2012

2013

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2012

2013

T r a n s c e n d i n g d i s c i p l i n a r y

B o u n d a r i e s

B e r n a r d K a h a n e , D i re c to r, E N S C I - L e s Ate l i e rs

As the new director of ENSCI-Les Ateliers I am delighted to introduce this 2012–13 catalogue of graduate projects. It bears witness to the wide variety of work that I have discovered here over the course of my first year.

This school is not only an important centre for design teaching and research, it is also a special place in the world of design education thanks to its teaching methods and steadfast interest in what we might call ‘new territories of design’ (interactive design, eco-design, service design, participatory design, invisible design, etc.).

At ENSCI-Les Ateliers each student’s thesis defence takes places over an entire half day – a particularly demanding format. Each time I have been present at these defences I have sensed the challenges that emerge through the design process and the original and serious view-points cast on the worlds of the past, present and future. In a world where change is the one new constant, these approaches and prac-tices by designers are more essential than ever when it comes to developing and finding meaning in future practices, combining aes-thetic and functional concerns in objects and systems that are both material and immaterial, and opening up these territories of design that will build tomorrow’s world. Unlike any other, this school knows how to transcend disciplinary boundaries (graphic design, wood, metal, resin, electronics, digital design, etc.), by forging links with every profession (researchers, engineers, managers, architects, art-ists…), thereby exploring the potential and the constraints of many different approaches. These approaches are sometimes embedded in a tradition that they re-examine, often through technologies that question it, such as digital manufacturing or data visualisation. For me, each student’s degree means a window onto future worlds through which the design student uses their creation to ask what the industries and services of tomorrow will be like. It is this ability and willingness to create, to transform reality, this sometimes Utopian, sometimes critical energy that drives the design students at this school, who are precious to us all.

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industrial design

8T h i r T y y e a r s o n : s T i l l a u n i q u e s c h o o l

G I L L E S B E L L E Y

9r e s i s T i n g p r e s e n T i s m

J a n n I c k T h I r o u x

10CaMille angiBaudS u p E r - p o w E r S

18anthOnY ashCrOFtA C o N T r A C T I o N

26FlaVien BergerD r E A M M A C H I N E 0 0 3

CO

nte

nts

58aleXandre eChasseriauT r y p T I q u E

66laureline galliOtC o N T o u r E T M A S S E

74Pauline gilain2 D . 5 C o L L E C T I o N

106rOMain JungI N D E f I N E T H E D E f I N I T E

114aZilis JungstA L g I p o w A C u LT I v E r L’ é N E r g I E

122ungdOn KiMA C o N T r A D I C T I o N T H AT r E p r E S E N T S D u r A b I L I T y

154ClÉMenCe PageS E r E N D I p I T y

162rOMan Pinp A r A L L E L u N I v E r S E S

170MariOn PinaFFOp A r T y fAv o u r S

202Charles seuleusianp r o g r A M M E D M AT E r I A L

210Julie thiesseno b J E C T S p AT T E r N S

218Claire trÉFOuXT o q -T o C

245

teXtile design

246T e x T i l e d e s i g n aT e n s c i - l e s aT e l i e r s

247a s p e c i f i c T r a i n i n g

c h a n Ta L To u r n aY

248Julie COrsinw A N D E r I N g A N D w o N D E r I N g

256CÉCile diaw E Av E T H E S w I N g

264lYsandre graeBlingI N v I S I b L E T o T H E N A K E D E y E

296ChrYstel saMsOnH o L o

304CÉline thiBaultK H AT I p u r A r o A D

312aliX ValignYb r A Z Z Av I L L E T o K y o

34thaÏs COutinhOI N T H E T r o p I C S

42Perle-lOan dang heudeBertI N A S TAT E o f S u S p E N S I o N

50raPhaËl dauFresneM o o r I S H

82guillian graVesb I o M I M E S I S

90Julien grOBOZI N T é r A C T I o N S é L é M E N TA I r E S

98JOhanna hartZheiMo b J E C T S I N M E TA M o r p H o S I S

130FlOra langlOisvA r I AT I o N o N A r A D I o S E T

138Claire laVaBreS H A p I N g T H E E C H o

146sandrine de lignaCC u r I o S I T é S

178CharlOtte POuPOnH A r N E S S I N g E r è M E

186daMien reMuetA N o T H E r p L A C E : f I r S T AT T E M p T r E L I E f

194JOËlle rigalf r E S H

226Yun WangS H A r E D p r I vA C y

234aleXandre WillauMeL A vA u D A I r E

242p r o j e c T a n d T h e s i s d i r e c T o r s

272JOrdanne lereCuleurr E M E M b r A N C E A C C o r D I N g T o v I C T o r

280CÉCilia lusVenK I L o M E T r E *

288MariOn MOrandiI N T E r A C T I o N S

320p r o j e c T a n d T h e s i s d i r e c T o r s

322T h e n o n s T o p d e s i g n s c h o o l

324p i c T u r e c o n T e n T s

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T h i r T y y e a r s o n :

s T i l l a u n i q u e s c h o o l

g i l l e s B e l l e Y , H e a d o f g ra d u a t i o n ye a r

When it opened in 1982, ENSCI-Les Ateliers championed teaching by means of projects, courses of study tailored to the needs of each individual stu-dent, and a form of teaching that did not specialise in a restricted range of design practices, thus asserting both its uniqueness and its specificity. Thirty years on this approach still holds true. What are the results? The graduate work of 2012–13 gives us the answers.

In the subjects they have chosen for their theses, the students address classic design questions (on the methodologies and processes of creation; the relationship between design and material; and the function of objects); they tackle topical challenges in industrial design (innovation; evolution in production modes; user interaction with the object; design’s suscep-tibility to crises); they pioneer approaches to new subjects (living in extreme environments; the relationship between design and capitalism); they demonstrate unique approaches to objects (thankless objects; sus-tainability; jokes in design) or to the world (citizen involvement, artifi-ciality, honesty, memory, tedium).

The degree projects themselves also display a similar profusion of produc-tion, from the classical (recycling, decoration, furniture, vacuum clean-ers, radios) to the unique (party, the Antarctic, super-powers), including all the fields that design addresses today (alternative production and fab labs, smart grids, digital design, industrial design, service design).

The diversity of forms is also striking, ranging from texts, photographs and drawings to image compositing and comic strips. Free to interpret their academic constraints, for the students the thesis is an arena for analysis and personal research. An overview of all the projects reveals broad het-erogeneity in the final products.

This profusion of themes and products should not be seen as the school simply encouraging a multidisciplinary attitude, however. This diversity is above all the product of the unique approaches created by the students with the school’s help. Ultimately, beyond the themes and products, we should probably above all observe the positions and perspectives advo-cated by each graduate. And we should note that the very impossibility of describing what ENSCI-Les Ateliers produces is a mark of its unique-ness and specificity.

11

r e s i s T i n g p r e s e n T i s m

J a n n i C K t h i rO u X , p re s i d e n t o f t h e J u r y

Ever since I became President of the Jury of the industrial design graduates at ENSCI-Les Ateliers in 2011, people have regularly asked me why I enjoy doing it. You might think this is a strange question. My answer is that it is good to know how to give and to take time listening to the designers of the future. Then I mention that ineffable something that catches my attention at every thesis defence, something that is without doubt linked to the school’s unique approach and to the students’ desire to investigate the many arenas of design, whether past, present or future.

Globalisation and the crisis in Europe present us with many problems. You might counter that this is nothing new: indeed the world lived through a similar situation in the second half of the 19th century, during what was called the Long Depression (1873–96).

The future design professional draws on creativity, form, materials and inno-vation, and questions politics, the industrial world and common practice primarily through objects or experimentation. The history of design is closely linked to the Industrial Revolution and its continued development relies on technological innovation.

What makes today’s situation different, perhaps – and this is ongoing – is the economic downturn and stagnation produced by the crisis and its nega-tive climate. This entails a number of phenomena: massive youth unem-ployment, instability, undermining of the state’s sovereign powers, national self-interest, the rise of extremism, the information revolution, etc. Are we entering a period of belt-tightening and cutbacks? How can a student at ENSCI-Les Ateliers think about their future in this kind of atmosphere? How can they continue to investigate the development of a profession that many manufacturers still do not consider fully legitimate?

With courage and determination the students continue to ask questions, suggest new ideas and tackle new problems. Is innovation the right way forward? Has the fab lab had its day? What future is there for intellectual or industrial property? How to contribute to this society and respond to new practices? In short, how to take part in urban life to make it liveable and pacified? How to design a tomorrow that takes account of the past while being part of a more or less short-term future?

What is admirable in the students of this school is that they never succumb to ‘presentism’. What is presentism? I define it as our inability to think long-term, since for the last forty years we have been experiencing a transformation in our experiences and in our relationship with time. Short-termism now means storytelling via sequencing, which is the same as a continuous present. The past and the future have become almost obsolete. In this context it is hard to project, even to think about one’s contribution to or impact on the world, as the present tends to take up all the space by virtue of one word – crisis.

I encourage all of you to consider and think hard about what these graduates are proposing, for their projects might be the sources of innovation that will re-invent the world.

gradua-

project

t ion

Super-heroes are everywhere in today’s popular culture, feeding the fan-tasy of the high-performance man. They reflect our world. These powers are the area of global research in which this project operates. Within this imaginary world, four categories have been chosen in terms of their future potential, their ability to ask questions about society and to take a critical approach.

project director : guillaume foissac

S u p E r -

p o w E r S

angiBaud

CaMille

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caMILLE anGIBauD

K r y p T o N I T E

- Fans know all about this rock from Superman’s planet for its disastrous effect on the caped hero. These objects explore the question of the powers created by new technologies. Kryptonites are thus used to foil or modify these new omnipotent powers. Red kryptonite challenges predictability; green kryptonite

offers a temporary disconnection; and black kryptonite provides a way to oppose omnipresence.

T H E T I M E M A C H I N E -This object addresses contemporary questions about industries that deal in memory and big data. It is located in a future where s algorithmic software such as this will surely be much more common. In the near future, the mass of information they handle could offer the user a number of more or less useful services. Here this capability is used in the context of a subject as inscrutable, subjective and impenetrable as one’s future life or destiny.

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T H E I N v I S I b I L I T y C L o A K - The cloak is based on two principles: camouflage stripes and the moiré effect. It is a piece of clothing to be worn like a banner plus a tool that protects against the capture of our image and identity, particularly in public spaces. It covers the upper part of the body and part of the face, which are an individual’s most recognisable areas.

T H E T E L E p o r T A T I o N- The movement of a body or an object through space without physically impacting on the points between departure and arrival. This process of deconstruction in one place and reconstruction in another recalls the operations of contemporary recycling channels that seek to make new objects out of

useless materials. It is hence possible to imagine a conceivable process where ‘nothing is lost, nothing is created, everything is transformed’ [Lavoisier]. Materials that are upcycled make new items out of the potential of the original objects.

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Thesis

i a m n e s i a

project director: Yann Potin

Lost your memory? This is the feeling we get when trying to recall a precise memory that seems to disappear the more we focus on it. Dans la Mnésie aims to question the relationship between the objects that surround us and our memory, to understand how they preserve and transform it. It identifies the changes made to our memories through ‘attic’ objects, the media and machines. Personal memories and the objects we own will become sites for analysis and research on the evolu-tion of human memory.

caMILLE anGIBauD

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selected

project

f o l d e r

o f d r e a m s

2009

partnership with Matelsom

In shape and form it looks just like a normal folder, the kind found on every desk. On the outside it is made of thin coloured cardboard that blends into the deskscape. When the folder stands opened in front of the potential sleeper, they find the inside covered with a midnight-blue material that creates an atmosphere conducive to a relaxing, refreshing power nap.

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selected

projecta s i d e

2011

partnership with SynTTAC

project with Luc Serreboubée

Each of the objects in this collection is designed to accompany moments of well-being during the day. For each object the choice of wood was key: a beech duckboard for when you get out of the bath; sticks of liquorice for stirring tea, cedar perfumed diffusers to protect linen; beech wind-chimes for an afternoon nap; and a pine garden lantern.

caMILLE anGIBauD

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selected

project

m u o p s

2012

partnership with l ’Atelier

de Création Urbaine (ACu) and the région Île de france

project with Marine Gaudin (CELSA student)

The Région Île de France invited us to examine the future of tourism in 2030. Muops consists of two devices: a sensor and a souvenir printer. When the user holds the sensor while travelling, it starts to record sounds, video and information about the environment. The button can be pressed to capture an image that will be the focus of this souvenir. At the exact same moment the printer, the device left at home, creates a physical representation of the journey according to various criteria. On his return the user discovers the image that has been created while he was travelling.

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gradua-

project

t ion A C o N T r A C T I o N

How can we reveal or reappraise the essential nature of a technical object? ‘Design by contraction’ is one possible answer, focused on shaping processes and on research into the identity of materials, what their lim-its are and wether they can be extended. Trying to achieve more with less through experiments in shrinkage and hybridisation, this design meth-odology finds the shortest route between a function and its implementa-tion. To illustrate the process of development by contraction, a synthesis of this research is illustrated here through two everyday objects.

project director : jean-françois dingjian

ashCrOFt

anthOnY

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anThonY aShcroFT

p r I N T E r -S C A N N E r- This machine is technically configured so that it can work with all dimensions and in any format. Its multipurposefulness is made possible by contracting its two basic functions combined with the transfer of optical pick-up technology.

Thanks to the precision of the optical technology and to reduction of the number of components via hybridisation (such as the printed circuit and the casing), it is possible to imagine a portable device and guidance structure that are both reduced to the absolute essential.

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S u S p E N S I o N L A M p- Made from a bamboo stalk, this lamp is an object comprised of crafted elements plus elements derived from industrial processes. In its final form the lamp evokes both these worlds. This object’s organisation and function are closely linked to bamboo’s internal, hollow, compartmentalised structure, here revealed.

thes

isth

esis

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thesisn a T u r e s

d e l ’a r T i f i c i e l

Thesis director: Laurence Salmon

The central theme of this thesis addresses the nature of human produc-tion and how we experience it. Through an analysis of different ideas linked to both traditional and contemporary production methods, this research is primarily an opportunity for understanding how even the most ephemeral artificial forms construct a material and symbolic system that underlies our relationship to space and time – in other words, our culture. This study in the evolution of production techniques, from the first rudimentary tools to industrial processes, in particular highlights the profound transformations that man-made systems have undergone over the course of the last century. It enables us to better understand the reasons behind the recent change in the values that we attribute to the material world. In short, this thesis investigates the different mecha-nisms, both modern and pre-modern, through which man creates and perceives the artificial world. The aim is to pick out the fundamental aspects that must occur in the design of contemporary artefacts.

anThonY aShcroFT

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selected

project

K i T c h e n

w o r K B e n c h

2008

partnership with vIA

and kitchen design company Hardy-roux

project undertaken with Stanislas Rak

This project is a reinterpretation, in the world of kitchens, of the techno-logical and ergonomic rationale of a workbench. The different elements in this kitchen (storage boxes, mixer tap, hot plates and chopping boards, etc.) have been regarded as utensils in their own right that need to be moved around easily, cleaned and integrated in the space of the work surface. This has been done using a magnetic grid that has been incor-porated into the worktop. This project was selected and prototyped for presentation at the 2009 Foire de Paris.

