Zendco book English Version by Zen+dCo

Zen+dCoOffice pour design

Zen+dCo museum experience

NEWS

museo

Contest

Competitive dialogue Step 2 cité du Cuir St Junien Etudes

DIAG Kunstschrank du Collectionneur Private collection Taiwan APD Archaeological interpretation centre Cucuruzzu Corsica PRO/DCE musée de l’Homme Paris Chantier

DET musée des Confluences exhibition Espèces, la maille du vivant Lyon

Zen+dCoOffice pour Design _ What ?

Zen+dCoOffice pour Design specializes in the design of museum spaces and cultural mediation venues. Special fields which can be expressed in various ways ;

Knowledge of areas and professions that contribute to the realization of a museum design oO Adaptability of our professional skills to serve cultural mediation oO Creativity in thinking and planning special solutions adapted to the space, the theme, and the public oO Development and technical monitoring of developed concepts oO Communication of the project’s aesthetic with clients and partners Zen+dCoOffice pour Design is an office focused on museum and graphic research. To be able to conceive and implement operational, effective, and user-friendly museum designs, to be sensitive to the financial and operating context, to enhance the visitor experience with scientific content, skills in the following areas are required ;

Architecture oO Preventive conservation oO Multimedia design oO Graphic design oO Communication design oO Functional and technical furniture design oO Environment oO Object display and mounting oO Technical representations and computer graphics oO Lighting design Museum design is a global mediation tool made of the harmonious mixture of assemblies, subassemblies and particles. Together, they ensure the visitor an informative and enjoyable experience. Zen+dCoOffice pour Design an agency devoted to museum design and scenography, is composed of architects and designers. Founded and directed by Zette Cazalas, architectmuseographer trained at the school of architecture of Paris-Villemin, the studio principally operates in spaces devoted to the communication of knowledge such as ;

Museums oO Interpretation centres oO Temporary exhibitions oO Public cultural spaces oO Technical and scientific centres oO Touristic and cultural parks oO Contemporary art galleries oO Design spaces oO ART and ESSAI* cinemas oO Theatres Zen+dCoOffice pour Design carry out the artistic display of unique, rare, precious, and wonderful collections (national, territorial, and private). The design of the spaces hosting these collections is up to the technical challenges and the complexities resulting from the display of the work in the space (path, light, fluidity, rhythm, etc.) and the work in the work (design, lighting, materiality, colour, etc.). In the museum or gallery space, the work (or group of work or expôt or item) requires an amount of research and attention equivalent to the attention given to the work or the space in which it is contextualized. The operating range of the work has no geographical tie. The essence of any museum work is to give the work freedom to communicate with its visitor. Zen+dCoOffice pour Design introduces through its reflections its thoughts on the various mechanisms of museum perception, conscious or unconscious.

ÂŠ Lisa Ricciotti

Zen+dCo museum experience

Zen+dCoOffice pour Design _ WHO ?

Zette Cazalas,

architect-

museographer

Founding director of Zen+dCo, creative studio specialized in museum and set design, communication, and architecturecommunication, mother of two children,

Zen+dCo museum experience

an exhibition of architectural history: Pompéi, les travaux des architectes français à Rome (Pompeii, the work of French architects in Rome) (1980). This led her to undertake a decade of temporary exhibitions at the Centre des Monuments Nationaux, at the Cité des Sciences et de l’Industrie, and at the École des Beaux-Arts (1982-1992).

First trained at the École d’architecture de Toulouse (1975-77), ZC joins her sister, a From the premises of those early thematic dancer-choreographer, in Paris to complete her exhibitions, the museum activity of Zette studies at UP1 (78-81), now Paris Val de Seine. Cazalas moves towards the idea of a “cultural interpretation centre,” a notion invented by North There, Jean Perrotet, founding member of American institutes and museums. This concept AUA with Paul Chemetov and Valentine Fabre, has been flourishing ever since, from the very teaches her into a newly created seminar beginnings at the Cité des Sciences to the entitled “architecture and scenography.” contemporary reconversion of thematic museums She learns more about this discipline through in “museum of ideas.” the in situ study of contemporary theatres Where the collection coincides and reconciles with the various exhibition mediums as diverse as films, archives or manipulations, the museographer is essential to the content/form adequacy; an aspect that allows ZC to cultivate All their depths, their machinery – rooms, scene, hangers, stage left/right, technical – their her art with her tools as an architect. interiors, their exteriors are mixing up to create a Exhibition spaces are created as trans-media platforms and, like contemporary artists, notions feeling of dizziness. of museum landscape, installation, and total Of that will arouse the idea of an “interior” environment will be developed. architecture, more fluid, and consequently – built or restored by Fabre-Perrotet in Bobigny – including the Théâtre de la Ville in Chaillot, in Ivry, and also many other traditional theatres and opera houses.

becoming an environment; the idea of a direction in space and time; the idea of the skin acting as a restraint; the idea of creating a moment to create an encounter; the idea of a burning sensation to grab “the essence of perceptible things.” * * Plato

Of that encounter with theatre – prism of emotion, body, fun, and games – architecture would slowly anchor itself in a tactile, secret, and human way in the life of Zette Cazalas. During her studies, Jean-Jacques Aillagon, then Head of the exhibition department at the École Nationale Supérieure des Beaux-Arts in Paris, entrusts her with the task of designing

The display area is a vehicle, a communication tool. If the exhibition consists in showing, sizing, defining proportions, and modulating to adjust and regulate the exchange between visitors and objects, visitors and ideas, objects/exhibit and ideas, then it should be accepted for an exhibition to be an environment, a body, a building to be created, a flow of emotional, temporal, or cognitive flux.

Objects of mediation, types of media, preventive conservation of artworks, ergonomics, visitor journey, identification of messages, architecture of communication, curioseada, identification labels, mediation means, morphological mounting,

museum installation, museum landscape, setting distance, depth of field... These words form a prosaic glossary, which gets richer concurrently with learning and knowledge. Soon, an enjoyable profession (“working is not a chore, working is breathing”) * is in the process of being created: the “architectmuseographer.” * Le Corbusier

Zen+dCo Still, during her studies, Zette Cazalas creates costumes for “L’Enfer” (Hell) (1982) by Dantes for Patrick Melior’s theatre company and meets at the same time the fashion designer Popy Moreni (1983). A long-standing complicity with costume, the art of living, and the architecture of fashion are born in this explosive, colourful, and fruitful fashion milieu that is Paris in the mid-90s. This led to a project combining artistic happening, museum techniques and fashion world for an exhibition at the Galliéra museum (1992). A few months later (1993), she undertakes her first museum project as a museographer with the restoration of the Musée Basque in Bayonne. Then, EDF entrusts her with the art direction and design for the inaugural event marking the fiftieth anniversary of the creation of the company at the Cité des Sciences (1995). The shift from an individual endeavour to a company is imperative. Marked by a pluridisciplinary approach, Zen+dCo is created. Architects, but also graphic designers, photographers, designers, artists, and multimedia artists will form the structural core of the company. Zen+dCo wants to be “… inter-connected, a space where each point, when it comes to life, can raise new wealth. Every point is at the

Zen+dCoOffice pour Design _ WHO?

centre of this painting that captures a world in the making.” * * Michel Authier, Pays de Connaissances

In its projects, essentially public, the studio imposes its bias for the conception of the museum environment as a whole to every manager, curator, mediator, and programmer who think and foreshadow museum experiences. French brand Zen+dCo intends to shine and

Zen+dCoOffice pour Design (2013). becomes

Or… how the long-standing reflection on the production of space and its components in complex goals and museum work has increased the desire to develop an application based on new features?

