ENSCI Graduates Catalog 2011-2012 by ENSCI-Les Ateliers

École Nationale Supérieure de Création Industrielle

GRADUATES

30 Years On… For ENSCI – Les Ateliers, the designer’s prime vocation is to create and design ’objects’ that rise to contemporary challenges. But they also need to bring a new share of imagination. As Andrea Branzi wrote: ’the designer is an inventor of strategies and scenarios; [his] project must cover the world of imagination, create new tales and new stories that will extend the span of reality.’ The design taught at ENSCI – Les Ateliers is 21st century, it is broader and more responsible and participatory than it was in the 1980s, when the school was founded. It is no longer (or not merely) design created for production and sales, it is about commitment first and foremost. In times marked by energy and environmental crisis, industrial recession and the increasing complexity of the economic, technical, and social systems in which man evolves, design –’our’ design – takes on a political and civic dimension. It is responsible. In a society where human mobility, new digital practices involving the Internet and social networks, prolonged life expectancy, growing exclusion, lack of job security, urban density and spread and rural desertification all leave a profound imprint on the lives of individuals, families, groups, organisations and territories, design discovers new areas of exploration and creativity invested with new responsibilities regarding social innovation and sustainable development. In a global economy marked by greater competition between businesses, design is a fundamental platform for innovation and has become a determining factor of the conceptual and radical innovation that spurs competitive business. This is our grand design.

The ’objects’ designed at ENSCI-Les Ateliers are material and/or immaterial; they are systems, products and services, household or professional, individual or collective, private or public; they use and frequently revisit traditional technologies – wood, metal, textile, plastics, etc. – and new technologies, be they diffuse digital tools or tomorrow’s tools in the making, spawned by the inevitable convergence between science and matter, information and life, which design has an imperious responsibility to “humanise”. This design sets great store by use and sometimes engenders a dialogue with users – who remain consumers but increasingly act as contributors as well. Revealed in the frequently original concepts and designs that take shape in ’objects’ with recognised formal and functional qualities, this is where the true wealth of ENSCI – Les Ateliers lies, showcased in this Catalogue of Graduates 2011-2012, in industrial and textile design alike. In the tradition and spirit that have marked generations of students for the past 30 years, we have accompanied them throughout their individualised study paths to their professional destinies. Now that they are graduates, their creativity will do much more than provide an economic and social contribution to development and growth; they will bring their share of ethical and aesthetic responsibility to the world in which we live.

Alain CADIX Director of ENSCI – Les Ateliers from May 2007 to November 2012

summary

Justine Andrieu

13-20

Pierre Bayol

21-28

Yumiko Ohara

93-100

Laurent Beurriand

29-36

Laura Pandelle

101-108

Pierre Cloarec

37-44

Fanette Pesch

109-116

Florian Delépine

45-52

Fabien Petiot

117-124

Théodore Faure

53-60

MPG

Mathieu Peyroulet Ghillini

125-132

Thibaut Guittet

61-68

Margot Pons

133-140

Mélanie Husson

69-76

HHQ Han Hui Quing

141-148

Samuel Lacroix

77-84

Célia Rossi

149-156

XYL

Xiao Yu Lou

85-92

Clément Tissandier

157-164

4 KT

Kévin Torrini

165-172

Baptiste Viala

173-180

Fanny Vincent

181-188

Design textile 191-192

Maud Boudet

193-200

Audrey Boudissa

201-208

Karen Dassy

209-216

MHL

Marie-Hélène Leduc

217-224

Claire Roussel

225-232

Hélène Sempéré

233-240

Industrial Design

graduation Writing a thesis, working on a project, defending a thesis: preparing a master diploma at ENSCI-Les Ateliers involves three stages, a tripartite dynamic that should enable our young designers to develop and assert their professionalism and singularity when they confront the various perspectives of jury members from the School and the world of industrial design. While students must adhere to a given structure, the form is free and each can compose his or her own score; guided by a thesis director and a project director, they define topics of research, develop methods, assert their positions and explain their proposals during the three-hour presentation. For the student, the diploma is a space to be filled, whose contours form a pathway between inside and outside, between personal initiative and others, between apprenticeship and the professional world. Defending a thesis is the leaving ritual, a very important stage of the diploma. Beginning with a presentation of one’s experience and achievements at the school, then the thesis and finally the project, it is an opportunity for students to express themselves (through speech, images, models, performance, staging, and so on) and to exchange with the jury. Beyond sanctioning students’ work, the jury speaks with the aim of offering material to think about, words with which to begin and build their professional careers. During this diploma time, when the years of study come to synthesis and fruition, when the young designers develop their originality and test the pertinence of their ideas, a range of themes emerges through their theses and projects: a panorama of issues that concern a generation. The proposals are just as eclectic as ever, but this heterogeneity reflects the necessary diversity of approach, if design is to address the complexity of the world and trace the possible forms of ever-evolving industrial design. Gilles BELLEY In charge of the Graduation phase

Observe - Find - Share The diploma is a rite of passage from student to professional. Every student lives in a “fish bowl* ”, designing a project that he or she presents to a public audience of students, relatives, members of the teaching corps and the jury. It is a moment which marks the future graduate’s exit into the realm of reality. The challenge lies in showing what they are made of, through coursework, defence of a thesis and the nature of the project presented. Students often tackle significant issues through their experiments and experiences. To serve the project, they develop questions that can involve meetings and discoveries. Sometimes intuition is stronger than pure conceptualisation of a given idea, use or form. The “house” culture thus gives rise to protean projects to which we can often relate. The “fish bowl” serves as a Petri dish for the culture of ideas. Observation becomes a primary ingredient that can define the project outline. Watching, analysing and synthesising are the watchwords when it comes to clarifying and honing the candidate’s idea. In order to grab our attention, the student must cut to the quick. Finding the right way to solve the equation of use, scenario and form will fast become the second ingredient. Once the right balance is found, it is time to share and reveal their “baby”.

Part of the reason why I am President of the Jury is the students’ capacity to propel us into a world in full transformation. Through their manifold experiences in France and abroad, they portray a set of possibilities that spark questions. For example, what is the designer’s place in industrial design re the expectations of users, industrial manufacturers and politicians? In light of the history of forms, techniques and materials, how to re-question a world whose resources have become strategic issues? How to think and propose new uses serving others? These are the big questions our future graduates ask as they take the big leap. It is up to us to absorb and grasp the intuitions they formulate. It is not always easy to be receptive to change, but I invite readers to consult the contents of this catalogue. Your attention will inscribe the students’ diploma work in a continuum serving a discipline that I earnestly hope will let us see our globalised world in a different light. It is clear that the ENSCI – Les Ateliers graduates will have to question certain fundamentals in our societies in their bid to propose alternatives working for change. Jannick Thiroux President of the Diploma Jury since 2011

* Studios with glass-walled where graduating students prepare their dipolma work

Dear (former) ENSCI – Les Ateliers students Being President of your Diploma Juries was a pleasure, an honour and a responsibility. A pleasure to meet you, with moments of fragility, doubt, and much talent and enthusiasm. An honour to dialogue with a school which I rank among the most special and remarkable in France. A responsibility to take part in your professional orientation by reacting to your proposals and personalities, keeping the dialogue going and letting the different Jury members say their piece, question, reassure and encourage you. Coming as they do from such diverse and remarkable teachers, professionals and theoreticians, I think you have grasped the importance of their words. The few sessions I attended stir me to make the following remarks, addressed to both your school and yourselves. The level of your presentations was high. With the teachers and extramural personalities who followed your work over the year, you stalwartly accepted the formalism behind defending your thesis. The resulting sessions are a veritable initiatory rite. It is a demanding exercise which you undertook very well. I would nonetheless have been curious to hear you in a less constrictive context, a form of presentation that you would have invented yourselves. The diversity of your profiles and proposals are a great asset to the school; added to the fact that you are all well travelled, these diplomas become a window onto the world. The diversity of your different approaches – from object to use and physical, functional or aesthetic form to social form – is a strong point. The school drives for an approach based on tackling problematics more than aesthetic style. This is important given that your first task will always involve understanding the ecosystem in which you are working. In this respect, I can only encourage you to be aware of a world in transformation and of the impact that innovative technologies and uses will have on your future professions. I think you have been lucky to study at ENSCI – Les Ateliers and that ENSCI – Les Ateliers has in turn been lucky to have students of your mettle. I am convinced that you are equipped to confront the transformations in your professions. Design is a determining way of grasping and inventing the world. It has a powerful impact on the future of our societies.

Jérôme Delormas President of the Diploma Juries at ENSCI – Les Ateliers, Director of La Gaité Lyrique.

Justine Andrieu

Flos legumen (2007) These plants draw their water from vegetables. Once the flowers have wilted, the vase is biodegradable and does not clutter up the cupboard.

Map of water activities in Paris and in Singapore (2010) Partnership ENSCI / NUS Project with Terry Chin andÂ Romain Delamart This map shows how water-based leisure activities could produce more environmentally responsible behaviour.

15 Lubi (2009)

Energy-saving via the Internet for objects in the home Partnership with EDF R&D These augmented light bulbs work on a network and enable local control of energy consumption. Thanks to a dedicated Internet website, their use can be diverted and customized.

Project

Eco-balcony landscape Project director: Thomas LommĂŠ *

* Designer, teacher at ENSCI

Parisian balconies are narrow spaces between interiors and exteriors whose function is mainly aesthetic. But due to their proximity to dwellings and the extensive urban network they form, they are a particularly good place to establish greener and smarter daily practices.

Eco-balcony landscape proposes a range of balcony accessories and a mobile phone app that facilitate use of this space and help to extend biodiversity on a local and regional level, by favouring exchange between humans, the climate, plants, insects and birds.

20 Thesis

Carnet du dehors [Notes from Outdoors] - Dialogues with natural objects Thesis director: Cédric de Veigy*

These “Notes from Outdoors” (Carnets du Dehors) take you from the city to the countryside, both indoors and outdoors. They start out on a plain in Mali, visit a garden in Poland, return to a Paris apartment and move outdoors again, onto a Parisian Haussman-style balcony. They tell my story and that of a certain acculturation of nature. Seen through the prism of experience and observation, they raise the question of the possible everyday connections between Mother nature and our nature. *Teacher, History of photography and French cinema

Pierre Bayol Access to living comfortably on the Dalle d’Argenteuil (2008) Project with Hélène Gaullier

How to redesign the various entrances to the Dalle d’Argenteuil esplanade in order to make them nicer for inhabitants and visitors? Given the varying structural configurations of these entrances, they are treated on a case-by-case basis, forming an alphabet of forms and materials and offering a new take on staircases, barriers and railings, inspired by boats and suspended bridges.

The Song of Carbon (2009)

Partnership with EPFL + ECAL Lab Inspired by Thomas Edison’s phonograph, The Song of Carbon uses the acoustic properties of carbon fibre composites. This low-tech system amplifies sound via the acoustic qualities of carbon fibre. The object comprises a composite acoustic cone onto which a sound exciter is fixed. The device is very simple to use: you simply plug in your MP3 player to amplify and render the sound of any music system with no outside energy supply.