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project

anThonY aShcroFT

T a p e d i s p e n s e r2009

A week focused on different computer-aided design

and prototyping techniques

This project re-examines the practical aspects of 3D printing as an inte-gral part of implementation of the final product. Through the resis-tance and flexibility of ABS plastic filaments added in layers during fused deposition modelling, the functioning of this tape dispenser echoes the practical qualities of the filaments which act in the opposite way to wood grain.

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selected

project

e n e r g Î T e s

2010

partnership with

DIgITEo - LIST - INrIA/LrI/IN-SITu

In order to make people more aware of their patterns of consumption, this project proposes the decentralisation of energy production by using local resources. The idea is to develop an energy region made up of local producers and consumers. Using instant mapping tools, and estimated measurements and calculations of the various network fluctuations, the Energîtes app aims to simplify access, management and deploy-ment of this new territory.

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D r E A M M A C H I N E

0 0 3

gradua-

project

t ion

This project proposes a new relationship to the experience of listening to music and to packaging. The listener is given the possibility to ‘aug-ment’ the piece of music and modify it. An effect exclusive to the machine gives the listener a performative freedom. These modulations are operated via controls. The artist chooses which effect the listener can play on in relation to his composition. The swirling process adds a random factor, as each colour produces a unique result, offering different levels of perception.Each machine is dedicated to one piece of music, and each is highlighted by a word. These three machines form a first season. A season is a group of machines that share the same form and the same ornamentation technique.

project director : matt sindall

Berger

FlaVien

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FLaVIEn BErGEr

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thesis

FLaVIEn BErGEr

g u i d e T o T h e

g e o c h r o n m e c h a n e

Thesis director: Rémi Sussan

The Geochronmechane is a fantasy herbarium, created at the junction of science and philosophy, combining the occult and the spiritual. It is a two-dimensional foundation for understanding time and its dimensions. This treasure map is a representation of the time machine created by author Paul Laffoley. This thesis is conceived as a guidebook. It helps the viewer analyse this profound work —the Geochronmechane painting — and helps him to navigate its multiple references and strange forms.

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selected

project

d i m i T r i

2008

This is a formal investigation of the fundamental exercise of designing a chair. Dimitri, or how to simulate superfluous technical areas through a sculptural form inspired by space robotics. Using this same design prin-ciple, a low, armless chair is produced. The materials used are extruded polystyrene, alkyd paint and phosphorescent strips.

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selected

project

a r T i f i c i a l

f l o w e r s

2010

High-definition video, 08’, 04”

If we could synthesise smells in the same way we can synthesise images and sounds, what kind of object would that create? Les Fleurs artificielles tells the story of a young man who comes across such a technical tool. It is a story about reality and fantasy, about a tool to make us believe, about short-circuiting perceptions. It is a moment of teenage science fiction whose main character is a white object that fits into the palm of the hand and that intervenes in the real world.

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selected

projectd a m d y s T o p i a

2011

partnership with

a hydraulic energy consortium

This project reinvents the image of the dam through five science-fiction stories. To understand these schematic shapes we must read the tale that goes with them. In one story the dam is replaced by a huge creature from another planet; in another it disappears and thousands of little drone fish collect the energy instead; in yet another the dam becomes the source of sublime aquatic shows and fantastic rainbows that herald a new religion.

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I N T H E

T r o p I C S

gradua-

project

t ion

This project dreams of highlighting the intelligence and beauty of what already exists. It designs minimal devices to shape the immaterial qual-ity of a moment. Starting with one thread, it is possible to create com-plex, precise materials thanks to industrial mesh techniques. By controlling these materials’ structure and texture, it becomes possible to shape the light and shade that pass through them; more than a skin, the textile becomes a filter. On the outside, the inside and the boundary, this project designs three moments through three objects conceived to be just right: a roof, a light fitting and a partition whose textile elements are made in a single-step process, shape, effect and function are included.

project director : swann Bourotte

COutinhO

thaÏs

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thesis

ThaïS couTInho

p r é fa c e

Thesis director: Jérôme Eneau

This project addresses the theme of autonomy in learning, the impor-tance of what one owns and what one has done, and the choice of an active working method. This thesis describes conversations between three designers, an amateur astronomer and a master glass painter. It is also a voyage through a landscape of thought, a journey by night-train. There are sections on knowledge, myths and science, auto-didacticism and intuition. Préface describes what is already there, what goes before anything, what does not aspire to be validated.

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selected

project

r e n é e

2008

This is a project to design a chair and its collection. The idea is to make a fiction materialise, to transform a story into an object. A video intro-duces the character of Renée. The chair, armchair and day-bed are made of birch plywood and solid maple.

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project

a T a l a n T e

2009

partnership with Arcoroc

This is a ten-piece 10/18 stainless-steel, moulded and stamped cutlery set. The fork seems to have been made from just a single fold in the steel, which creates its volume and its comfortable fit in the hand. The knife is designed using the same simple curves.

ThaïS couTInho

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selected

project

c l a i r

2011

partnership with Schneider Electrics

This project redesigns an already existing solar-energy lighting system for people who have limited access to electricity. The size of the LED torch, which also contains electronic circuits, is reduced to a minimum. To protect the diodes from dirt, an ordinary plastic bag can be placed over them, then cut to fit using the teeth on the casing.

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I N A S TAT E

o f S u S p E N S I o N

gradua-

project

t ion

The objects we display, whether everyday or rare, occupy our home in a more or less purposeful way and sit as best they can on shelves or items of furniture. How can we give them real breathing space, reveal them and create a narration for them?En Suspens is a device made up of four main elements in wood and fabric to which a video player, wooden plinths, lighting and a glass case can be added. Created in different formats, the items of furniture function indi-vidually or grouped together, depending on the size and characteristics of the objects to be displayed and the space available in the home. Like an exhibition plinth, each item disappears when closed in order to high-light the displayed objects. When open, the coloured, padded interior evokes the idea of protection for the objects, whether placed in storage or on display, and dramatises their staging.

project director : Vincent dupont-rougier

dang heudeBert

Perle-lOan

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PErLE-Loan DanG hEuDEBErT

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The concealed technical elements (detachable magnetic door, adjustable interior lighting, exterior lighting via a technical surface into which a cordless light is ‘planted’) help to display the objects. The wooden plinths emphasise and re-define particular areas while vanishing beneath the technical fabric of the surface. The device can house a video box that looks like a mirror, enabling objects that are not visible in the collection to be perceived, for example, or to project

a particular viewpoint. The screen disappears when it is switched off, turning back into a plinth again. A glass case made of two-way mirror enables the object to be viewed from different angles, and plays with the viewer’s sense of perception. This device thus shows objects in a state of suspension, querying notions of presence and absence, the visible and the invisible.

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c u r i o s i T é ( s )

Thesis director: Jannick Thiroux

In a society cluttered with objects of all kinds, it is easy to accumulate, whether consciously or not. We are ruled by objects, which enter our daily life and, after the act of accumulating, create the act of collecting. Whence this passion for collecting, this infatuation with the object? What place and role do collectors have in society? From the Wunderkammer and Kunstkammer to the cabinet de curiosités, the chambre des merveilles or the museum, in what ways are collections still a source of inspiration for contemporary art and design today? This thesis tries to understand the similarities that sometimes exist between the ways in which artists and designers work and make our view of the everyday object evolve.

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project s h o j i

2009

Both a screen and a heater, this object has an everyday utility whatever the season. Made of wool felt, chosen for its thermal and mechanical properties, the openwork allows light and heat to permeate, creating an intimate space in the domestic sphere. Inbuilt radiant heating tubes enable optimal directional heating.

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selected

projectc u m u l o s T r a T u s

2009

One is small, spherical and yellow. The other, its antithesis, is huge, irregularly shaped, broken up, and its colours (hidden behind the white layers) are revealed as the shadows change and the object moves. This project goes to the heart of the topographic shape to extract a yellow ball, like matter in fusion. It plays on capturing the colours suggested by the shadows. We can see them brightly, then when the light permeates the layers and we can see only the edge, they become briefly evanescent.

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project

c e l l s

2010

How to make best use of offcuts of materials in order to upcycle them into new objects? Starting with a construction principle of cellular sur-faces that create volume, we look at the properties of flexibility and rigidity that they create to make accessories that respond to the demands of the body in motion.A shoe made of identical leather strips makes use of these properties of flexibility and resistance to compression to create a shape that becomes the sole of the shoe.A bustier made of more than 900 fabric cells forms a flexible tube that follows the curves of the body.

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53

gradua-

project

t ion

A margelle is a seat that forms the edge of a pond. A multi-person, informal causeuse with an open form. This project is an outdoor furniture system. Deliberately simple and lightweight, it revolves around two margelles, two artificial stones. They are hollow containers covered with a mineral material and held together by a galvanised steel frame. The project inves-tigates ideas as subjective and abstract as pleasure and comfort. The pres-ence of shade can bring some additional charm, so textile elements are used here and there to complete the design.

M o o r I S H

project director : jun yasumoto

dauFresne

raPhaËl

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raPhaËL DauFrESnE

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is

thesis

i n T h e s h a d e

Thesis director: Maurice Ronai

An atlas is a diffracted form and thought. It is a means of knowing the world in a roundabout way, through montage. This thesis takes us on a walk. The use of the satellite dish allows us to show in turn: Swiss architecture; the light shows of a Paris cabaret; the formalist abstrac-tion of Minimalist art; Merce Cunningham’s choreography; Tacita Dean’s art; the lyricism and epic nature of a sporting challenge; the dreaminess of a water cinema; the eclecticism and speed of the New Age; the perspective down the central path in the Tuileries garden; the colours used by a carnival painter, etc. Through this corpus, certain subjective affinities between places and distant figures will be explored. If analytical thought is needed to successfully complete a project, a more intuitive, less direct kind of thinking surely offers the conditions required to conjure up an idea.

raPhaËL DauFrESnE

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projectc y c l o p e

2008

project with Charlotte Depin and Roman Pin

This project looks at signage in the city to develop a system that is both personal and contextual. Cyclope is a GPS system for bicycles. The route planning comes from an Internet site that maps the best routes while taking account of events during the journey. The guidance system works via a projector fixed to the handlebars. This projects luminous signs directly onto the road to show the cyclist the way. Photos: Simon Vanquaethem

57

selected

project

n e w

f o r o l d

2010

partnership with Le Syndicat national

des Tourneurs et Tableliers du Jura

project with Adrien Goubet

How to enhance traditional expertise? This contextual project designs a family of utensils and furnishings for the kitchen. It is a collection of eight objects that meet basic functions: a stool re-designs the paradigm of the milking stool; a corkscrew recalls a vine stock; a pair of scales combines the formal archetype of mechanical scales with the technology of an electronic scale; a pestle and mortar are inspired by a millstone, etc.

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selected

project

s a K a

2011

project with Pierre Alex and Emeline Raphanaud

The identity of a place involves a system that is subtle and hard to repli-cate. The starting point of this project is the observation that codification of national football teams seem globalised nowadays, and the Japanese team is no exception to this rule. This project aims to put signifying details back into the team’s kit. Photos: Alexandre Willaume

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61

gradua-

project

t ion T r y p T I q u E

project director : laurent massaloux

This project is a voyage, a journey of several months in search of uncon-ventional materials, technologies and expertise. On the subject of spe-cialists we could express the same distrust expressed by Roger Tallon who, on summing up his career, described them as people ‘who only know how to do what they know how to do’, a backhander directed at the designer’s ability to always know how to shift the area of his lack of expertise. Is it not the designer’s job to act as go-between? This project aims to place design at different junctions or articulations of the triangle formed by ‘expertise – material – technology’, in order to investigate and develop projects that might reveal an unexpected richness created by this ‘patchwork’ approach.

eChasseriau

aleXandre

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aLExanDrE EchaSSErIau

T H E H E L M E T- Keratin is a polymer found in hair and nails. Working with biochemist Antoine Rouilly, we tested the qualities of this substance though a series of experiments on hair and then on wool. By following the moulding process used by the milliners of Caussade [France’s leading hat-making town], we submitted the keratin contained in the wool to several tonnes of pressure using a machine from Antoine’s laboratory. At 150ºC and almost 11 tonnes of pressure, the wool melted. These experiments produced extremely rigid shells with mouldable properties and interesting mechanics that can be used in the manufacture of cycle helmets.

T H E C A S E- This sturdy leather iPad case has an integrated keyboard. The object arose from the desire to integrate a printed circuit into the leather itself to make the electrical connections durable. With the help of tattoo-artist Jéremy Lorenzato, conductive ink with carbon charged particles was tattooed directly onto the leather.

This printed circuit enables electrical signals to be transmitted from the keyboard to the iPad by means of a miniature Bluetooth aerial. The case and the keyboard were shaped in a single operation thanks to the figuring work of master ‘gainier’ (leather craftsman) David Rosenblum.

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T H E S p E A K E r- This speaker derives its acoustic qualities from the sound box that was digitally milled by marble specialist Jeremy Codron. Its resistant, heavy sides incorporate a sound system tuned by acoustic engineer Mathias Rémy. The technical elements of the speaker face a dichroic surface that either diffuses or concentrates

the sound depending on whether the speaker’s convex or concave side is being used. This aesthetic treatment is possible thanks to a very thin layer of metal created by Fabrice Lemarchant of the Fresnel Institute in Marseille. 63

thes

isthesis

aLExanDrE EchaSSErIau

j o K e r a m a

Thesis director: Catherine Geel

“You must be joking? You must be joking!”This thesis roams the question linked to this everyday expression. Indeed, while some design projects challenge us – ‘You must be joking?’, others surprise us – ‘You must be joking!’. None ignore our relationship to the idea of play, however (whether intuitive or intellectual). In a world where a project’s success is dependent on story-telling, this thesis aims to observe the silent desire of designers to create, manipulate or sometimes stifle their laughter in another world, which aspires to crack jokes rather than treat them subtly.

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ts

selected

project

m a d a m e f l e x

2009

The challenge of this project is to express fluidity in wood. After a methodological sampling of the properties of sand rushes, several cha-racteristics intrinsic to the material were selected. These lines of tension are fixed during the oven-moulding process. The tongs are a logical result of this process.

65

selected

project

aLExanDrE EchaSSErIau

i n T e r n s h i p

i n j a p a n

2010

with Jin Kuramoto

Designer Jin Kuramoto is well known in the world of Tokyo design. He has gained experience working with Naoto Fukasawa and Kenia Hara. He knows everyone and everyone knows him. His studio has three employees. This stool project represents a new design approach for me, as it means re-thinking the design brief in a bespoke way for young Japanese couples who are setting up home. ‘A stool but not only a stool’, is the concept. The stool consists of a hand-turned oak base and seat on a frame of moulded oak.

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67

selected

project

s u p r a c i r c u s

2011

partnership with CNrS, LpS orsay,

Cité des sciences

Set in motion by superconductivity, the menagerie inmates in this miniature circus swing, dance, are catapulted and perform acrobatics. Each little scene becomes a pretext for discussing the properties and possibilities of superconductors. This mobile circus fits into a suitcase and can be packed and unpacked as required for use in science demons-trations.

