ENSCI Graduates Catalog 2010-2011 by ENSCI-Les Ateliers

École Nationale Supérieure de Création Industrielle

Graduates

The responsibility to invent or help create a “better life”… In times marked by major energy and environmental risks and the increasing complexity of the economic, technical, and social systems in which man evolves, design – as we at ENSCILes Ateliers see it – takes on a political and civic dimension. It is responsible design. In a society where prolonged life expectancy, human mobility, new web practices, social networks, increasing exclusion and lack of job security all leave a profound imprint on the lives of individuals, families, groups, organizations and territories, design discovers new areas of exploration and creativity and finds itself invested with new responsibilities. In a global economy marked by greater competition between businesses, countries too are under pressure to attract capital and brainpower, and creation and design have become determining factors not just in industrial innovation and competitiveness, but also in terms of attractiveness and quality of life for regions. Design as we see it at ENSCI-Les Ateliers has a vocation to invent, create and conceive ‘objects’ that rise to these contemporary challenges. This is 21st century design, it is not the design of the 1980s or 90s. It is not (or not merely) design for manufacturing, it is design for engagement. The ‘objects’ designed are material and/or immaterial, they are products as well as services, household or professional, individual or collective, private or public; they use traditional technologies often revisited, wood, metal, textile, plastics, and new technologies, be they widely used digital tools or those yet to come but already present, which will arise from the converging NBIC technologies and which design has an imperious responsibility to “humanise”.* This design gives great sway both to uses and users – still consumers but increasingly decision-makers and actors in their own lives. It is here that the true wealth of ENSCI –Les Ateliers lies, as seen in the host of often original concepts and designs containing great formal and functional qualities showcased in this Catalogue of Industrial Design and Textile Design Graduates 2010-2011. In the tradition and spirit of ENSCI – les Ateliers, we have accompanied these students towards their professional destinies throughout their individualised courses. Now they are graduates, they are ready to shoulder their ethical responsibilities as creators of ‘objects’, which beyond their economic, functional and aesthetic worth, offer true ‘social added value’. Alain CADIX Director of ENSCI – Les Ateliers

* NBIC are emerging, converging technologies that bring together Nanotechnology (N), Biotechnology(B), Information Technology (I) and Cognitive Sciences (C)

INTRODUCTION Founded in 1982, ENSCI-Les Ateliers is the only French national advanced institute exclusively devoted to design studies. It is a public commercial and industrial establishment supervised by the Ministry of Culture and the Ministry of Industry. Applying a humanist philosophy and a commitment to sustainable development, ENSCI aims to actively contribute to quality of life for individuals and increased competitiveness for French and European industry.

Les Ateliers’s mission is to educate designers capable of conveying and promoting all aspects of industrial design, i.e., to tackle the material and immaterial industries of the 21st century, to design aesthetic and functional objects and their associated uses, and to create economic and social values. Sustainable design holds a central place in today’s industry. The design profession is undergoing profound transformation and the dominant technologies are those that implement new materials (sometimes traditional materials revisited), composites, functional textiles, etc., as well as micro and nanotechnologies, digital simulation or representation technologies associated to ICT, technologies related to the living world, and so on. The prospective design that is taught and practised at ENSCI integrates these technological advances with a constant concern for their “innovative humanisation” (to quote ICSID). ENSCI-Les Ateliers is a founding member of the Pôle de recherche et d’enseignement supérieur (PRES) ‘hautes etudes, Sorbonne, arts et métiers’ (héSam) and upholds a ‘Paris Novi Mundi University’ excellence initiative with its partners in the PRES (Paris I University, Panthéon Sorbonne, EHESS, EPHE, CNAM, ENSAM, ESCP Europe, ENA, INP, INHA…). This Parisian cluster of teaching and research establishments in the fields of the arts, heritage, literature, engineering, architecture, economics and management, and social and human sciences, which lie at its heart, shares the ENSCI-Les Ateliers project to promote social innovation and assert the social vocation of economic and/or technological innovation. In the context of Investissements d’avenir (a French State policy for 2010 and 2011), the school’s laboratory, ENSCI-Paris Design Lab®, is now part of the Labex Création arts et patrimonies, and ENSCI-Les Ateliers will be a shareholder in the Société d’accélération des transferts de technologie

(SATT) Lutech, whose principal shareholders are Paris VI University Pierre et Marie Curie, the École normale supérieure and its partners in the Paris Sciences et Lettres cluster, as well as the CNRS, Paris II University Pantheon Assas, INSEAD Fontainebleau and the Université de technologie in Compiègne. Furthermore, dual degrees – engineer+designer and designer+MEng. – are being set up with the École centrale de Paris and with ENSAM (Arts et metiers Paris Tech). The same goes for the dual designer+marketer degrees with CELSA. ENSCI-les Ateliers has forged numerous partnerships with businesses and research laboratories, where students learn to answer issues defined in consultation with the school’s partners. The ESNCI-Les Ateliers residency at the MINATEC in Grenoble is one of them. A similar residency will be opening in the Saclay cluster in 2012. ENSCI-Les Ateliers awards two initial training degrees: ‘industrial design’ and ‘textile design’ (formerly ANAT), both to Master’s level. Moreover, ENSCI-Paris Design Lab® offers two post-graduate courses culminating in a Specialised Masters (as per the Conférence des grandes écoles label): ‘Contemporary Creation and Technology’ and ‘Innovation by Design’. Two other post-graduate courses are in preparation: New Design and Design for SMEs, which will start in 2012, capitalising on ENSCI-Les Ateliers’ two years of practice with the D-Lab (design lab), where young graduates have worked on complex projects with firms of all sizes. ENSCI-Les Ateliers trains designers with highly varied profiles who have gone on to work in design studios, businesses or as freelancers, many of them contributing to France’s renown abroad. Each year, the school trains approximately 260 students of all nationalities. To date, it has graduated 600 industrial designers, trained 200 textile designers and awarded over 150 Specialised Masters degrees In the heart of Paris, close to Bastille, ENSCI-Les Ateliers occupies a site full of history: the former workshops of the decorator Jansen, who employed up to 500 art craftsmen from 1922 to 1979. The building was acquired by the Ministry of Culture in the 1980s, which used it to house the school. ENSCI-Les Ateliers has kept the spirit of these workshops while opening up to contemporary technologies. In certain circumstances, the workshops are open 24/7, to enable students to carry out their projects in optimum conditions.

JMB

Cécile Baltazart

Solène Borrat

Jean-Marc Bullet

Elodie Cardinaud

Edouard Chassaing

Dooyoung Choi

14-20

21-26

27-36

37-44

45-52

53-60

Philippine Dutto

61-68

ADF

Agathe Duval-Fournis

Aurélie Eckenschwiller

69-76

77-84

Marion Excoffon

Laure Garreau

Elodie Gobin

Adrien Guerin

Astrid Hauton

Caroline Journaux

Claire Lemarchand

Léa Longis

Alice Mareschal

Florence Massin

85-92

93-100

101-108

109-116

117-124

125-132

133-140

141-148

149-156

157-164

Textile Design 209-216

Gaétan Mazaloubeaud

165-172

Florie Andonimouttou

233-240

BM Benjamin Mazoin

173-180

François Morrier

Mehdi Moujane

181-188

189-196

Sybille Berger

Cécile Couarraz

Luce Couillet

Sophie Hykes

241-248

249-256

257-264

265-272

ABN

Alexandre-Benjamin Navet

197-204

Yoan Ollivier

Aude Richard

Simon Tual

205-212

213-220

221-228

Cécile Meuleau

Janaïna Milheiro

273-280

Charlotte Percheron

281-288

Emmeline Raphanaud

289-296

297-304

interview The Diploma in Conversation From preparation year to public presentation, the director of the Diploma phase and the two Presidents of the Jury share their impressions and comment on their experience of the Diploma. Gilles Belley, designer, has been in charge of the Diploma phase since September 2010. Michel Cultru, business strategy consultant, has been President of the Jury since 2006. Jannick Thiroux, board director of the Agence Ptoléméé, head of innovation, has been President of the Jury since 2011. How do you see your role as Jury President?

MC: I’d like to start by paying tribute to the intellectual qualities of the Jury members and the stature of the personalities who accompany the students, which makes me rather modest! The Diploma is a very serious affair. I’m more about day-to-day action than an intellectual approach, so for someone like me it’s both interesting and fascinating to see the quality of the follow-up and how deeply involved people are towards the students. I was very impressed by the extent to which the course adapts to the students’ profiles, the lack of formatting and the amount of time spent allotted to defending the thesis. I’m basically an affable person. I run my own business, so I have often worked with people younger than myself and have always wanted to be very hands-on. Which is why as Jury President for the Degree, I have above all wanted to be attentive, to play the ‘nice guy’ by intervening quite discreetly. When the student is defending his thesis, the President does not obligatorily have to give his point of view, his role is to highlight and enhance the experts’ comments so that their overall intervention can aid evaluation of the student’s performance and potential. I intervene more directly once we are in deliberation, to sum up the school’s official message before the graduate goes out into the real world, and when we award distinctions to the best defences. JT: Agreeing to be a member or President of the Jury requires focus, attentiveness and 100% availability. Behind each Diploma is a unique personality whose path has been marked by numerous experiences in France and abroad. The student is enriched by the education they acquired throughout their coursework. The thesis is a moment of synthesis, beset with doubts. The candidate introduces himself, then engages in a verbal jousting match with the Jury members, made up of queries, questions, and trial and error. After this test, the student will become a graduate designer, serving society. As President, my dearest wish is to give value to this change of status from student to professional; at the end of their defence I sum up

for each student the essential points for them to note. This exercise is an opportunity to see themselves bared and to reveal the hidden gems inside. The Jury has a duty to highlight and occasionally reveal a personality full of nuance and resources. The goal is to give the student the keys to become a real player in their field, in a transforming economic world. What is the originality of the Diploma and how do the students prepare for this ‘rite of passage’? GB : The Diploma is very much a rite of passage, which takes up half a day. It’s a rather unique event that can seem long and complex, but it is a powerful and special moment for all concerned—the Jury, the student and the public. Thanks to the ‘format’ (the length, the modus operandi in three parts, the preparation time), the defence is not over and done with quickly. On the contrary, three hours presenting a year’s work to a Jury of ten or more people and a room filled with a large audience gives time for ideas to be stated, developed, exchanged and transmitted. It’s an end result, a time of transition between what was forged in the school and what will be expressed outside in the professional sphere. The constraints of the Diploma are relatively flexible, however. It is a free time and space offered to the student. During the year preceding the Diploma, from starting the Diploma phase up to the defence, the students live a very different experience. They find themselves confronted with their writing, their own approach and choices, a time where they are slightly apart, alone yet supported. They develop, hone and concretise their own thought process. It is the end of a path, above and beyond the rest of the curriculum. It is also a personal realisation. The school offers a unique structure which the students use with great ambition and desire. In your opinion, what role does the Jury play in the Diploma overall? MC : Most of the Jury members do not know the students before the latter defend their theses or how they went about working on or developing the connection between their thesis and their project. Even if they read the thesis beforehand, the Jury only sees the student’s full path on Diploma day, with the presentation the student communicates. It s a guarantee of impartiality, rigor and a ‘fresh’ point of view, which provides a good balance with the vision of those who have accompanied the student through their course.

GB: Simply reading the thesis before the defence gives the Jury only a very partial vision. When the student presents their path and what they did before Diploma year we have a chance to truly meet the candidate. Then comes the presentation of the Diploma project, the final result.

Perhaps the designer’s place in society has been better defined as well, even though questions still exist, which is normal for a designer. We have managed to find a few answers. Above all, the trainee designer feels curious about life, in hindsight.

MC: I strongly believe that the length and format of the Diploma defence give the Jury the chance to understand the person standing before them.

GB: Notions of digital technology and sustainable development have often been directly integrated into the projects in this year’s Diplomas. There’s a generational feel, a coherency with common questions. There are possibly fewer dissociations than before. The students learn more about society as a whole, and perhaps find their place in it more easily as a result.

GB: In fact, the Jury works hard during those three or four hours. Our role is to give the student feedback on the work accomplished. MC: I feel very deeply about this Jury work. First we read each thesis beforehand. Then during the session, the Jury stays focused on the student’s presentation. JT: The Diploma is a chance for the student to introduce him or herself to the world, to defend the path taken, tackle the questions in the thesis and share moments with the audience at the very end. At this stage, the Jury’s duty is to liberate the energy, to be one with the student and the audience.

GB: It also enables us Jury members to go beyond personal taste, the ‘like/don’t like’ scenario When we focus we try to overcome any somewhat superficial judgements. It has to be interesting for the student.

