ENSCI Graduates Catalog 2008-2009

Graduates

Les Ateliers-Paris Design InstituteÉcole Nationale Supérieure de Création Industrielle

© ENSCI-Les Ateliers, 2009

An ambitious plan to make the real world more viable…

Welcome to the new edition of ENSCI (Les Ateliers-Paris Design Institute) design graduates’ book 2008-2009.From product to service, spatial, digital or textile design, this collection of projects – carried out during the student’s studies or as degree projects – reflects a broad variety of contemporary design practices and talents.

These multifarious projects are personal expressions of a shared vision of design that illustrates ENSCI’s ambition.

In an age marked by heightened environmental and energy risks and the growing complexity of the system in which we live, design – as we see it – takes on a dimension of political and social awareness.

In a society where people live longer and where mobility, new “web” practices, increased job insecurity and exclusion are leaving a profound imprint on everyday lives, design finds new areas of exploration and creativity and takes on new responsibilities.

With a global economy marked by greater industrial and commercial competition and reinforced rivalry between regions to attract capital and brainpower, creativity and design are becoming determining factors of innovation and competitiveness for industry, and for the quality of life and appeal for territories.

In this context, ENSCI- Les Ateliers’s mission is to educate designers who will be players for change in social, economic and societal fields, who share an ambition to make the real world more viable. In keeping with the tradition and spirit of Les Ateliers, we have accompanied these students throughout their individualised study paths and towards their professional destiny. These graduates are now ready to shoulder their responsibilities as designers of material or immaterial objects, which, beyond their functionality, should offer true ethical and aesthetic “added value.”

Alain CADIXDirector of ENSCI-Les Ateliers

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Founded in 1982, ENSCI-Les Ateliers is the only French national advanced institute exclusively devoted to design studies. It is a public commercial and industrial establishment supervised by the Ministry of Culture and the Ministry of Industry.

Applying a humanist philosophy and a commitment to sustainable development, ENSCI aims to actively contribute to quality of life for individuals and increased competitiveness for French and European industry.

ENSCI’s mission is to educate designers capable of conveying and promoting all aspects of industrial design, i.e., to tackle the material and immaterial industries of the 21st century, to design aesthetic and functional objects and their associated uses, and to create economic and social values. Sustainable design holds a central place in today’s industry. The design profession is undergoing profound transformation and the dominant technologies are those that implement new materials (sometimes traditional materials revisited), composites, functional textiles, etc., as well as micro and nanotechnologies, digital simulation or representation technologies associated to ICT, technologies related to the living world, and so on.

The prospective design that is taught and practised at ENSCI integrates these technological advances with a constant concern for their “innovative humanisation” (to quote ICSID).

ENSCI is at the heart of a teaching and research cluster of education institutes and universities in the Île de France region that cover the arts, literature, engineering, architecture, economics, management, and social and human sciences. “Double degree” programmes are being put in place, for example: engineer + designer, and designer + Masters (in engineering or management).

ENSCI has forged numerous partnerships with industry and research laboratories where students learn to respond to specific project challenges defined with each partner. The Grenoble residence that opened at MINATEC in September 2009, in the heart of the MINALOGIC competitiveness cluster is a reflexion of this approach.

ENSCI awards two master degrees: “industrial designer” and “textile designer” (formerly the ANAT), both to Masters level. It also proposes two post-graduate courses leading to a specialist Masters: “Creation and contemporary technology” and “Innovation by design” (starting in 2010).

The Paris Design Lab®, ENSCI’s research laboratory, offers post-graduate courses to young graduate designers in its D-Labs – multi-disciplinary industrial partner research teams – for a limited time span (maximum 36 months). Thesis work can also be developed in this context.

ENSCI educates designers of all profiles who go on work in design firms, industry or become self-employed; many have contributed to the reputation of French design around the world. Every year, ENSCI trains approximately 260 students of all nationalities. To date, it has graduated close to 600 industrial designers, trained over 200 textile designers, and awarded approximately 150 specialist Masters degrees.

Located in the heart of Paris near the Place de la Bastille, ENSCI-Les Ateliers occupies a building with a rich historic past that once housed the former workshops of the decorator Jansen, who from 1922 to 1979 employed up to 500 arts and craftsmen. The Ministry of Culture acquired the building to set up ENSCI and carried out the necessary rehabilitation. The school has maintained the spirit of these former workshops while opening up to contemporary technologies. In certain circumstances, the workshops are open seven days a week and twenty-four hours a day so that students can benefit from optimal working conditions for developing and realising their projects.

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FBFlorence Béchet

9-16

CDCécile Désille

65-72

GDGoliath Dyèvre

73-80

XFXavier Figuerola

81-88

VFVictor Fromond

89-96

EGEmilie le Gulvout

97-104

AMAlexandre Mussche

201-208

JHJoseph Heissat

105-112

LLLoïc Lobet

161-168

MMMathilde Maitre

177-184

MMMatthew Marino

185-192

ALAïssa Logerot

169-176

MLMMMaria-Laura

Méndez-Martén

193-200

QVQuentin Vaulot

257-264

Designtextile

265-268

LALily Alcaraz

269-274

JAJulie André

275-280

MBMarion Barbier

281-286

LBLea Berlier

287-292

VBVincent Blouin

17-24

ABAntoine Boilevin

25-32

PCPierre Charrié

33-40

FCFélix Compère

41-48

JDJulien Defait

49-56

ADAdrien Demay

57-64

CHClothilde Huet

113-120

JLJulien Legras

129-136

ELEmilie Lemaitre

137-144

ALAlexandre Lepeu

145-152

JLJuan Lin

153-160

GLGregory Lacoua

121-128

SNSSarngsan

Na Soontorn

209-216

EPElise Prieur

225-232

OPOlivier Paradeise

217-224

DPDavid Proton

233-240

ESEdouard Simoëns

249-256

FRFelipe Ribon

241-248

PLDPerle-Loan Dang

293-298

ADAnais Duplan

299-304

MJMarine Jubert

305-310

HSHeidi Strom

311-316

NTNatalia

Tannenbaum

317-323

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Florence Béchet

Wooden partition (2004)The linkFrom tangled branches of stars, I build a wooden partition.

Lamp (2007)The combinationAround a fluorescent tube, I organise five volumes of folded paper.

interLude (2008)AnimationI create short plays for outdated objects, in music and in motion.

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project

*Designer, project director, ENSCI

animated objectsProject director: Laurent Massaloux*

Lamp, table, chair, coat stand…Jump seat, desk, box, hat stand…Hanger, lampshade, console, trestles…

The objects matter little to me.It is their display within the dwellingthat attracts my full attention.

What roles will they play?What movements will they effect?What metamorphoses will they spark?

As a designer, I design and make objects.As a choreographer, I make them dance to music.Lastly, as a spectator, I sit down and watch them come to life.

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VB

Thesis

LitanyThesis director: Elisabeth Lortic*

In the act of writing, how does a designer differ from a writer, a poet, or a philosopher? How to write? What to do with all these words? How to justify them?

How to express the punchline? How to bring about images, the ones I see travelling past the window of the train that is taking me back to France from Italy? How to bring about universal images, for we have all seen them through the windows of the trains, trams, buses, and tubes that take us away or bring us back?

*Curator, art director of Les Trois Ourses in Paris

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Vincent Blouin

pLug in (2005–2006)Partnership with LEGRANDIn tandem with Timo Kuhls

An electric rail system that makes installation more flexible, more accessible, and less hazardous. The rail is easily moved and the movable plugs can be arranged anywhere in the domestic space.

ChiCane (2006–2007)Teamwork with Frédéric Alzéari and Alexandre Willaume

This scooter inspired by the skating world offers considerable extra storage space. Its special structure means it can carry objects of all kinds, from a helmet to a skateboard. Its exoskeletal form allows users to decorate it as they please.

note (2007)Partnership with MINATEC

This project brings together three objects from the world of micro and nanotechnologies that provide a different form of note-taking:– a flexible watch that translates wrist movements into text data;– a digital highlighter pendant;– a mobile phone composed of three touch screens, allowing users to note and consult data at any time.

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project

Phantom usesProject director: Laurent Massaloux*

Magic is meaningless unless it appears at an exceptional moment. So what meaning can the oxymoronic “everyday magic” have?By focusing on an object’s changing state, I re-visit our everyday life through a veil of magic. How can magic give our behaviour a different legibility? How can it bring a poetic dimension to our habits and practices? A vase is thus made to disappear when it contains no flower.

A seat for one can become a seat for two.A coat stand loses its arms when there are few guests.A chair can hide its little sister.

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AB

Thesis

the art of linksThesis director: Ramuntcho Matta*

*Sound designer, artist

Links exist between all beings and all things. We are in continual interaction with our environment, be it visually, physically, or emotionally. Magic, a presupposed ancestral art for comprehending the world, favours and intensifies these links. It awakens and governs much of our emotions. Designers creating objects of desire and pleasure have a responsibility to understand and organise this magic that is present in creations. Yet this power conferred on objects is complex and therefore not always controllable. Some objects fascinate and intrigue us more than others. They reassure us and make us feel secure. Is this due to their intrinsic magic, or to the magic that we transfer onto them?

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Antoine Boilevin

Chaise C760 (2004)

This project is based on an intuitive construction method: the copper rods are assembled by brazing. The final piece fulfils a resistance + lightness equation. The seat is questioned as a structure, not as a form or a surface.

inCubator Coon (2008)

Project based on three observed issues:– perception of an over-medicalised environment that dramatises the situation,– makeshift management of light intensitiy that contrasts with the technological performance of today’s incubators,– evolution of the incubator in relation to levels of care and hospitalisation.

semantiC Compass (2008)Project in collaboration with the Institut de Recherche et Innovation (IRI) at the Centre Georges Pompidou, during a residence.

Representation of a semantic interface for timeline software in development at the IRI. This software is a tool that enables film indexing via the insertion of annotations, and film editing using selected sequences. The functionality invites users to place bookmarks and commentaries on the film’s timecode. The aim of these annotations is to stimulate critical judgement.

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*Designer

project

reléoFrom shared transport to public transportProject director: Gilles Belley*

Today urban areas tend to merge, creating multicentric urban spreads. Public transport stops at the city gates, far from the city centre. This raises questions about commuting and the congestion it produces in the centre and on access routes from outlying and rural areas, which are de facto excluded from public transport services. Contemporary tensions are questioning single-person vehicle transportation.

In reaction to this, we see alternative social practices arising, such as car-sharing. This mode of transport only represents 2% of car traffic in France, however…The RELÉO service is a car-sharing mediation and materialisation platform. What if it became an extension of the public transport network?

* Designer

32

PC

Thesis

issues of representation in designer practiceThesis director: Aurélien Lemonier *

It is hard to step back and question a practice and a milieu when one is immersed in it. In today’s shifting society, no knowledge or know-how is absolute on the scale of a lifetime. The current field of possibilities is larger than what we are capable of systematically exploring. Furthermore, if everything is possible, then no choice has been made. How do designers find their place in a society governed by expertise and the sectorisation and compartmentalisation of knowledge? Around which hazy borders can designers propose and make choices? How to be or find those “in the know” in a given practice? And how to forge a link between these different players?These questions reflect design’s desire to project itself in an area that covers several broad territories with vague borders: industrial design. In its quest for representation, design calls upon culture and signs.

