Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Bouygues Connected Spaces
Strategy / Spaces
Global design concept and experience strategy for Bouygues Telecom's retail stores. Integration of connected furniture and digital touchpoints to create a seamless customer purchase journey.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Visitation Convent Restoration
Spaces / Architecture
Architectural restoration and conversion of a historic 19th-century convent into a contemporary space for culture and innovation, respecting heritage while incorporating modern facilities.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
Cité des Sciences FabLab
Strategy / Research
Space design and interaction strategy for the digital fabrication laboratory at Cité des Sciences et de l'Industrie in Paris. Designing modular workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
La Condition Publique Lab
Research / Spaces
Research and design residency at La Condition Publique in Roubaix. Material experimentation, upcycling, and collaborative urban design workshops.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Water Pavilion Scenography
Spaces / Equipment
Immersive exhibition design at the Pavillon de l'Eau in Paris, raising awareness about ecology, water filtration, and resource preservation.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Renault Experiential Retail
Strategy / Spaces
Design of interactive presentation systems and exhibition spaces for the Renault Z.E. electric vehicle range globally.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
Lille Grand Palais
Spaces / Architecture
Interior architecture and office design for Lille Grand Palais. Creating dynamic and welcoming workspaces.
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
HighFive
Design / Products
HIGHFIVErnNOUVEAU MOBILIER URBAINrnANTI-INTRUSIONrnHighfive réinvente le mobilier de protection urbain anti-intrusion. Conçurnpar le designer Quentin Vaulot et réalisé dans le cadre de l’accélérateur FAIRE,rnHighfive est une alternative au bloc béton mal adapté à la diversité desrnsituations urbaines et inapproprié face au caractère patrimonial de la villernainsi qu'aux usages contemporains des citadins.rnComme les autres mobiliers anti intrusion, Highfive est capable dernrésister au choc d’un véhicule lourd lancé mais le dispositif permet aussirnde mieux organiser, séparer et orienter les flux piétons, vélos et voitures toutrnen offrant également de nouveaux usages. Le mobilier peut accueillirrnselon ses configurations spécifiques: assises, plantes et petits arbustes, mâtsrnd’éclairages, affiches ou décorations lors d’évènements festifs, et à terme desrnéoliennes pour produire de l’énergie et devenir station de recharge pour vélos ournsmartphones ou encore des dispositifs collaboratifs et d’innovations sociales.rnD’un point de vue technique, Highfive, réalisé par Escofet, leader sur le marchérndu mobilier urbain, se compose de 5 jardinières solidaires qui intègrentrnégalement un système inédit d'ancrage au sol déclenché en cas de choc. Chaquernunité Highfive peut également être assemblée pour former une chaine infranchissable de grande dimension.rnCes spécificités permettent au dispositif de s'adapter aux problématiques dernchaque site afin de répondre au mieux à l’enjeu sécuritaire et proposer un justernéquilibre entre protection et convivialité.rnInstallé pour la première fois à Paris, avenue de France dans le 13ernarrondissement dans le cadre des quartiers d'innovation urbaine maisrnégalement dans le Parc du Millénaire dans le 19e arrondissement enrnpartenariat avec Icade, Highfive est développé dans le cadre du programmernFAIRE, premier accélérateur de projet urbains et architecturaux innovantsrnlancé par le Pavillon de l’Arsenal avec la Ville de Paris, la Caisse des Dépôts et MINI.rnrn
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
BelaLugaSoko
Strategy
Bela Luga Soko is a French company, specialized in the manufacture of lighting. Founded in 2019 by designer Quentin Vaulot, Bela Luga Soko has its headquarters and its production plant in Hauts de France. A subtle marriage between Art and Technology and a leader in Design, Bela Luga Soko imagines remarkable lighting inspired by the beauty and intelligence of nature. Within our Research & Development department, we rely on transdisciplinary skills to design exceptional, sustainable and responsible lighting. For this we use avant-garde technologies and processes, with innovation as a strategic driving force. Then in our prototyping laboratory, we experiment with the material to give it grace and elegance, with lightness, precision, accuracy and respect for the environment as our guideline. Bela Luga Soko embodies in its name and in its philosophy a multicultural dimension which is dear to us. It was during our travels and residences that the desire was born to define a framework conducive to the free expression of forms and signs. From Europe we bring together Art, Fashion, History, diversity and the convergence of cultures. From Brazil we bring the spirit of joy, celebration, extravagance, community and hospitality. From Japan we bring a keen sense of composition, refinement, fullness on a daily basis. Then from our other journeys, we draw from our experiences and observations of nature and men: ideas, shapes, colors to reveal the space of a moment a thought, an object.
metho
Design / Strategy
Kit méthodologique pour stimuler la créativité face à des problématiques complexes et envisager des scénarii de services.
metho
Design / Strategy
Kit méthodologique pour stimuler la créativité face à des problématiques complexes et envisager des scénarii de services.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Haru Dalkia
Products
Service design and connected object project for Dalkia (EDF group), designed to optimize domestic heating management.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
Amphores
Design / Products
Any surface is a texture, whether smooth, like enamel, rough as the porcelain biscuit or highlighted by the hand. The ceramic has an almost infinite potential of textural variations. It is this aspect of ceramics that we wanted to work with the CRAFT.rnrnEnigmatic objects with functional codes of pourers and handles, these amphoras are made to be supported by the hand and the body. Nested in the hollow of the arm they invite to feel the sensations of a ceramic texture closest to its skin.