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69

C o N T o u r

E T M A S S E

gradua-

project

t ion

Designers’ drawings should correspond to the process by which the object is created. In that case, shouldn’t there be as many ways of draw-ing as there are manufacturing processes? In classic industrial design, objects are line drawn, regardless of the method of manufacture. By con-trast, in painting and modelling, many ways can be used to construct the representation of an object as a mass and directly in colour. Couldn’t these means and tools of representation help to identify unexploited resources and thereby develop new ways of designing objects? After much searching of software and production methods, I present a couple of tools linked to 3D animation design and its reproduction using 3D printing. The chosen software enables objects to be created by building up material, texture and colour simultaneously.

project director : patrick de glo de Besses

galliOt

laureline

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LaurELInE GaLLIoT

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71

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is

thesisa f i n g e r

i n T h e e y e

Thesis director: Frédéric Siard

It is very hard to draw a form of practice. Drawing means making the inner workings of a practice visible, but not explaining it (in the sense of justifying it).So when it comes to drawing the practice of drawing we find the eye and the hand acting in concert, in standby mode as much as in dream mode, combining memory and action in the act of making. This is the topic of this thesis, a kind of reactivation of reflection in tautology. Knowledge is, to an extent, marginalised in favour of seeing and now looking.A finger in the eye, risking blindness – as Jacques Derrida suggested when establishing a link between the action of the draughtsman and the actions of the blind* – is the subject of this reflexive journey. * Memoirs of the Blind: The Self-portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).www.undoigtdansloeil.fr

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73

selected

project

T r u n K

2008

partnership with les Compagnons du Devoir

Initially a classic trunk is simply a wooden box characterised by sharp edges and projecting corners. Then craftsman cover it with lots of pieces of leather, brass corners and other fastenings to turn it into a piece of luggage. Malle’s shape does not need extra hardware to protect it, as its edges and corners are sunken. Moreover, it is designed from a single piece of leather that incorporates the handle.

LaurELInE GaLLIoT

selected

project

g l a s s e y e

2009

En partenariat avec le CIAV Meisenthal

(Centre International d’Art verrier)

projet réalisé avec Medhi Moujane

D’une boule en fusion aveuglante et uniforme, la matière, refroidie, révèle ses strates de couleurs entremêlées.

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75

75

selected

project

T o y s

T ay o T ay o

2010

partnership with SynTTAC

(Syndicat de fabricants d’objet en bois, du Jura)

project with Claire Lavabre

The Jura region of France is famous for manufacturing traditional woo-den toys. The challenge of this project is to bring the Jura’s traditional expertise up to date, by designing a new collection of toys that combines wood with electronics.

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C o L L E C T I o N

gradua-

project

t ion

This project is about exploring materials, shapes, colours, motifs, the sense of touch, etc., by working at the frontier between possible ambiva-lences, on the edge, at the place where the appearances and the reality of things meet. This is a collection of domestic objects at the boundary between the visible and the invisible, the possible and the impossible, the true and the false, etc., created by experimenting with the meeting between materials, expertises, effects, colours and shapes. This collection of objects comprises a writing desk, a modest item made of leather and upholstery foam; two mirrors: the first, the quiet one, is a black mirror inspired by the Claude glass and the second, the echo, is a ‘witch’ (convex) mirror; two clocks, the shy one and the disturbed one, subvert our view and measure time discretely; and finally, the tanned wall-fitting in natural leather onto which a metallic Mylar shape has been screen-printed, making the object reflective.

project director : Benjamin graindorge

gilain

Pauline

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is

thesis B l a n K p a g ea l a n d s c a p e

o f c r e a T i o n

Thesis director: Cloé Pitiot-Fontaine

This thesis focuses on the creative method, the method that searches for form. How is the story of a project written? How do we know what importance to attribute to one element or another that constitutes a project? What do we choose? Which idea? Which form? Which material? Which colour? Sometimes decision-making is simplified by the parame-ters that control the process of choice. On other occasions, no one solu-tion dominates. We must choose. What is right? Is intuition a kind of method? Is inspi-ration officially permissible as a resource? By means of interviews and examples, this project attempts to identify working methods, thought modes, habits and particular forms of beha-viour in order to try to create a personal method.

PauLInE GILaIn

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81

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selected

project

a c h i l l e

2009

partnership with La société Spérian

project with Julie Thissen and Roman Pin

This is protection for the hands, a glove that acts like a piece of armour against objects that can cut or puncture, such as contaminated syringes. This glove is associated with an over-glove which maintains and improves the protective function (such as letting skin breathe, acting as a cleaning cloth, colour, etc). Inspired by the world of sport, the collec-tion will change the image of the profession, as these are protective gloves for ‘urban athletes’.

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selected

project

a r s è n e

2011

partnership with Le Défi Innover Ensemble

Designed and implemented by les Compagnons du Devoir

with support from the J. M. weston foundation

project with IfM students,

leatherworking colleagues and Clémence Page

This is a 48-hour weekend bag made of leather and linen. Combining ecological and technical materials with soft, matte leather, this collec-tion is both good-looking and innovative, and specially designed for travellers. This overall project provided a fulfilling and realistic expe-rience of entrepreneurship.

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83

selected

project

l a p i e

a n d s h i f u m i

2012

partnership with the fondation d’entreprise Hermès

and Sèvres – Cité de la céramique

This projected was the result of a workshop that brought together 16 students from Sciences Po and ENSCI. LAPIE (Laboratoire Artisanale de Production Innovante et Expérimentale) is a centre for specialists, a space dedicated to expertise. It represents and takes inspiration from the social and cultural values of craftsmanship. Its aim is to support exceptional expertise with particular reference to the values of authenticity and uniqueness. At the same time it promotes social, technical and technological innovation.SHIFUMI is a biannual professional journal published by LAPIE. Suppor-ting the ambitions of LAPIE, its aim is to highlight various forms of expertise through articles featuring portraits of craftsmen, particular techniques or materials, designers, etc.

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85

gradua-

project

t ion b I o M I M E S I S

This project aims to establish new design approaches and strategies, com-bining inspiration derived from biological systems with the demands of industrial design. The idea is to design objects that last without compro-mising performance. The tools designed during this programme have been applied to an everyday object, the kettle, which in itself combines a number of environmental problems (energy production and consump-tion, materials, production processes, etc.)., Drawing on the design meth-odology created for this project, one of these strategies produced Nautile, an electric combustion kettle made of ceramic clay and manufactured using 3D printing technologies. Thanks to principles inspired by the nau-tilus shell, the termite mound, the toucan and the polar bear, combined with a re-direction of the principles of physics and tips on usage, a kettle has been designed with a greatly reduced environmental footprint. At the same time it retains the most advanced functions of modern kettles while including no electronic parts.

graVes

guillian

partnership with bio-engineer michka mélo, EpfL + ECAL Lab, the Life Sciences and Technologies

section of the école polytechnique fédérale de Lausanne (EpfL) and the Industrial Ecology section of the université de Lausanne (uNIL)

project director: stéphane Villard

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GuILLIan GraVES

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87

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is

thesisa p o T e n T i a l

i n d u s T r i a l

e V o l u T i o n

Thesis director: Jacques François Marchandise

Written in the form of research articles, this collection starts by questio-ning factors linked to innovation – be they social, technical or technolo-gical, spatial or temporal – in order to find out where, when and how creativity is generated. Analysis gradually gives way to exploration, to the formulation of hypotheses in which each of these links can hybridise with another, enabling us to envisage potential new avenues in the prac-tices of creativity, design or research – i.e., new industrial modalities.

V e r s u s

partnership with école polytechnique fédérale

de Lausanne (EpfL), Switzerland and belgium

Written in the form of a laboratory notebook, Versus provides the reader with a first-hand account of a collaboration between design and bio-engineering through the Biomimesis project which aims to design objects in a different way taking inspiration from biology. Over almost a year of regular entries, the notebook offers thoughts and various lines of research and experimentation in new ways of designing bio-inspired objects – of which the NAUTILUS project is one of the first.

GuILLIan GraVES

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selected

project

h o r n

2008

partnership with l’EpfL

école polytechnique fédérale de Lausanne (EpfL), Switzerland

Horn is a stand-alone photovoltaic speaker equipped with photovoltaic cells developed by EPFL that turn indoor lighting into energy. The speaker recalls the shape of a gramophone horn, from which it derives its acous-tic properties. To save energy Horn has a single loud-speaker whose power is amplified by the object’s structure. The shape is produced by folded photovoltaic cells screen-printed onto strips. The technology becomes at once the form, the material to be moulded and the source of energy.

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GuILLIan GraVES

selected

project

c o m p a s s

2009

partnership with CEA, LETI,

grenoble City Hall, gEg, gDf Suez, Eclatec, Cofely & Ineo

In our cities at night, the languages of various illuminated systems of signs and way-marking (functional lighting, signage, advertising, etc.) clash in a disorganised way. When this happens inhabitants become disoriented, and neighbourhoods lose their identity. Illumination, infor-mation, guidance and identification are the key words that make the principle behind Compass relevant to the urban environment. Adapting new 3D LED technologies to work with digital technologies, this lamp offers a new system of lighting and 3D communication. It creates a new typology of objects adapted to the urban environment. Compass can illu-minate, guide pedestrians, produce signage (bus, underground system, car-parking etc.), and can create new environmental moods and a sense of identity in the city.

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selected

project

i d o

2010

partnership with Aldebaran robotics

This is a robot that provides assistance to the elderly or people with reduced mobility. Its human scale (height: 1.40 m) is appropriate for the tasks it is designed to perform. It is equipped with the most advanced technologies, giving it a high degree of precision. Designed using crafts-manship from the French textile and leather industries, Ido establishes France’s position in the world of robotics ¬ one that was hitherto non-existent. These new materials are used alongside a hidden mechanism that translates the robot’s movements via an innovative series of expres-sive gestures. These gentler, more welcoming and reassuring gestures are linked to the intentional distortion of the material.

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project

t ion

Through a series of research projects on movement, we were able to define several relational levels between the user and the object. Identify-ing the movement and the degree to which the body is involved leads to a different conception and experience of the object and its use. The first object we addressed in this way is a lamp whose light source can be adjusted by the user to modulate the mood of the lighting in a particular space. The second is an Internet radio whose handling and operation give access to basic functions, information about the audio stream and vari-able listening modes.

I N T E r A C T I o N S

é L é M E N TA I r E S

project director : laurent massaloux

Julien

grOBOZ

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JuLIEn GroBoZ

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thes

is

thesisg e s T u r a l

o B j e c T s

Thesis director: Roland Cahen

The gesture is difficult to comprehend. It is often associated with the action of one or more parts of the body. We immediately think of our hands, those privileged organs, but even the action of one finger involves the entire body to which it is attached. This thesis explores various aspects of gesture. Initially, it is described through its expressive physical, socio-cultural and technical aspect. We then gradually move towards the surfaces and mediums which the body touches. Ranging from our relationship with the most everyday objects to the evolution of technical objects, this panorama attempts to reveal the forces that take part in the creation, existence and disappearance of gestures and examine what their future holds.

JuLIEn GroBoZ

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selected

project

T h e T r aV e l l i n g

o B j e c T

2006

partnership with Hermès

This item of luggage is a reinterpretation of the duffle bag. Through a system of pleats and fastenings the bag’s volume can be adjusted to suit its content and the morphology of the user. It suits travelling that is spontaneous and unplanned – a cross between a handbag and a travel bag.

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selected

project

s h a d o w T h e a T r e

2008

partnership with Matelsom

This object combines a pop-up book and a shadow theatre. Projected in a shadow show, the paper scenes pop up as the pages are turned and help lull children to sleep. The screen, which is separate from the book, can be used independently like a small backdrop, encouraging children to invent their own stories.

JuLIEn GroBoZ

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selected

project

a l p i n e

h o r n K i T

2010

Commissioned by CMfI, université de Lille 3

This instrument was designed for use in training young music students. It has all the acoustic properties of the traditional Alpine horn, while also taking into account associated issues such as transport, storage, comfort and the possibility of playing in a variety of different keys. The use of inexpensive materials and the ease of manufacture make the product affordable.

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gradua-

project

t ion

project director : joachim jirou-najou

Our perception is clouded; objects mutate and come to life. They change colour; things appear and disappear. They take on new shapes and pro-portions. Humans (finally) witness what they always suspected went on in their absence – objects communicating among themselves, metamor-phosing and coming alive. Taking illusion and the optical and kinetic arts as the starting point, we generated optical effects, and through them we animated and trans-formed everyday objects. Then we investigated their status, their func-tion and the materials from which they are made. We therefore gener-ated a dialogue between objects, space and people, with movement acting as the principal language in this dialogue.

JOhanna

hartZheiM

o b J E C T S

I N

M E TA M o r p H o S I S

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103

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Johanna harTZhEIM

thesisl a n a T u r e

e n V i l l e

Thesis director: Marie-Haude Caraës

By comparing the experience of living in three different European countries through interviews with three city-dwellers, and by analysing the role of fauna and flora and the ways man has transformed it, this project tries to understand: what is urban nature and what is its status when animal cloning and genetically modified plants have become the norm, and flowers in vases and perfectly manicured, fenced-off lawns are presented as the most natural things in the world.

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selected

project

s u g a r B o w l

a n d h o n e y p o T

2009

This beech sugar bowl and honeypot are characterised by supple shapes and curved surfaces. This is a material-based approach that tackles sim-plicity of use. The sugar bowl contains a surprise. Lifting its lid we dis-cover its interior painted bright blue. Its spoon fits perfectly into the slot made for it. The honeypot is designed with a honey dipper integrated into the lid; the visible part of the lid completes the integral, continuous shape of the pot.

105

Johanna harTZhEIM

selected

project

p i c n i c i n T h e w o o d s

a n d e x e r c i s e s

i n s T y l e

2011

graduation project

for Master of European Design – günter Horntrich

Using two typologies, this project is about re-interpreting the literary methods of the Oulipo group through materials, using arbitrary and voluntary constraints as a design approach. Pique-nique au bois is inspi-red by Georges Perec’s book The Exeter Text: Jewels, Secrets, Sex. It is made from a single material (ash wood) and is produced using a single method (woodturning) over a one-month period. Exercises de style is a collection of light-fittings whose name refers to Raymond Queneau’s work of the same name [Exercises in Style].The lampshade is created using ten different materials and production methods. The constraint is both an obstacle and a stimulus, as each material lends itself more or less easily to the format imposed on it.

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107

selected

project

q u a r T e T T e

2011

partnership with Le Musée du quai branly

project undertaken with Isabell Jusek

This digital and analogue game for children and adults enables visitors to discover the musical treasures of the Musée du Quai Branly in Paris. The aim of the game is to collect families of musical instruments across the five continents. Each card represents an instrument and is associated with digital content that provides information about said instrument. When a family of instruments has been collected the player is given access to additional information, and can listen to and see the instru-ments in their native context.

