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IcerocketChannels: European DesignTalks
French designer Sylvain Dubuisson discusses his work, which includes architecture, furniture, and product design, at the European Design Symposium at the Indianapolis Museum of Art.
My name is Sylvain Dubuisson. I am not a company, a firm, I am only me. In 80s, kids from 68 were adults. In France, industry doesn’t like art.
Industrial people are just manager and money maker, so the difference was Italy.
France is culture, a lot or too much of culture, like Italy. France is history.
In France, history is present. In 80s, industries that makes money with one product before, asked to make money with hundred products.
Even in 80s, industrial people produce products that don’t sell, not for sell just to communicate. No product was as important as production
because communication came in pole position. We can do projects as unique pieces, as well as industrial product like Italian designers did.
It’s a great pleasure to do prototypes, just for thinking. Newspaper likes photography of prototypes, and prototypes are like dream cars.
Excuse me for just a few words, as a rush. 19th century was century of inventions; the bulb of Edison, telephone, photography, that introduced new typologies of objects besides furniture.
20th century was just thinking about aesthetic... aesthetic of modernity. Think about Vienna on the square, Bauhaus and industry, streamlined in US, and honed in Germany.
In 70s, the invention of microprocessor has been the great change. Since then, when you look at project, an object, you don’t know how it works.
These objects are issued from an aesthetic of black box, and we are now between two worlds, one real and one virtual. Reality does not have the same meaning because of virtuality.
We ask to reality, having the best qualities of a sensitive perception, because virtuality gives a lot.
Before 80s, art was painting, sculpture, architecture, and music. In 80s; comics, cooking, le grand chef, and design were art. That means art, by then, you could provide a perception of world.
Design is as fashion; it goes.
This project is a table, in fabric... carbon fiber. It's just the work, an archetype, and how to manufacture with the new technology a table top on four legs.
This is just a work about clock, and the way to read hours according to the technology of electronic division of time.
And you just have LED with one for the hour, one for the minute, and one for the second.
This is just a vase, and the ways you offer flowers... I just want this moment that we offer flowers to stay one more moment, and so you have a couple,
where you could collect the petals and it just stay one moment more. And the vase, a manufactured cylinder in titanium, cut in three-dimensional lazer, and then a glass piece inside.
This is a just a piece you put in your hand and it's plain silver, does the shape of the hand.
The first lamp I did is "Much Ado About Nothing." You just have two bulbs as two candles. The electricity goes inside a golden chain,
that maintained by a rubber, and you have a secret box behind and the bulbs are inside four razorblade... razorblade, and the abat-jour is just a postcard.
So, I spoke about France, and this is the office of the Minister of Culture. And so, it's a room in 19th century, and I did all the furniture for this piece with the Museo Nationale.
This is a competition I win in Singapore, for street furniture, and it's a very straight geometrical system with six spirals.
This is a project realized in New York for Columbus Circle, with the light fittings.
And last year, I just did a cup in porcelain, on the facade of the building of Cartier in Ginza.
That is the way to work in design, between different scale, on which scale necessitates different approach.
This is a just a cup of coffee, made in porcelain, for Bernardaud. Just a reflection about the way to... to take the cup.
And this project is in Paris, in Le Louvre Musee des Arts Decoratifs, just a chandelier... inflatable structure, with LED and you change the color and they are blown up.
This is for the French President of Europe, in Bruxelles, the scenography of the building.
And this is just a project for the exhibition. It’s just a unity of living with function and for an exhibition. Thank you.
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