A LIX AGU ER PORTFOLIO
CONTENTS
INTRODUCTION
4-5
THE RHYTHM OF LIGHT
6-9
DUST IN TIME
10 - 11
UNDER EYES
12 - 13
MATIERE ANIMEE
14 - 15
TASTY INK
16 - 17
CAPS TO WALL
18 - 21
READ LINE
22 - 23
FLOW
24 - 25
WOOD WOOL FOOD
26 - 27
SMELL LIKE THIN SPIRIT
28 - 29
90째
30 - 31
FRAGMENTS
32 - 33
LINK COLOR
34 - 35
CURRICULUM VITAE
36
Discover
PROCESS
Flat drawings Schemes Models References
Introspection
Pigment
Narration
EFFECT
Brass
Plaster Glace
Comparison Link
Graphite
Preciosity
Fabric
Plastic Polyurethane
Fragility
Collage Wood Metal
Thread
Evocation to highlight
MATERIAL
Copper
Process
CREATE BY
Senses
Parallels with humans
Context Contemplation
Translation
Sensation
Puns on words
Detail Language
Association
INTERESTS
Tradition Georges Pérec
Lacan Nouvelle Vague CINEMA
Contemporary Art Francis Ponges
Human’s mind
Marguerite Duras
Art & Language MOVEMENT
Tom Ingold
The first project shows who I am as a designer. I’m self-demanding, precise and reactive. I like to question our habits and our reaction to progress.
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THE RHYTHM OF LIGHT What is my position?
We are part of the generation where our world is becoming faster and faster. People work at the speed of technological devices to be efficient and competitive. At the same time we are more and more at home, and our way of working is already radically changing. We can anticipate that the traditional office will completely disappear and we will all work from home in the future. I am convinced that we need to rethink our home, re-learn our habits and create a new rhythm to our lifestyle that is not based on technology.
What is my statement?
Indeed, I am looking for a different and unique perception of time for our private life: a time that contrasts with the one of our phone, of our computer, a time where you know how to appreciate your environment and where object plays a fundamental role.
What is my approach? «Turn/Switch/Put on the light», are short words to describe the easy movement to light up a space. Instead of having simple switch, why not transform this act with an elaborate object which contains precious details? I want to give more importance to this idea of «turning on the light». Here I incorporate weight and strength into light. I show the fragility of symmetrical balance and electrical contact between materials.
What is my aim? I think small details are very important to accentuate and make us think about our daily habits. My idea is to transform the lifestyle of the user, to make new ways of using unconsidered, almost invisible objects. I want to highlight, to accentuate, to give new potential to basic objects and re-learn how to use them. I aim to put tension and ambiguity in our everyday life and move away from the banality of just switching a light on. This principle of highlighting unimportant objects can also be applied to other everyday elements such as a plugs, handles, etc.... I want to introduce these objects into our private space to integrate this feeling of slowing down, to redefine the rhythm of our time at home. Through my designs, I aim to create a new relationship between the user and the object by involving the body more, and by adding a poetic dimension to these banal objects. The eyes of the skin, Juhani Pallasmaa L’éloge de l’ombre, Junichirô Tanizaki Espèces d’espaces, Georges Perec
INSTRUCTIONS
BALANCE
TURN
SAND KEEPS LIGHT
COPPER CONNECTS WIRES
HANG
WEIGHT PRESSES CONTACT
DESIGN RESEARCH
DUST IN TIME
Time is typically indicated by a clock, a rhythmic device. But internal, intuitive time is something we all experience differently. Time moves more or less slowly depending on the moment and feelings it surrounds. I am fascinated by the subjectiveness of time. Time can also become physical data. Here, the mechanism of the clock is set into plaster, a material that imprisons the device. Instead of numbers, this clock has small piles of colored pigment to demarcate time. The hands of the clock are brushes. As time passes the clock draws a circular line in pigment, leaving behind a physical trace of the passage of time. As this cycle continues the line will spread, wipe itself and add more pigment; this represents a comment on the irrationality and distorted perception of time.
UNDER EYES
This suit is made with triangular mirrors which have symbolic and a poetic value. The suit addresses shyness and discomfort with one’s physical appearance by protecting the wearer from being seen by others. Spectators become more distracted by their own image and ignore what the reflectors are placed onto because they are fascinated by their own reflections.
BOULOCHE
This material creates a feeling like the one you get when you roll a sticker or a piece of fluff between your index finger and thumb. It is an extremely particular tactile feeling, which I wanted to capture and extend over large surfaces or even all over the body (shoulder, arms, back, legs, face).
RECIPIE BOOK EXTRACT
TASTY INK
RECIPE
INGREDIENTS
RED
Cherries
Lemon
Strawberries
Sugar
Cut in little pieces cherries and strawberries. Add a little bit of sugar and lemon juice. Melt it. Let them soak during few hours.
RECIPE
INGREDIENTS
BLUE
-
PURPLE
Red Cabbage Water
Cut a little bit of red cabbage in little pieces. In saucepan, cook them until it boils. Filter the juice.
This project is about the idea of localisation in Netherlands and an imitation of natural life cycles. I proposed creating natural and safe edible inks inspired by culinary traditions and local food production, one for each of the five cities. The taste of the ticket is created in two stages: first with place’s stamp and then with punch machine. These steps are part of a passenger’s habits but in this case you don’t trash but eat it—after the train conductor checks is of course. I investigated farming activities to understand regional specialities, how the landscape looks, and to extract their strongest points.
