Résultats pour “Ella needs some help: Bigger BoobsByMaster-TF” (524)
«When Objects Dream» exhibition in Milan,12–17.04.2016,Spazio Orso 16, Milan Do objects sometimes dream about themselves? What if we could enter their dreams? Virtual reality? Connected objects? On the occasion of the Milan International Furniture Fair 2016, from 12th to 17th April at the Spazio Orso 16, ECAL/University of Art and Design Lausanne presents a collection of interactive experiments developed by Bachelor Media and Interaction Design students. HD Images Brochure with explanations Video Ever since they appeared, we have been worshipping the objects around us while being extremely demanding of them. What if the roles were reversed for once? Instead of asking objects to make us dream, why don t we consider their own dreams? Premonitory dreams that anticipate a possible future of objects? In this exhibition presented by the Bachelor Media & Interaction Design students of ECAL, a series of objects offers visitors a rather unsettling experience. In order to uncover its subtleties they will have to learn to adjust to the objects on display so as to perceive each piece s personality. In a certain way, this project as a whole leads us to question the future of familiar objects. How does our relationship to them changes as they become capable of making a statement about their own existence, interact by using onboard sensors and grow increasingly connected to our communication networks? Do I see my toothbrush differently knowing that it records each movement in my mouth and therefore displays a form of consciousness? As part of the experiments developed for this exhibition, the students created two families of objects. The first integrates a virtual reality principle which allows you to literally look inside the objects, to immerse yourself for a time into a parallel reality which objects let you glimpse at. The second is made up of objects whose basic function is augmented or transformed through activity sensors. This is their way of making us reflect on the future of so-called smart or connected objects. The objects on display, whose function is but fiction, tell their own story, encouraging us to see and use them differently. In a playful manner, they lead us to rethink some of our distrust in the face of change and as regards, their future. Credits : Project Tutors : Alain Bellet, Cyril Diagne, Vincent Jacquier, Pauline Saglio & SIGMASIX Assistants : Romain Cazier, Laura Perrenoud & Tibor Udvari Prototype Workshop :Jonathan Bloch, Sandro Bolzoni, Fabio Della Casa, Jérémy Faivre, Kevin Gouriou, Anthony Guex & Pascal Ospelt Scenography : Sébastien Cluzel Exhibition : Antoine Vauthey
ECAL x Punkt. in Milan,12–17.04.2016,Palazzo Litta, Milan On the occasion of the Milan International Furniture Fair 2016, from 12th to 17th April at the Palazzo Litta, ECAL/University of Art and Design Lausanne presents innovative product concepts for consumer electronics aimed at simplifying life. These projects were realised by the 2nd year Master Product Design students in collaboration with Swiss technology brand Punkt. HD Images Brochure with explanations We are more dependent than ever on electronic devices. There s the fancy phone, watch or tablet, constantly vibrating and begging for attention; but let s not forget the simple tools of everyday life. Those basic objects that help in your daily routines: waking up in the morning, connecting the power plug, or talking to someone with a good old-fashioned landline. How can we make these better, more intuitive, or get rid of any unnecessary functions and simplify both their use and formal language? Thilo Alex Brunner, head of the Master Product Design programme, provides some possible answers to theses questions: “To cooperate with both Petter Neby (Punkt founder/president) and the Jasper Morrison Office for Design (Punkt. art director) means a great deal for us, since we share many ‘Swiss design values such as efficiency and simplicity – but always with an element of surprise.” Under the guidance of designer Augustin Scott de Martinville, the students product ideas are diverse and range from weather stations to wall printers, and torches to projectors. Opening hours Tuesday, 10 am – 7 pm Wednesday, 10 am – 11 pm Thursday – Sunday, 10 am – 9 pm Palazzo Litta Corso Magenta 24, 20123 Milan www.punkt.ch
ECAL at artgenève 2016,28–31.01.2016,artgenève In recent years, ECAL has published many serigraphs and lithographs in his own workshops. A corpus of prints reflecting the diversity of contemporary artistic approaches. On the occasion of artgenève, we are pleased to offer the public the opportunity to acquire works by figures and by some of our students. From 28 to 31 January 2016, from 12am to 8pm in Palexpo, Hall 2, Stand D7. Luc Andrié, John M Armleder, Francis Baudevin, Alexandre Bianchini, Michel Bonvin, François Boisrond, Olaf Breuning, Valentin Carron, Pierre Charpin, Frédéric Cordier, Sylvain Croci-Torti, Enzo Cucchi, Stéphane Dafflon, Philippe Decrauzat, SImon Deppierraz, Nathalie Du Pasquier, Nicolas Faure, Christian Floquet, Constance Guisset, Wade Guyton, Fabrice Gygi, Alex Hanimann, David Hominal, Philip King, Scott King, Eike König, Stéphane Kropf, Helen Marten, Olivier Mosset, Kaspar Müller, Karim Noureldin, Sophie Nys, Virginia Overton, Gela Patashuri, Mai-Thu Perret, Walter Pfeiifer, Loïc Raguénès, Daniel Sannwald, Olivier Saudan, Denis Savary, Elisabeth Schulze, Studio Formafantasma, Alberto Tognola, Régis Tosetti, Pierre Vadi, Jessica Warboys Palexpo Route François-Peyrot 30 1218 Le Grand-Saconnex/Genève www.artgeneve.ch
ImaginaSon For this forth edition, the Swiss Cinematheque presented last September a collection of movies, short and features, anomy s or not, adds, scientific or artistic documents... all of which where found in the Cinémathèques archives. For this forth edition, the Swiss Cinematheque presented last September a collection of movies, short and features, anomy s or not, adds, scientific or artistic documents... all of which where found in the Cinémathèques archives. The 3 editing students from Ecal/Head, helped by their tutor Jean-Christophe Hym, cut and uncut, paste and unpaste in order to create their own new short films. They then send them to the music composing students from HEMU who create an original soundtrack on this basis. This collaboration ended up into 7 short movies that were screened in the Cinémathèque, while nine other students from HEMU s Jazz section played the newly composed sound tracks.
Romain Cazier – Rec All This project is a personal interpretation of the geometrical puzzle game, widely popular on mobile. Taking some of this genre s features, I also wanted to stand out and propose a singular universe, where strange creatures with a cyclic behaviour are generated from a simple gesture. It is composed of two parts: an “arcade” mode with different levels the player must resolve, and a “sandbox” mode where he can generate creatures at will. Rec All is the continuation of playful and technical experimentations I initiated at ECAL.
Bastien Girschig – Wimbi Wimbi is a riddle game based on a peculiar interaction: Instead of touching the screen as usual, the player uses the table as an input to create the waves he needs to unlock the targets. As the levels rise, he will have to be more and more precise, and make good use of chain reactions, bounding, and clipping of the waves. This project gave me the opportunity to work on a combination of real and virtual spaces, allowing the game to extend beyond the simple screen, to create richer interactions.
Maxime Castelli – Nelson Nelson is a tiny connected module designed to to bring everyday objects to life remotely. It s based on a very simple forwards and backwards movement as we do in our everyday life, like pushing a switch. Connected to the internet it triggers setups previously defined by the user. Designed and built with the help of designer Arthur Didier, this project is the completion of my studies, working in most of the fields of interaction design and industrial design to mix both towards an innovative creation.
Anne Stock – The Strangers in My Body The Strangers in my Body is an interpretation of the story of Eve, a woman who discovered her multiple personalities with the help of two psychologists. The first case of Multiple Identity Disorder, 1950. Besides the psychological discovery of her disease, the book also shows how she lived with and discovered new personalities over a period of four years. Interviews under hypnosis, case studies about her disease, diary entries as well as a series of portraits with minimal changes complement the story behind the twenty-two different faces of Eve. The Strangers in my Body is an interpretation of the story of Eve, a woman who discovered her multiple personalities with the help of two psychologists. The first case of Multiple Identity Disorder, 1950. Besides the psychological discovery of her disease, the book also shows how she lived with and discovered new personalities over a period of four years. Interviews under hypnosis, case studies about her disease, diary entries as well as a series of portraits with minimal changes complement the story behind the twenty-two different faces of Eve.
Klaus Stille – The Blick Book The absurd articles that give me my inspiration for this publication come from the newspaper Blick am Abend . A visual odyssey through the world s perpetual absurdity. At the same time, an image of our modern society emerges. Newspapers no longer serve solely to convey information, but also to give the reader a certain type of entertainment. And so it comes about that we are confronted with a load of rubbish every day. The diary helps me to digest and process this trash. As with the daily news, I had to produce on a daily basis. This is also about the working process, and work experience. Fun factor 100%. The absurd articles that give me my inspiration for this publication come from the newspaper Blick am Abend. A visual odyssey through the world s perpetual absurdity. At the same time, an image of our modern society emerges. Newspapers no longer serve solely to convey information, but also to give the reader a certain type of entertainment. And so it comes about that we are confronted with a load of rubbish every day. The diary helps me to digest and process this trash. As with the daily news, I had to produce on a daily basis. This is also about the working process, and work experience. Fun factor 100%.