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I N D E f I N E

T H E D E f I N I T E

gradua-

project

t ion

This project follows on from a series of experiments carried out on extruded L- and T-shaped metal sections. By distorting this material, and treating it as soft and malleable, a formal alphabet was created out of these straight lines that reinterprets these sections in three chapters. The first chapter is a sculptural study. By removing metal from par-

ticular areas in order to twist the straight lines and extract them from their original configuration, the material took on a new shape. The second chapter looks at the question of connection in a manufac-

tured object. These connecting parts link two axes to create a self-locking object. The third chapter looks at an open system. The connecting part is con-

ceived as a piece of hardware that enables multiple configurations. This third chapter is a system of hybrid furniture. The connecting part gener-ates different volumes, can be adapted to a particular space, and can create new ones.

project director : stéphane Villard

Jung

rOMain

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roMaIn JunG

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111

thes

is

thesisV i e w s

o n l a n d s c a p e

Thesis director: Jacques François Marchandise

How can we look at landscape? The first part of this thesis takes a more theoretical, technical view and shows how the landscape we look at today has been entirely created by man, with agriculture playing a crucial role (particularly post-war). This journey into the world of agriculture leads to an attempt to define landscape by focusing on what it represents today. The second part addresses the question of the representation of landscape, using the philosophical concept of artialisation to show how our ways of looking are influenced by art, painting and photography and may thus be a cultural construct. To develop this theory further we then look at artists who create their landscapes by playing with materials, colours and composition.The thesis ends with a series of photographs taken by farmers them-selves to highlight their viewpoints as both creators and players.

roMaIn JunG

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113

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selected

project

T i p -T a p

2008

partnership with the école polytechnique fédérale

de Lausanne laboratory

The École Polytechnique Fédérale de Lausanne laboratory has developed a new system of photovoltaic cells. This project highlights the advan-tages of Graetzel cells (third-generation solar cells) in creating a stand-alone, low-energy domestic object. Tip-Tap is an alarm clock that accom-panies the user when they rise.

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selected

project

s é m a p h o r e

2009

partnership with CEA, ADEME and prEDIT

project with Léa Longis

This project is a response to new ways of travelling around urban spaces. Sémaphore uses its vertical geometry and its embedded technologies to reassure the cyclist on their trips around town. To give the vehicle more visibility the hi-tech membrane that covers the bike emits the same signals as those used by car drivers.

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project

w h a T s h a l l w e e a T

T o m o r r o w

2010

Created for the international competition ‘Design for Change’, this pro-ject raises questions about the major challenges we face in the future regarding food by looking at 3D food printing. The creative and unres-trictive potential of the machine can be understood by playing on dif-ferent cooking methods, textures and shapes.

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117

A L g I p o w AC u LT I v E r L’ é N E r g I E

gradua-

project

t ion

Sailing is an activity that uses up non-renewable resources and pollutes its environment. At the same time boats are taken out an average of five times a year, which causes congestion in marinas. The latter are depend-ent on their neighbouring towns, consuming energy and producing waste materials that have to be processed. How can marinas help to reduce their ecological footprint and re-balance the relationship between the marina and the town?A marina can become a competitive energy producer by cultivating phy-toplankton. Grown in a closed environment linked to a methane produc-tion facility, it can produce methane and treat waste water at the same time. The phytoplankton are grown on a circuit exposed to the sun that is built into the marina’s pontoons. Extensions of this circuit, in the form of coiled tubing, are placed on the decks of the boats when they anchored in the marina. This system makes the marina more autonomous, trans-forming it into a kind of ‘kidney’ for the town, and giving it the potential to produce renewable energy locally without competing with agricultural land, unlike conventional biofuels.

project director : frédéric lecourt

Jungst

aZilis

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aZILIS JunGST

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119

thes

isthesis

w h y d o w e h aV e

c h i l d r e n ,o r T h e w o r l d ’ s

fa c T o r y

Thesis director: Frank Burbage

When the ‘human world’ is renewed, creation and transmission co-exist as basic processes. What is the relationship between them?Kinship and design are two aspects of the process of manufacturing the world: the first lies in the creation of human identity, and the second in the construction of the individual’s environment. What is the diffe-rence between them? Can they cross over? Is it possible to manufacture children? The ‘production’ of children or objects questions our rela-tionship to people and things, and at a more global level, our responsi-bility for and our involvement in this world – our world.

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121

selected

project

d y n a m o

2007

partnership with Leroy Merlin

Thanks to its geometry this lamp can be placed anywhere, in any posi-tion, and has multiple uses: up in the attic or down in the cellar, in the garden during the evening, as a reading light, or as a night light, to name but a few. Independent of any electrical source the lamp recharges via a dynamo built into one of its handles, making this lamp free-standing.

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selected

project

c a r g o T e c T u r e

2008

This communal, portable garden can be set up in less than 48 hours. It is designed for urban populations who want to take up gardening for a year. The garden fits into a container that can be transported to suit the requi-rements of clubs and towns. Thirty-two 1 x 2-metre troughs filled with soil are taken out of the container and arranged together to form small islands (the configuration is flexible). The outward orientation of the container itself, its recycling system, and its ability to collect and store rainwater make it a generous, welcoming location.

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123

selected

project

r e ( s ) s o r T

2009

partnership with L’EpfL + ECAL Lab

This seat made of carbon makes use of the mechanical characteristics of this material (lightness and rigidity) within a domestic context. Its spring-like properties are the result of both the design and the delicacy of its carbon sheets.

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125

gradua-

project

t ion

Investigating the expertise that makes objects durable, this project pro-poses to research a new kind of durability in materials. Burned wood is a technique that makes wood 30% more water-, heat- and moisture-resistant, and gives it a dark blue–black colour. In Asia farmers have been using this technique for centuries. By charring the external surfaces, this technique also helps protect a traditional house against the weather. Taking its cue from functional objects made of burned wood, this project demonstrates a new use for this technique and proposes a principle of durability that also allows the object to age, as seen in the work of Finn-ish architect Juhani Pallasmaa.

A

C o N T r A D I C T I o N

T H AT r E p r E S E N T S

D u r A b I L I T y

project director : sylvain rieu-piquet

KiM

ungdOn

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unGDon kIM

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v A S E

D E S K

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S T o o L

thes

is

thesisd u r a B i l i T y

a s

r e p r e s e n T a T i o n

Thesis director: Françoise Fronty-gilles

Over the course of time a classic work of art remains the same, even if the perception of those looking at it changes. The Mona Lisa’s smile is always the same, although we do not look at it now as we did in the 16th century. Similarly a story by Homer persists, century after century, reader after reader. This is the cycle of mimesis that Paul Ricoeur described, a fundamentally poetic literary system that makes a story timeless. This thesis examines this timeless, invisible cycle, and attempts to make it comprehensible through contemporary works of art and design objects. The latter create a lasting meaning or message by forming an emotional relationship with people.

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selected

project

w o o d y

2007

project with Jean-Marc Bullet

The two main themes of this project are comfort and security for city driving. The elastic properties of wood make it a suitable material that affords more comfort while travelling. Based on a closed box, the struc-ture of the frame limits the negative effects of torsion, tension and compression.

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selected

project

a n o r a n g e - p e e l

g l o V e

2009

partnership with Spérian

project with Sybille Berger and Hanhui Qing

Made of orange peel, this high-performance design uses triangular shapes. The basic structure is a linen glove. An initial model was made by joining together small triangles to give the maximum amount of flexibility and freedom of movement.

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131

selected

project

Va s e

2009

partnership with CIAv Meisenthal

(Centre International d’Art verrier)

This vase was designed through a process of experimentation and colla-boration with craftsmen. The material shaped the form. Molten glass gave rise to the object.

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133133

gradua-

project

t ion

vA r I A T I o N

o N A

r A D I o S E T

project director : inga sempé and françois azambourg

langlOis

FlOra

Drawing on people’s fondness for the ‘analogue’ features of traditional radio sets, this project investigates how gesture and use can affect radio design. By creating models and drawings, our research led to the devel-opment of two proposals: CIRCLE: By paying attention to the details (use, operation, finish,

sound, etc.), this domestic radio aims to reassert the ratio between qual-ity and material in this object. Its circular shape suggests radiation, and indeed a vent enables the sound emitted by the loud-speaker to be turned in different directions. Operating the controls (volume, aerial, tuner) produces both visual and functional effects. BEACON: This Internet radio is more adapted to the nebulous nature of

the Internet. It creates new kinds of navigation by means of simple, intuitive gestures, thus bringing an element of chance back into one’s search for a station. 133

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FLora LanGLoIS

C I r C L E

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b E A C o N

M o D E L S

135

thes

is

thesis

s o T T o - V o c e

Thesis director: Frédéric Dumond

Listening to the radio a lot. Turning it on without thinking in a daily ritual, hearing it without listening. A habit, in short. Then suddenly a voice stands out, and the established order is disturbed. It is hard to identify the exact moment when this happens. A simple variation in a familiar order is enough to reveal the extent to which our senses have been numbed by habit.

FLora LanGLoIS

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selected

project

c a s e

2009

personal project created in

the woodworking department at ENSCI

The first stick of this fan is made of solid maple. It acts as a case and protects the other more fragile sticks that are made of sycamore veneer. The oversized frame, which makes this fan unique, makes it comfortable to hold. When open, the fan reveals the detail of the coloured links that hold together (or articulate) the whole object.

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selected

project

s c a r f

2009

This scarf can be heated up on a radiator thanks to its integrated gel capsules. It is cut to be worn in various ways depending on the areas of the body one wishes to warm up (shoulders, neck, upper or lower back, stomach, etc.). The scarf has more in common with the world of clothing than with the ‘prosthetic’ nature of classic therapeutic hot-water bottles. It ensures a kind of diffuse, comfortable heat that relieves tense muscles, backache, neck ache, etc.

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139

selected

project

l a m p e l o o p

2009

partnership with Mimesis

This desk lamp casts a direct, adaptable light. A loop of highly elastic shape-memory alloy (SMA) makes the controls movable. The cursor can be held with a light pinch. Slid with a delicate gesture, the light source can be precisely oriented. A conductive material at the same time, SMA separates the structure of the reflector, giving this lamp its strange appearance. Fragile and old-fashioned, Loop is inspired by the world of the laboratory and measuring instruments.

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141141

gradua-

project

t ion

S H A p I N g T H E E C H or E S E A r C H o N

D E S I g N I N g

I M p r E S S I o N S

o f r E A L I T y

At the beginning of the project, the eyes drift, wandering in the real world. Questioning reality until a detail jumps out at us. Observing what exists to come up with an impression, then combining the elements provided by this reality-sensitive experience. We imagine ways of tam-ing these impressions, setting up systems to use an object to translate one’s perception of reality with some degree of clarity and legibility, of course. Observing the reflection of trees in a lake enabled a mirror to be imagined. The design of the stool brings to mind the inversion of the object. The carpet uses the construction principle of a stone wall. Shad-ows appear in the gaps, the surface becomes less smooth and more three-dimensional.

project director : felipe ribon

laVaBre

Claire

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thes

isth

esis

thesisT h e s i s

o n fa m i l i a r

g r o u n d

Thesis director: Valérie Mrejen

When writing a thesis, we have the opportunity of questioning everyday life. Everyday life means what we find familiar. Normally we do not question it, as it seems self-evident. However, in questioning it, we can experience our lack of knowledge of this space. Although it is familiar, everyday life is not always known. We can question situations, objects – this familiar space to which we do not normally pay much attention – in order to invest them with meaning.

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145

selected

project

o r y o u c a n

s T ay s T a n d i n g u p

2008

This collection of objects takes a new look at conventions. Elongating certain axes and sections produces a straight, tense design language that plays with the ideas of balance and symmetry, altering our perception of the object and hinting at a manufacturing defect, or damage caused by use. This family of ‘broken arms’, produced in steel, includes a chair, bench, stool and lamp.

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c a p i T a i n e

2009

Saintes-Maries-de-la-Mer, one 11 November. Counting seagulls. A buoy bobs in the distance, flags are waving. As in the lyrics of La Compagnie Créole’s 1980s’ hit song, it looks like the paintings of Le Douanier Rous-seau: there are blue parrots drinking coconut milk, spiny-backed tropical fish, fiery suns hidden in the reeds, and amorous little monkeys playing Romeo. A boat passes by. Tango Tango, Checkpoint Charlie, a trip round the harbour. ‘Oh look, it’s the Harpers.’ Then, splash!

selected

project

selected

project

T ay o T ay o

2010

partnership with SynTTAC

(Syndicat de fabricants d’objet en bois, du Jura)

project with Laureline Galliot

Wooden toys offer an abstract approach to reality. Abstraction in the way the details are rendered leaves room for a more imaginative usage. These wooden toys are like silhouettes, mere sketches of shapes. They suggest some kind of representation and try to maintain the relationship a child can have with a piece of wood he has picked up and which stimulates his imagination. The electronics hidden inside some of the toys in this col-lection is discreet if not invisible. It creates surprises, encourages simple, intuitive interaction and lends a new dimension to the wooden toys.

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149

gradua-

project

t ion C u r I o S I T é S

Curiosités is an exploration of the possibilities offered by a laser-cutting machine. By highlighting the usual machining functions, the technical characteristics of the materials are revealed with unexpected results. In addition to the two common uses of a laser cutter – cutting and engrav-ing – it can also be used for enamelling, making materials translucent, creating relief, binding together, making rigid, crystallising, heat-seal-ing, etc. This research gave rise to this collection of Curiosités. Like a handbook of instructions, the objects indicate the settings on the machine needed to obtain the laser/material reactions sampled. These Curiosities enable materials specialists and anyone with a laser machine to get a handle on the phenomena in play and use them in new projects.

project director : patrick de glo-de-Besses

de lignaC

sandrine

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SanDrInE DE LIGnac

S A N D- The sand crystallises when subjected to the laser.

p o r C E L A I N- The laser makes the porcelain translucent while maintaining its waterproof qualities. It is shaped in relief or enamelled directly to produce delicate decoration, depending on whether it has been sealed, or is first- or second-firing bisque.

w o o D- The suction created by the machine directs the smoke produced during machining. This creates colour effects on the MDF that resemble inlay work.

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is

thesis

SanDrInE DE LIGnac

1 1 1 , 3 7 0

c h a r a c T e r f u l

c h a r a c T e r s

project director: Timothy Perkins

This thesis analyses the approaches of Marti Guixé and Jerszy Seymour one conceptual, the other experimental¬ both of which offer alternatives to industrial manufacturing. What is the creative intention of an object and where is the happy medium between form and function? This balance produces an aesthetic neutrality that does not necessarily result in materiality. The designer must not impose his design, but must fully understand and respect the technical characteristics of the material he is working with. The aesthetic of the object created is a springboard to understanding the motivations and the context of creativity. Other topics include the introduction of variations into mass-produced objects, and the appropriation of a project by its user when a designer encourages an amateur practice that blooms with sharing and creativity.

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project

a r m o r

2009

En partenariat avec la société Spérian

C’est un gant anti-piqûre créé pour un fabriquant d’équipements de pro-tection individuelle et destiné aux agents de tri sélectif, susceptibles d’être contaminés par des seringues usagées. Le gant est constitué principale-ment d’Elephant Skin (enduction polyuréthane sur kevlar). Armor allie efficacité, ergonomie et souplesse grâce à son patronage en écaille assem-blé sur une maille respirante et imperméabilisé par une enduction nitrile.

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SanDrInE DE LIGnac

selected

project

i n c l u s i o n s

2009

partnership with villa Meisenthal

This is a collection of glass vases. Without adding an extra step to the glassmaker’s usual process, parasitic elements (such as glass, silver, lead or wooden beads, etc.) are deposited on the molten glass. They become embedded or are burnt up randomly, modifying the texture of each of these vases and making each one unique.