JT: The students care about finding solutions to the questions they ask. Their projects are filled with knowledge of usages, techniques, innovations and materials, generally with a good slice of utopia. Because the question they ask is: ‘What is the designer’s societal role?’ Like the designers, architects or philosophers of the 1970s, today’s students think of the world in altruistic terms. People, cities and networks are their prime concerns. The student designer comes up against architecture, urban planning, art, music, scientific research, digital technology, the domestic space and engineering sciences, all while questioning their own vision. This is a hallmark of ENSCI-Les Ateliers that allows for the limits and uses of design and designer praxis to be constantly called into question. By Dominique Wagner

MC: Yes, you need to know how to overcome your first impressions. I listen closely to the expert designer invited to sit on the Jury. They have a fair criticism of what the student has done. From that basis, I then question my own judgement in order to gain a better appreciation of the project’s quality. Overall, the composition of the Jury is very important. GB: The guest designer and the thesis reporter are effectively there to redeploy the thesis. They contribute a strong analysis. What is your view of the evolution of the different themes the students choose? MC: In the beginning I was especially impressed by the visual qualities of certain projects. Over time, the quality of the theses has grown as well. The school is largely responsible for this. It gives the students great freedom in their choice of themes and approaches and accompanies them better. After a big rise in projects based on new technologies, we have seen more themes on sustainable development, some quite conceptual… Today the students have integrated these dimensions into the visual quality of their projects.

52“(2007)

Cécile Baltazart

Partnership with Leroy-Merlin A lamp working only with mechanically generated energy. The user pulls the ring and the lamp remains lit as long as the string is winding up inside. A spiral spring stores and progressively releases the energy.

FinDT (2006)

Partnership with France Telecom R&D

In the context of a study on “connected” objects in the home of the future, the FinDt project looks at the possibility of creating a network of non-digital objects. Using the RFID tags that are on most of the items we buy today, FinDt proposes an iPhone app enabling the user to locate objects in the home.

Pellet (2007) Partnership with Leroy-Merlin

A type of fuel made with sawmill waste, in the form of wood shavings (sawdust) compressed into pellets. This form of wood offers the best yield but has the worst market visibility, as it is sold wholesale and in bulk. A more accessible packaging of this form of energy enables the user to understand the advantages of these pellets in comparison to logs: the sack contains the equivalent of a 33 cm log, or one-and-a-half hours’ heating.

Project

Paraboles Project director: Helen Evans*

*Designer

The act of creation formulates a perception of the world that allows it to be shared and discussed. Among the contemporary issues it explores is privacy, not only in the behaviour of users but also in the objects and interfaces that serve as their intermediaries. How do objects enable us to cohabit with technology in our private life? How do objects create new usages and rituals in interpersonal relations? The proposed objects are “Paraboles” [in French the word means both parables

and aerials]: acting both as story-tellers and as aerials, they provide, through their absurd or ambiguous scenarios, several possible definitions of private life today. Kunée is a vase that blocks signal reception in public places such as restaurants or cafés. Sibylle is a coat stand that announces guests according to the last message posted on their Facebook wall. Iris is a signet ring and access key to personal digital information, which may also

be given to someone else. Midas is a metallic tattoo that can turn any object into an antenna, following the Faraday cage principle.

20 Thesis

Unproduced projects Thesis director: Sarah Labelle*

This study proposes a definition of projects that are not produced and are therefore not of immediate use. What are the various forms of these “theoretical objects” – manifesto projects, art works, utopias – and why are they made? How do they exist and what purpose do they serve? Through the prism of these unproduced projects, the question of the societal role of the designer is raised. * Teacher - researcher in Sciences of Information and Communication - Paris 3

Solène Borrat Bollyd (2007) This two-wheeler is designed for developing countries, India in particular. It is adapted to the use that Indians make of their scooter: both to transport the family and as a utility vehicle, cobbled and tinkered with and used to the maximum of its capacities. It is designed as a functional “skeleton”; the saddle is longer, there are extra storage and carrying spaces, and the look is left deliberately unfinished so that it can be customised. Once loaded it takes on the shape and colours of the items it transports.

Noirnoire (2008) [Blackblack] This oxymoronic jewel combines the depth and density of fur with the shape and shine of pearls. Little by little, the Tahiti pearl colonises the fur until it works its way under the hair and creates an intriguing, slightly disturbing reflection. Noirnoir is a lucky charm pendant, an object with a mysterious elegance.

Blop (2010) A curvaceous lamp ending in a knurled handle, standing on a steel wire structure. Besides the play of contrasting volumes, this combination enables the beam of light to be angled with no need for a superfluous mechanism. The lamp can also be detached from its base and carried off for use elsewhere.

Project

APPARTenance Project director: Philippe Comte*

*Designer

The habitat of the future will be mainly urban; cities will become denser and individual living space will shrink. APPARTenance was born of the desire to balance out this trend and to develop a design tool that extends private space into communal space in apartment blocks. To begin with, a shared area is established on the threshold of an apartment, and then in the corridor. A doorway spills over into the communal space, morphing into a display case.

Inhabitants place personal possessions at their neighbours’ disposal, putting them at the edge of their private space. A drying rack in the corridor is a sign that the space is being used for a while. It enables a cumbersome activity to be moved outside while preserving one’s privacy. A more substantial renovation creates a more complete amenity. A space where someone can sleep, and a combined space for work and for washing and drying linen, to be arranged and equipped according

to the needs of the inhabitants and the architecture of the building. A system of shared licences, in the form of simple signs displayed on the equipment, explains to inhabitants how it is to be used.

JMB

Thesis

Body Text, compositions of experiences Thesis director: Sophie Coiffier *

What are the issues surrounding the question of “inhabiting”? Is to inhabit to settle? How to arrange one’s habitat? What is necessary? What is utopian? What do we live in? Writing accompanies experience and memory is built with words and experience alike; giving form to something gives it sense. What are the experiences that have enabled me to inhabit and how, through writing, can I put answers into words? Every time, there is an interaction between my body, its sensations and a question. Because physical experience becomes meaningful in relation to a question, it challenges a viewpoint and operates an inner shift. The question of “how do I inhabit?” thereby shifts and evolves towards “ how do I share?”; the aesthetic experience might provide an answer. * Fine artist, in charge of coordinating thesis work at ENSCI

Le design et la solidarité (2010)

Jean-Marc Bullet

Partnership with the Secours Populaire charity

Woody (2007) The process of making, testing, verifying and modifying a functional prototype of a bicycle (industrial or artisanal) for urban use. After presenting the technical geography of the bicycle and its components, we explore the possibility of using wood for its elastic properties, which provide more comfort on the road.

The structure of the frame, based on that of a closed box, limits distortion resulting from torsion, tension and compression. Woods used are plywood, because its grain runs in two perpendicular directions, and lighter pine for the assembly parts. The shape of the handlebars is designed to limit loss of control of the vehicle and provide a choice of position for the rider.

If price, material constraints and the environmental footprint are all taken into account by designers today, why should social and humanitarian aspects not be accounted for tomorrow? What is the impact of the designer’s intervention in this structure? What benefit can it gain from it? Is it of a financial nature? Does it give the organisation better visibility? The project implemented here does not provide specific tools for this context but is applicable to all companies wishing to integrate design into their structure.

31 Tank you (2010)

Partnership with the National University of Singapore (NUS) Singapore has no natural water resources and has to buy water from neighbouring Malaysia. Recently, the government decided to recycle waste water for more autonomy. How can users be involved in saving water at mealtimes, and how to make consumers participate in the water cycle, in food courts, sociable spaces in their own right? By transforming greywater from the kitchens and tables, collected in a carafe specially dedicated to this purpose, into drinking water. The water is filtered via the purification process of plants and minerals (pebbles, sand, activated carbon, ceramics). This object shows the process in context, providing the user with a better understanding of each phase of purification.

Project

Design in rootstock territory Project director: Franck Houndégla *

*Designer

The Trénelle quarter is a social, geographical and economic enclave. This very dense urban area has an unrestricted view over the rest of the city. It is today in the midst of being opened up and rehabilitated. The disenclavement of Trénelle via the creation of a road and new means of communication has affected social ties. How can social relationships be maintained despite this opening up?

The project uses the theme of the garden, a strong symbolic, social, political and cultural object, which is also associated with exchange. The three projects are implemented in the neighbourhood in three different ways: One addresses primarily the inhabitants, then neighbourhood associations and finally, the city authorities. The idea is to call upon the various players according to the degree of complexity of

the projects implemented, the need to follow them up over time, and maintenance concerns.

Thesis

Tinkered Territory Thesis director: Aurélien Lemonier*

La Martinique is an island, a French département and a country, whose capital is Fort de France. In the 1950s, massive rural exodus occurred when sugar factories were closed down. Several districts sprung up around the cities, including Trénelle. The project shows how local culture created this space; how did the inhabitants build the district without an architect or urban planner; what can the designer contribute to urban issues, alongside urban planners and architects. * Architect, teacher at ENSCI

Elodie Cardinaud In situ, a range of hiking equipment (2008)

Experiment with Imagine and Shape (2007)

This range of public equipment for hikers offers a minimum comfort level for hikes in isolated areas. It consists of a solarpowered parasol light, a hand-pumped shower and toilets. The owner of the land or locality invests in this system to develop local tourism. Hikers continue to enjoy the pleasures of camping in the wild while the locality limits the environmental footprint.

Various experiments are carried out with this 3D design software, developed by Dassault Systèmes and part of the CATIA suite. This type of subdivision modelling is based on the principles used in animation: forces are applied and control points added to modify the shape of the material. The technological tool generates forms with physical and mechanical qualities. These samples, from the software’s own formal range, are transformed into objects: a clothes peg, a sugar pot. Models are made using powder fritting.

Partnership with NATENE, specialised in solar panels

Partnership with Dassault Systèmes

Design of the exhibition “A Fleur de Peau”(2007)

Partnership with the Musée d’Art Moderne de Troyes This exhibition mounted for the Musée d’Art Moderne de Troyes traces the history of stockings from 1850 to the present, in relation to the history of art.

Project

Cycle signs Project director: Romain Cuvellier*

* Designer, project teacher ENSCI

White lines, central reservations, slopes, pavement edging: they all mark out cycle paths. These features are adaptations of those found on pedestrian streets and roads for motorists. Yet a cycle path is theoretically given over to cycling. A cycle path establishes a relation between the cyclist and his or her environment. Signage on the ground conveys utilitarian messages to the cyclist, for safety purposes and to enhance the cyclist’s enjoyment.

The path becomes a tool accompanying the cyclist on his or her ride. Famous bike races starting in Paris, or shirts worn by racers on the Tour de France, are geographical referents. A rhythm marked out along the path in the form of pictures on the ground. This motif, repeated along the routes, draws the cyclist’s eye from a distance, changing with the morphology of the path.

44 Thesis

Assisted designers Thesis director: Marie-Haude Caraës*

Does the design tool make the designer? Technological design tools resemble those used in engineering. The 3D design software is an essential part of a designer’s work. It reflects a certain idea of the design process. Portraying this process helps us understand the thinking model that this tool conveys today. How does this heritage impact the designer’s practice? Is the designer subjected to the use of these technological tools or does he or she provoke it, or play with it? The focus of this thesis is the relationship between designers’ tools and designers themselves, and the way they work together. * Political scientist, director of research Cité du Design, Saint-Étienne.

Edouard Chassaing

Dalle d’Argenteuil gardens (2008) Partnership with the GIP Argenteuil In tandem with Claire Tréfoux

Chet & Fats (2009) Partnership with Air Sûr

Air quality will be a major health and ecological challenge in the coming years. Heightened awareness of the issue has introduced a completely new usage: purifying air in the home. Chet & Fats are named after the jazz trumpeters Chet Baker and Fats Navarro. Chet & Fats are two photocatalytic air purifiers for the house and the car. This project was exhibited at the SaintÉtienne Biennale in 2010.

What landscape can be created in this large urban “slab” that is the Dalle d’Argenteuil? This is a system of objects divided into four scales: a monumental greenhouse on the central square of the dalle (concrete esplanade); a treetop garden or series of walkways among the trees planted at the edge of the esplanade; and finally greenhouses for the upkeep of private flower boxes. This project was the object of a publication and an exhibition at the Musée de la Ville d’Argenteuil.

Public Seine: urban water (2009)

Partnership with Les Ateliers de Création Urbaine and the Île de France Region. A global study of the extraordinary public space that is the River Seine. The large parks and gardens of Paris are connected to the Seine via a system of jetties and pontoons and belvederes; together they form an immense green area crossing Paris. The jetties provide views over the water and the belvederes are stopping places during a walk along the Seine. These special places link the upper and lower riverbanks. A book has been published on this project.