Joana Francisca Castro Santos – Be Ready – To save a life BE READY is an iPad app that connects the 144 hotline, the ambulances, the SMUR medical emergency service and the hospital where the victim will be brought. The aim of this interface with its simple design is to optimize the time at each phase of the medical emergency, based on an existing protocol in Switzerland. This project allowed me to combine my passions for graphic design and medicine. I was able to participate in rescue missions and also to expand my knowledge in interactive design. My motivation is to use graphic design to help develop another area. BE READY is an iPad app that connects the 144 hotline, the ambulances, the SMUR medical emergency service and the hospital where the victim will be brought. The aim of this interface with its simple design is to optimize the time at each phase of the medical emergency, based on an existing protocol in Switzerland. This project allowed me to combine my passions for graphic design and medicine. I was able to participate in rescue missions and also to expand my knowledge in interactive design. My motivation is to use graphic design to help develop another area.
ECAL Appartement 50, Cité Radieuse,04–19.07.2015,Cité Radieuse, Marseille In September 2014, twelve Master Product Design students of ECAL/University of Art and Design Lausanne were invited to reflect on a collection of objects to meet everyday needs in the Cité Radieuse in Marseille. The outcome of this research is being displayed as part of an exhibition staged in Apartment 50 from 4 to 19 July 2015. A 52-page publication produced by the Art Direction Master students will be issued concurrently. HD PICTURES Apartment 50 was restored by two enthusiasts, Jean-Marc Drut and Patrick Blauwart, as close as possible to its original condition. Listed as a historical monument, the venue occasionally hosts exhibition projects. World-renowned designers have already exhibited there, such as Jasper Morrison, Ronan & Erwan Bouroullec, Konstantin Grcic and Pierre Charpin. Thus, under the direction of Thilo Alex Brunner, head of the Master Product Design at ECAL, and of ECAL professor Augustin Scott de Martinville, a series of objects was produced over one semester by the Product Design Master students. The project began in September 2014 with a three-day workshop in the Cité Radieuse, allowing students to experience life in the building. Based on their various observations, they created objects to “inhabit” Apartment 50, focusing particularly on the following features: The specific climate of the apartments: the fan creates an air flow on the mezzanine and the cushions are designed to fit both on the living room s indoor parapets and on the loggias tables. The flexibility of interior spaces: the large rotating lamp serves to light either the dining room or the living room in turn, while the small model can be used either on a desk or a bedside table. Tours of Apartment 50 which take place regularly: the carpet, crafted with the support of the Ruckstuhl AG manufacture in Langenthal, displays a map showing how the Cité Radieuse blended in with its environment at the time of construction, while the “unit” metre provides a simple tool to explain the Modulor system. Life in the communal areas, especially the roof terrace which serves as a meeting place: the chair and folding table are designed to facilitate migration from the living room of the apartment, while the picnic box allows to comfortably carry everything you for an aperitif. In addition to the projects around the above-mentioned specificities, half a dozen other objects can be discovered on the spot or in the related publication. In March 2015, the students of the ECAL Master Art Direction were invited to attend a four-day workshop to experience and document everyday life in the building with a view to editing a publication. Through the architectural spectrum across 52 pages, this editorial project includes portraits of residents or fictional characters inspired by the Modulor system, as well as still lifes and original typefaces echoing the building s proportions. Unité d habitation Le CorbusierAppartement 50 / 5e rue 280 boulevard Michelet 13008 Marseille France www.appt50lc.org
Scott In collaboration with Swiss bike manufacturer SCOTT the 1st year Master in Product Design students have developed new concepts for urban commuter bicycles. Urabn commuting by bicycle has increased steadily during the last years and has become a major part of nowadays urban traffic. The students focused on the needs of these daily cyclists, who use their bikes to go to and from work, to run errands or simply to get around town, in any weather condition. The students designs address everyday luggage transport, blending components and frame as a whole, modularity, easy adjustment, anti-theft devices and other innovative new solutions for a better ride. Image: ECAL/Axel Crettenand In collaboration with Swiss bike manufacturer SCOTT the 1st year Master in Product Design students have developed new concepts for urban commuter bicycles. Urabn commuting by bicycle has increased steadily during the last years and has become a major part of nowadays urban traffic. The students focused on the needs of these daily cyclists, who use their bikes to go to and from work, to run errands or simply to get around town, in any weather condition.The students designs address everyday luggage transport, blending components and frame as a whole, modularity, easy adjustment, anti-theft devices and other innovative new solutions for a better ride.Image: ECAL/Axel Crettenand
Jacques-Aurélien Brun – After Anna After Anna is a journey made from island to island where I follow my own quest searching for a mysterious fictional woman who is lost at sea. Caught in a fisherman s net or hidden in a deep maritime cave, I explore, off Sicily, some of the endless possibilities of what could have befallen her. I drew inspiration for my journey from The Odyssey when Ulysses tries desperately to reunite with Penelope, and by the brutal disappearance of Anna in L Avventura of Antionioni. My journey is situated on the border between the quest of an old myth and a modern investigation that allowed me, in parallel, to look for the roots of my culture. I searched the archaeological artefacts; I dug the belly of the Islands to search for clues. Finally, at the end of my pursuit for the enigmatic woman, I gathered all the real fragments and the imagined ones together for pursuing this woman and asked myself what she really represents. After Anna is a journey made from island to island where I follow my own quest searching for a mysterious fictional woman who is lost at sea. Caught in a fisherman s net or hidden in a deep maritime cave, I explore, off Sicily, some of the endless possibilities of what could have befallen her. I drew inspiration for my journey from The Odyssey when Ulysses tries desperately to reunite with Penelope, and by the brutal disappearance of Anna in L Avventura of Antionioni. My journey is situated on the border between the quest of an old myth and a modern investigation that allowed me, in parallel, to look for the roots of my culture. I searched the archaeological artefacts; I dug the belly of the Islands to search for clues. Finally, at the end of my pursuit for the enigmatic woman, I gathered all the real fragments and the imagined ones together for pursuing this woman and asked myself what she really represents.
Maxime Guyon – Technological Exaptation This project deals on the technological evolution at its large sense. Replicating the hyper-commercialization aesthetic codes, this series dissects standardized commodities and high technologies which are here listed as full species. Some of the images are intentionally manipulated, which finally witness the hybridizations that the photographic medium as well as technology undergo. This work helped me to go further in my researches on the role of a photographer nowadays while we currently experience a significant rise of post-internet art. This project deals on the technological evolution at its large sense.Replicating the hyper-commercialization aesthetic codes, this series dissects standardized commodities and high technologies which are here listed as full species.Some of the images are intentionally manipulated, which finally witness the hybridizations that the photographic medium as well as technology undergo.This work helped me to go further in my researches on the role of a photographer nowadays while we currently experience a significant rise of post-internet art.
Coline Amos – Dihvin Idylle One group of dancers, Dihvin. One exotic island, Madagascar. And some inclinations of celebrity for these islanders immersed in an omnipresent Western model on social networks. “Dihvin Idylle” intends to give a portrayal of these artists dream of fame, limited in their aspirations by barriers imposed by the island. The capture of the group s daily life, between shooting music videos, adverts and events of all kinds, suggests a cultural mimicry in a cardboard decor. One group of dancers, Dihvin. One exotic island, Madagascar. And some inclinations of celebrity for these islanders immersed in an omnipresent Western model on social networks. “Dihvin Idylle” intends to give a portrayal of these artists dream of fame, limited in their aspirations by barriers imposed by the island. The capture of the group s daily life, between shooting music videos, adverts and events of all kinds, suggests a cultural mimicry in a cardboard decor.
Elie Grappe – Suspendu At dawn, in a great classical dance conservatory, a boy falls while rehearsing some movements. Something breaks in his foot, causing sharp pain. Fiction / 15min Synopsis At dawn, in a great classical dance conservatory, a boy falls while rehearsing some movements. Something breaks in his foot, causing sharp pain. The exams are held today but the boy doesn t give up: he tries to face his dance partner and classmates, convincing himself his body has no limits.
Benoît Jeannet – A Geological Index of the Landscape A Geological Index of the Landscape covers the invention of landscape and its genesis through representation. This work is inspired by the frenetic human need to want to down scale the world to make it one s own. The project is built around the permanent human conflict between the emotional and rationalism. Fascination with the world s mysteries and geological shapes confronts the man s absurd and obsessive need to put the extraordinary into boxes. A Geological Index of the Landscape covers the invention of landscape and its genesis through representation. This work is inspired by the frenetic human need to want to down scale the world to make it one s own. The project is built around the permanent human conflict between the emotional and rationalism. Fascination with the world s mysteries and geological shapes confronts the man s absurd and obsessive need to put the extraordinary into boxes.