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155

selected

project

h i g h l o w T e c h

2010

partnership with Altermundi

The dust produced by ENSCI’s materials workshops becomes the consu-mable used by this 3D printe . Numerous experiments were needed to enhance and bond the particles, which are mainly made up of poly-urethane foam (a thermosetting material, therefore non-recyclable). This residue becomes a raw material in its own right and enables mass-pro-duction of flexible objects.

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S E r E N D I p I T y

gradua-

project

t ion

Thursday, 22 November 2012: play with words, letters, eyes, colours, and numbers. Bounce off them. Take photos. Friday: pull thread, tie gold twine into knots.Keep clear of the sea spray and set sail for cherished, uncharted territory. Saturday? Rest. Open a book. Search, deconstruct, reconstruct, design a life. Take a seat in it. Contemplate.

Designers work with brands, creating their products, shaping their image. As a designer, how to maintain brand relevance without suc-cumbing to superficial methods?This diploma provides the opportunity to generate meaning while devel-oping well-defined specifications; to plumb all aspects of the creative process with the aim of shaping them into tools that might in turn yield creative methods of their own.Three projects will query the different aspects of product branding.Each project will explore different methods of branding. Each result, each indication will be taken into account. The water-tightness of this system will form its own specifications, and principles – a manifesto for a new brand, a new project.

project director : guillaume foissac

Page

ClÉMenCe

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cLÉMEncE PaGE

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thes

isthesis

d e s i g n / s T r a T e g y

e n s c i / c e l s a

Thesis approved within the framework of a dual

degree in branding and brand Strategy, with CELSA

Thesis directors: Stéphanie Kunert and Juliette Riquier-Damoisel

Some companies founded by designers who are businessmen consider design to be of utmost importance, since it is at the heart of all strategic processes and decisions. Others prefer to phase design in progressively, after the fact as it were. As I gather my thoughts on paper with the aim of concluding this dual degree, the expression ‘strategic design’ sounds like a perfect starting point. This is the designer’s added value in the business that I will analyse.

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selected

project

r é p e r T o i r e

n u T r i l i e n

2010

Creative direction for a fictional food project,

undertaken with Pauline Gilain

The premise for this fictional exploration is the desire to extrapolate on current problems linked to intensive farming and global warming. Fast forward to 2050: imagine our food sources no longer come from the earth, we have to create and design them. The challenge is to provide nutrients with form, taste and texture… A reference indicator will set new food policy, and serve as a guide for the designers who will be crea-ting our fare.

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163

selected

project

a r s è n e

2011

partnership with Le Défi Innover Ensemble,

conceived and implemented by the Compagnons

du Devoir, with the support of the fondation J.-M. weston.

This project was undertaken by students of the IfM, alongside

the Compagnons maroquiniers and Pauline Gilain

Designed with the aim of meeting the user’s needs in various situations and moments, this weekend bag combines expertise and innovation thanks to its use of technical leather and linen. The design and mate-rials match an array of accessories that improve and expand the bag’s usefulness.

selected

project

h i p p o c r a T e

2011

partnership with Sanofi

A treatment’s success often depends on communication between doctor and patient. During a medical examination the patient is often stressed, fatigued or bewildered, and might not fully grasp what the doctor is sharing. This can have an adverse effect on subsequent treatment. The Hippocrate notebook records the doctor’s words, and serves as a kind of augmented prescription, or personalised health bulletin, thus allowing the patient to take in, understand and accept the doctor’s – or the phar-macist’s – advice and/or prescriptions.

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165

gradua-

project

t ion

p A r A L L E L

u N I v E r S E S

project director : eloi chaffaï

Pin

rOMan

BLIND HOOVERA smart shell can absorb the shocks inherent to the use of such an object. Experiments have yielded the hypothesis that foam would be the solu-tion. Textured semi-industrial products simulate industrial production of expanded polyurethane foam insulation. Hence the idea of an inflat-able rubber membrane to protect the appliance. It can take in and release air, making the most of the continuous flow of air generated by the device itself. Much like an airbag, the fabric fills with air when in use, making its shape different from when it is not in use. WOVEN RADIATOR

A reinterpretation of the dry inertia electric radiator (with a ceramic core) that aims to create new ways of heating. Based on the principle of the industrial heating mat, a heating wire assembles the porcelain parts. These in turn distribute heat through a perforated surface that acts as a heat exchanger. The ceramic work will feature an assortment of colours and finishes, thus turning the radiator into a valuable object. 165

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thes

isthesis

roMan PIn

T h a n K l e s s

o B j e c T s - # 0

Thesis director: David Dubois

With a tone reminiscent of an interior design magazine, this number zero offers a kind of inventory of apparently ‘thankless’ objects. This list is an attempt to grasp why they exist and why they are judged than-kless. This study queries both the place certain objects hold within the present standardised, homogeneous model, but also, more generally, our relationship to objects that we find thankless. After all, don’t the objects we look down upon have as much to say about us as the ones we enjoy seeing?

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selected

project

c y c l o p e

2008

partnership with CITu

(federation of digital design and research laboratories)

This is a low-tech guidance system for bicycles. Its screenless, voiceless GPS resembles a miniature projector that the user attaches to the hand-lebar. The device then projects directional information onto the road in real time, with a laser beam. It can record a route in progress or set down a pre-recorded one. A simplified interface allows users to edit and share their itinerary, thereby enriching the initial database.

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selected

project

a c h i l l e

2009

partnership with Spérian

project undertaken by Julie Thissen and Pauline Gilain

Seamless gloves for street cleaners. Combination of a protective Elephant Skin® underglove (Kevlar mesh + polyurethane coating) and a ventilated overglove which together form a covering that protects the hand from sharp or jagged objects. Freely inspired by the world of competitive sport, the ‘Achille’ range compares the physical intensity of a garbage man’s work with that of a professional athlete.

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selected

project

p e r s o n a l

i n i T i a T i V e

2010

This project seeks to turn household water use to advantage through a range of objects that treat three types of water: a rainwater recovery system, a greywater collection system designed to fit under the sink, and a humidity-channelling suspension system for bathrooms. These passive objects are all a blend of water-repelling fabric and mineral-based mate-rial such as glass, concrete, and clay, and run without electricity.

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gradua-

project

t ion

This project is first and foremost a reflection on the creation of moments rather than objects – or rather how objects can shape a moment in time.Using a host of the most common tools, this project will make organis-ing all sorts of festivities easy, thanks to simple solutions that need no middle man.An interface will allow users to define their needs: type of party, colours, theme, tasks to be carried out. Once these criteria are decided, the user will have a rich variety of solutions to choose from. Example: an invita-tion, an event, or directions for the guests. These can range from advice on how to proceed, an object to be sent or received, or various download-able applications. In each case, the idea is to provide a product designed with parameters that allow the user to adapt to the variety of scenarios that occur in real life.

p A r T y

fAv o u r S

project director : patrick de glo-de-Besses

PinaFFO

MariOn

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MarIon PInaFFo

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is

thesiso n B o r e d o m

a s a c a T a ly s T

Thesis director: Jean-Charles Massera

Thesis time comes after the giddy phase of project workshops and internships abroad. You trade ‘doing’ for ‘thinking,’ you shift from the answer to the question to the formulation of a question. Instead of concentrating your ideas on a given object, you have to try to extend and unravel a thought. This new approach naturally brings up the question of boredom. Followed by the question of knowing if boredom can stimu-late creativity.Each time boredom appears in its various guises, it becomes a spring-board, a key step toward unleashing and inventing all sorts of strategies to overcome it. Might this approach be adopted by all future designers?

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selected

projet

s o u r c e

2008

partnership with the EpfL laboratory

This solar charger runs on Graetzel cells which were developed by the EPFL, and whose low output means this household device can even func-tion indoors.

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selected

projet

l’a T e l i e r

2010

partnership with the Mairie de paris

This project is a response to the Paris municipality’s desire to ‘reintro-duce nature’ to the city. It is an itinerant structure destined to set up shop in the city’s liveliest spots. It features furniture, and equipment, and its visibility is sure to attract people. It is also traffic friendly. ‘L’Atelier’ is an extension, a terrace, a stand against the prevalence of cars in the city.

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selected

projet

B l e d

2010

partnership with Schneider Electric

project with Juliette Gelli

This set of lighting and energy devices is made for areas of the Indian sub-continent that are lacking electrical equipment. This existing range has been redesigned for improved use, such as making it easier to set up lights, storing cables, and protecting the devices from adverse weather conditions.

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gradua-

project

t ion

Maps are essential for finding one’s bearings and gaining a grasp of a given area. But what kind of map can be used in an empty landscape? Though this project’s governing principle is the mapping of an Antarctic logistics raid, its heart is the construction of the trail that follows the convoy. These three structures – the FastGloo, the LogPod and the Black-Berg – will enable the world of science to gain an extra foothold on the sixth continent. Respecting the environment is an intrinsic part of this project, and not merely from an ecological standpoint. A zero carbon foot-print is a scientific imperative as well as an aesthetic one, for in this exceptional landscape the immaculate whiteness of the ice sheet becomes a catalyst of human utopias.

visiting experts: yann calbérac, geography professor at the university of paris-Sorbonne, patrice godon, Antarctic logistics and infrastructure manager for IpEv.

H A r N E S S I N g E r è M Ef r o M L A N D M A r K T o L A N D M A r K ,

p L A N A N D C H A r T

A N I M p E r M A N E N T r o A D

project director : patrick de glo-de-Besses

POuPOn

CharlOtte

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charLoTTE PouPon

b L A C K b E r g -This ski-mounted shelter located just off the landing strip (currently known as a D85), can accommodate up to fifteen people trapped by the ice. Energy self-sufficient, the shelter uses fossil energy only when the solar panels entirely covering its roof have stopped working.

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L o g p o D -The increased presence of scientists and equipment on the ice sheet enabled by the FastGloo will make further logistical resources necessary. By allowing regular deposits of helicopter fuel, the LogPod will create intermodal transport along the entire land trek trail. Helicopters will thus be able to make a quick hop from Dumont d’Urville, the coastal base, and Concordia, the continental station more than 1,200 km to the south.

f A S T g L o o -This Tyvek®-covered inflatable igloo is designed to protect scientific equipment from snow. It has high thermal performance and can maintain temperatures that are far ‘milder’ than –50°C temperatures outside. The FastGloo’s size (four metres in diameter and two metres high in the centre) allows it to house field workers if need be.

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thes

is

thesis

m a K i n g e x T r a o r d i n a r y

j o u r n e y s i n h a B i T a B l e :

a n e x a m i n a T i o n o f

s u B m a r i n e , p o l a r ,

a n d s p a c e m i s s i o n s

Thesis director: Marie-Haude Caraës

How to inhabit an uninhabitable environment? How to live in a subma-rine during patrols that last several weeks? What kind of living quarters can be created in Antarctica, a continent devoid of an indigenous people? What about the near future? Space? Mars? A transversal approach to environments often presented as being similar by their different mission leaders might hold the key to making these places inhabitable, thus facilitating mankind’s never-ending utopian desire for conquest. Desi-gners have a fundamental role to play in this context, professionally – through their ability to forge a close collaboration with scientists and engineers – and due to their pronounced tendency to choose the road less travelled, and opt for innovative solutions.

charLoTTE PouPon

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selected

project

c o r K o l i T h

2009

partnership with the grande épicerie de paris

Stéliège reintroduces cork in the world of wine, at a time when it is pro-gressively being replaced by other materials. The stele’s solid design represents the paradox between its large, heavy-looking dimensions and its actual lightness; the holes in which it houses bottles are clad in PMMA tubes, evoking the process by which corks are punched out.

185

selected

project

h i n a T a

2009

‘Let us cultivate our gardens.’ The Hinata brand (the word means ‘sunny spot’ in Japanese) partners with Muji to produce innovative ecological and technological objects: home solar collectors, a solar battery that recharges small electronic equipment, a flowerpot that doubles as a natu-ral ioniser through electro-culture.

charLoTTE PouPon

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186

187

selected

project

d i a B o l o

2012

verallia Competition

This range of jars is for foodstuffs that are stored in liquid, such as pickles, artichoke hearts, lupin seeds, shallots or cherries in brandy. The aim of this range of jars is to make it easy to remove their contents wit-hout contact between the fingers and the liquid, while ensuring optimal conservation when stored away. With the Diabolo range of jars, separa-tion occurs simply by turning the jar over.Verallia first prize, currently in development.

187

gradua-

project

t ion

project director : marie moreau

A N o T H E r p L A C E :

f I r S T AT T E M p T,

r E L I E f

This project aims to maximise the potential of temporary, dismountable structures in public areas. Whereas this type of construction has tradi-tionally been optimised for a precise and specific purpose, couldn’t it also be used to reconfigure an area and its uses? For example, turn an aban-doned spot into a welcoming cityscape during the summer months, offer a unique viewpoint on our daily environment, or experiment new urban planning proposals.This project proposes assorted raised platform systems that can adapt to various surface areas. They can be steep, flat, sloping, tilted, hollow, hilly, level, variously oblique, allowing multiple spatial configurations. What-ever the shape, the whole is conceived as a modular system laid out in a regular frame structure of 1,80 metres. Thus, the units’ different posi-tions can intermingle and become hybridised, through the coexistence of multiple uses.

reMuet

daMien

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DaMIEn rEMuET

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191

191

thes

isth

esis

DaMIEn rEMuET

thesism e T a p h y s i c s

o f p l a s T i c i T y

Thesis director: Marie-Haude Caraës

This thesis underscores the emergence of plasticity as paradigm, through a remote dialogue between Democritus, Lamarck, Ramón y Cajal, Simon-don, and Sol LeWitt.Through its connection to non-dualistic materialist philosophy, this paradigm is important for all designers concerned with environment and lifestyle. It offers an alternative to the ‘form versus content’ idea, which makes theoretical design a difficult proposition at best.Understanding plasticity as a common characteristic to everything that ‘is’ gives rise to a different way of looking at the relationship between ontogenesis and cybernetics. In other words, this thesis is an attempt to sketch the contours of a figure, an attitude, an approach to the world, that one could conceivably call ‘conceptual.’

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193

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selected

project

l o u n

2007

This is a system that transmits and visualises spatialised digital content. The device is equipped with a transparent oled screen, a GPS module and motion sensors.Interaction is achieved by handling and moving the device through space, while touching the single button enables validation. In an elevated position the apparatus displays in overprinting a series of icons, each of which corresponds to a feature or feed: comments about a certain loca-tion, content shared with friends, and so forth. The flat position on the other hand gives access to the menu, the list of subscriptions to feeds and also to the map and navigation. At the opposite end of the immersive augmented reality spectrum, Loun uses elements beyond its field to sti-mulate spatial recognition, while reducing the number of resources the device needs and avoiding intrusive use.

193

selected

project

DaMIEn rEMuET

T h e g a n f r e

2009

partnership with Sperian

project with Camille Claude and Florie Andonimoutou

Elephant skin® fabric is a composite of puncture-proof aramid fibre and polyurethane resin. Yet its firmness prevents it from being used to pro-duce traditional gloves. This project aims to develop potential manufac-turing scenarios and sponsorship models. Based on observation of the hand’s natural motor skills, the material is pre-folded in a press and placed between two fabrics in extendable, ventilated mesh. All of which makes up an underglove, or ‘ganfre’.