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
HenryCap
Design / Products
When discussing the great tapestry, the image that comes to mind is that of the old houses and the great castles. Used as insulation and support the story of wealthy families at the time they were nevertheless objects of glory and ornament.rnrnIn the updating process initiated by the City of Aubusson tapestry, we propose to help modernize the image of this expertise. For this purpose we have chosen to forge a link between two worlds than 200 years of history separate.rnrnAs a first reference we choose the crown of King Henry IV.rnrnHenry IV, whose image evokes royalty, luxury and refinement of the era, is above all the king liked the French. We retain the character visionary freedom of worship and tolerance, and great peacemaker king uncommon. So it is a strong symbol of French historical heritage, which we have among others the development of the Aubussonnaise production because of the treaty signed in 1601 limiting imports of Flemish tapestries.rnrnIn complete opposition to the symbolic object and pageantry that is the crown of the kings of France, we choose the cap. Clothing from the nineteenth centuries, the cap, still current, symbolizes the uniform of workers; of driver, doorman, concierge, security guard, sports baseball, cycling, and others; clothing accessory of the young is a democratic purpose.rnWe thus propose a subject of intrigue, reflection and questioning playing time. Our hybridization is weaving a pattern in the image of the crown of Henry IV in the form of a cap, using colored woolen son associated with the gold and silver son, perhaps with the adding rhinestones to make an extreme refinement object in the image of historical objects. Our anachronism is the symbol of the transition from monarchy to the people of the street.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
Minemal
Design / Products
Minemal is a bag with a difference. Moulded in extra-white Limoges porcelain and provided with a silken cord, it is designed to carry objects of value, which are slipped inside it through an opening on the top, like a miniature safe.rnThe finesse of the porcelain combined with the delicacy of the engraved motifs makes it a precious object in itself, like a piece of jewellery.rnThe engraved plant motifs that decorate it are inspired by the world of nature, a focus of its creator’s artistic research. Purposely left white, the motifs contrast with the brightly colored cord, which acts as a strap and a juncture between the bag’s two parts.rnCreated essentially out of porcelain, the bag makes full use of this remarkable material’s properties: amazing resistance enabling creation of an object that is both sturdy and light, extreme finesse revealing the subtlest hand-designed shapes and motifs, and finally, the purest white possible.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
MIAA
Design / Products / Experiences
At the initiative of the Regional Directorate of Food, Agriculture and Forestry of the Hauts de France, the Regional Direction of Cultural Affairs of the High France, and socio-cultural education teachers of high schools Dunkirk Lomme, Raismes and Radinghem; We were to meet students from January to March, when all we asked about the theme of Agroecology. By design methodology and a plastic and artistic approach, students have made many works presented in April 2016 in Lomme.rnTeaching staff: Mathieu Prevost, Lauriane Dupuich, Evelyne DESMOLIN Matthew Lefranc Nathalie Chessac Maureen Roussel, Emilie Forveille.rn
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
agrochallenges
Research
AGRO CHALLENGES is an educational tool designed to acquire knowledge and raise awareness of agroecology. Players work individually or in teams to find solutions or levers to meet the challenges and problems faced by modern agriculture.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
Tools Chairs
Products
Raw wood furniture design combining technicality and structural simplicity. A contemporary reinterpretation of the workshop chair.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
ESSAT Roubaix
Research
Design workshop and educational project conducted in partnership with the ESAAT school in Roubaix.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Info Endometriosis
Strategy
Visual communication and awareness campaign for the Info Endometriosis association, designed to make medical information accessible to young women.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
Lille3000 Massala
Spaces
Scenography and artistic installations created for the Lille3000 Massala cultural festival, inviting sensory contemplation.
ll Light Lamp
Products
Research and design of a modular lighting system using extruded aluminum profiles to create graphic lines of light.
ll Light Lamp
Products
Research and design of a modular lighting system using extruded aluminum profiles to create graphic lines of light.
ll Light Lamp
Products
Research and design of a modular lighting system using extruded aluminum profiles to create graphic lines of light.
ll Light Lamp
Products
Research and design of a modular lighting system using extruded aluminum profiles to create graphic lines of light.
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Back to school
Design / Research
This project is the result of a reflection on the evolution of our system of objects, from design to production.rnrnThis project is in line with this new industrial revolution where the object is 50% information and 50% material. The goal of this project is to provide access to new ways of producing objects, by giving out digital designs that could help others. These objects are the tools to help develop fragile societies and improve their access to knowledge, by learning to read and write. We provide the digital files for printing in 3D basic school supplies: a pencil, a pen, a pair of scissors and a compass. This is a modest contribution which marks the beginning of a movement of free access to objects of first necessity. Malala Yousufzai, young Nobel Prize of Peace said to the UN council: "a child, a teacher, a book and a pen can change the world." So let’s not waste time and exploit the resources offered by this new industrial revolution to help the change.rnrn rnrnThe files, free and open source can be downloaded at the following address :rnrn http://www.vaulot.com/_backtoschool/Vaulot_BackToSchool.rar
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
Morpheme
Design / Products
For the 2015 European Artistic Crafts Days, the Musée des Arts Décoratifs is showing the ground-breaking Mutations exhibition. rnrn rnrn Organised by the Institut National des Métiers d’Art (INMA) in partnership with the Musée des Arts Décoratifs, Mutations was conceived as a manifesto highlighting the respective histories of these two institutions and that of the artistic crafts. rnrn Pursing the tradition of the great patrons, the creation of the contemporary objects was made possible by the generous support of the watchmakers Vacheron Constantin. rnrn rnrn Taking a selection of emblematic objects from the Musée des Arts Décoratifs and focussing on the “Artistic Crafts” goblet created by the silversmith Lucien Falize in 1896, Mutations asked craft collectives, artisans, designers and artists to reuse rnrn the range of techniques and materials comprising this symbolic object. Stone, clay, wood, glass, leather, paper, metal and textiles are treated as pretexts for confronting the emblematic creations produced by these collectives with each of the fundamental concepts inherent in the artistic crafts. From material to creation, the skills involved, the object’s use, form, decoration and the evocation of the senses are treated as chapters in the constant mutation of the object and the artistic crafts. These concepts and their principles are explored from room to room, in which contemporary creations are shown alongside the historic objects that inspired them. Exploring these evolutions, each space is treated as a laboratory of research, innovation and experimentation, with videos showing the creation of the contemporary object and emphasizing the indestructible link between thought and gesture. rnrn rnrnRobert Jallet, menuisier en siègesrnrnFrédéric Gallin, canneur-rempailleurrnrnChêne, hêtre, canne de rotinrnrnDesign Vaulot & Dyevrern rn 117 cm ; l. 42 cm ; L. 95 cm rn rn
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
EDF Thermometre
Design / Products
Thermo chromic paper thermometer; distributed by EDF to better manage our heating energy costs.