Diplomas – 2015 Jérôme Wilfredo Baccaglio , Logos for Drones and Such... I created a catalogue for drone logos. It gathers a heterogenous iconography (invented, drawn, found) whose every motif is available for purchase as a canvas, a tattoo, a drawing or a sticker. This is an oblique strategy adopted to talk about the interpretation of an image (as the spectator, or as the artist, to assign it a meaning, a name); the versus created by hand-made work and a digital image; mercantilism; the matter of copyright and its role in an information-infested era. Tina Braegger, Fasanenstrasse 30 I made an architectural model of white cardboard, placed on four white metal legs. I decorated the model with white curtains that flow over the model down to the floor. Inside the model, I put old toys of mine, objects that originally belong to a doll s house. By attaching the legs directly to the model, it looks like a table. I wanted to create something surreal, like a dream; the objects inside the model are slightly too big, and the model bleeds off as the curtains overflow. Arthur Fouray , Andy IV, #aaafff Studio Modernes, Helio noir cendré 2011: Enters 2nd year ECAL. Dia: Beacon visit. 2012: First artist exchange with Frédéric Gabioud. 2013: Begins the notes website "arthurfouray.website. » Fine Arts Bachelor s degree. Obtains a studio funded by the city of Lausanne. Assistant to Pierre Huyghe . Co-founding of a + o - ( a-plus-o-min.us ). 2013 - 2014: The Lauren bedspring-painting inaugurates the objects-canvases series. #aaafff first painting for Philippe Decrauzat. 2015: Co-founding of Silicon Malley ( siliconmalley.ch ), artist-run space in Prilly. Julien Gremaud , The Big Picture Two wallpapers face each other. They are very white, their black lines are basic. The templates have been done. It was questioned whether the surfaces should be solid or empty, filled with monochromy or blocks of primary colour. One can always enlarge them if necessary. These are ai files. One no longer needs a Hasselblad camera. There is not a whole lot left of the source image. By the way: photography wants to appropriate space. But we are still unable to do so. Eventually, the finishings, very weighty. I promise you Johanne, I will take some pictures for our collaboration s archives. Emanuele Marcuccio , Untitled (Serve the Servants) This is a partial truth, a fragment of my understanding, my sense of things. Being alone in the office, being alone in the library, being alone in the studio is still about a certain notion of improving. I have this impulse that pushes me right in the situation that makes me improve. Well then, I feel specially special. Photo credit : ECAL/Axel Crettenand. Jérôme Wilfredo Baccaglio, Logos for Drones and Such... I created a catalogue for drone logos. It gathers a heterogenous iconography (invented, drawn, found) whose every motif is available for purchase as a canvas, a tattoo, a drawing or a sticker. This is an oblique strategy adopted to talk about the interpretation of an image (as the spectator, or as the artist, to assign it a meaning, a name); the versus created by hand-made work and a digital image; mercantilism; the matter of copyright and its role in an information-infested era. Tina Braegger, Fasanenstrasse 30 I made an architectural model of white cardboard, placed on four white metal legs. I decorated the model with white curtains that flow over the model down to the floor. Inside the model, I put old toys of mine, objects that originally belong to a doll s house. By attaching the legs directly to the model, it looks like a table. I wanted to create something surreal, like a dream; the objects inside the model are slightly too big, and the model bleeds off as the curtains overflow. Arthur Fouray, Andy IV, #aaafff Studio Modernes, Helio noir cendré 2011: Enters 2nd year ECAL. Dia: Beacon visit. 2012: First artist exchange with Frédéric Gabioud. 2013: Begins the notes website "arthurfouray.website. » Fine Arts Bachelor s degree. Obtains a studio funded by the city of Lausanne. Assistant to Pierre Huyghe . Co-founding of a + o - ( a-plus-o-min.us ). 2013 - 2014: The Lauren bedspring-painting inaugurates the objects-canvases series. #aaafff first painting for Philippe Decrauzat. 2015: Co-founding of Silicon Malley ( siliconmalley.ch ), artist-run space in Prilly. Julien Gremaud, The Big Picture Two wallpapers face each other. They are very white, their black lines are basic. The templates have been done. It was questioned whether the surfaces should be solid or empty, filled with monochromy or blocks of primary colour. One can always enlarge them if necessary. These are ai files. One no longer needs a Hasselblad camera. There is not a whole lot left of the source image. By the way: photography wants to appropriate space. But we are still unable to do so. Eventually, the finishings, very weighty. I promise you Johanne, I will take some pictures for our collaboration s archives. Emanuele Marcuccio, Untitled (Serve the Servants) This is a partial truth, a fragment of my understanding, my sense of things. Being alone in the office, being alone in the library, being alone in the studio is still about a certain notion of improving. I have this impulse that pushes me right in the situation that makes me improve. Well then, I feel specially special. Photo credit : ECAL/Axel Crettenand.
ECAL Milano 2015 (with Vacheron Constantin): Arts & Crafts & Design: Time according to ECAL & Swiss Craftsmen,14–19.04.2015,Museo Bagatti Valsecchi, Milan Vacheron Constantin will be presenting the “Arts & Crafts & Design: Time according to ECAL and Swiss Craftsmen” exhibition, produced in partnership with ECAL/Ecole cantonale d art de Lausanne (University of Art and Design Lausanne) and the Fondazione Cologni dei Mestieri d Arte (at the Swiss Pavilion at Expo Milan 2015, (the Universal Exhibition to be hosted by Milan) and of which a preview will be launched during the Milan Furniture Fair. This is an innovative approach combining contemporary creation and arts and crafts, and entirely dedicated to knowledge transfer. Images HD Catalogue Official press relase The Manufacture Vacheron Constantin is delighted to share its passion and its philosophy in its capacity as partner to the Swiss Pavilion at Expo Milan 2015. This prestigious event represents a magnificent opportunity for exchanges as well as a unique showcase for the expertise and crafts of the participating countries. Expo Milan 2015 will take place in Italy from May 1st to October 31st2015 and is particularly relevant in view of the history of the Manufacture: in 1819, François Constantin, during a voyage to Italy, first enounced the working principle that is now the company motto: “Do better if possible, and that is always possible…” The exhibition to be presented in Milan is the fruit of a joint project bringing together ECAL, the prestigious university of art and design with an international reputation, the Fondazione Cologni dei Mestieri d Arte, an institution known for its commitment to the sustainability of the artistic crafts, and the Manufacture Vacheron Constantin. Since 2013, Vacheron Constantin has partnered the ECAL s Master of Advanced Studies in Design for Luxury & Craftsmanship, a unique training course for the various creative arts professions related to the world of luxury. This is an opportunity for students to make a contribution each year to conducting a concrete project, in partnership with the Manufacture. This original approach links contemporary creation to ancestral know-how. Within the framework of this project, ECAL and Vacheron Constantin have asked 12 students to combine their creativity with that of experienced craftsmen in order to produce unique objects and demonstrate the richness, the variety, as well as the relevance to contemporary creation of these artisanal crafts. Under the leadership of Andrea Trimarchi and Simone Farresin (Studio Formafantasma) these 12 “duos” have worked on the same theme, Time, and more precisely the cyclical time of the seasons, using materials as diverse as paper and glass. Visitors will thus have an opportunity to explore mobiles crafted with an automaton maker; a picnic bag made with a saddler; a vase created with a glass blower; a mirror cast in an aluminium foundry; a lamp built with a stonemason; an axe and knives developed with an expert in carbon fibre; an assembly of stained glass windows composed with a master glassmaker; plates designed with a ceramist; fans produced with a paper-cutting specialist; a tray fashioned from marquetry; a millstone carved in conjunction with a stone sculptor and finally a musical box executed with the help of a stringed-instrument maker (luthier). These works, born of a student-craftsman dialogue, have given rise to an exhibition entitled “Arts&Crafts&Design: Time according to ECAL and Swiss Craftsmen, previewed in Milan during the Milan Furniture Fair (Salone Internazionale del Mobile from April 14th to 19th 2015) prior to being presented in the context of the VIP Lounge of the Swiss Pavilion for the entire duration of Expo Milan 2015 (May 1st to October 31st 2015). Taking part in Expo Milan 2015, a prestigious event steeped in history, is a fascinating opportunity for ECAL, for the Fondazione Cologni dei Mestieri d Arte as well as for Vacheron Constantin, and provides an opportunity to present the very best of Swiss expertise. Museo Bagatti Valsecchi Via Gesù 5 20121 Milano www.vacheron-constantin.com Opening hours Tuesday to Sunday 10 am to 7 pm
Printmaking by ECAL As part of its mission to showcase contemporary creativity, the Cabinet cantonal des estampes presents its recently acquired holdings of editions by the ECAL/University of Art and Design Lausanne. ECAL s publishing activities begin in 1995. Their aim is to involve students in practical projects and preserve a record of the artists who teach or are active at the institution. The initial phase, lasting until 1999, is concerned mainly with multiples; from 2007 a new project shifts the focus to lithography and screen printing. The corpus of some 70 prints produced since that time bears witness to the diversity of contemporary artistic approaches. John M Armleder, Pierre Charpin, Constance Guisset, Fabrice Gygi, Alex Hanimann, David Hominal, Helen Marten, Karim Noureldin, Mai-Thu Perret and Olivier Saudan reveal their preoccupation with the art of the print and the graphic resources available within the multiplied image. As part of its mission to showcase contemporary creativity, the Cabinet cantonal des estampes presents its recently acquired holdings of editions by the ECAL/University of Art and Design Lausanne. ECAL s publishing activities begin in 1995. Their aim is to involve students in practical projects and preserve a record of the artists who teach or are active at the institution. The initial phase, lasting until 1999, is concerned mainly with multiples; from 2007 a new project shifts the focus to lithography and screen printing. The corpus of some 70 prints produced since that time bears witness to the diversity of contemporary artistic approaches. John M Armleder, Pierre Charpin, Constance Guisset, Fabrice Gygi, Alex Hanimann, David Hominal, Helen Marten, Karim Noureldin, Mai-Thu Perret and Olivier Saudan reveal their preoccupation with the art of the print and the graphic resources available within the multiplied image.
