Slow design, with Pierre Favresse

At 33 years old, Pierre Favresse is already head of design for Habitant. Before that, he was in charge of Mathieu Lehanneur’s design studio in Paris and even created his own studio. How did he manage to do all that at such a young age? I would bet on his personality. Pierre is friendly, funny and very open-minded. If I were in the position to hire someone, I would probably give him my own job.

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For his workshop in Boisbuchet, he decided to work around the concept of slow design. The concept is quite abstract, but could be translated by: take your time making the things right. In his process, he wanted to give us some time for reflexion and reconsideration.

Paradoxically, the Slow design workshop was the fastest of all workshops this summer. The main reason is that Pierre had already chosen the material, the process and the application (more or less the entire Symbiosis workshop). We were going to work with cheap pine sticks, use only nails and glue and we were going to make chairs and tables.

For the first exercise, he gave a wood stick to every one of us and gave us 15 minutes to analyse it. We were encouraged to bend, twist, shake and touch the material, but weren’t allowed to cut it, nail it or glue it yet. We weren’t even allowed to sketch, which was a new thing for me. I instinctively started exploring the material with Jennifer (a girl from Philippines) and Thomas (a cabinet maker from Germany). I assumed that 3 sticks were better than one, and I was proven right. Remembering a project I had done as a student a few years ago, I asked them to stack our sticks and split them using bamboos as spacers. We then clamped the ends and magic happened. The sticks took a beautiful and natural curve that we all understood right away as being the first step for a beautiful bench or table. We found some more sticks and added them to the first structure until the wood couldn’t take any more stress. Only 30 minutes of work and we had our concept. We spent the next 3 days refining it.

After this first exercise, we finally were encouraged to sketch, which made much more sense now that we understood the material and it’s limits. It took us a full day to choose the design for the legs. During this time, we also had to sand down the pine sticks to get rid of their nasty yellow surface. We found a way to minimise the parts by using the legs as spacers and support. In total, the entire bench was made of only 3 different parts.

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On Thursday, we spent the morning for the assembly and the afternoon for the varnish. On Friday, our team was free. Thomas and I helped Pierre building a picnic table (it was quite heavy). And we spent the rest of the day enjoying the lake and the presentations.

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Symbiosis, with Benjamin Hubert

Construction and materiality in industrial design

Benjamin Hubert is a rising star in the design world. No surprise that his workshop was completely full. He is a young and prolific designer that manages to get a lot of exposure on websites and magazines. He is profession driven and serious. Before meeting him, I already heard about his personality. Being a hard worker, he is demanding and only asks for the very best you can give. His workshop was no exception.

We started working as a big group, brainstorming on different proprieties that can define a material (elasticity, transparency, solidity…). He then created groups, which he assigned to one of these characteristics for a material hunt around Boisbuchet. Unfortunately enough, I picked “cold” with my teammate. It was over 30 degrees outside…

We still managed to find objects that one way or another can be related to the characteristic cold. To mention just a few, we got ceramic, the water from the bottom of the lake (which is always freezing), a dead bug, light blue tarp, liquid air and a frozen beer.

Benjamin then started merging subjects and teams. Hot and cold became temperature, which then got cancelled. Our two teams then became synthetic and light, which was the new subjects, created to contrast with characteristics natural and heavy. On our boards, we had some very random objects, found to fill the gaps. The brief was to then chose a material from each board and link them together. This led to about ten different experiments. One of them was using

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Latex gloves attached together by the fingers

Assembled plastic cups

PU foam compacted with treads

Melted artificial grass

Bamboo joined together by bicycle inner tubes …

We all agreed that the last one was the best and we started exploring this assembly.

The original idea for this mix of materials was from Marion, a French textile designer who kept being the most productive group member all week long. By the end of the day, we had a board filled with different ways to connect bamboos with rubber.