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Dassault Aviation
Expériences / Design / Experiences
Proof of concept on the digitalization of Falcon airplanes’ production line. Interactive interfaces and scenario of use.rnrnDassault Aviation aims to integrate digital technologies (3D, rendering, augmented reality, geo-localization…) to the production line in its plant. The goal is to improve productivity, enhance the quality and traceability of the industrial operations and allow further flexibility to the production line (modification of cycles, evolution of rhythm…)rnrnThis research project integrates these technologies to the production line considering the operators’ practices, uses and existing tools, on a user-centered approach. We have designed a digital workspace integrating an interface tool that provides the operator access to the digital model, the information system, the management system and the control of the production line. These “smart” assembly stations allow the operators to participate more actively in the evolution of the process, enhancing the quality, productivity and flexibility by integrating the modifications and updates
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
Chocolates
Design / Products / Research
Presentation of research around the chocolate with nutmeg, vanilla, cinnamon and chili at the MAC / VAL, Musée d'Art Contemporain du Val-de-Marne in the context of the Small Factory Carole Belenus; pastry which re-enchants the picnic with a map bucolic accents by installing the yellow hut in the garden of the museum, which prepares and enjoyed a fresh and natural cuisine.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
RectoLille
Architecture / Offices / Bureaux
Construction d’un bâtiment regroupant tous les services du rectorat de Lille.rnrnLe futur rectorat de l’Académie de Lille regroupera ainsi sur un site unique l’ensemble des Services actuellement dispersés dans l’agglomération de Lille.rnrnLe projet du rectorat relève plusieurs défis, il doit en effet:rnrn_assumer son rôle dans la continuité du développement urbain du site d’Euralille.rnrn_établir l’image de l’institution à travers une architecture exprimant légèreté, ouverture et luminosité tout en exposant un caractère sérieux et fonctionnel.rnrn_ doter le rectorat d’une identité forte._assurer la qualité et la fonctionnalité des espacesrnrnLe bâtiment vient épouser la forme du site, un triangle. Le projet se développe donc sous la forme d’un grand « V »ouvert autour d’un grand vide, un jardin intérieur formant le parvis d’accueil.rnrnLe bâtiment est largement ouvert vers la ville. Il se tourne vers un grand parvis aménagé de végétations basses, jardin de graminées d’herbes, de terrasse et d’un grand miroir d’eau. Le parvis accueille le visiteur et l’utilisateur tel un jardin cadré et ouvert vers la ville. L’implantation du rectorat profite de l’aménagement d’une colline verte protégeant des vues et du bruit des voies de circulation.rnrnL’implantation du bâtiment permet de profiter de ce nouveau parc et de le renforcer en son sein. En effet, le parc se glisse dans le cœur du projet. La toiture légère et le rythme des poteaux participent de l’élégance classique qui valorise l’image de l’institution. La colonnade légère, exprime un caractère institutionnel fort. Renforcé par la toiture légère elle participe à la symbolique du portique de l’accueil. La toiture est formée de tôle perforée permettant à la lumière de traverser le bâtiment et d’évité les apports, trop direct des rayons du soleil. La même stratégie est développée en façade, ou les bureaux sont éclairés naturellement par de grandes baies vitrées et protégées par de fins volets d’acier inoxydable perforé, permettant les vues de l’intérieur du bâtiment vers l’extérieur, tout en limitant les apports directs du soleil.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Villa Kujoyama
Design / Research
Drawings and photographies taken during the design residency at the Villa Kujoyama. September to December 2014.
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Lampe des bois
Design / Products
This lamp was commissioned by the Grand Club of the Musée de la Chasse et de la Nature. Bronze casted with blown glass.rnrnCampfire is an unusual place where we tell each other stories, and this is also the mission of this club, to tell stories and share experiences in a warm and friendly atmosphere.rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
Futur en Seine
Design / Spaces
Exhibition design for the Futur en Seine festival organized by Cap Digital. Futur en Seine is an international festival presenting the latest digital French and international innovations to professionals and general public. For the 5th edition it took place in the CNAM, Musée des Arts & Métiers and Gaité Lyrique. Our main design goal was to unite 23 points of attraction scattered through all these places. Through a strong visual identity and an efficient management of the flow, the exhibitors and visitor were able to discover and share their passion for new technologies.rnrn rnrn rnrn
LilleBike
Design / Products
Protect your bike in the street, it is primarily the preserve of the weather and theft.rnIn response to these two problems we propose a simple and effective shelter. Reduced to essentials, it locates its protection to the location of the seat. Indeed the latter is indispensable. Wet it is inconvenient and it is the most stolen accessory.rnrnIts size and its formal characteristics, it can hitch the public space.rnIt adapts to all types of bikes, and when it is unoccupied seat offers city dwellers.rnrnThe device is a welded assembly of parts, powder coated. The upper part slides freely along the foot rests on the saddle. Attach the bicycle frame with a padlock, the device restricts access to the saddle preventing its flight.
LilleBike
Design / Products
Protect your bike in the street, it is primarily the preserve of the weather and theft.rnIn response to these two problems we propose a simple and effective shelter. Reduced to essentials, it locates its protection to the location of the seat. Indeed the latter is indispensable. Wet it is inconvenient and it is the most stolen accessory.rnrnIts size and its formal characteristics, it can hitch the public space.rnIt adapts to all types of bikes, and when it is unoccupied seat offers city dwellers.rnrnThe device is a welded assembly of parts, powder coated. The upper part slides freely along the foot rests on the saddle. Attach the bicycle frame with a padlock, the device restricts access to the saddle preventing its flight.
LilleBike
Design / Products
Protect your bike in the street, it is primarily the preserve of the weather and theft.rnIn response to these two problems we propose a simple and effective shelter. Reduced to essentials, it locates its protection to the location of the seat. Indeed the latter is indispensable. Wet it is inconvenient and it is the most stolen accessory.rnrnIts size and its formal characteristics, it can hitch the public space.rnIt adapts to all types of bikes, and when it is unoccupied seat offers city dwellers.rnrnThe device is a welded assembly of parts, powder coated. The upper part slides freely along the foot rests on the saddle. Attach the bicycle frame with a padlock, the device restricts access to the saddle preventing its flight.