*Architect

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Pierre Charrié

musiCaL thing (2006)Partnership with Kenwood

Musical Thing proposes the creation of a symbolic link between an object and music. When an object is placed on the tray, its weight is recorded and becomes a permanent shortcut to the playlist being played at the time. To listen to this playlist again, all you need do is place the same object on the tray.

dipLo (2006)1st prize at the Andreu World 2006 international design competition

The Diplo chair is an assemblage of birch plywood sections. The manufacturing process is reduced to a single operation: cutting the wood.

digitaL frame and memo-CLoCk (2007)

Universal objects adapted for use by people who suffer from Alzheimer’s. The frame allows users to grasp and handle captioned digital photographs. The clock features a calendar function that can be programmed as an audiovisual memo to boost autonomy of people living at home (prototype made with Interface Z / grant awarded by VIA).

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Project


Cabines résologiques [networlogical booths]a service based on the existing telephone booth networkProject director: Laurent Massaloux*

Telephone booths have the particularity of being both technical and profoundly social at the same time. Intense use of mobile phones has led to fewer booths with less utilisation, but due to their mission as a public service they still ensure a homogenous territorial network that covers the countryside and cities alike.The Cabines Résologiques project fits with the infrastructure and technologies

in place and proposes to reactivate existing phone booth installations.This service turns phone booths located in public areas into beacons thanks to their geo-local and reticular nature and their privileged presence. For example, they can become an articulation between information networks and public transport networks, supplying real-time contextualised data and forming pick-up points for car-sharing.

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FC

Thesis

the beauty of the gesture and the machineThesis director: Laurence Salmon*

The understanding and mastering of the “human machine” has spawned rationalised technical gestures that can be reproduced at will by manufactured machines. With robots gradually replacing man in all fields, the technical gesture has been redefined as a simple gesture of machine use.The progressive miniaturisation and dematerialisation of technology has given the gesture of use a more expressive form via new interfaces, giving it a certain functional legitimacy in its multiple variations. Yet this form of interaction simulates a freedom of movement for users in which the presence of technology is deliberately hidden.Both the machine and the gesture can nonetheless be re-approached in order to reinstate true complementarity between these twin notions and restore reality to everyday uses of technology. In order to be able to grasp technology, it must remain within reach.

*Journalist, teacher

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Félix Compère

pixeL d’argent [siLver pixeL] (2003)

A process that materialises a digital image on a silver-emulsion medium. The cursor is a visual manifestation of the interactivity between man and machine, which Pixel d’Argent captures and renders.You start by programming the light cursors which will insulate the light-sensitive surface of photographic paper when they pass over it. Once developed, the print shows the cursor’s path, in black and white and then in colour.

in-ex (2004)Partnership with Kenwood Design, Japan.

Faced with the dematerialisation of sound, what practices can be proposed for 2015? In-ex offers users the possibility to act as their own information relay by redirecting info to their friends and family in the form of a sound e-mail, handled in much the same way as a walky-talky.

parenthez (2004)

The construction principle is based on the slatted weave of crates. This accentuates its flexibility in one direction and rigidifies it in the other. The crate element then appears as an independent construction part with its own mechanical characteristics. Whether it is open or closed, users can put this shelter into motion.

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Project

imobterProject director: Sébastien Garcin*

In the context of a day out, this is an object that invites you to take the time to perceive the territory covered.It is composed of a back protection that absorbs bumps in the ground plus a front pouch for storing objects, linked together by a strap. What matters here is the action that is initiated: a trip to encounter and experience one’s habitat in order to perhaps understand it and thus inhabit it better.

*Designer

48

JDThesis

imobterThesis director: Cédric de Veigy*

How to understand the relations between man, objects, and man’s environment? As players in the interactions between images, objects, and territories, how do designers go about designing?The aim of this thesis is to use surfing as a gateway to questions on design, in the form of a video, a chronological account during which a voice-over orchestrates a montage of archives. For 24 minutes, the voice-over and the images lead viewers to realise the ways in which both surfing and design have gained widespread followings.Reviewing this path leads to the following question: what does the designer’s eye teach us about his or her experience?

*Lecturer: History of photography and cinema

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Julien Defait Lueur [gLoW] (2005)Partnership with Célectronique

This range of smart lights proposes an intuitive relationship to light. The light reacts to hand movements: it switches on, brightens, sparkles, disappears… The captor technology enables experiments in our relation to household objects. The minimalism of the design and the absence of a switch make motion the privileged interface between users and their domestic environment.This project was presented at Futur en Seine, 2009

Le baron perChé (2008)“Bo-design, Co-design” Camif Collectivité competition. Changing primary school furnitureTeamwork with Pierre Lambert and Yoan Ollivier

High chairs and tables.We propose a furniture typology adapted to the arrival of interactive tools in classrooms (e.g., digital whiteboards). These tools provide a new departure both in teaching methods and the way in which pupils experience the classroom. The children sit up high: inspired by the concept of a stool and a work surface, the furniture proposes an ergonomic height that encourages the children to actively participate.

e.box (2007)Partnership with the Direction de la Recherche et de l’Animation Scientifique et Technique (Drast)In tandem with Xavier FiguerolaProject exhibited at the Saint-Etienne Design Biennial, 2008

What does the future hold for goods transportation? And what role will heavy goods vehicles play 20 years from now? We imagine the evolution in consumer practices: development of on-line purchases represents a logistical challenge for shipping goods to consumers and prompts us to think about forms that are adapted to these new practices. Like the postal service, e.box combines goods ordered on the Internet and ships them to

collection sites close by to consumers in the cities. These collection sites are dedicated to the service: the consumer can receive advice and information on the products, thus creating a new relationship to on-line shopping.

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Project

vitaleProject director: Gilles Belley*

Today the Carte Vitale system (the French social security smart card) is based on partial sharing of personal health data. But the information inside remains immaterial and impalpable for the cardholder in their daily life.This is an interesting ambiguity that raises a major question for designers: how to give form to a principle of transparency in relation to personal data while respecting different degrees of confidentiality?

The Carte Vitale is integrated in the French health system and could act as an aggregator of personal data, therefore becoming a tool both for communication between medical professionals and individuals and better personal health awareness.

The service is made up of two associated elements: a card and a website. The site is launched directly from a USB memory stick that enables the user to access their personal

virtual world via any computer or dedicated terminal. It is also equipped with interfaces reserved for medical staff (doctor or pharmacist). The card and the virtual space are built around the metaphor of the stratum, which materializes the different levels of information to which different parties my have access.

*Designer

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AD

Thesis

transparency: between imperatives and illusionsThesis director: Michel Letté*

How does the notion of transparency and the space it fills play a major part in contemporary representations? Transparency is everywhere, all the time: in industry, the economy, politics. No-one can get away from it. It has imposed its obvious “presence”. It is this notion that interests me, more specifically the way “transparency” is constantly used in all fields without ever being queried, let alone challenged. Through this thesis I am therefore seeking to understand what transparency conveys about our society’s imagination, values, and the images that seem to give our era meaning. But I am above all looking to understand the ambiguities it creates in our perception of the world and the method of social organisation that its omnipresence makes us feel compelled to follow.

*Sciences and Technologies historian

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Adrien Demay

pdL bLankpage (2007)In tandem with Damien Roffat

The operating system of this device is inspired by the organisational process inherent in note-taking on paper, such as instant memorisation, contextual reminiscences, and intuitive consultation. The device housing this OS is a personal Digital Logbook (PDL). It fits in the pocket and consists of two touch screens that fold shut and on which you can write, draw, and import digital data.

usiCup (2007)In tandem with Aude Guyot

Digital service to broadcast and promote music by propagation.Today’s listeners are confronted with hyperchoice and mass broadcasting models. We propose, on the contrary, to focus on rarity and attentive listening.

dediCated interfaCes (2006)Partnership with the Legrand group

Working on the theme of archetypal controls (which are nowadays very rarely used) and the gestures involved in operating them.This is a pear-shaped bedside switch enabling you to turn your light on or off, dim it, and program it to switch on and wake you up.

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ex-librisThe part-private, part-public bookProject director: Adèle Seyrig*

This project explores the tensions between the private and the collective on a local scale. It is based on research, experimentation, and projection in a community of villages in the Creuse region totalling 12,000 inhabitants. Ex-libris is a set of symbiotic systems and tools that aim to enhance local bibliographic resources, facilitate the experience of reading, and encourage locals to swap and share books. This system brings together different players and acts on three

different tension points noted during work phases in the field: the modalities of access to books, trust, and the link between knowledge of the book and the knowledge and practice of its owner. The end result involves a website, objects, spaces, activities, and a series of charters.

Project

*Designer

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CD

Thesis

the hodology of innovationThesis director: Jacques-François Marchandise*

Innovation is a phenomenon that is difficult to grasp. The term itself can express diverse and sometimes even contradictory elements; today it is a hackneyed term that is overused in nearly every field. Innovation seems to have become an obligation, an injunction. Yet this omnipresence seems to force it into a headlong drive for progress that raises issues for society (environmental and social, for example). Innovation hinders, and this affirmative tautology cannot be answered by a different discourse. Since the linear hypothesis raises problems and is not appropriate, I invite readers to deconstruct it by stepping into the shoes of a hodologist. Hodology (described as the study of the landscape from paths) is a pretext for adopting an exploratory position in order to break away from a dominant ideological discourse and switch from a linear to a plural vision.

*Philosopher, scientific director, FING

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Cécile Désille

pLiat (2003)

Pliat is a composite material that can be shaped using a process traditionally reserved for metal: folding presses.

garden of eden (2002–2003)

Gardens of Eden are temporary mobile gardens that propose buffer areas, decompression chambers in transit zones.

mise en pLi (2003–2004)

From laying the table to serving and presenting a dish, Mise en pli is a series of products designed to facilitate meal preparation for the visually impaired.

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details of the invisible, perceptible detailsProject director: Stéphane Bureaux*

In its relationship to an object, a detail can change everything. Beyond its strong signifying power, a detail can also renew our relationship to an object. Based on this observation, would it be possible to approach the question of detail not as a result, but as a necessary factor of the object’s whole?

And can objects be designed through their details? Can new perceptible perspectives be given to objects that become inert?

Project

*Designer

GD

Thesis

it doesn’t matter!The perception of objects through detailThesis director: Renaud Ego*

Being interested in detail means approaching objects via deliberate back routes. With each new approach, every detail becomes essential, the main subject of new chapters that combine to reveal a unique story. The object contains a thousand aspects that should be discovered for “it is through the little unexpected things that we learn everything.” Details are a surprising entry point, opening this door means entering the very heart of the object and appreciating its full wealth.

