October 2013 robbreport.com.sg SINGAPORE WHERE TO DESIGN YOUR DREAM CAR WHAT GOES INTO THE BEST CUSTOM-MADE HERMES’ NEXT BIG HOLIDAYS? THING: RECYCLING SINGAPORE’S OWN THE SECRET BEHIND SAVILE ROW KRUG’S PERFECTION AS YOU LIKE IT THE PLEASURE OF BESPOKE > 11. SGD8 485001 ISSUE 772315 9 150 ART & DESIGN Robb Report – Issue 11 Standfirst xxxxxxxxx xxxxxxxxxx xxxxxxxxx xxxxxxxxxxxxx xxxxxxx xxxx xxxxxxxxx xxxxxxxxxxxxx xxxxxxx IDEAS MAN Walk around Paris for a day, and you’ll encounter a Patrick Jouin design every five minutes. By DIONNE BEL 150 ART & DESIGN Robb Report – Issue 11 October – 2013 151 Standfirst xxxxxxxxx xxxxxxxxxx xxxxxxxxx xxxxxxxxxxxxx xxxxxxx xxxx xxxxxxxxx xxxxxxxxxxxxx xxxxxxx IDEAS MAN Jouin is Walk around Paris for a day, and you’ll encounter a transforming an 18th-century stable Patrick Jouin design every five minutes. in Strasbourg into a dining area that can be used as a breakfast lounge, By DIONNE BEL tea room or a bar at night, as part of the Photo JOUIN MANKU Les Haras hotel. 152 ART & DESIGN Robb Report – Issue 11 disciple of Philippe Starck, that I gained legitimacy in interior Jouin says Patrick Jouin is mega- one of his architecture. We then continued principal themes chef Alain Ducasse’s “is to create a our partnership with 10 more interior architect of sense of wonder”. projects worldwide. choice and the designer What are the benefits of rapid prototyping of Athe flagship stores of Van Cleef and why were you among the first & Arpels in Hong Kong, Tokyo to experiment with this technology and New York. He is also behind for furniture? For designers, all Thierry Marx’s restaurant Camelia technical processes, design and at Mandarin Oriental, Paris, and production tools are reasons to a cookware range for Alessi. You get excited. Often, they are the name it, the prolific 46-year-old starting point of a project. But French designer has done it. it’s rare to be confronted with How did you know you wanted to completely new technology such get into design? I grew up in an as rapid prototyping (a technique environment conducive to that allows 3D images to be printed research and exploration. I spent “When I work on a house, as tangible objects). countless hours observing and I consider myself more Using this technique lets me manipulating materials that my an architect, and when create objects that I can’t make father – a craftsman in mechanics I have to create an object, through the moulding process. and prototyping – used on a daily My agency is equipped with an basis, such as plastic, metal, and more of a designer.” amazing machine that enables us so on. After my baccalaureate, I to quickly test and let clients see entered ENSCI - Les Ateliers (Paris our ideas. It’s a truly avant-garde Design Institute). I was attracted to at the outset to understand all the way of working: we save time, the possibility of creating objects constraints of the project, then anticipate a design’s potential flaws for the greatest number of people, once we are sufficiently informed, and correct it before any mistakes objects that could render a service a sheet of paper and a pencil. can happen. and improve daily life. Tell us about your meeting in 1999 with What do you like and hate most about your Describe your approach. When I work Ducasse and how you ended up designing job? Being a designer is somewhat on a house, I consider myself more so many of his restaurants all over the frustrating because we see all the of an architect, and when I have to world. It started around the design flaws in the objects that surround create an object, more of a designer. of a plate – a restaurant’s real us. We want to ‘correct’ everything But I don’t place much importance starting point. even though we know it’s not on this distinction. For me, there Ducasse had asked me to design possible – this is definitely what I is no boundary between the a dinner service for a restaurant dislike most about my job. creation of a plate or the interior called 59 Poincare. On the other hand, knowing architecture of a restaurant. We created the Wave (tableware that tomorrow we will design a What I aim for each time is to set). Then, he asked me to go useful object that doesn’t yet exist, meet a specific need. The method is further and imagine the entire and being the first to think of it – always the same: a lot of reflection restaurant. It is thanks to him now that’s exciting! ∆ Photo BENOIT LINERO 152 ART & DESIGN Robb Report – Issue 11 October – 2013 153 disciple of Philippe Starck, that I gained legitimacy in interior Jouin says Patrick Jouin