LilleBike
Design / Products
Protect your bike in the street, it is primarily the preserve of the weather and theft.rnIn response to these two problems we propose a simple and effective shelter. Reduced to essentials, it locates its protection to the location of the seat. Indeed the latter is indispensable. Wet it is inconvenient and it is the most stolen accessory.rnrnIts size and its formal characteristics, it can hitch the public space.rnIt adapts to all types of bikes, and when it is unoccupied seat offers city dwellers.rnrnThe device is a welded assembly of parts, powder coated. The upper part slides freely along the foot rests on the saddle. Attach the bicycle frame with a padlock, the device restricts access to the saddle preventing its flight.
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Florianopolis Creative City
Design / Strategy
We have advised the city of Florianopolis (Brazil) on communication strategies for their bid to receive the UNESCO label "Creative city of gastronomy". The city has received the label and joined the UNESCO Creative Cities Network in December 2014.rnrnThe objectives of this recognition are:rn rn to promote Gastronomy as a strategic sector for sustainable development in Florianópolis, especially in relation to local products and cultures. rn to enhance the image of the city for more visibility in Brazil and abroad, to reaffirm its vocation in the creative economy. rn The integration of Florianópolis in the UNESCO Creative Cities Network awakens a sense of pride and responsibility for people working in tourism and gastronomy of the city. This will result in increase of their desire to constantly improve the quality of their products and services, stimulating the creation of new businesses and contributing to the sustainable development of the city, respecting and appreciating their culture. rn The exchange of experiences with other cities of UNESCO's Network, including in other sectors of the creative economy, promotes the creation of new projects and the development of new products and services. rn rn
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Péri-Fabrique
Design / Spaces
Exhibition Péri'Fabrique during the design festival Designers' Days.rnPeri'Fabrique is a project that finances every year the co-creation of unique pieces by a duo of craftsman and designer. In this approach the craftsman is the one that chooses his partner designer, reversing the usual way of working. This creates a fertile ground for experimentation and innovation.rnIn this exhibition a Peri'Fabrique has come to Paris and sets the scene in the Hall des Maréchaux in the Musée des Arts Décoratifs. A highlight of the last two years of productions is presented alonside this year's creations.
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Hermès Le Bain
Design / Spaces
Design of the visual presentation concept for the collection Hermès Le Bain. Design of the corner shop of Hermès in the Bon Marché. A subtle presence of Fayence evokes the pleasures of water. Here and there the products are displayed on the furniture in the way of soap bubbles. In the center, a fine layer of water covers the furniture, offering a perfect reflection of the products on clear and pure water.rnrn
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Ollie
Design / Products
Ollie is a skateboard figure, it is basically a jump with the board.rnrnWe propose a reinterpretation of the skateboard for a daily freestyle use.rnrnTray, home accessory manufactured by Cinna. Made in copper or nickel.
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Chevilles
Design / Research
The walls of our homes are supports of fixations. Most of the time the connection between the support and the function is done by the use of reliable technical elements that are plastic anchors. After the hole is drilled the anchor is placed in it and the object is positioned, finally the screw locks it all together. The anchor plays an essential part in the cohesion of elements, working in the shadow ,inconspicuous.rnWe propose to question the hierarchy of our walls and to consider them as a new ground of creation, of emancipation for the discreet anchor. Here the anchor grows into a function to be auto-sufficient. These various extensions become a multitude of defined functions, or functions yet to be defined in the framework of wall support. Elements are reduced to a single object, and injected into a single material . The anchor is the function, not the condition.rnrn rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Nouvelles Verdures
Design / Research / Products
These tapestries are genetically modified historic plants. The genetics viewpoint allowed to explore the DNA of the Aubusson tapestries. It questions the relation of this cultural heritage with contemporary issues raised by men's modification of nature. There are 5 protocols of reinforcement of the plants aiming to create new species of plants.rnrn
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Bubbles
Design / Products
The Bubble hangers are like soap bubbles frozen forever. Stained glass bubble, the only anchor is in contact with the wall where a solid fixing allows the hook to be hung simply.rnEdition Petite Friture 2013 - Colors : Grey, Coral, Lemon Material : Glass.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Nombre d'Or
Design / Spaces
Presentation of the new Hermès jewelry collection Nombre d'Or. Our reflection brought us to design a series of jewelry boxes hybridized with furniture, a dressing table, consoles and mirrors. This results in a family of high perched chests on thin legs whose proportions, neither minuscule nor standardized bring about a feeling of joyful strangeness.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Anthropo-Scène
Design / Spaces
Residency "Voyons Voir" at the Jardin des 5 sens, Aix-en-Provence. Marseille-Provence 2013 European Capital of Culture.rnrnAnthropo-Scène, man's stage, his little sight within nature. Through six installations spread over the entire garden, our program shows the inversion of the relationship between mankind and nature throughout History. As a matter of fact, if in its early stages man was submitted to nature through climate and resources, nature is now suffering from his behavior. We wish to testify to this inversion to the borders of man's manipulations.rnrnWe therefore propose to approach this relationship through its different stages.rnIn the beginning, there is co-existence. A contact is established, an encounter during which man has little impact over his environment.rnMan slowly takes ownership without changing nature and realizes he can utilize it. Then, nature starts being diverted, used, instrumentalized. Man begins to graft and take cuttings, mix species, refine essences. Human action expands and during the agrarian period, confines, constraints and limits nature to create territories. Little by little the environment is modified. Scientific advances offer new possibilities, genetic engineering enables the alteration of the living and particularly plants. The number of combinations increases as knowledge evolves and grows. The ultimate stage of this grip of man on nature is probably its complete recasting: a laboratory nature in the service of man's needs. A nature without nature.rnrn Cohabitation rnrnCohabitation is the period during which man prepares the ground of his relationship to nature. It is the beginning of a superimposition of man and nature. For this intervention, we propose to draw our inspiration from the ancestors of bridges: large stones merely laid in the water. We symbolically lay in the garden a set of small modules on which the visitor can walk. This "bridge" rejoins two paths without touching nature. It allows the visitor to walk on nature without damaging it.rnrn Appropriation rnrnAppropriation announces a shift in man's relationship with nature. Man understands that he can benefit from this nature that surrounds him. He starts marking out territories. We present a platform defining an access area around a tree. A micro-territory where one can sit, lay... but that monopolizes the tree and could potentially hinder its growth.rnrn Misappropriation rnrnNature is here being transformed for utilitarian purposes. The branch is diverted to become a swing chair illustrating the frail and oscillating balance between man and nature.rnrn Constraint rnrnConstraint represents man's willingness to shape nature according to his desires. The device contraints the plant into growing in a direction imposed upon it. The device here expands over an entire area to express replication of the phenomenon.rnrn Modification rnrnMan starts modifying nature in depth through genetics...he amplifies it to satisfy his desires, his needs, his uses. A branch which properties are augmented evokes the quest for performance which side effects are unknown.rnrn Recasting rnrnRecasting indicates a reinvention of the biological models. It is nature without nature, re-written by man. We propose a minuscule nature, on display. Echo of a beauty that might be lost forever... hygienist, barely resorting to formal codes to identify the ersatz.