*Writer

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Goliath Dyèvre

Lime ConCretion (2008)

A series of objects with indistinct functions: a tidy, a fruit bowl, a tray, a decorative item. Using a hundred-year-old craft method—natural lime concretion—this project proposes a gentle passage from the trinket to the functional object.

kaos (2004)

Updating the broken tile technique used in the 1950s. The ceramic tile is a relief composed of small quadrilaterals arranged in a chaotic fashion. They fit together randomly yet clearly and create an irregular motif.

man’o (2007)In tandem with Quentin Vaulot

A small polypropylene plaque that fixes onto a tap to indicate that the water is drinkable. Mainly used in schools for hygiene purposes. This project has been mass-produced and distributed by Veolia Eau.

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the silence of animalsProject director: Rodolphe Dognaux*

The laboratoryThe relation between man and nature has been the subject of representation that has fired the imagination for centuries. Through a formal study that started out with no pre-conceived objectives and was then analysed and synthesised, a contemporary problem-atic can be extracted: why is it that nature is sometimes acceptable and sometimes repel-lent? This invasive nature is embodied by one species in particular: insects.

The projectAnts are one of the species most adapted to the urban environment. They are present in great numbers but are either ignored or seen as a pest. Objects can bring into question this proximity between men and ants in the city context.

Four objects will challenge the status of the city ant:- The decorative ant’s nest questions the animal’s relationship to its quarrying activity;- Heating uses ants as a thermal source and questions the ways in which we use them;

- The work surface attracts ants through a chemical message leading to organic waste in the home. The ants’ territory is marked out by a chemically potent blue line. It is a natural network that enters the home and approaches a “give and take” relationship between man and animal;- Blue is a colour that connects men and insects in cultural terms. Blue chalk is a demonstration of the overlapping territories that remain to be drawn between man and nature, man and ant.

Project

*Designer

80

XF

Thesis

ad-apted design(a vade mecum)Thesis director: Cédric de Veigy*

A key question comes up regularly throughout our studies and experiments: what do designers adapt to? To what is design adapted and how?Questions about industrial design will be developed around this idea of adaptation. A study of examples of adaptation in biology will reveal some enlightening notions; relating them to design will enable us to look at the different environments designers work in and must adapt to in order to survive.

* Lecturer: history of photography and cinema

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Xavier Figuerola dérive (2006)Partnership with Renault

Dérive examines the role of GPS as a travel tool: travel is a path more than a linear movement. Layers of information about the territory (the geography, the natural setting, the users…) appear on the glass, leading the traveller to construct their itinerary in close relation with the visible landscape. A map of the itineraries is progressively charted on the ceiling of the vehicle to keep track of the journeys made.

1+1 (2008)Competition for HermèsIn tandem with Alexandre Mussche

From trunks to small cases, luggage is getting lighter and being transported more and more frequently, revealing a connection between the history of luggage and the history of materials. The 1+1 case takes this further by borrowing a material from the packaging industry used for its protective, lightweight qualities: the industrial nature of expanded polypropylene enhances Hermès’ renowned crafted leatherwork.

e.box (2007)Partnership with the Direction de la Recherche et de l’Animation Scientifique et Technique (Drast)In tandem with Julien DefaitProject exhibited at the Saint-Etienne Design Biennial, 2008

What does the future hold for the transportation of goods? And what role will heavy goods vehicles play 20 years from now? We imagine the evolution in consumer practices: development of on-line purchases represents

a logistical challenge for shipping goods to consumers and incites us to imagine forms that are adapted to these new practices. Like the postal service, e.box combines goods ordered on the Internet and ships them to collection sites close to consumers in the cities. These collection sites are dedicated to the service: the consumer can receive advice and information on the products, thus creating a new relationship to on-line shopping.

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alzheimer, support toolsProject director: Gilles Belley*

This project addresses one of the problems that crystallises the tensions provoked by Alzheimer’s disease: the onset of incontinence, which affects the patient’s dignity. The project tries to restore points of reference for managing this deficiency, with the aim of soothing some of the tensions that make the disease so hard to accept.

A water drinking service accompanies the patient throughout the day and offers measurement units with which he or she can create points of reference for managing their water consumption cycle. The stopper changes colour when it comes into contact with water, marks the moment when the patient drinks, and serves as a reminder that it will soon be time to visit the bathroom.

The personal hygiene item introduces new gestures and makes the moment when it needs to be changed less awkward. It is composed of two parts so the patient can change it without having to undress, thus preserving a form of modesty and dignity for patients and carers alike.

Project

*Designer

88

VF

88

Thesis

archaeology of a systemThesis director: Marie-Haude Caraës*

For this thesis, I put myself in the position of an archaeologist at work. I choose a case study that has left little trace: the théâtrophone (a system to broadcast music via the telephone network, first invented in 1881 by Clément Ader). By reading archives (work documents relating to the time of its design in around 1891, found at the Musée de l’Opéra de Paris), I try to retrace the history of this system.

Reading between the lines of the contract reveals positions, decisions, context, and clues about the inventor’s objectives that strongly affect the way in which the project was carried out. This raw material produces a history of the project more than a history of the object. A kind of back-to-the-design approach. The archaeology of the théâtrophone appears as the example of a greater exercise that unearths the history of designs. Designs often stay hidden in work folders and yet they provide so much content and information. Even though the théâtrophone was a commercial and consumer failure, reading the archives is an attempt to bare the project’s soul.

*Political scientist, Director of the Research Department at the Cité du Design in St-Étienne, lecturer at Les Ateliers

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Victor Fromond movoïdes, toWards tangibLe movement (2003)The visual rendering of motion is fundamentally linked to the technical tools available at the time. Tools such as computer graphics and video can translate a certain approach to movement. Here it is captured from three different angles. By superimposing each sequence, the movement of the body creates a volume, which, once solidified, produces new formal typologies of objects for the home.

ChanCeLLe (2005)A lamp that explores a new field of digital instruction: apart from diffusing light, it also manages to modify its physical state. When electricity goes through the light, it heats up a looped wire that remembers shapes; this then dilates and modifies

the overall structure of the lamp. Each loop can be controlled separately by computer to create random or continual movement. This object is emblematic of the arrival of new technologies, such as nanotechnologies, which are still in the early days of use. Chimeras (2006)

What form would the objects in our surround-ings have if industry could mass produce them via rapid prototyping techniques?Freed from moulds and constructive principles, forms would become emancipated in a weightless space.Here is a series of domes-

tic objects modelled from fluid elements, such as water or fire particles: a ceiling lamp made by the accumulation of water particles forming an upside-down fountain; chairs made by fluid modelling and resembling weightless links; a wall texture that grafts itself on a surface like a fos-silised fire.

92 93


mass-producing unique objectsProject director: Jean-Louis Fréchin*

The advent of digital technology in a formerly mechanised industry makes us reconsider the way we think and produce our consumer goods. By taking into account increasingly flexible production methods and greater participation and interaction between industry and its clients, this project proposes production models based on flexible constructive principles that enable objects to vary in form during manufacturing, without necessarily

increasing production deadlines and costs. The possibility of mass-production of unique objects does not just mean we can combine the impact of one with the aura of the other; continuity between design and production is the only thing that will emancipate the consumer item.

Project

EG

Thesis

serial formsThesis director: Aurélien Lemonier*

When mechanisation revolutionised the value of trade and mass-produced objects, the Bauhaus raised the question of a convergence between the technological and the social. Digital technologies today mean we are no longer constricted to the simple forms of the Modernists or the moulds of post-modern clichés. When serial forms are produced by entirely automated processes on digitally controlled machines, the product becomes a mere occurrence of a wave production. There is one constant that remains in this new industrial paradigm: the series. Despite its different nature, seriality takes us back to the reality of an existence linked to the utility of its objects and the economy of their production. What are the models of these new serial forms?

*Architect

98 99

Emilie le Gulvout

4 Cases (2005)Partnership with the SNCF

In the confined space of a train, travellers seeking comfort adopt the objects available to them to their own ends. This project is a minimal intervention aimed at finding a solution for trivial imperfections: four ortheses to support the actions and movements of users in the existing train environment.

sin tituLo (2005–2006)

Why does the shadow of this chair make it seem transparent? Using just three elements (a lamp, a chair, a wall), I obtain an effect with which I propose a lamp-object. I let a form appear.

roue à Canne/Canne à roue or hoW to traveL Without going far (2006)Partnership with Hermès

In the world of Hermès there is no rolling luggage. My project proposes an alternative to the latter’s two emblematic components, the wheel and the handle: two scenarios, two stories of objects.

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*Sound designer, artist

stepsProject director: Ramuntcho Matta*

stepbystepIwalk.

When attitudes become forms, walking takes a step towards analogies and distortions.These proposals are made into objects, expressions of a study of writing.

Passer du coq à l’âne, rencontrer la chèvre, proposing objects in a jumble of ideas.Embracing complexity, an endless source of inspiration.I am here asserting light-hearted, pleasure-driven experimentation: walking, taking steps.What if design made life more interesting than design…? (cf. Mr. R. Filliou)

Project

102 103

104

JH

Thesis

QedThesis director: Marie-Claire Sellier*

In the grip of the “crrrrrreative prrrrrrocess” there is a Quite Exceptional Departure point to find.Guided by intuition, there lies a Quite Exceptional Discovery behind this impulse, pre-text.It involves a Quite Exceptional Development to be able to communicate, put into words and lines.There is a Quite Exceptional Design to play with and apply.Then there is Quite Everything to be Displayed to transmit memories of journeys and fresh awareness.QED.Object: something when viewed that stirs a particular emotion; the goal or end of an effort or activity.

*Lecturer at ESAD (Amiens)

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Joseph Heissat

t-time

Work on sugar and its customary narrative evocation: a pause in the day when you take time for a break. The amount of sugar left in this hourglass-shaped dispenser is shown by the graduation of the coffee or tea, which is visually inverted and rises until the sugar disappears.A hesitation – a pause…

insituIn tandem with Benoït Buirtsch

Experimentation of the video tool and the pixellation process (stop motion) (technique that consists

of filming people and objects frame by frame) that presents a frantic race between the man entity and the mass produced object, a merciless duel waged in the corridors of ENSCI.

[fire]

Enhancing domestic fire by the magic of randomness. Development of a process where hot forged wax is injected into gelled water. Each resulting candle has a unique form and flickers as the droplets encapsulated during injection pop with the heat of the flame.

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Project


mirror, mirror, who am i?Project director: Christophe Gaubert*

A digital data management scenario using the augmented reality process. Creation of a range of objects dedicated to this technology, augmented with digital content that can be read on a mirror interface: the object sound/the object image/the object light. Manipulating the image of these objects affects their function. A functional image.

112

CH

Thesis

the real trick to a magic thesis revealed at last!Thesis director: Marie-Haude Caraes*

On reading its pompous title, you will of course already have gathered that this thesis is not magic at all: magic is always explained by a trick… the trick in this thesis lies elsewhere; it is a suggestion, a question of the kind we like to ask when watching a conjuring trick: “What if it were possible?… What if we could materialise the imaginary? What if reality were an idea?… Or at least, what if fiction were a source of creation?… To put it another way: by imagining tomorrow, do we construct next year?” Creative utopia. The collective desire.

