The show presents a selection of 300 typefaces created by students from the Graphic Design Bachelor and the Type Design Master programs.

Alongside the book designed by Giliane Cachin & Eurostandard, we  developed a modular system to display the typefaces, simply printed on sheets of paper. The system can be wall-mounted, free-standing, or arranged into various shapes. It takes inspiration from paper manufacturing, when sheets are left to dry. All panels can be dismantled for shipping. The exhibition is travelling to Turin, Leipzig, New York, Montreal, Los Angeles, Tokyo…

My intention was to experiment with a graphic approach that wasn’t too complicated, in order to create both a narrative and a strong visual identity. I have always been fascinated by how a few lines on an empty sheet of paper can suddenlyform patterns and become recognizable. For these carpets, I literally started by drawing and playing with paper sheets.

Even though the result appears very graphical, the materials and production process inspired me greatly. It was the first time I created woven carpets (as opposed to tufted ones). This technique works best with right angles, which influenced the design, but at the same time, the handmade nature of the work gives the lines a vibrant quality that adds a mesmerizing effect.

The way the pile is dyed—again, not in an industrial way—creates a beautiful texture that enhances thequality of the piece and softens the rigidity of the geometric pattern.

The exhibition has vivid colors as joyfull reminder of the Mexican brand.

The pavillon is conceived in section. After the show, parta of the structure will be reuse in nouvel’s showroom.

We also opted for bold, contrasting colors, creating a certain tension between the different areas.

The store offers several surprises throughout the visit, such as a glass bridge overlooking the staircase, oversized mirrors, and seating placed on glass pedestals.

The result is a unique space with clear design decisions and a warm atmosphere.

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This project is in the spirit of Rietveld’s Crate Furniture (1934) and Enzo Mari’s Autoprogettazione (1974), but the use of digital machinery and panel-based construction opens new formal possibilities.

A square topped with a triangle—that was the shape of the space hosting the 10 display windows for the competition. I wanted my project to use minimal materials and act as a sort of cadavre exquis by reusing a good portion of the provided elements. The existing square-topped shape immediately reminded me of a cabin, a symbolic house-like icon, which led me to choose a typical cabin material: spruce panels.
I treat these panels with tinted linseed oil, a process that fascinates me because it nourishes the wood with color while preserving its natural grain, unlike paint, which encapsulates the material.

The principle is simple: 10 digitally cut spruce panels allow me to create 10 frames that hold the glass and protect the finalists’ projects. Using the offcuts from the cuts, I sketch chairs, armchairs, frames, and lamps that complement the installation. The panels are left with only the necessary material to stand upright, as if merely leaning against the wall.
This furniture aesthetic, somewhere between DIY and playful awkwardness, reflects my desire to create simple pieces that many people could reproduce. In the spirit of Rietveld’s Crate Furniture.

See: Furniture Board

The approach taken was to work with a modular backbone adaptable to different locations. This backbone accommodates prints, projectors, and publications. We utilized an aluminum truss, typically suspended and concealed, but here revealed and visible. All components for its diversion were specially crafted for this exhibition. The outcome is a lightweight, highly modular exhibition, easily transportable. Over 5 locations have hosted this exhibition, including the Condemine space in Paris and the Ex Chiesa di San Mattia in Bologna, as depicted in the photo.

Upon conclusion of the tour, the majority of the elements will be repurposed in the school’s cinema studio as technical equipmen

From the election of François Mitterrand (french president) in 1981 to the fall of the Berlin wall in 1989, this historic decade, still vivid in people’s minds in France, is considered both a political watershed and an artistic turning point in the fields of fashion, design and graphic arts, where postmodernism opens up all artistic possibilities.

Années 80, Mode, design et graphisme en France brings together over 700 artworks including objects, furniture, fashion designs, posters, photographs, videos, album covers and fanzines, retracing this frenzied decade that became synonymous with eclecticism. The 1980s saw the emergence of a new generation of creators, from Olivier Gagnère, Elizabeth Garouste and Mattia Bonetti, to Philippe Starck and Martin Szekely, all of whom designed and created in a context conducive to freedom of expression.

Fashion design also broke free from the traditional dictates of style, with designers like Jean Paul Gaultier and Thierry Mugler skyrocketing to “superstar” status. The 1980s were also the apex of advertising, graphic design, and audio-visual production through the works of Jean-Paul Goude, Jean-Baptiste Mondino and Etienne Robial.

From new wave to post-punk and hip-hop, a new chapter was also being written in the history of music and dance in the legendary nightclubs of Paris.

The exhibition scenography, a clash of vibrantly colored shapes and designs, is the work of designer Adrien Rovero.

For this project, we were given carte blanche by the Mille Formes art centre and the Centre Pompidou to create this travelling installation.

6 pieces × 6 positions gives an eclectic insight into the current concerns of a new generation of Swiss designers. Jörg Boner, Kueng Caputo, Connie Hüsser, Sebastian Marbacher and Panter & Tourron also participated in the operation.

The magazine as object is at the heart of the exhibition from the start. At the entrance, a free-standing, specially designed rotunda made up of a thousand superimposed covers welcomes visitors.

The walls of the first room are covered with wallpaper from printing techniques and some walls in the second room reinterpret the primary colors also from the world of printing.

Part of the furniture that we proposed is in pierced stone (granit serizzo). Small wooden rods were inserted into the holes, then trays were placed on the rods, and the products were displayed on the trays. This system offers a certain modularity in the presentation.

In the middle of the store we built a facetted wall, one side painted in blue, inspired by rock climbing walls.  A system of horizontal wooden bars, a reference to the famous Swiss “via ferrata” (climbing routes in the Alps that are protected by steel cable rails) are placed throughout the store from which products are hung.

Initially thought to be a limited intervention, the project ended up evolving into a global proposition which included seating, sofas, coffee tables, mirrors and the management of the space in dialogue with the existing furniture, the architecture and the city itself.

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