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The next step was to find a proper application for this technique. We started with architecture, but quickly realised that our inner tube supply was limited. We then jumped from kinetic sculpture to water installation, to a simple hammock.

Even a hammock wasn’t that simple in the end since we still had to hold one person’s weight with nothing else than rubber joints. The team found some clever ways to make the binding as strong as possible, but it still wasn’t enough to support an adult weight.

Aware that our first design would not work, I started working on a plan B (we were Thursday evening and the presentation was due Friday at 1PM. I designed a drop shaped cradle made from various triangles. It was finished by Friday morning (while the other design took us 3 days and 4 people to realise). Unfortunately, it still wasn’t strong enough to be functional, but it was enough to show our assembly technique applied to an object. We decided to call the project BOA, for the capacity of the tube to stretch to eat much bigger than its own volume. We played on the St-Exupery story : “Le petit prince”.

Among the other teams, there were many clever sparkles coming directly from the design process taught by Benjamin. There was natural fibres reinforced with latex, pieces of wood assembled with melted metal, plaster that looks soft…

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The symbiosis workshop wasn’t about giving a final product in 3 and half days like most projects in Boisbuchet. It was about giving the students a strong tool for innovation.

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Daniel Freitag : Recycling, and small gadgets.

I am the world #1 fan of everything recycled. I even built my university thesis around this subject. So, when Boisbuchet sent me the list of workshops for this season, Freitag was at the top of the list.

Daniel Freitag and his brother Markus have now been transforming used truck tarp into bags for 20 years. They were still students when they got the idea of the recycled messenger bag. Today, their last name became a world-renowned brand.

The brief for this workshop was quite simple. Take the waste produced with the cut off of the Freitag Bags and invent a small object that could be useful, original and customisable. For our first day, Daniel had prepared a beautiful scenography displaying several colours of tarp in the barn, fallowed by the tools available to shape this strong material. One of these tools was a sonic welder taken from one of Freitag’s traveling installations. The machine uses high frequency sound to heat section of the material, leaving a trace in the form of the Freitag logo. The original installation, called Road Killed, worked that way: You chose an animal from a board (like a rat or a bird), fold it in half, “roll” over it with the machine and you just made yourself an artificial dead animal to hang from your bag…

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The machine is pure magic and the installation is very graphic, but still… there are a few things I disapprove about this concept.

–       It is violent, in a weird way

–       The process doesn’t improve the object

–       It is only decorative… honestly not even beautiful

I made it a goal to think of a substitute for this project, which would be more creative, customizable and useful.

Daniel’s first exercise for us was meant to make us understand the material and the tools. The idea was to create a toy boat that would float, using only the equivalent of an A4 sheet of tarp. The exercise was much more difficult than expected. (for me at least) I did many models, that didn’t seem to get any better than the first one. I ended up with a quite complete shape, using weights and external materials. It even floated a little bit on its side. In the end, even if the boat was far from perfect, the goal was reached. I now knew how to fold, cut, weld and glue the tarp.

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The second exercise he gave us was to create an object that would interact with the nature found in Boisbuchet. We had less than an afternoon to think and realise the idea. I went big scale with a cone shaped cocoon suspended from a tree.

The idea was to have a privacy booth where you could be outside, protected from the wind and the rain, but remain hidden from the visitors and the other participants. An important detail was that the chosen location for the installation was one of the rare spots where I could have a phone signal in Boisbuchet. It soon became my private communication capsule.

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My final project for this workshop was to try to recreate the Eames’s elephant from small sheets of tarp. In the process, I realised that my own design could actually hold objects such has pencils and cards. From the elephant, I went to the crocodile and from the crocodile to an entire zoo.

All animals are made from two parts of tarp (one for the head and one for the body). The flat object needs only one rivet on the eye and one drop of glue on the tail to become a cute little desktop accessory.

