Contributions: Anna Aagaard Jensen, Gijs Assmann, Bruno Baietto, Jurgen Bey, Joel Blanco, Théophile Blandet, Jan Boelen, Hsin Min Chan, Chongjin Chen, Meghan Clarke, Adelaide Di Nunzio, Billy Ernst, Hi Kyung Eun, Teresa Fernández-Pello, Andrea Gaspar, Konstantin Grcic, Metincan Güzel, Jing He, Aurelie Hoegy, Michael Kaethler, Hicham Khalidi, Žan Kobal, Lorraine Legrand, Gabriel .A. Maher, Micheline Nahra, Thomas Nathan, Miguel Parrrra, Timo de Rijk, Marie Rime, Sjeng Scheijen, Bianca Schick, Louise Schouwenberg, Carlos Sfeir Vottero, Weixiao Shen/申薇笑, Matilde Stolfa, Oli Stratford, Marianne Theunissen, Goda Verikaitė, Erik Viskil, Barbara Visser, Ben Shai van der Wal
Design: Irene Stracuzzi

2021, Valiz, with support of Stimuleringsfonds Creatieve Industrie, Design Academy Eindhoven, English

Auto-ethnography gives an authority to the designer as someone with something to say and a means to say it
Puts forward a broad scope of what auto-ethnographic design entails: situating the designer at the heart of the research and connecting this position to the culture of design and the broader cultural realm
Contains a wide variety of both conversations as well as practices related to this important turn within design

The Auto-Ethnographic Turn in Design is emerging from a growing recognition of design’s capacity to make sense of one’s world while at the same time to express and convey this personal insight or knowledge through rich, layered, and ultimately meaningful processes or objects. Auto-ethnographic design seeks to come to terms with one’s context and self—as well as the materiality that mediates these two. In doing so, it offers a vision of design that is free of commercial commissions, assumed users’ needs, or well-intentioned do-goodism, and reveals a sincerity and genuine commitment in the process of design that is too often missing.

The book is divided between ‘Ideas and Dialogues’ (reflections and conversations between critics, theorists, educators, and practitioners), which ground conceptions of auto-ethnography and the ‘self’ and explore how experiences can be relevant and meaningful starting points for design and visual art; and ‘Projects and Practices,’ which embody auto-ethnographic qualities—whereby design objects and practices are embedded with personal sentiments, experiences, desires, fears, and more.

Previewing a future of responsible production and circular thinking, the world-renowned trend forecaster Li Edelkoort, introduces Aurelie Hoegy as one of the new makers in contemporary design. ethical practice and organic aesthetics. “Aurélie Hoegy will be unveiling a new collection of works for the first time. The furniture expresses rattan’s essence, along with the idea of the symbiosis between bodily movement and the dynamic quality of the fibre. Over a one-month stay in Bali, she worked in close collaboration with a traditional rattan workshop, before further developing the pieces in her Paris studio. From the legs up, the fibre moulds itself to the skeletal structure, but as one progresses upwards, the movement unfolds.“

The book’s title refers to craftsmanship as an alternative form of pride and fulfilment. It comes at a unique time in history when principles are evolving and a more mindful, altruistic approach is needed in design and manufacturing.
Divided into 12 themes that reflect current materials and techniques, this bold book introduces the new makers in contemporary design, previewing a future of responsible production, circular thinking, ethical practice and organic aesthetics. It offers insight into how designers are giving shape to materials and process, from reviving the loom and recycling waste to social inclusion and growing matter. Their conscious philosophies will change our world with careful and considered choices that can ultimately reconnect us to nature and guide us towards a better tomorrow.
As Edelkoort observes “People know they need to slow down the pace of overconsumption and overproduction; otherwise our planet will be lost. The creative world gains insight and invents systems where values shift and design plays an activist role, developing ideas about sharing between designer and the worker, designer and the underprivileged, designer and the amateur, designer and the designer… This new era gives hope for other ways of perceiving what is considered success, renown and profit. Here, capital is strictly human.”
Since the beginning of the century, the design discipline has turned to the human hand as the antidote to a profound feeling of disarray, and our inability to cope with the superfluous industrial design of former decades – especially in a post-coronavirus landscape. Yet now the hand and technology work together to produce prodigious objects and sustainable materials that prepare us for an emerging period of humanity, empathy and collaboration.
Fimmano notes how “A dedicated generation is leading this movement, using machines to serve their purposes, reprogramming antiquated robots to construct their designs, hacking 3D printers to boost form and repurposing mechanical looms for contemporary creativity. Suddenly the machine is no longer the antithesis of unbridled innovation but the handmaid of the designer; enabling, embellishing and advancing production. Man and machine finally merge and become one. Places for creating, sharing and manufacturing will become veritable cottage industries where the designer is at once the farmer, artisan and custodian of our earth, enamoured with all the phases and facets of the process. A labour of love.”