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Rallye 24
Design / Spaces
Exhibition design for the presentation event of the new tableware collection Rallye 24 by Hermès, in collaboration with 12 Mars. Presentation of the porcelain tableware alongside sports cars in the parking Rédélé, Place de Clicy.rnrn
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Nymphéa
Design / Products
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This shift between top and bottom creates an original lighting atmosphere, both intimate and close to the floor. The option to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the luminous disks seem to float above an invisible surface. The observer can imagine having his feet in the water whilst looking at the bottom of an imaginary pond.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Les Carènes
Design / Products
The project stems from reflecting upon wood fairing of boat hulls.We wanted to transcribe the nature of these structures into an object. A smooth and fluid surface on the one side, raw yet structured on the other. We thus propose delimiting objects: The Fairings.rnThese fairings delimit territories. They serve as boundaries within our domestic landscape, between a neutral space and a saturated environment.rnrnProject comissioned by the Designers' Days, manufactured by Jacques Obadia (OOD) and Sten Ridarch.
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Avec le sourire
Design / Spaces
Expression of gentleness and serenity, the Angel of Reims still fascinates nearly eight hundred years after its creation. The historical circumstances of its mystification at the beginning of the XXth century do not alter the enigmatic charm of its features. At the beginning of World War I, the statue is beheaded by a beam during a fire. The photograph of this vandalization travels the world over. rn The "Angel of the left gate on the western façade" becomes in 1915 "the Smiling Angel", symbol of the cathedral's martyrdom and subsequently of the entire city of Reims. Its image has been demultiplied over a century by artists, retailers, merchandizers and marketers hence nourishing the work's fame amongst the general public. Presently, it is probably the most popular masterpiece of medieval statuary. "Known for the mere fact of being known", characterizes the modern "people" the "Smiling Angel" has become. Its history tends to fade behind its overexposure making it simultaneously a symbol of identity, a mascot and a trade mark. rn The exhibition "With a smile – The saga of the Angel of Reims" explores the origin of a myth and surrenders to the lure of its overflow. The scenography questions in depth the extreme "peopleization" of a work of art in the era of "all-communication". rn rnrn rnrn Avec le sourire. La saga de l'ange de Reims from QuentinVaulot on Vimeo .
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Un café dans les nuages
Design / Products
Coffee has a powerful aroma. Its fragrance can embalm an entire space and olfactory memory is often triggered by its scent. It is this strength we want to emphasize. We propose a ceramic cup that brings about the aromatic dimension of coffee. A ceramic volute materializes this aroma and contains it in the cup's space. It is a precious cloud, guardian of a taste.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Fantôme
Design / Products
Ghost furniture: objects on the ground or on furniture vanish upon his contact.rnLet him operate in your living room to conceal your personal effects. Simple and enigmatic, he is harmless.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
Morphogénèse
Design / Research
A design project often stems from a question that takes the form of an order. The ensuing economical, social, ecological or other concerns are constraints that functionalize the designer's work.rnRowing against current, our initial postulate is to undertake a work without preliminary question, without limits. For a moment, we depart from constraints to wander along a road drawn by our imagination. We follow tangent paths to come back refreshed to the useful, the functional, the use. To begin this drift, we needed a basis, an evocative source of inspiration to freely delve into. A shared desire leaded us to the human body. The particularity of human anatomy is that it is part of us yet we cannot see it. The internal aesthetics of our own body is inaccessible to us and therefore conducive to imagination.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
BoraBora
Design / Products
Moodiness, flaccid skin, looking dull, tendency to depression! You are obviously in lack of sunshine. Our range of supplements Kelvin Lumen restores the vitality you need. Sunset Laboratories offer a wide range of solar radiation, from Borabora to the Maldives, Haiti and the Bahamas. Just ask your pharmacist. Read the instructions carefully. Do not exceed the recommended daily dose. These Solar supplements are not intended to be a substitute to natural exposure. Avoid abusive use.rnrnBoraBora is a conceptual project in the border between art and design commissioned by the Roger Tator Gallery for the Miniflux Exhibition as part of the Fete des Lumieres in Lyon. This project has made into the Vitra Design Museum Collection and was part of the Lightopia Exhibition in 2014.
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
Objet(s) du numérique
Design / Spaces
Exhibition design of "Objet(s) du numérique. Design d'un nouveau monde industriel", curated by Jean-Louis Fréchin. rn The concept of this exhibition design is a landscape of uses and users. The representation of the users is as physical as symbolical. It is physically represented by the silhouettes that occupy the exhibition space, just like visitors. They act as a reflection of our daily actions, as an image of our behavior and uses. The symbolical representation is linked to these digital technologies, that are the core of this exhibition, and their ubiquity. These silhouettes are like our ghosts, our digital aura, our avatars, our "online" selves. rn
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
nAutreville
Design / Products
nAutreville is a transparent digital information board which offers ultralocal information services for large capitals. It is part of a process for promoting emerging technologies (augmented reality and interactive maps) and it questions the representation of the city today.rnLocated at major intersections, it offers real-time public information specific to the neighborhood, such as historical places to visit, current cultural activities, messages from the Town Hall or information about associations ... Its 360 ° rotation system can show geolocated information in a given area.rnrnThe data are always available in the board interface and can also be downloaded as text, image and video through the maVille interface. The user can for example get the address of a place where he wants to go or the coordinates of a future event.rnrnLike a digital window into local life, nAutreville offers visitors and residents to overlay digital information onto the city creating an enhanced view of their surroundings.rnAlongside Maria Laura Mendez, leader of the nAutreville project, we carried out the design and production of the panel. We have participated in the structure of the interface, optimizing navigation architecture and defining the graphic system. The next steps of the project were carried out with the collaboration of Carola Moujan and Lena Mazilu.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
Design diversity
Design / Spaces
F93 has proposed to five secondary schools to lead workshops with designers. Based on the theme "fiction objects", the students have created objects with their respective usage scenarios.rnrnThis exhibition design concept is based on the tension and balance between the creative process and the results of this process.