Compared to the original concept, the desktop zoo uses a similar amount of material (less than an A4 for each animal). Also, it reverses the process. Instead of taking a “living” animal pattern and killing it in the process, you take a “dead” abstract shape and bring it to “life” with personal care. The concept is also more creative, since a visitor could also decide to customize his animal, choosing for example to put the lion’s head on the giraffe’s body, etc.

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I have to say that this week was my favourite one of this summer spent in Boisbuchet. Not only because Daniel Freitag as an amazing personality and great teaching skills, but also because of the context. This same week Maarten Baas was also giving his workshop “point of view”. Our two groups had very fun and interesting personalities, which transformed our evenings in hilarious nights. I also have to thanks Hayes (from Texas), Rodrigo (DesignBoom editor from Vancouver), Min Ji (from Corea) and Tristan (Maarten’s assistant from Ireland) for making me laugh so much during this week. And thanks Maarten for trying to convince me that I look like a mix of Johnny Depp and Brad Pitt, even if it isn’t true.

Porcelain – Self portrait, with Mateo Zorzenoni and Patrick Audevard

Every year in Boisbuchet, there are two or three workshops teaching artisanal manufacturing processes. Unfortunately, I couldn’t take the glass workshop this year, but I was very excited to learn how porcelain moulding works. ENSA Limoge, world renowned for this process, is partner with Boisbuchet for this two weeks workshop.

Matteo Zorzenoni, a young Italian designer was chosen to lead the creative process. Patrice Audevard a porcelain master from Limoge, on his side, had to teach us the techniques from A to Z, help us designing the mould and get everything cooked for the final presentation.

The theme of this year’s workshop was identity. We figured out later that, what Mateo had in mind was national and cultural identity. Our first exercise was to find the colours, textures, patterns, architecture and objects, which represents our native country. Among my images, I had pictures of the Canadian forests during the month of October, Quebec’s “ceinture flèchée”, the red and black lumber jack’s textile, grain silos and the Montreal’s Olympic stadium.

This last picture caught Mateo’s eye and he encouraged me to start sketching volumes with apparent skeletons. I quickly started building paper models that I could distort and transform in 3D. The shape of an open fruit bowl emerged and I digitalised it on my computer to print it on le FabShop’s MakerBot Replicator.

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Being the first participant ready with a model Patrice helped me mould it with plaster. I was impressed by the technique, using only plaster and clay to create high definition imprints. Being from the digital age, I never even considered building a mould from such low-tech materials before. The outside of the plaster mould may look rough and dirty, but it is even more precise than a CNC milled HDPU foam.

Having some advance on my co-workers, I enjoyed experimenting a little bit more, trying in impregnate moss with liquid porcelain and reusing 50 years old plaster moulds to create new and modern objects.

I also decided to create a little brother for my bowl, a small vase using the same architectural inspiration.

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On the first weekend, we started working in the beautiful workshops of ENSA Limoge. We spent the first few days getting the moulds ready and dry (which took a long time because of the very humid weather). Everyone started moulding at their own rhythm, depending of the advancement of the project. Some decided to work with another technique that consist of spraying the porcelain on a porous body (like cardboard) and burning it altogether. The interaction between the plaster and the porcelain is very unique and fast. Still now, I don’t understand how, after spending 7 years studying industrial processes, I didn’t know this manufacturing technique. (The plaster in the mould absorbs the water present in the porcelain, making it harden along its walls. You measure the thickness of the object with time. More you use the mould in one day, longer you have to wait to get the expected thickness.)

I used Limoge’s installations to finish restoring the old moulds I got from Patrice, turning them into a bowl and a cheese bell.

I quickly realized that my first mould wouldn’t work as expected. The space between the two parts was too thin and the ceramic was drying too quickly. I made some tests and understood that, in the end, only half of the mould was enough to get the shape I wanted.

Meanwhile, Sanam, my girlfriend, was taking the same workshop. She was faster than everybody else and did some amazing pieces inspired by her Persian roots. For one of her project, she also used le FabShop’s 3D printer, trying to get the detail from the FFF layers. In the end, the volume got distorted, but the 3D printing texture was incredibly beautiful on the porcelain.