Zen+dCo museum experience

Museum anthropology, prehistory, humanities

Client Muséum National d’Histoire Naturelle Contractor OPPIC Area 3,000 m² 2006-2015 Co-contractor of BLP group, architects

Project management of the museum permanent galleries design

Le musée de l’Homme

Palais de Chaillot, Paris Musée de l’Homme

Assistance for the programme arrangement Climatic environment of the collections Museography, Graphic design, Mounting, Art direction of custommade objects, Synopsis of multimedia devices

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Le musĂŠe de lâ&#x20AC;&#x2122;Homme

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Le musĂŠe de lâ&#x20AC;&#x2122;Homme

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Le musĂŠe de lâ&#x20AC;&#x2122;Homme

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Le musĂŠe de lâ&#x20AC;&#x2122;Homme

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Le musĂŠe de lâ&#x20AC;&#x2122;Homme

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MUSEUM and COLLECTORS sciences, art, society

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Client Rhône Department Budget 2,350,000 ex VAT Area 1,000 m2 2006-2014

Project management in museum and graphic design Definition and validation of mediation tools according to the Confluences program

In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

Lyon Musée des Confluences Exhibition of synthesis and reference “Espèces, la maille du vivant” (“Species, the mesh of living”)

Integration of the collections of the natural history museum and the former Musée Guimet Definition of handling techniques and multimedia devices

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The museum exterior landscape: CoopHimmelb(l)au building.

The museum interior landscape: connecting spaces. the crystal Links, and the cloud. networks, exchanging Hard Space CORPs and / the crystal, body urban square which purpose is to receive and prepare the visitor to the museum experience.

In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

The museum installation swallows, inspires this process of production of spaces and nurtures its garden (sterile) to fertilize it, vitalize it.

A rhizome-like mesh of strings (exhibition title: EspĂ¨ces, la maille du vivant (Species, the mesh of living)) designates potential polymorphisms of the common bath we live in

(water)

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Example Node O After laser cutting, bending operations requiring a high level of finish and precision will be conducted according to specified folding angles and axes.

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Mesh supporting structure: Prototype studies : Dugong cell nodes, assembly, bars, and surfaces list of the woven panelsâ&#x20AC;&#x2122; bars and surfaces Names and declinations of the structure nodes.

Two types of folds will be performed: - Branch fold for sleeve - Barre angle fold

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In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

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In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

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Reverse view of the visitor experience

Creating an ideal urban territory that wraps in waves around the Bernin (the bush of life) provoking Boromini (mesh faรงade + mollusc showcase) in opposition to the peacefulness of the bird showcase. Creating tension between different poles through a zooming effect; species phylums phylogenetic bush

In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

The snapshot of living The model of the piazza Navona as a museum response

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A museographer should not deny himself the pleasure of staging bird specimens that are remarkably well preserved, rare as birds of paradise, magnificent, proud, loving and talkative, sensitive or gorgeous.

Never fall into the aesthetics of the Curiosity Cabinet. And if the Kunstkammer is not far, inspiring and fruitful, we must stay focused on the visitor experience and put emphasis on beauty: dulcify it with scientific theory and then remove it to give it back to the group. So is the design of this showcase in which the structural mesh appears to bring birds organised in different phylums â&#x20AC;&#x201C; punctual reflections of a living and diverse world â&#x20AC;&#x201C; to the attention of the visitor.

In the Cloud of Wolf Prix, architecte COOPHIMMELB(L)AU

Birds showcase study for the mounting of specimens

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SOCIETY MUSEUM

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history, popular arts and traditions, objets dâ&#x20AC;&#x2122;art

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Client Ministry for the Arts Contractor OPPIC Budget 3,600,000 ex VAT Area 1,200 mÂ˛ 2011-2013

Project management in interior and exterior museum design for Fort Saint Jean

A museum in a fort

Marseille MuCEM Fort Saint Jean

Project management and display design for the MuCEM historical collections A time for leisure Museography, Graphic design, Mounting, Art direction of custommade objects, Synopsis of multimedia devices.

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The highest curioseada is a theatre backstage that rises three floors up to the diagonal ribs of the Chapelleâ&#x20AC;&#x2122;s chevet. A Greek canopy offered for a wedding figures alongside a wicker Eiffel Tower, apprenticeship masterpiece, cattails, engagement gifts, a Turkish outfit for the circumcised embroidered for Spiderman or a Catherinette hat designed by Lanvin. All stages of life are juxtaposed to recount celebrations of a linear time.

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Courtyard of the Commande : a stage house

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A museum in a fort

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The six sets reveal cyclical Officerâ&#x20AC;&#x2122;s upper gallery : six sets time, that of the endless return of seasons with their celebrations, that of Christmas lights in the glittering cribs, that of the revival of spring coloured by painted eggs, that of Saint Jeanâ&#x20AC;&#x2122;s love for harvest bouquets, and that of the pleasures of wine depicting the good Saint Vincent.

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In the village houses maze, six rooms showcase puppetry. The one of the ThĂŠĂ˘tre Brouteux shows string puppets, while another introduces us to the puppeteer reserve. Somewhere else, it is the grand puppet assembly. Gathered near the mill are heroes from fairy tales and those who challenge the establishment such as Lafleur, Guignol or Karageuse. Finally, in the now miraculous mill parade, a procession of painted silhouettes represents actors of the Passion.

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Village : seven stages and backstages

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A sculpture representing the undulations of the cry of Punchinello to stage a puppet made by Antoine Vitez in his own image. All is left is to make it sound to invite the visitor in discovering new storiesâ&#x20AC;Ś

A museum in a fort

Room E-03, Building E

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Puppet theater “l’oEil et l’eSprit sont Ouverts aux Nuées” (“The Eye and Mind are Open to the Clouds”) At the acme of the Fort, at the footbridge crossing, the museographer builds a small sculptural building of 6,5m x 6,5m x 4,3m (LxWxH). Consisting of four fiberglass Greek goddesses faces, one can be mechanically deployed to reveal a puppet stage for open-air performances. When closed, it becomes a viewpoint indicating the four cardinal points. The building is a form of tribute to the city founded by the Greeks and the myth of Protis and Gyptis.

Zen+dCo museum experience

Place of Dépôt : the puppet theatre L’oEil et l’eSprit sont Ouverts aux Nuées (“The Eye and Mind are Open to the Clouds”)

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Objets dâ&#x20AC;&#x2122;art and history and technique of the arts of fire

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Client Regional Direction of Cultural Affairs and Department of Museums of France Contractor ICADE Budget 1,550,000 ex VAT Area 2,400 m² 2004-2012

Expansion and rehabilitation of the Musée national de la porcelaine of Limoges, a listed building

National museum creation and history

Limoges Musée national de la porcelaine Adrien Dubouché

Making of museum furniture and interior design of exhibition spaces Project management in museum design Developed proposal (design, journey, integration, sculptures) Lighting design of exhibition spaces (in association with Boris Podrecca agency, proxy)

1 / architectural revival _creation of a reception building _new direction of entrance _creation of a compact unit between two distinct elements: the museum and the school 2 / mediation revival _creation of a temporary exhibition room _creation of a conference room _qualitative reception _new ventilation system for the collections _set for the techniques of the arts of fire 3 / revival of the “Limoges” collection showcase

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MS: What is your job as museographer? … We speak to the visitor who, by his movement into space, recreates the intended message, latent or submerged, implemented in the journey, in the quality of the display, in the choice of materials, of lighting. … An idea, evoked through words, evoked through materiality. And everything points towards the message. Nothing is left to chance: choosing an extra-clear float glass, correcting the spacing of a text, developing a movie script, defining the right distance of projection, providing the right power for each cable type, making structural calculations, lighting an object, thinking of disabled access, making organization charts and area calculations, etc. … Our thinking is guided by intuition, a mixture between the essence of time, intelligence, and sensitivity. We develop the essence of the project in consultation with the client, from the early stages of design to the specification of every detail: design, spatial quality, graphics, ergonomics, spatial perception and meaning.