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
La danse des abeilles
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity. rn Bees danse. In an ever-changing ballet, abiding by specific codes, they communicate among themselves the locations of nectar. The swarm manifests itself to claim its territory through ample volumes of tainted and braided beechwood. In a more poetical relationship with the swarm, these large volumes are hive ornaments. This cloudy form is a reminiscence of the cage, impassable frontier between man and bee. rn
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Ruche Waao
Design / Products
The understanding of reciprocities at work within nature urges man to define new territories, make room and accommodate space for nature. The hive is a space dedicated to the life of bees. Although destined to the production of honey, hives look more like production facilities devoid of animal identity.rnrnIn a fairer relationship, these new hives evoke the alveolar rays constructed by the swarm in nature without human intervention. A succession of stripes evolving as the swarm grows.rnrnThe hive object adopts the codes inscribed in nature, thus reconnecting more with its origins.rnrnOn the initiative of WAOO and the city of Lille, these hives are visible in the heart of the Botanical Garden of Lille. Furthermore, they value the work of the beekeeper and the school apiary, while highlighting the presence of nature in the city.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Insectopia
Design / Products
Hotel for insects for the Town Hall of the 13th Arrondissement of Paris. Grands Moulins park, Paris 13th. April 2011. Handcrafted by Seewhy studio – Bruno Clanet and Jean-Kanora You. rn In a growing desire to favor biodiversity in urban spaces, cities install more and more hotels for insects in the form small wood constructions that serve as breeding ground. Bearing this in mind, the Town Hall of the 13th Arrondissement of Paris asked us to design a hotel for insects.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Node
Design / Research
Touch interface wearable device concept. Geolocation and obstacle warning device aimed for extreme sports. Transmission of information via vibration and heat.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Tutorials
Design / Products / Research
On terraces, the territory of plants is framed, limited, sometimes inadequate for the proper growth of plants. The depletion of natural soil sometimes causes the need for manufactured objects to assist the plant, to support and help lead its growth. rn Our program is a re-visit of the garden stakes as connecting element to the natural, a bridge between the needs of the plant and human needs related to aesthetic contemplation. rn We propose here three sets of garden stakes, each one composed by four models: - A set providing the basic needs of plants, offering water, sun, space and winter protection. - A set dedicated to the maintenance of plants protecting against pests and offering an abundant pollination via culture auxiliaries. - A set aimed at the aesthetic enhancement of the plant, creating a balance between artificial and natural. rn First Prize in the Jardin Jardins Contest 2010. Exhibited at the Jardin Tuilleries, Paris.
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Eco-village
Design / Spaces
In an area of 400m2, up to 90 students attended a daily journey to learn how to become smart and eco-conscious consumers.rnJust like on a trip, they travel through eight particular worlds represented by eight small houses.rnWhy and how to reduce water consumption and energy, waste production or pollution of the air that surrounds us? Why and how to buy less polluting and more equitable products? What is eco-mobility, or eco-design?
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
Balaklava vases
Design / Products
Balaklava is a series of vases wearing hoods. Father, mother and son are a hooded family. Series of ceramic vases edited by SERAX. First Prize Serax contest 2010.
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
De-territorialized milieus
Design / Research
A fine spring day in Paris in 1832. Project designed with Architect Philippe Rahm for his Carte Blanche at the VIA.rnrn“De-territorialized soils (terroirs)” is a study of contemporary furnishing and lifestyles, financed by the VIA, the French association for the promotion of design. It was presented at the Milan Furniture Fair in May 2009 and will be shown at the Centre Pompidou in Paris in December 2009. This study proposes three new types of furniture which respond to the sustainable development objective of greenhouse gas emissions reduction. In terms of the need to increasingly thermally isolate the interior from the outside and to cut the natural bonds between interior and exterior, we propose a reintroduction of the idea of “terroir” and local climate in the constraints of the current technical apparatuses. We thus propose three objects, which recreate a kind of chemical bond with the Parisian context. It is initially a system of radiators made up of calcareous stones from the grounds of Parisian soils whose position in space generates a typical mini-wind of the west. It is then a double-flow air exchanger which renews the air of the interior space by controlling ambient moisture using various typical wood species which come from the limestone soils of the forests surrounding Paris. There is also a lamp which produces the light of a Parisian spring day and which one can choose the hour of the day by turning the switch. There are also three chairs whose bases, placed at various heights, seek to benefit from the various temperatures present in the room.rn
MAN’O
Design / Products
Man'O is a sheet of plastic that can be folded by hand creating a portable fountain accessible to children. On March 22nd 2007, World Water Day, 150.000 samples of Man'o were distributed in Parisian primary schools to raise children's awareness about hygiene during the consumption of tap water .
MAN’O
Design / Products
Man'O is a sheet of plastic that can be folded by hand creating a portable fountain accessible to children. On March 22nd 2007, World Water Day, 150.000 samples of Man'o were distributed in Parisian primary schools to raise children's awareness about hygiene during the consumption of tap water .
MAN’O
Design / Products
Man'O is a sheet of plastic that can be folded by hand creating a portable fountain accessible to children. On March 22nd 2007, World Water Day, 150.000 samples of Man'o were distributed in Parisian primary schools to raise children's awareness about hygiene during the consumption of tap water .
MAN’O
Design / Products
Man'O is a sheet of plastic that can be folded by hand creating a portable fountain accessible to children. On March 22nd 2007, World Water Day, 150.000 samples of Man'o were distributed in Parisian primary schools to raise children's awareness about hygiene during the consumption of tap water .