is mega- one of his architecture. We then continued principal themes chef Alain Ducasse’s “is to create a our partnership with 10 more interior architect of sense of wonder”. projects worldwide. choice and the designer What are the benefits of rapid prototyping of Athe flagship stores of Van Cleef and why were you among the first & Arpels in Hong Kong, Tokyo to experiment with this technology and New York. He is also behind for furniture? For designers, all Thierry Marx’s restaurant Camelia technical processes, design and at Mandarin Oriental, Paris, and production tools are reasons to a cookware range for Alessi. You get excited. Often, they are the name it, the prolific 46-year-old starting point of a project. But French designer has done it. it’s rare to be confronted with How did you know you wanted to completely new technology such get into design? I grew up in an as rapid prototyping (a technique environment conducive to that allows 3D images to be printed research and exploration. I spent “When I work on a house, as tangible objects). countless hours observing and I consider myself more Using this technique lets me manipulating materials that my an architect, and when create objects that I can’t make father – a craftsman in mechanics I have to create an object, through the moulding process. and prototyping – used on a daily My agency is equipped with an basis, such as plastic, metal, and more of a designer.” amazing machine that enables us so on. After my baccalaureate, I to quickly test and let clients see entered ENSCI - Les Ateliers (Paris our ideas. It’s a truly avant-garde Design Institute). I was attracted to at the outset to understand all the way of working: we save time, the possibility of creating objects constraints of the project, then anticipate a design’s potential flaws for the greatest number of people, once we are sufficiently informed, and correct it before any mistakes objects that could render a service a sheet of paper and a pencil. can happen. and improve daily life. Tell us about your meeting in 1999 with What do you like and hate most about your Describe your approach. When I work Ducasse and how you ended up designing job? Being a designer is somewhat on a house, I consider myself more so many of his restaurants all over the frustrating because we see all the of an architect, and when I have to world. It started around the design flaws in the objects that surround create an object, more of a designer. of a plate – a restaurant’s real us. We want to ‘correct’ everything But I don’t place much importance starting point. even though we know it’s not on this distinction. For me, there Ducasse had asked me to design possible – this is definitely what I is no boundary between the a dinner service for a restaurant dislike most about my job. creation of a plate or the interior called 59 Poincare. On the other hand, knowing Jouin drew inspiration from architecture of a restaurant. We created the Wave (tableware that tomorrow we will design a Van Cleef & Arpel’s main store What I aim for each time is to set). Then, he asked me to go useful object that doesn’t yet exist, at Place Vendome meet a specific need. The method is further and imagine the entire and being the first to think of it – in Paris to design the jeweller’s Hong always the same: a lot of reflection restaurant. It is thanks to him now that’s exciting! ∆ Kong flagship. Photo BENOIT LINERO Photo NACASA & PARTNERS INC 154 ART & DESIGN Robb Report – Issue 11 Clockwise from left: the patio at In/Out campus, an Alessi pasta pot, and the Leaf armchair. WORKS TO LIVE BY LEAF ARMCHAIR “Leaf is a using a traditional plant-based tanning blueprint and are built using brick leather armchair for furniture brand method that produces especially and concrete. For two of the houses, Matteograssi. It got its name because we focused on ways to link the four I was inspired by the idea of working levels of each house. with a ‘leaf’ of leather. Leather is a The leather for the Leaf As one climbs the floors to the beautiful material and I knew when armchair was made using most intimate rooms – the bedrooms I drew this chair that it would be a traditional plant-based – the wall is transformed little by little. fantastic to make it with Matteograssi tanning method. We tried to make it understood, as it specialises in working with physically, that the purpose and use thick leather. of the space is transformed according The chair’s form has very simple, smooth and durable leather which to an expert play of layering in the pure lines, while its inside is very soft.