National museum creation and history

Excerpt from an interview of Zette Cazalas by Marie Segonds, art historian

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National museum creation and history

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History museum

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Client City of Nice Budget 1,000,000 ex VAT Area 1,000 m² 1999-2008

Project management in museum design

In the house of the Prince of Essling

Nice Musée Masséna

Definition of the visitor journey Ventilation of the collections in the exhibition rooms and showcases Definition of the mediation tools Design of showcases

A public museum space, a “Belle Époque” vacation home to revive, the encounter of the elegance, art, and history of a country’s capital… these were the objectives pursued in the design of the Prince of Essling’s villa and its gardens, located at the corner of Hotel Negresco along the Promenade des Anglais in the bay of Nice. The ground floor of the villa has retained its original decor; those from the upper floors were destroyed. We went back in time – the one where “Nice was the salon of Europe” – and expressed it through our materials: contemporary, technical, and industrial. For example, the glass used as mirror, silkscreened, painted, hatched, superimposed as many filters, fogs, or certainties to engage in a flashback in time up to the point of hearing the rustling of ballroom dresses on the wooden 9

floors of the Villa Masséna on reception evenings just before the warm season.

It all adds up to create a feeling of vibrating space.

Such museum bias impacts on a set of different constraints; - providing a museum and institutional status - respecting the collections and scenario - reinstating the villa in continuity with the The facings on which the sumptuous salons and the artworks are fixed are made park facing the sea of double glass panels, worked and silk-screened in order to create an effect of perspective and of intensification of reality. This intention was the inspiring source of the project: a presence that goes through the museum visitors who literally become the new hosts of the space.

The showcases are designed like a fold in continuity with the facings. They form small thematic theatres and contribute in creating a bottomless inner space.

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The implantation in angle of the museum displays creates a disturbing feeling of existence and non-existence into space. This allows the villa to somehow interfere with the tour.

In the house of the Prince of Essling

At MassĂŠna, playing with Development of a museum device in angle : the building angles allowed Objectives : to test a new concept of showcases based on interior _creating complex interior perspectives perspectives and the use of _forming a wider range of transparencies diagonals to emphasise the _proposing several points of view depth of the background. The creation of perspectives _escaping the geometry of the existing house or of constructions into space is a way to dramatize Project the often-disparate historical collections. It homogenizes Prototype the whole by glorifying the Construction content.

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In the house of the Prince of Essling

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In the house of the Prince of Essling

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Museum of society Popular arts and traditions, fine arts, objets d’art

He who enters here is home The museum design development of the Musée basque et de l’histoire de Bayonne was the outcome of a tedious work of museum, ethnologic, architectural, and human data collection. The traditional Basque society – based throughout the Pyrenean Piedmont on the model the neighbours’ society – is rooted in and is the echo of a territory. Valleys, pastures, Bordes, or Cayolars, the topography made of ups and downs, holes, and flat surfaces creates an immediately perceptible sensuality. Seasons also contribute by following every shape like a hand caressing a body. Basque history merges with this relief. The museum bias will draw from the fusion between men and nature to take shape: it is the end of the postcard museum. 1

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Client Bayonne City Hall Budget 3,460,000 ex VAT Area 4 000 m² 1993-2001

Project management in museum design, art direction of custom-made objects; full commission including construction drawings

7 years of reflection for a museum

Bayonne Musée basque et d’histoire de Bayonne

_furniture design _foreshadow of showcases _mounting of work _multimedia content (in association with Althabégoïty-Bayle agency, proxy, Bernard Voinchet, ACMH) Restoration and expansion of the Musée Basque located in a listed building and interior design of reserve collections and offices in Château Neuf.

Let’s tell the story of the shepherds who like rivers, mingle with waves and trace their path, their pace, their sound, their dance… In the design of the visitor’s journey this should appear implicitly: in the voices, the language, or the materials. The wavy lines evoking the landscape of Piedmont or the sea crests, the colours of ferns changing seasonally, the blinding light of pediment stones walls in the middle of meadows, the concentration of the pelota player when he’s about to strike, the shepherds incantations taken on by a Benat Achiary voodoo, a posy of violets mixed with onions on the Marengo bridge and laid at the feet of their picker to be sold to lovers passing by on a market day in Bayonne. The emotion had to be felt and shared. 9

From the original museum designed by a series of regional reconstructions, official Basque museum label, and who directly created his neo – we tried a move inspired by mutxiko. (The mutxiko or “Basque jump” is a type of traditional social dance of the Basque Country. Performed in a circle on village squares, it consists in a sequence of steps and change of direction of rotation that requires an attentive listening to the melody. The chest is straight and the arms dangling. It always begins with a foot outside the circle and it starts with the right foot. It usually ends with an entrechat.)

Successive synopsis; search for an ideal between substance, form and ergonomics in a perspective of efficiency. The immersion in the Basque Country history is achieved through the synergy between the building’s typology and the progressive discovery of the tangible and intangible qualities of Basque arts. The gradual ascent towards the rooms of paintings dedicated to party and games, bathed by light coming from the skylights of the Maison Dagourette warehouses, is an ode to pleasure. The challenge in the building’s restoration, led by chief architect of historical monuments (ACMH) Bernard Voinchet, was to keep intact the iconic architectural The museum of that country that dreams of the elements dating from the seventeenth century 3B Department (Basque, and to incorporate safety Béarn, Bigorre) since the French Revolution is an act devices and technical equipment without making of identity! 11

conspicuous changes. This precise and careful progression in the restoration and adaptation of the building has enabled us to develop an acute knowledge of the space and to eventually create a visitor experience in symbiosis with the house.

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The attic, open according to the eighteenth century style in Bayonne, is the peak of the visitor’s journey. It provides a light setting for all the collections related to celebrations, religious or secular, and to traditional games. The culmination of an immersion in the Basque Country is recounted.

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The Maison Dagourette is a seventeenth century warehouse attached to the merchant’s house. Opulent-looking, it houses since 1922 one of the first regional museums created by a society of scholars. In terms of art, crafts, objets d’art, ethnology, and history, the Musée Basque is a crucible in which an entire country looks and deploys its soul.

Painting room

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The hearth, core of the Basque or Bearn and Bigourdane house in which the guest is installed to warm up, is the centre of dreamlike ramblings, wisps of imagination. “The path bordered a swamp and people had taken for a ghost will-o’-the-wisps which stood at intervals on the wetland” in Sorcières et loup-garous dans les Landes, 1904

The key is to share language. Without translation, and because Bayonne is at the confluence of the Nive and the Adour – Basque and Gascon lands – the Tale Kiosk was positioned behind the reconstitution of a labourdine home to allow visitors to tame Basquo-Bearn voodoo. 15,000 suspended Venetian glass beads form the surface of a choppy ocean of water, or dreams, or of a formerly protective uterine wall. Following the rhythm of sentences, sounds, or images the eyes witness the morphing zenithal landscape.