“Henri-Louis” Robot (2009)

Partnership with Aldebaran Robotics In tandem with Theo Tveteras-Janaïna Milheiro Given the extent of global demographic changes, personal-assistant robots will be needed as helpers in everyday life. Henri-Louis meets this challenge. This humanoid robot is designed to aid elderly people living at home. Its structure, construction materials and interaction with the person it is helping were developed on the basis of an in-situ study in an old-people’s home. Henri-Louis was selected along with three other robots designed by Aldebaran to be exhibited by the company.

Fôs -Nyx

Fôs -Eydolon

Project

Fôs Project director: Ionna Vautrin *

* Designer

2012 marks the end of the incandescent light bulb. So what does the future hold for interior lighting? With the arrival new technologies and systems, lighting is booming. This project analyses the technological evolution of domestic lighting and looks at the current links between former systems and contemporary technologies.

Fôs explores three lines of research: - Nyx looks at a new lighting technology, the OLED. This type of diode emits a weak but functional light that is strong enough to read by while letting the user move around without being dazzled by a bright light source that is not adapted to night-time use.

- Eydolon explores a new means of light amplification. The aim is to obtain substantial lighting using a very low-energy light source. It takes the form of a frontal wall lamp, with light refracted between the source, a white LED, and a faceted convex mirror. - Helios uses direct sunlight as a means of lighting in its own right. It is composed of a group of reflectors that make the most of sunlight in the home.

F么s -Helios

Thesis

Chroniques d’une nostalgie ordinaire [Memories: Chronicles

of Ordinary Nostalgia] Thesis director: Yann Potin*

It has been seven years since I left my native South to come and live in Paris. Seven years that I have been inhabited by a strange feeling: nostalgia. My thesis seemed a timely opportunity to take a look at this emotion that influences my vision of the world in which I live. Through various encounters with people and objects, I have looked at the possible impact of nostalgia in the creative process and in our emotional relationship with objects. Talking about the past means understanding the present to get a clearer picture of the future. *Teacher of History

Laurent Beurriand

Arcoroc Cutlery (2009) This stamped stainless steel cutlery range is made from a sheet of stainless steel turned into a volume when hollows become bumps. Special attention was paid to the profile of the object. Hence the roundness and comfort of the objects and the rigidity of the material, even though the volumes are empty. The spoon and the fork have generous shapes because they are in contact with the mouth, while the knife is thin and slender, to fit with its use for cutting.

31 Fluid wood, a Glulam coat stand (2009) The glued-laminated technique is the departure point for this project for a coat stand. Three identical layers of ask form a large, stable tripod on the ground. Higher up, the layers subdivide into six curved hooks. The slats are held by two discreet metal / cross struts, leaving the edges of the Glulam exposed. Despite its apparent fragility, this coat stand proves to be highly functional.

Chair & Collection (2008) Inspired by origami, this chair presents the technical and aesthetic aspects of folding: structural rigidity, facets playing on reflections and light. A folded sheet of paper is turned into a volume to make this object that questions the fragility, lightness and comfort of a fold.

Project

Dead Matter Project director: Laurent Massaloux*

*Designer, project teacher ENSCI

Postmodern society creates artificial desires and material dreams, provoking an addiction to consumption. Buying is no longer a desire, it is a need. The rate of replacement of objects has never been faster. Today fashion and a desire for renewal insidiously spur us to consume, thereby marking our own objects’ limits of use. The result is a depletion of natural resources which are wasted during the manufacturing process. It is therefore important to reconsider what place the material has in the industrial

process, to use it in the best way possible and to take its real value into account. Working on industrial waste involves questioning remains offcuts and scraps, i.e. “dead material”. Which can be the starting point for a new creative and production process. It can generate new objects. This project is an attempt to consider and demonstrate an economy that can give this material chaos substance and form.

Thesis

Greed Thesis director Fabien Vallos*

At what point does greed become something else? There are no precise quantitative or material answers to this, for greed goes beyond the mere question of food. The aim is to define the limits of greed to get a better vision of its contours. The idea is to define it when it is no longer greed – a form that is perceived once it disappears, paradoxically enough. Here it is the notion of desire that acts as the filter through which greed can be analysed. The first part of this thesis was an opportunity to acknowledge addiction as the first limit of greed. Addiction is the moment when desire turns into need,

engulfing the person. The second limit is excess: here it is not desire that slips, but self-control. The person literally lets him or herself be overcome by greed, to the point where they can no longer control it. While addiction is the limit of psychological ability, excess is the limit of the physical aspect. In excess, it is the body that collapses. The person goes beyond their physical capacity for absorption, into surplus and excess. *Philosopher, teacher

Pierre Cloarec

Pixel (2007)

Partnership with 25eme arrondissement, Fing and CITU In tandem with Delphine Mériaux The vaulted plain tiled ceiling of the Paris Metro can be used as a surface to convey information about activity outside. Information is displayed hierarchically on the roof. RFID emitters and LEDs integrated into the ceiling tiling become pixels of light and colour and send travellers information about the urban area around the station. This information can be picked up by subway users via their mobile phones.

38 SuperScanner (2010)

Partnership with Intermarché-Les Mousquetaires In tandem with Célia Rossi A check-out/payment desk based on existing 3D scanner technology. The cashier’s workspace is unencumbered, so that he or she is no longer in contact with the product, or less so. The cashier can therefore be closer to the customers and assist them during checkout. The cashier as customer assistant.

L’Héliorévélateur (2009-2010) Work experience with the design department of EDF R&D

Using a simple combination of transparencies and masks, the Helio-révélateur is an instructive and accessible way of detecting the potential for solar energy of a house by comparing the slant and orientation of a roof, two decisive factors in the effectiveness of a solar energy system. This new approach contributes to a basic and immediate understanding of the principle of sustainable energies.

context of a particularly fragile balance between the functional and the emotional, the system and the human, the public sphere and the private sphere? This project is divided into two complementary parts, both illustrating an accompaniment by the public sector:

Project

CE(ux) QUI RESTE(nt) [Who or What Remains?] Project director: Guillaume Foissac*

*Designer, teacher at ENSCI

There is often a lack of support for people who have to deal with the many complicated procedures following a death. Moreover, the only suitable spaces for holding a ceremony in honour of the deceased are those proposed by private undertakers, which come at a price, or those offered by the church. How to give the public sector the means to offer a suitably neutral service that is respectful and accessible to all? How and where can the designer intervene in this

Administrative procedures - an information folder Handed over along with the death certificate at the town hall, it specifies and groups together the various procedures that have to be followed. It offers functional support and takes into account the symbolism and scope of these duties, which are seen as an important administrative and social act. This aspect of the project is based on the hypothetical creation of a network connecting the various social entities involved. A tribute ceremony This part of the project redefines the function rooms provided by town halls, which are not very suitable for this type of ceremony. This system is based on

the use of three objects that are easy to set up by town hall staff. - A carpet Its size and shape enable the central area and surrounding space to be arranged in different ways. It delineates the dedicated space for the final tribute and farewell to the deceased. The closer you move to the centre, where the deceased lies, the lighter the colours and the more luminous the space. - Chair covering It enhances the expression of the social dimension. The flaps on the sides can be opened out to provide group seating, for coming together provides comfort on these occasions. - A screen It evokes the notion of a passage or stage in life. Its slat arrangement modify the visitor’s perception of the place in terms of light and acoustics, both when entering or leaving the ceremony and while listening to or addressing those present.

Thesis

“Everything is alright!”: promotion, human needs, and consumption in a rationalizing society Thesis director: Olivier Assouly*

What is a need? “How does it work?” After an overview of what a consumer need might be comes the question of who or what defines our needs and the context in which they emerge: these are the “promoters” of needs. The main function of objects and services would appear to be to satisfy our needs – sorry: our desires. No, sorry: our needs. Our needs or our desires? These are the foundations of our consumer society, today a hyper-consumer society, a system in which the “promoters” blur the notions of need and desire to heighten the needs and desires of consumers. Design is a generator of objects and services. Is it a promoter of needs or a promotional tool? What is design’s position in a system such as this? * Teacher of philosophy, Head of Research French Institute of fashion

Florian Delépine Luti, urban bicycle (2007) In tandem with Laurent Beurriand

This working prototype of a bicycle features integrated storage compartments. In an attempt to bring innovation to an object whose history is so rich, here is a bicycle manifesto made of folded and riveted sheet aluminium. The play on folds is not just a casing, it is all that is needed to structure the bicycle.

Water-propelled machines (2009)

Partnership with La Maison des Sciences and Ecole Centrale Group initiative with Léonie Ferry and Thibaut Guittet To develop a scientific culture in Educational Priority Zones, the group spent a semester working with a class of 8-9 yearolds on the theme of water-driven machines. The project started with basic notions and then developed each principle of physics. Experimentation was used to make it fun and the group thought up pedagogical themes and activities for each session (paddle wheel, Archimedes’ screw), alternating between working in small groups and summing up with the class.

Homo Mobilus (2011) Work experience at Du & Ma Scénographes

A travelling exhibition to explain how the Orange mobile network works. It was divided into three distinct parts: new network uses, interactive terminals around a unique mobile; behind the scenes of the network, landscape tables with didactic set-ups; an historical panorama of mobile communication, stacked block-units containing display cases. The exhibition closed with a further learning salon.

ProjectÂ

The Open University of DIY Project Director: Serge NoĂŤl*

*Designer

What form can a design that liberates take? DIY seems to give people a handle on mastering their objects. This project seeks to give a wider public the means to repair, improve or create objects. Designed as a resource centre, it is a place that offers services and back-to-work opportunities to produce a number of series of objects made with recovered materials.

The designer develops 4 points: The space: a fully equipped workshop, an outlet where materials recovered from industry or individuals are sold, a showcase where the objects are presented, and a documentation area. How it works: lessons, workshops, loan of machinery and public awareness events.

The objects: open constructive principles made from chipboard, a wood with a broad scope for re-use. Communication: appropriate media, ranging from the membership card and signs to present the materials to diagrams showing how the objects are made and a website compiling useful DIY, among other things.

Thesis

Citizen involvement, democracy and emancipation Thesis director: Frank Burbage*

Why do people get involved? That is the question that spurred my thought process. After showing the history of democracy, its current state and our relationship with it, the following hypothesis is made: if involvement involves political and personal interrogation, it can spur democracy and liberate individuals, i.e., work towards collective and individual freedom.

The role of design? The designer is involved as a mediator and a force for new suggestions. He plays a part in helping to alienate or emancipate people. He can choose what degree of freedom and interrogation he slips into his objects. The capacity to liberate is like environmental cost or impact, it can – or must? – be part of the designer’s specifications. *Professor of Philosophy and cofounder of the Université Populaire UP18 in Paris

Théodore Faure

Dyade –Véloce II project (2009) Dyade explores the potential of electrically aided bicycles. Thanks to a powerful battery and a gyroscopic system built into the front wheel, the bicycle can transport heavier loads effortlessly and with greater stability. A clever convertible rack enables safe two-wheel transport.