Once our moulded piece turned white, we were allowed to sand them and cook them in the kiln. After this first night spent at 980 degrees, we finally prepared the glaze, which I found the most difficult step. You have to dip the object all at once in a bath of liquid glaze, trying to get an equal thickness all over the object. If you want some parts to stay mate, you have to cover it previously with latex. Once the glaze is dry, you can remove the latex (like a dead skin) and cook your part one more night at 1300 degrees!

When you open the oven on the next day, there can be good and bad surprises. The parts tend to deform and shrink. They actually loose an impressive 14% of their volume during this second cooking. If you had tainted porcelain and glaze, you may also be quite different than expected. Something that seemed like a dark grey may come out as a light blue. All these details may take years to control, but it also gives a little suspense to the work.

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On the presentation day, we prepared a long white table with all our work in front of the castle. Sanam and some staff members spent the afternoon preparing a great meal combining meals from all our countries. Unfortunately, it started raining and we had to move inside, but it was still a great evening.

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Nature inspired Food design, with Katja Gruijters

Food seems to become the new playground for designers. I am no exception. I love to eat, I love to cook and I love to share my experiments with taste combinations. I am proud to say that I almost never follow a recipe (which implies major failures). I learned that from my mother who’s the queen of culinary improvisation. We even have a work for that in the family : «Touski» meals. From the sentence “Tout ce qu’il reste” meaning “whatever is left”.

Katja’s process was similar in a way. Our first exercise was to find our own ingredients in the Domaine de Boisbuchet itself. Which meant on july 14 wild mint, wild garlic, wild berries, dandelion, fishes and insects of all sorts. I really enjoyed this hunt on the countryside of France, which made me realise how difficult it can be to find food, even in the wild. You have to spend so much energy just to get some vitamins. You have to climb trees, dig in the ground, spend hours fishing, even dive or run after a pray. Most of all, you have to be extremely attentive to your surrounding.

I was impressed by the quantity of living animals you could find around the domaine’s artificial lake. Nobody knows how the river lobsters, shells, cat fishes and Rotengle fishes got there, but I was curious to discover if they were tasty.

It was obvious, after collecting all these ingredients that they were not going to be enough to create a meal for over 40 people. We decided to make a trip to the local farmer market in Confolens, the closest town. We were slightly disappointed to see only two tables of (quite expensive) fruits and vegetables. Most of which were from France. I chose some big artichokes from the region, apricots and raw almonds. We unfortunately had to complete our grocery shopping in a supermarket, where we found local cheeses and ingredients.

Katja’s sons caught a lot of small fishes for me in the lake, using only bread as bait. I manage to cook them (fried, salted or dried), which tasted good, but were way too much trouble for such a small amount of meat.

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I then turned to fruits and vegetables. I had my first success very quickly by filling apricots with crotin goat cheese, almonds and fresh mint. I was teamed with two French women, one German artist and two Taiwanese girls. Together we decided to work around the theme of treasure hunt, inspired by my experience of chasing ingredients and our common nostalgia of Easter eggs. I quickly designed some camouflage domes made of cork, hay and moss to hide my goat cheese apricots and one of my teammate’s eggshell muffins.

Designing a new way to eat an artichoke was the funniest part of this workshop. At first, I honestly didn’t really know how to prepare this vegetable. Since I had chosen the mature ones, the inside was already turning into a flower, which isn’t comestible. The only edible part was the tip of the leaves, which you had to dig with your front teeth. This behaviour inspired me an object that preserves the beauty of the artichoke in its presentation. I called it the reversed artichoke. It’s a 3D printed heart with circular grooves designed to receive the edible petals. Once cooked, the artichoke is pealed and the leaves are inserted backward into the heart. The result looks like a beautiful lily flower. In the middle, the last groove becomes a cup for dips. I made mine out of cider vinegar and betroth compote. The reversed artichoke is put onto a wooden stick, fixed into the ground. The participants only have to pull a petal from the giant flower, dip its tip in the middle and taste the light flavour of the artichoke.