Project

Objects on the Seine: ecotone, warp, weft Project director: Vincent Dupont-Rougié *

*Designer

How can the Seine be “given back” to pedestrians without necessarily taking it away from motorists? Objets en Seine is a counter-project for the development of the riverside expressways, as proposed by Paris City Hall in 2009, which envisaged closing the left-bank expressway and turning the one on the right bank into a traffic-light regulated boulevard. But these routes along the riverbanks are efficient and give structure to the Paris road network. The role of the designer in this context is

to reclassify this space, in other words to name it, so that it becomes an inhabited space in its own right: an ecotone, a place of ecological transition between the city and the river, located within an incomplete geography, the neglected spaces of the urban highway. An urban, landscaped promenade along the Seine is possible through the design and installation of an emblematic object: the continuous warp becomes weft into a framework supporting various uses.

When integrated into a programme, can an industrial object produce space in the city? This project endeavours to put into practice the methodology revealed by the Readymades (Found Objects), which is not based on the principle of a tabula rasa clean sweep, but on superimpositions of layers then welded together. The city is precisely a place where different scales cohabit. This diploma illustrates the specificity of the designer’s role in the urban space.

Thesis

Found objects Thesis director: Aurélien Lemonier *

What is the relation between the city and design? What is the designer’s role in the urban space? How does the object contribute to creating space in the city? Found Objects is a collection of viewpoints that interpret design as a discipline through the filter of the city. The hardest thing about a collection is that there’s always one item missing.

Proposals: - a random index, enabling an exploration without a beginning or end, which you can enter in the middle, through a list of notions describing the city. - cross-perspectives of design and the city, to illustrate the designer’s vision of an urban area: large areas by car, Brasilia by plane, Paris through its street furniture. - a form of expression of design practice in the urban sphere, between function, temporality and representation. Design in the city is found in the cracks between the subjects it attempts to link togeth * Architect, teacher at ENSCI

Story Chair

Dooyoung Choi

A lounge, two armchairs and a sofa. This project began last spring, motivated by some personal photos, which prompted an intense and repetitive process of observation, extension and abstraction.

Panier [Basket] Picnic outing. After a trip to the supermarket, hang the plastic bags or the rug on this handle, and off you go to the park.

Project

Skin Project director: François Azambourg*

* Designer, project director at ENSCI

Six months of analysis and observation for the project “Skin” produced a choice of three typologies. They emerged from near-abstract research on colours, transparencies, forms and materials. They are the result of an artistic venture seeking to achieve a unique vision of domestic objects. This project is a non-linear itinerary, a dialogue between the search for a project and its culmination in the object, such as its transcription, its spatial representation, its being called into question.

Skin – Transparencies The envelope of the leek is surprising in the precision of its composition and its graphic impact on the light box, defining a new setting, a new space in light. When we look at an object through a transparent pane of glass, we see it as it is. But when we look at it through a grooved or bumpy surface, the object is perceived in a distorted, cryptic manner. Skin - Superpositions Placed directly on the neon light, the lampshade warms the white light and transposes this type of light found in communal environments to the domestic space. When the light comes on, the

lampshade becomes visible. We can appreciate its volume and motif. The formerly crinkled surface disappears and becomes smooth and intact. Skin – Surfaces A palette of white. Light slides over and bounces off the surfaces. The intensity of the reflection depends on the surface treatment. If it is smooth, light simply bounces off it. When it has multiple surfaces, the rebounds are more numerous and create more nuances. Moreover, if these facets are slightly coloured, the light spectrum will be micro-absorbed.

Thesis 60

Expression(s) Thesis director: Pierre-Yves Chays *

The question posed is the origin of each person’s own expression. This thesis is a gleaning, an itinerary to and fro between personalities and works, between a story told and an anecdote experienced by the artists encountered. The transcription of these conversations provides a fresh view of some of the characteristics of our individual expressions, and shows that there is a strong link between artistic expression and language. The question then posed is that of the relationships between expression and the work produced, between language and understanding. * Linguist and semiologist

Philippine Dutto

Pfff(2004) Pouf! A bed. It’s a matter of give and take, a dialogue of air: turn a pouf into a spare mattress by compressing one to inflate the other.

Fibule [Fibula] (2008)

Nacelle [Swing seat] (2006)

A pirate with her parrot on her shoulder. A dignified presence at one’s shoulder. A detachable epaulette, to make an impression, to make the grade. Harking back to the Roman fibula, which fastened the whole robe. To us though, it’s a miniaturised construction with fine gold and ceramic trim, a brooch to adorn a lady’s shoulder.

A chair you can rock in, as if it were a hammock or a swing, as you make yourself comfortable. A frame with a floating seat suspended from cables. A café terrace where people balance ridiculously, in the spirit of Jacques Tati. .

Project

Cabinet Project director: Inga Sempé* and Gilles Belley **

* Designer **Designer in charge of the diploma phase at ENSCI

Decor for the daily life of a room in one act: the office When we go to the office, it’s to use our trusty writing desk, the Secrétaire. Discreet, it has held its tongue and hidden the chaos of overdue paperwork. Dutiful, it carefully tidies and files away without upsetting the boss’s habits. Except that the master doesn’t like paperwork. He’s not administratively minded and would rather leave all that to a minion he can pay off with a bounced cheque.

So for some distraction he goes to the Étagère [shelf unit]; someone had to shelve the heavy work. Servile and available, it extends its arms for ongoing business and revolves around this data. The shelf can be tilted while a folded-up part waits to be filled. And when there’s nothing for it to do it can be packed up and stored in a corner. Otherwise, simply assemble and tighten the screw. You can do what you like and the shelf unit will adapt. Then there’s l’Arbitre [the umpire’s chair]. It’s time to sit up and have it out with your imagination, my fine Bel Ami, take a global Maupassant view, see the big picture. Thus upwardly removed from it, the

office looks different. Watchtower or niche, slouched or perched, watchman or dozer. In fact, it’s nearly nighttime. Let’s turn on the weighted Éclaireur [scout lamp], that tilts its head to serve its master while holding it high behind. Though sometimes its head spins, over-inclined to satisfy the boss’s needs. As for the Baladeuse [inspection lamp], it’s always prepared to shed light on something, wherever it may be, following its master’s slightest move, inexorably drawn by the light.

ADF Thesis

Antechamber Thesis director: Sophie Coiffier*

Antechamber: an entrance space, an office waiting room. A time for making plans out of nothing, for focusing on details (words, the Â corner of a painting). A fictional scene from a collection of ideas. A drama put together like a house, designed around the object and using only words as Â its building material. A fiction staged like a theatre or film set: camera movements and word play. A film of an idea, an idea for aÂ film, a film of ideas. An idea that is played and performed by an actor, the cornerstone who brings together the material and the other players. This antechamber is a themed space. A space given over to a form of study, for dreaming. * Fine artist, in charge of coordinating thesis work at ENSCI

Agathe Duval-Fournis

Seats (2008)

Partnership with Dassault Systèmes

This set of seats was designed using the CATIA software Imagine and Shape, which facilitates work with curves, especially shifting from the horizontal to the vertical plane.

Solar canopy (2008) Partnership with Leroy Merlin

This latticed solar canopy provides shade over a wide area throughout the day. Solar panels fitted into the top of the canopy store energy. Electricity stored in batteries is released in the evening and the canopy lights up progressively as night falls.

Solar cooker (2008) Partnership with Leroy Merlin

In tandem with Azilis Jungst This solar cooker works with a reflective paraboloid dish that makes sun rays converge to a point on the work surface, where a black recipient captures the rays and heats up to 80°C in 30 minutes, gradually reaching 250°C. Despite major technical constraints, this cooker offers a comfortable workspace and features a knob to adjust the quantity of rays captured.

Project

Trip-eâ&#x20AC;¨ project Director: Jean-Louis FĂŠchin *

* Designer, consultant for digital innovation at ENSCI

This digital travel guide makes organising a trip easier, using other travellersâ&#x20AC;&#x2122; experiences. An application that can be downloaded onto a computer enables users to explore selected places of interest on a map. Tools provide itineraries for travelling from one place to another. Users can then create a custom travel plan, which they can take with them by downloading the app onto their mobile phones. During the trip, the app helps travellers find their way, alter their itineraries, meet other users of the service,

share information with the community and create a travel log. Back home, they can print their log and keep it as a record of their trip.

Thesis

Graphic User Interfaces  Thesis director: Yves Rinato*

Graphic user interfaces are in widespread use today. In what ways are the numerous screen-based devices we use daily objects of interest to the designer? This thesis traces the emergence of the interactive, behavioural image, the image-object, and asks how the organisation, representation and manipulation of information enable us to describe or show – and not explain – a service. New on-screen services engender new forms of exchange that impact the relationship between individuals, lifestyles and usages. The designer’s role is to represent and also present digital services, thereby promoting desirable situations. * Interaction designer

Aurélie Eckenschwiller

ISO, insulated serving trolley/ sideboard (2008) In tandem with Laure Garreau

The insulating properties of cork come from its alveolar structure, which captures small quantities of air. By reproducing this characteristic on a larger scale, the alcoves become compartments in which food and drink can be stored at the correct temperature, from kitchen to table.

78 Here-to-There directional wristwatch (2008) In collaboration with Marie Coirié, Isabelle Daëron and Gaëtan Mazaloubeaud

Blimp, domestic robot (2007) A free-standing light source that is sensitive to its environment. This light-robot moves around the home in search of its occupants, offering them extra light. Because of the hypersensitivity of its components, this object can behave rather unpredictably.

A directional watch combining two interfaces, one that analyses time, the other space. This object is designed to compensate for the disorientation experienced by patients in the early stages of Alzheimer’s disease and help maintain their autonomy. This project won first prize in the competition ‘Design Projects to Improve Home Life for People with Dementia’. .

Project

The Working Landscape An exploration of the link between man, animals and the land Project director: Bruno Moretti *

* Designer

Livestock farming has shaped the rural landscape of France. But landless livestock models that became predominant in the 1950s broke the ties between farmer, animal and land. The main landless livestockfarming infrastructures are buildings, which are organised like factories: animals are reared in hundreds, out of contact with the land and out of view. How can man, animals and the land be reconnected, in the context of food production?

Free-range husbandry requires animalsâ&#x20AC;&#x2122; needs to be respected and the capacities of the land to be taken into account. Yet these forms of production reveal no coherency in these respects. I propose to enhance these practices via facilities and equipment that are integrated into production cycles and blend with the landscape. The idea is to restore the connection between a productive activity and its environment.

Thesis

Man - Animal Thesis director: Marie-Haude Caraës *

The earliest forms of domestication introduced a new relationship between man and certain animals. Together, they shaped the natural environment and created the domestic territory. This portion of the land was the foundation of mutual exchange and society. Throughout history, the religious, social, cultural and technical context has altered relations between man and the domesticated animal. Retracing the history of this relationship, the thesis asks how the domesticated animal has gradually been subjected to transformation and production processes. Can an animal be treated as a mere organism? * Political scientist, director of research Cité du Design, Saint-Étienne

Marion Excoffon

Kathedra (2004) The Greek word kathedra, from which the word ‘chair’ derives, also means ‘bench’. Inspired by the etymology of the word, this object combines both functions. The chair invites you to open it out into a bench.

Albertoaster (2006)

Partnership with France Télécom R&D Albertoaster is a connected toaster. It can receive messages from a telephone, via email or a dedicated internet interface. It will toast messages, postcards, drawings, photos or information, such as the weather forecast or invitations to events. These words and images can then be smothered in butter and jam and eaten.

Le Dada [Carrier] (2008) This object is an adaptation of the traditional bicycle carrier rack and the use so frequently made of it, transforming it into a passenger seat. Not only is it stronger and more ergonomic, the Dada makes this practice legal. It can be fitted to numerous types of bike by being clipped to the back wheel axle.

Project

Le Swell Project director: Jean-Louis Fréchin *

* Designer, Prospective and digital Innovation director ENSCI

This 3.2-metre leisure dinghy is designed to make sailing more accessible. This object fits into a bag and is easily transportable in the boot of a car. Very light, weighing just 30 kg, it is easy to handle and to launch. The innovation lies in its doublesurface textile hull. When deflated, it rolls up to occupy a minimum amount of space. When inflated, the self-structuring material takes shape and stiffens. It is easy to assemble and dismantle Le Swell, each operation taking less than 20 minutes.