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Orality, language, myths, and their origin

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History and society museum

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Client City of Caen Budget 3,400,000 ex VAT Area 4,000m² 1999

Design of a building (project management by Jacques Millet) and development of 3 circuits

Peace memorial

Expansion of the Mémorial cité de l’histoire pour la Paix

Project management in museum and graphic design Artistic direction of custom-made objects Representative of the project management team Definition and validation of mediation tools according to the Memorial scientific program Project development (design, circulation, integration, sculptures)

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Destroyed cities wall

Peace memorial

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The Cold War: the gears

Peace memorial

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Three of the six booths on peace: Greek, Roman and Judeo-Arabic cultures

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“… At the entrance, six booths showcasing different positions and thoughts on peace through six great traditions and cultures. I dwell on other ways to consider peace. Positive peace (how to create peace), a truly open question, seems truly richer than negative peace (how to avoid war).

Thinkers have been reflecting on it for a long time: artists, painters, writers, etc. A step has been made, and the circuit rises as a proof. Where to turn to secure peace? Potential solutions are endless, and the entire planet should be interviewed.

Peace memorial

The journey on the first floor combines educational (some desks are interactive) and speculative aspects by drawing on least expected areas. Issues of peace are moved. The universe becomes technical, poetic, luminous...” Valérie d’Anglejan, 2002

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Eco-museum history and manufacturing workshops of luxury goods

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Client Sablons District, Villeneuve Les Sablons Budget 2,000,000 ex VTA Area 1,200 m² 1995-1999

Project management in museum design, project supervision

A museum in a factory

Ecomusée des Pays de l’Oise, Méru Musée de la nacre et de la Tabletterie

Museum design and project monitoring Scenography of the gift shop Building restoration according to ERP standards

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A museum in a factory

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A museum in a factory

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A museum in a factory

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Temporary exhibition of contemporary art

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Client Réunion des Musées Nationaux Budget 995,000 ex VAT Area 4,000 m² 2008-2009

Project management in scenography according to a concept by Philippe Rahm

40 works 4000m² 15 days of construction

Great nave of the Grand Palais, Paris Force de l’art 02

Integration of works Plans and development of public circulations Research of sponsorship to finance the operation

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40 works 4000mÂ˛ 15 days of construction

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40 works 4000mÂ˛ 15 days of construction

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40 works 4000mÂ˛ 15 days of construction

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CitĂŠ des Sciences Technical and trans-media temporary scientific exhibitions et de lâ&#x20AC;&#x2122;Industrie ( Universciences )

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Cité des Sciences experiences

Exhibitions 2009-2010 Contrefaçon, la vraie expo qui parle du faux (Counterfeiting, the real exhibition that talks about fake) 2001- 2000 L’Homme transformé (The man transformed) 1996-1995 Une vie électrique, voyage dans le quotidien (An electrical life, journey into the everyday) 1996-1995 De l’atome aux étoiles, de la recherché à l’industrie (From atom to stars, from research to industry) 1989-1987 Passion recherche, 50 and de découvertes qui transforment notre société (Research passion, 50 years of discoveries that transform our society) Competitions 2007 Terre vue de l’espace (Earth from space) 2005 Il y aura l’âge des choses légères (There will be the age of minor things)

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Client Cité des Sciences et de l’Industrie Budget 420,000 ex VAT Area 600m² 2009-2010

Project management in museum and spatial design, scenography, and graphics Development of contents and manipulations Design of the visitor journey, furniture, graphics and multimedia displays

Cité des Sciences experiences

Contrefaçon, la vraie expo qui parle du faux (Counterfeiting, the real exhibition that talks about fake)

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Client Cité des Sciences et de l’Industrie Budget 725,900 ex VAT Area 900m² 2001

Project management in museum and graphic design Team Zen+dCo, proxy artificial architecture, project architect Gilles Gentner, lighting design La Kitchen, Thierry Coduys, captation and interface design Yann Minh, artist, membrane illustration ZA Production, membrane programming Jean-Baptiste Barriére, composer Jean-Pierre Pourteau, sculptor, making of museum displays OPIXIDO, Guillaume Dairou, graphic design Christophe Balp, development of the electroluminescent panels Art direction General and detailed scenography Design of “the interactive membrane”

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L’Homme transformé (The man transformed)

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Travelling temporary archaeological exhibitions

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LGV Est

2014-2016 C’était là! Sous nos pieds… (It was there! Under our feet...) 2006- 2010 100 000 ans sous les rails (100,000 years under the rails)

112

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PRINCIPE GENERAL POUR LE DESIGN DU MOBILIER

113

Passage du plan vertical au plan horizontal

Client INRAP, RFF, Ministère de la Culture Exhibition venues *Musée des Beaux-Arts et d’Archéologie, Châlons-en-Champagne *Musée Lorrain - Nancy *Musée de préhistoire d’Ile-de-France -Nemours *Hôtel-Dieu, Château-Thierry *Musée d’Archéologie nationale, Saint-Germain-en-Laye

Project management in museum and graphic design

LGV Est

Traveling exhibition on the preventive archaeology made during the planning of the European LGVEAST line

Museum design: lighting, graphics and computer graphics, object mounting Furniture design, graphics, and object mounting

2006-2010

SIMULATION DISPOSITIF

pupitre interactivité

écran / cloison projection / rétroprojection

table / vitrine maquette

table / vitrine iconographie / objets

UNITES VERTICALES

UNITES HORIZONTALES

200 cm

64 cm

table

vitrine

SCHEMA DU SYSTEME DE MOBILIER

“lames ou plans”

114

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Travelling temporary archaeological exhibition

115

Client INRAP, RFF, Ministère de la Culture Exhibition venues * Parc archéologique européen de Bliesbrück-Reinheim *Musée du Pays de Sarrebourg 2014-2016

Project management in museum and graphic design

LGV Est

C’était là! Sous nos pieds… (It was there! Under our feet...)

Museum: graphics and computer graphics Furniture design, graphics, and object mounting

116

LA TOMBE D’UNE jEUNE gAULOISE DAS GRAB EINER JUNGEN GALLIERIN La pratique de l’inhumation en silo, connue depuis le Néolithique, perdure jusqu’à l’époque gauloise. C’est ce que montre cette tombe découverte à Mittelhausen, en Alsace. Elle contient les restes d’une femme âgée de plus de 30 ans. Reposant sur le dos, la tête orientée au sud-ouest, elle portait des éléments de parure: un torque, c’est-à-dire un collier rigide terminé par deux tampons, deux bracelets et deux anneaux de cheville. Une fibule en fer placée sur son épaule droite servait à fixer le vêtement.

La parure de la défunte Les anneaux de cheville ainsi que le torque en bronze sont richement décorés d’un panneau triangulaire allongé et encadré de petits motifs incisés en épis. Schmuck der Verstorbenen Die Knöchelringe und der Torque aus Bronze sind mit einem spitz zulaufenden großen dreieckigen Dekor sowie auf beiden Seiten davon mit kleinen eingeritzten Motiven verziert. 98 C

silo id-98

98 C

98 D

98 B

98 A

Die seit der Jungsteinzeit bekannte Bestattung im Silo wird bis in die gallische Zeit praktiziert. Das zeigt dieses in Mittelhausen im Elsass entdeckte Grab. Es handelt sich um eine über 30-jährige Frau. Sie lag auf dem Rücken, den Kopf nach Südwesten ausgerichtet, und trug Schmuckteile: einen Torques (einen Halsreif mit zwei Puffern als Endstücken), zwei Armbänder und zwei Knöchelringe. Eine Fibel aus Eisen befindet sich auf ihrer rechten Schulter und diente zur Befestigung der Kleidung.

niv. dépôt sép.