*Political scientist, director of the research department at the Cité du Design, Saint-Etienne, Lecturer at ENSCI

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Clothilde Huet

k-motion (2006)Partnership with KenwoodIn tandem with Cécile Baltazart

How to invent new user and consumer situations for CD, radio, and mp3 players in 2015?The aim of K-motion, two musical “gems” with inbuilt listening and music-sharing services, is to create a mobile

musical network in order to favour communication between people through music. K-motion allows users to broadcast their own music or listen to the music of another user in their immediate circle, to whom they can send “emosounds”, the sound equivalent of emoticons. It is an object for sharing music and emotions.

tWo do “objeCts ConneCted in the dWeLLing” (2006)Partnership with France Télécom R&D

This 3D interactive surface creates a new form of communication. The object created enables haptic communications, i.e., feeling a person from afar through movement and touch.

eden – [energy distribution spaCe] (2007)Partnership with Minatec Ideas Lab (nanotechnology research laboratory)

A new generation of bus shelters that produce renewable energy: the roof harvests solar energy; the ground collects the energy generated by passing vehicles and pedestrians. eden thus gives people on the go in cities access to electricity for recharging their mobile phones.

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myids – maintaining the linkProject director: Frédérique Pain*

With myIDs, people gathered in a defined space, e.g., an art gallery, can exchange and distribute digital information via their mobile phones. The digital data links up to websites, blogs, social networking platforms, and so on.The link is represented by the name/logo of the last publication added to the Internet page which it accesses. It is dynamic and automatically updated.

Posting a link on the agora (the virtual space of the physical place the person is in) could provide the opportunity to meet other people.The aim is to increase a person’s presence through a cultural dimension.myIDs boosts the meeting: the user has access to information posted on the Internet regarding the person’s knowledge, abilities, and tastes.Lastly, myIDs is a social aggregator:

the address book incorporates the user’s contacts and provides a glimpse of their activity, irrespective of the social network (Facebook, MySpace, Flickr, etc.)

Project

*Designer

118 119

120

GL

Thesis

the virtual conditionRaymonde (Clothilde) in the worldThesis director: Sophie Pène*

A three-dimensional world such as Second Life enables human beings to exist bodily in the worldwide web’s informational ecosystem via their avatars. This immersion leads to shared experiences and generates sensations and emotions. The autofictional tale of my exploration of Second Life —whose forms are conceived by users—reveals that controlling one’s appearance is an element that enriches interpersonal communication. A person can express their different identities thanks to their status as a creator. They are capable of acting upon their appearance, through which they position themselves in relation to others: they control their self-image(s) in relation to whoever they are communicating with. The objects and spaces they create bring a symbolic and metaphoric dimension to their personal expression and to virtual communication in general.

* Information Sciences Professor (Descartes)

122 123

Gregory Lacoua

mininet (2004)Partnership with the Association de Belleville

MiniNet is a simplified computer that meets the needs of users who have developed no or few automatic reflexes with the computer tool. The idea is to make a technological tool available by optimising its manufacturing cost and smart user-friendly design.

phanon (2006)Partnership with Hermès

A travel item in the image of the baskets that certain entomologists once made in order to collect fragile plant species; the structure is a single material that combines suppleness, rigidity, rigour, and approximation.

“de fiL en aiguiLLe” rug-stooL (2006)

Reflection on the etymology of the word tabouret (meaning “stool” in French) to glorify a common object by reformulating certain codes and uses that have been lost over time. Using the same simple movement as a needle being pulled through fabric, this pre-folded rug is transformed into a stool that evokes the tambour or taboret (embroidery hoop) it once was.Label VIA 2006 and Étoile de l’Observeur du design 2008.Made by Ligne Roset.

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Presenting this research as a viable proposal invites us to make the excesses of a practice visible through a moment of dread. Its ambition is to provoke awareness in relation to a field, simplify our understanding of it, and enable us to grasp the complex ways in which it functions, with the sole aim of redesigning the premices of self medication.

“sc.f” fictional scenarios around self-medicationProject director: Philippe Comte*

How to question a realm containing strong ethical and moral problematics?

Self-medication is an autonomous and subjective therapeutic practice. This tends to exacerbate behaviour borrowed from fantasies, fears, and beliefs. “Self-medication by Sc.F” uses objects and services to materialise the issues at stake by heightening certain models of use to the extreme.

Project

*Designer

126 127

128

JL

Thesis

the figure of the beyond – the generation and degeneration of a mythThesis director: Marie-Haude Caraes*

Chimera is a character from Greek mythology, a combination of disparate elements most often represented by the association of a lion, a goat, and a snake. By studying its different embodiments, I perceived that what counts here is not so much the mythological creature as the process that generated it. The chimera embodies a reality that breaks free from conventional limits; through extreme strength, the contradictory elements that compose it can interact. By looking beyond its appearance, we discover the true issues at stake in its existence: to “show” a reality that we cannot have…

*Political scientist, director of the research department at the Cité du Design, Saint-Etienne, Lecturer at ENSCI

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Julien Legras ohra

This necklace-to-be-completed proposes a gap between the daily perception of an element and the hoop that composes it. It presents itself as a piece of jewellery, but is merely a medium for highlighting what is precious to us. It is a pretext for reinterpreting the things around us, such as a piece of fabric, an old or broken piece of jewellery, an orchid…

“a fLeur de peau” exhibition designIn tandem with Elodie Cardinaud

Exhibition design for the Troyes modern art museum which shows the influences between art and textile (hosiery). Use of transparency progressively reveals perspectives that incite visitors to take a two-way look at the different thematic sections of the exhibition.

mobiLe Coat stand (2006)

This coat stand adapts to the existing objects in the home and changes position in relation to needs, from having some friends round or needing extra space to make a temporary workspace in the home.

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the objects of the brainProject director: Philippe Comte*

Our brain constantly creates associations between situations (the set of stimuli perceived) and the physical reactions that stem from them. We are now discovering that these associations can be reprogrammed via exercises based on sensory perception. Design may therefore have a new field of application; in shaping the perceptible side of objects it can make the body react by bringing mechanisms of association into play.

To what extent can we reinterpret our everyday objects to become mediums that produce these mechanisms?

With this in mind, domestic objects could therefore make us fall asleep, for example.

Perfume lampIt releases a succession of scents all evening long (by distilling a preparation made from essential oils). You can therefore synchronise bedtime with a change in scent and associate this scent with sleep.

ClockCreate “a routine” for falling asleep. When you turn the clock, you launch a process to deconstruct the hour display. The clock then displays the construction of a motif to send you off to sleep.

Sound elementA sound device that allows you to listen to music or the radio while you nap. Once connected to a source (hi-fi, mp3 player…) the device produces a sound that progressively fades into very gentle vibrations. You can associate perception of these vibrations with falling asleep.

Project

*Designer

136

EL

Thesis

a mon corps défendant [against my will]Thesis director: Cédric de Veigy*

By studying our relationship to food, I have tried to discern what makes the body react to certain objects without this actually being perceptible at the time.

To what extent do the choices that designers have to make enable them to let users regain some control over these objects’ so-called “power of action”? Can they make the action upon the body more understandable while giving us the means to enact our own free will? Or, on the contrary, do they make the action upon the body more opaque, more “magical”?

*Lecturer: history of photography and cinema

138 139

Emilie Lemaitre

déjeuner sur L’herbe (2006)Partnership with Pyrex

A range of dishes for having lunch outside. A plate, soup dish, and bowl are combined and transported thanks to a waterproof seal that binds two elements together; a pre-folded tablecloth in the style of Japanese furoshikis sets out the place and time of the meal.

perCh (2007)How to exploit the power of illusion using soldered steel wire volumes, creating an anamorphosis between a perch and a birdcage. From one specific angle (and only that one), the object appears as a cage, the bird seemingly locked inside. From every other angle, we realise that it is actually on a perch and free as a…bird!

box (2007)Plant an object. In your floorboards. Jump on a block of wood, a box. Use the box to hide everything you don’t want to lose, forget, or have stolen. To lock or unlock the box, just put a magnet near it.

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money, fame, and powerProject director: Laurent Massaloux*

This project is an attempt to evaluate the elasticity and the boundaries of the design practice. It questions the needs that design usually fulfils (such as sitting, eating, and lighting) by taking unsatisfied desires, secret aspirations, and irrational needs as pre-requisites. Irrational does not mean specific, and design is based on commonly shared desires generated by certain values that society commonly advocates.

The objects proposed create absurd situations to echo these values and question the place of morality in the design practice.

Éclat [Sparkle] fulfils the desire for celebrity that galvanises the crowds. When she gets home, Sophie activates a mirror to unlocks a box holding a red carpet that rolls out in her entranceway, turning it into a catwalk podium or the famous steps at Cannes.

The family administrator acts as a substitute for professional activity in a society where one’s profession is an important criteria for judging a person’s value. For Véronique,

a stay-at-home mother, it serves as a tool that follows her family’s performance. Acting as an efficient domestic life coach, it transforms Véronique into a top-class manager.

Compteuse [Lollyby] is a cross between a lullaby and an alarm clock that flatters the cupidity of its users by counting their banknotes over and over at bedtime and in the morning. Seventy-year-old Michel is nostalgic for hard, fast lolly; through its presence and sound, Compteuse [Lollyby] gives money its materiality back and becomes a soothing lullaby or wake-up call.

Project

144

AL

Thesis

trickeries and other truthsThesis director: Alexandra Midal*

Why posit a link between design and trickery when the theoretical foundations of design define it as being closely connected to the notion of truth? And why analyse this relationship through the more specific prism of the link between design and conjuring?In addition to the fact that both practices share a notion of truth, other distinct events that took place a century apart bid us to explore their relationship further. Is it pure coincidence that Jean Eugène Robert-Houdin, the true authority in the world of conjuring, presented his robots at the World’s Fair in Paris in 1855, and that in La Petite philosophie du design in 2002, the philosopher Vilém Flusser defined design in relation to trickery, stressing that the conjuror is the best trickster of them all?These elements may be mere historical coincidence, but a body of clues from various sources leads us to examine the link between the two practices more closely and question what it is that identifies design. Can design be imagined beyond its relationship to the truth, and more specifically in relation to trickery?

*Design critic, curator

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Alexandre Lepeu

fiera miLano (2006)Teamwork supervised by Christophe Gaubert

Design of the ENSCI stand at the Milan Furniture Fair.The tree as a metaphor for the school, drawing its sources from various fields (roots) and bearing fruit (student projects).

Le voyage (2006)Partnership with Hermès

Sergio bagThis scarf with pockets takes its inspiration from the world of saddlery and stems from research on male attitude and movement in spaghetti westerns.

Twis bagA ladies’ handbag with multiple pockets created from research on privacy and crumpled, twisted clothing.

tubuLumes (2005)

Interactive animated lighting installation. A living object that questions the relationship between image and object.

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elumin factoryProject director: Jean-Louis Fréchin*

This project rethinks the global architecture of a lighting design/production/distribution system by taking user participation into account. Thanks to a web interface that represents the company in a simplified manner and is operated like a board game. Users can:– buy pre-designed lights (the shop),– compose their own objects from standardised elements (the workshop),

– create or personalise their own components (the lab),– share their creations, re-route the system, exchange files (the office).Once designed, the lights are delivered in kit form and assembled by the user.