My third project was much more simple. At the farmer’s market, I quickly realised that nobody in the team had ever eaten a raw almond directly from its fruit. I wanted to play with the fact that they are very hard to take out of their shell and also very difficult to distinguish from the leaves in a tree. I decided to suspend them, as they were, from the branches of a big tree. I made them high enough so that the participants had to look up and jump to find their treat.

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For the final presentation of the workshop, every team prepared a small «aperitif», following their chosen theme. The first group served their food directly the river, using the fruits and vegetables as containers.

The second group had suspended textile pockets from the branches of a big tree and served much kind of fresh drinks and fruit jelly.

We had some treasure maps giving an approximate location of the hidden delicacies. There weren’t enough maps for everyone, so they had to create groups instinctively. Also, they were warned that there wasn’t enough for everyone, so they had to be clever and strategic if they wanted to see (and taste) as much as possible. It was an amazing moment to see the people running in various directions after such a quiet moment under the tree. The participants were competitive, because they knew that the quantities were limited and they wanted to get there first. The Taiwanese girls had created an underground barbecue nearby the lake. The ‘’hunters’’ had to dig a hole to discover carbonised bamboo sticks, which were actually containers for smoky and tasty vegetables. Another installation, under the great sequoia tree, had fake snails filled with prunes. The participants had to extract the content with a toothpick. There were 9 installations in total and I think that everybody enjoyed the experience very much. Somehow, nobody found the almonds suspended from the tree. I guess that they couldn’t even recognise them as almonds in their natural shape. I’m sure that, when they went back home, the participants of Katja Gruijters’s workshop didn’t see their refrigerator the same way anymore.

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Local production line, with Mischer’Traxler

Building a little manufactory

For my second week at Boisbuchet, I chose to work with a young design couple from Austria called Micher’Traxler. Their workshop was based around the use of natural energy, natural materials and natural processes. Our first exercise was to walk around the domaine to get inspired and find natural forces to work with. Attracted by the lake, I choose to work with the different states of water (ice, liquid, steam) and gravity. My first test was to soak a piece of fabric, roll it around a stick and put it in the freezer for the night to see if it could gain enough structure to support its own weight. The experiment worked and was quite solid at the beginning but the ice melt within a few minutes and the sculpture lost all it’s strength. My second experiment was to 3D print a piston that could be used to transform steam into a movement (rotation or translation). Using MakerBot Thingiverse, I got a first prototype very quickly, but the assembly was too loose to build any pressure. I started exploring turbines that could work with water, sand or even falling objects. I built the first one out of cork (left over from previous workshops) and two smaller ones with the MakerBot Replicator sent by le FabShop. On Tuesday, shared our researches and created teams from our common interests. A Taiwanese student called Yo Jack had tried to recreate the structure of a pinecone using wax and paint. The result looked more like an oyster shell with colourful layers and very random geometries. I chose to work with him. A girl from Argentina also joined our team.

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Micher’Traxler are known for their hybrids of nature (randomness) and electronic (machines). A good example is this bench witch is made of rolled coloured threads which saturation depends on the amount of sun available at this moment of the day. The principle is simple: the energy needed by the machine is provided by a solar panel. If there is a lot of sun, the machine will go fast and the material will stay light. If there are clouds, the machine will go slow, giving more time for the tread to absorb the colour. This also affects the length of the bench. The design of the object depends on the weather. The same machine on two different continents would create two completely different seatings.

the idea of a tree- Micher’Traxler

Another great project from Micher’Traxler was a collection of plaster containers using real fruits and vegetables to create the cavity in the bowls. No technology was involved in this process, but you can still recognise their clever touch random complexity and elegant design.