1 - lœss 2 - limon sableux gris 3 - limon marron clair 4 - limon marron 5 - limon meuble (terrier) 6 - limon marron type couche 3

98 D

50 cm

Relevé de la tombe gauloise et des parures Mittelhausen, Alsace Un relevé minutieux de la sépulture a été réalisé afin de comprendre les conditions de l’inhumation. La position des ossements et des parures indique qu’elle n’a pas été perturbée ou pillée. Zeichnung des gallischen Grabes und des Schmucks Mittelhausen, Elsass Es wurde eine sorgfältige Erfassung des Grabes vorgenommen, um Erkenntnisse über die Bedingungen ihrer Bestattung zu gewinnen. Die Position der Gebeine und des Schmucks zeigt, dass das Grab nicht gestört oder geplündert wurde.

98-004

Jeune gauloise enterrée dans un silo Mittelhausen, Alsace L’analyse de ses ossements permet de déterminer le sexe et l’âge d’un individu. Il s’agit ici d’une femme de plus de 30 ans. In einem Silo begrabene junge Gallierin Mittelhausen, Elsass Durch die Analyse der Gebeine lassen sich Geschlecht und Alter einer Person bestimmen. Hier handelt es sich um eine über 30-jährige Frau.

98-001

98-006 98-005 98-002 98-003

alliage cuivreux

Kupferlegierung

fer Eisen

20 cm

recto rectoci-C CI-C

4_CROIRE, MOURIR, SE SOUVENIR 4.2 TEMOIGNAGES AU FIL DU TEMPS 4.2.3 La tombe d’une jeune gauloise

verso ci-C verso CI-C

Zen+dCo museum experience

117

LGV Est

118

Zen+dCo museum experience

Winner Multimedia interpretation centre

119

Client Corsica Local Authority 2013-2016

Project management in museum design Design and development of outdoor itineraries

Site museum

Cucuruzzu, Corsica Archaeological interpretation centre

Team Paul Franceschi, dplg architect, proxy MBarchitecture, associate architect ST ingĂŠnierie, engineer Development and production of graphic content Furniture and outdoor equipment design

120

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Interpretive path

4 3

PAUL FRANCESCHI ARCHITECTE 5pVLGHQFH�'LDPDQW�,, 20000 Ajaccio tel : 04 95 51 36 26 tel : 04 13 33 75 53 info@paul-franceschi.com

MB ARCHITECTURE

tel : 04 95 51 42 54 - agence@mbarchitecture.fr

S.T. INGENIERIE

tel : 04 42 18 62 45 - st.ingenierie@wanadoo.fr

MAITRISE D'OEUVRE

MUSEOGRAPHIE

Zen+dCo MUSEOGRAPHE

22, cours Grandval BP 215 20187 Ajaccio cedex 1

MAITRISE D'OEUVRES ASSOCIEES

COLLECTIVITE TERRITORIALE DE CORSE

MAITRE D'OUVRAGE MANDATAIRE

6 176 rue du temple 75003 Paris tel : 01 42 77 22 77 fax : 01 42 77 22 55 zendco@gmail.com

AXONOMETRIE P D'INTERPRE

PARCOURS INTERPRETATION

JULLIET 201

FORMAT A3

ZEN

APS

EMETTEUR

PHASE

TYPE

121

Eductaional trail

Cucuruzzu

Capula

Site museum

122

Zen+dCo museum experience

Forest and zoo of ChizĂŠ

123

Client Deux Sèvres General Council Budget 540,000 ex VAT Area 900m² 2003-2005

Museum design of the reception building of the Chizé forest touristic and educational centre

Forest and zoo

Zoodyssée of Chizé

Museum design and project monitoring Scenography of the exhibition spaces and gift shop Educational and directional signage (zoo park) Custom-made furniture, equipment, and audiovisual production Project management in museum design

124

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125

Forest and zoo

... The interior design of the building to welcome visitors coming for a journey in the Chizée forest, the adjoining zoo, and the Humanimal interpretive path was oriented towards the use of materials, forms, and colors belonging to the wildlife, forestry, and scientific research environment found on site. The Chizé complex can be referred to as an experimental scientific park of a reduced scale, but with an innovative intellectual approach. The concept behind this project is to encourage the visitors in an active physical engagement rather than a passive purely informative media experience. Evolutionary showroom adaptable to seasons and changing thoughts, place of physical rather than intellectual experiences since the body is a tool to think… these are some of the goals behind the project: a horizon, a frame, a home to bring the visitor in a state of receptivity and positive wonder.

1- Night immersion SAS The visitor is immersed in a tactile sculpture evoking a membrane or cell. No visual, interactive audio only (trigger sensor). The sculpture is slightly moving following the wandering visitor. The main body is a network of rods bound together by joints with tactile extensions like feathers, ropes, twines, elastomers, etc.

2- Day immersion SAS Interactive sound space formed by acoustic paths in natural felt – grey and white, 5 mm thick – and used in double and quadruple overlay. The paths are distorted by the canvas cutting and eyelet assembly work, which evokes a real or imaginary animal. The paths – made of felt to obtain clean edges while maintaining flexibility and softness – follow this idea of an organic matter in motion. The reference to animal forms becomes a guessing game as well as an opportunity for complicity between visitors. The in-situ conservation reserve (RBI) of Chizé aims Animals float in the air like in a rock mural. to become a pilot site for The visitor is invited to research on the natural touch these forms, gesture balance between fauna that will trigger a sound and flora (for example, the evolution of the beech composition. grove in response to global climate change) without excluding supervised discovery activities.

126

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Forest and zoo

128

Zen+dCo museum experience

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Client Jean Saint Bris et communication / Manon Renonciat Budget Halle development 100,000 ex VAT Park development 150,000 ex VAT Area 600mÂ˛ 2003

Creation of a landscaped museum journey on Leonardo Da Vinci in the residence and park where he spent the last three years of his life

Landscaped path at Clos LucĂŠ

The landscaped path, an initiatory journey with Leonardo da Vinci and his disciple

Project management in museum design, graphics, and art direction Museum design of the hall: educational kiosks made of fabric, large-scale graphic design, and wayfinding strategy for the park

130

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131

Landscaped path at Clos LucĂŠ

132

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Client Cultural affairs of the city of Paris Musée Galliéra Curator Marie-Sophie Carron de la Carrière Budget 457,000 ex VAT 1991

Project management in museum and graphic design

Musée Galliéra

Exhibition Le monde selon ses créateurs (The world according to its creators)

Development of the museum design concept Graphic aesthetic Creation of derivative products in collaboration with the Paris-musées shop Design development and monitoring in collaboration with the creators Sponsorship research Shiseido

Martin Margiella Sybilla Jean-Charles de Castelbajac Vivienne Westwood Roméo Gigli Jean-Paul Gauthier Six creators and carte blanche in two spaces: the Real and the Imaginary rooms

Portrait of Zette Cazalas by Jean-Charles de Castelbajac in the lobby of the Musée Galliera the day before the opening

134

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It was in 1991. Tonight, via internet, I will not make a mistake in writing Leuvenâ&#x20AC;Ś

Martin Margiela, born April 9, 1957 in Leuven Belgium, is a Belgian fashion designer. He is the creator of the brand Maison Martin Margiela. 1 Biography 1.1 Studies 1.2 Work in dressmaking 1.3 Style 1.4 Fashion shows 2 The company Maison Martin Margiela 3 Notes and references 4 See also 4.1 Related Articles

...found the drawing by Jean-Charles who encouraged me...