B.low –Hidden Carbon project (2010) With its slow, sweeping movement, the big blade gently moves a large volume of air. The noisy hum of the fan is over! The surface is stretched over alternating rigid and flexible areas on a moulded carbon frame. This is a characteristic of composite materials which allows it to extend far out, to give the oscillation nicer amplitude.

Christmasisation set (2008) From product to merchandise/Prof. Winfried Scheuer

Christmas market project exchange at ABK, Stuttgart ’Recreate the festive holiday season atmosphere thanks to Christmasisation, even at the office!’ Beyond their openly fun aspect, these adhesive “prostheses” question the place held by symbols in our daily lives.

Project

Domesticated data Project director: Guillaume Foissac*

*Designer, intervenant à l’ENSCI

Personal data hosting by third party services is often provided in exchange for a commercial use that is not just exclusive but opaque. By exploring the possibilities of domestic data hosting, this project attempts to give individuals new control over their digital data. Supported by a local service, a digital family proposes a simple, smart redefinition of our relationship to data.

The caretaker: enables fine-tuned regulation of what goes in and out of the digital home. The agiles: temporarily store recent and instant data. The memory: composed of two hard disks, it also contains the coded and fragmented data of the entire self-hosted community. It is the archives of the agiles.

The Kaleidoscope: a web interface that enables you to organise unsolicited use of your personal data.

Thesis

“Je t’aime moi non plus” – On the relation between design and capitalism Thesis director: Marie-Haude Caraës*

Design was born with industrialisation and is closely linked to the economics of capitalism. While some designers have tried to damage a market-driven logic deemed immoral, this stance now seems to be on the wane. By retracing the evolution of criticism in design from a socio-economic standpoint, we can question its pertinence, the reasons for its apparent failure and the current issues at stake. *Political scientist, director of research Cité du Design, Saint-Étienne

Thibaut Guittet Mobile Stage / Cargotecture (2008) How to create an inhabitable structure using freight containers? A design for a dome that is built around the container, extending into a covered space that can be used for concerts and theatrical productions.

63 Filtering living space / Maybe we got it all wrong! (2009)

Partnership with Minatec Based on a concept of a future society, design for a domestic watermanagement system with an autonomous interface that filters incoming and outgoing water.

Cadre 57 / Urban Bike (2008)

In tandem with Néhémy Goguely How to design an ideal urban bicycle whose main constraint involves creating a working prototype built entirely at the school? Based on the model of an existing bike – a carrier bicycle – the design features details that enable the structure to be pared down as far as possible.

Project

Sac+ The Question of Sustainable Packaging Project director: Jérôme Aich*

* Designer

In the context of more responsible food consumption, current packaging is not adapted to new practices such as community-supported agriculture, direct marketing and organic stores – contemporary models that are gaining ground among responsible producers and consumers. The challenge is to promote this type of consumerism by creating a range of sustainable and contextualized containers.

The idea is to analyse food consumption habits and propose solutions involving simple objects that could become part of our everyday life in the short term. In this project, bags are the basis for developing new designs.

Thesis

An Object of Substance Thesis director: Frédéric Dumond*

Overproduction, overconsumption, space waste: some of the objects we buy and live with are already on their way to the scrap heap before we have even used them. We have a superficial relationship with these objects, and new trends are constantly lowering our view of their value. On the other end of this scale of compulsive switching from one model to next, we also maintain a special, emotional relationship with certain objects around us. What is interesting about the latter is their equilibrium and “capacity” to endure. Interaction between a person and an object can be constructive. What processes give an object social status and raise our relationship with it to a cultural level? Looking at manufacturing methods aimed at recombined use of objects, small-scale production and local distribution, we seek to put the object and its design back into a process that promotes it and gives it substance. *Writer, videaste, artist

Mélanie Husson

Line Collection (2008) This project questions whether a rule can be a means to generate forms. With drawing as the starting point, a constraint is set whereby the design of a chair and the collection that goes with it must be drawn in one single line, without ever raising the pencil from the page. By applying this rule, the designer can compose a spatial organization of lines and establish a principle of construction that ensures the visual coherency of the collection as a whole.

Fusion Tools (2007/2008) These tableware items were designed using the 3D design software CATIA developed by Dassault Systèmes. One of this tool’s functions allows designers to play on whether the construction ridges will be visible or not. This specificity was the departure point for drawing a range of tableware mixing Asian and Western cultures. In this way, the design of this collection traces the connection between each of the two object typologies.

Colouring wood (2010)

Partnership with Sy.NTTA

The artisans of the Jura region in France are highly skilled in woodcrafts. But when colour is applied to the objects, it erases every trace of the wood The aim of this project is to create a colouring process – choice of wood and stain, soaking time, etc. – and conceive colour not as a finish but as an integral part of an object’s construction process. This process also allows for random results within a series. The motifs are individual to each piece, thus highlighting their unique character.

Project

Trait d’union [Hyphen] Project director: Renaud Thiry*

*Designer

Assembly of an object is an important question that designers must address and is often seen as a constraint, something that must be hidden or concealed. How to approach assembly from a different angle? How to consider it not just as a mechanical constraint but as an element that defines the form, an integral part of the object?

This diploma project is illustrated by three objects. Each involves materials assembled according to a principle of “shaping”. The designs reflect a certain economy of means and propose different usage, production and distribution goals.

76 Thesis

Point, à la ligne [Full Stop. Return.] Thesis director: Frédéric Dumond*

This thesis looks at people’s relationships with the objects around them. A person’s experience of an object raises the question of sensation and sensibility. What is the designer’s role in this respect? How can the designer give an object “that little something” that creates a link between man and object? *Writer, videaste, artist

Samuel Lacroix

3 Fluid Wood assemblages (2009)

Experimental project

A light and simple set (2009) Partnership with Arcoroc, subsidiary of Groupe ARC

This cutlery expresses how a gesture as simple as a fold can turn a sheet into a container. Echoing the experiments on wood, the set evokes fluidity by deforming a sheet of stainless steel. This technique defines the geometry and function of the cutlery. To design the volume of a knife, the material is gradually rolled, from open to closed. A pinch three-quarters of the way along makes it into the fork, while a broader opening makes it into the spoon.

Fluidity refers to the world of liquids and gasses. There is no such thing as a fluid solid form. This project is based on that contradiction by designing forms of assemblage that evoke fluidity. The intrinsic characteristics of wood makes it a material that is malleable enough to experiment the different aspects of fluidity. Three assemblages are produced from the confrontation between drawings and manufacturing techniques. Each shows different aspects of the fluid form. The first object is in solid wood and reveals the impression of absorption, of two forms gradually fading into each other. The second uses woven cane to show the flow of forces and the lines of tension in the assemblage. The third, with its sheet of veneer, translates deformation, the influence one force has on the other.

79 Green! Nega objects (2008)

Partnership with EDF In tandem with Loïc Le Guen The essential concept in the NegaWatt concept is enhanced energy saving. Here is a tool to diagnose NegaWatt production in the home. It is a touch screen that initially serves as a digital filter. It uses a system of augmented reality to reveal a buzz around your electric objects, thereby materializing “energy loss”. Simply aim at the object and a new frame appears, in which you can tag the object in question and form a network of “Nega objects”. The tagged objects can be seen as cells on the screen. The bigger they are, the more NegaWatts they produce.

The shade of grey of the cell shows how many potential NegaWatts the associated object can produce, thereby allowing optimisation of its use.

Project

“Less Free” Objects Project director: Guillaume Foissac*

*Designer, teacher at ENSCI

“Less Free” objects flourish in several areas. Wireless, touch-free, borderless, sugarfree. By liberating objects of constraints, the theme seems to promise much more than a simple statement of reduction: it looks straight towards progress. In this movement, the “less” and the “free” raise fundamental questions on its technical, sanitary, social and even moral consequences. Under the auspices of these objects, we need to learn to see beyond their promises, anticipate their uses, measure

how the “less” can modestly try to be balanced with “more” Two themes are explored Magnetic movements The “less” theme motivated production and experimentation of “energy-free”engines. A magnetic rotation was developed that would be capable of driving fan blades for a limited amount of time. All with “less” material and “free” of restrictions in use, indpendent of any network.

Light Fidelity The second “less” theme is an emerging technology: li-fi. It allows data to be transmitted by light and involves rethinking uses of connection to adapt to this new information.

Oustal is a lamp directly powered by fibre optics composing a connected locality

Sémaphore makes a window porous and captures murmurs via city lights. Each point of light – a car, a store sign, a window – creates a dense network on the scale of a neighbourhood. The data transits via light and is transformed into sounds.

83 Prisme is a system that can diffract the white light of the Internet and navigate in a spectrum coloured with references. It is a tool for browsing content by manipulating light.

XYL

Thesis

The constellation of voids Thesis director: Michel Cassé*

Must I start from the void or enter a void? With this age-old dialectic, modellers and sculptors question form. But today the void cannot be limited to one formal definition, it covers vast fields of knowledge. Void in matter, void interface, technical void, quantum void or potential void – there seems to be a rich, protean, lively world hiding behind what we called ’nothingness’: the void seems full. To observe it more carefully you need to ’avoid’ it and connect these various definitions with fresh eyes, so the void becomes an available space: a constellation of possibilities. * Astrophysicist, writer and Research Director and the CEA (Atomic Energy Commission)

Xiao Yu Lou

Concepts for laptop computers (2011) Accessories for laptop computers that create a new interface language and new forms of interaction: - an anti-virus: instead of reading information on the screen, the user sees a little monster allergic to viruses, which spins around and screams. - an essential oil diffuser that functions through the heat generated by a computer - a video projector supported by the computer - an extra light attached to the back of the computer

Cuisine Paysage [Kitchen Landscape] (2007) Partnership with VIA and Hardy In tandem with Mathieu Peyroulet Ghilini

On weekdays the hasty food we prepare is mostly breakfast and ready-made food. This design transforms the kitchen into a place where goodquality meals can be prepared for family and friends. “Cooking to survive” becomes “cooking for pleasure”. Prototype presented at the Foire de Paris at the Cuisine en ebullition show in 2010

Fujistu Design Awards Lifebook, Category Japan / Jury Prize

Porter / TRANSPORTER [Carry / Convey] (2008) This range of products explores the idea of using fine leather objects for carrying and transporting or conveying following observation of travel habits, with Louis Vuitton particularly in mind (a fictitious partnership). The objective is to highlight the value of the structure itself as well a the leather from which it is made, suggesting luxury, lightness, softness, a variety of sizes and shapes and durability. Prototype presented at the VIA/les écoles de design show in 2008

Project

Better Than Snow Project director: Vincent Dupont Rougier*

* Designer

Paper is a material that is “easy” to handle, but it is not often produced and transformed using artisanal methods. Tyvek, a textile-like paper, offers natural functional qualities and many other surprises. The following objects are the result of a series of experiments with this material, which is tear-resistant, waterproof, heat-sealable and printable.