The local production line was pushed in this direction. Controlled unpredictability.  It was a big challenge for a 4 days project. We did new experiments with coloured plaster and play doh, but quickly came back to wax for its capacity to harden quickly and its availability. We built a mould out of a plastic ball to help us create a hollow wax volume. We realised that, if we poured the wax in different steps, we could get different layers easily. An artisanal equivalent to roto-molding.

I 3D printed a 3 parts mould in the shape of a sphere, but with an imprint shaped has a peanut. It worked surprisingly well. We decided that the process could be suitable for artisanal soap making or ephemeral jewels. We opted for a collection of unique necklaces. I updated the design to a screw less two parts mould. Making it easier to open and handle. Five different forms were created for the inside. The clever thing with these miniature moulds was that the necklace’s chain was also what held the volume closed during the process.

We then had to create a machine that would help us «randomise» the process. We opted for a Rube Goldberg inspired machine, using many found objects and automatic movements. Many steps in this installation were just an excuse to let the wax cool down.

The customer had to pull one of the four traps located at the beginning of the «Rotociroboulatic» machine. Each ball being already closed and sealed, nobody could know what shape was inside. The mould rolled to a first stop where a soda can, filled with wax and heated by a candle, poured the first layer. The Rotoball then went back and forth in an old tire before the second layer. It got spined a little, then shaked in an acrylic tube. The last path was a slide with bumpers, inspired by the bubble gum machines you can find in shopping centres followed by a tunnel of water pushed by a hair blower. Once cold, the ball went trough a modified plastic farmhouse for kids before the customer could unmould the necklace and cut trough it to reveal the colourful layers.

A lot of pieces got stuck in their mould or had bubbles, but it was part of the surprise.

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Semina, with Patricia Urquiola

For the past 4 years, I wanted to come back to Boisbuchet. This desire was fulfilled with the help of Be Open award, a prize which  “promote and support projects that could eventually be realised and have a positive impact on the future”.

Patricia Urquiola, who was leading the jury of this competition, is giving my first workshop of the summer at Domaine de Boisbuchet. Great coincidence.

I left Paris for Poitier where a small bus was waiting for the participants (young designers and architects from all over the world). Le Domaine de Boisbuchet is an hour drive from the train station.

The Domaine was exactly as I remembered, with its exotic trees, farm animals and Vitra furniture. First thing I did when I arrived was to install the MakerBot 3D printers (Replicator Dual to get technical) sent by le FabShop a few days before.

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Patricia was as I remembered from when we met in London: Cheerful, spirited and welcoming. Always wearing a little touch of green. Alberto, her husband and associate was also with us for this week of creation. Elegant and relaxed, even when attacked by hay fever.

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Patricia had a talk with me about my responsibility as designer/maker. She knew a lot more about the Maker culture than most designers I know. She even quoted Chris Anderson a few times.

Patricia seemed concerned but scared by what the people might do with this power given by 3D printers. I just listened, taking note of her advices.

First day, we had a guided tour of the propriety and its unique installations. At lunchtime, we started talking about the subject of the workshop: Semina (inspired by Wallace Berman’s work).

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We went in one of Simon Valez’s bamboo buildings to brainstorm a few ideas. Patricia wanted us to play with the concepts of time, collage and point of view. She also required our work to be part of Boisbuchet’s landscape. We chose to work between the river and the Japanese pavilion. During the guided tour, you have to walk a 100m in the long grass without anything to look at but the far away house. The idea was to distract the view from this focus point during the path so that the remarkable pavilion would be revealed only at the end of the path.

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We also had the opportunity to visit the BORO – the fabric of life exhibition, in Boisbuchet’s castle. It’s featuring a unique collection of rare garments and utilitarian textiles patched and mended by Japanese peasants between 1880 ad 1950. It was absolutely wonderful in every detail.