MAN’O
Design / Products
Man'O is a sheet of plastic that can be folded by hand creating a portable fountain accessible to children. On March 22nd 2007, World Water Day, 150.000 samples of Man'o were distributed in Parisian primary schools to raise children's awareness about hygiene during the consumption of tap water .
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
SIU - Shape is Use
Design / Research
Lamps are designed to meet our specific needs.rnTheir shapes, dimensions and materials define directly the type of lighting produced to specific uses, therefore requiring a model for every situation.rnIn response to a growing demand for flexibility in our daily environment, I propose an adaptable lighting system suitable for all circumstances.rnrnShape Is Use –SIU- is an extremely compact system that unfolds to provide light.rnThis lighting system is in response to a demand from users concerned to use only the amount of light needed, best suited and required.rnrnThe SIU system meets perfectly the current environmental criteria for energy efficiency through the gradual unfolding of the light sources on the tape. Energy consumption is in this way proportional to the needs of the user while generating light that is proportional to the activity and space intended. The tape is unrolled and controlled manually, and its structure provides versatility and a multitude of layouts and uses.rnrn
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Program for Upgrading of Compressed Wood
Design / Research
Compressed wood belongs to a perfect cycle. It is made of residues of industry waste. Industrially shaping is easy and without chemical additive. It is a material 100% natural and biodegradable, more compact than sawn timber, it offers caloric qualities 3 to 4 times superior. Heating with wood is in progression, and pushed by labels like Green Flame, delivered by ADEME. It is a question of integrating this material in daily practices and uses to develop it. rnrnIt is a question of integrating this material in daily practices and uses to develop it. The first stage is to work on its first use: the universe of fire, from its imaginary to its contemplation. It is the project “Faire un Feu”, realized in three steps. The second intervention is a technological transfer to other uses: it is the project “Etude”.rnrn“Amorce” is a natural firelighter in opposition to chemical firelighters. It is set on a stack of paper. Its shape accelerates the combustion of the whole set by air drainage. The object of 25 cm diameter is hollow and stackable; it is molded in a cons-form shape by compression.rnrn“Fagot” is a sectionable extruded log that takes the image of a wood faggot in its shape. Its shape allows breaking one or several twigs depending on the fire requirements. Its crenellated form makes it possible piling it up it easily.rnrn“Noyau” is a temporal log, the last one that you put in the fire. Its duration is programmed by the compression of various wood species: coniferous, leafy and barks. It does not emit any projection of ember. “Noyau” consists of three compressed wood layers. When the heart starts to burn, remains approximately 1h of combustion.rnrn"Absorption"rnrnSmell and liquid absorption faculties of compressed wood allow imagining an air purifier for refrigerator. Its wings provide a large contact surface with air and adapts to the refrigerator grids. When it is saturated, it is thrown in compost or with organic waste.rnrn"Decomposition"rnrnCompressed wood disaggregates in contact with water. We propose a nail to plant seeds. The sawdust charged with seed and natural fertilizers is then molded. The size of nails defines the depth where the grains should be planted. Into ground it breaks up, releases the fertilizers and the seeds.rnrn"Protection"rnrnSawdust can be compressed around an object in a way to hold it firmly. In the field of packaging it could be an alternative to synthetic foams.
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Les objets programmables
Design / Research
This project is primarily a questioning on the relation between form and use of everyday objects in the digital era.rnrnIt is a journey on the impact that the digital world can have over everyday objects.rnNowadays objects become reflexive, they evolve as we use them. We are evolving from a system where form follows function to a system where form follows use. But this flexibility in the use applies only to the programmable nature of the object: and the electric-electronic part remains opposed to the tangible part, which is fixed by the matter.rnrn rnrn rnrn rnrnMy proposal is a new approach on how to increase the digital flexibility in the tangible matter of the object.rnIn short, the issue is on how to program the physical matter to suit our desires.rnrn rnI have designed objects whose forms are fully programmable in real time, based on the use of an intelligent material, called claytronic, currently in development by the Carnegie Mellon University in partnership with Intel.rnrn rnrn rnrn rnrn RADIO rnI have choosen a radio, an everyday object to observe what could be the impact in terms of shape and use.rnI have kept only the functional elements of the radio and I have associated an interface which is responsive to touch.rnMy design response is to associate usage signs to the material reaction in order to guide the manipulation and adjustments by the user.rnThis study on the behaviour of the material allows a flexibility of the interface for multi-scale levels of representation.rnSo unlike traditional objects that suggest uses, it is the user that shapes the object, defining the symbols to define the settings. The use defines the object.rnThe object's flexibility allows the empowerment of the user, to produce and express its imaginary.rnThe object becomes a pure medium of expression and thus a medium of reflexivity.rnThis object is a radio only when it's on. When it's off, and that the user is not using it, the object loses its formal identity. For the user, this object remains a radio, but it doesn't look like one.rnThis avant-garde technology allows us to finally recover our ancestral relationship towards matter; it's a return to the practice of artisanal production, where the artisan shapes the material through trials to achieve the best outcome.rn rn FABLAB rnThese neo-objects are pure media of representation and projection for the user. These are new tools to produce and express. As Simondon says they are no longer objects for use but objects for production.rnThis is a meta-design.rnrnThis project is illustrated through videos of metamorphic objects that lead us to think about the aesthetics of these new living interfaces. It is a new point of view on the interfaces of tomorrow, which, following the concept of audio and video are called «interface PARIO,» which means the genesis, birth in Latin.rnIf we reconsider the system of objects of Baudrillard that condemned the explosion of codes and symbols in post modernism, we are here dealing with the creation of a new system of objects. Indeed, these new objects have no more shape, signs, icons, and controls. So finally what aesthetic expect for these objects?rn rn rn
Swap
Design / Research
Research project for a new faucet cartridge.rnrnHow to make the functions of command even more sensible?rnFor this concept we use the symbolic of the knot. Water follows through by tying and untying the knot.rnrn
Swap
Design / Research
Research project for a new faucet cartridge.rnrnHow to make the functions of command even more sensible?rnFor this concept we use the symbolic of the knot. Water follows through by tying and untying the knot.rnrn
Swap
Design / Research
Research project for a new faucet cartridge.rnrnHow to make the functions of command even more sensible?rnFor this concept we use the symbolic of the knot. Water follows through by tying and untying the knot.rnrn
Swap
Design / Research
Research project for a new faucet cartridge.rnrnHow to make the functions of command even more sensible?rnFor this concept we use the symbolic of the knot. Water follows through by tying and untying the knot.rnrn
Swap
Design / Research
Research project for a new faucet cartridge.rnrnHow to make the functions of command even more sensible?rnFor this concept we use the symbolic of the knot. Water follows through by tying and untying the knot.rnrn
Oficio workstation
Design / Products
Ofício is inspired by the chaos existing during the beginning of the creative process that soon becomes clear and ordered, giving space to something new and consistent. The deconstructed surface on the left side symbolizes the birth and ebullition of the ideas, the mix of congruent and diverging information that gives space to the creativity (on the center of the table), that by its turn gives form to the ideas, organizes the thoughts and results in something ordered and stable, like the horizontal surface on the right end of the workspace.