The knotted object is a strip of LEDs that are firmly woven in a double-layered Tyvek case (a hard structure), using three strings cut from a soft sheet of Tyvek.

The rainwater-collection object is a rainwater tank designed using the “logical pattern” principle. It is inspired by a Euclidean flat plane.

The flying object is an illuminated bird designed using the “pattern magic” principle inspired by haute couture techniques. This enables creation of objects in various sizes and shapes in relation to the different inner structures.

The sleeping-standing object is a foldable tree. A weave system enables the pieces to be assembled and gives the tree a firm “footing”

Thesis 92

Tokyo - Sensations Urbaines [Urban Sensations] - Beijing Thesis director: Cloé Fontaine *

I draw Tokyo and Beijing in parallel on long painted rolls where one figure must disappear for the following to be seen. The subject of this thesis is the result of my situation. I have one-quarter Japanese blood; one quarter of my family lives and works in Japan. So my personal Japan is not foreign, nor exotic, nor even the Japan of beauty, the Japan of pretty painting and sweet poetry; it is primarily the experience of a certain form of violence, of what I have lived and what is left unsaid. I am of Chinese origin, and grew up in the north of China, near Russia. I was raised Chinese and Chinese was the first language I spoke. But then came a complete break at the age of twelve. I have taken the liberty of exteriorising my inner feelings about Beijing through brief, fragmentary accounts: sometimes tiny instants, meagre crumbs stolen from my memory. Some vignettes say it all in a few lines; other accounts need a few pages to take shape.

But most of all I try to focus through the same lens, to show up the revealing details of urban life in China today, to give voice to its inhabitants and resonance to the city, the people and their creations: an endless mixture of laughter and tears, of short-lived despair and longstanding hopes. But there are some fights that I cannot avoid, for want of stymieing the encounters to which I owe so much: a noisy jumble of highflying reports about the Chinese economy and alarming news about its politics, plus more or less accurate interpretations of its culture. For my city of yesterday, for my friends of today, for the inhabitants of tomorrow, to mark the end of my long journey in Paris. *Architect, Curator, Centre Pompidou, Paris

360° ( 2009)

Yumiko Ohara

Partnership with CEA, LID, l’ADEME and PREDIT In tandem with Axel Ardeois

Equilibre ( 2006) Partnership with Pyrex

This borosilicate glass “papillotte” is designed bearing in mind the way the object is opened in mind. It enables food to be braised and kept hot.

Inspired by biomimetics and the phenomenon of retinal persistence, 360° aims to improve the visibility of a bicycle in an urban environment. When the device is switched on, a light cone displaying various signals heightens the bike’s visibility. The device is selfpowered and therefore autonomous thanks to CEA technologies built into the bike’s frame.

Of seaweed and men ( 2010) Pierre d’Ulve [Seaweed stone] is made of a composite material containing Ulva (sea lettuce) and calcium carbonate. This manifesto project is located by the vestiges of a kelp kiln on the Brittany coast. The two elements echo each other across the ages, both bearing witness to the history of man’s relationship with seaweed. This project strives to improve the algae’s poor reputation and to highlight its economic value.

Aquaculture artificial breeding can be an asset for the Seine’s ecosystem (top left)

Plant bed provide a solution to the lack of global data on the quantity and diversity of fish inhabiting the Seine (bottom left)

Fish with a de-polluting function: use the potential of certain species to improve the state of the Seine (top right).

Pike-spawning bed test different parameters to improve our understanding of the reproduction of the pike (bottom right).

Project

In-fluvio Project director: Philippe Comte*

*Designer

I took an interest in places where people and animals come into contact and work together, where natural and artificial devices function in parallel and a form of cohabitation exists. A particular area in Paris caught my attention: the Seine, a natural river with man-made banks, raises issues for people and animals alike. In-fluvio is a system set up by the Paris city authorities as a basis for various organisms related to the Seine and its environment.

The idea is to set up a scientific observatory and to use these comprehensive observations in the coming years to identify possible uses of the Seine’s resources. This project received the “Etoile de l’Observeur”, at City of Sciences, La Villette, Paris, november 2012.

Aquaculture: artificial breeding can be an asset for the Seineâ&#x20AC;&#x2122;s ecosystem

Fish with a de-polluting function: use the potential of certain species to improve the state of the Seine

Plant bed: provide a solution to the lack of global data on the quantity and diversity of fish inhabiting the Seine

Pike-spawning bed: test different parameters to improve our understanding of the reproduction of the pike

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Thesis

Building an observation Thesis director: Marie-Haude Caraës*

Observe situations in which people and animals influence, complement and confront each other and alter their relations, situations where transformations of the one have repercussions on the other. Explore the use of ethology, the scientific study of animal behaviour. Enjoy direct observation of crows at the Jardin des Plantes (Paris) and use sensory experiences and scientific facts to build up a picture of the relationship between people and wild animals. * Political scientist, director of research Cité du Design, Saint-Étienne.

Circulo (2010)

Laura Pandelle

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Is electric transport an alternative for tomorrow in rural and outlying territories? The product of a research phase conducted among the inhabitants of a town in the Gers, the Circulo project imagines public availability of electric vehicles through a dual system of shared rental and transport solidarity. This proposal involves collaboration between the public authorities, a car manufacturer and a local energy supplier to imagine a tailor-made solution for a given territory.

103

SeniorLab (2009) semester of work experience at FING

An exploratory approach to ageing populations that follows avenues of social and technological innovation in a forecasting perspective. Set up during an internship with the “Fondation Internet Nouvelle Génération” think tank, SeniorLab launches a creative think tank based on personal testimonies, general practices and existing situations.

WeWatt (2008) Conceived in the context of a partnership with EDF, this shared electricity bank imagines personal electrical consumption outside the domestic realm as a set of diverse practices linked to the urban setting: charging a mobile device, plugging in a computer at a train station, renting an electric vehicle, etc.

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Project

[FabLab(s): meaning and reality for a new social utopia] Project director: François Brument*

*Designer, project teacher ENSCI

The term has been around for 15 years: so what can be said about Fab Labs, the collective workshops devoted to empowerment via digital conception and fabrication tools? Envisaged as the epicentre of a new industrial revolution, Fab Labs, - or fabrication laboratories - are the subject of utopian dreams and great debate. Over 100 of these alternative spaces exist around the world, but the conditions in which they have risen and gained success raise many questions. This project probes

the way Fab Labs are mounted in economic, social and cultural terms. In these labs, design is seen as a mediator between the project and the territory. The research follows two phases – the definition of the project (Fab Lab specifications in relation to a given context) and the moment it is opened to the general public – and two experiences: the first with the JokkoLabs initiative in Dakar, Senegal, and the second with the FabLab Netiki in Biarne, in the Jura region of France.

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Thesis

[Design, crises, controversies] Thesis director: Jacques-François Marchandise*

How to link design, a modern discipline, to the major waves of change that seem to have been affecting our societies since the onset of the modern era? As a counterpoint to an historical interpretation of design, centred on producing exemplary objects, reflections of moments of plenitude or a stylistic and technical golden age, this thesis explores the sensitivity of a discipline filled with events termed as “crises”. In a contemporary era that is still haunted by the concept of crisis and by efforts to understand the change at play, the thesis draws the portrait of a discipline in structural mutation. * Philosopher, director of development, FING

Fanette Pesch PROTEK-NIT (2009) Partnership with Sperian Protection Project created with Juliette Gelli

Protective solution for garbage workers. It comprises a durable, washable inner glove, made using a 3D-knit technology that involves different fibres and knits to suit the needs of the profession and preserve maximum manual dexterity, and two types of outer-glove for different weather conditions with a clever design of coated canvas dipped in nitrile and applied using a mould.

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Routine (2010-11)

Partnership with Vauzelle A range of furniture for hotels, cafés and restaurants: the priorities were to be lightweight, stackable, customizable and compact. Focus was therefore given to a simple manufacturing processes. Slim tubes and folded sheet metal serve a rationalisation of the material to make it lightweight yet imaginative thanks to the system for fixing the back and the seat to the tubular structure, both of which can therefore be painted separately.

111 DO YOU VELO ? (2009-10)

In partnership with Boostyle, supervised by Mireille Poujol and Agence Cent Degrés Project created with Yoan Ollivier, Clément Tissandier and Benjamin Salabay For the launch of the DO YOU velo brand, a product line destined for city cyclists was developed. It includes a range of high-end visibility jacket and waterproof coats combining high-tech functionality and elegance. The mission was extended to brand identity and positioning, deciphering EN71 standards, designing the models and finding the suppliers, manufacturer and distributors. Currently on sale the Internet and in GO SPORT Bike stores.

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Project

Supple, comfortable construction Project director: Erwan Bouroullec *

*Designer

Starting with a critical analysis of the traditional upholstered chair, once the work of craftsmen but now industrially manufactured on a large scale, this project proposes a new form of comfort, where the easy sitting position turns out to be both stimulating and relaxing. Using rudimentary, exploratory manufacturing methods and raw materials chosen for their environmental quality, flexible, undefined principles of assembly were sought to make self-assembly furniture.

The structure is composed of thin bamboo slats shaped by a hemp canvas that is sewn following a complex pattern and to which pouches containing a hemp and starch padding are linked. The items can be dismantled, making it easy to transport the chair and wash the textiles. An office chair, a sofa and a foot rest were made.

Thank you to the Paul Chemetov agency, which supplied the bamboo cane, and to Designers Guild, who donated the fabric for the prototypes.

Thesis

Design: from individual thought to collective work 116

Thesis director: Philippe Louguet*

This study retraces the way a designer works to highlight the existence of a quest for balance and harmony. Is a good arrangement of the object’s material elements enough to bring about an obvious form? Isn’t this longed-for unity influenced by the quality of the relations between the people working on the project? Thank you to Erwan Bouroullec, Roger Tallon, François Azambourg, Philippe Riehling and Laurent Massaloux for the interviews they granted on this topic. *Architect

Padaung (2010)

Fabien Petiot

A fluted tube of brass is the departure point for this project, a means of constraining the glass and concealing the light socket. This “strangled” hanging light, whose three parts must be assembled, resembles the figure of a “giraffe” woman. Prototype made by Alain Villechange, glass blower, Laurence Brabant Éditions, Le Blanc-Mesnil.

Fugu (2008)

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In the course of the day, our bag fills and empties. This range of expandable bags – shopping bags, shoulder bags, handbags – echoes these changes, through a system of single regular folds: the container constantly adapts to the volume of what is contained. As the bag fills, it inflates like a fugu, the Asian puffer fish.

119

Urbis (2009) The Urbis tableware collection forms an architectural landscape, where piles of bowls, dishes and plates form a permanent sculpture on the table. They stand alongside a glass carafe, like a water tower, a planter and a dish, which resembles the outer shell of a swimming pool.

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Project

Révélation. Matières en lumière [Revelation: Materials Illuminated] Project director: Vincent Dupont-Rougier *

* Designer

Craft traditions and industrial techniques have sometimes confined the use of certain materials, which are then rarely reinvented. Yet in terms of their structural qualities and appearance, these “neglected” materials offer good potential. These projects propose new ways of working these materials, while preserving the mark of the craftsperson.