Exhibition "Printmaking by ECAL" at the Musée Jenisch,27.03–31.05.2015,Musée Jenisch, Vevey As part of its mission to showcase contemporary creativity, the Cabinet cantonal des estampes presents its recently acquired holdings of editions by the ECAL/University of Art and Design Lausanne. ECAL s publishing activities begin in 1995. Their aim is to involve students in practical projects and preserve a record of the artists who teach or are active at the institution. The initial phase, lasting until 1999, is concerned mainly with multiples; from 2007 a new project shifts the focus to lithography and screen printing. The corpus of some 70 prints produced since that time bears witness to the diversity of contemporary artistic approaches. John M Armleder, Pierre Charpin, Constance Guisset, Fabrice Gygi, Alex Hanimann, David Hominal, Helen Marten, Karim Noureldin, Mai-Thu Perret and Olivier Saudan reveal their preoccupation with the art of the print and the graphic resources available within the multiplied image. Musée Jenisch Vevey Avenue de la Gare 2 CH –1800 Vevey T + 41 21 925 35 20 F + 41 21 925 35 25 info@museejenisch.ch Opening hours Tuesday to Sunday 10 a.m. to 6 p.m. Thursdays until 8 p.m. Closed on Mondays http://museejenisch.ch Image: Sans titre, Christian Floquet, 2011
Swiss Agency for Development and Cooperation (SDC) Mandate The Swiss Agency for Development and Cooperation (SDC) asked the Master Ecal/Head for some short movies in order to enlighten the collaboration between Switzerland and Latvia. With their collaboration, the studentsdeveloped some screenplays and then directed a series of short documentaries dealing with subjects like life in the Alp regions, Swiss countryside and multiculturalism. This workshop aimed to learn how to make a portrait. Workshop led by Hynek Bures, Olivier Zuchuat, Antoine Jaccoud The Swiss Agency for Development and Cooperation (SDC) asked the Master Ecal/Head for some short movies in order to enlighten the collaboration between Switzerland and Latvia. With their collaboration, the studentsdeveloped some screenplays and then directed a series of short documentaries dealing with subjects like life in the Alp regions, Swiss countryside and multiculturalism. This workshop aimed to learn how to make a portrait.
Vanja Jelic- Theoretical thesis Relevance doesn t express individuals needs to organise the mess instead it is an expression of homogenization in the digital space. Algorithms are helping me to rapidly come across information and I m starting to imitate it. Giving keywords, skim and repeat. But I m human and therefore I make content disappear. The data I look at is fluid and impermanent, the instability forces me to take it out of its context and save it. As I take everything out of context in order to understand it better, the content gets destructed through all the filters. Relevance doesn t express individuals needs to organise the mess instead it is an expression of homogenization in the digital space. Algorithms are helping me to rapidly come across information and I m starting to imitate it. Giving keywords, skim and repeat. But I m human and therefore I make content disappear. The data I look at is fluid and impermanent, the instability forces me to take it out of its context and save it. As I take everything out of context in order to understand it better, the content gets destructed through all the filters.
Botcaves Botcaves was a workshop held in November 2014 investigating bots and the relation between their programmed, yet autonomous behaviour (software) and their physicalities (hardware embedded in objects) as well as the potential relation these small situated technologies would maintain with global scale cloud infrastructures. Students designed and developed bots who took part in online activities. In some cases the bots were using electronic sensors as an input, while in other cases they used online data and expressed it using robotics. The final results were presented at the end of the week. The process and the results are documented on the IICloud s blog: iiclouds.org
Heart of glass This project questions the potential for glass in contemporary art and design to adopt a pragmatic approach with a view to producing extraordinary results. This research project also offers a cutting- edge model in the field of creative research, which places students at the heart of the process. Given the particular qualities of glass, the multiple shapes it can take and its many potential applications to art, crafts and industry, the Heart of Glass project has chosen to experiment with this material and explore new opportunities for creating and designing products. This project was partly driven by a need to question certain modes of production, both in industry and in the crafts, that are central to the concerns of young designers today. This research has also generated productive links between practical experimentation, the evaluation of the findings of these experiments and their ultimate dissemination. Finally, leaving aside the issues involved in project development itself, Heart of Glass offers a potential model for research-creation in design, based on an innovative, forward-looking approach. The objectives of the project included: developing and conducting a range of activities rooted in developing original tools and procedures and contributing to the state of the art and current body of knowledge relating to the design of glass products; using protocols to document experimental and empirical developments to ensure that experiences are shared and skills are applied; proposing samples and prototypes of objects whose formal and/or functional qualities render them suitable subjects for promising further developments; creating relevant links between experimentation, documentation and assessment to furnish designers with a suitable research methodology. The research team first identified, through a review of the literature and the potential partnerships, the best opportunities available for experimenting with new approaches in designing products in glass. On the basis of this, they identified three key themes: the application of industrial technologies to contexts other than those for which they had been designed; the design of glass projects in the context of a semi-industrial production and marketing structure; the forming of new refractory materials for the design of moulds to produce objects. Initially, these themes gave rise to practical workshops for students and assistants in the Master s degree in Product Design, supervised by professors and lecturers from ECAL. Plan B: this work on industrial technologies led to the creation of five prototypes that illustrated the potential of each of the procedures used. Technical data sheets explained their working principles. Meisenthal: six prototypes were created during a workshop held at CIAV (Centre International d Art Verrier). They were each supported by fact sheets that describe the manufacturing process. Mould Machine: in the course of a workshop covering the forming of original moulds, representative samples of the most promising techniques were selected. Different fact sheets were drawn up identifying the properties of each material tested. At a later stage, the most promising findings from each workshop were selected, and representative items were produced by practitioners from product design-related disciplines for the final project exhibition. The Heart of Glass project allowed us to develop an entire range of original tools and procedures, and consequently a very large number of samples that could serve as sources of inspiration for the design of future glass objects. A wide selection of the most interesting pieces was presented at the exhibition that marked the closure of the project. They can also be viewed on the website. In the context of this research-creation project and in accordance with the model developed by ECAL, the use of experimental workshops based on tightly defined complementary themes has proved to be extremely effective in developing original, innovative artefacts. Extreme care went into workshop organisation to ensure a clear fit between objectives and findings: the tools and procedures that were developed broadly met our expectations and the resulting datasheets offered a first, promising attempt to record and disseminate these experiments. Heart of Glass is the first of a series of research-creation projects focusing on design and materials. To its credit, this first experiment led to very important discussions about the definition of research in design and how it could be included within a master s degree curriculum. The publication that grew out of the project offers clear evidence, among other things, of this discussion.Main applicantECAL/University of Art and Design Lausanne (project leader)Research team, , Visiting lecturersRonan Bouroullec, Matteo Gonet Cyril Porchet, Mathieu Rivier, Pauline Saglio, Baker WardlawSupported byECAL/University of Art and Design Lausanne Strategic fund of the University of Applied Sciences Western Switzerland (HES-SO RCDAV)PartnersBaccarat, CIAV Meisenthal, Matteo Gonet/GlassworksPeriodnovember 2012 – february 2015DisseminationExhibitions Heart of Glass, ELAC (Espace Lausannois d Art Contemporain), Renens, 22.01–20.02.2015. Heart of Glass, WantedDesign, Brooklyn, New York, 7–17.05.2015. Website www.heartofglass.ch Publication Augustin Scott de Martinville (ed.), Heart of Glass, ECAL, Renens 2015. Prize Prize The project was nominated for the 2015–2016 Design Preis Schweiz in the ‘Research category.
Workshop Survival Camp During this workshop, the artist and the second-year Bachelor students spent a week living in a forest in western Lausanne. The shock of being deprived of the usual comforts such as running water, electricity and heating motivated the students to produce an enormous quantity of images. Cooking over an open fire, sleeping under the stars, hunting and fishing were all part of their daily lives, and provided the perfect backdrop for visual experimentation. The responses were manifold, from still to moving images, some dealing directly with delirious contemporary camping. The common denominators of all the works are humor and off-beatness. During Paris Photo, the results are presented in the form of an installation in the unusual urban setting of Les Voûtes. After the week-long workshop in Switzerland, all the students worked with Thomas Mailaender on the design and production of the exhibition. The students experienced a week of installation in total immersion: they lived in the exhibition as they built it. The images are presented in a raw environment, a sort of village, a makeshift camp. This whole process enabled them to confront not only the shooting process, but also the question of producing and exhibiting the images to the public. The exhibition is accompanied by a two-color catalogue-journal produced by the students and printed at the ECAL.
