What inspired you to use repurposed materials like old office chair legs and BMX frames in the Archetype Collection?
My first source of inspiration is my environment and the random forms I see in daily life. There are too many existing and interesting forms to let them go to waste, so I decided to reuse them and create new objects instead of using new materials. Other designers, such as Martino Gamper, Dirk Vander Koiij, and Pierre Castignola, also inspire my way of thinking and creating.
Can you walk us through the conceptual process of creating a piece from the Archetype Collection, such as the candlestick or the BMX frame chair?
Each piece from the Archetype Collection follows its own specific conceptual process. The common thread among them is the use of repurposed materials, but the path to the final object varies.
For instance, with the candlestick, I first found an office chair leg, which I thought was interesting due to its strength and five repetitive branches. I experimented with this leg, turning it in different ways and assigning it new functions until it eventually became the candlestick.
Conversely, the process was the opposite for the BMX frame chair. I specifically wanted a chair as part of the collection, so I studied the structure of a chair and then searched for something that could work. After several tests with regular bikes, I ultimately used a BMX, which had the perfect proportions for a chair.
How do you balance the aesthetic and functional aspects of your designs while using unconventional materials?
Using unconventional materials helps me define the aesthetic of a project, as it is often the first stage of the process. I also choose these materials for their potential functionality, so the balance between aesthetic and functional aspects comes naturally in my designs.
How do you determine which materials can be repurposed for new designs, and what criteria do you use to select them?
There aren't any specific criteria at the beginning. Anything considered trash can be useful for creating new designs. It's more about my connection with the objects I find. I believe their shape is an important factor, as I need to find it interesting to work with. The strength of the material also helps me determine whether it can be repurposed.
The Archetype Collection features handcrafted elements by artisans such as Sprung Frères and André Fousson. Can you discuss any particular techniques or processes that are unique to the collaboration with these artisans?
Sprung Frères worked on the leather of the chair, which was quite a challenge as we had to cover some parts over the metallic structure. The process involved finding the right approach to achieve our goal, whether by using specialised old machines or small, precise tools.
André Fousson was more used to this type of work, despite having to meticulously cut a custom curved shape before polishing it.
How does 3D printing technology integrate with traditional craftsmanship in your designs? Can you provide specific examples from the Archetype Collection?
I see 3D printing technology as the best way to produce small, precise elements that fit with repurposed materials and help add details to a piece. 3D printing could be viewed as a form of modern craftsmanship, as it also requires time, precision, and experience. This modern craftsmanship works in harmony with traditional methods—it won’t replace them, of course, but it helps me design 'complete' objects. For instance, in the BMX frame chair, each metallic tube is finished with a 3D-printed orange circle, specifically designed for it.
The racket mirror involves both formal modification and graphic research. Can you elaborate on the process of transforming a racket into a mirror and the specific design choices involved?
Initially, the idea of transforming a racket into a mirror was intuitive, and at first, I wasn’t entirely convinced. I think this intuition came from the racket’s shape, which reminded me of old small hand mirrors, but it felt too obvious.
The first modification that made the object more interesting was the work on the colour. I wanted to soften the appearance of the racket while enhancing its curves. After selecting this colour pattern, the second intervention that changed everything for me was cutting off the racket handle. It was a spontaneous decision, and the fact that it wasn’t planned made it more impactful. It was the final, essential touch to completely transform the racket.
The bench made from an old ping-pong table is a unique piece. How did you conceptualize the transformation of a ping-pong table into a functional bench?
This unique piece is the result of a true in-situ experiment — no drawings, no 3D models, just intuition. I found an old ping-pong table destined for the trash and knew I could repurpose it. I began by dismantling each part of the table to get a better understanding of the materials in front of me.
By the end of the day, I had created a bench using the four legs of the table, the net, and some other leftover materials I had 'in stock'.
Are there any future projects or collections you are currently working on that continue the theme of repurposing materials? Can you share any details?
I am currently developing a project with Diane Diebold, a craftsman who specialises in the art of noods. We designed a chair made of thick cardboard tubes that were going to be thrown away.
The magic of this piece is the unique pattern, imitating wood and created by hand with paracords that will cover these tubes. In this case, craftsmanship helps to transform waste into a unique and delicate art piece.