Fat Domino (table mirror) and Domino (hand mirror) The irregularity of the laser-cut model, created after a free-hand drawing, and the indistinct reflections of a polished sheet of stainless steel give a certain substance to the mirror, which is usually thin and flawless. On one side, the wedge, a structural element, serves a decorative function, multiplying the reflections and forming a nose on the face: the mirror thus suggests a mask. On the other, two perforations allow you to pass through to the other side of the looking glass: at the back, all you can see are the eyes of the woman applying her make-up; when facing it, you see whoever is watching. Luminous porcelain To make a flat surface in porcelain, a structural “foot” is required. By applying the technique of plastic injection stays to porcelain, the network of lines

forming the breadth serves as a structure (like the foot of a plate) as well as a motif. An interpretation of porcelain as a light filter – and a far cry from traditional candle globes. Bisque created by Émilie Pedron, ceramicist . Cane desk Because of its strength and flexibility, cane-work is ordinarily associated with bistro chairs,. But this “3D fabric” also constitutes a graphic base that can produce translucent, opaque or moiré effects when superimposed. This screened desk communicates with the surrounding space where there is a single cane panel (the upper section) but shields the person at the desk where two caned panels are superimposed (lower section). Cane-work by Marc Ducrocq.

MPG

Thesis 124

Mastering from the Right Distance On the place of fragility and imperfection in design Thesis director: Chloé Braunstein-Kriegel*

A number of contemporary designers cultivate a paradoxical approach to their work: that of the expert amateur. Their designs are characterized by notions of imperfection, authenticity, DIY, randomness, vulnerability and unfinished work. The thesis places this approach in a wider historical and cultural perspective. With this theme in contemporary design as its starting point, it draws on a number of interviews in its quest to identify the issues and values of a form of design that questions its own means of production, the notion of authorship, the durability of objects and the place of the user. *Author, consultant and gallery owner, design specialist

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Mathieu Peyroulet Ghillini

VariableGeometry Kitchen Partnership with Hardy and VIA on the theme of the kitchen of the future In tandem with Xiao Yu Lou

The variable-geometry kitchen adapts to different frequencies and times of use. Two horizontal surfaces slide on a central island, gradually revealing the main kitchen spaces, such as the hob, a small and a large sink, etc. This kitchen was selected and prototyped for presentation at the Foire de Paris in May 2009.

Work with tempered glass (2009)

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In tandem with Charlie Zehnlé and with the glassblowers Jean-Marc Shilt and Richard Loesel Workshop at the Centre International d’Art Verrier (CIAV) in Meisenthal

Protective glove (2009) Partnership with Sperian In tandem with Laureline Galliot

Working with a single material, how to produce a glove that features rigid parts for protection and flexible parts for dexterity? Use of a single material also facilitates recycling.

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Project

On Sophistication Project director: Pierre Charpin*

*Designer

The aim was to study objects made from several pieces and the bonds that compose them, formal samples that areÂ representative of their whole. Adding or removing material to make the objects into pieces that would be either raw or finely crafted spurred a more global reflection on the notion of sophistication. The work was carried out on a piece of cane measuring 30Â mm and on external, tangential and interior bonds. Then on more borderline cases: with no cane or else with no bonds.

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MP Thesis

â&#x20AC;&#x153;Making the house stand without columns is my business!â&#x20AC;? Modern and postmodern form Thesis director: Alexandra Midal*

132

Analysis of the Modern and Postmodern movements through the production of forms and above all in texts. To start with, the manifestos and stances asserted by both movements reveal fundamental differences, since their forms are governed by strictly opposite characteristics. After presenting the essential figures of architectural modernity and postmodern counter-reaction, the idea was to undo the apparent clarity of the opposites. By taking a close look at the projects and source texts linked to each movement, from Adolf Loos to Charles Jencks or Jean Badovici to Robert Venturi, these abundant contradictions established that modernity and postmodernity both avoid functionalism and showed how tricky it is to stand behind a precise univocal equivalence between a movement and a formal vocabulary meant to express it. AnÂ analysis of modern and postmodern forms following seven approaches. *Author, teacher, curator

Margot Pons

Wire chair (2008) The chair exploits the plasticity of wire while seeking an efficient geometry and structure. It is a volume full of voids, inspired by Alexander Calder’s lightweight wire structures and Jean Prouvé’s formal designs.

134

Gloves for an urban bicycle (2008)

Project with Flora Langlois and Mélina Munoz (from the Textile Design department) The sewing technique used to assemble leather gloves means they can be adjusted to the curves of the hand. This urban bicycle glove maintains this characteristic, but with a polyester knit used for cyclists’ gloves, which is better adapted to bad weather and is assembled by glue-press. The elastic knit fits the hand and draws a simplified pattern for the glove.

Le plongeoir [Nodding off] (2009)

Partnership with Matelsom An object for 40 winks at the office. In the general interest, power naps might one day be allowed in the workplace. The object stands on the desk and takes the weight off the upper body without compressing the stomach. The cantilever brings a degree of flexibility. Comfort is minimal to keep the nap short.

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137

Open experimentation, like a positive form of drifting, experimental research on form covering 3 themes: imprint, time and gesture. The idea is to question non-predetermined functionalities.

Project

Intervalles Project director: Stéphane Villard*

*Designer, project teacher, ENSCI

Taking an interest in the representation of time, you can roll a strip of paper around two rigid elements. They articulate it. Magnets are placed inside the rigid elements to make the articulation fluid yet unconstrained. The strip of paper is sequenced with temporal information, like a weekly desk diary. The diary offers viewpoints: sequentially framed on the strip; and more generally in the way the unrolled strip makes it possible to view different weeks in parallel, recreating a timeline.

The back of the strip shows the official measurement of time. The front of the strip is your own relationship to time. The apparent continuity of time sparks questions and a desire to work on perpetual motion and cycles, like a non-stop calendar that represents all the days of the year. The date is revealed on the flattened folds. Alongside the date, a colour code gives a more vague indication of average sunshine

throughout the year. The calendar puts a moment in the cycle in perspective. Time can be read in the middle.

By seeking an expression of flexibility in materials and unstable equilibriums, you can create plays on form that invoke gestures. Handling is a way to discover the object and perhaps to adopt it too, leading the user to determine its form.

A strip of paper that unfolds from a cone in a circular form creates a “continual” notebook, a kind of scrapbook for a special moment or display and evokes a long-forgotten item: the visitors’ book. The message unfurls and reveals itself progressively. Through this object, writing becomes a kind of representation or performance.

HHQ

140 Thesis

Forms inform Thesis director: Cloé Fontaine Pitiot*

After an experience rich with unknown forms—the experience of travel—the time comes to take a critical written look at a few objects that have left traces. The aim is to compile material made of images—images taken or collected, like food for thought—to create a memento of a world in 3D and a simplified world in 2D. To simplify, or ultimately extract, isolate and reveal elements that perception spontaneously chooses to see in the surrounding tangible world. This thesis forms a snapshot of a personal landscape through different themes compiled in visual representations.

The themes explored are the evolution of techniques, the links between archaism and modernism in a culture, communicating through images, the life cycle of objects and the etymology of forms. Through a linear writing that can be compared to enhanced captions, in that it almost entirely refers to the image in question, a personal approach and a creative process are ultimately being expressed. *Architect, curator, Centre Pompidou, Paris

Han Hui Qing Peacock Vase (2008) A series of vases made with the CIAV (Centre International d’Art Verrier de Meisenthal). The design is inspired by the “filigrane” glass-blowing technique, integrating colours and motifs inside the glass. This series plays with thickness, transparency, the number of layers and the different types of reflection.

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143

Sheepsleep (2008) A sheep-counting device to help you get to sleep. It counts sheep in a multitude of languages and progressively hushed tones. It is like listening to music without understanding the words, the mind lets itself be carried off by the melody, the rhythm and sounds.

Polygon BAG (2009) A collection of bags formed entirely of identical triangles. An element that makes for endless possibilities. The shape of the bag evolves in relation to the volume of the objects carried inside.

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Project

Floatability Project Director: Xavier Flavard*

*Designer

The basis of this project is the desire to surprise, to propose an object that does not reveal itself at first glance and leaves room for the imagination. Floatability is a principle that allows expression of this desire in the realm of design. The issue is to show what floatability can bring to everyday objects, by means of precise physical principles and by invoking dreams, illusions, freedom and lightness. The following three objects symbolise this floatability.

Hua Thé is a collection of tea papers. The paper is folded to reproduce the form of the tea flower it holds and blooms as soon as it is plunged in hot water to release the tea. The Bubble dispenser uses bubbles to dispense perfume around the house. When the bubble pops, it leaves a fragrant trail behind it and gives the perfume volume and shape.

The Ludion lamp is also a side table that produces a series of lighting effects depending on the pressure exerted by the objects placed on it.

148 Thesis

Tool and Design Thesis Director: Sarah Labelle*

The continual evolution of tools and techniques is bound up in the history of mankind. Faced with the amount of tools available, today’s designers must manage to transmit their intention at every stage of creation, with no break in the process. Yet tools are not neutral. This thesis studies the relationship between tools and designers’ modes of creation. It notably tackles the question of the influence that tools have on the creative process and the way in which they are controlled by designers. *Teacher - researcher in Sciences of Information and Communication - Paris 13

Célia Rossi

Rainbow (2007)

Partnership with Minatec and the CEA The aim is to use new technologies to build a scenario in the household area. Rainbow will be a project on the window. It is made up of photovoltaic glass with variable opacity and an LED motif that is incorporated in the material. It gathers solar energy by day and displays several types of information through the density and colour of the motif. When night falls, it lights up.

V.Géo (2009)

Partnership with the CEA (Commission d’Energie Atomique – Atomic Energy Commission) Project created with Raphael Cei How can the technologies developed at the CEA enrich the use of bicycles in urban environments? V.Geo democratises the use of bicycles among young urban adults by offering a new perception of the vehicle and the urban environment.

150

Le Vaisselier [The Dresser] (2008)

Partnership with the VIA/ “Cuisines en ébullition” competition Project created with Giulia Stoll The aim is to study habits to do with storing and organising crockery in the kitchen. The Dresser is a furniture item that involves the full crockery cycle, with a washing part and a storage part. A basket representing a dinner for four people signifies the link between these two parts.

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The canopy is the uppermost layer of a forest, directly influenced by sunlight

Project

Composition in a waiting room Project director: Sophie Breuil*

*Designer

Everyone has at some point found themselves sitting in a doctor’s waiting room. It’s a particular kind of moment. Time seems to stand still in a closed space, suspended between two moments. In a reinterpretation of the context, how could this space become a place that encourages rest and relaxation for the patient? The idea here is to consider the archetypes of the space in a new composition of space and time.