When in use, the inflatable structure is safer and more comfortable for the sailor. Le Swell is a highly manoeuvrable dinghy, offering an easy and fun leisure activity.

Thesis

The Irrational in Evidence Thesis director: Cédric de Veigy*

En eel emerges from a tap to suck up pineapple-flavoured toothpaste. This might seem utterly incongruous here, and yet when you close Boris Vian’s novel L’Écume des jours (Froth on the Daydream), the image lingers. Why? Can a feeling of the irrational give way to a feeling of self-evidence? What are the mechanisms of such a shift? Does it exist in the object as well as in the spoken or written word? How can the designer exploit this perceptive sequence? This thesis takes the reader on a tour of diverse examples – texts, images, objects – to propose possible answers. * Teacher, History of photography and French cinema

Raffle (2009)

Laure Garreau

In collaboration with Aurélie Eckenschwiller, Luce Couillet, Emeline Raphaneaud, Florent Thurneyssen and Raphaëlle Tantot The body of this humanoid robot has been designed as a flexible, plastic skin, in contrast to the conventional robot stereotype with its rigid, fixed body. Made up of layers of felt, this robot’s skin can therefore become a formal research tool for the different players in the robot industry. Rapid prototyping technology can be used to produce this robot skin.

Sky Objects (2008)

Both rain and sunrays fall from the sky. Sky Objects capture and transform these natural forms of energy, harnessing them for uses such as watering plants and cooking. Two specific objects – a solar cooker and a rainwater receptacle – transfer energy from the sky to the hands of the user.

Iso (2007)

In tandem with Aurélie Eckenschwiller This is a set of two isothermal sideboards that make it possible to move food around and maintain it at the right temperature. Cork is used for the insulation. The sideboards can be used in two different ways: the largest and most elegant one is suitable for group meals, while the smallest can be used for snacks.

Project

Water Cultures Project director: Jun Yasumoto *

* Designer

Is it possible to imagine living in a home linked to the natural cycle of water? Water Cultures, the cycle of domestic water, is a way of collecting and harvesting rainwater (land drainage and gutters) and planting water objects into the home via the floor. These objects offer different experiences of water centred on three types of everyday use: heating, washing and drinking. The source is a patch of high ground that collects and filters the water harvested by the roof and by the land

(thanks to an underground network of drains). It is a water distribution point for outdoor use. The floating floor is made up of terracotta slats that extend the deck area into the home. It provides heat in the winter and is a cooling element in the summer. â&#x20AC;&#x153;Brumeâ&#x20AC;? [Mist] is a system that combines shower and steam. It rises from the ground to form a curtain, creating a new space for body hygiene. The temperate sink proposes a new approach to the use of drinking water in the kitchen.

A sink perforated with holes provides a surface for rinsing and draining, and also collects unpolluted water in a jar.

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Thesis

The Motivity of Drawing Directeur de mémoire : Cédric de Veigy *

Why do a drawn thesis? I had never wondered about exactly what drawing could be, nor what relationship I had with the act of drawing, and even less about the degree to which the act of drawing forms a link between people, between what they draw and those for whom they are doing the drawing. In this thesis I went on a quest, using as my primary tool not a drawing utensil, but an instrument that I had used and sharpened far less than my pencils: my eye. * Teacher, History of photography and French cinema

Elodie Gobin

Cathr’in Bag (2006) Bollyd (2007) In tandem with Solenne Borrat

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This moped was designed to meet the very specific needs and constraints of Indians living in urban areas. The vehicle’s emphasis lies in providing efficient transport and minimal pollution. Thanks to its open structure, it is equally suited to the needs of a family and a travelling vendor.

In partnership with Maison Hermès When travelling around town, the body undergoes numerous changes in posture. This bag can be shifted around the body, offering the versatility of a handbag combined with a backpack and a shoulder bag. The surrounding strap ensures that the volume changes according to the constraints imposed by the way the bag is carried.

Porcelain Jewellery (2007) This piece of porcelain jewellery is a cross between two types of jewellery: the hair comb and the earring. Its precise location refers to a specific imaginary realm associated with shells and other underwater cavities.

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Project

4 -Stroke Sole Project director: Katie Cotellon *

* Designer

While not solving certain economic issues, this project explores the actions that can be undertaken to reduce waste. In order to achieve this economical use of resources, the actions taken are designed to prolong the life span of objects. Undertaken in collaboration with FYE, this project falls within a real-life context with genuine constraints. FYE uses recycled materials in its designs. These small canvas shoes have a low purchase price and were made from crushed shoes and water bottles.

FYE has made a start at providing a solution in this industry by using dead material, but it could pursue its ambitions further, so here is a series of suggestions inspired by the study of a complete product life cycle. Study of the current product life cycle leads to a re-evaluation of the roles of the various protagonists involved. It reveals that action on several levels is possible: waste disposal, professional and personal repair, and the recycled FYE shoe! By changing the original model, the structural and

functional characteristics of the object can be reassessed, thus extending the life span. In addition, this project makes it possible to prolong the shoeâ&#x20AC;&#x2122;s image by working on the colour, which is short-lived and renewable.

Thesis

Applied Polychromes Thesis director: CloĂŠ Fontaine*

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Perception of colour varies from one person to another. Each visual system has its own gene map for colour. Each individual interprets what he sees according to his own lifestyle and environment. What happens when two individuals look at the same scene, the same objects? Despite these differences in perception, colour manages to fulfil its role: it is always imbued with meaning, carrying an important message for the object. Colour embraces everything. Thanks to matter and surface, it is real. It is thus an integral part of the object. Yet colour is an area that designers often neglect. InÂ practice, designers and colour experts do not collaborate very much. Is it part of the industrial process? Colour does not impinge on technical issues directly, but relates to issues of meaning and identity, aspects that can sometimes appear to be of secondary importance. * Architect, curator, Centre Pompidou, Paris

Adrien Guérin

Fragment (2006)

2nd prize in the Steiner competition

The couch is synonymous with relaxation and physical comfort. I am interested in another dimension, however, another type of comfort, namely human interaction and conviviality, which the couch’s broad surface invites. I imagine the couch as a space, a friendly, generous and enveloping place that offers several people the chance to relax. Separating the two elements provides a more standard configuration, consisting of a couch and a footrest in the form of a table.

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Home Sound Lifestyle (2005)

In partnership with Kenwood Design Japan The HSL wristwatch is a system that protects users from intrusive sound sources, giving them back control of their appliances so they can turn off, filter and organise the sounds emitted in the home. Thanks to this ‘personal media centre’ and a series of loudspeakers placed in the rooms of the home, each person is localised and can control and receive information in the form of sound wherever they want, without disturbing the other residents.

Murs Sains [Healthy walls] (2007)

In collaboration with Clément Tissandier and Mathieu Bourel How to rethink the stratification that forms the thick skin of the home in a bid to reduce consumption of materials and energy? Here is a construction principle based on a semifinished product fitted with a grid to support electrical wiring and four removable, functional facings (acoustic, thermal, breathable and hygrometric) aimed at making the home a healthier place. This system offers products that are adapted to the specific needs of different rooms, providing a rapid, evolving construction system.

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Project

Self-taught Photography, Research into the Mastery of Complexity Project director: Gilles Belley*

* Designer, diploma coordinator at ENSCI

Complexity and simplicity can be sources of frustration for users; the first confuses us, while the second restricts us. This project revolves around digital photography, because unlike film photography it offers numerous untapped possibilities for improving user experience. This is a new type of digital camera that simplifies access to complexity and exploits its wealth in three ways.

– Use, while taking pictures: it is no longer necessary to understand the camera mechanism and its impact on the image in order to take a good photograph. To provide a sensory approach to the image, the aesthetic aspects of a photograph are here given material form by the textured lens rings, which allow greater freedom of action.

– Organisation, via a personal interface: this means you can share your photos in real time and thereby avoid having to stock them in large numbers. – The imperceptible, by means of a social network service via augmented reality: this reveals the photographic fluxes around you, allowing you to enrich your experience thanks to that of more expert users.

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Thesis

The right Role for Design, for Free and Sustainable Uses Thesis director: Jacques-Francois Marchandise*

The uncertainty surrounding the preservation of our liberties and living standards in the near future should impel designers to rethink objects and the way in which they interact in a system that far surpasses eco-design. The environmental impact of a product is not only related to the way it has been manufactured or what happens to it at the end of its life, but is increasingly linked to its use. This is why numerous ‘responsible’ and ‘ethical’ objects try to constrain us in advance from irresponsible excesses, to the detriment of our freedom. How can the

designer restore power to the people so that they can become freely and consciously responsible for their actions by making good use of objects? Can objects have a beneficial role and restore people’s control over objects in the face of the power they wield over us and our addiction to them? What can the designer do to achieve these aims? * Philosopher, director of development, FING

Astrid Hauton Would You Like a Page of Tea? (2006)

Partnership with Lipton

Au fil et à mesure [As One Threads Along] (2008)

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How can thread – a flexible, strand-like material – become an element that gives form and structure to an object? An experimental approach to this question led to a system of frames suspended one inside the other through the tension of the threads linking them. These frames create points in space which, when joined by means of a weaving process in three dimensions, define the structure and outlines of an armchair and a lamp. After being a support for the weave, the frames become an integral part of the object during its manufacturing phase.

Drinking tea is a relaxing moment that is often spent reading. By imagining a printed form of tea, this project puts tea into magazines and newspapers. The page is inserted into the publication and proposes different drinking rituals for this printed tea according to how often the publication appears (daily, weekly or monthly).

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Arouj (2007)

This project tests the structure of a bicycle frame, from tinkered prototype to tinkered prototype; by observing how a modification to one particular area impacts on the frame’s structural qualities, the means used to remedy it led to a restructuring of the frame as a whole. This atypical geometry thus takes into consideration a person’s physical relationship with the machine rather than how they use it. That is why Arouj is one of those fixedwheel bikes whose use goes beyond the sense of mere comfort or a means of transport. The point is to ride, no matter where you are going.

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Project

Machinery of the Machinery ofÂ the Machine Project director: Rodolphe Dogniaux*

* Designer

This project tackles the washing machine using two parallel, complementary approaches, one questioning the use of mechanisms, the other the mechanisms of use. Washing machine: the use of mechanisms A washing machine is a machine for mass-producing clean clothing from dirty clothing. But what can it produce from other materials? Following several different experiments, this is a process for producing

wallpaper which, despite its apparent randomness, generates a constant result on a macroscopic scale and is therefore reproducible. It can be adjusted according to the number of felt pens used, their range of colours and the programme chosen. The circumference and depth of the drum determine the format of a wallpaper strip. Washing machine: the mechanisms of use Running counter to the contemporary ideal of comfort, not owning a washing machine is another form of freedom. By reconfiguring man-machine interfaces, this project makes the most of the space-time offered by selfservice machines in laundromats. User action centres on a ring that runs around the drum window. You insert a credit card in it,

choose a programme by turning it and also use it as an on/off button: pushing it in will turn the machine on. This element entails a gesture that remains scaled to the deviceâ&#x20AC;&#x2122;s basic mechanisms. The machine takes over from the user, for whom it provides a surface he or she can sit on, thereby transforming the time spent waiting from a necessity into a service. Once pushed in, the ring becomes a timer indicating the time elapsed, not represented in terms of a changing display in figures.

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Thesis

Miscellanea of machinery Directeur de mémoire : Cédric de Veigy*

Ah, machines, those devices that are supposed to make our lives more convenient! We love and hate them at the same time. In dissecting our convoluted relations with them, this thesis explores design as we experience it on a daily basis, be we designers or users. Indeed, a designer designs and then entrusts the objects of his intent to the users. But what happens to this intent when it takes the form of a machine or a programme and finds itself at the mercy of anybody’s free will and imagination? To transcribe this dialect that comes from use, meaning will be generated by manipulating the mechanisms of language. And if these rigorous ramblings draw a smile, it’s because

they are not only plays on words, but because they highlight self-evident aspects in our relationship with machines that we may be unaware of because we have become so used to them. Similarly, these miscellanea form a sequence, but are organised from A to Z in keeping with a predetermined logic. They make up a system in the form of a dictionary, which the reader is free to reconfigure as he chooses. * Teacher, History of photography and French cinema

Caroline Journaux

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Gekkoo (2006)

Naccara (2007)

A range of lamps resulting from experiments with modules made out of a sandwich of textile and paper. The volumes of the shell-like structures are a result of the way they are assembled. Thanks to the interplay of varying thicknesses, degrees of opacity, textures and hues, it is possible to achieve different qualities of light. By assembling the elements, increasingly complex lamps are obtained. Three models demonstrate the principle in three different sizes.