Exhibition "Survival Camp" in Paris Photo,08–15.11.2014,Les Voûtes, Paris From 9th to 15th of November at Les Voûtes in Paris, ECAL/University of Art and Design Lausanne is pleased to invite you to an exhibition by third-year Photography Bachelor students further to a workshop led by French photographer Thomas Mailaender. HD pictures The artist and the students spent a full week in complete isolation in a forest of the Wild West of Lausanne. Once over the shock of the lack of usual comforts such as running water, electricity or heating, the young photographers embraced this new lifestyle which fuelled their imagination, leading them to produce a huge number of images. Cooking over a wood fire, sleeping under the stars, hunting and fishing became their everyday life and an enabling environment for visual experiments. The responses were varied, from still images to moving images, with some directly depicting contemporary delirious camping, while others flirt with historical reminiscences of the camps of the Great War. But one thing all works have in common is an offbeat sense of humour. During Paris Photo, the outcome is presented as an installation in an unusual place in an urban setting, Les Voûtes. After the one-week workshop in Switzerland all students worked with Thomas Mailaender on the design and set-up of the exhibition. The installation was a week of full immersion for the students, as they lived in the exhibition while setting it up. The images are displayed in a raw environment, a sort of village or makeshift camp. All this allowed them to go beyond the process of taking shots to tackle the issue of the production and exhibition of these images to the public. The exhibition is accompanied by a duotone catalogue-newspaper produced by the students and printed at ECAL. Private view on Saturday 8 November 2014 from 6pm to 10pm Exhibition from Sunday 9 November to Saturday 15 November 2014, 11am to 8pm DJ set on Friday 14 November 2014 from 9pm Les Voûtes 19 rue des Frigos 75013 Paris M14 arrêt Bibliothèque François-Mitterrand www.lesvoutes.org
Laura Rimayati – Maguy My diploma project is an intimate edition in which my grandmother, Maguy, aged 88, is the main subject photographed. She represents older women whose ornaments as well as sexual urges and the desire to please are intact. The subject is as delicate as it is impressive and remains perceived by the spectator as either apprehension or admiration. Do we still have sexual desires and the wish to seduce despite a body transformed by time? If so, is it still possible to satisfy these needs? This work allowed my grandmother and myself to play between modesty and voyeurism and between authenticity and role-playing. My diploma project is an intimate edition in which my grandmother, Maguy, aged 88, is the main subject photographed. She represents older women whose ornaments as well as sexual urges and the desire to please are intact. The subject is as delicate as it is impressive and remains perceived by the spectator as either apprehension or admiration. Do we still have sexual desires and the wish to seduce despite a body transformed by time? If so, is it still possible to satisfy these needs? This work allowed my grandmother and myself to play between modesty and voyeurism and between authenticity and role-playing.
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Nicolas-Guy Kunz – Il [fallait] à la Belgique une colonie Still shots of monuments, vestiges, remains of a country s History appear one after the other. An abandoned, neglected past; yet Belgium has a colonial past indeed. It is the history of King Leopold II, but it is also my history. The intertwinement of my family memoirs and the history of Belgium in this film allows creating a new stage for my investigative work on the Belgian Congo with the aim to understand and making people understand what happened 100 years ago. * Belgium needs a colony: inscription on a marble plate sent from Greece to the Minister of Finance by Leopold II even before his accession to the throne. Still shots of monuments, vestiges, remains of a country s History appear one after the other. An abandoned, neglected past; yet Belgium has a colonial past indeed. It is the history of King Leopold II, but it is also my history. The intertwinement of my family memoirs and the history of Belgium in this film allows creating a new stage for my investigative work on the Belgian Congo with the aim to understand and making people understand what happened 100 years ago. * Belgium needs a colony: inscription on a marble plate sent from Greece to the Minister of Finance by Leopold II even before his accession to the throne.
The everyday During this Master, I have worked on two photography projects where I search for the illusion in everyday life versus a series of sets and objects I build in the studio. In my publication, I look for the boundary between a real and a fictional space. Where do these worlds meet and how do they interact with each other? From the boundaries of the real world to the carte blanche in the studio, this non-existent space is what interests me. In the process of building and making, I worked together with a set designer. As a still life photographer, this was an interesting collaboration and it gave me new ideas on props and set building. The technical process, the composition, the light, every item needs to be found from scratch and brought together in order to enhance the studio. During this Master, I have worked on two photography projects where I search for the illusion in everyday life versus a series of sets and objects I build in the studio. In my publication, I look for the boundary between a real and a fictional space. Where do these worlds meet and how do they interact with each other? From the boundaries of the real world to the carte blanche in the studio, this non-existent space is what interests me. In the process of building and making, I worked together with a set designer. As a still life photographer, this was an interesting collaboration and it gave me new ideas on props and set building. The technical process, the composition, the light, every item needs to be found from scratch and brought together in order to enhance the studio.
Alberto&Claudia Alberto&Claudia is a type design project specifically aimed at the contemporary editorial scene. In recent years magazines rapidly evolved from physical products to real brands and services accessible throughout different media. More than ever they need strong identities. Alberto&Claudia started in order to meet this requirement. The project consists of four typefaces: Alberto Editor and Claudia Shouter for display and headline use; Claudia Columnist and Claudia Insider for bodytext and small sizes. The last two also include matching italics. Alberto&Claudia is a type design project specifically aimed at the contemporary editorial scene. In recent years magazines rapidly evolved from physical products to real brands and services accessible throughout different media. More than ever they need strong identities. Alberto&Claudia started in order to meet this requirement. The project consists of four typefaces: Alberto Editor and Claudia Shouter for display and headline use; Claudia Columnist and Claudia Insider for bodytext and small sizes. The last two also include matching italics.
Agathe Zaerpour & Philippine Chaumont – Uzuri Ubichi For this project, we both wanted to use different mediums – graphic design, photography, video, fashion. We also wanted to base our diploma on reality, and to talk about fashion in countries where it is not as documented as here yet. So we travelled to Nairobi, to meet some of the Kenya Fashion Week designers, to make an inventory of fashion there, and of what we found around it. This book compiles collaborations with those designers and documentary folders. From this duality results a project which oscillates between Fashion and Report, Uzuri Ubichi, Beauty and Rawness. For this project, we both wanted to use different mediums – graphic design, photography, video, fashion. We also wanted to base our diploma on reality, and to talk about fashion in countries where it is not as documented as here yet. So we travelled to Nairobi, to meet some of the Kenya Fashion Week designers, to make an inventory of fashion there, and of what we found around it. This book compiles collaborations with those designers and documentary folders. From this duality results a project which oscillates between Fashion and Report, Uzuri Ubichi, Beauty and Rawness.
In Wool We Trust With the kind support of The Woolmark Company and Mover Sportswear. Workshop led by Ronan Bouroullec and Camille Blin, assisted by Stéphane Halmaï-Voisard. Result of a one week workshop with the students of the Master in Product design, these installations are celebrating the numerous qualities of Merino wool in an unconventional way. Wool is a material that is part of our everyday lives. It has a particular meaning to everybody without having any specific shape or colour. Our goal during this workshop week was to give shape to those references we all have towards this product. It started without any preconceived idea on what the end result would look like. By experimenting and playing around with the different states of this material, the students designed some unexpected installations. Each one of them acts like a little story, using movement as a way to express itself. Information The Woolmark Company Information Mover Images: ECAL/Axel Crettenand With the kind support of The Woolmark Company and Mover Sportswear. Workshop led by Ronan Bouroullec and Camille Blin, assisted by Stéphane Halmaï-Voisard. Result of a one week workshop with the students of the Master in Product design, these installations are celebrating the numerous qualities of Merino wool in an unconventional way. Wool is a material that is part of our everyday lives. It has a particular meaning to everybody without having any specific shape or colour. Our goal during this workshop week was to give shape to those references we all have towards this product. It started without any preconceived idea on what the end result would look like. By experimenting and playing around with the different states of this material, the students designed some unexpected installations. Each one of them acts like a little story, using movement as a way to express itself. Information The Woolmark CompanyInformation MoverImages: ECAL/Axel Crettenand