135

Musée Galliéra

136

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...Sybilla persuades me of my new green hat found at Emmaus...

137

Musée Galliéra

...Vivienne is still tHe QueeN...

138

Zen+dCo museum experience

...seen La Callas new tenor at MusĂŠe GrĂŠvin,

Jean-Paul Gaultier wearing stripes...

...& Romeo Gigli crosses the Styx for Richard Avedon. What does Paolo Roversi thinks of all that?

139

Musée Galliéra

140

Zen+dCo museum experience

Two large lounges of the Palais Galliéra are used. Facing the Seine, they

are retained by two wings of the Musée d’Art Moderne of the city of Paris and the Palais de Tokyo.

The first room is transformed into a leaning plane

from which emerge three parallel strips, one vertical strip, and one giant frame with a floor

141

MusĂŠe GalliĂŠra

intermediate, a back, six times the same /

a cyclorama to be crossed creates the horizon of the

REAL show.

The second room is reduced to a narrow

promontory, accessible, and parallel to the facade / six boxes of 9 m3

142

Zen+dCo museum experience

distributed along the walk, the landscape is formed under the floral domes of the IMAGINARY Palace.

143

Musée Galliéra

144

Zen+dCo museum experience

Temporary historical exhibition

145

Client Ville de Saint Dizier Budget 250,000 ex VAT (turnkey project) Area 250m² 2008-2010

The Merovingian of Saint Dizier

Temporary exhibition, city museum, Saint Dizier Temporary exhibition in partnership with the Institut National d’Archéologie Préventive (INRAP) Exhibition nationally acknowledged and organized within the framework of the European Nos ancêtres les barbares, voyage autour de trois cultural season tombes de chefs francs

Presentation of the (Our barbarian ancestors, journey around three “treasure” discovered Franks leader graves) during the excavation of three burials of 15th century Franks chiefs on the outskirts of Saint Dizier Full project management in museum design Design of the visitor journey Programming of sequences and selection of mediation tools Scenario and production of an audiovisual display (17’) based on the grave discovery and hypothesis on the identity and rank of the deceased Merovingian Design of showcases and mounting of works Reconstruction of the tombs at the time of inhumation Graphics and cartography

146

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147

The Merovingian of Saint Dizier

148

Zen+dCo museum experience

Temporary historical exhibition

149

Client Musée Granet Mission Cézanne 2006 Budget 280,000 ex VAT Area 400m² 2006

Interactive multimedia museum experience at the Musée Granet for the Paul Cezanne celebration year (complementary exhibition to “Cézanne en Provence” (Cézanne in Provence))

Cézanne at the Musée Granet

Temporary exhibition at the Musée Granet, Aix-en-Provence Cézanne, voir autrement (Cézanne, seeing differently)

Project management in museum and graphic design Scenography and production, design and implementation Graphics Production of all 6 audiovisual displays Production of all soundtracks

150

Zen+dCo museum experience

151

CĂŠzanne at the MusĂŠe Granet

152

Zen+dCo museum experience

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CĂŠzanne at the MusĂŠe Granet

154

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Temporary historical exhibition

155

Client Musée du Temps, Besançon Budget 350,000 ex VAT Area 900m² 2007

Scenographic journey on Vauban city taker, engineer, fortification designer, and reformer

An exhibition in a 16th century palace

Temporary exhibition at the Musée du Temps, Besançon L’Arpenteur du roi, Vauban et Besançon (The king’s surveyor, Vauban and Besançon)

Project management in museum and graphic design Scenography Lighting design Exhibition catalogue Poster

156

Zen+dCo museum experience

157

An exhibition in a 16th century palace

158

Zen+dCo museum experience

159

An exhibition in a 16th century palace

160

Zen+dCo museum experience

161

An exhibition in a 16th century palace

162

Zen+dCo museum experience

Exposition temporaire

163

Client COMPA Conservatoire de l’agriculture Budget 180,000 ex VAT Area 1,000m² 2005

History of perfume, herbarium, raw materials, manufacturing, figures of the cosmetics industry, olfaction, impact on society, etc.

From a roundhouse to a still

Temporary exhibition at the Conservatoire de l’Agriculture (COMPA), Chartres Parfums... le pouvoir des odeurs (Perfumes… the power of scent)

Project management in museum and graphic design General and detailed scenography Lighting design Graphics and catalogue of the exhibition Integration of mediation and historical objects

164

Zen+dCo museum experience

165

From a roundhouse to a still

166

Zen+dCo museum experience

167

From a roundhouse to a still

168

Zen+dCo museum experience

Interior Design

169

Client Ms RenĂŠe Dujac-Cassou 2004

A modelling agency in Paris

Agence Crystal, slides, parallel Conversion of a Haussmann-style apartment in an office for a modelling agency Design, project management, and monitoring

170

Zen+dCo museum experience

171

A modelling agency in Paris

172

Zen+dCo museum experience

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A modelling agency in Paris

174

Zen+dCo museum experience

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A modelling agency in Paris

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A modelling agency in Paris

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Interior design

179

Client Agapé, Laurent Lapaire, Olivier Le Franc and Jean-Michel Centeno ( financier) 2011

66 Mazarine Street Tiny space of 40 m2 (ceiling height of 2.20 m) for a kitchen (French haute cuisine) led by chef David Toutain

A “haute cuisine” restaurant in a closet !

Agapé Substance

Open space concept and continuous line between tasters and cooks. Technical kitchen design Lighting design in collaboration with Thomas Klug Graphic identity by Béatrice Fichet

180

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181

A â&#x20AC;&#x153;haute cuisineâ&#x20AC;? restaurant in a closet !

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A â&#x20AC;&#x153;haute cuisineâ&#x20AC;? restaurant in a closet !

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A â&#x20AC;&#x153;haute cuisineâ&#x20AC;? restaurant in a closet !