This is a ring, a structure, inserted inside a pearl oyster using the techniques of oyster farming. The mollusc will gradually cover the virgin structure in nacre. Naccara is a chimerical jewel, the symbiosis of a man-made object and a natural material, in which geometric contrasts and interacts with organic.

TopUp (2008)

In partnership with DoYouVélo ? In tandem with Adrien Guérin Only 6% of urban cyclists wear a helmet. The others are put off from doing so by their sometimes sporty look and by the inconvenience of having to carry it when not on the bike. TopUp is a head protector for users of the Vélib bicycles in Paris, offering a look that is close to ready-to-wear clothing. Thanks to its honeycomb structure, it is less cumbersome to wear, offering lightness and the required resistance. This helmet is a new type of head protection against minor falls.

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Project carried out in collaboration with Giovanni Occhipinti, geophysicist at the Institut du Globe in Paris. This is a radical, social, non-institutional tsunami alert service. A telephone application that enables the user to take part in the tsunami detection research programme, making it possible to benefit from a warning system (evacuation route, rescue, etc.).

Theoretical research phase on possible working relations between designers and researchers.

Project

Designer versus Scientist, Towards an Attempt at a Designer/Scientist Userâ&#x20AC;&#x2122;s Manual] Project director: Rodolphe Dogniaux*

* Designer

This is a sociological exploration of the nature and complexity of the relationship between designers and researchers. Using this theoretical and practical analysis as a starting point, what are the possible relations between the two communities? Establishment of a methodology (definition of attitudes, suggested protocols and creation of tool-interfaces) in order to bring designer and scientist together around a mutually agreed definition of the problematic. Identifying openings, but also

areas of resistance, among the possible interventions of the designer in the field of science. Collaborative experience with researchers: an ethnologist, an anthrozoologist and a geophysicist.

Visualisation of an invisible and complex phenomenon (the indication of a tsunami in the ionosphere) thanks to 3D modelling and rapid prototyping.

Thesis 132

Design & Science, From Image to Experience Thesis director: Thierry de Beaumont *

It does not seem easy to bring the two worlds of design and science together. Yet for all their contradictions and similarities, the attraction between them is nonetheless strong. At times they are very close. What is the nature of projects that combine design and science, and what is the relationship between these two spheres and their respective representatives? From the seductive image to the reality of the collaboration, what is the real nature of this union? * Journalist

Claire Lemarchand

Floatable (2006) This project renews the relationship between trestles and the desktop.

Dandy Horse (2008)

Emile Hermès competition in tandem with Jean-Marc Chaineaux Cycling is on the rise in cities and involves certain rituals, such as removing one’s saddle in order to prevent it from being damaged while outside. Up until now, the cyclist has had no choice but to take the entire structure with him – the saddle and the seat post – but Dandy Horse offers owners the option of taking only the most important thing: the leather skin free of any structural elements.

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Rain network (2009)

Work placement with EDF* R&D under the supervision of Gilles Rougon Exploratory study of the energy potential of rainwater. It looks at current issues concerning rainwater collection for EDF and offers innovative solutions for combining the use of water and electricity. * French electricity

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Cricket-breeding units incorporated into city streetlamps

View from inside a cricket-breeding unit

Given the problematic context over the global production and consumption of meat, in the forthcoming decades the West will be obliged to compensate for a reduction in animal protein. Insects, which offer a much higher yield than cattle, could thus gradually become part of our diet.

it therefore uses a large amount of energy in transporting foodstuffs. This fact is becoming increasingly important at a time when urban populations are rising dramatically and cities are being forced to resolve a major equation: how to reconcile density and sustainability?

The city – the principle place of food consumption – has developed and continues to develop by becoming increasingly distant from its centres of production:

The project puts forward the hypothesis that the small size of insects, a form of micro-cattle, could provide a solution to the problems facing the cities of tomorrow.

Project

The cricket who is bigger than the ox Towards an introduction of systems for breeding edible insects in cities Project director: Philippe Comte*

* Designer

Mealworm breeding unit incorporated into a paper-shredding machine in an office building

View from inside a mealworm breeding unit

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Did you say design research? Thesis director: Marie-Haude Caraës *

Design research, understood in the strictly scientific sense of the term, is the subject of fierce debate and faces, in France at least, numerous barriers – semantic, academic and ideological – that are hampering its quest for legitimacy. Where did the debate about design research start out? How can it be defined? What does it imply for the design discipline? What needs weigh down the emergence of this field of research? * Political scientist, director of research Cité du Design, Saint-Étienne

Léa Longis Hélio / Sunny Memories (2009) In partnership with l’EPFL+Ecal Lab

Pyrex (2007) This project grew out of a study of a spontaneous everyday action, namely combining dishes in different ways in response to specific situations: keeping things in the fridge, keeping things warm, preventing food from splattering in the microwave, etc. The two ranges developed have been designed to make these combinations easier and more stable.

This digital radio uses solar cells made by Grätzel, whose particularity is that they capture light inside the home. At a time when electronic objects are becoming increasingly miniaturised, Hélio has an assertive presence, giving the radio back its former captivating role. Inspired by the look of the tube amplifier, the device boasts a set of cells whose angle and colour complement each other, ensuring that they capture almost the entire light spectrum.

Véloce (2009) In partnership with The CEA * In tandem with Romain Jung

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The aim of the Véloce project is to incorporate technology developed at the CEA into a bicycle design that would persuade more people to cycle in cities. The idea is to make the bicycle more conspicuous in order to shift the balance of power between cyclists and car drivers. The entire structure of the bicycle is clad in a technical material incorporating numerous LEDs that emit various signals according to the state of the urban traffic. * French research agency

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Project

Box(es) Project director: Jean-François Dingjian*

* Designer, project studio director at ENSCI

To what extent can everyday objects be reinterpreted so that they display true progress and can be sustainably incorporated into the environment? This notion gave rise to three projects centred on a specific type of object: the box. Polar is a range of indoor lights using LEDs and a technological film: the polarising film. The two polarising film surfaces let in varying amounts of light according to the angle at which they are superimposed.

Here, fixed to the top of the lamp, they modulate the light, which, unlike varying the strength of the current, does not affect the LEDs’ life span. Watson is a system for archiving papers, whose form was inspired by the flexibility of computer archiving. The device is complemented by a digital service that makes it possible to link digital data to physical data. It works by means of a webcam and a code on the back of each thumb index.

Densified wood (in partnership with EPFL+Ecal Lab as part of a research project into this new material) A series of experiments was carried out in order to study wood’s capacity to be densified and deformed in three dimensions through hydrothermal and mechanical treatments. A functional object synthesises the result of this research: a box demonstrating the mechanical and visual characteristics of densified wood.

Thesis

Singular(s) Thesis director: Eric Aupol*

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Through the experience of writing this thesis, I examine the highly unusual relationship that can be had with objects. Drawing on my practice as a collector and designer, I decided to act as an observer of different collectors in order to examine their relationship to objects and collecting. I wanted to thoroughly immerse myself in this experience. I therefore decided to treat this history of collection(s) through collection by meeting a multitude of people in person. Armed with a dictaphone and a camera, I set off on the adventure. After numerous meetings, eight portraits were selected and synthesised in the form of booklets. The latter combine photographs I took with remarks by collectors, in order to show different approaches to collecting. Singular(s) turned out to be an extraordinary human experience which, through its content, explores the immutable link between man and object. * Photographer, teacher

Toile horaire [Time cloth] (2008)

Alice Mareschal

In tandem with Adélie Prin (ENSCI textile design department)

Energy ecosystem (2008) In partnership with EDF

This is a range of small mobile objects that move around the home to retrieve lost light energy and reuse it as a new additional light source. The process of energy transfer is expressed in the very material of these objects, namely an alloy weave that can replicate forms. They thus function as a barometer for the state of energy consumption in the home.

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Thanks to the miniaturisation of computer technology, the boundary between clothing and electronic devices is growing increasingly slim. This project is an experiment in hybrid electronic textiles, exploring wiring, form, and weave.

Méridienne [Couch] (2007) Intermediary seating. Here the fabric is used as a constituent element of the seat rather than as part of the finish. It is a technical fabric which is fitted to a metal structure, forming a volume. The design provides the comfort of being suspended, as in a hammock.

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Towards a hybrid urbanity Living conditions on the Paris-Saclay cluster campus Project director: Jean-Louis Fréchin *

* Designer, expert in digital innovation at ENSCI

The Saclay plateau, in the south of the Ilede-France region, was chosen as the site for the construction of a science campus. The plateau is today a huge zone that is mainly agricultural and very fragmented. Given this context, what is the best way of fostering the emergence of communal action that cuts across scientific disciplines, of creating a ‘do-it-together’ dynamic? How can we create urbanity without urbanising?

These issues are tackled by a system that combines physical and digital elements to create a dynamic of links, of relationships between people and things. I propose to knit the region together with beacons that would be both signs and symbols of the territory, places devoted to the notion of ‘doingit-together’, concentrating local digital activity. This network is flexible, capable of evolving and on a human scale.

Thesis

Analogous objects Thesis director: Michel Letté*

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Information and communications technology has transformed objects and, with them, people’s relationship to their environment. These objects are endowed with virtual qualities and have the capacity to communicate, sometimes becoming opaque. These mutations are accompanied by a proliferation of analogies, such as the ‘desktop computer’ and the ‘electronic book’ . . . Analogy seems to be self-evident. But is that really the case? Does analogy offer a genuine universal tool for appropriation, or is it a tool of industrial persuasion? This is the issue that I examine in this thesis. * Writer

Florence Massin

Contenâ&#x20AC;&#x2122;air (2008) This is a base for four scientists carrying out an itinerant mission in the Antarctic. Clad in an inflatable structure, this micro space can be set up to provide a collective living space that respects both the environment and the privacy of each individual.

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Dortard [SleepIn] (2009) In partnership with Matelsom

The aim of this project is to design bunk beds for use in youth hostel dorms. The distinguishing features of the design are top and bottom beds that are not aligned with each other, canvas sheets that are fixed to the steel structure, and built-in storage spaces. These ensure better sleeping conditions and more privacy in the communal space of the dormitory, and they also encourage conversation and interaction with other travellers.

Urban pigeon loft (2008) In partnership with Dumâ&#x20AC;&#x2122;s (architect) and Lacroix Signalisation (rotomoulding)

This form of microarchitecture for pigeons makes it easier to control births and concentrate droppings in one place, while serving as a pedagogical tool for discussing fauna in the city. The form of the pigeon loft reflects the birdâ&#x20AC;&#x2122;s original habitat (cliffs), with holes, perches, and a rock-like texture. It is made out of superimposed rotomoulded discs, which means that the final size can be adjusted according to the needs of individual districts.

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Arpente 128 In tandem with Anne Goasguen Project director: Bernard MoĂŻse*

* Designer

This project looks at an ordinary activity: walking. The pleasure of walking includes the pleasure of gaining height. In town, climbing to the top of monuments is not the only way of getting a fresh view of a city; the natural relief can also provide access to panoramic views. The aim is to make the most of natural relief, which urban development has gradually smoothed away, and to encourage walking on sloping terrain.

A chart-map The aim here is to examine the representational codes of the urban environment by proposing new subdivisions and new landmarks relating to the natural relief. This new representation of the city takes the form of an object that is a cross between a chart and a map. It offers an overall view that enables walkers to enjoy a more direct experience of the terrain. Interactive database compiled by the walker The chart-map directs the walkerâ&#x20AC;&#x2122;s attention to forgotten aspects that the city conceals. By activating the Arpente 128 application on his smartphone, he can gather data about the environment, map the area, and enrich an interactive database that could be of interest to recreational walkers, researchers

and nature associations. Once the application has been activated, the walker can no longer be contacted, ensuring that he is fully engrossed in the walk. A sign on the ground The sign is fixed to the ground and tells the walker where he is in terms of the cityâ&#x20AC;&#x2122;s overall relief. It is placed on the pavement at the bottom of each slope. The lower figure indicates the altitude at that specific point, while the higher figure indicates the altitude reached at the summit of the hill. It points towards the top of the street and prompts the walker to use his body and look up or down to see the way he has come.