CAPS TO WALL
Here leftover caps become an aesthetic point to make plaster bricks beautiful, and as a way of building a nice wall that you don‘t have to cover. My attention focused on plastic bottle caps because this is a good example of a secondary object from a larger one. This represents part of the functionality in the object but one that is complementary to the other. I had to considered this object «en masse», not just as a small, lonely object. There is huge amount of plastic caps in the world, which is why I choose the scale of construction and building. I put them in different states (little pieces, surfaces, dust) to find their properties (lightness, floating on water, melting point). It became a material in it’s own right that I added to plaster to find an aesthetic way to put it together. The fabrication of all these bricks is a process to cut, grind, dry it, cast it with plaster, and then sand it. All these steps do not have a negative effect on the environment.
PROCESS
READ LINE
ÂŤ Distinguo Âť is an excerpt from a book called Exercices de style written by Raymond Queneau, in which author makes spoonerisms. In the book these are enclosed in parentheses and disturb the reading. The roll allows for fluidity in the text, and puns are placed to cover the group of words on which it acts. They are like a second voice which whispers over the prevailing voice of the text.
FLOW
This coffee set focuses on the movement of the last sip, which requires you to tilt your head back and put a stress on your neck. This might be uncomfortable for people with arthritis, scoliosis or those who are bedridden. The aim of this project was to erase this last movement. The three shapes came from researching plastic sheets for transparency, the waterproof qualities of polyurethane, and the colour possibilities by putting these plastic pieces together. I casted them by translating the motion of liquid inside the cup, and according to the most appropriate grip to drink and pour warm and cold liquid.
WOOD WOOL FOOD
This feeder bird is made in birch wood, it might contains some birdseeds and water (in center of the circle). A natural wool woven on a metal structure protects birds. This weaving allows them covering their nest by the wool during their construction. It is made discovering, step by step, what are the birds pecking in our feeder bird.
SMELLS LIKE THIN SPIRIT
This sculptural installation is actually a coat/clothes hanger which acts as an over sized perfume bottle with a siphoning mechanism to disperse the owners perfume through their clothing while it hangs. In making this object I wanted to compare the human body’s structure to that of the object. Not only the form and scale of the individual are implicit here. More importantly, I wanted to translate the intimacy of an individual in this object. I see nothing more intimate than scent. I created the weight at the bottom of the structure to hold the individual scent of the person. As the scent moves through a thread onto the hanger of the structure I see the image of something so closely held, deep and personal coming to the surface to be worn freely on the surface of the individual.
90°
This furniture allows highlighting the books we like or those are being read. A gap between the two wooden boards allows putting some books on the angle or on the spine. Some of them are going out of the book’s row, and it becomes easier to find them.
FRAGMENTS
Standing in the middle of this mirrored structure one can view all around his/her head through strategically placed mirrors. However, one cannot see the entirety of one’s head or face. This installation is a visual translation of how we use words to define ourselves in simplified terms. Here the mirrors are those restricted boxes that we frame ourselves in. Standing in the installation one only sees fragmented body parts: an ear, a partial profile, under the chin and behind the head). Looking at oneself this way gives an outsider’s perspective. The body is out of context. I created this intimate and private viewing space to questions the functionality of a mirror and the habit of gazing into the mirror. This space questions the functionality of a mirror. Do we have to continue to use it in a selfish way? Could it also be a way to see someone else’s impression? This could become an understanding of how other’s see us in different ways.
LINK COLOR
These light structures are a link between architecture and object through color. When light is projected onto surrounding surfaces, the luminosity will vary depending on color. Darker colors will yield less light, while lighter colors will be more reflective. The light is indirect and therefore creates a soft environment. These structures are fixed on a wall or a corner, so they define the architectural lines of the space.
WORK EXPERIENCES
INTERNSHIPS
Summer 2014
2005
Assistant Graphic Designer Association «Viens à Marseille»
Photo studio Kalice Grenoble
CONTACT Haagbeemd 47 5641 NB Eindhoven +33 (0)6 88 17 47 66 alix.aguer@hotmail.fr Birth 24 - 03 - 1989 Paris
Autumn 2013
Sales assistant library at Klokgebouw Dutch Design Week Eindhoven
2005
Adverstising agency Créathéma Paris 2004
Architect agency Dal’bo Grenoble
Summer 2010
Sales assistant Comptoir des Cotonniers fashion shop Paris
WORKSHOPS
STUDIES
Alix Aguer
2013
A performance inspired by Arizona Dream of Emir Kusturica by Anne Kawala Author and Artist
2013 - 2014
First year Master Contextual Design Design Academy of Eindhoven 2009 - 2013
Bachelor DNAP Object Design ESAD of Reims
2012
«Vertical Garden» for the ESAD’s facade by Patrick Nadeau Vegetal Designer
2008 - 2009
Preparatory class Ateliers de Sèvres Paris
2011
«Movie Poster» by Félix Weigand Graphic Designer
2007 - 2008
2010
«Game» by Adrien Rovero Product Designer
2007 2009
«Sound Cook» by Fabrice Eola Food Designer
First year Art History Pierre Mendès France University Grenoble
Bachelor Economics Social Sciences ITEC Boisfleury highschool Corenc (Grenoble)
HOBBIES
LANGUAGES FRENCH
FRENCH LITERATURE
Mother tongue ENGLISH
Marguerite Duras Les petits chevaux de Tarquinia Georges Pérec details of life description
SOFTWARE
Read Written Spoken SPANISH
Academic level
Photoshop Illustrator InDesign Premiere Pro Microsoft Office Rhinoceros
LouLiPo
Rules in creation CINEMA
La nouvelle vague