Project

150 151

152

JL

Thesis

homo Consuparticipabilis?Thesis director: Joseph Mazoyer*

This thesis questions our individual and social relationship with consumer products (desire, ego boost, identity crutch) through sociological and philosophical analysis. Using the problematic of need as a starting point, the relations between the different players in our market society (producers/consumers) can be reinterpreted. While ICT is revolutionising these interactions by giving consumers a greater role and responsibility, what part can design play in this contemporary landscape?

* Designer

154 155

Juan Lin

the tWo-storey tgv pLatform (2005)Partnership with the R&D department of the SNCF

The platform is the entry and exit area in two-storey TGV trains that fills numerous functions: circulation, toilets, luggage racks, signage. It is also an open space for travellers. This project proposes to make this space more welcoming while maintaining its primary functions.

yami (2006–2007)

Today’s take-away delivery scooters are often makeshift vehicles. Yami is a utility scooter dedicated to food delivery that responds to the increase in restaurants offering a take-away delivery service.

nutty tabLe (2007)

When oil reserves have run out, what alternative can be found for MDF? By replacing the wood by nutshells and the epoxy resin by plant resin, you obtain a nut composite that can be moulded and dyed from the block to alter its aspect and form.

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parisian boat, who are you, where have you come from?Project director: Jean-Louis Fréchin*

Today’s big city transport networks are saturated. River transport is therefore being developed as an alternative to tubes and buses. From New York’s “Water Taxi” and Hong Kong’s “Star Ferry” to Venice’s “Vaporetto”, numerous cities are using their waterways for urban transport projects. Projects are also being studied in Paris. The River Seine used to have bateau-bus (boat-buses) and offers the possibility of creating a river

shuttle network. My graduate project proposal is to design a passenger boat for the Seine that would relieve congestion on the city’s metro and bus network and offer a different urban transport experience. This river shuttle service also fits in with the visions of the Grand Paris projects: enhancing the Seine and “poetic transport” and proposing a public transport system that can be an identity for 21st-century Paris.

Project

160

LL

Thesis

the emergence of Chinese designThesis director: Marie-Haude Caraës*

21st-century China is dominating the world economic stage: thanks to its exponential economic growth, Chinese society is now driving international trade. But as it opens up to capitalism, it also becomes more and more dominated by it. Globalisation has made the Chinese dependent on the West’s technology and expertise, to the point where some feel that China’s identity is being harmed. This destabilisation of Chinese identity is even more problematic when seen in the historical context of China’s Cultural Revolution (1966–1976), during which traditional practices, objects, and texts were banned and destroyed by Maoist communism. New Chinese society has made a profound break with its past, making it easier for globalisation to strengthen its hold over a people that have lost the memory of their culture. Yet it is this very culture that gave China its power during Ancient times and the Middle Ages. What is unique about Chinese intelligence? Why has China broken with its past? Faced with new global challenges, will it manage to restore its links with its history? Beyond being a simple medium of expression, could design contribute to the debate to define contemporary Chinese society?

* Political scientist, Director of the Research Department at the Cité du Design in St-Étienne, lecturer at Les Ateliers

162 163

Loïc Lobet

high-famiLiarity (2005)Partnership with Kenwood

A domestic device dedicated to storing and listening to digital music files. It is composed of a touch screen, cordless speakers, and memory cards with displays. The idea is to propose a simple, intuitive interface that uses physical actions as a way to interact with mp3 files.

soft expLosion (2006)

Working on the theme of explosion, I developed an experimental process to deform metal profiles (steel, aluminium, brass… By filling them with water then freezing them, I exploited the water

solidification process (which increases the initial volume and makes the container expand) to create mechanical assemblages and a particular visual language. The final object is a stool whose structure is assembled and deformed by freezing.

semi-Living objeCt (2008)Internship at the CEA micro- and nanotechnology laboratory at the Minatec in GrenobleProject director: Miguel Aubouy

How to design a “semi-living” object using a captor developed by the CEA? The goal was to create an initial prototype that uses and highlights the capacities of these new technologies. The object here is sensitive to the ways in which it is handled, changing shape, colour, and brightness.

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(In) animate objectsProject director: Jean-Louis Fréchin*

This project is based on a principle of object interaction that generates an aesthetic or functional event. The goal is to propose minimal interfaces by playing on the symbolism and perception of objects in order to facilitate adoption of technological systems.

The first idea entails playing on subjective memories associated with objects. The object is a memory box connected to a network and fitted with an RFID reader. It enables digital photos and content to be linked to objects by allotting them very small RFID tags. The photos appear via a two-way mirror and can be flicked through by tapping the sides of the box, explored by tilting and handling the box, or displayed as a slide show by placing the box on its side, like a photo frame.

The second idea uses the physical characteristics of objects, such as their size, opacity, and shape, to act on the scale of the environment, like when you put a piece of fabric over a light to change the atmosphere in a room. The system is composed of an LED ceiling lamp and a dish. The light brightens and changes shape depending on the objects placed on the surface. It becomes a drawing, an abstract image of the objects placed on the captor; the objects become associated with atmospheres and acquire new potential gained by experience and practice.

Project

168

AL

Thesis

from the unforeseen to the improvised objectThesis director: Sophie Coiffier*

The starting point for this thesis was a phenomenon that I have frequently heard about since I started studying the applied arts: “the creative accident”. It started to truly fascinate me, though I could not explain why nor fully dare to face the fact—perhaps because I like to control what I handle in my work, understand what I am doing, and explain my result. Becoming interested in an accident fires my curiosity and represents a real challenge: I have to confront something that is not in my control and which I can essentially never really grasp.

*Visual artist, writer, teacher

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Aïssa Logerot

reversibLe objeCts (2007)

Objects with a dual personality that can change typology by switching from one function to another, thus adapting to different everyday situations.

instabLe [unstabLe] (2007)

A fun low table with a flexible surface that more or less retains the imprint of objects placed on it, depending on their weight. The table can also be customized by creating a personal graphic element or message.

haLo (2007)

A light-writing flashlight that allows users to trace and write like a graffiti artist. It is recharged by shaking it up and down, like a can of spray paint: the LED tips can be changed in order to vary the colour and thickness of the light stroke.

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extensionsProject director: Christophe Gaubert*

This project questions our contemporary conception of furniture – from multiple uses to dubious quality due to rationalised industrial production and the ambition or desire for durability. These projects are envisaged in an unfixed state and can be extended, lengthened, fit various uses, and evolve over time. From assembly up, this project shows concern for ecological design and encompasses packaging, transportation, storage, and self-assembly and disassembly.

Project

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176

MM

Thesis

in all simplicityThesis director: Marie-Claude Caraës*

There is much talk of simplicity in the world of design, and its merits are often vaunted. But it is soon clear that, regardless of whether it is linked to aesthetics or use, this notion of simplicity never refers to quite the same thing. Simplicity is a subjective notion that can exist on many different levels, which makes it hard to define. I nonetheless wanted to use this dissertation to attempt to understand its many aspects and determine what it is that makes it a true qualitative value. For simplicity also often stems from recognised laziness, and the all-out tendency to promote it primarily expresses a desire to popularise it, translated by a move towards uniformity. This said, I defend an idea of simplicity as opposed to an idea of sublimated simplicity, in order to establish why it inspires and seduces me all the same. I have to grant that simplicity essentially has to be merited. Discipline and rigour is required to achieve this quality objective.

*Political scientist, director of the research department at the Cité du Design in Saint-Etienne, lecturer at ENSCI

178 179

Mathilde Maitre

the voCabuLary of fiLm: What if We deCiphered it? An interactive DVD (2004–2005)In tandem with Emilie Le Gulvout

Deciphering film sequences produces a specific language in which the cinematographic image is decomposed to reveal the architecture of each scene.The different angles of a scene (off-cameras, aerial views, etc.) form interpretations with which to construct one’s gaze. By using the multi-angle function of a DVD, we can switch from one angle to another while playing a film.

Car interior (2006)Partnership with Design Paris Renault

The monotony of the window and the frames defined by the architecture and door jams of vehicles affect our gaze. The window turns into a screen area and becomes a temporary captor of the landscape. Movements are established that generate escapist narrations punctuating the journey.

famiLy partie (2007)

In a dwelling with hazy outlines, a family with individualised, desynchronised lifestyles plays a game that resembles an extension of the human relations in a home.(From discovering imaginary territories to terrible fights, a whole range of quests, alliances, and stories are woven.)The set-up is a multi-player network game and a screen that acts as a family pinboard, a silent presence in the family home that testifies to the contributions of each member/player.

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Live mapProject director: Jean-Louis Fréchin*

This new approach to cartography allows users to reappropriate the city and the territory they live in. Just like surveyors who roam the land armed with various tools to record coordinates, transcribe their experience, and chart on paper what is located on the earth’s surface, users will construct a living map as they move around, thereby giving form to their movements. Their measuring tool is the GPS inside the mobile phone,

linked to an application that enables them to visualise, note, and broadcast their routes.

Project

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MM

184

Thesis

frameThesis director: Annie Gentès*

The frame is seen to signify passing from one setting to another. How do we move from purely sensory experience to interpretation?This study looks first at the frame and its limits, then pans out to the viewer and his or her point of view and actions. As a process of involvement taken to its climax and then its contradiction—loss of bearings—the frame leads me to envisage forms of organisation centred around the user.

*Lecturer, research scientist

186 187

Matthew Marino

ambion (2005)Partnership with Kenwood Design, Japan.In tandem with Denis Pellerin.

Listening to music at home. The information displayed on this digital music player for the home enhances the musical atmosphere.

topographiC images (2002)Signage and spatial design experiments. Animated images projected in an architectural space to make it communicate effectively.

seLf exposure (2006)Research grant from the Louis Leprince-Ringuet Foundation, in partnership with Télécom ParisTech.Teamwork with Denis Pellerin and Grégory Lacoua

A research project that questions the place of images in telecommunication. Scenarios of uses for new videophone applications where images are used to give visual dimension to a conversation.

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*Designer, R & D, EDF

“cf.”Project director: Stéphane Villard*

“cf.” is a software designed to organise the results of web-based documentary research. Its prime particularity is that it offers a visual presentation of documents, thus favouring cross-reading and referencing, as well as tools that enable users to materialise the meanings it links up between scattered information.

Project

192

MLMM

Thesis

evolutions, media & designsThesis director: Annie Gentès*

“During the summer of 2006, I had the opportunity of visiting the freshly inaugurated Research and Development department of the US daily newspaper The New York Times. This visit gave me a chance to take a look behind the scenes at a press in the throes of deep transformation as it moved onto the Internet.”By studying the new means of access to digital information, this thesis explores the evolution of design problematics in the press sector.

