall is also which every day offers food a backup energy source to offset, a place for continuous learning, from around the world made among other things, the load workshops, and meetings open from scratch by women on so- shedding problems that resi- to all (members, residents, etc.). cial rehabilitation programmes. dents face daily. Here, designing common inter- By supporting the transition of

On loan from the authors est stimulates and assists soci- people overlooked in society to- Partners: WOELAB Community (FabLab) and Afri- caine d’Architecture, Lomé, (Togo) etal changes, hybridizing uses wards jobs in sustainable food, and services, on a local scale, to it illustrates design’s capacity to better interconnect the region roll out programmes and its so- and its community. cial and environmental impact.

13. Mourad Oural On loan from the author. On loan from the authors Licence Creative Commons BY-SA

After graduating from the ESAD in Amiens in 1999, and 14.2. Blockchain after focusing mostly on visual 14. Collectif BAM Vaisselle communication, Mourad Oural, Teaching initiative · founded WeThinkDesign in Founded in 2013, studio BAM Blockchain France · 2016 2016, a global and strategic is a unique multidisciplinary This project is a physical teach- design agency. He works on collective that harnesses the ing initiative which uses a group projects of urban development, design of products, spaces, in- scenario based on the chore of social and economic inclusion, terfaces, representations and washing the dishes to explain carrying out consulting missions models of all kinds to make our the logic underpinning block- for communities on services and surroundings more accessible chains, the system used to man- 72 new customs. Regarding smart and understandable. Readily age cryptocurrency (Bitcoin). This decentralized technology, R administered through the col- A S lective responsibility of users, S has caused upheaval in many E sectors including banking, in- M surance, elections, energy and B healthcare. Here, we see how L E design can be used to make the R functions and possibilities of a complex and little-known technology both intelligible and rep- resentable.

On loan from the authors Licence Creative Commons BY-SA

73 Discover the exhibition

Designers are not working alone. To imagine, or re-imagine objects, they have to collaborate with other people to concretise their ideas.

Try to guess what are the needed jobs to design those objects?

Me.We Jean-Marie Massaud Concept car · with Laurent Bouzige · Toyota · 2012

Making a car with the motor in the wheels? ME.WE is an electric concept-car. This car is unique and is made to show the new ideas of the brand. Here,

the motors are in the wheels, Chimist that leaves plenty of space for

Mechanic the passengers. Welder

Plasturgist

Sellier

Ingeneer Maquettise

74 Williwaw Stéphane Thirouin Fan · 2017

Can a fan replace air conditionner? This is the bet that the designer Stéphane Thirouin did. A fan with an Tiwal 2 intense blowing, without a Marion Excoffon noise and that can even be used Inflatable sailing dinghy · during winter, to distribute 2012 evenly the heat in the house.

Live in a city and having a sailboat? Tiwal 2 is an inflatable sailboat especialy designed to be carried and used easily. It is no more necessary to live near the sea to have a sailboat, this one can be stored in the basement

and take out for the holidays.

Naval architect Naval

Tailor

Sail maker Sail

Skipper

Developper

Plasturgise

Electronic

Mechanic Aeronotic engineer Aeronotic Hitbox Adrien Husson

Is it possible to re-imagine the punching bag? Apparently yes, this one allows to learn to better punch, or to simply have

more fun.

Protypise

Developper Electronics

75 Lille Métropole 2020, Capitale Mondiale du Design Damien Castelain, President Denis Tersen, General Director Caroline Naphegyi, Program Director

An original production of Lille Wordwide Capital 2020. Exhibition hosted by Lille City.

Curator and scenography Jean-Louis Frechin, NoDesign

Coordination Loïc Le Guen

Graphism et signage Jordi Vuong

Video designer Angelo Chiacchio

Video production Nicolas et Oscar de Château Thierry

Scenography assistant Pierre Lebon

Heritage texts Magali Moulinier

Cartels writing Maëlle Campagnoli

English translation Myles O' Byrne, Ellen Wahler

Institutionals partners Musée des Arts décoratifs, INA nord, (Adagp)

Special thanks Maïa Paulin, Françoise Jollant, Laurence Bartoletti (MAD), Clément Mouly (INA), les équipes de NoDesign

Typographie Tuner, de Simon Renaud, par Production Type Sabon, de Jan Tschichold