Thesis

Plier bagage [Packing up] Thesis director: Cloé Fontaine *

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This thesis portrays an organised campsite as seen through the eyes of someone who is camping in the wild. It was written in consultation with campers in order to gain a better understanding of how they camp, the way they re-create their world: in what space, with what equipment, with how much comfort and for how long. It attempts to decipher the relationship between campers and their environment, their neighbours, the communal areas and the region. It shows the possibilities and wealth of this way of life, its non-architecture and landscape. The portrait emerges gradually through a historical map, a camping notebook, thoughts on characteristic operations and actions (leaving, re-establishing links, packing/unpacking, suspending, concentrating), as well as a vision of what camping could be like in the future, given the changes in society and new practices in tourism and urban living. * Architect, curator, Centre Pompidou, Paris

Gaétan Mazaloubeaud

Sustainable development (2009) Wine display(2008) In partnership with the Grande Epicerie de Paris

This wine display made from thin blocks of wood demonstrates that elegance and simplicity are not incompatible. With its renewable materials (wood, cork, paper) and reversible assemblage, the system has been eco-designed to reduce its environmental impact to a minimum.

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– Rallye récup' These collection units encourage reuse of offcuts of materials, making it possible both to reduce waste and reduce clutter in the ENSCI project studios. –Sustainable canteen A customisable dresser and pouches to enable ENSCI students and staff to use their own crockery.

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Terro (2008) This is a service for reusing biodegradable refuse in the city, collected from the home and voluntary refuse sites. The latter raise awareness among citizens as to the value of organic material and the natural cycle, thereby linking this material directly to the soil and to life in general.

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CoHabiter Project director: Giuseppe Attoma *

* Designer, director studio Attoma

After being neglected during the second half of the 20th century, French rural regions are today welcoming new populations keen to invent and experiment with lifestyles that respect people and the environment. To ease the integration of these populations and avoid repeating the urban errors of the last century, it is more important than ever to foster the emergence of participatory, communal action. CoHabiter is a service that aims to help people manage group projects in the

housing sector. With the aid of several tools, a supervisor invites the various parties involved in a project (local politicians, residents, architects, experts, etc.) to meet up, draw up a programme, then come up with concrete solutions together.

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Moving heaven and earth: towards a desirable sobriety Thesis director: Jacques-François Marchandise*

The civilization of development is like a tree that has used all its energy to reach the heavens: to get more light and see ever further, it has risen faster and higher than all the others. But in its desire to dominate, the crazy tree has neglected its roots and destroyed the essential balance between sky and earth. Today it is so tall it no longer sees or hears the people suffer, languishing in ever greater numbers in its shadow. And when the wind picks up and starts to blow, its atrophied roots no longer have the strength to hold it. Giddy from the altitude and blinded by the light, it is time for us to come back down to earth and join forces to refute the myth of development through a desirable and desired sobriety. * Philosopher, director of development, FING

Benjamin Mazouin

Switch (2009)

In partnership with EDF In tandem with Stanislas Rak This device consists of a display indicating energy consumption and programmable mobile switches. It allows users to monitor electricity consumption as a diminishing amount, comparing it with a predetermined target. The mobile switches enable the user to create their own electrical circuit. They make it possible to turn electrical devices in the home on and off by remote control, so that the user can manage his energy consumption according to his habits, thereby avoiding unnecessary consumption.

Pantice (2007)

In partnership with Minatec Ideas Lab

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ImaginariO (2008) In collaboration with Elodie Suaudeau, special needs teacher

A gaming tool for creating stories in groups in order to stimulate the imagination, the memory and oral expression. The board has spaces for twelve pictures, which the players take it in turns to place, imagining a story that fits the drawings as they go along. When the story is done, the board can be turned over and transformed into a ‘projector’ that displays the images in sequence. The projection dematerialises the object and leads to a change of scale, making other activities such as storytelling and theatre possible. Some of the pieces are blank, so that children can draw their own world complete with characters and backdrops.

A proposal for incorporating ICTE (Information and Communications Technology and Education) in the classroom, developed using the principles of active learning. Pantice consists of a computer built into a table plus objects that enable more instinctive interactive actions, based on everyday artefacts.

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Objectomie [Objectomy] Project director: Philippe Comte*

* Designer

From customisation to DIY and recycling objects in Cuba, the world is full of practices designed to open up the realm of objects. Some suggest alternative systems of production and consumption. We propose to call them “Objectomie” [Objectomy], a word that suggests an analogy between bodies and objects. When a body goes wrong, it is repaired not thrown away. Is it possible to imagine objects with a longer life span? What changes does this imply in our relationship to objects?

And how does it affect manufacturers? Totem is an electrical appliance system broken down into functional organs. This separation makes it easier to identify a fault and isolate the defective part in order to repair or replace it. Depending on the organ that is grafted on, a kettle becomes a coffee maker, a baby’s bottle warmer, a food mixer, or an electric stone grill. Parts affected by planned obsolescence or with toxic components that need special treatment can be handed in. To make sure these objects have a long life span, a follow-up procedure is required. Rather like a medical record, an online platform provides an overall view of the user’s appliance parts, their background and

possible combinations. This would facilitate maintenance, repair and exchange of parts and allow users to become long-term owners of the objects. This platform is not limited to the Totem range, but could function with any open system of objects.

Thesis 180

Cancreries [Dunceries] Thesis director: Cédric de Veigy *

‘Hi!’ ‘Hi!’ he replied, staring at my cap. ‘What is it? What’s the matter?’ ‘What is it, Hallowe’en? Why are you wearing that?’ he said, smiling and staring at my curious cap. ‘No, no . . . it’s just my cap.’ ‘Ah. And why are you wearing it?’ ‘Err, because I’m being punished.’ ‘Really? For what?’ ‘Well . . .’ This is how Bryan met The Duncery one Monday morning, and how, accompanied by Khoumba, they followed the dunce’s tracks. Who are they? What do they do? Do they still exist outside fables and fairy tales? How are they viewed by teachers? And what happens to duncery outside school? These questions were raised in the company of school students. * Teacher, History of photography and French cinema

François Morrier

Hennessy (2005) The box’s kinetic opening mechanism enhances the presentation of the bottle, which appears by gradually ‘rising’ from the box. The illusion of the bottle rising is created by the circular movement between two parts of the box. The act of opening thus entails making the box revolve about itself.

Napo, Natural Power (2009) )

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In partnership with the NUS (National University of Singapore) For this workshop, we were asked to think about the question of water as a source of innovation. The project brings together three types of natural energy: hydraulic, solar and wind. The final concept is a climatic micro-system that incorporates collectors of these three types of energy, which can be harnessed whatever the weather, thereby providing the energy needed to light public spaces.

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Le Jardin de l’Apothicaire [The apothecary’s garden] (2010) Competition entry in tandem with Jean-Marc Bullet

The idea is based on two main areas of interest: on the one hand, our relationship to medicine and health, and on the other, our relationship to plants and nature in the city. The project aims to examine the role of plants in an urban environment, and in particular their medicinal properties, by proposing a ‘pharmaceutical garden’. .

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In vitro: home farming Project director: Christophe Gaubert*

* Designer, project studio director at ENSCI

Internet and new technologies in general are the source of numerous ‘creative destructions’, to use Joseph Schumpeter’s term. Music is a very good example: music on the Internet has contributed, and continues to contribute, to the transformation of an industry. Could the same be true of food on the Internet? This project sets out to question the meaning and use of technology in everyday life by creating new relationships to food on both a micro and a macro level. The device makes it

possible to compose as well as cultivate, to produce one’s own raw materials from cells. Dishes and recipes are no longer about making use of existing ingredients, but rather cells.

Thesis

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Recorded music, from records to digital service Project director: Anne-Sophie Breitwiller*

From the invention of the gramophone to the rise of the Internet and digital technology, recorded music went through major changes during the 20th century. A whole industry built around records, CDs and record labels has been called into question. What with the volatility of music, sharing, new services and new uses, music as an object of study provides an opportunity to examine the place and role of users in the new practices that are emerging with the Internet and digital technology. * Teacher, researcher

Mehdi Moujane

M. Le présentateur [Mr Newsreader] (2007)

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Tapestry kit for embroidering the image of your favourite newsreader. The aim of this tapestry of pixels is to question the place the television newsreader holds in our everyday lives. It is an exploration of visual material, a project on the medium by which the domestic dimension of the image of the television news programme is transferred to the tapestry. From a quickly consumed image to an image to embroider.

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Misses Freeze (2009)

In partnership with the Centre International d’Art Verrier de Meisenthal In tandem with Laureline Galliot It starts out as a dazzling, uniform ball in fusion; once cooled, the material reveals its layers of intermingled colours.

J’irai dormir au bois du Four [If You Go Down to the Four Woods Today (2008) When logs from the Morvan are cut into thin slices they curl conically. Thanks to their thinness, they softly filter light. When assembled, they form a curve that is suitable for making a seat. Assembled with varying diameters, they can form a motif for a necklace. Fixed together at certain points, they acquire a certain flexibility, forming a type of wooden armour.

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From reflection to refraction Project director: Marc Dutoit*

Without light, there is no vision. Forms and colours are only visible if they emit or reflect light. We perceive it when it reaches the eye, where it imprints an image on the retina. Reflection: captures light by concentrating it in an enclosed volume so that it can be released later in a controlled way.

* Head of design studio JM. Wilmotte

Refraction: draws attention to the details that prompted us to collect and display certain objects. Starting out from the laws of physics, by adopting optical phenomena, it is possible to develop two types of object that exploit lightâ&#x20AC;&#x2122;s potential for reflection and refraction in a domestic setting.

These mobile objects prompt us to look at light. They draw our gaze and question our relationship to light and reflections.

ABN

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Thesis

Mythe Ondulatoire [Undulating myth] Thesis director: Sophie Coiffier* and Julien Gourbeix**

Using the myth of Narcissus as a departure point, the aim is to examine the vision formed by the aesthetics of contemporary images: from the space telescope to the microscope, the avid eye is capable of looking into the distance and can focus on the smallest indivisible thing. It is this same gaze that, by wanting to look out on infinity, ends up looking at itself. Thus Narcissus drowns without suffocating. He observes himself so as to always disappear into hypervisibility. * Visual artist, thesis coordinator at ENSCI ** Filmmaker

Alexandre Benjamin Navet

The sophisticated body ( 2009/2010) In partnership with MINATEC /CEA – IDEA’S LAB/Renault/EDF/ Bouygues

This is a range of micro-objects that use nanotechnology, while offering an artistic vision of a body that produces electricity for the objects around us.

Patch, don’t worry, be happy 2015 ( 2005/2006) In partnership with Kenwood Japan

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This project focuses on the functions of sound and the actions that affect it. By determining the essential elements of a hi-fi system, Patch creates a hierarchy of actions for controlling sound, classifying them according to category: the heart (hard disc and CD player), functions (actions affecting sound) and emitters (loudspeakers). To offer more freedom to arrange these elements in the home, the objects interact with each other via a wireless communication network.

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Urban object, orientation objects (2007/2008) The place: traffic islands, central reservations in the middle of wide streets making it possible to cross in two phases. Via its digital interface, this bollard makes it possible to find out where you are/ get your bearings/work out a route/get lost/stroll around. The object is a beacon with a touch screen that provides information. Incorporating digital technology into the object makes it possible to create links between different traffic islands, extending beyond the immediate neighbourhood to the entire city.

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Receptacle Project director: Patrick de Glo de Besses *

* Designer, project teacher ENSCI

A receptacle can be a place, a location, a container that receives its content from various sources. This design for a receptacle is an extension of a base, wall, or pedestal devoted to space and domestic objects. The elements are neutral and have no particular function, thereby enhancing the impact of everyday objects. Depending on the way they are used, they can enclose, highlight, accumulate, frame, glorify, separate, reframe, outline,

magnify, group together, hide or reveal. This project proposes observation and designation of a new field of ‘object receptacles’, with a range of seven elements forming a first response.

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Exhibition: displaying the object Directrice de mémoire: Cloé Fontaine*

The relationship between design objects and art objects is often shaped by shared ideas that currently raise a certain number of questions: how does the designer create his own free space? Is it thanks to the gallery? In what way does he use the resources of the art space to propose new design objects? At what point does the object pass from one space to another? Or does it, on the contrary, become virtual in order to free itself from materiality? This thesis adopts a sociological approach, drawing on interviews with people involved in exhibitions and object designs. * Architect , curator , Centre Pompidou, Paris

Yoan Ollivier CTYN (2008) How to tackle citizenship through design? This range of digital tools is intended to aid community action. Aimed at volunteers and associations alike, CTYN aids collaborative action, clarifies individual roles and gathers information about public affairs.

DO YOU VELOÂ ? (2008-2009)

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In collaboration with Fanette Pesch, Benjamin Salabay and ClĂŠment Tissandier, as part of an internship and entrepreneurial experience.

For over two years, we had to set up the business, develop the general concept and assist in the development of a complete range of products for the brand DO YOU VELO ?, which has today been bought up by GO Sport.