2/

A/ FRONT

DESIGN IN REGARDS
DAVID BIHANIC

B/

DESIGN IN REGARDS
David Bihanic

2019

French edition

Aurelie Hoegy wrote with Louise Schouwenberg & Emanuele Quinz, the chapter “House of concepts”.

This book is a collection of texts, interviews and testimonials about new teaching practices of design.
To what may the difference in how Design is taught be attributed today? The fundamentals of its teachings are in a state of relative upheaval, and the trend seems to be moving gradually away from an approach rooted in the one-way transmission of its history, culture and theory, and more closely towards one rooted in mutual learning and practice. Johannes Itten and Walter Gropius firmly believed that Design Education was closely tied to the evolution of the inner being and the accomplishments related thereto, and was, in no way, to be a hindrance to the creative process or potential. For others, though, the field is the sole means to knowledge acquisition through the pooling of both think-how and design-how, enabling greater subjectivity and fostering an enlightened and free conscientiousness.
The texts gathered in this volume attest to the diversity of myriad players in the French-speaking community of Design Teaching, and attempt to shed light on a question that is not only complex, but also crucial.

Edited by David Bihanic.
Textes from François Azambourg, Jean-François Dingjian, Olivier Koettlitz, Alok Nandi, Ruedi Baur, Younes Duret, Pierre-Damien Huyghe, Pier Paolo Peruccio, Marc Baroud, Ronald Filion-Mallette, David Olivier Lartigaud, David Pilloix, Luc Bergeron, Guillaume Foissac, Lysianne Lechot-Hirt, Emanuele Quinz, Samuel Bianchini, Davide Fornari, Pierre Litzler, Patricia Ribault, David Bihanic, Manuelle Freire, Philippe Louguet, Gilles Rougon, François Brument, Bernard Gabillo, Françoise Mamert, Laurence Salmon, Evelyne Calzettoni, Ying Gao, Gilles Marion, Louise Schouwenberg, Etienne Candel, Sergio Gonçalves, Guilène Marion, Xochitl del Carmen Arias González, Constance Guisset, Laurent Massaloux, Benjamin Stroun, Aurélie Hoegy, Xavier Massé, Sophie Tinland Lelandais, Clémentine Chambon, Roberto Iñiguez Flores, Alvise Mattozzi, Matali Crasset, Nounja Jamil, Bernard Moïse, Frédéric Valentin, Fabienne Denoual, Tiphaine Kazi-Tani, Carola Mouja.

French edition

Aurelie Hoegy wrote with Louise Schouwenberg & Emanuele Quinz, the chapter “House of concepts”.

This book is a collection of texts, interviews and testimonials about new teaching practices of design.
To what may the difference in how Design is taught be attributed today? The fundamentals of its teachings are in a state of relative upheaval, and the trend seems to be moving gradually away from an approach rooted in the one-way transmission of its history, culture and theory, and more closely towards one rooted in mutual learning and practice. Johannes Itten and Walter Gropius firmly believed that Design Education was closely tied to the evolution of the inner being and the accomplishments related thereto, and was, in no way, to be a hindrance to the creative process or potential. For others, though, the field is the sole means to knowledge acquisition through the pooling of both think-how and design-how, enabling greater subjectivity and fostering an enlightened and free conscientiousness.
The texts gathered in this volume attest to the diversity of myriad players in the French-speaking community of Design Teaching, and attempt to shed light on a question that is not only complex, but also crucial.

Edited by David Bihanic.
Textes from François Azambourg, Jean-François Dingjian, Olivier Koettlitz, Alok Nandi, Ruedi Baur, Younes Duret, Pierre-Damien Huyghe, Pier Paolo Peruccio, Marc Baroud, Ronald Filion-Mallette, David Olivier Lartigaud, David Pilloix, Luc Bergeron, Guillaume Foissac, Lysianne Lechot-Hirt, Emanuele Quinz, Samuel Bianchini, Davide Fornari, Pierre Litzler, Patricia Ribault, David Bihanic, Manuelle Freire, Philippe Louguet, Gilles Rougon, François Brument, Bernard Gabillo, Françoise Mamert, Laurence Salmon, Evelyne Calzettoni, Ying Gao, Gilles Marion, Louise Schouwenberg, Etienne Candel, Sergio Gonçalves, Guilène Marion, Xochitl del Carmen Arias González, Constance Guisset, Laurent Massaloux, Benjamin Stroun, Aurélie Hoegy, Xavier Massé, Sophie Tinland Lelandais, Clémentine Chambon, Roberto Iñiguez Flores, Alvise Mattozzi, Matali Crasset, Nounja Jamil, Bernard Moïse, Frédéric Valentin, Fabienne Denoual, Tiphaine Kazi-Tani, Carola Mouja

Aurelie Hoegy’ Dancers collection, Offset Dancers Performance and her project
Border between Normality and Abnormality, MacGuffin lamp are presented.