Oficio workstation
Design / Products
Ofício is inspired by the chaos existing during the beginning of the creative process that soon becomes clear and ordered, giving space to something new and consistent. The deconstructed surface on the left side symbolizes the birth and ebullition of the ideas, the mix of congruent and diverging information that gives space to the creativity (on the center of the table), that by its turn gives form to the ideas, organizes the thoughts and results in something ordered and stable, like the horizontal surface on the right end of the workspace.
Oficio workstation
Design / Products
Ofício is inspired by the chaos existing during the beginning of the creative process that soon becomes clear and ordered, giving space to something new and consistent. The deconstructed surface on the left side symbolizes the birth and ebullition of the ideas, the mix of congruent and diverging information that gives space to the creativity (on the center of the table), that by its turn gives form to the ideas, organizes the thoughts and results in something ordered and stable, like the horizontal surface on the right end of the workspace.
Oficio workstation
Design / Products
Ofício is inspired by the chaos existing during the beginning of the creative process that soon becomes clear and ordered, giving space to something new and consistent. The deconstructed surface on the left side symbolizes the birth and ebullition of the ideas, the mix of congruent and diverging information that gives space to the creativity (on the center of the table), that by its turn gives form to the ideas, organizes the thoughts and results in something ordered and stable, like the horizontal surface on the right end of the workspace.
Oficio workstation
Design / Products
Ofício is inspired by the chaos existing during the beginning of the creative process that soon becomes clear and ordered, giving space to something new and consistent. The deconstructed surface on the left side symbolizes the birth and ebullition of the ideas, the mix of congruent and diverging information that gives space to the creativity (on the center of the table), that by its turn gives form to the ideas, organizes the thoughts and results in something ordered and stable, like the horizontal surface on the right end of the workspace.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
Christian Dior sunglasses
Design / Research
Sport and glamour Sunglasses for woman. Deformable foldable sunglasses.rnStraight lines, renforcing the face's shape, reminding speed and fluidity of movement. Profiled arms to secure position and work as a headband if necessary.
EDF Frugality
Research / Strategy
Prospective research for EDF R&D on energy uses and consumption. Designing interfaces and services centered on sobriety and frugal innovation.
EDF Frugality
Research / Strategy
Prospective research for EDF R&D on energy uses and consumption. Designing interfaces and services centered on sobriety and frugal innovation.
EDF Frugality
Research / Strategy
Prospective research for EDF R&D on energy uses and consumption. Designing interfaces and services centered on sobriety and frugal innovation.
EDF Frugality
Research / Strategy
Prospective research for EDF R&D on energy uses and consumption. Designing interfaces and services centered on sobriety and frugal innovation.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Heat
Research / Strategy
Innovation consulting for EDF R&D on heating systems and thermal insulation, utilizing a user-centered design approach.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF Autonomies
Research / Strategy
Study on residential energy autonomy in collaboration with EDF R&D. Analysis of user behaviors and modeling of innovative solutions for decentralized energy grids.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
EDF New Energy Practices
Research / Strategy
Prospective project for EDF R&D focused on identifying new habits and practices for domestic energy management in the digital era.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
GHM Fountain
Products
Contemporary public fountain design for urban spaces, developed in partnership with the GHM foundry.
Futurology
Research
Prospective research on future consumption trends and the environmental impact of future objects and services.
Futurology
Research
Prospective research on future consumption trends and the environmental impact of future objects and services.
Futurology
Research
Prospective research on future consumption trends and the environmental impact of future objects and services.
Futurology
Research
Prospective research on future consumption trends and the environmental impact of future objects and services.
Futurology
Research
Prospective research on future consumption trends and the environmental impact of future objects and services.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Pôle 3D
Spaces
Exhibition and space design for the animation school Pôle 3D, highlighting student projects and interactive design.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
Zoo-Logia
Research
Research project on biological forms and animal design, exploring the habitat of urban wildlife through sculptural objects.
ExStudio
Research
Prospective design experimentation exploring the boundaries of forms and materials in alternative usage contexts.
ExStudio
Research
Prospective design experimentation exploring the boundaries of forms and materials in alternative usage contexts.
ExStudio
Research
Prospective design experimentation exploring the boundaries of forms and materials in alternative usage contexts.
Miner's Lamp
Products
A contemporary reinterpretation of the traditional miner's lamp, combining historical safety lighting aesthetics with modern LED technologies.
Miner's Lamp
Products
A contemporary reinterpretation of the traditional miner's lamp, combining historical safety lighting aesthetics with modern LED technologies.
The Conciergerie
Spaces
Exhibition scenography for the Conciergerie in Paris, featuring sculpted white foam elements to create an immersive visitor journey.
The Conciergerie
Spaces
Exhibition scenography for the Conciergerie in Paris, featuring sculpted white foam elements to create an immersive visitor journey.
The Conciergerie
Spaces
Exhibition scenography for the Conciergerie in Paris, featuring sculpted white foam elements to create an immersive visitor journey.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Paris Haute Couture School
Spaces
Space and exhibition design for the school of the Paris Haute Couture Union Chamber. Interior layout featuring lightweight wooden structures.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Span Light
Products
Giant lamp "Span Light" designed for the VIA, exploring the range of light on a grand scale.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.
Other Works
Design / Spaces / Research
Selection of miscellaneous works, drawings, research, and experimentations.