Patience: the quality of those who know how to wait calmly

Equinox, a date when day and night are of identical lengths

156

Thesis

Perceiving daily life – painted figure and background Thesis director: Marie-Claire Sellier*

These are compositions of objects executed as quick little paintings. A month later, the work is assembled and analysed. How can a personal perception of the painted object influence a designer’s view? Still-life paintings question the status of these objects and other artists’ visions enrich the point of view. This research establishes mechanisms that forge a connection between painting and design.

* Teacher, ESAD, Amiens

À l’étouffée [Braised] (2006)

Clément Tissandier

Partnership with Pyrex.

DO YOU VELO ? (2009-10)

Partnership with Boostyle, supervised by Mireille Poujol and the Cent Degrés design firm Teamwork with Fanette Pesch, Benjamin Salabay & Yoan Ollivier A group of entrepreneurs asked us to help them design a brand of highvisibility clothing for urban cyclists. In a span of two years, the company had to be created, the general concept defined and the complete range of DOYOUvélo? products developed. The brand has now been purchased by the Go Sport retail chain.

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The À l’étouffée pot roaster is for the oven or microwave. Creation of new designs in Pyrex glass, based on specialist techniques and existing industrial tools. Objective: create a link between professional techniques and domestic use.

T Bike (2007)

In collaboration with the ECP (École Centrale Paris) Design for a bicycle under 10 kg. Having observed that bikes have to make frequent stops in an urban environment (for traffic lights, a car, a pedestrian), the project was designed around this constraint. The bike was “broken down into parts” so that every element could be studied with performance in mind. The T is a high-performance bike designed for the urban landscape.

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161

Project

Electrobecane [Electromoped] Project director: Thierry Gaugain*

This project is a collaboration between an engineer/entrepreneur, a team of designers (service, interaction, communication), two experts and myself. Together we worked on a design for an electric moped, using open-source logics.

This object can be divided into three parts: The structural elements are the main elements constituting the basis of the moped in its initial version: frame, steering, battery, regulator and engine. They constitute the permanent skeleton of the machine that supports all the variations. The standard elements, officially approved parts, are added to the structure and can be selected and changed by the user.

*Designer

The additional elements are the first series of parts specifically designed by EBC. They can be directly modified by users. A joint platform compiles and presents suggestions from users, who can share, compare and discuss projects. The information provided constitutes a collaborative material then used in the design of the V2.

Thesis

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Designing as a team – Survey of practices and working methods Thesis director: Jacques-François Marchandise*

This thesis is a survey on the way people work together on design projects. Drawing from a number of conversations, it seeks to analyse various practices of collective design and working methods. Several situations were studied: inter-professional contexts, different economic scales and fields of activity, different industrial approaches. The aim was to explain the link between the way teamwork is organised and the specific practice of design. Are methods of teamwork organisation in this practice an issue for the designer and for design itself? While this thesis was being written it became a tool for the diploma project, for which it established an operational framework, since creation of an organisational model was a question dealt with in the thesis. * Philosopher, director of development, FING

Kévin Torrini lupin (2007)

Project with Benjamin Salabay Using an empirical approach to bicycle design, the aim was to manufacture, test, check and modify to achieve a working prototype weighing under 10 kg that takes the relationship between man and machine into account.

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Utensils (2010)

Partnership with the Syndicat des TabletiersTourneurs du Jura This project comprises a series of kitchen utensils that cover all possible uses. The handles of each object are identical, giving the series its identity. The handle features a magnet enabling the utensil to be easily attached to a rail. The same magnet enables two utensils to be combined to form an original pair of pincers.

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K.lder collection (2008) The project set out to explore a technique and a material: folded perforated sheet metal. Using the principle of bi-directional folding, a collection and various objects were developed: a chair, a stool, a desk lamp and a stool/ occasional table.

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[contre] matière [counter] material Project director: Patrick de Glo de Besses*

* Designer, teacher at ENSCI

A FDM (fused deposition modelling) machine is a kind of 3D printer, which produces models in successive horizontal layers. These layers are built using two complementary thermoplastics: ABS for the 3D model and a polymer for the temporary supports, which are quickly dissolved and disposed of. The latter, which we have named “counter-material”, is generated automatically by the machine.

In this specific project, we decided to preserve this “counter-material”, by treating it as a component in the manufacturing process in its own right – thus disrupting the designer’s idea and design. The purpose of each object in this range of office accessories is conceived via the filter of the machine’s constraints. Each type of object results from and illustrates a characteristic of the process itself.

To complete the project range, the user is given a graph that covers all the shapes and outlines used. This is the projectâ&#x20AC;&#x2122;s library of forms. This graph serves as a user manual, it is linked to a programme that allows new shapes to be generated via pre-established principles, so they become part of a new practice. The aim is to â&#x20AC;&#x153;redoâ&#x20AC;?.

BV Thesis

The intuition of use Instinctive use Thesis director: Marie-Claire Sellier*

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This thesis thinks about the intuitions of an ordinary user faced with an object or use. It is structured to bring strong ideas together, it is a path that will give the project a strong stance in the future. It involves pinpointing objects that seem to define this stance, through descriptions, analyses and studies. Finally, the idea is not to treat every aspect of use but to draw only on one’s own experience. The thesis is therefore structured around encounters, observations and reflections gained through knowledge and a certain experience. The theory was constructed around this framework of pragmatic facts. There is a constant to-ing and froing between observation and reflection, sometimes leading to a new interpretation. This thought process becomes knowledge process. How can the designer anticipate a user’s intuitive use of an object? The aim of this thesis is to show how the user grasps an object in order to use it better. *Teacher at ESAD, Amiens

Baptiste Viala

La chair [Chubby Chair] (2009) This chair made from cement is an over-ripe fruit, a fat sow expecting triplets. Its pink colour suggests flesh, the cracks on the surface seem to imply the piggy is about to pop. Photo: Simon Vanquaethem

Cellular design, experiment 10 (2010)

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Spirocolour (2009)

Project in collaboration with Laurent Milon Roto-moulded concrete suspended or table lamp. The manufacturing technique produces objects that meet both technical and aesthetic criteria. As it rotates, the cement acquires a very fine, thin quality and becomes translucent. Light passes through it, carrying the movements of the colorants trapped in the cement. Photo: Laurent Milon

Partnership with Le Laboratoire Project with Flavien Berger, Laurent Milon and Charlie Zehnlé, supervised by François Azambourg Research into possible designs for a water bottle made of an organic material, a production and display machine.

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Living objects Project director: Sylvain Rieu-Piquet *

* Designer

Living objects are free and autonomous. They do not need people to exist; they are not interested in humans. They have their own consciousness, their own aims in life, their raisons dâ&#x20AC;&#x2122;ĂŞtre, their conditions for survival and evolution. Their shape, lines and materials evolve over time. Whoever comes across and adopts them finds themselves projected into their activity. You need an active approach to see, contemplate and meet them.

These objects are constantly changing, which is why all the world needs to do is redefine their forms and presence. They constantly change shape, move, escape: they are the stuff of imagination.

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Thesis

Self-production – Study and proposals Thesis director: Jean-Christophe Aguas*

This thesis is a study of the particularities, constraints and liberties of self-production in the design profession. This object is an “open manual” featuring examples and questions, material for the reader to think about creation of a selfproduction model. * Development Officer at Environment Sommer

Fanny Vincent Chrysalis (2006)

Partnership with Hermès A look at the relationship between content and container. Through a system of gussets twisted into shape, the bags open up into a variety of sizes suitable for every kind of outing. The design of this range is closely linked to the structural properties of the leather material and to the potentials offered by shaping it.

Tissure (2008)

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La Suite (2008)

Partnership with Matelsom In tandem with Margot Pons This hotel-room furniture has several functions: bed-head, bedside table, writing desk, shelves, tray. All of these elements are attached to the bedstead, forming a functional structure all around the mattress.

This exercise in chair design is an opportunity to question the duality of two materials cohabiting in one object, hence the research into methods of assembly. Notions of rigidity / flexibility and structuring element / comfort element are addressed. The project focused on two characteristic components of a classic chair: the structure and the upholstery. The structure of the chair consists of two separate steel tubes, assembled by the woven rattan upholstery. This direct assembly of the chair parts makes use of the qualities of rattan and requires fewer elements (no screws or gluing). This project follows a logic based on limited means.

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VARIABLE(S) Project director: Marc Brétillot*

*Culinary designer

This project proposes to create a direct link between the manufacturing process and formal design of the object. It strives to diversify production methods using known means. The following two projects illustrate this objective. Ceramics and slush casting This project looks at the potential of the slush casting technique used in production of ceramics. It is based on some of the parameters that govern this technique:

the plaster mould’s porosity and capacity for absorption, casting time and the act of moving the mould during casting. The mould is faceted to enable a range of different positions during casting. It creates a motif on both the inside and the outside of the piece and enables production of gauged variables, i.e., several objects using the same mould. A series of containers is created using three different moulds. The use of each container varies depending on the depth of the opening: a cup, a vase, a niche, a bowl, a plate, etc. Plasterwork and the running mould This project looks at the craft and potential of plasterwork and proposes new fields of use for it. In order to use the qualities of plaster in relation to light, the object created was a lamp with a shade produced using a circular running mould.

Detaching the plaster element from the frame allows us to study the interior, therefore the supporting core used when running a mould. The project thus also encompasses designing the production tool to make the lamp (a supporting structure, a stainless-steel sheet core spun on a lathe, a template that determines the exterior form of the lampshade). To create a pleated motif, the stainless-steel core is covered with film of plastic. The design of the pleated motif inside the lamp is slightly rotated, in a symbolic reference to the plasterer’s handwork. The light illuminates the bas-relief produced. The lamp features an “up and down” system that enables the user to vary the brightness by moving a counterweight. Depending on its height, the lamp illuminates the inside or outside of the shade, rendering the light either concentrated or diffuse.

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Project studio directors at ENSCI, who have directed students (see Portfolio) François Azambourg, David Bihanic, François Brument, Christophe Chedal Anglay, Jean-François Dingjian, Jean-Louis Fréchin, Christophe Gaubert, Laurent Massaloux, Bernard Moise, Matt Sindall, Stéphane Villard

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Thesis

Faire avec [Making Do] Thesis director: Odile Vincent*

This investigative thesis sheds light on and defines the nature of a design project through action, through doing or making. The guiding theme is working with your hands, the designer’s relationship with the body and the senses in the act of undertaking. Must one imagine in order to make or make in order to imagine? The elements of making do, of opportunity, craftiness, luck and chance that are all part of the design process make the designer an occasional opportunist.

*Ethnologue, CNRS

Textile design

INTRODUCTION The Textile Design department of Les Ateliers proposes a three-year multi-disciplinary course that prepares students for the Textile Designer degree. Textile designers conceive and finalise textiles and products for industry in very varied fields of application: high fashion, professional or sports clothing, the home, architecture, transport, etc. Aware of new uses and technologies, textile designers convey innovation, create and develop fabrics, compose with materials, colours, and graphic designs, intervene in the structure and form of the textile product and master the manufacturing processes. Technological progress and new fibres are now offering textile designers a chance to explore new territories that represent major stakes for society (health, safety, sustainable development…). In a European context that is shifting fast—competition, trade globalisation—the traditional sectors of clothing and environment textiles are today resolutely focused on quality production with high creative and technical added value. The first two years of the course are spent on textile design projects, teaching and research. The variety of the coursework covers all the aspects of textile creation, from product development to manufacturing. The training favours experimentation and workshop research: each student has a diverse range of high-performance tools at their disposal to make their textiles.