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On the second day, I had some indefinite ideas about “time travel” and “dream machines”, so I just kept walking around Boisbuchet, collecting small chunks of nature. I also started a side project for the summer, something I imagined in the train going to Poitier: 3D printed toys merging plastic and natural elements. I made a small plane using cork for the body and blue ABS plastic for the wings. I knew that I was losing time for my workshop, but I had to build it. Otherwise I would have been obsessed with the idea the whole week.

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At lunchtime, I had a conversation with Patricia and the idea of the mobile came out. I had no proper argument to explain why I wanted to make such an object for her workshop, but it was something I had on my mind for a long time.

I also had an idea for a miniature brick factory using the dirt and the hay from the field. The bricks could have been used to build small vernacular architectures, like the ones I saw my Bambara friends build in Korosso, Mali.

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I worked on these two ideas during the afternoon, making a mould with my 3D printer and creating clips meant to assemble bamboo sticks together. The mould failed. The brick got stuck in it. But the clips were a success. The first ones were printed in black plastic, but Patricia suggested that I use colour to emphasis the contrast between the natural and the artificial. Great intuition.DSC00539

One problem subsisted… I still didn’t know what to hang from my mobile. I was using rocks and wood parts to balance it. By the end of the day, Patricia found the plane toy on my desk. Instead of getting mad at me for my procrastination, she told me that she liked it and that I should continue this way, making more flying objects and hanging them from my mobile. She didn’t ask twice.

Wednesday, I printed some more wings, wheels and rotors. I then transformed a rock into a bird and a carbonised piece of wood into a helicopter.  I had to find the hidden potential in the shape of static objects.

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On Wednesday evenings Boisbuchet has this tradition for costumed parties. This week, the voted theme was vegyboys and candygirls. I found a green motorcycle helmet and drilled a lot of small holes into its plastic shell. I filled them with wide plants. It was an improvised broccoli hat. The next day, Patricia walked around with the helmet on her head. It was so fun, it made my day.

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Patricia had this funny idea of making a cake out of our drawings. I don’t think anybody took this idea seriously at the beginning. Somehow, she convinced the kitchen staff to let us draw with toothpicks on pastry doe. We ate this cake all together. She has this talent of making ideas happen.

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In Boisbuchet, there was also this famous Italian photographer, Oliviero Toscani. This man’s work is simply amazing. I was even more impressed by his humour and the way he tells his stories. I spent hours listening to him, even when he was speaking Italian.

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I also enjoyed meeting Paco Orti, a participant from Spain. From the first day, he knew what to do and he did it right. He was working on a long flying seeds curtain. It was beautiful. Patricia saw an opportunity in our two very different was to apply design. The Instinctive/poetic (Paco) and the technical/functional (Me). She asked us to collaborate. I made a digital replica of the seed on my computer. I then printed it on le FabShop’s MakerBot. Paco added my little touch to his curtain and the effect was great, still playing with the contrast of natural and artificial. Alexander Von Vegesack, the owner of Boisbuchet (and a famous design collector) even asked to install it in his gallery.

Paco Orti Boisbuchet feat Samuel BernierUrquiola Boisbuchet

Afraid that it would rain on Friday, Patricia suggested that the presentation should be Thursday evening. I managed to finish on time and install my huge mobile by the river. It looked wonderful, moved by the wind, with harmonised rotations.

For the installation I also installed my broccoli helmet among the grass and a flying teapot over a Boro inspired carpet realised by two girls of the team.

DSC00541Urquiola's teapot Boisbuchet

One of my favourite projects was a miniature forest done by a girl from Luxembourg.

I also loved the effect of the suspended mirror by Erika, from USA.

miniature forestsam miror

On Friday, it didn’t rain much, but we used our extra time to create a big fanzine with sketches and collages from everyone. It was eclectic, improvised and inspired. It was a worthy reflect of our workshop.

Patricia Urquiola Boisbuchet