*Lecturer, research scientist

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Maria-Laura Méndez-Martén

Lumière 3, Cube Light (2004)

A variable geometry light that lets users generate their own light form. It is composed of 12 fluorescent tubes articulated by a cardan shaft. Lumière 3 was selected by VIA for a project grant, then prototyped and exhibited in Paris and Milan.

rer reporter (2007)In tandem with Alessia Genova

A newspaper available in RER stations (Paris suburban railway network), written by passengers and managed by the RATP (Paris transport operator). Using their Navigo smart fare card, passengers can access the editorial space and post articles in the nearest station. For the RATP, it is an opportunity to create a lively area in the station and fosters customer loyalty.

nautreviLLe (2007)Teamwork with Aude Richard and Sandrine Herbert

A programme in which Paris becomes a digital town. nautreVille offers three complementary services—digital mailboxes, digital neighbourhood information displays, and a service on buses to upload files from users—thus combining reality with a virtual world that promotes connections and exchanges between city dwellers. The maVille interface allows users to upload and download information. A new way of seeing the city, in which the information in a neighbourhood or a travel route reflects and communicates the identity of the place and its users.

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multiple faces, new relations: xÓLoProject director: Jean Louis Fréchin*

How to map your different digital “selves”The exponential increase in Internet communication leads users to show themselves more and more, leaving endless traces and triggering chain reactions. With this growing demonstration of the self, XÓLO proposes a private personal service that allows users to create, map, visualise, and better understand all their digital faces in order to become a more conscious player of their “selves” on the web.

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AM

Thesis

un [s]Thesis director: Cédric Veigy*

By observing the relations individuals and groups have with uniforms or avatars, I seek to understand the strategies that a person will devise and use to stand out from others or, on the contrary, fit into a group when the constraints of uniformity apply.

*Lecturer: history of photography and cinema

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Alexandre Mussche

pLugin projeCt (2008)Winner of the 2008 UIA competition

Refugee camps are often located outside cities, cutting their inhabitants off from urban economic and social life. They therefore tend to produce communities that are dependent on humanitarian services, making reintegration difficult. Based on a contract between the host, the refugees, and humanitarian institutions in the role of trusted third parties, these shelters welcome refugees into the city. The architecture proposed is constructed around structural cores made of plastic that enable use of local materials.

sCarabee (2006)Forecast for road freight in 2020VDA 2006 competition

With the expansion of rail and sea transport due to their lower energy consumption, road transport is increasingly being used for the first and last legs of goods transportation. Containers play a central part in this multimodal context due to their capacity to move from one form of transport to another.Scarabee is an electric truck with engine-wheels that can be clamped onto the container’s prehensile points. It is radio-controlled by a pilot aerial that is fixed to a vehicle.

Car-sharing spot (2008)

Car sharing is often an informal practice involving pick-up locations arranged via the Internet. “Car-sharing Spot” proposes making pick-up spots tangible and visible to all. The kit is composed of advertising panels and can be fixed to existing infrastructures, offering information on destinations and departure times.

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on raconteProject director: Jun Yasumoto*

Can local knowledge, vernacular culture, and the natural and agricultural heritage of a region be accessed in situ?

The idea is to use a network of radio microtransmitters to broadcast descriptions of places. The transmitters broadcast autonomously on the FM frequency thanks to a solar cell. They transmit descriptions of places written delivered by experts, enthusiasts, private individuals, and local

inhabitants. The Internet platform allows people to add new descriptions or contribute to existing ones, thus creating a collaborative local culture.

Project

*Designer

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SNS

Thesis

images of the linguistic frontierThesis director: Marie-Haude Caraes*

How has Belgium’s linguistic geography been portrayed in images? The country’s territorial organisation has been built around its linguistic territories (Flemish/Dutch, French, German).Throughout Belgium’s history, mapping and images of this complex linguistic geography have been provided to justify the way this territory is divided. This thesis comes with a series of cartographic experiments that offer alternative images of Belgium’s linguistic geography.

The cartographic experiments and the thesis can be viewed on http://frontiere.wordpress.com

*Political scientist, director of the research department at the Cité du Design, Saint-Etienne, lecturer at the Ateliers

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Sarngsan Na Soontorn

push’n’roLL (2005–2006)Sound listening device in 2015Partnership with KenwoodIn tandem with Gilad Zaafrany

The starting point for this project is the abacus –the original technological object. It isn’t, in fact, an archaic object, and is still frequently used despite the development of technology. From the abacus to the utmost in technological objects, the common ground is the method of informational organisation: i.e., hierarchical organisation.

[a bag] (2006)Partnership with Hermès

Travel can be easy, you pack some belongings in a bag and go… Simple things that can travel easily through time and space. This project aims to evoke the identity of Hermès with equal simplicity.

aLready-made (2006–2007)

How to find the means to consume products and materials more efficiently—before, during and after a product’s life? How to organise and illustrate this approach and the concept behind it? Re-use, reflect, re-apply.

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just one small thing?Project director: Christophe Gaubert*

When a small thing appears at the right time and the right place, it can greatly or even thoroughly change its environment.

Application of the observation made in my thesis, i.e., to pay greater attention to small elements and everyday items and question their intrinsic nature in order to find an answer.

“less for more”Having removed the superfluous, you take away the unnecessary, keeping the indispensable elements and distilling the ones that remain in order to reach a simple and more accurate result.

Project

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OP

Thesis

just one thing?Thesis director: Marie Treps*

an ordinary dessert.a dessert I love,except for one small thing,this intruder.

small as it is,it disrupts my taste, my sensations,the whole dessert.

I’m interested in this intruder.I dedicate my dissertation to it,my dessertation.

here’s to the staple.

* Linguist, ethnologist

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Olivier Paradeise

katamari (2004)Partnership with Orfim

This is a modular mobile toy car. It helps small children understand the relationship between a form and its movement. Katamari favours motor development in children by inviting them to grasp, build, and romp around.

grise [grey] (2004)

This project stems from a shaping process between random and controlled.The initial steel rod structure is pressed by a selected mould. The rods buckle under the pressure. The buckled curve is heated on the tangent to create a fold and thus maintain the form.

murbLe (2006)Partnership with the P.U.C.A. (Plan Urbanisme Construction Architecture, initiated by the Ministry of Equipment)

“Get dressed in the bedroom, undressed in the bathroom, fold the laundry in the sitting room.”Murble makes walls permeable, sets the flow of laundry in motion. It is a movable object that distributes its content to several different areas.

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CoreProject director: Jean-Louis Fréchin*

Design is at the heart of interactions between man and objects.Computers have considerably altered the representation of objects and the way in which we interact with them. But their contribution is all too often confined to the screen.How to use this tried and tested material, composed of representations, uses, and techniques, in our daily surroundings and practices?

Core is a radical break from the codes of other computer objects. Its materials, movements, and rounded form define new possibilities in our relationship with computers and networks. It proposes a simple object and a simple software that allow anyone to build their own sensitive gaming or utility applications.

Project

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EP

Thesis

made in nintendoThesis director: Aurélien Lemonier*

If we consider industrial design as an integral part of design sciences, the limits of what its invention (its object) applies to become much harder to establish.Through the history of the firm Nintendo, we take a look at design’s fields of action, possibilities, and the responsibilities design holds in the industrial complexity of today.

*Architect

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Elise Prieurtrans apparenCe (2007)

Realistic communication poster showing the possibilities and excesses of NBCCS (Nanotechnologies, Biotechnologies, Computers, Cognitive Sciences) in order to spark a debate at Up Fing 2007. Ego Reveal illustrates the ultimate human interaction, where the use of nanotechnologies, in the form of tattoos and make-up, can reveal repressed thoughts and emotions in order to regulate communications.

Lumen (2006–2007)In tandem with Philippe Bajard

Global project design. From the interior structure to the exterior volume, this scooter proposes answers to the problems of two-wheeler road safety in an urban context. The vehicle is equipped with a strong nocturnal image which optimises its visibility. Further user protection is provided by its enveloping form and the driver’s dynamic posture.

féLiCité (2005)Partnership with the Association Valentin Haüy, serving the visually impaired.

This universal tea and coffee set is easy for the visually impaired to use. Its accentuated relief, conducting wire, and direct handling enable a more intuitive and tactile use of these objects. This project won 1st prize at the Handitec 2006 competition.

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*Designer, Project director, ENSCI

e.tactProject director: Jean-Louis Fréchin*

The communications and digital sectors are seen as the driving economic forces of tomorrow. This project applies to person-to-person communication via computers. It aims to increase and enrich personal web communication between users by highlighting the unseen, unspoken body signs of natural interaction. This communication tool groups together several synchronous communication mediums: instant messaging, a co-navigation

service, and an interactive whiteboard that provides more interactive global experiences and co-productions. These communication mediums are augmented by use of input devices (keyboard, mouse, webcam), invisible expressions that are graphically displayed to indicate the presence of the user, give an intonation to the written expression, and create a form of individuation for the drawings produced, to heighten user interactions.

Project

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DP

Thesis

man augmented by under-the-skin techniquesThesis director: Jacques-François Marchandise*

Will the use of new technologies, especially NBCCS (Nanotechnologies, Biotechnologies, Computers, Cognitive Sciences), mean that the human body could one day be seen as a new medium for designers? Over and above remodelling the body envelope, which plastic surgery currently enables, will the day come when the body’s actual functions are designed in order to be improved and augmented? How to know whether designers will have a part in this “transformer” enterprise?This thesis explores the notion of “augmented man” through different territories at the crossroads between new technologies, applications, users, needs, contexts, and eras, while pinpointing possible abuses and warning signs.

*Philosopher, Scientific director, FING

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David ProtonbiLdin hoteL (2007)I-do, or imagining the hotel of the future.An international workshop organised by the Hong Kong Polytechnic University (HKPU) by Nicola Borg-Pisani.Partnership with the Shangri-La luxury hotel chain.

This model of a hotel room allows guests to experience a total immersion in the city. The room is built from the inside, hence the name, Bildin. A central furniture unit allows existing spaces to rapidly adapt to form a brand new circulation area…

substrat (2006)Partnership with Hermès

This is a piece of luggage for essential items that unfolds when need be. A piece of luggage for setting off on a day trip or a long journey.

domus geodesiCus vegetaLis (2004)

The plant takes over from the basic structure and forms a vegetal dome. Beyond its aesthetic aspect, this cabin also has a special construction method, for it lets people make their own specific tools in order to build their own cabin. This is a project for all budding handymen and women out there.

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autoprod’Project director: Gilles Belley*

How to let each individual take part in building his or her environment by making the creative process accessible to all?Large retailers such as BHV or Leroy Merlin are tentatively linking together the notions of knowledge transmission, accessible tools, personalisation, and available materials. The links are still fragile and DIY stores can – and must, in my opinion – provide real solutions to give DIY added value. Autoprod’ is a potential service targeting the Internet

generation that could be offered by a retailer such as Leroy Merlin, for example. It is an aid for designing (aesthetic handbook) and making (technical handbook) furniture using the materials on offer in the store’s branches. It features a software element which helps move from idea to blueprint, and a material element for going from blueprint to realisation.