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In their second year, textile design students also work industrial design students on projects that involve a textile problematic. The programmes are set out each semester and are followed by all the students in the year. The course applies the ECTS system: one year equals 60 credits. The third year is a year of synthesis that involves preparation of the degree project, a longterm internship in a firm and/or a study trip to a foreign school. The subject of the degree project will be related to the student’s preoccupations and will bear witness to their ability to project themselves in a professional problematic. The result of analysis and reflection around a theme, it takes special needs into account, proposes new values of use and brings an original, innovative solution. It is developed with the support of a project director and the teaching staff. It produces a concrete creation, be it a textile collection, a one-off or a mass-produced object; it can be developed in partnership with a fashion designer, a designer, an architect, a manufacturer, a stage or space designer. It is accompanied by a thesis in which the student explains his or her choice and specifications, justifies their approach and takes a stand… Graduate designers evolve in highly varied sectors of the textile industry that range from clothing textile manufacturing industries to car furnishings and design research consultancies in high fashion, ready-to-wear, styles and trends.

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Textile design at ENSCI-Les Ateliers, a specific training During their three and a half years of study, students at ENSCI-Les Ateliers learn to consider textiles for their appearance, performances and end use, along with developing a creative and prospective approach that takes into account the evolutions in technology and social behaviour. Textiles are our way to approach design: the textile designer conceives use scenarios and Â materialises them through fabric prototypes and textile collections. Textile is protean and ubiquitous in our environment. Each field of application require aÂ specific expertise that our students acquire in the diverse projects studied in the school. Developing expression through textile means acquiring theoretical knowledge and sophisticated, complex techniques. Textile is rich in ingenious processes that we explore and transpose to meet new functions. Making a high-quality textile involves accurate decisions throughout the development process, from the choice of the raw materials to the type of yarn and the textile construction. The aesthetic point is also essential. During their training, students follow specialised courses to enable them to widen their artistic skills and knowledge and foster a creative approach toÂ graphic design and composition, colour harmonies and ranges. 192

At the end of their degree, our graduates become specialists capable of bringing global innovative solutions to contemporary issues in sectors as diverse as fashion, sports, professional clothing, soft furnishings, the community, transport, and more. It is the fine balance between artistic training, technical knowledge and sensitivity for the textile object that forges the originality and the value of our training, unique in France.

Chantal Tournay Head of Textile Design department

Maud Boudet The cook (2010)

Workwear, imagewear Clothing designed to stay clean in a restaurant with an open kitchen. The outfit protects the cook while conveying the restaurant’s identity. The garments are adaptable: the jackets and aprons are reversible and can be combined together via a series of flaps / bands.

iPad sleeve(2012) To develop a material for a tablet device sleeve. Here, the textile is woven from leather strips in the manner of samite silk. The material is padded, protective and pretty.

Meal tray(2011)

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The originality of this project lies in the magnets under the folded metal plate which forms the tray. The set is woven from plastic-coated wire. Each item – cutlery, glass, plate, basket – therefore stays in its place for the duration of the meal.

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RE(F)USE: Salvaged objects, re-appropriated objects Project director: Félicie Bajard*

The aim is to show how material can renew form by reworking traditional codes to create a new aesthetic. To make new use of an object is to reassign, reinterpret, re-inhabit, renovate, and revisit it, creating a new angle. RE(F)USE offers a potential answer to the question of how to make something new out of something old.

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*Designer

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REGARD, Au fil du temps [VISION over time] – A conversation between old and new Thesis director: Cloé Pitiot Fontaine*

How to propose and create a vision of newness and contemporaneity from something that is old? How to bring about a new way of seeing? Regard, Au fil du temps [Vision over time] proposes answers in varying degrees. It advocates analysis of the lifecycles of objects and suggests solutions to combat waste and over-consumption. *Architect, curator, Centre Pompidou, Paris

Audrey Boudissa

Well groomed (2010) Create a new type of women’s workwear using fabrics adapted to dog-grooming parlours, to provide comfort and elegance while communicating the salon’s identity and the quality of its services.

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Mirror, mirror (2009) Design a textile collection for the wicked stepmother of a modern-day Snow White. Women in their forties take increasing care of themselves. They exercise and make copious use of slimming and anti-ageing creams to preserve a youthful look. With this collection, textile works wonders for their figure.

Gold and black bags (2010) How to use the archetypal black and gold plastic bags to create a collection of delicate yet luxurious silkscreen-printed bags? The two products are visually identical but contrast in their material, their durability, their manufacturing method, and their cost and quality.

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Faux-semblants Project director: Anne-Cécile Sonntag* The female body can convey a number of different representations. It is the starting point for fictions, appearances and pretences, primarily conveyed through clothing. By hiding and revealing, clothing can flatter the body and the image it reflects: stratagems that enable a woman to play with vision and perception, manipulate and fool the viewer through appearances that are deceptive. Beyond the actual shape and form of the clothes, it is the textile itself— the visual material that mixes motifs and textures—that greets and confronts the eye. Through the mysterious, manipulative figure of the lady spy, skilled in the art of revealing/hiding, the “Faux-semblants” textile collection manipulates our perception. Materials, motifs and different techniques combine to compose a visually deceptive collection. 204

*Coordinator fashion department, Ecole Duperré, Paris

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The mystery of appearances: what you see, what is hidden Thesis director: Nathalie Chouchan*

What can be said about the perception we can have of others? What do we show, or hide? What can be said about what we show, what we hide, how we do so and why? Clothing is the envelope in which we appear to others, crystallising the image we reflect. How have women used it for centuries, making the most of what it shows, suggests or dissimulates?

The function of the female spy represents the quintessence of this ability to show or hide, while embodying a certain model of femininity, part seduction, part mystery. We take a look at how these tricks of espionage take shape with real lady spies and their iconic and cinematographic representations. * Teacher, french literature, Lycée Condorcet, Paris

Karen Dassy

Ultramaniaque [Hygiene Fanatic] (2010) There is a streak of hypochondria in food packaging. This project takes a look at this idea and how it extends into the obsession for cleanliness. How to show this obsession? What products do hygiene fanatics dream of? Here is a white, clinical collection in which all the textiles are reusable, bleachable and washable at 90°C.

I tag therefore I am (2009)

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This collection of printed fabrics is inspired by graffiti. After identifying some of the conventions and developing a repertory of forms and colours, the aim was to create all-over motifs: to work with a systematic weft, playing on a form and its identical counterform, short-circuiting interpretation of what is on the surface.

The Butcher (2010) Today’s butcher tends to opt for a simpler, less characteristic form of workwear. This collection is a new take on the butcher’s apparel that reflects the traditional values of the profession through classic designs and colours.

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Hypnomirage Project director: Pauline Ricard-AndrĂŠ* A collection for an insomniacâ&#x20AC;&#x2122;s bedroom, based on the sensations experienced in a state of hypnagogia. This transitional state between wakefulness and sleep, which occurs just as you fall asleep, favours development of the imagination. At that precise moment, perception is blurred; feelings from reality and dreams merge and hallucinations can occur. Insomniacs are obsessed with the idea of getting to sleep and cannot detach themselves from reality to sink into slumber. The Hypnomirage collection gives them motifs inspired by hypnagogic imagery: a deformed vision of reality combined with visual effects originating in the eye itself, a hypnotic journey designed to help them flee concrete reality. Lightweight materials suggest the floating sensation that is characteristic of the onset of sleep. Thus primed, it is easier for the insomniac to approach the depths of sleep.

* Art director, style consultant, scenograph

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Signs of exclusion worn on the body and in clothes Thesis director: Marie-Haude Caraës*

The first questions revolve around normality and abnormality. What is the norm? What is it for? Why conform? Next comes fashion: how is abnormality expressed? Three examples in Western society are explored: stripes, the colour yellow, and body markings. Today stripes generally have any negative connotations, though some do persist in certain conventions, such as comic book art; for centuries stripes were an attribute of dissidents and people who weren’t normal, a tool for the stigmatisation of inferior individuals. The same goes for the colour yellow, which is still unpopular today, and which long represented infamy and madness. Clothing aside, the skin also “wears” body markings, currently in fashion but once associated with heretics and slaves. *Political scientist, director of research Cité du Design, Saint-Étienne

Marie-Hélène Leduc Peau d’âne [Donkeyskin] (2009)

Fauchon delivers (2010)

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Delivery personnel for a luxury brand have to convey the brand’s image. Their uniform serves as an urban communication tool to relay the values of the company and reassure customers, who let them into their private space. The aim is to make this uniform more identifiable, to give it style, direction and elegance. The pants features the logo and the waistcoat the colours of Fauchon.

Creation of a collection of fabrics for the fashion world inspired by Perrault’s fairy-tale character, a princess who runs away to avoid an incestuous marriage and hides her identity under a donkey skin. This “modern-day Donkeyskin” is offbeat and creative. It transforms a shirt into a dress and dons a heavy coat. The fur evokes a second skin hiding the young woman’s body. Shimmering fabrics illustrate symbols of royalty such as the fleurde-lis and the crown.

Open-air cinema (2010) Watching a film at an open-air cinema is a fun and relaxing experience to be shared. These seats illustrate this idea. The modular units are linked together, creating a meandering network that brings together friends and strangers. Each person is hooked to his or her neighbour.

Project

Grasping the ungraspable Project director: Hans de Foer*

The aim of this project was to seek out what cannot be grasped, understood, appreciated or clearly perceived and to materialise it in a collection of fashion fabrics. Exploration of “ungraspable” cinematographic material, in films referred to throughout the thesis – Blow-Up by Michelangelo Antonioni, The Birds by Alfred Hitchcock, Donkeyskin by Jacques Demy and Citizen Kane by Orson Welles – brings us to textile materials. But it is the mineral, vegetal and visual worlds that have made the transition between these two extremes. The photographic close-ups of these various materials were key tools in this investigation and the development of this fabric collection. It is therefore possible to make an avenue of research “visible”. Beyond the textile material, it is the bodily matter that cannot be grasped. 221

* Fashion designer, director design programme, IFM, Paris

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Revelation: when cinematographic matter expresses the body A definition of the ethereal Thesis director: Sophie Coiffier*

Why speak of the “ethereal”? To confront a paradox, perhaps, reveal the invisible, chase what is fleeting and try to grasp the elusive. This exploration began with a selection of films that seemed to materialise a form of elusiveness. In Jacques Demy’s Peau d’âne, Michelangelo Antonioni’s Blow-Up and Hitchcock’s The Birds, we endeavour to understand what seems to be at odds in the scenes, what it is that remains mysterious beyond any rational explanation. With this new definition in mind, we move from film material to textile material. Over and above any form of representation, the history of clothing helps to explain the fact that this “phantom body” is linked to our innermost self. *Artist, teacher at ENSCI

Claire Roussel

A range of wooden lamps (2010)

Workwear for a merchant seaman (2010)

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Create a garment suitable for the specific work of merchant seamen, combining elements of the classic sailor image with the safety and protection criteria required for cargo ships. Various accessories are part of the garment: reflective strips, reinforced cuffs and hems, soundproof helmet integrated in the hood, etc.