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A group of entrepreneurs offered to support a project to create a brand of high-visibility clothing for city cyclists.

Pedestrian / Public transport (2007) Walking links up different forms of urban transport. Whether you drive a car or travel by metro, bicycle or bus, walking is the action that unites these all together, the mode of transport that is common to each. What form should we give it? What facilities should we provide for city walking to emphasise its importance in public spaces? Pedestrian / Public Transport is a signage system aimed at pedestrians, giving them direction both physically and culturally.

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Entresalles / Entrefilms / Entreavis [Intercinemas/ Interfilms/Interreviews] Project director: Christophe Gaubert *

* Designer, project studio director at ENSCI

These three projects offer new services for cinema-goers. Each of them draws on the way these cultural facilities are used on anÂ individual and social level. Entresalles is an engine for recommending films. The selection is linked to the screening programmes and spectator comments. Entrefilms is an extended cinema ticket. This mobile application offers a digital double of a cinema ticket that entitles the holder to bonuses when they leave the auditorium.

Entreavis is a website for film reviews written by spectators. It provides each film with a diagram of the debates and discussions about it.

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Thesis

Please Form The Service Before Using It Thesis director: Jacques-François Marchandise *

Services inhabit the economy and our daily lives. Yet many who use them find them opaque. And figuring out what shapes our perception of them is even more mysterious still. How to put words to the way in which a service is formally perceived? What aesthetic parameters can be applied to services? More generally, what form does a service take? Through analysis of four examples of very different services – AppStore, StreetCar, ActivMbos and ClubMed – we try to identify the moments or the situations in which services reveal their form to us. * Philosopher, director of development, FING

Aude Richard

Dédale (2006) This programmable lamp enables users to control light. They plug the lamp into the computer via a dedicated interface, as they would an MP3 player, by which they can reprogramme the integral Wiring card to select the number of LEDs to turn on and the brightness and the speed at which the light moves.

nAutreville (2008) This urban project encourages communication and exchange between citydwellers through three digital devices:

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nAutreBoite, a form of public digital letterbox in which users can post or retrieve digital files;

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nAutreLieu , a sort of interactive, tactile street panel recounting what is going on in the neighbourhood; nAutreLien, a device mounted on buses that functions in the same way as nAutreBoîte.

Le Livre Magique [The magic book] (2005) This audio storybook for blind and partially sighted children aims to improve their mobility. It is made up of a series of transmitterreceiver objects that represent the major characters and places in the story. Located in different spots around the room, they ‘tell the story’ one after the other, inviting the child to move around.

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MULTI Project director: Jean-Louis Fréchin *

* Designer, Prospective and digital Innovation director at ENSCI

This information system proposes a new way of representing travel around Paris in order to improve access to multimodal services and foster the use of different types of transport. MULTI consists of three devices. It takes the form of an interactive general information panel situated at the entrances to different forms of transport. A special map presents the various transport options in real time. This new form of presentation does away with the idea of a fixed network,

replacing it with an ‘ad-hoc’ network. City dwellers therefore create their own network thanks to the route calculator incorporated into the device. MULTI also serves as a local communication platform enabling people to find out about activities in the neighbourhood by theme. City dwellers can save their route map or search result on the second device, the MULTIpasse, which also serves as a multimodal transport ticket, or else on

their mobile phone. Thus, as their journey progresses, they can consult the information updated via another device. Finally, a signage system dotted throughout the city makes it easier for pedestrians to find their way.

Thesis

Metromapping, from the tracing of lines to traces of users Thesis director: Sarah Labelle *

The metro as everyday ‘object’ . . . It is part of the designer’s job to question everyday objects – even those which, in the words of Georges Pérec, have become ‘infra-ordinary’. Dissect the Paris Métro through direct observation. Observe the behaviour of users: how they get around and what they do during their journeys. Delve into the history of the Métro, learn about how it was designed and how it has changed in order to understand the gap between design and everyday use.

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I use two intersecting methods – active observation and historical analysis – in order to understand how the status of the Paris Métro has gradually gone from technical progress to social innovation and observe that, despite this, there are still divergences between the way it has been conceived by designers and the way it is perceived and used by passengers. This reveals that the Métro is a sphere in which design practice is not only appropriate, but necessary. * Teacher, researcher in Science of Information and Communication, University Paris 3

Simon Tual

Audioguide (2010) This installation is the result of reflection on the presentation of didactic material in museums. This autonomous audio device, which is equipped with an optical sensor, provides an alternative to the conventional audioguide. The latter detracts from the pleasure of contemplating the works, and its repetitive sound can grow wearisome. The introductions and full commentaries are read according to the interest that they appear to arouse, while the soundtrack brings the collections to life.

Lit clos [Box bed] (2010) In partnership with Matelsom

In modern-day homes, living spaces seem to occupy a disproportionate amount of space, to the detriment of bedrooms, which are smaller. This furniture fits in with the requirements of a living room in terms of time and space. This reinterpretation of a box bed has standard dimensions. The panels can be opened and closed according to the time of day. The bed itself is concealed by strips of fabric.

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223 Poster (2010) This poster was made as part of ‘design and diversity’, instigated by ENSCI – Les Ateliers in 2008. ENSCI – Les Ateliers students worked with schoolchildren at the Jean Lurçat school in Sarcelles to create a poster evoking solidarity between different generations on public transport. The illustration was directly inspired by drawings provided by the children. The poster was displayed in RATP (Paris regional transport service) buses during an initiative to promote good citizenship.

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The information thread Project director: Jun Yasumoto *

* Designer

Whether seated near a window or standing facing the door, tram passengers become absorbed in the repetition of the same motif or the simultaneous movement of several objects. These occur in short and long sequences and via regular and impromptu events, with no need to interpret them. The life of the neighbourhoods through which the tram passes is displayed through this daily routine. The information thread is a device that serves as an intermediary between public transport users and local

activity organisations. An on-board device displays messages in graphic form that change according to the neighbourhood. AnÂ application installed on a mobile terminal opens onto a replica of the light fitting, which the user can interact with to obtain additional content. The platform allows passengers to consult messages that have been recorded during a journey or to seek new ones available on all the different lines of the network.

Thesis

The identity thread Thesis director: Marie Haude Caraës *

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The unpredictable jokes of an audioguide, the open panels of a box bed or the genial characters on a poster – some of the projects created at ENSCI-Les Ateliers explore the possibilities for an intimate relationship with a person or an object. Underlying this, they question amorous relationships, seek sporadic closeness, testify to an emotional resonance. This applies to both the private and the public realm, since these objects can be installed on a bus, in a museum or in an apartment. From the private realm to the political and from amorous to social ties, identity is forged in our relations with our selves and others. From the sociology of Anthony Giddens to the painting of Pierre Bonnard, from the films of Gus van Sant to the philosophy of Axel Honneth, the thread of identity is made up of didactic texts that describe the emotional links that submerge private and public realms alike. * Political scientist, director of research, Cité du Design, Saint-Étienne

Textile design

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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 230 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. 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 long-term 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 materialises them through fabric prototypes and textile collections. Textile is protean and ubiquitous in our environment. Each field of application require a 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 232 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 to graphic design and composition, colour harmonies and ranges. 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

Florie Andonimouttou Hippodrome (2009) Outdoor fabrics – Collection for the Auteuil Hippodrome

How to dress the seats in the stands of the Auteuil Hippodrome? By proposing a range of fabrics that maintain the hippodrome’s image and codes while taking into account the technical constraints of an outdoors environment. Thanks to the different weave techniques and a mixture of materials, the fabrics are both aesthetic and hard-wearing.

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Vertigo or Cold Sweats (2008)

Fashion textiles – Vertigo Collection for women A fashion collection that draws its inspiration from Hitchcock’s Vertigo (1958) and echoes certain graphic codes and symbols of the 1950s. At once chic and couture, vintage and sportswear, the collection is made up of a coat, a sweater, a shirt, a tie and an undergarment.

Project

“Al Bino” automobile elegance Thesis director : Véronique Lecrosnier Today’s car manufacturers present several concepts to customise a vehicle. The Al Bino brand proposes a concept that enables buyers to accessorise their convertible car with a kit inspired by 1930s aesthetics and Art Deco motifs and colours. It creates a unique travel experience thanks to physical contact with materials and objects that recall sensations of the past: olfactory with leather; auditory with the vibrations of the engine, the gear-stick mechanism, the rush of the wind and visual impressions. * Textile designer

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An object close to the body: the shirt front In tandem with Fanny Vincent, industrial design student. This project belongs to the formal world of accessories, such as the jabot, the collar, the bow tie, the cravat… The approach to the subject is quite technical, process-related. The weaving work enables a passage from 2D to 3D thanks to the insertion of thermo-retractable threads and triple-fabric weaving. The aim is to produce an object that is made during the weaving and requires no seams or finishing touches.

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Sybille Berger

Orange-Peel Gloves (2009) Aircraft (2008) Work on aircraft, kites and parachutes in the context of a fashion collection. These coloured poetic objects are graphic and highly technical. This feminine sportswear collection uses the look of spinnaker canvas to imagine a lightweight cagoule anorak with a stencil-like motif, an inflated structure or a skin-print to create a multi-faceted textile..

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Partnership with Sperian In collaboration with Ung Don Kim and Hanhui Qing, Industrial Design students. Gloves today are often non-recyclable and environmentally unfriendly. How to make a glove using natural materials but with the same performance as existing gloves? The project relies on using orange peel and pine cones, combined with linen textile. These gloves fit several daily uses, from DIY to gardening and manual workâ&#x20AC;Ś The Orange-Peel Gloves are designed to protect against pricks and thorns and to ward off bad smells, emitting a pleasant scent for several months. They are very appropriate for use by garbage collectors or fishmongers.

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Outdoor Textiles (2009)

House Project, 2nd Year During the wickerwork workshop conducted by Lois Walpole

We used a knotting technique that enables rigid stalks, such as bamboo, to be woven together with supple straps. After making a collection of straps, we designed fabrics, seat covers, carpets, a set of tablemats and a flexible partition module. The range mixes the natural colours of the technical fibres and bright colours through natural fibres.

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Project

Waste Project director : Clémentine Chambon* (The French word for waste, ‘déchets’, dates from the 16th century and comes from the verb ‘déchoir’, meaning ‘to lose value’.) Nothing is repaired nowadays: we throw away and replace. Objects are considered obsolete after a limited life span. They wear out and deteriorate rapidly, whereas waste remains. Every year in France, people throw away 600,000 tonnes of textiles, shoes and household linen. How to restore value to clothes too worn out to be re-used? Based on clothes collected by the charity Le Relais (fleeces, jumpers, T-shirts) the aim was to deconstruct, cut up, re-sew and experiment with different materials to give them new applications. To develop new swatches thanks to weaving and sewing techniques. Depending on the materials and 245 techniques used, we found different uses in the habitat, such as flexible partitions, seat covers, rugs, and wall coverings that became heat insulators and soundproof. There is no such thing as textile waste, there is only the way we see materials things. This collection provides a different approach to matter, aiming to limit loss and imagine wasted textiles as vestiges and witnesses of the past, rich in memory and cultural value. The idea behind this approach is to show that environmental sense is common sense, it is a dynamic. * Designer, project teacher ENSCI

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Cécile Couarraze The Clignancourt Flea Market (2008) Collection for furnishings

The experience around this textile collection follows the trail of a traveller visiting Clignancourt flea market in Paris. The little shops with their peeling facades harbour old items, coloured letter signs, iron hands…

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A Barge at Austerlitz (2009) This textile collection is devoted to the deck furnishings of a barge. It is inspired by the architecture of the glass roof of Paris Austerlitz train station to compose a jacquard design. The materials play with the light and the textiles shift between transparency and opacity. Photo shots of the station’s iron lacework appear on the surface of the fabrics like negatives woven into the mist…

Project

From Wefts to Shirts Project director: Daniel Jasiak* Thoughts on matter and its application in shirts. The result is a unique combination of shirts, each made up of fabrics of equal quality and with subtle variations of materials and colours. Researching the effects of volume, shine and transparency. These textile materials give shirts the extra bit of soul often lacking in this ubiquitous item in our wardrobes. These textiles are designed for mass production and daily wear. * Art director

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Le Vertige du temps [The Headiness of Time] (2009)

Collection of fashion textiles This collection grew from research on old found objects brought back from the past. It is inspired by this memory of traces left behind and collected fragments. The natural materials are scrunched, worn out and pleated and the noble materials are deformed by metal. The silhouette is formed by layering: the transparent dress, the jacquard shirt front, the linen jacket and the tartan scarf.