Exhibition "La part du dessin" by Pierre Charpin,01.05–05.06.2014,Gallery l elac, Renens From 1st May to 5th June 2014 at the l elac Gallery in Renens, ECAL/University of Art and Design Lausanne presents “Pierre Charpin – la part du dessin”. The French designer exhibits some hundred drawings on various media (paper, tarpaulin...). The exhibition is complemented by a 160-page monograph published by JRP | Ringier and a special serigraphy made for the occasion. “If you look closely at the essential purity of objects designed by Pierre Charpin, you will notice a form of discretion, or even frailty. This delicacy is characteristic of a presence that beckons to us rather than pose as a sign. This “poetic” trait in his work is contributed by drawing. Indeed, for Pierre Charpin, drawing has never been just a step in the object production process. It is a practice in its own right which, on the one hand, singles out his signature and, on the other, reflects a relationship more innate to the form. This is why in recent years the corpus of his work includes – along with sketches of objects finalised upon production – “drawings of drawings”. Produced in large formats, these aspire to no further reality than their own. In series of four, of three or sometimes alone, these drawings provide the opportunity of a direct and immediate approach to the world of forms, in line with his artistic training. For it is first and foremost through drawing that a world emerges, appearing before us. Drawing acquires poetic power through the simple economy of its means – a pencil, a surface – and its desire to bring forth the form. Poiesis, in ancient Greek, tells of the creation of a world… by the power of the gods, by the hand of man. Free from the constraints of production, without any other purpose than that imposed by their own momentum, the forms drawn by Pierre Charpin unfold in playful freedom. This is a search, a journey of hand and thought towards a form that is not yet clear, although he may perhaps glimpse it. By endless repetitions of the same gesture, by chromatic variations on the same line or the same point, this tension becomes a plastic strength, an inner dynamism which involves the viewer s eye in the emergence of form. This is where intimate and solitary pleasure turns into a silent and discreet invitation to read between the lines, and beyond the lines, before any shape occurs, the sheer spectacle of art in the making.” Text by Alessandra Fanari Exhibition «Pierre Charpin – La part du dessin» Exhibition open from 1st of May to 5th of June (closed 29th and 30th of May) from Wednesday to Friday, 1pm to 5pm Monography «Pierre Charpin» Collection: Monographs & Artists Book, edited by Lionel Bovier, Clément Dirié Text: Pierre Charpin, Alessandra Fanari, Françoise Guichon, Marco Romanelli Graphic Design Gavillet & Rust Edition English/French, Hardcover, 265 × 200 mm, 160 pages, 2014 CHF 50 / EUR 40 / £ 31 / US 55 ISBN: 978-3-03764-244-3 www.jrp-ringier.com Galerie l elac 5 av. du Temple 1020 Renens +41 (0)21 316 99 33 ecal@ecal.ch www.ecal.ch Biography PIerre Charpin Pierre Charpin was born in 1962 at Saint-Mandé (near Paris) and graduated from the Beaux-Arts de Bourges in 1984. Since the early 1990s he has devoted himself to designing furniture and objects. He lives and works at Ivry-sur-Seine, near Paris. His practice develops centered on experimental projects – in particular ones conducted with the Centre international de recherche sur le verre et les arts plastiques (CIRVA) from 1998 to 2001 or the Centre de recherche sur les arts du feu et de la terre (CRAFT) between 2003 and 2005 – and in the course of his collaborations with renowned manufacturers such as Alessi, Cristallerie de Saint-Louis, Ligne Roset, Manufacture nationale de Sèvres, Montina, Pamar, Tectona, Venini, The Wrong Shop, and Zanotta Edizioni. In 2004 Pierre Charpin was the winner of the international competition for the design of the Eau de Paris carafe, produced in a run of 10,000. He also acts as scenographer for his own exhibitions (at the MUDAC and Grand-Hornu Images) and for themed exhibitions such as Les Sixties mode d emploi (Musée de la Mode et du textile, Paris), Mobiboom (Les Arts Décoratifs, Paris) and Quali Cose Siamo, the third Design Museum Triennial (Milan), organized in 2010 by Alessandro Mendini. Since 2005, after a first solo exhibition of his work in 1999, the Galerie kreo (Paris) has the exclusive right to produce limited editions of his pieces, presented at solo exhibitions: Platform in 2006, All aperto in 2008, 8 1/2 in 2009 and Ignotus Nomen in 2011. Among his solo exhibitions, the following may also be mentioned: in 1998, Una mostra di mobili, Post Design Gallery (Milan) ; in 2001, Torno subito, Galerie des Curiosités, Musée des Arts Décoratifs (Paris) ; in 2002, Stands, Design Gallery Milano (Milan) ; in 2005, Oggetti lenti, Design Gallery Milano, and Pierre Charpin 2005 at the Grand-Hornu Images (Mons) ; in 2009, Entre les vases, Musée de design et d arts appliqués contemporains (MUDAC, Lausanne) ; in 2011, Pierre Charpin au Grand-Hornu, vingt années de travail, Grand-Hornu Images. In parallel with his work as a designer, from 1998 to 2008 he taught design at the École supérieure d Art et de Design in Reims, and since 2006 he has been teaching in the Industrial Design Department of the ECAL/University of Art and Design Lausanne. www.pierrecharpin.com
ECAL Milano 2014: «Avant-garde Retro» with Cassina,08–13.04.2014,Showroom Cassina, via Durini 16, Milan During the Milan International Furniture Fair from 8 to 13 April 2014, Cassina presents a selection of projects by ECAL/University of Art and Design Lausanne at its showroom in via Durini 16. To celebrate the 40th anniversary of the Maralunga sofa, designed for the Italian brand by Vico Magistretti, the students from the Master Product Design programme have developed new sofa projects based on this icon s chassis. The project was directed by Alexis Georgacopoulos and Tomas Kral. Images HD As a tribute to the 40th anniversary of Maralunga sofa, Cassina challenged 20 international sudents from the ECAL Master Product Design programme to design the sofa of the future starting from the Maralunga chassis. The brief? Simple, comfort first and foremost. The students got their initial inspiration for the project during a visit to the Cassina factory in Meda where they were able to get a feel for the history of the brand and observe production techniques. Following this visit, various workshops with the ECAL Director, Alexis Georgacopoulos, and the designer Tomas Kral were organised, as well as two analysis meetings with the Cassina R&D Centre, which resulted in 20 integrated projects. The work entailed a semester of study, research and development and led to some surprising proposals. During the Milan International Furnitue Fair 2014, Cassina will showcase the two winning prototypes, one by Qiyun Deng, a Chinese girl born in 1983, and the other by Jin Eum, a Korean girl born in 1987, together with models chosen from 6 other projects. A special display dedicated to the world of Maralunga will also on show at the historic Cassina showroom in Milan. Exhibition open 8, 10 April From 10 am to 7 pm 9, 11, 12, 13 April From 10 am to 9 pm Showroom Cassina Via Durini 16 20122 Milano www.cassina.com
Collaboration with Rémy Martin Under the supervision of designer Tomas Kral, the students worked on the theme of mixology (the association of materials, just like the mixed ingredients that make up a cocktail) and developed in a few weeks various projects, focused either on objects related to a recipe or on ritual. For the launch of this project with Rémy Martin, we had the chance to spend two days in Cognac to discover the secrets of the production process and the cellars of the House, through numerous tastings, and then to immerse ourselves in the trendy Parisian world of cocktail bars by testing numerous recipes. In the end, 10 objects were designed by the 10 students from the programme. Nomad Rachel Suming My project is inspired by the street vendors that can be found all over the world. The current gastronomic trend is towards foodtrucks and street food revisited. Applied to the Rémy Martin universe, I imagined a tray in the house colours, which would invite a mobile, younger and more contemporary approach to cognac. The idea of "mix" is found in the use of the object which allows the preparation of a VSOP cognac cocktail prepared in front of you and at the minute. But it also lies in the mix of the house s identity codes with a more contemporary use: the oak and copper tray, echoing the cognac cask in the Rémy Martin cellars, can be slipped over the shoulders thanks to leather straps, like a travelling salesman, to move around in the evening and help prepare cocktails. Cocktail Carrier Samuel Williams Cocktail Carrier is inspired by the traditional milk carrier basket. This project interprets the idea of "mix" by marrying the world of cognac with that of cocktails to be shared. Rémy Martin VSOP cognac becomes synonymous with conviviality by bringing friends together around a set of eight glasses and a cognac cocktail carafe. This object is mainly made of copper-plated steel, with two different finishes (polished and brushed). Keeping a copper look was an opportunity for me to revisit the traditional materials of cognac making and give it a more contemporary and premium touch. Crystal shaker Anouk Meier My project is a fusion between a vintage spirit bottle and a shaker, bringing together crystal and copper for their classic and luxurious look. During a party, the bartender can prepare the cocktail directly in this container, whose parts of the upper part take up exactly the codes and functions of the traditional shaker (stopper and strainer). Once the drink is finished, the cut glass base is brought directly to the table and the drink served in the glasses. Totem Hongchao Wang The Totem project stems from the desire to optimise and ritualise the cocktail service. The base, made of transparent glass, contains the ready-made drink. One "tier" above, a metal container is used as a container for ice. This piece, whose base is made of cork, functions as a cork to hermetically seal the carafe. The glasses are stacked in a small cavity in the ice bowl and remain easily accessible. The whole thing is then connected to a leather handle, which makes it easy (one-handed) and safe to carry. The combination of these shapes and materials creates a very sculptural and surprising object, similar to tribal totems, with animal heads stacked on top of each other.
One minute repeater On the occasion of the 24th edition of the Salon International de la Haute Horlogerie (SIHH), which took place in Geneva from 20th to 24th January 2014, the ECAL/ University of Art & Design Lausanne created, for watchmaker Vacheron Constantin, a special installation named “The Minute Repeater”. This installation is the result of a research work directed at ECAL by Vincent Jacquier, Head of Visual Communication Department, and Alain Bellet, Head of Bachelor Media & Interaction Design. This research, which brings together students from both Bachelor in Media & Interaction Design and Industrial Design, permitted to develop a stand for the watchmaker based in Geneva. Not less than 12 screens reveal the oneiric sense of the Calibre 1731 of Vacheron Constantin. Thank to the animations unveiled on each screen by the magic of magnifying glasses, ECAL proposes its interpretation of this minute repeater movement, known to be the flattest on the market. Animations, production and technical development : Pauline Saglio, Mathieu Rivier, Guilhem Moreau With the help of : Philippe-Albert Lefebvre, Matthieu Minguet Students involved in the project : Laurent Bernaert, Nicolas Nahornyj, Hélène Zeis
Collaboration with Hermès – 2014 The collaboration with Hermes allowed the students from the Master of Advanced Studies in Design for Luxury and Craftsmanship to discover the universe of window displays, where supports, lighting and colours need to draw your eye to the objects being showcased. Wang Hongchao Sketches of Animals For this project designed for the French brand Hermès, I have been directly inspired by Pablo Picasso s abstract paintings and sculptures. Sketches of Animals is a collection of window displays, constructed in cherry wood, which highlight the value of Hermès products by using them to bring life to the different animals. A printed plate is then turned into the eye of a fish, cushions become the scales and a crystal glass the extremity of its antenna. This playful and narrative project has been designed for the stores in Zürich and Geneva on the occasion of the Fall/ Winter 2014 collections.