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selected

project

p r o g r a m m e s

2011

‘Equip The City’ workshop,

ENSAppb, Frédéric Bertrand

This project is based on the SDRIF, the Île de France master plan, which foresees the reconversion of 50% of the building footprints along the Canal de l’Ourcq, including the construction of a series of amenities that might help spark an ‘urban upturn.’ This entails, among other things, deciding where to build the future footbridge between the Parc de la Bergère and Bobigny’s new ZAC Écocité (offices and schools), while using this infrastructure to set up three other programmes: a second footbridge from the park through the treetops, a floating weekly market and a spe-cialist culinary centre.

195

197

gradua-

project

t ion

This project is based on a paradox: consumers pay increasing attention to the quality of the food they purchase and prepare, but tend to be less attentive to its conservation once they have brought it home. The goal here is to create preservation methods that take the specificities of each product into account – especially fresh produce. To do this, the idea is to decompose the refrigerator in order to end up with three separate kitchen containers: refrigerated (electrically-powered glass cabinet) isothermal (wood and textile) aerated (cork, porcelain, perforated steel sheet)

These objects invite us to get closer to the places where food is cut and prepared.

f r E S H

project directors: fabien cagani and laurent matras

rigal

JOËlle

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197

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197

JoËLLE rIGaL

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198

199

199

thes

is

thesis

g o l d d i g g e r

Thesis director: Yann Potin

This work focuses on the notion of inhabiting, in the broadest sense. The goal is to query our personal relationship to a given place, through memory, traces, and everyday life.What role do objects play in our appropriation of a place? They represent a concrete trace of where we live while underscoring the relationship a person has with the space he or she inhabits.How can they become a bridge to elsewhere, to someone else? How does the individual become part of a community?These questions are predicated upon two places where things traditio-nally accumulate: the family home and its archival artefacts, and a pho-tography blog.

JoËLLE rIGaL

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200

201

sele

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selected

project

w a l l- m o u n T e d

c o a T h a n g e r

2009

This work focuses on turned wood and bentwood. The wall-mounted coat hanger is a reference to Thonet’s ‘parrot.’ The wood appears to be sketching a graphic path on the wall, creating an arborescence that becomes a coat hanger as it detaches itself from the wall.

201

selected

project

c u T l e r y

2009

partnership with Arcoroc

This range of cutlery borrows its forms from the folds of a leaf, its veins, by using a stamping process. The folds are responsible for the structural slant. The knife is forged but maintains the same formal principles. Cut-lery’s traditional decoration, composed of lines, is here revisited. It becomes the cutlery’s structure.

JoËLLE rIGaL

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202

203

selected

project

e a r T h y p a T T e r n s

2011

partnership with grobois and Haffiz, artisan potters

project undertaken with Philippe Thibault

A small-scale production. The idea was to attack the random nature of enamelling with precision tools, 3D printing and digital milling. A range of tools, such as casters made it possible to apply patterns to ear-then materials.

203

205

p r o g r A M M E D

M AT E r I A L

gradua-

project

t ion

The goal of this project is to reconsider the process of wear and tear. Often seen negatively, the idea is to no longer view it as something one endures, an inevitable consequence of time passing, but on the contrary to anticipate and program it with the goal of embracing and integrating it. Wear and tear might then cease to bring us down, and instead of reminding us of the tragic destiny of all matter, it might instead become the very heart of the object, the thing that makes it beautiful and func-tional at once. By paradoxically making wear and tear the very essence of newness, the object can become supremely noble.

project director : patrick de glo de Besses

seuleusian

Charles

205

204

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205

205

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205

charLES SEuLEuSIan

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206

207

207

thes

is

thesisa f o r m

o f h o n e s T y

Thesis director: Nathalie Chouchan

This thesis was born out of the worry, observations and questions posed by a man, a consumer, and future designer.It is about the industrial world we live in, a world of objects, of conspi-cuous consumption, of excess and overabundance. Observation, personal beliefs, intuition and desires that lead to a course of action, a kind of ethical guideline.

charLES SEuLEuSIan

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208

209

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selected

project

f é l i x

2008

project with Axel Ardeois

Are you tired of feeling trapped in an urban jungle where cars and other motorised vehicles are constantly vying for space? Here is the solution: Felix, a lightweight, exciting and responsive bicycle. Featuring the speed of a racing bike and the easy handling of a BMX this hybrid will make you rethink your relationship to the city, which will suddenly seem like a gigantic playground.

209

selected

project

f u l l o f h o T a i r

2009

This wastepaper basket was born of an experiment on the limits of the flexibility of wood. A balloon is placed inside an ash wood cylinder with an incised perimeter. The depth of the cuts varies in order to programme the deformation caused by the balloon as it is inflated. This object com-bines a well-mastered manufacturing process with an elusive ran-domness due to the action of the air within it.

charLES SEuLEuSIan

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210

211

selected

projectw o o d s T a c K

2010

partnership with EDf

This is a new way of considering the purchase and storage of firewood for home use. Made of poplar wood, this unit is destined to follow the same path as the logs it contains. To be burned, the better to disappear and to neither pollute nor take up room when no longer useful. This is a reflection on the birth of a product, its creation, its existence and its disappearance – in this case its destruction through fire.

211

213

gradua-

project

t ion

How to integrate patterns into domestic objects, so that they will intrin-sically participate in the object’s various functions? After a phase of research centred round the idea of ‘how to produce a pattern’, two kinds of objects came irresistibly to mind: a range of bags, and a bookcase. The bags are for urban cyclists by day or by night, rain or shine. The bag is designed to blend elegance and practicality; it is made of leather and tarpaulin, with a silkscreened retroreflective pattern. The bookcase is a variation on the theme of scale and the third dimension of the pattern. At first glance, the wooden structure appears even, yet it is not: a good pattern should always contain a few surprises. Looking at the object a little closer, the points of contact of the wood parts reveal themselves to be coloured. Here and there, the wood unveils a new pattern, one that is created naturally by the material itself and artificially through the choice of colour and the overall design.

o b J E C T S

p AT T E r N S

project director : françois azambourg

thissen

Julie

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215

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is

thesis

JuLIE ThISSEn

o n T h e o B j e c T

o f T h i n g s

Thesis director: Frédéric Dumond

The point of departure of this thesis is a simple yet critical question regarding design: ‘what is the use of objects?’ This question is inevitable. In practice, a designer must pose it every day. Yet it is a complex question, one that holds many answers, revealing numerous possibilities view-points. So why not ask this question clearly, in order to attempt to define in the broadest sense possible the question of an object’s usefulness.

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216

217

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selected

project

d e / f o r m

2009

These bowls are manufactured with a lathe, and feature patterned resin that is not on the surface but rather integrated into the object’s mass. The pattern takes its final shape while on the lathe. The manufacturing process itself is therefore the pattern’s raison d’être. More than a mere deco-ration, it becomes an intrinsic part of the object’s matter.

217

selected

project

JuLIE ThISSEn

a c h i l l e

2009

In partnership with Sperian

project with Pauline Gilain and Roman Pin

It protects street cleaners from the risk of cuts and nicks. The glove’s protective material was developed in partnership, and made flexible and comfortable thanks to pattern cutting.

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218

219

selected

project

p é r o

2010

This project is an in-depth re-examination of traditional family cutlery, in which the object’s value is of utmost importance. Unlike other simple tools, cutlery sometimes stays with a family for several generations, beco-ming part of family history. The solid silver is gold-plated, then silver-plated. Thus, as the cutlery is used, the exterior silver layer wears away, gradually revealing not just the gold layer beneath, but also the object’s intrinsic value, marking its special use and the family’s history.

219

221

T o q -T o C

gradua-

project

t ion

This project illustrates the potential to simplify a technique through an object itself while sharing the knowledge of a discipline. This service will allow two people to cook remotely. When several people cook together, certain immaterial things can be conveyed, such as customs and tastes, recipes and tricks. Attempting to maintain or even to intensify these practices, could give us a way to reinvent our spatial and temporal percep-tions of the kitchen. Sharing recipes and teaching others how to prepare certain dishes is also a way of sharing culture, heritage, and experience. Technological and mechanical characteristics can coexist within the same object. This is the opportunity to show that one and the other can combine to convey a learning experience. The service includes four objects that are perfect illustrations of the movements involved – tools that express know-how and are an essential part of the sharing process. Sharing traditions is a gateway to a host of opportunities. Examining the past and our heritage is the key to innova-tion. This approach aims to translate that history, those now familiar movements that are often so difficult to describe. Now is the time for imperfection and new interpretations.

project director : guillaume foissac

trÉFOuX

Claire

221

220

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221

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221

cLaIrE TrÉFoux

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222

223

223

thes

isthesis r i c o c h e T

o r e x p l o r a T i o n s

i n p a r i s i a n d e s i g n

Thesis director: Marie-Haude Caraës

This work is an immersion in the budding professional circle of desi-gners. The exploration will be carried out using two distinct approaches. The first features a sociological study of the notion of location. The second will concentrate on applying that notion to a given environment: that of Parisian design. During on-site investigations we will meet and interview its major players, we will delineate the boundaries of the pro-fession in order to grasp its codes and language and reveal its principal characteristics.

cLaIrE TrÉFoux

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224

225

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selected

project

T o o l s

2009

partnership with Arcoroc

This range of cutlery has an uncommonly large shape, to make each item easier to handle. Taking their cue from mechanical tools, these forks, knives and spoons are designed to fit comfortably in the palm of the hand. The lines are soft and beg to be held. An enormous amount of care was put into creating these veritable eating ‘tools,’ with comfort a constant concern.The spoon and the fork are generously shaped, since they come in direct contact with the user’s mouth, whereas the knife is thinner and leaner, as befits its purpose.

225

226

227

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selected

project

s i lVa

2010

partnership with EDf

project undertaken with Christopher Santerre

This cooking device highlights the benefits of heating with wood pellets. The stove is made of cast iron, with a heat-generating soapstone cover, flames are visible within the open-angled hearth. The use of this stove is made even easier by the fact that the wood pellets – reconditioned and ready to use – are readily available online.

cLaIrE TrÉFoux

227

selected

project

p i l o

2011

partnership with Sanofi

project undertaken with Jonathan Deloy

This digital pill dispenser makes taking and stocking pills easier than ever. The pharmacist places a sticker with integrated flashcode on the device, which contains the recommended doses and prescription printed on the package of medication, and can then be read by the dispenser. Once it is full, it remains active in order to remind the user when it is time to take a given pill, by lighting up the relevant box. The interface is designed for this particular object but also for a digital tablet.

229

S H A r E D

p r I vA C y

gradua-

project

t ion

Research on privacy in public hospitals: a complex environment, con-straining and at times extreme, full of real problems and needs. Privacy demands clear separation and closeness, and understanding this mech-anism in a semi-private space is a real challenge. The aim of this project is to examine the current context of hospitalised patients and come up with new responses to the challenge posed by privacy. This project fea-tures several everyday objects that allow the patient to preserve his or her privacy, and thus protect and express it within a shared framework. These objects make the hospital environment more appealing and adapt-able to the needs of each individual.

project director : ramy fishler

Yun

Wang

229

228

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229

229

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gr

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229

Yun WanG

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230

231

231

thes

is

thesis

h i d d e n

Thesis director: Françoise Fronty-Gilles

This thesis is articulated around the notion of hiding: a universal sub-ject, both ancient and contemporary. Why do we hide things? What do we hide? This is a meditation on the way this idea is interpreted in ancient Chinese culture, and on the various facets of hiding as expressed today in the art and design professions. These issues are broached from a personal Oriental perspective, by discovering myself, my background, and my future as a designer.

Yun WanG

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232

233

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selected

project

s o f T w a r m

2010

partnership with EDf

This pellet stove retains heat that is often wasted with traditional stoves and spreads it around evenly in the lower part of the room. All of the system’s functions are hidden behind the stove, along with a week’s worth of fuel storage.

233

selected

project

c o l o u r e d

m u s i c B o x

2011

project undertaken with Célia Torvisco

The aim of this game is to make sound visual and to infuse images with sound. Each colour represents a particular musical note. The app (iPhone) will scan the patterns line by line with the telephone’s integrated camera, and produce a continuous sound. The placement and size of each colour will alter the sounds they make. It is therefore possible to design one’s own song or transform one’s favourite tune into a drawing.

Yun WanG

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234

235

selected

projecti n - c l i p

2011

partnership with Schneider Electric

A lighting kit with LEDs (lamp, rechargeable battery, solar panel and multi-channel recharging system for small electrical devices) conceived for Indian villages without sufficient access to a stable electrical grid. The user can set up a clip lamp in five different ways depending on the habi-tat and their daily needs.

235

237

L A vA u D A I r E

gradua-

project

t ion

The project aims to develop a new water-based tourism by attempting to make sailing more accessible to the greatest number of people.This is a rental service for a flotilla of small trimarans designed to bring pleasure through ‘immersion’ and slow voyaging.Imagined like a beach, the deck is shortened, making navigation and swimming easier. Floating pontoons located near the coastline and con-ceived like an extension of the boat offer the possibility of stopovers in order to enjoy the seascape more fully. Sometimes ‘shelters’ are added, similar to what one might find in the mountains, where tourists can spend the night if need be.

project directors: erwan Bouroullec and olivier petit

WillauMe

aleXandre

237

236

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237

237

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gr

ad

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237

aLExanDrE WILLauME

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239

239

240

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241

thes

is

thesis w i T c h e s a n d B o B sl a B o r a T o r y

f o r o d d s a n d B o B s

Thesis director: Eric Aupol

To embrace the object in the most experimental, empirical and direct way possible; not through knowledge, but thanks to a resolutely material approach, a physical relationship to the object. To set off on a quest for abandoned objects which have been altered by the context in which they find themselves, in order to find out what they are about, in the manner of an archaeologist, and attempt to extract a new ‘formalism’ from them.

aLExanDrE WILLauME

241

sele

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ts

selected

project

i n T e r a c T i V e K i T

partnership with Sfr

project undertaken with Quentin Caille

An edutainment panoply made up of small active modules whose func-tions are not clearly defined, based on learning and mastering the pro-cess of receiving and emitting signals. All of these modules can be struc-tured in random and/or controlled ways, in order to create bugs, or build tools, augment existing games, or even to invent new languages.

242

243

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selected

project

T h r e e ’ s c o m p a n y

B a c K p a c K s

These bags are made for the needs of urban dwellers. They are designed in varying sizes for any and all potential purchases; they also contain built-in anti-theft tricks and have moisture-wicking elastic back slats. Pockets and other technical components that serve no purpose in an urban environment have been eliminated.

aLExanDrE WILLauME

243

selected

project

p l a c e d e l a

c o m m u n e d e p a r i s

partnership with the Mairie d’Argenteuil

project with Léonie Ferry

This project aims to rehabilitate the central square in Argenteuil’s Val d’Argent housing estate. Currently soulless, it is now merely a place people cross to get from one point to another. This project is a circle sur-rounding a hothouse that aims to transform the spot into a hub of acti-vities, where people can meet and mull around their surroundings.