Project

*Designer

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FR

Thesis

trucs [knacks]Thesis director: Odile Vincent*

The knack, in the sense of know-how or a trick, is everyday intelligence, an everyman production method.There is a current trend for learning how to make things again, notably via new and old fundamental gestures now dubbed “environmentally friendly”. In the face of a loss of autonomy and the shunning of responsibility, by rediscovering basic technical practices and know-how, therefore a certain practicality, people can feel responsible, understand the way in which our environment functions, and know that each gesture they make can have an impact on it.

*Ethnologist, CNRS

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Felipe Ribonsesame (2005)Partnership with Kenwood “Using sound.”In tandem with Julie Delmas

These headphones let users keep contact with the outside world while listening to music. The principle is based on a diaphragm system that ensures an analogical opening to the outside environment. Sesame indicates the user’s availability, signified by the diaphragm opening. This is a walkabout headphone with an interchangeable skin made of fabric.

os [bone] (2007)

How to bring new value to bone matter from the food processing industry? Today this mineral matter has no commercial value, but different peoples have used it throughout history to make domestic objects. Based on this tradition, the project questions bone applications for contemporary uses. Five objects:

EyewearMade using the glued laminated principle (a layer of bone, a layer of soft glue) that provides both flexibility and resistance. This technique also enables layers of different colours to be obtained with dyes.

PenBone can be machined and polished with great precision and can therefore be used to make a pen with a textured part for easy grip and a smooth part that is pleasant to touch.

Stiletto heelBone has a very high resistance to compression and can thus be used to carve a stiletto heel prolonging the bone structure of the leg.

Mobile phone keypadBone is a very good thermal and electrical insulator and can be used to make parts for electronics, thus combining its ornamental character with its technological potential.

Disposable objects linked to foodsBone is a biodegradable food matter and can be used to make disposable objects (often currently made in plastic) that come into contact with food: a coffee stirrer, an ice-cream stick, a cocktail stick, a spatula.

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Project

*Designer

a different bathroomProject director: Erwan Bouroullec*

“Today’s bathroom is a fixed space and seems a perfect place in which to construct a project. Alfred Hitchcock chose it to be the room in which Marion Crane would be killed in Psycho because it is actually a mysterious, terrifying place where miasmas and detergents all blend together. Damp and suspiciously white, the bathroom fertilises the microscopic world and embodies the domestic abattoir, for it is above all the scene of a crime. No culprits, no traces,

just a few puddles of water. It is a daily ritual, a disguised, codified death dance. It is the price we have to pay for keeping clean.”

A bathroom is a space that can be restricted or oversized, ritual or phantasmagorical. It is an architecture imprisoned by the furniture that adorns it, definitively fixed in place by plumbing. What new form could be given to this space of well-being, and which materials should be used?

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ES

Thesis

hygiene and deregulationsThesis director: Alexandra Midal*

How can a hygienist practice destined to preserve health in its broadest sense trigger such diverse pathologies? Such is the paradox that forms the central thrust of this thesis, which takes the shape of an investigation to question the links between a joint history of hygienist design and designed hygiene.

*Design critic, curator

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Edouard Simoënsraja (2006)

This project aims to give new value to a material commonly used in the industrial world—polyethylene packaging—by using it in a raw, repetitive way to make the seat of this sofa.

an infusion Coffee-maker With no pLastiC parts (2007)

By modifying production of the injected plastic parts in a coffee-maker by rapid prototyping machines installed in sales locations, we can redefine the way in which industrial products aimed at the general public are designed and produced.In order to material and manufacturing costs, the functional elements of this coffee-maker (filter, reservoir, tubes) are made in one piece and also form an outer casing, which itself becomes a functional and structuring element.

Lissetrusion (2005)

These bud vases are made directly from a new process of variable-geometry plastic extrusion, prototyped at the CFAI (Centre de Formation d’Apprentis de l’Industrie) in the Rhône region.This process consists in modifying the geometry of the extrusion drawplate as the material advances, thanks to a mechanism resembling a diaphragm.

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selfactoryProject director: Jean-Louis Fréchin*

As an “Internet of objects” starts to take shape, how to harmonise digital progress (in its domestic uses) with the concept of “self-manufacturers”?Selfactory is a creation website where users can conceive their chosen forms for digital objects in keeping with Internet use. A real-time 3D space thus allows users to construct new digital objects via standard modules (touch screens, speakers, interfaces, webcams) that can be assembled

together and are capable of accepting APIs available on the Internet. From software to hardware, these products are “completed” entirely by the consumer, who thus becomes the “co-builder” of his or her own digital objects.This project was carried out by combining different 3D tools from Dassault systems. It combines dedicated pure industrial production software and real-time 3D presentation software, thus creating a new

typology of industrial productive systems. The consumer can therefore finally step out of the classic production system loop and interact with both the design and the market.

Project

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QV

Thesis

between industrial productive systems and societyThesis director: Marie-Haude Caraës*

This thesis attempts to define the different interactions between industrial production systems and society.Are these industrial organisations adapted to man or vice versa?Could industrial production systems stand as a metaphor for society?To highlight these interactions, I undertook a historical analysis to isolate the different types of factors that act upon today’s industrial world.As industrial designers, to what extent can we intervene in the field of productive systems to develop new expressions of industrial products linked to the new socioeconomic issues of our time?

*Political scientist, director of the Cité du design in Saint-Étienne, lecturer at the Ateliers

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Quentin Vaulot

Christian dior (2005)

Black tie 48S for Hedi Slimane

ofiCio (2008)In tandem with Luiza Barroso

A desk as a metaphor for the relationship to work, a cross between a chaotic personal space and a clear, ordered organisational process. terroirs

déterritoriaLisés (2009)VIA Carte blanche by Philippe RahmIn tandem with Goliath Dyèvre

Philippe Rahm’s terroirs déterritorialisés [deterritorialised lands] is a programme centred around the climatic reversal between the interior of the artificial habitat and the exterior of the formerly natural habitat, which has sparked the imbalances generated by pollution. This programme takes a scientific and poetic approach to the notion of making the interior habitat natural again.

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ui – programmable objectsProject director: Jean-Louis Fréchin*

Examination of and research into the possible relationship between the form and the use of everyday objects, applying the visual dimension to which digital material has made us accustomed. This programmable material opens up perspectives for creating a new system of objects with a highly expressive and capacitive interface called Pario.

Project

Designtextile

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Thesis

Ctrl – interaction systemsThesis director: Odile Vincent*

Technical devices determine the nature of the interactions between man and objects. Choosing a particular interactive system helps to project users into special relationships with their tools. The contact object can be an augmentation tool, a prosthesis. The autonomous object can be an assistant, a partner. The attentive object can be a master, a disciplinary element. Here the way in which the controls are designed and the system of objects evolves reflects those in which our customs and lifestyles are evolving.

*Ethnologist, CNRS

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The ENSCI Textile Design (ex-ANAT) offers a three-year course specialised in textile creation that prepares students for the Textile Designer degree. Students accepted by the ENSCI Textile Design will have had multidisciplinary artistic training and hold a first- and second-year higher education diploma.

Textile designers are involved in multiple fields: fashion, the home, transport, architecture… They invent the textile, use threads and colours, design woven or knitted textures and jacquards and prints. They are creative and anticipate the styles and trends to come, but are also technicians that specialise in fabrics, their properties and treatment methods, and manufacturing constraints.

The first two years of the Textile Design programme are devoted to teaching, research, and textile design projects.The diversity of the teaching covers all the aspects of textile design, from elaboration through to product manufacture.The course focuses on experimentation and workshop research: each student has access to highly diversified and effective tools to create their textiles.The programmes are established by semester and are followed by all the students in a year. The ENSCI Textile Design applies the ECTS system: one year totals 60 credits.

The third year is a synthesis involving a long-term internship in a firm and/or a study trip abroad, plus preparation for the degree project.The subject of the degree depends on the preoccupations and sensibilities of the student and bears witness to their ability to project themselves in the context of professional issues. It is the result of analysis and reflection on a theme, takes certain needs into account, offers new uses, and brings an original, innovative solution. It is elaborated with the support of a project manager and a pedagogical team.It involves a concrete creation: a textile collection, a one-off piece or a production piece; it can be developed in partnership with a fashion designer, an architect, a designer, a manufacturer or a scenographer. It is accompanied by a document in which the student explains their choice and specifications, justifies their approach, and takes a position…

Graduates enter varied sectors of the textile industry: textile creation industries for clothing, automotive furnishings, research and creation departments; haute couture, ready-to-wear, style and trends…

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LA

270

Lily Alcaraz

stroLLing

Research on materials and colours in a soft, dreamy, feminine world inspired by the atmosphere of a Parisian neighbourhood. The weaves, knits and silkscreen prints in this clothing textiles collection combine powdery, grainy, textured, patinated and old-fashioned effects.

Quietude

A home textiles collection whose motifs are inspired by the vegetal decors of Art Nouveau. The wool and silk weaves play on the rhythmical repetition of small motifs. They are designed for seats, rugs and cushions.

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ma parenthèse

In Japan, time and space are reunited in the same concept: “Ma”.“Ma” is defined as an interval, an axis between dream and reality, past and present, memory and imagination.I based my project on this founding notion that influences Japanese art and architecture. I explored the major principles on which the Japanese people base their environment in order to create a place that is conducive to peace of mind, rest, and reverie. I was particularly inspired by certain codes of Japanese gardens, from which I took the principles of composition, form, material and a coloured world. The textiles play on transparencies and dabs of bright colour are added to materials with textured relief. This project creates a pause in daily life, an invitation to daydream.

Project

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JA

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Julie AndréQuartier Libre, my room under the eaves

A collection of furnishing textiles for a bedroom inspired by graphic and photographic research relating to the roofs of Paris.

summer memories

Creation of a double cloth textile inspired by the sensory memory of a mist and saltwater bath in Brittany. One of the cloths is immaterial and as fresh as water, the other is mossy and enveloping, like Brittany mist.

three dimensions. vegetaL Lights.

Creation of a series of small textiles realized with the braiding technique and inspired by an organic world, presented in the form of a garland of vegetal lights.

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Project

pollenTextiles to unfurl

Pollen is a line of textile items inspired by travel: essential, simple, lightweight and mobile. They are long-lasting products that transform to adapt to our desires and needs.

A bag, a blanket, a scarf, a mattress “unfurled” in space and “shaped” by means of a tie (ribbon, strap, rope…). An invitation to slow down and live better with these objects that “follow” us in their successive forms in our day-to-day lives. I designed these objects in a very sensual and tactile manner by taking my inspiration from flowers: the heart, the pistils, the petals, the pollen…This inspiration is found in the aspect of the textiles themselves and in the way they take shape: they open, roll up, unfurl…

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MB

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Marion Barbier

Le bistrot d’aLigre

Collection of fabrics based on a series of sketches and photos taken at the Aligre market in Paris.The collection of fabrics features three items from bistros: a table mat in Jacquard fabric, a seat upholstery in stitched cotton, and a silkscreen-printed apron.

emotionaL LandsCape

Dress in nylon and tubular cotton knit, embroidered with crochet pieces.