‘Dancers is part of an exploration into performance of things. Designs enable, designs obstruct, designs frustrate, design please, designs can be moved around, designs adapt to humans. The relationship between an object and the human body is an important ingredient of almost all design. Aurelie Hoegy’s Dancers project was created in close collaboration with professional dancers, resulting in a range of chairs that seem to be intertwined with bodies in a passionate dance.’

Art installations often use functional objects to contextualize or make a statement about human interactions with the world. In such installations one can detect much truth about the agency of things, which can then be used within the design process.‘Beyond the New. On the Agency of Things’ by Louise Schouwenberg and Hella Jongerius is about objects and things and the intriguing relationship between the two. Containing examples from both art and design, it offers investigative insights on a philosophical level about the manifold meanings of design within the various contexts in which designers operate.
Hypothetical conversations with designers from the past, such as for example Walter Gropius, Anni Albers and Johannes Itten, enable analysing original ideals in design, and how things have changed ever since. These fictional conversations also give insights into Jongerius’ personal experience with and thoughts on colour research, the field Johannes Itten was an expert in, and textile research, in which Anni Albers excelled.

Commissioned by Die Neue Sammlung, Design Museum
Production: Walther König

For designer Aurelie Hoegy, commissioned by Design Academy Eindhoven by Thijs Verbeek

Text by Aurelie Hoegy in collaboration with Louise Schouwenberg
First Edition/ 200 copies

FUNCTIONALTY AND EXPRESSION
FROM STATIC TO DYNAMIC
DESIGN AND CHOREOGRAPHY

Written for the presentation of Offset Dancers Performance in David Lynch’Silencio Paris
The Design Manifesto was distributed during the talk following the performance;
A discussion between Emanuel Quinz (Art and Design Historian), Eric Arnal-Burtschy (Dancer and Choreographer) and Aurelie Hoegy (Artist Designer)

Un recueil de textes, d’entretiens et de témoignages traitant des nouvelles pratiques d’enseignement du design.

Qu’y aurait-il de foncièrement changé aujourd’hui dans la manière moins, peut-être, de transmettre le design (son histoire, sa culture, sa théorie) que de former au design ? selon l’acception jadis retenue notamment par Johannes Itten et Walter Gropius touchant à l’intériorité de l’être, à son accomplissement et ne se rapportant nullement ici au formatage de l’esprit, au dressage ou conditionnement de l’action ; former (ou, symétriquement, se former) au design ne serait autre, en l’espèce, que viser l’accès aux « savoir-penser » et « savoir-créer » conjugués permettant l’approfondissement de la subjectivité et favorisant la construction d’une conscience aussi éclairée que libre.

Autour de cette question complexe, mais du reste essentielle, plusieurs acteurs francophones de l’enseignement du design ici réunis partagent leurs regards, leurs convictions et réflexions, tentant ainsi d’y apporter certains éléments de réponse.

David Bihanic est designer, fondateur de l’agence FXDS, maître de conférences à l’Université Paris 1 Panthéon-Sorbonne, chercheur associé au laboratoire (EnsADlab) de l’École nationale supérieure des Arts Décoratifs (EnsAD), Paris.

Edité par David Bihanic.

Textes de François Azambourg, Jean-François Dingjian, Olivier Koettlitz, Alok Nandi, Ruedi Baur, Younes Duret, Pierre-Damien Huyghe, Pier Paolo Peruccio, Marc Baroud, Ronald Filion-Mallette, David Olivier Lartigaud, David Pilloix, Luc Bergeron, Guillaume Foissac, Lysianne Lechot-Hirt, Emanuele Quinz, Samuel Bianchini, Davide Fornari, Pierre Litzler, Patricia Ribault, David Bihanic, Manuelle Freire, Philippe Louguet, Gilles Rougon, François Brument, Bernard Gabillo, Françoise Mamert, Laurence Salmon, Evelyne Calzettoni, Ying Gao, Gilles Marion, Louise Schouwenberg, Etienne Candel, Sergio Gonçalves, Guilène Marion, Xochitl del Carmen Arias González, Constance Guisset, Laurent Massaloux, Benjamin Stroun, Aurélie Hoegy, Xavier Massé, Sophie Tinland Lelandais, Clémentine Chambon, Roberto Iñiguez Flores, Alvise Mattozzi, Matali Crasset, Nounja Jamil, Bernard Moïse, Frédéric Valentin, Fabienne Denoual, Tiphaine Kazi-Tani, Carola Mouja.