Souvenir items for The Olympic Museum To mark the reopening of The Olympic Museum, the ECAL/University of Art and Design Lausanne has been working on designing souvenir items for the Museum shop, created by Bachelor of Industrial Design students after a workshop with Hector Serrano, a Spanish designer based in Valencia. Two of these projects are set to go on sale in the Museum shop shortly. The aim was to create a collection of souvenirs which reflect the spirit of Olympism and The Museum in a contemporary, fun way. Using his experience in this area, Spanish designer Hector Serrano gave the students some tips on what makes a successful souvenir item. The students came up with around 30 proposals, which were submitted to a jury composed of Olympic Museum and IOC employees. Projects Little Audience, ECAL/Camille Ringenbach “Moo Box” containing different sounds (applause, shouts and cries of disappointment by spectators) to create your own mini Olympic audience. Pop-up Sculptures, ECAL/Emil Hjorth-Rohde These postcards show delicate athlete figures achieving Olympic exploits. Olympic Matches, ECAL/Cyrille Verdon This detachable matchbox (available in summer and winter versions) contains a list of Summer and Winter Games Olympic torches, recalling dates and countries, but also the torch display at The Olympic Museum. By playing with the Olympic torch and match flames, you can light the Olympic flame for Rome, Beijing, London, etc. P.S., ECAL/Pierre Bouvier The “P.S.” series of animated postcards offers mini games based on the graphics of Olympic sports arenas. First, ECAL/Renaud Donadey A series of sculptures immortalising the movement of athletes whose performances have gone down in Olympic history. Made of silver-plated brass, these easy-to-assemble objects can be displayed on a desk or bookcase. The Olympic Sports Pop-Up Book, ECAL/Paul Tubiana The Olympic Sports Pop-Up Book presents various disciplines of the Olympic Games. Stadium, ECAL/Marceau Avogadro Wooden ball game symbolising a never-ending athletics race Sparkling Ceremony, ECAL/Clara Dalbéra Light the rings up and celebrate the olympics by making your own opening ceremony at home!
Souvenir items for The Olympic Museum,07.01.2014,Olympic Museum, Lausanne To mark the reopening of The Olympic Museum, the ECAL/University of Art and Design Lausanne has been working on designing souvenir items for the Museum shop, created by Bachelor of Industrial Design students after a workshop with Hector Serrano, a Spanish designer based in Valencia. Two of these projects are set to go on sale in the Museum shop shortly. HD PICTURES ECAL Director Alexis Georgacopoulos is pleased to present the projects produced by second-year Bachelor of Industrial Design students for The Olympic Museum. In December, The Museum reopened after a makeover that will allow it to offer its visitors new experiences after 20 years of existence. To celebrate this event, The Olympic Museum invited the ECAL to work on a series of souvenir items for its shop. The aim was to create a collection of souvenirs which reflect the spirit of Olympism and The Museum in a contemporary, fun way. Using his experience in this area, Spanish designer Hector Serrano gave the students some tips on what makes a successful souvenir item. The students came up with around 30 proposals, which were submitted to a jury composed of Olympic Museum and IOC employees. Two of the proposals (by Camille Ringenbach and Emil Hjorth-Rohde) were selected, and will be on sale soon at the Museum shop. www.olympic.org Projects (videos and descriptions) Little Audience, ECAL/Camille Ringenbach “Moo Box” containing different sounds (applause, shouts and cries of disappointment by spectators) to create your own mini Olympic audience. Pop-up Sculptures, ECAL/Emil Hjorth-Rohde These postcards show delicate athlete figures achieving Olympic exploits. Olympic Matches, ECAL/Cyrille Verdon This detachable matchbox (available in summer and winter versions) contains a list of Summer and Winter Games Olympic torches, recalling dates and countries, but also the torch display at The Olympic Museum. By playing with the Olympic torch and match flames, you can light the Olympic flame for Rome, Beijing, London, etc. P.S., ECAL/Pierre Bouvier The “P.S.” series of animated postcards offers mini games based on the graphics of Olympic sports arenas. First, ECAL/Renaud Donadey A series of sculptures immortalising the movement of athletes whose performances have gone down in Olympic history. Made of silver-plated brass, these easy-to-assemble objects can be displayed on a desk or bookcase. The Olympic Sports Pop-Up Book, ECAL/Paul Tubiana The Olympic Sports Pop-Up Book presents various disciplines of the Olympic Games. Stadium, ECAL/Marceau Avogadro Wooden ball game symbolising a never-ending athletics race Sparkling Ceremony, ECAL/Clara Dalbéra Light the rings up and celebrate the olympics by making your own opening ceremony at home! Information ECAL/University of Art and Design Lausanne 5, avenue du Temple, Renens Case postale 555, 1001 Lausanne Tel.: +41 (0)21 316 99 33 Fax: + 41 (0)21 316 92 66 Email: ecal@ecal.ch www.ecal.ch
Collaboration with Francis Kurkdjian For the very first collaboration with Parisian perfumer Francis Kurkdjian, the students of the programme were given carte blanche to revisit the codes of the eponymous house and find a new way of linking materials with the world of fragrances. Following a research and experimentations, some concepts were developed and prototyped in order to create a collection of olfactory objects: perfume diffusers made of rattan, fans made of brass and paper or a family of ceramic culbutos.
String Foundry The students were given a cone with 3 yards of yarn. This sewing machine yarn represents a line. The students were asked to draw with this line and create letters. A session of uncontrolled experimentation followed. Some people got frustrated because the material was not behaving the way they expected, others got lost in labour intensive try outs. The design process was speeded up by demanding quantity over quality. The students produces a rich collection of specimens, failures, surprises and typographic inventions. Quality surfaced by looking at the possibilities of the results, not the results themselves. Students were given more time to concentrate and dig deeper for more options of a single experiment. They were asked to create a systematic sequence to expand their type treatment into a series of results. How can you make a system grow? Students seemed to be relieved when they were asked to translate their experiment in the computer. How do you Adobe Illustrator or Photoshop behave when you are wishing for a type treatment that includes gravity, three-dimensionality, texture or something else you witnessed while working with analogue material? This workshop turned out to be a research on how an analogue reference can make you look for a different way to work digitally. Type was a platform for introducing them to an alternative design process. The students were given a cone with 3 yards of yarn. This sewing machine yarn represents a line. The students were asked to draw with this line and create letters. A session of uncontrolled experimentation followed. Some people got frustrated because the material was not behaving the way they expected, others got lost in labour intensive try outs. The design process was speeded up by demanding quantity over quality. The students produces a rich collection of specimens, failures, surprises and typographic inventions. Quality surfaced by looking at the possibilities of the results, not the results themselves. Students were given more time to concentrate and dig deeper for more options of a single experiment. They were asked to create a systematic sequence to expand their type treatment into a series of results. How can you make a system grow?Students seemed to be relieved when they were asked to translate their experiment in the computer. How do you Adobe Illustrator or Photoshop behave when you are wishing for a type treatment that includes gravity, three-dimensionality, texture or something else you witnessed while working with analogue material?This workshop turned out to be a research on how an analogue reference can make you look for a different way to work digitally. Type was a platform for introducing them to an alternative design process.