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trousseau is not dead

At a time when clothes and linen have become consumer items like any other, I wanted to take a look at the trousseau, a textile heritage that women used to carefully make and preserve: a necessity for a lifetime.Trousseau is not Dead takes the form of a workshop-boutique proposing the different items in a contemporary trousseau, which I customise by embroidery of a numerical “figure”, an identification sign I have chosen for its ornamental qualities. This project mixes references to old-style trousseaus and contemporary aspirations and forges a link between tradition, ancestral know-how, and the issues of today.

Project

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LB

288

Lea Berlier

3d textiLes

Double cloth textile jewellery. The six ribbons intertwine and form an alveolar structure.

envoL2nd prize at the La mode s’exprime, elle s’imprime competition, 2007.

Dress with a motif inspired by origami. Coloured shadows appear in a crumpled transparency. Their composition recounts a form of construction. At the bottom of the dress, the printed fold turns into a real fold.

a room in paris

Home textile collection: stitched blankets, silkscreen printed linen sheets and silk Jacquard. A world inspired by the atmosphere of a Parisian neighbourhood in the rain.

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paper line and ink dot

As a writing medium and a material and surface that can be touched and handled: paper is a source of inspiration.Based on experiments on embossing, folding, perforations and staining, I compiled a repertory of materials and graphics. Lines and dots punctuate the surface of the paper, creating a play on reliefs—solids and voids, shadows and light. Paper is a sensitive surface that becomes imbued with poetry.These experiments inspired a home textile collection that combines rigorous industrial mechanical techniques with manual methods of production involving spontaneity and chance. A perfectly balanced vocabulary that is at once random and constructed is created.

Project

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PLD

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Perle-Loan Dang Chinese area

Collection of fabrics and items for the kitchen or the dining room, based on research on the theme of Paris’ Chinatown and the food that can be found there.

foLded bag

Bag made with a single piece of folded fabric. Lines indicating the folds are directly integrated in the weave. A system of press studs enables the bag to take shape, revealing a pouch and a gusset.

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a matter of ideasMaking something you reject into an object you desire

Mass consumerism generates a large amount of objects and packaging that become commonplace, ignored, get forgotten and end up as garbage. Looking at them from a new angle could make them into a source of inspiration and creation.This project is linked to the principle of salvaging and recycling. It involves transforming the context of this salvaged “matter” and giving it a dash of nobility and new meaning.

I use the motif, colour or material qualities of certain materials (envelopes, newspapers, advertising posters…) to make them into objects for the home and give them new value. These objects are very simply made. Modules are folded into shape and assembled in different ways to customise the projects in relation to each individual.Taken out of context and used for new functions, the salvaged matter takes on new poetry and meaning.

Project

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AD

300

Anaïs Duplan

artdeCoThis project originated from a visit to the Musée des Arts Décoratifs in Paris, where the items on display inspired these fabric designs.

Objects in bubble glass—the expression of a transparent and airy mineral world. This mineral world then overlapped with the more organic, marine world of the flowing rounded forms of jellyfish, whose correspondence with certain human body forms became clear. The lightweight sheen of silk seemed most adapted to the expression combined in these different worlds. The central idea is the use of a single silk warp for different fabric qualities (shirt, jacket, coat).

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the Trogolo Curtain

A linen curtain inspired by the porous material of limestone and its raw, rugged aspect, hollowed and scoured by the acidity of water. It is also inspired by desert sands eroded by the wind.

rochE MollE [soft roCk]

A soft, supple pebble cushion plays on the idea of moulding itself to body postures. The object goes well on the edge of a carpet or rug, where it can form a kind of backrest. It is inspired by the moss that grows on certain stones. It plays on the contrasting properties of two materials: wool, which shrinks when washed, and viscose, which is stable. The effect creates puffed viscose areas surrounded by more felt-like wool.

the ToPo Carpet or ComposabLe Carpet

An assemblage of three stackable elements with irregular contours. The carpet portrays a topography and plays on the idea of different ground levels when the pieces are stacked on top of each other. The material used is a woven ribbon yarn. After weaving, it is hand-fulled and felted with hot water and soap. The wool shrinks heavily during felting (40%) and contrasts with the stability of the viscose warp which oscillates and relaxes, whereas the wool goes taut.I have played on a contrast in materials between a shiny viscose with a mineral look and a raw, matt, woollen weft. The felting makes the warp vibrate and the threads bunch up in places, producing a very textured aspect. This wool carpet is cosy and soft to touch.

geology

In the city we are cut off from the natural environment, we lose awareness of the earth beneath us, we do not feel its energy beating.This project reminds us of the presence of the ground, its strata and the materials that compose it. It draws on the coloured harmony of geological maps, cross-section diagrams of the sub-soil, and the phenomena of the Earth’s formation. It is inspired by topography; raw, porous, mossy textures; certain rocks; and the traces of wind erosion on desert sands… The look and feel of the different items in this collection express a warm, fun atmosphere.

Project

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MJthe BrèchE bLoCk or puzzLe seat.

A seat with two parts that fit together is a cross between a bench and an armchair and portrays the geological cross-section of a fault. The object’s form makes it easy to handle and allows different postures. Users can act upon the seat: stacking, unstacking, standing the elements alone or one on top of the other, composing…A mixture of several coloured and primarily linen threads produce a vibrant mottled aspect that helps to create the strata effect. The transparent polyester warp highlights the colour of the weft, making it look like a slice of pure matter. The upholstery is in boucle wool that gives the surface a mossy aspect.

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Marine Jubert

play

An allusion to childhood, a touch of fantasy in everyday life, an incitement to change scenery…Play is composed of four sets of fun objects to handle, organise and move in order to play with our interiors. The textile collection was developed in liaison with each object and fulfils specific criteria regarding appearance, rigidity or transparency…The motifs are inspired by the world of play and bring each module to life: sticker shapes, overlapping squares, letters and geometric compositions mingle and go together in a graphic, coloured game.

Project

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HS

312

Heidi Strom Let it shine, CREATING NEW SOLUTIONS FOR CAR INTERIORS.Partnership with Renault

A textile that can filter and control the natural light that enters the passenger compartment. The textile is opened and closed with a simple gesture.

zumos

Design sans frontières uses the know-how of designers to develop projects.Creation of the Zumos brand and a collection of textiles and textile products with a group of Maya weavers: tie, scarf, table runner, and various small bags. The collection is sold in shops in Norway and enables the weavers to earn a better living.

LaCe teabag

The Fédération française des dentelles et broderies (FFDB – French Lace and Embroidery Federation) launched the Détournement de matières competition to interpret lace and embroidery for new applications. Creation of lace teabags. This project won the Grand Prix at the competition.

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parts and WholesProject director: Daniel Jasiak

Living objects such as fruit and vegetables are composed of several layers of matter. Each of these has a specific function and communicates with the layers around them. By investigating the layers in vegetables, fruit and fish, I discovered meanings and relationships from which I was able to create new functions.

Project

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NT

318

Natalia Tannenbaum

gLuCosaL summer (february 2006)

textiles as colourful as sweets, cool and melting as ice creams, sugary as chewing gum… for children’s fashion.

aCQua bag (june 2007)

a bag for the swimming pool, featuring 2 compartments for separate items (dry and wet). The colour and material (linen+nylon) evoke the bottom of a swimming pool.

termini (marCh 2007)

collection of tie-dye scarves inspired by the urban jungle.

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fantasy objects

Some people cannot relax or even sleep. To help them I have created a textile therapy; they become the patients and I become the doctor.

My approach entails prescribing surprising fantasy objects endowed with healing properties and adapted to each individual. These textile medicines are close to daily life and enable the patient to enter a world in which their imagination and creativity will cure their ills. The subject forms an emotional relationship with the textile, which becomes an object with a symbolic connotation.

Project

322 323

324 325

Project studio directors at ENSCI, who have directed students (see Portfolio)

François AzambourgGuillaume BardetJean-François DingjianJean-Louis Fréchin (digital design)Christophe GaubertLaurent MassalouxBernard Moïse

Publication

Director of publication, director ENSCI-Les Ateliers Alain Cadix

Editor in chief Dominique Wagner

Graphic designc-album : Anna Radecka

Student coordination Veronica Rodriguez

Degree year coordination (industrial designer)Dominique AverlandMyriam Provoost

Degree year coordination (textile designer) Chantal Tournay

Translations Gail de Courcy Ireland

Photography Véronique HuygheFelipe Ribon

Thanks : Liz Davis, Géraldine Méhigan

PrintingMaugein Imprimeurs, France 4e trimestre 2009 – dépôt légal nº 327

Inside pages certified PEFC

326 327

Index design graduates

Industrial Design Graduates

Florence Béchet [email protected] p. 9 à 16Vincent Bloin [email protected] p. 17 à 24Antoine Boilevin [email protected] p. 25 à 32Pierre Charrié [email protected] p. 33 à 40Félix Compère [email protected] p. 41 à 48Julien Defait [email protected] p. 49 à 56Adrien Demay [email protected] p. 57 à 64Cécile Désille [email protected] p. 65 à 72Goliath Dyevre [email protected] p. 73 à 80Xavier Figuerola [email protected] p. 81 à 88Victor Fromond [email protected] p. 89 à 96Émilie le Gulvout [email protected] p. 97 à 104Joseph Heissat [email protected] p. 105 à 112Clothilde Huet [email protected] p. 113 à 120Gregory Lacoua [email protected] p. 121 à 128Julien Legras [email protected] p. 129 à 136Émilie Lemaitre [email protected] p. 137 à 144Alexandre Lepeu [email protected] p. 145 à 152Juan Lin [email protected] p. 153 à 160Loïc Lobet [email protected] p. 161 à 168Aïssa Logerot [email protected] p. 169 à 176Mathilde Maitre [email protected] p. 177 à 184Matthew Marino [email protected] p. 185 à 192Maria-Laura Méndez-Martén [email protected] p. 193 à 200Alexandre Mussche [email protected] p. 201 à 208Sarngsan Na Soontorn [email protected] p. 209 à 216Olivier Paradeise [email protected] p. 217 à 224Elise Prieur [email protected] p. 225 à 232David Proton [email protected] p. 233 à 240Felipe Ribon [email protected] p. 241 à 248Edouard Simoëns [email protected] p. 249 à 256Quentin Vaulot [email protected] p. 257 à 264

Textile Design Graduates

Lily Alcaraz [email protected] p. 269 à 274Julie André [email protected] p. 275 à 280Marion Barbier [email protected] p. 281 à 286Lea Berlier [email protected] p. 287 à 292Perle-Loan Dang [email protected] p. 293 à 298Anais Duplan [email protected] p. 299 à 304Marine Jubert [email protected] p. 305 à 310Heidi Strom [email protected] p. 311 à 316Natalia Tannenbaum [email protected] p. 317 à 323

A spécial mention for those ENSCI industrial design graduates, who, already involved in new adventures, often in faraway places, were not able to contribute to the present catalogue.

Textile Design Graduates

Suzanne Pelletier [email protected]

Industrial Design Graduates

Élise Auffray [email protected] Bianco [email protected] Guyot-Mbodji [email protected]

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This book has been realised thanks to

Retail Design Agency

ENSCI Graduates Catalog 2008-2009

Documents

Transcript of ENSCI Graduates Catalog 2008-2009