Can you specify your search for the ideal proportion in your creations? How do you find the balance between utility, aesthetics, and function?
Firstly, we live in a world governed by and for humans, and everything around us has been shaped to our scale. Therefore, it is natural to delve into the proportional relationships that surround us, which are found both in the human body and in the omnipresent nature. My search for "ideal" proportions involves an almost scientific study: applying major units of measurement such as π, the golden ratio, and others, which are consistently found across all civilizations and nature throughout the ages. Beyond the scientific aspect, there is visual perception; each object/furniture is seen through different prisms depending on the angle, light, height, etc. It is also important to keep this notion in mind.
The balance between function and aesthetics, in my view, is not only about external scale relationships, form, or counter-form that respond to each other but also an internal relationship (within the object/furniture) between materials that, whether juxtaposed or not, create harmony, confrontation, an intelligent dialogue. Like any intelligent dialogue, it questions, poses questions, or attempts to answer them. The function is the intended use we want to offer the user, which is sometimes far from the actual use they make of it. This is why I like to propose multifunctional furniture that allows everyone to appropriate it for their use.
What motivates your choice of natural and sustainable materials? How do you ensure these materials meet your durability and quality standards?
The choice to use natural and sustainable materials is not merely due to "ecological consciousness"; it stems from the desire to create objects/furniture that can last, be passed down, patinate, and be unique and alive, just like natural materials. Additionally, using color for the sake of color is not my main focus; I believe natural materials have their color palette, either through the intrinsic diversity they possess (infinite varieties of wood, stone, earth, metals, and alloys) or through natural treatments that can bring out further variations unique to each material (for example, steel whose colors can range from orange/red to deep blue/purple and green, simply by using oxidation or heating the material). This multitude of combinations allows almost all colors to be combined while preserving the qualities inherent in each material.
Regarding quality and durability assurance, I work with recognised French artisans known for their expertise, as well as high-quality suppliers. The combined experience of these various actors allows me to have traceability over the entire production of each object and furniture and the assurance of high-quality materials that will be worked with the care and respect they deserve.
Can you explain your design process, from the initial concept to the final product? How do you ensure each piece meets your criteria of simplicity and proportion?
Whether the project is design, interior architecture, or graphic design, the design process is always the same. It begins with written reflection mixed with intentional drawings on paper. Words, lines, the mistake of a gesture that may occur, and overlapping ideas-all are avenues to explore. Working by hand and precisely these potential errors are essential to me. This freedom allows us to break free from the rigid, neat, and smooth framework of digital tools and ultimately create.
When working with a model, the volume object in space is always a key moment in the design process. It allows us to appreciate or not the accuracy of a shape, or a proportion, and therefore to rectify it as closely as possible to reality.
Finally, working on a computer allows us to neatly transcribe all the necessary plans and sketches for realisation. The ultimate test, after a perfect understanding of my product, is to be able to draw it as simply as possible on paper, freehand. If it is not possible to feel it in a few pencil strokes, then I have somehow failed.
How do you strive to preserve artisanal knowledge in your production processes? How important is this aspect in your overall design philosophy?
The artisan is the keystone of any project since it is by their hand that the objects/furniture are created. Therefore, communication with them is essential in the production process. Understanding assembly, shaping, and finishing techniques allow for a common language between the different parties.
Using natural materials worked for centuries allows for a deep knowledge of traditional techniques, to which a bit of technology can be added to support the gesture and facilitate the work. Nevertheless, the use of technology is only permitted by an impeccable knowledge of the material being worked.
The importance of choosing artisans and production techniques is thus crucial to achieving the desired result. As for me, I always think of objects or furniture with the aim of achieving the simplest possible realisation, using traditional techniques to the maximum, so as not to be dependent on technology but rather on expertise, thereby contributing to its preservation.
What inspired the design of the Grand Pas module? How do the different types of wood create a dialogue and enhance the aesthetics of this piece?
The Grand Pas collection, of which the module is a part, was inspired by a desire to work with wood, a craft I deepened during an internship in cabinetmaking at Atelier 365 (Brussels) during my studies. I wanted to propose something different, to try to make wood do the impossible, namely bending a 3cm thick solid wood plank to make a seat, giving the impression of astonishing simplicity. Perhaps also to revisit the stool by creating a two-legged stool without compromising stability.
But the Grand Pas collection is not just about a shape or an aesthetic; it is also about dialogue, an exchange created between two different types of wood, in terms of their hue but also their grain, allowing them to enhance each other through their respective characteristics. Depending on the angle of view, it is possible to see them assembling, overlapping, detaching, and masking each other. These multiple possibilities offer a changing perspective on the object that occupies space, a game of space and materials in constant dialogue.
What were the main considerations during the design of the APLP wall console? How does the choice of bent steel or brass impact its functionality and style?
For the APLP wall console, I wanted to create furniture with a simple, soft line that could be produced in various natural finishes and with the easiest production process, not requiring special expertise. Furniture that could adapt to different typologies, in left and right versions, but also to different uses, such as a bedside table, end table, or informal bookshelf through the composition of several consoles.
- I initially chose brass to achieve an "antique blue" or "antique green" finish, as seen on some roofs or statues that have patinated over time, which was my primary material and finish inspiration. However, currently self-publishing my furniture, I opted for steel, which is less expensive but no less interesting. Steel, like brass, allows me to maintain a soft and fine line thanks to its thin thickness (3mm) while preserving the rigidity and shape expected from a metal piece.
Can you describe the renovation process of Maison O? How did you integrate old stones with modern construction to create a harmonious living space?
The Maison O Project involves renovating an old Masseria (1809) and constructing a new part (2018). The harmony between the old stones and the ultra-pure concrete is achieved through various means.
The first cohesive element that stands out is the preservation of ceiling heights (5m50) both in the exterior structure and the interior space layout, to express a unity of volumes.
The second point involves enlarging the existing openings of the old part to bring light into the living spaces, making the house as pleasant in the heat as in the cold. This detail may seem trivial, but it gives the essence of the project's continuation; amplifying the current openings aligns with the full-height glass doors of the new part.
The third element of harmony lies in applying oversized, minimalist design shutters on all the house's openings. This shutter system, combined with the patios that make up the spaces, allows the house to open up to the external or internal landscape.
What can we expect from the future modules of the Grand Pas collection? How do you plan to develop this collection while maintaining its fundamental design principles?
Grand Pas is the first module, currently self-published, of a larger collection that will include a bench, a chair, an entry console, and a bookshelf. Each piece in the collection retains the design and proportions, simply readjusted almost homothetically. The curve and the construction system of the furniture remain unchanged across the collection.
The Grand Pas collection was also conceived to be mixed with wood/stone combinations between the leg and the seat. These two natural materials share common characteristics, such as grain and a significant variety of natural and unique colors.
The collection can also be entirely stone, with two different stones creating a dialogue. Finally, a pop version with partial color lacquering was also envisioned for the Grand Pas collection, which still has many more propositions to offer.