186

Zen+dCo museum experience

CinéMétroArt, les cinémas de Galeska Moravioff

187

CinéMétroArt

1993 La Bastille cinema, Paris 1997 Le César cinema, Marseille 1999 Les Variétés cinema, Marseille 2003 Cinema complex, CNP Lyon

188

Zen+dCo museum experience

189

CinéMétroArt

CMA, Les Variétés, Marseille

190

Zen+dCo museum experience

191

CinéMétroArt

CMA, Le César, Marseille

192

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CinéMétroArt

CMA, La Bastille, Paris

194

Zen+dCo museum experience

195

The Popy years (Popy Moreni)

Her house and atelier Her boutique, Place des Vosges Her terrace

196

1/ Apartment and fashion house 500m² 1981-1982

Zen+dCo museum experience

2/ Popy Moreni Boutique place des Vosges 200m² 1982-1987

197

The Popy years (Popy Moreni)

3/ The terrace project 1 1989-1990 project 2 1994-1996 project 3 2006-2013

Article published in Elle dĂŠcoration Special Edition 11 January 2014 Photography Paolo Roversi Article Catherine Scotto Text Philippe Tretiack

par mu

con

Musées Expositions Permanentes Livraison 2015 Musée

de l'homme, Museum National d'Histoire Naturelle, Palais de Chaillot, Paris la maille du vivant8, Museum, Musée des confluences, Lyon 2013 MuCEM, Fort Saint Jean, Marseille 2014 8Espèces, 2012 Musée

National de la Porcelaine Adrien Dubouché, Direction des Musées de France, Limoges Masséna, ville de Nice, DRAC PACA, Nice 2006 Musée Bernard d'Agesci, Communauté d'agglomération de Niort, Niort 2002 Extension du Mémorial de la paix, ville de Caen, Caen 2001 Musée Basque et d'histoire de Bayonne, ville de Bayonne, Bayonne 1999 Musée de la Nacre et de la Tabletterie, Communauté de Communes, Écomusée des Pays de l'Oise, Méru 2008 Musée

Centres d'interprétations en cours Centre

d?interprétation archéologique de Cucuruzzu, Corse, équipe de Paul Franceschi Centre d'interprétation d'architecture et du patrimoine, ville de Besançon 2011 Planétarium de Reims, ville de Reims 2008 ShoB-room des grands projets, Nice team côte d'Azur 2004 Zoorama de Chizé, Conseil Général des Deux-Sèvres, forêt de Chizé 1997 Musée des Bastides, ville de Monflanquin et DRAC Aquitaine, Monflanquin 2012 CIAP,

1995 Centre 1992 Musée

de Culture Scientifique et Technique, CCSTI, ville de Chambéry départemental de la Résistance, Toulouse

Expositions temporaires 2014 C'était

lGHI Sous nos pieds, INRAP, exposition itinérante Révélée, Sotheby's galerie Charpentier, Paris 2010 Pavillon du de la République Bolivarienne du Vénézuéla, exposition universelle Shanghai 2010, Chine 2010 Contrefaçon, la vraie expo qui parle du faux, CSI, Paris 2009 Force de l'art 02, Grand Palais, Paris _ projet avec Philippe Rahm, RMN & CNAP 2009 Nos ancêtres, les Barbares. Voyage autour de trois tombes de chefs francs, Ville de Saint Dizier 2007 L'arpenteur du Roi, Ville de Besançon, Musée du Temps, Besançon 2011 Turkophilia

2007 La

ville projetée, AFEX - Pékin et Shenyang 000 ans sous les rails, INRAP, Châlons, Musée Lorrain, Musée de la Préhistoire, St Germain en Laye , Soissons

2006 100

2006 Cézanne,

Voir autrement, Musée Granet, Aix-en-Provence ville projetée, DAPA -culture France - AFEX - Biennale d'Architecture de Sao Paulo, Brésil 2005 Visions Française, comité France-Chine et Afex, Musée de l'Urbanisme, Pékin, Shanghai, Chonquing, Chine 2004 ParfumsOLe pouvoir des odeurs, Le Compa, Chartres 2003 Les formes du Parfum, Conseil régional, Chartres 2002 Paris rive, gauche G livre ouvert, Mairies du 5e, 12e, 13e, Ivry et point d'information ZAC 13e, Paris 2001 L'homme transformé, Cité des sciences et de l'industrie, Paris 2001 Electralis, Université de Liège, Palais des sports, Liège, Belgique 2000 Aquaexpo, IFREMER, Grande Halle de la Villette, Paris 2005 La

2000 Plaine

Terre, Le Compa, Chartres nucléaire sous haute surveillance, IRSN, Palais de la découverte, Paris, exposition itinérante 1996 Tous les savoirs du monde, BNF, salle Tolbiac, galeries Mazarine et Richelieu, Paris 1996 Une vie électrique, voyage dans le quotidien, EDF, salle Condorcet, CSI, Paris 1996 De l'atome aux étoiles, de la recherche G l'industrie, 50ème anniversaire du CEA, CSI, Paris 1995 Enfants de Langue et Drogmans, Institut culturel français, Palais de France, Istanbul, Turquie 1994 La généalogie des sentiments, exposition de Jean-Charles de Castelbajac, Galleria, Tokyo, Japon 1992 Exclusions, Toit de la Grande Arche, Paris la Défense 1992 Sur la montagne, Manège sarde, Chambery 1999 Le

1991 Les

années 30 G Maison-Alfort, CAUE 94, Maisons-Alfort magies d'Angkor, hôtel de la Monnaie, Paris 1991 Le monde de Proust, Orangerie de l'hôtel de Sully, Centre des Monuments Français, Paris 1991 Le monde selon ses créateurs, ville de Paris, Musée Galliéra, Paris 1990 Saint Sernin de Toulouse, trésors et métamorphoses, hôtel de Sully, Centre des Monuments Français, Paris 1989 Passion recherche, 50 ans de découvertes qui transforment notre société, CSI et CNRS, Paris 1989 Sous les pavés la Bastille, hôtel de Sully, Centre des Monuments Français, Paris 1989 Des menus plaisirs aux droits de l'Homme, salle des Menus Plaisirs, Versailles 1991 Les

1989 Le

Panthéon symbole des révolutions, hôtel de Sully, Centre des Monuments Français, Paris Morris-Hunt, Orangerie de l'hôtel de Sully, Centre des Monuments Français, Paris 1988 Claude Perrault ou la curiosité d'un classique, hôtel de Sully, Centre des Monuments Français, Paris 1988 Vincennes, mémoire et création, château de Vincennes, Centre des Monuments Français, Paris 1988 Le Mont Saint Michel, l'archange et la flèche, hôtel de Sully, Centre des Monuments Français, Paris 1987 Le Marais, mythe et réalité, hôtel de Sully, Centre des Monuments Français, Paris 1987 Le Corbusier, le passé G réaction poétique, hôtel de Sully, Centre des Monuments Français, Paris 1986 Un canal des canaux, Centre des Monuments Français, Conciergerie, Paris 1985 Les villes d'eaux, Salle Foch, ENSBA, Institut Français d'Architecture, Paris 1989 Richard

1985 Trouver

Triestre, Centre des Monuments Français, Conciergerie, Paris Rome, Athènes, Salle Foch, Ecole Nationale Supérieure des Beaux Arts, Paris 1981 De Michel-Ange G Gericault, chapelle des Grands Augustins, École Nationale Supérieure des Beaux Arts, Paris 1980 Pompéi, les travaux des architectes français G Rome, chapelle des Grands Augustins, École Nationale Supérieure des Beaux Arts, Paris 1982 Paris,

Concours 2014 Exposition

Carte G Puce, CNAM, Paris d'un espace muséal Cité du Cuir, Saint-Junien 2012 Cité internationale de la Tapisserie et de l'Art Tissé, équipe de Frédéric Borel, Aubusson 2012 Musée Arthur Rimbaud, équipe de Stéphane Malka, Charlevilles Mézières 2012 Exposition Versailles & l'antique, Établissement Public du musée du domaine national de Versailles 2012 Musée national Franco-Américain, Blérancourt, musée de Compiègne 2011 musée Le COMPA, équipe de Stéphane Malka, Chartres 2011 Exposition itinérante consacrée G la vie politique parisienne de 1880 G nos jours, Ville de Paris 2011 Aménagements intérieurs et muséographiques du pavillon central du Familistère, Guise 2014 Création