Textile firewall (2009)

In partnership with Kermel This firewall inspired by Op Art plays on superimposition, using movement and optical vibration. It produces a play of light that provides glimpses of fire through the rippling fabric layers.

The light, supple plywood seems to be balanced at the top the metal structure. Depending on the type of lamp and the desired lighting effect, the volume and tautness of the plywood can be adjusted thanks to a system of cross-struts. The strips serve as a reflector to prevent the LEDs from dazzling the user, who gets to enjoy adapted lighting in a flexible, lightweight object.

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Nomadic lamp Project director: Laurent Greslin* Create an adjustable, adaptable object using research on light sources and textile materials. The form and function of these lamps (desk lamp, reading lamp, ceiling lamp, wall lamp) draw on two areas of experimentation: material and object. This lighting system integrates innovative technology that structures the fabric while preserving its softness and fall. *Designer, teacher at ENSCI

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Inhabiting one’s habitat Thesis director: Odile Coppey*

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This thesis presents various ways of inhabiting a place, in relation to the physical, sociological and cultural characteristics of a region. Travel in Africa and Asia fuelled a desire for discovery and new directions. Analysis of habitats throughout the world pointed to a common denominator in the notion of “inhabiting one’s habitat”.

*Political scientist

Hélène Sempéré Délicat’Attitude (2010) Fragile lacework, delicate and precious, and a robust, hard-wearing seat: or how to reinforce lace? This inviting chaise longue plays on the opposition between fragility and sturdiness. 2nd prize Détournement de Matières [Reinterpeting Materials] competition, Fédération Française des Dentelles et Broderies (French Federation of Lace and Embroidery)

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Valet parking attendant for Mama Shelter (2010) The workspace of a valet parking attendant is the street – a public space where passers-by do just that: pass by. The valet is the first image of the restaurant that the client sees. His or her uniform must reflect the quality of the place while meeting the needs of the job: workwear meets brandwear. The materials developed for the valet uniform had to match Mama Shelter’s graphic design and protect the attendant from the cold, thanks notably to a closed circuit heating network woven into the garments.

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Garden allotment (2010) The allotment is a patch of land in a communal space, treated as an extension of the home, where vegetables, fruit and flowers are grown. It is designed by serious gardeners using salvaged materials that are transformed for numerous purposes: to delimit, protect, shelter, etc. To avoid spoiling the site, the salvaged plastics, electric cables and bags were sorted and reused to make protective mesh nets and braided fencing stakes.

Project

Mediance Project director: Bruno Marmiroli* Marmiroli The Promenade PlantĂŠe or CoulĂŠe Verte is a garden that runs along the top of a viaduct. This former railway offers strollers an interesting view of the city. Its linear structure compels them to move from point A to point B. The greenery planted along the path should provide some privacy; however, the creation of this new space leaves walkers in view of the neighbouring buildings that overlook the site. Which is why this project offers textile solutions to create more private spaces for walkers. *Landscape architect

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Meeting(s) with the landscape Thesis director: Marie-Haude Caraës*

We all have vivid memories of a “beautiful”

240 landscape that has enhanced a happy

moment or experience. Familiar landscapes are shaped by history, cultures and civilisations. Can one “inhabit” a landscape? The social and human relationship with the environment is shaped by the codes and symbols we associate with the landscape. *Political scientist, director of research Cité du Design, Saint-Étienne

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ENSCI-Les Ateliers, was founded in 1982 under the joint authority of the Ministries responsible for Culture and Industry and is the only state-funded advanced education institute specialising in Industrial design. The education programme, based on a sustainable, human-centred vision of design, seeks to balance quality of living with the need to enhance competitivity in the French and European economies. ENSCI was created not only as a ’design’ school but as an innovative education project. Its aim is to provide an optimum learning context for a new generation of designers, able to bring creativity and innovation to all fields of production and to contribute to promoting the profession. Over the past thirty years we have witnessed profound transformations in manufacturing and distribution processes and the enormous impact of digital technology on our everyday lives. Design practice has evolved exponentially to include both material and immaterial goods, products and services - combining traditional skills with research in areas such as Intelligent materials, micro and nanotechnologies, life sciences etc. ENSCI has risen to the challenge by constantly renewing its education system, integrating contemporary fields of knowledge and practice whilst safeguarding the notion of humane innovation (as expressed by Icsid) (http://www.icsid.org/about/about/articles31.htm) ENSCI delivers master level degrees only. The main activity of the school 242 is centred around two master programmes: the (generalist) 5 year integrated master in industrial design and the postgraduate master in textile design (3 years after a first, specialised degree). The School is a founding member of the PRES (Pole of Research and Education excellence), named the Hésam. This Paris-based cluster has brought together 13 prestigious institutions in the fields of the arts, national heritage, engineering, architecture, economics, management and the human sciences. The members of the PRES have recently co-authored a project for the creation of the « Paris Novi Mundi University » which gathers the different specialist fields of knowledge around a central axis provided by the EHESS institute for research in human sciences. It is also ENSCI’s role to support the EHESS in promoting human-led technological and economic development and social innovation. Further academic partnerships are built around Double Degree programmes, for example, Engineering+Design with the prestigious Ecole Centrale and the CNAM and Marketing+Design with the CELSA. Selected science students from Paris 6 University (Pierre et Marie Curie) can follow a custom-built Science+Design Bachelor level programme. As far as Europe is concerned, the School is a founding partner of the MEDes (Master of European Design), a joint programme created by 6 top-ranking European institutions in Glasgow (GSA),

Helsinki (Aalto University), Milan (Politecnico), Cologne (KISD), Stockholm (Konstfack) and Paris. A seminar programme with Japanese partners from Chiba University is also available within the MEDes. The School has established a wide range of partnerships with business, industry, government agencies and research institutes and students benefit from many opportunities to experience professional practice. The MINATEC residency in Grenoble, where student teams work for one semester within the research lab, is one example and other residencies will be available in the near future. It is mandatory for all students to gain hands-on internship experience in France - the School’s international network includes some of the world’s most reputed design institutions and companies The ENSCI – Paris Design Lab® also offers professional post-graduate programmes (Mastères specialises) in « Design and contemporary technology » (CtC) and in « Innovation by design » (IbD) for nondesigners. A new programme called « Nouveau design » starts in 2012. All these programmes are open to French and foreign applicants. French is, however, a pre-requisite. ENSCI – Les Ateliers’ graduates work as freelancers, as in-house designers, in design studios – in France, but also in some of the most respected companies abroad - and cover a multitude of design profiles. Each year around 270 students of all nationalities participate in the school’s activities and to date, over 600 industrial designers, 277 textile designers and 172 post-graduate students have graduated. The School has recently opened a Master track for non-French speaking candidates to the school, offering them the opportunity to spend an initial 6 months in the English-speaking project studio whilst learning French. In the heart of Paris, near to the Bastille, ENSCI-Les Ateliers occupies a vast loft space charged with history. Here, previously, the decorative arts enterprise Jansen employed, from 1922 to 1079, 500 craftspeople, uniting the various trades in workshops under one roof, where they could be called upon according to the needs of each project. The Ministry of Culture acquired the building in the early 80’s and the school took over the premises in 1981. The spirit of co-working and trans-disciplinarity have stood the test of time and the school still boasts a strong workshop culture (both thinking and making), now equipped with the latest digital technology. ENSCI-Les Ateliers is open 7 days a week all year round and students may access the premises 24/24.

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Index design graduates

Textile Design Graduates

Industrial Design Graduates

Maud Boudet Audrey Boudissa Karen Dass Marie-Helene Leduc Claire Roussel Hélène Sempere

boudetmaud@gmail.com audreyboudissa@wanadoo.fr karen.dassy@laposte.net marie-h.leduc@hotmail.fr claire84roussel@hotmail.fr helenesempere@hotmail.com

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Special mention for those ENSCI industrial students, who, already involved in new adventures, often in faraway places, were not able to contribuate to the present book. Mathieu Bourel Anne Goasguen Néhemy Goguely Guillian Graves Marion Jestin

mathieu.bourel@hotmail.com anne.goasguen@gmail.com nehemy.goguely@gmail.com guillian.graves@gmail.com marionjestin@gmail.com

p. 193-200 p. 201-208 p. 209-216 p. 217-224 p. 225-232 p.233-240

Justine Andrieu Pierre Bayol Laurent Beurriand Pierre Cloarec Florian Delépine Theodore Faure Thibault Guittet Mélanie Husson Samuel Lacroix Xiao Yu Lou Yumiko Ohara Laura Pandelle Fanette Pesch Fabien Petiot Mathieu Peyroulet Ghillini Margot Pons Han Hui Qing Célia Rossi Clément Tissandier Kévin Torrini Baptiste Viala Fanny Vincent

andrieujustine@gmail.com pierre.bayol@gmail.com laurent.beurriand@gmail.com pierre.cloarec@gmail.com delepine.flo@free.fr theodorefaure@gmail.com thibautguittet@gmail.com melanie.husson@gmail.com samuelacroix@gmail.com lou_xiaoyu@hotmail.com yumiko_ohara@hotmail.com laura_pandelle@yahoo.fr fanette.pesch@gmail.com petiot.fabiendesign@gmail.com gotonchoc@hotmail.com gotonchoc@hotmail.com hanhui.qing@hotmail.com celiarossi.12@gmail.com clement.tissandier@gmail.com kevintorrini@hotmail.com baptiste_v@hotmail.fr fanny.vinc@gmail.com

p. 13-20 p. 21-28 P. 29-36 P. 37-44 p. 45-52 p. 53-60 p. 61-68 p. 69-76 p. 77-84 p. 85-92 p. 93-100 p. 101-108 p. 109-116 p. 117-124 p. 125-132 p.133-140 p.141-148 p.149-156 p.157-164 p.166-172 p.173-180 p.181-188

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Publication Director of publication, director ENSCI-Les Ateliers Alain Cadix Editor in chief Dominique Wagner Graphic design c-album/Anna Radecka, Bruno Truong (ENSCI student, internchip at c-album) Student coordination Veronica Rodriguez Degree year coordination (Industrial designer) Gilles Belley Myriam Provoost Sophie Coiffier Laurence Salmon Inner Courtyard, yesterday

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Degree year coordination (Textile designer) Chantal Tournay Photography Véronique Huyghe Translation Gail de Courcy Ireland Thanks Liz Davis Ursula Gleeson

Inner Courtyard, today

Printing Champagnac Imprimeurs N°393 4ème trimestre 2012

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This book has been realised thanks to