Joseph Gallix – Goodyear Amiens “Amiens in the north of France is the place of a social conflict of 6 years opposing a strong union against Goodyear in a battle to save 1200 jobs. Some media and politicians use the matter as they want to produce show or popularity. But no one speak about these workers fighting for a simple life. What is the life of a worker, father and activist ? And does a community of workers still exist today ? I left for Amiens to meet these workers and came back having enjoyed their generosity. “ Amiens in the north of France is the place of a social conflict of 6 years opposing a strong union against Goodyear in a battle to save 1200 jobs. Some media and politicians use the matter as they want to produce show or popularity. But no one speak about these workers fighting for a simple life. What is the life of a worker, father and activist ? And does a community of workers still exist today ? I left for Amiens to meet these workers and came back having enjoyed their generosity.Joseph Gallix
Pierre Girardin – Have you ever had an acoustic dream ? Have You Ever Had an Acoustic Dream ? My book is based on the studies of R. Murray Schafer, who invented the notion of soundscape in the seventies. I started by doing some of his listening exercises in different environments and then decided to use binary possibilities to create a form of concrete visual soundscape. A website is dedicated to the project, where we can listen these landscapes www.haveyoueverhadanacousticdream.com Have You Ever Had an Acoustic Dream ?My book is based on the studies of R. Murray Schafer, who invented the notion of soundscape in the seventies. I started by doing some of his listening exercises in different environments and then decided to use binary possibilities to create a form of concrete visual soundscape. A website is dedicated to the project, where we can listen these landscapeswww.haveyoueverhadanacousticdream.com
Pauline Miserez – Elusiveness “We live among people whom many would describe as exceptional or marginal. Aware of their differences and suffering from isolation, they try to blend in with the crowd. Despite their suspicions, the observation has allowed me to uncover some of them. I then attempted to determine the components of their identity to translate it ostensibly using photography ; through visual associations, I developed a range of signs and clues which, interpreted as a whole, make visible what is theoretically known only by their confidants. The texts, for their part, recount my encounters with these characters. The human belief that a marginalized individual is recognizable through his appearance gradually becomes the latent subject of my questioning. “ www.paulinemiserez.ch
Filippo Demarchi – Age 17 Matteo is a 17-year-old boy who comes to the realization that he is in love with Don Massimo, a young priest of the village that leads the marching band in which Matteo plays the drum. Synopsis Matteo is a 17-year-old boy who comes to the realization that he is in love with Don Massimo, a young priest of the village that leads the marching band in which Matteo plays the drum. He sees in Massimo a person willing to listen to his fears and desires. For the first time in his life, Matteo feels ready to open up to someone… Commentaire Desire is a blade that needs sharpening. Matteo, the 17-year-old hero, does not yet hold the knife by the handle, but that does not prevent him from trying to uncover what is lurking in the heart of Don Massimo. Filippo Demarchi films this struggle in the island of a small granite village in Ticino with a scalpel. While the dynamite explosions resound in the surrounding quarries, the camera ventures under Matteo s sheets, in his arms too, with infinite tenderness. Adolescence is not an age of passage, but a state in itself that 17 anni gives to see without concession. Lionel Baier / Réalisateur
Diplomas – 2013 Sophie Ballmer , Travaux de nuit Different figures follow each other and progressively build a small theatre of art history. The shapes are deformed, reduced to a simple representation, and pass before our eyes, mobilizing commonplaces and stereotypes. This game plays with a tradition that needs to be discussed. The exploration is light, uninhibited, and the path gets intriguing when it joins document research with knowledge criticism. Travaux de nuit is a subjective overview that shows its operating system, emphasizing the way the journey is made. Grégory Corthay , Personne Explore the variety of media to experience the range of perceptions. Translate and face toward the horizon of emptiness welcoming the native return of an origin. The taste of travel narrative and stroll contributes to a significant cosmogony around notions of landscape, our presence within its conquest and reveals visions of legends, traditions and innovations. Sylvain Croci-Torti , Uncomfortably Numb In my work the canvas is used to reproduce and reinterpret different influences, from TCS (Swiss Automobile Club) to EMI. The long and painstaking preparation of the canvases contrasts with the quick, efficient and radical gestures with which the paint is applied. Just like a punk song played on a fancy Gibson. Lucile Dupraz , Higher Than It Is Wide Higher Than It Is Wide is a lecture performance paced to a stream of pictures, all of which portray the same sitter. Handling these visuals as I speak, I weave together threads of descriptive and technical language while forming narrative patterns. These take the audience through thoughts occurring to an image maker, those formed by a viewer, and transcriptions of camera or computer processes. Wishing to address the act of looking by means of spoken words I chose a hybrid medium for a composite task. I thus saw the photograph s mute, frozen likeness evolve to richer nuances, by dint of its translation into gestures and phrasings uttered live. Sophie Ballmer, Travaux de nuitDifferent figures follow each other and progressively build a small theatre of art history. The shapes are deformed, reduced to a simple representation, and pass before our eyes, mobilizing commonplaces and stereotypes.This game plays with a tradition that needs to be discussed. The exploration is light, uninhibited, and the path gets intriguing when it joins document research with knowledge criticism. Travaux de nuit is a subjective overview that shows its operating system, emphasizing the way the journey is made.Grégory Corthay, PersonneExplore the variety of media to experience the range of perceptions. Translate and face toward the horizon of emptiness welcoming the native return of an origin. The taste of travel narrative and stroll contributes to a significant cosmogony around notions of landscape, our presence within its conquest and reveals visions of legends, traditions and innovations.Sylvain Croci-Torti, Uncomfortably NumbIn my work the canvas is used to reproduce and reinterpret different influences, from TCS (Swiss Automobile Club) to EMI. The long and painstaking preparation of the canvases contrasts with the quick, efficient and radical gestures with which the paint is applied. Just like a punk song played on a fancy Gibson.Lucile Dupraz, Higher Than It Is WideHigher Than It Is Wide is a lecture performance paced to a stream of pictures, all of which portray the same sitter. Handling these visuals as I speak, I weave together threads of descriptive and technical language while forming narrative patterns. These take the audience through thoughts occurring to an image maker, those formed by a viewer, and transcriptions of camera or computer processes.Wishing to address the act of looking by means of spoken words I chose a hybrid medium for a composite task. I thus saw the photograph s mute, frozen likeness evolve to richer nuances, by dint of its translation into gestures and phrasings uttered live.
Toys The goal of the project "jeux et jouets” was to develop a toy for kids by considering artisanal and semi artisanal production methods. The reflection is driven by the needs of a kid but also taking in account the decision maker ( The parent who buys or the person who offers). The students were particularly attentive to develop a justifying innovation, through the typ of the game or toy, production method, aesthetics or another point of view.
Collaboration with Baccarat – 2013 Following the collaboration initiated in 2011 around the iconic Harcourt glass and then in 2012 Baccarat and ECAL are continuing their common reflection in 2013. The students of the Master of Advanced Studies in Design for Luxury and Craftsmanship are all working on the same global project, create a crystal light. Vendôme Josephine Choquet This modular lamp gives users the freedom to sculpt light according to their mood. Like the pearls on a necklace, the crystal beads can be stacked up around the source of light. Spot JinSik Kim Spot is a range of lights allowing for the light to be oriented according to our needs and desires. Creates thanks to a simple tube which pierces through the crystal light shade, this functional aspect creates a daring and unexpected contrast between metal and crystal, industry and craftsmanship. Voilà Petra Kuon Baccarat lamps Voilà are based on the confrontation of two icons – the traditional light bulb and Baccarat s distinctive Harcourt cut. The size of the crystal light form is slightly bigger than the usual light bulb in order to highlight its importance. Furthermore, a minimalistic design of each lamp base ensures that the focus is on the precious crystal piece. Voilà is about simplicity and playfulness which is why along with a ceiling lamp, table lamp and a wall lamp, it offers the possibility of a string of lights.
There Will Be Blood Sonya Dyakova wanted to do something about conveying music through typography. She have watched recently a Paul Thomas Anderson film ‘There Will Be Blood , and found it very moving and inspiring. The film features an original orchestral score by Radiohead guitarist Jonny Greenwood, and she felt the music had integral and powerful role in the film. On day one the students and I watched the film together. Afterwards, I have asked them to create a poster for it. The poster had to embody the essence of the story and ‘weave in the feeling that the sound made. Design is about telling a story, and I wanted to the audience to be able to get the story, or an essential aspect of the story, from looking at the poster. One of the tasks of the designer is to extract essence and communicate it in the most clear voice through tools that we know — typography, colour, image making, printing techniques. All elements of the poster had to have a reason and purpose. She have asked the students to create a list of words, while the film was fresh in their mind, which were reflecting the story. From these words she wanted them to start making visual elements that would make up the poster. She asked the students to use printing press, using wood and metal to create printing plates. Which, in turn, instructed the look of the poster to some degree. The number of layers was limited by the number of students and time they had — any project has constraints, and so did this one. The result was a healthy variety of approaches: some posters were abstract, some more figurative. She tried to push the students not to be afraid of the obvious. Alan Fletcher s words are always in her mind: “What distinguishes designer sheep from designer goats is the ability to stroke a cliché until it purrs like a metaphor”. Sonya Dyakova wanted to do something about conveying music through typography. She have watched recently a Paul Thomas Anderson film ‘There Will Be Blood , and found it very moving and inspiring. The film features an original orchestral score by Radiohead guitarist Jonny Greenwood, and she felt the music had integral and powerful role in the film. On day one the students and I watched the film together. Afterwards, I have asked them to create a poster for it. The poster had to embody the essence of the story and ‘weave in the feeling that the sound made. Design is about telling a story, and I wanted to the audience to be able to get the story, or an essential aspect of the story, from looking at the poster. One of the tasks of the designer is to extract essence and communicate it in the most clear voice through tools that we know — typography, colour, image making, printing techniques. All elements of the poster had to have a reason and purpose. She have asked the students to create a list of words, while the film was fresh in their mind, which were reflecting the story. From these words she wanted them to start making visual elements that would make up the poster. She asked the students to use printing press, using wood and metal to create printing plates. Which, in turn, instructed the look of the poster to some degree. The number of layers was limited by the number of students and time they had — any project has constraints, and so did this one. The result was a healthy variety of approaches: some posters were abstract, some more figurative. She tried to push the students not to be afraid of the obvious. Alan Fletcher s words are always in her mind: “What distinguishes designer sheep from designer goats is the ability to stroke a cliché until it purrs like a metaphor”.