244

245

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p r o j e c T

d i r e c T o r s

Guillaume Foissac ,

designer,

project teacher ENSCI

-

Jean-François Dingjian ,

designer,

project teacher ENSCI

-

Matt Sindal ,

designer,

project teacher ENSCI

-

Swann Bourotte ,

designer

-

Vincent Dupont-Rougier ,

designer

-

Jun Yasumoto ,

designer

-

Laurent Massaloux ,

designer,

project teacher ENSCI

-

Patrick de Glo-de-Besses ,

designer,

project teacher ENSCI

-

Benjamin Graindorge ,

designer

-

Stéphane Villard ,

designer,

project teacher ENSCI

-

Joachim Jirou-Najou ,

designer

Fréderic Lecourt ,

designer

-

Sylvain Rieu-Piquet ,

designer

-

Inga Sempé ,

designer

-

François Azambourg ,

designer,

project teacher ENSCI

-

Felipe Ribon ,

designer

-

Eloi Chaffaï ,

designer,

project teacher ENSCI

-

Fabien Cagani ,

designer

-

Laurent Matras ,

designTer

-

Ramy Fishler ,

designer

-

Erwan Bouroullec ,

designer

-

Olivier Petit ,

architect

245

T h e s i s

d i r e c T o r s

Yann Potin ,

historian, researcher

-

Laurence Salmon ,

journalist

-

Rémi Sussan ,

journalist- tecnology

-

Jérôme Eneau ,

professor

of Education science

-

Jannick Thiroux ,

director adviser

at ptolémée

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Maurice Ronai ,

consultant

-

Catherine Geel ,

historian of design

-

Frédéric Siard ,

teacher of design

and history of art

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Cloé Pitiot-Fontaine ,

architect, curator

Centre pompidou, paris

-

Jacques-François Marchandise ,

philosopher,

research director, La fing

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Roland Cahen ,

head of sound studio ENSCI

Marie-Haude Caraës ,

director Ecole

des beaux-Art, Tours

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Frank Burbage ,

professor of philosophy

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Françoise Fronty-Gilles ,

communication consultant

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Frédéric Dumond ,

writer, videast

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Valérie Mréjen ,

artist, videast

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Thimoty Perkins ,

visual artist, teacher ENSCI

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Stéphanie Kunert ,

Information

and communication

teacher, CELSA

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Juliette Riquier-Damoisel ,

strategic designer

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David Dubois ,

designer

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Jean-Charles Massera ,

writer, art critic

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Nathalie Chouchan ,

teacher of philosophy

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Eric Aupol ,

photographer , teacher

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design

teXtile

247

T e x T i l e d e s i g n

a T e n s c i - l e s a T e l i e r s

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 cloth-ing, the home, architecture, transport, etc.

Aware of new uses and technologies, textile designers convey innovation, cre-ate and develop fabrics, compose with materials, colours, and graphic designs, intervene in the structure and form of the textile product and master the manufacturing processes.

Technological progress and new fibres are now offering textile designers a chance to explore new territories that represent major stakes for society (health, safety, sustainable development…). In a European context that is shifting fast—competition, trade globalisation—the traditional sectors of clothing and environment textiles are today resolutely focused on quality production with high creative and technical added value.

The first two years of the course are spent on textile design projects, teaching and research.

The variety of the coursework covers all the aspects of textile creation, from product development to manufacturing.

The training favours experimentation and workshop research: each student has a diverse range of high-performance tools at their disposal to make their textiles.

In their second year, textile design students also work industrial design stu-dents 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 profes-sional 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 pro-ject 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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249

a s p e c i f i c T r a i n i n g

C h a n ta l tO u r n aY , h e a d o f D e s i g n Tex t i l e

Throughout their three and a half years of coursework, students at ENSCI-Les Ateliers will learn to think about textiles in all their different aspects, performances and uses, while developing a creative and prospective approach that takes into account progress in technology and human behaviour.

Textile is our door into design: the textile designer, like the industrial designer, conceives scenarios of use but materialises them through a fab-ric, a collection or a product involving textiles.

Textile is protean and ubiquitous in our environment. Each field of applica-tion requires specific expertise that our students acquire in the diverse projects studied in the school.

Developing expression through textile means acquiring theoretical knowl-edge 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 smart decisions throughout the devel-opment process, from the choice of the raw materials to the type of thread or construction system.

Aesthetic criteria are also essential. During their training, students therefore regularly update their artistic knowledge in drawing (shape, graphic design, composition) and colours (harmony and range).

At the end of their degree, our graduates become specialists capable of bring-ing 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 sen-sitivity for the textile object that forges the originality and the value of our training, unique in France.

249

w A N D E r I N g

A N D w o N D E r I N g

D r E A M p r o J E C T I o N S

gradua-

project

t ion

This collection of fashion textiles comes straight out of a dream: it’s the pursuit of something outside our everyday reality, a kind of ‘dreamwalk.’ Each sequence of this narrative is expressed and illustrated by fabrics that contribute to the storytelling through the material that composes their essence, their colour, their appearance…

project directors: maurizio galante and Tal lancman

COrsin

Julie

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250

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251

JuLIE corSIn

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253

253

254

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255

thes

is

thesis d r e a m a l i T yf l u c T u a T i n g B e T w e e n

d r e a m s a n d r e a l i T y

Thesis director: Frédéric Dumond

How can one transcribe dreams into reality through cinematic or literary works of art, as well as the emotions and feelings they unleash in us?

JuLIE corSIn

thes

is

255

sele

Cte

d P

rO

JeC

ts

selected

project

i n T h e l a n d o f

T h e B e a r d e d p r i n c e s s

a n d T h e c a T B i r d

2010

This conception of a ‘textile architecture wonderland’ has deep roots in childhood. An oddball dreamscape where fairy tale characters and strange creatures coexist in an unsettling space…

256

257

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selected

project

JuLIE corSIn

o f f i c e ( i o u s ly )

2011

Can uniformity and personality be expressed in one and the same article of clothing? Five basics – the trench coat, the battle dress, the white but-ton-down shirt, the V-neck sweater, and the three-button jacket – are here revisited with the aim of creating a neutral, restrained wardrobe that still manages to express tastes and personality.

257

selected

project

d ay & n i g h T

2011

partnership with accessories firm

Aridza Bross and the Salon première Classe

Three bags in one, for short trips: a garment-bag for eveningwear, a carry bag and a shoulder bag for regular use.

259

w E Av E

T H E S w I N g

gradua-

project

t ion

Textile collection for interior furnishings, inspired by Benny Goodman’s 1936 recording of the song, ‘Sing Sing Sing.’ Musical matter, sound and its vocabulary have been reinterpreted picto-rially (syncopation, swing, breaks, tension, lull…). Through various approaches this colourful world of sound became the major inspiration for this collection, which brings swingalong to various textile products (wallpaper, wall cladding, chairs, curtains netting…).

project director : nathalie pellegrini

dia

CÉCile

259

258

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259

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gr

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t

259

cÉcILE DIa

w A L L p A p E r

S o f T f u r N I S H I N g

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260

261

w A L L f A b r I C

261

262

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263

thes

is

thesisc u lT u r a l

m i x

Thesis director: Pascale Berloquin-Chassany

To reflect on the blending of cultures is first and foremost to attempt to portray and grasp the complexity of human meetings in society. These cannot exist nor occur without sharing, interpreting and adopting ideas, know-how and thought processes. Beyond the concept itself, it is an examination, in the deepest sense, of the world itself. Ambiguous, para-doxical and unpredictable, this blending of processes can be seen as an endless cultural weave.

cÉcILE DIa

263

sele

Cte

d P

rO

JeC

ts

l i T T l e w o n d y

2009

A sketchbook filled with drawings allowed the creation of a landscape based on colour and variation. This illustrated world was developed through a 3D textile structure.

selected

project

264

265

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cÉcILE DIa

selected

project

T e x T i l e c o l l e c T i o n

f o r c a r

u p h o l s T e r y

2010

‘If the bee disappeared from the face of the earth, man would have no more than four years to live.’

Albert Einstein

A textile collection for the Honda concept car EV-N, drawing its inspira-tion from bees in a retro, or vintage spirit.Designed for an ecological vehicle, this collection respects the technical and marketing constraints laid out in the specifications.The challenge is to come up with a textile concept that is both ecological and aesthetically groundbreaking in terms of the traditional interior.

265

selected

project

g e T a h a n d l e

2011

partnership with accessories firm

Hervé Chapelier , and the Salon première Classe

Sponsored by Sylvie Haddad – fashion and accessory designer

This bag is based on the traditional outfits and trends associated with ‘ethnic chic’. At once durable and practical, its two flexible handles embrace the body’s every movement: crossed in front of the body, twisted around or simply slung over a shoulder, they create a new stance for every moment.

267

I N v I S I b L E

T o

T H E N A K E D E y E

gradua-

project

t ion

This project echoes the thesis on a garden theme and revolves around the flower: its structure and composition, with a special focus on the infi-nitely small. When examined through an electronic microscope, flowers, petals and seeds reveal an infinite array of structures and textures that bear a striking resemblance to the materials and surfaces of a whole range of domestic fabrics.

project director : antoine dupire

lYsandre

graeBling

267

266

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267

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gr

ad

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tiO

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JeC

t

267

LYSanDrE GraEBLInG

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268

269

269

thes

is

thesis

T h e g a r d e n :

w r i T i n g a n i n d i V i d u a l

a n d c o l l e c T i V e

n a r r a T i V e

Thesis director: Sophie Coiffier

Private gardens, shared gardens, therapeutic gardens, remedial gardens, family gardens…What motivates today’s gardeners to tend them? Does the existence of a garden contribute to the wholeness of a city/help establish an urban environment, or is it a symptom of a withdrawal from society?

LYSanDrE GraEBLInG

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270

271

sele

Cte

d P

rO

JeC

ts

selected

project

m a r V e l s

2010

A personal vision of the marvels of illustration, as interpreted through weaving. Textiles blended with leather, paper, lace, and metal.

271

LYSanDrE GraEBLInG

selected

project

4 8 - h o u r

m i n i - c a s e

2011

partnership with accessories firm

Hervé Chapelie and the Salon première Classe

A weekend mini-case for an eight-year-old girl spending time alternately with her father and her mother. Two compartments are separated by a removable inset. The first can contain clothing and the health record. The second is designed for personal items (doll, book, security blanket).Made of linen, it has a chequered base in neutral colours, all-over shim-mer from bright-coloured stars and a geranium-pink canvas lining.

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272

273

selected

project

r e V i s i T i n g

T h e B a s i c s

2011

This collection takes a new look at the classic wardrobe (shirt, three-but-ton jacket, trench coat, V-neck sweater) with an added detachable acces-sory: a collar for the shirt, a wide hood for the jacket, a belt for the trench coat, a scarf for the sweater.

273

275

r E M E M b r A N C E

A C C o r D I N g

T o v I C T o r

gradua-

project

t ion

‘Creating is remembering.’ Victor Hugo This collection is a tribute to a past anchored in the present. It confronts two generations while attempting to preserve and honour the memory of those who came before us without losing sight of current trends. Its con-ception is similar to a photo album and should be perceived as proof of the transmission and permanent status of the emotions that textiles convey.

project director : rudolf ritzer

lereCuleur

JOrdane

275

274

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275

275

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gr

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ua

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t

275

JorDanE LErEcuLEur

M o u N T A I N M E M o r y

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276

277

D o g M E M o r y

T r I p T y C H

277

thes

isthesis B a r B i e ’ s

s e c r e T d i a r y

o f f e m i n i n i T y

Thesis director: Cloé Pitiot-Fontaine

‘One is not born, but rather becomes, a woman.’ Simone De BeauvoirBarbie is an object, a toy. Barbie is a dress, a pair of high heels. Barbie is a teenager, a woman. But more than anything, Barbie is the image of an ever-evolving society – a consumer society. The history of Barbie can be told through the evolution of dolls, their clothes and fashion accessories. This thesis aims to revisit history through the analysis of one object: the doll and all its accessories. Barbie is here considered as a technical object, a medium for materials, colours, and games.

JorDanE LErEcuLEur

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278

279

selected

project

sele

Cte

d P

rO

JeC

ts

T h e m a d h a T T e r

2009

A new version of Lewis Carroll’s famous Mad Hatter. With his multiple personalities and crazed outlook, the hatter is a refined bourgeois and decadent dandy rolled into one.

279

selected

project

B e l a i r B u r g e r

2010

Welcome to the Diner! The Bel Air Burger has everything the elegant and glamorous woman would want to find in such a place, from the staff to the clientele. The waitress has a set of brightly coloured sponges and dishcloths whose hues recall those of the restaurant itself. The client will certainly enjoy having a lovely tablemat under her plate, a coaster for her milkshake, and will be able to enjoy her burger and chips without dir-tying her dainty fingers.

JorDanE LErEcuLEur

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280

281

selected

project

‘ p l a c e y o u r B e T s ’

2010

Man, 30 to 35 years of age, around 5’9” in height, greying hair, single – a card dealer. By blending the traditional French Barrière Casino outfits with the Las Vegas look, two types of work uniforms are proposed. The first recalls the elegance of Barrière; the second is reminiscent of the bright lights of Vegas.

281

283

K I L o M E T r E *

gradua-

project

t ion

This collection draws its inspiration from San Francisco, a creative city full of eco-friendly cyclists. However, even cycling generates waste, such as used inner tubes.How to raise the issue of recycling in this context? By considering the inner tube as a major component of a collection of textiles for indoor and outdoor use. The Kilomètre collection revisitstraditional motifs (chevrons, cannage, hound’s-tooth) in the spirit of sustainability.

project director : pauline ricard-andré

lusVen

CÉCilia

283

282

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283

283

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gr

ad

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tiO

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JeC

t

283

cÉcILIa LuSVEn

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284

285

285

286

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287

thes

is

thesisT h e e m e r g e n c e

o f s i m p l i c i T y

Thesis director: Anne-Cécile Sonntag

This work queries the notion of ‘less is more’ as well as contemporary reflections on a return to the simple life.‘The extraordinary attracts us for a moment, but simplicity holds our attention for longer because simplicity holds what is essential.’ Garry Winogrand, photographer.

cÉcILIa LuSVEn

287

sele

Cte

d P

rO

JeC

ts

selected

project

a u T o m o B i l e

p r o j e c T

2010

A line of automobile textiles directly inspired by nature.

sele

Cte

d P

rO

JeC

ts

288

289

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selected

project

u o V o , o r a n i n V i T a T i o n

T o a T w o - w h e e l

j o u r n e y

2011

partnership with accessories firm

Jack Gomme and the Salon première Classe

The shape of this 48-hour bag is an extension of the form of a scooter. The helmet fits snugly in the extendible gussets at the front of the bag. The textile – jacquard – lends lightness to the product; the helmet’s pat-tern is given the all-over treatment, much in the spirit of a monogram.

cÉcILIa LuSVEn

289

selected

project

a u T o m a T i c

w r i T i n g

2011

The all-over motif developed through an automatic writing exercise, printed on a natural background.