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Luce Couillet

Passages (2008) A fashion collection on the theme of transition and contrast, or how to go from one matter to another, from colour to black and white, from clothing to skin.

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Ee259 Corail [Coral] ((2008) Research on textures based on technical PVC threads. Fabrics designed for luggage.

Project

Open Materials Project director: Audrey Ténaillon*

Mon poulailler (2009) Hybrid surfaces, polyester and metal mixes to shade outdoor areas. Copper is used for its reflective properties, monofilament polyester for transparency, and linen to create a contrast with these materials.

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Matter, material or product? Although these three states are never entirely separate, designers do not intervene with them in the same way. This project is an experimental textile ‘materiauthèque’ that responds to problematics linked primarily to architecture, for indoor /outdoor use. This study is based on technical themes that are inherent to architecture: heat insulation, sound insulation and light filtering. This palette is to be interpreted as a range of practical, sensitive intentions, a personal, intuitive fondness for the strength of matter and its integration in our living space. * Designer

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Sophie Hykes

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Traffic (2008)

Circus (2008)

Travel bag inspired by the world of cars Updating the Samsonite holdall by associating it with a more contemporary mode of transport

Collection of fabrics for a childâ&#x20AC;&#x2122;s bedroom With Circus, magical circus moments come back to life in a childâ&#x20AC;&#x2122;s bedroom. Artists and animals take over the bed and the walls in a joyous parade thanks to the wallpaper and the printed sheets, while bedcovers and seats adopt colourful clown motifs.

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Project

Trans(t)ormation Project designer: Marion Levy * A collection of blinds Trans(t)ormation gives a standard product – vertical slatted ‘Californian’ blinds – a new look while maintaining its functionality. The collection of blinds offers a large range of original materials and colours made using sophisticated weaving techniques. It revolves around two worlds: the first breaks down the rigour of blinds and proposes a clean line where geometry rhymes with poetry, while the second, tinged with humour and verging on the frivolous, is meant to be sensual and fun. New pivoting mechanisms were created for these blinds. Here the Californian blind is transformed, rendered more appealing and extends the scope of its function to domestic use in contemporary homes. *Designer, art director

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Qantara (2009)

Textile collection for an outdoor Franco-Arab tearoom The Institut du Monde Arabe in Paris is a meeting place for Arab and Western cultures. Previously left empty, we take over its esplanade to strengthen the idea of a bridge: Qantara is embedded in these two worlds. In a hide-andshow take on traditional mashrabiya screens, a tearoom takes shape. In the alcoves defined by the openwork screens, cushions, benches and rugs decorated with geometrical motifs fit on different types of seating.

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“Rainbow” blind strips woven in trimming technics Californien stores with puffy strips. “Marie-Antoinette” blind strips with a new rotation system called “Volte-face”

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Optica blind strips with a new rotation system called “Volute”

Cecile Meuleau

Collection 100 dessus-dessous [Topsy-Turvy Collection] (2008) The principle of this collection is to divert clothes from their classical use. Reversible materials allow the clothing to be worn both ways round. This is notably the case for the dress-suit, a mixed item that can be worn as a sleeveless dress one way round or as a suit jacket the other way round

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Luggage (2008) Using an existing piece of luggage by the brand Bric’s, this project involved working on a new cover textile. To make the luggage more accessible price-wise, leather was replaced by a scratchproof synthetic material. The intervention used iridescent colours as a departure from the rigid nature of a highly contrasting two-tone range, for a younger, female clientele.

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Project

“Lisière” [Selvage Collection] Project director: Dominique Piquier * Collection made from textile trimmings from industrial manufacturing, leather offcuts and collection cast-offs. This method of production avoids using new materials. We recover, accumulate, sort, classify and select to form a library of materials that will then be cut up, coloured, assembled, woven, tied and re-dyed to make a limited edition yardage of furnishing fabrics. Re-applying this waste as a new form and material also stimulates fresh sources of inspiration, a wear-and-tear aesthetic and a graphic vocabulary that provide a different way of imagining newness. * Textile designer

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Outdoor Textiles (2009) The Story Container is a new place for cinema screenings. It offers weekly open-air film shows on Saturday and Sunday nights starting in July, in the container storage area of the Le Havre Port industrial zone. The idea is to give the space new life at night and make the most of the vast façades of the containers, which become film projection screens. This site can only be reached on foot. To ease access, new signage will be put in place: the entrance will be shown by a neon sign. Ground markings are also planned. Blankets, cushions and rugs will be distributed to heighten the spectators’ enjoyment.

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JanaĂŻna Milheiro

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Mal de mode (2008) Consumption of fashion generates an astounding amount of paper and disposable objects. There are endless issues of fashion magazines, not to mention the monumental number of cash receipts from each purchase at every clothes store. Let alone the paper or plastic bags that pile up in astronomical quantities. These three types of objects here stop being merely the symptoms or waste-product of a modern ailment and become fashion and clothing. Paper turns into fabric, letters into decorations, piles of magazines into stripes. We become draped in outsized magazines and rolls of receipts become ribbonsâ&#x20AC;Ś

Outdoor Passementerie (2009) The passementerie used in clothing inspires these outdoor ribbons. They are reinterpreted on a different scale, with different materials and for another application. Made of plastic, metal, raffia or paper, the light, refined allure of original passementeries is preserved but their size is multiplied by 30. The transformed braids will serve as partitions, fences or decorations in parks and gardens.

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Project

The Feather Thread Project director: Ollivier Henry*

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Feathers have disappeared from our daily life. Those that survive in our homes areÂ hidden in pillows, the rest flutter in stage spotlights. It can now safely be said that theÂ feather is a singular object representing a fantasised exoticism. Linking feathers to textiles brings out theÂ similarities and the differences that unite and separate them. It gives feathers a certain banality, without removing their special something, bringing them closer to the more common world of clothing fabrics. By basing ourselves on processes of comparison and description, we can experience the feather and go beyond its apparent exoticism. But this approach is not unidirectional. Describing feathers in a textile language also means enriching the textile with the language of feathers. A permanent dialogue is installed, a two-way street between two 285 worlds and the fabrics, beadings, silk-screen prints or lace that result from this exchange. * Teacher, embroidery creation

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Charlotte Percheron

Talisman’s dress (2008) Inspired by Greek mythology, this fabric embodies a fleeting, serene image of a universal dream: being like a bird, flying high and stroking the clouds, crossing the impalpable ether, vanishing into thin air. Woven with organzine thread on a jacquard loom, the fabric seems to have a well-worn patina yet maintains a timeless feel.

‘Ô’, Object from the Deep Sea (2009) In tandem with Mehdi Moujane, Industrial Design student

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This fabric was imagined around the notion of the levitation and fluidity of deep sea animals. The idea materialised in the form of ‘ô’, a precious translucent showcase.* The fabric imprisons coloured shiny threads in the weft in a double fabric. The upper section retracts in the heat, creating a corollashaped enveloping area, which transforms the textile into mysterious animals. * Translator’s note: ‘Ô’ phonetically sounds like ‘eau’, meaning ‘water’ in French.

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Project

Hermitage Wood Collection Project director: Marion Levy*

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The Melody of Colours Reproduction of the coloured haze that hits the retina when we look at the sun. A palette of colours mingle together in a series of dots and spread out in the light. This rug of blooming tufts, where colour plays a melody, aspires to bringing to light all that is ethereal, when the weakened eye perceives the beauty of the world.

‘I’m nostalgic for one of those old, winding, uninhabited roads that leads out of town . . . a road that leads to the ends of the earth . . . to where the spirit is free.’ H.D.Thoreau For log-cabin living, the Hermitage Wood Collection’s refined simplicity brings a touch of comfort, well-being and relaxation. The fabrics illustrate a getaway to the woods, favouring a local change of scenery, taking friends off on a trip. The textile becomes a landscape that encourages the imagination: it is a metaphor and a medium for dreams. We plunge into the heart of a natural setting that is lush and wild, yet calm and welcoming. Hermitage Wood is a textile kit composed of a blanket, a mattress cover, a towel, a tablecloth, a folding chair, and a mosquito net. The fabrics are held together by a strap, which enables them to be carried as well as hung in the cabin. * Designer, art director

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Emmeline Raphanaud

Reflections (2009) Collection of outdoor textiles

A space to take over: the Canal Saint-Martin in Paris. An evolving space, governed by the vagaries of time and different lighting by day and by night. Reflections are the immaterial, shifting image of the urban space that give the site a kinetic aspect. This is a collection of textile objects, inspired by this atmosphere, which invite us to take over the waterside. Poufs, ground mats and membrane textiles allow people to sit there at their leisure.

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Vertigo (2008/2009)

Collection of clothing textiles Vertigo: a general loss of bearings sparked by an unsettling detail, a random event in a codified environment. Enhance the mistake, use it then twist it… The haze linked to uncertainty is translated by the use of materials whose final look I could not fully master. The result is chaotic, bumpy textures, random volumes, staccato, broken rhythms and enhanced ‘mistakes’.

Project

Lines to fold. Points to link. Project Director: Marie Labarelle* Collection of modular clothing where each item is made with one or two textile strips finished on the loom. Each bear instructions on how to assemble the textiles using magnets and cufflinks. Unlike our Western vision of cut clothing, the textile strip is used in its entirety. Stitches are replaced by folds and fastening systems. The folds create the clothing’s volume and shape. Users physically handle the material to bring about form. They endlessly fold, unfold, hook, fasten, magnetise and construct as they please… * Stylist

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Structured Matter (2009/2010) Textile experiments The textile matter is no longer a two-dimensional surface. It unfolds, folds, breaks… Copper, triple fabric or origami invite the surface to become volume.

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

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Index design graduates

Textile Design Graduates

Industrial Design Graduates

Andonimouttou Florie Berger Sybille Couarraz Cécile Couillet Luce Hykes Sophie Meuleau Cécile Milheiro Janaïna Percheron Charlotte Raphanaud Emmeline

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florie.andonimouttou@hotmail.fr berger.sybille@gmail.com cecile.couarraze@gmail.com luce.couillet@gmail.com sophie.stiquee@gmail.com meuleaucecile@yahoo.fr janainamilheiro@hotmail.com penelhop@yahoo.fr e.raphanaud@gmail.com

p. 233-240 p. 241-248 p. 249-256 p. 257-264 p. 265-272 p.273-280 p.281-288 p.289-296 p.297-305

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

Textile Design Graduates Mélina Munoz Industrial Design Graduates Mathieu Bassée Philippe Bajard Christophe Dubois Louis-Eric Maucout

Baltazart Cécile Borrat Solène Bullet Jean-Marc Cardinaud Elodie Chassaing Edouard Choi Dooyoung Dutto Philippine Duval-Fournis Agathe Eckenschwiller Aurélie Excoffon Marion Garreau Laure Gobin Elodie Guerin Adrien Hauton Astrid Journaux Caroline Lemarchand Claire Longis Léa Mareschal Alice Massin Florence Mazaloubeaud Gaétan Mazoin Benjamin Morrier François Moujane Mehdi Navet Alexandre-Benjamin Ollivier Yoan Richard Aude Tual Simon

cecile_baltazart@yahoo.fr solene_borrat@yahoo.fr jeanmarc.bullet@gmail.com champignon95@free.fr ech@edouardchassaing.com choidooyoung@naver.com qzdr153@yahoo.fr agathe.fournis@gmail.com aurelieeck@yahoo.fr marion.excoffon@gmail.com garreaulore@yahoo.fr elodiegobin@hotmail.com adrien.guerin@gmail.com ahauton@yahoo.fr caroline.journaux@wanadoo.fr clairenville@yahoo.fr lea.longis@gmail.com alice.mareschal@gmail.com florence.massin@wanadoo.fr gaetan.maza@wanadoo.fr bmazoin@hotmail.com fmorrier@gmail.com mehdi.moujane.1@gmail.com boite@alexandrebenjamin.navet.com yoan.ollivier@gmail.com aude.richard@orange.fr simontual@yahoo.fr

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. 165-172 p. 173-180 p. 181-188 p. 189-196 p. 197-204 p. 205-212 p. 213-220 p. 221-228

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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, Laurent Ungerer Student coordination Veronica Rodriguez Degree year coordination (Industrial designer) Gilles Belley Myriam Provoost Sophie Coiffier Degree year coordination (Textile designer) Chantal Tournay 310

Photography Véronique Huyghe Translation Gail de Courcy Ireland Thanks Liz Davis

Printing Maugein Imprimeurs, France N°394 4ème trimestre 2011 Inside pages certified PEFC

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This book has been realised thanks to