2010 Aménagements

design_architecture d'intérieur

mise en lumière

scénographie

muséographie

choix iconographique

définition des supports de médiation

direction artistique

médiation culturelle

Zen+dCo museum experience

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198

1989 Le

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CV Zen+dCo

1985 Trouver

Concours 2014 Exposition

2010 Aménagements

des espaces d'accueil et de médiation, avec Amanda Levete, Musée du Louvre, Paris Extraterrestres, Cité de l'espace , Toulouse 2009 Exposition CAMPUS, cité internationale universitaire , Paris 2009 Exposition Il était une fois le tour de France, Musée du sport, Monaco 2009 Exposition Gandhara, Musée Guimet, Paris 2008 Fractal FloBers, Installation Miguel Chevalier, artiste, pôle commercial Confluences, Lyon 2008 Centre d'Interprétation Asporotsttipi, site Abbadia-Corniche, Hendaye 2008 Musée de site du Trophée des Alpes de la Turbie, Centre des monuments nationaux 2008 Musée du jouet, Moirans en Montagne 2009 Exposition

2008 Pavillon

français de l'exposition universelle Shanghaï 2010, équipe Périphériques, Shanghaï, Chine temporaire 8le siècle du Jazz8, Musée du Quai Branly, Paris SMAC de NRmes, équipe Tour de Jean-Paul 2008 Espace muséographique, Eiffel. Viguier 2004 Centre d'Interprétation MaisonCNAM, de l?eau,Paris Oloron Saint Marie, équipe de Brochet Lajus Pueyo 2007 Exposition SHBonjour BétonHT, 2004 Aménagements et pédagogiques serres du jardin des plantes, Paris 2007 Exposition sur leMuséographiques Commerce équitable, Muséum dedes Lyon 2004 Exposition Marie Antoinette, RMN, Grand Palais 2007 Maison Arthur Rimbaud, Charleville-Mézières 2003 Exposition permanente, Terre vue Medieva, de l?espace, CSI, Paris 2007 =quipement culturel et touristique Angers 2003 Exposition d'Irissarry, Benjamin Franklin, Paris 2007 Commune mise en CNAM, valeur du bourg, Irissarry 2003 Événementiel Plages 2007, MairieAfrique de la ville 2007 Freedom ParkParis Architectural, Pretoria, du de SudParis 2003 2008 Exposition

ExpositionCharles Miguel Chevalier, 2007 Mémorial de Gaulle, 2003

Lyon Colombey les deux églises. découverte, Paris Centre d'Interprétation Espace muséographique de Claracq, Thèze 2006 Europan 7, Reims, Caserne Jeanne d’Arc, dans l'équipe d'artificial architecture 2003 Musée National du sport. 2006 Design Home sBeet mobilParis home, CANE de la Sarthe, dans l'équipe d'artificial architecture 2003 Mémorial de la déportation, Compiègne 2005 Centre d’interprétation Château Gaillard, Les Andelys 2002 Exposition « Il y aura l?âge desCambodge choses légères », CSI, Paris 2005 Maison du visiteur à Angkor, 2002 Centre d'Interprétation Cité du Surf, Biarritz 2005 The Grand Egyptian Museum, Giza, Egypte 2002 Antonin Artaud, Bibliothèque National de France, Paris 2005 Exposition Saint-Yves, domaine de la Roche-Jagu 2002 Centre Cité des d'une Matières , Le Vallasse équipe de Brochet Pueyo 2004 Le vallond'Interprétation de Stang-Alar, création promenade entre Océanopolis et leLajus rivage, Brest 2001 Exposition et Volcans, Palais2003 de la 2006 Museo de laSéisme Indumentaria, Madrid. 2003

2001 Exposition

phares et balises, domaine de la Roche-Jagu VMélièsW Espace Electra. Paris 2001 Exposition VLa Boussole et l’orchidéeW C.N.A.M. 2000 Molenbeck 2001 Exposition

2000 Exposition

Rousseau, musée d'Orsay, Paris anniversaire EDF, Houston, Texas 1994 ExpositionHMise en boRte, RMN et MNATP, Paris 1994 Exposition Porcelaine de Meissen, Petit Palais, Paris Musée, Paris 1991 Musée du CNAM, muséographe dans l'équipe de Gilles Bouchez, Conservatoire National des Arts et Métiers, Paris 1990 Musée d'archéologie de Bélesta, Bélesta 1998 Exposition

Lieux Culturels 2003 Parc

Leonardo da Vinci, parcours scénographique du château du Clos Lucé, Famille Saint-Bris, Amboise cinématographique, CNP, Galeshka Moravioff, Lyon 2002 Cinéma Bellecour, Galeshka Moravioff, Lyon 1999 Cinéma Les Variétés, Galeshka Moravioff, Marseille 1997 Cinéma Le César, Galeshka Moravioff, Marseille 1993 Cinéma Le Bastille, Galeshka Moravioff, Paris 2003 Complexe

Aménagements d'intérieur 2011 Agapé

Substance, restaurant de haute cuisine, 66 rue Mazarine, Paris 6ème Le château de ma mère, Loubens-Lauragais 2010 Studio de Danse , Line and Mind, Rue Keller, Paris 2004 Agence de mannequin Crystal, Renée Dujac-Cassou, rue de la Grange Batelière, Paris 2010 Réhabilitation

2003 Terrasse

de Popy, Popy Moreni, Rue du Petit-Thouars, Paris ZenYdCo, Zette Cazalas, rue du Temple, Paris 1983 Boutique Popy Moreni, Popy Moreni et YPOP, Place des Vosges, Paris 1981 Appartement Popy Moreni, Popy Moreni et YPOP, Paris 2000 Agence

Projet événementiel 2007 Batimat, 1998 Le

salon de la construction 8La matière autrement8 avec Design composite défilé du siècle, service communication EDF, avenue des Champs-Elysées, Paris

exposition personnelle 4 000 cintres de teinturier parfaitement dessinés commandés chez Retif, 1' Psittaculini, des perruches achetées à l’oisellerie du Pont-Neuf, 0fr librairie-galerie, Cité Griset –Paris 11 2008 boardIndoor, Ofr librairie -galerie, Paris 3 2001 8Matière, matériau, matière GriseT à la Maison de l’Architecture de l’Isère, Grenoble 2010

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Zen+dCo museum experience

Intégration de la collection des mollusques Chantier muséographique musée des Confluences 19 nov 2014

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Picture of the month

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Zen+dCo museum experience

muséographe muséographie

, , muséographique ( terme employé dès 1764 pour évoquer l’art d’exposer ) se déclinant ; architecturale ou Construire le monde utopique où objets et visiteurs se rencontrent (Jean Davallon) / scénographique ou Adjectif en vogue dérivé de l’art de la perspective appliquée à la scène théâtrale pour désigner l’action précédente / graphique ou Construire et esthétiser le verbe / plastique ou Créer un environnement issu d’une narration / digitale ou Représentation virtuelle substituant l’acte de construire / urbaine ou La ville comme Lieu idéal d’un acte évènementiel, culturel, touristique.

Zette Cazalas muséographe, direction de projet(s) Jesus Pacheco architecte, chef de projet(s) Claudia Castelletto architecte, assistante de projet(s) Lucas Tisné designer, assistant de projet(s) Claire Feuilly plasticienne, assistante de projet(s)

zendco.blogspot.com twitter.com/zendco www.zendco.com zendco@gmail.com +33 (0)1 4277 2277 Zen+dCoOffice pour design stage (0)1 Master4277 ENSAPVS fax +33 2255

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