291

gradua-

project

t ion I N T E r A C T I o N S

This project echoes the thesis, whose subject was body modification. The main influence of these modifications will blend with other inspira-tional images. These principles are drawn from the initial theme, which naturally leads to textile. ‘Interactions’ is a collection, mainly of mesh fabrics destined for the fashion world. Symbolically, textile here replaces the leather featured in the thesis. It reveals certain parts of the body and creates the illusion of modifications. This project is experimental in nature. It associates textile-type materials to more surprising elements, for example those that are foreign to the human body. This collection is a play on transparency, a combination of fragile, wraithlike materials, and voluminous elusive surfaces, which together create a narrative of strange shifts laced with experimental accents.

project director : christian Tournafol

MOrandi

MariOn

291

290

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291

291

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gr

ad

ua

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t

291

MarIon MoranDI

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292

293

293

294

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thes

is

thesisf r o m a p p e a r a n c e

T o e s s e n c e

Thesis director: Guillaume Erner

Comparing the tattooing traditions of primitive societies to those of our contemporary society leads to questioning the ever-evolving notion of belonging to society and our relation to the body and to seduction. Beyond fashion tattoos, why do certain people decide to modify their bodies in the extreme?

MarIon MoranDI

295

B i o m o r p h i a

2010

A fantastic vision expressed through drawing: a hybrid, ill-defined, almost organic world. Textiles based on Greg Lynn’s architecture and a biomorphic approach bring volume and an impression of reality to this apparition.

selected

project

sele

Cte

d P

rO

JeC

ts

295

296

297

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selected

project

T h e p h o T o - B a g

2011

partnership with accessories firm

An+Ka and the Salon première Classe

Specifically designed for photographers, this bag discretely contains pro-fessional material as well as personal items.The very aesthetic of the bag protects its contents, and its concept res-ponds to the needs of the professional: an easy-access compartment for camera material.

MarIon MoranDI

297

selected

project

B a s i c s

2011

A basic collection of clothes (trench coat, three-button jacket, white but-ton-down shirt and v-neck sweater) revisited with the aim of placing volume front and centre; with detachable or retractable elements that lend originality, aestheticism and comfort to each article of clothing.

299

H o L o

gradua-

project

t ion

A collection of flexible, adjustable lamps made with textiles that give the lamps their structure and create a play on the light. This transversal research – material, form, lighting – sparks a dialogue between textile design and product.

project director : marion lévy

saMsOn

ChrYstel

299

298

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299

299

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299

chrYSTEL SaMSon

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300

301

301

302

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303

thes

is

thesis

T h e c r a c K s

i n g a m e s :

a h e T e r o T o p i c a l

s p a c e

Thesis director: Frédéric Dumond

Reflections on the relationship between games-as-design, games-as-space, and space-as-creation.

chrYSTEL SaMSon

303

sele

Cte

d P

rO

JeC

ts

selected

project

T r o g l o h o m e

2010

This collection of textiles is for an imaginary hotel complex inspired by troglodyte dwellings and designed to bring travellers closer to nature. The modules have transparent walls and are furnished with soft, wool cocoons.

selected

project

chrYSTEL SaMSon

i n T h e m o o d

2011

partnership with Citizen

project with Fernand Manzi

This is a reflection on an adjustable textile accessory that through light signals can guide the user toward favourite spots, based on a list of pre-ferences passed on by smartphone. The object reacts and interacts with the environment.

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304

305

selected

project

T h e s h o w

m u s T g o o n !

2011

partnership with accessories firm

Just Campagne and the Salon première Classe

A bag made of leather and fabric, with two side pockets and a central section that unfolds if need be. Designed with dancers in mind, it allows them to carry everything in one bag — personal items as well as profes-sional ones.

305

307307

K H AT I p u r A

r o A D

gradua-

project

t ion

This project originated in India, on a Bullet Machismo 500. Ths Khatipura Road-Lifestyle collection is made for lovers of neo-vintage motorcycles. It features side bags in three colours and materials, and chaps for the city biker, an alternative to waterproof trousers.

project director : fréderic jalat

thiBault

CÉline

307

306

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307

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gr

ad

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tiO

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t

307

cÉLInE ThIBauLT

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308

309

g r E E N C A M o r A N g E

309

310

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311

thes

is

thesis

s T a n d o f f

o n a g i a n T c h e s s B o a r d :

r e f l e c T i o n s

o n w o r K

Thesis director: Jacques-François Marchandise

Reflections on work and its value, against the backdrop of the tug-of-war between high finance and humanity.

cÉLInE ThIBauLT

311

sele

Cte

d P

rO

JeC

ts

selected

project

a m a z o n i a n f o r e s T

2010

This collection of fabrics for an ecologically sound vehicle was inspired by the Amazon and by endangered species.

sele

Cte

d P

rO

JeC

ts

selected

project

w a n d e r l u s T

2011

partnership with accessories firm

Koryom and the Salon première Classe

Like a seaman’s sack, built from a crescent-shape base and featuring a reinforced back, ergonomic adjustable straps and a stand-alone inte-rior pouch.

cÉLInE ThIBauLT

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312

313

selected

project

B i K e

B a s i c s

2011

Today’s basics hearken back to 1920s sports clothing. That said, my idea was to come up with textiles suited to five basic articles of clothing (trench coat, jacket, button-down shirt, long-sleeve sweater and trousers with deep pockets) that would be easy for urban cyclists to wear.

313

315

b r A Z Z Av I L L E

-

T o K y o

gradua-

project

t ion

‘The thing that inspires nostalgia in us over here is the very thing which remained inacces-sible to us over there.’ Le Japon vu de dos, Christian Doumet.

Four personal episodes from four different countries trace a journey punctuated with personal snapshots that today form the basis of four collections. These are an invitation to discover a graphic world and a palette of colours that tell of travels in Africa, Indonesia, the United States, and Japan.Each stage is represented by a collection of three multifunctional fabrics of different sizes, from the handkerchief to the shawl. Squares on which impressions of past lives are gathered, a melting pot of different cultures whose essence touches upon both the palpable and the ineffable.

project director : pauline ricard-andré

ValignY

aliX

315

314

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315

315

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gr

ad

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tiO

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t

315

aLIx VaLIGnY

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316

317

317

thes

is

thesisn e u T r a l

T w i n K l i n g s

Thesis director: Nathalie Chouchan

This is an investigation into neutrality and its various representations, from its common, rather negative reputation, to its rehabilitation through examples taken from Eastern and Western philosophies as well as the emergence of art movements in contemporary design. This jour-ney leads to a rather more colourful vision of neutrality, and puts it in the position of an element with the potential to inspire.

aLIx VaLIGnY

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318

319

sele

Cte

d P

rO

JeC

ts

selected

project

a u T o m a T i c

2010

Illustrations and silk screens inspired by Japanese art brut, in which unexceptional, everyday objects become the subjects of multiple crea-tions. Starting from this principle, objects are obsessively documented, ad infinitum.

319

selected

project

B a c K T o B a s i c s

2011

Outside of the traditional ‘basics’ – black, navy blue and white – the ‘neutral basic’ comes in a more nuanced range. Clothing thus regains its most basic function: being comfortable and resistant. This collection blends nuanced colours with a patchwork aesthetic, whose reinforced parts highlights the cut of the clothes.

aLIx VaLIGnY

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320

321

selected

project

c i T i e s

2011

Wandering in a city: a combination of city maps and depictions yields a marvellously anonymous, timeless city, a city in which one’s itinerary is left to chance. The model is a pop-up form woven directly on the loom for an immediate 3D-representation of an urban setting.

321

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322

323

p r o j e c T

d i r e c T o r s

Maurizio Galante ,

fashion designer

-

Tal Lancman ,

designer

-

Nathalie Pellegrini ,

designer

-

Antoine Dupire ,

creative director

-

Rudolf Ritzer ,

creative director

-

Pauline Ricard-André ,

art director

-

Christian Tournafol ,

stylist

-

Marion Lévy ,

designer

-

Frédéric Jalat ,

training officer

T h e s i s

d i r e c T o r s

Frédéric Dumond ,

writter, artist

-

Pascale Berloquin-Chassany ,

professor, searcher

-

Cloé Pitiot-Fontaine ,

author, i l lustrator

-

Anne-Cécile Sonntag ,

professor

-

Guillaume Erner ,

professor, searcher

-

Jacques-François Marchandise ,

philosopher and research

director at fINg

-

Nathalie Chouchan ,

teacher of philosophy

-

Sophie Coiffier ,

artist

323

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324

325

T h e n o n s T o p d e s i g n s c h o o l

ENSCI-Les Ateliers, the french national institute for advanced studies in industrial design, was founded in 1982 under the joint authority of the Ministries responsible for Culture and Industry and is the only state-funded advanced education institute specialising in Industrial design.

The education programme, based on a sustainable, human-centred vision of design, seeks to balance quality of living with the need to enhance competitivity in the French and European economies.

ENSCI was created not only as a ‘design’ school but as an innovative edu-cation project. Its aim is to provide an optimum learning context for a new generation of designers, able to bring creativity and innovation to all fields of production and to contribute to promoting the profes-sion. Over the past thirty years we have witnessed profound transfor-mations in manufacturing and distribution processes and the enor-mous impact of digital technology on our everyday lives. Design practice has evolved exponentially to include both material and immaterial goods, products and services - combining traditional skills with research in areas such as Intelligent materials, micro and nanotechnologies, life sciences etc.

ENSCI has risen to the challenge by constantly renewing its education system, integrating contemporary fields of knowledge and practice whilst safeguarding the notion of humane innovation (as expressed by Icsid) (http://www.icsid.org/about/about/articles31.htm)

ENSCI delivers master level degrees only. The main activity of the school is centred around two master programmes: the (generalist) 5 year integrated master in industrial design and the postgraduate master in textile design (3 years after a first, specialised degree).

The School is a founding member of the PRES (Pole of Research and Edu-cation excellence), named the Hésam. This Paris-based cluster has brought together 13 prestigious institutions in the fields of the arts, national heritage, engineering, architecture, economics, manage-ment and the human sciences. The members of the PRES have recently co-authored a project for the creation of the « Paris Novi Mundi University » which gathers the different specialist fields of knowledge around a central axis provided by the EHESS institute for research in human sciences. It is also ENSCI’s role to support the EHESS in promoting human-led technological and economic develop-ment and social innovation.

Further academic partnerships are built around Double Degree pro-grammes, for example, Engineering+Design with the prestigious Ecole Centrale and the CNAM and Marketing+Design with the CELSA. Selected science students from Paris 6 University (Pierre et Marie Curie) can follow a custom-built Science+Design Bachelor level pro-gramme. As far as Europe is concerned, the School is a founding part-ner of the MEDes (Master of European Design), a joint programme

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created by 6 top-ranking European institutions in Glasgow (GSA), Helsinki (Aalto University), Milan (Politecnico), Cologne (KISD), Stock-holm (Konstfack) and Paris. A seminar programme with Japanese partners from Chiba University is also available within the MEDes.

The School has established a wide range of partnerships with business, industry, government agencies and research institutes and students benefit from many opportunities to experience professional practice. The MINATEC residency in Grenoble, where student teams work for one semester within the research lab, is one example and other resi-dencies will be available in the near future. It is mandatory for all students to gain hands-on internship experience in France - the School’s international network includes some of the world’s most reputed design institutions and companies

The ENSCI – Paris Design Lab® also offers professional post-graduate programmes (Mastères specialises) in « Design and contemporary technology » (CtC) and in « Innovation by design » (IbD) for non-designers. A new programme called « Nouveau design » starts in 2012. All these programmes are open to French and foreign appli-cants. French is, however, a pre-requisite.

ENSCI – Les Ateliers’ graduates work as freelancers, as in-house design-ers, in design studios – in France, but also in some of the most respected companies abroad - and cover a multitude of design pro-files. Each year around 270 students of all nationalities participate in the school’s activities and to date, over 710 industrial designers, 287 textile designers and 200 post-graduate students have graduated. The School has recently opened a Master track for non-French speaking candidates to the school, offering them the opportunity to spend an initial 6 months in the English-speaking project studio whilst learn-ing French.

In the heart of Paris, near to the Bastille, ENSCI-Les Ateliers occupies a vast loft space charged with history. Here, previously, the decorative arts enterprise Jansen employed, from 1922 to 1079, 500 craftspeople, uniting the various trades in workshops under one roof, where they could be called upon according to the needs of each project. The Min-istry of Culture acquired the building in the early 80’s and the school took over the premises in 1981. The spirit of co-working and trans-disciplinarity have stood the test of time and the school still boasts a strong workshop culture (both thinking and making), now equipped with the latest digital technology.

ENSCI-Les Ateliers is open 7 days a week all year round and students may access the premises 24/24.

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anGIBauD caMILLE ▸ camilleangibaud@gmail.com

aShcroFT anThonY ▸ ashcroft.anthony@gmail.com

FLaVIEn BErGEr ▸ bergerflavien@gmail.com

couTInho ThaïS ▸ anadir_nada@hotmail.com

DanG hEuDEBErT PErLE-Loan ▸ perleloan.dang@gmail.com

DauFrESnE raPhaËL ▸ ra.daufresne@laposte.net

EchaSSErIau aLExanDrE ▸ alexandre.echasseriau@hotmail.fr

GaLLIoT LaurELInE ▸ laureline.galliot@gmail.com

GILaIn PauLInE ▸ pauline.gilain@hotmail.fr

GraVES GuILLIan ▸ guillian.graves@gmail.com

GroBoZ JuLIEn ▸ ju.groboz@gmail.com

harTZhEIM Johanna ▸ mail@johannahartzheim.com

JunG roMaIn ▸ romain_jung@hotmail.fr

JunGST aZILIS ▸ az.ensci@gmail.com

kIM unGDon ▸ kwd307@hotmail.com

LanGLoIS FLora ▸ floralanglois@hotmail.fr

LaVaBrE cLaIrE ▸ claire.lavabre@gmail.com

(DE) LIGnac SanDrInE ▸ sdlignac@gmail.com

PaGE cLÉMEncE ▸ clemencepage@gmail.com

PIn roMan ▸ roman.pin@orange.fr

PInaFFo MarIon ▸ marionpinaffo@gmail.com

PouPon charLoTTE ▸ charlotte.poupon@gmail.com

rEMuET DaMIEn ▸ damien@remuet.com

rIGaL JoËLLE ▸ joelle.rigal@laposte.net

SEuLEuSIan charLES ▸ charles_seuleusian@hotmail.fr

ThISSEn JuLIE ▸ julie.thissen@hotmail.com

TrEFoux cLaIrE ▸ ctrefoux@gmail.com

WanG Yun ▸ WEnnYJ@gmail.com

aLExanDrE WILLauME ▸ al.willaume@gmail.com

teXtiledesign

corSIn JuLIE ▸ julie.lasourie@hotmail.fr

DIa cÉcILE ▸ cecile-dia@hotmail.fr

GraEBLInG LYSanDrE ▸ lysandre.g@gmail.com

LErEcuLEur JorDanE ▸ jordane_lerec@yahoo.fr

LuSVEn cÉcILIa ▸ cecilia.lusven@free.fr

MoranDI MarIon ▸ morandi.ma@gmail.com

SaMSon chrYSTEL ▸ chrystel.samson@gmail.com

ThIBauLT cÉLInE ▸ celine-thibault@orange.fr

VaLIGnY aLIx ▸ valigny_alix@hotmail.com

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