The Bouroullec brothers seek “vibration” with the designs of the Pinault Art Museum – WWD
PARIS – For Ronan and Erwan Bouroullec, the industrial designers who have equipped billionaire FranÃ§ois Pinault’s new museum of contemporary art in Paris, it’s all about texture.
From the liquid-effect silver banners planted outside the Bourse de Commerce, located near the Forum des Halles in central Paris, to the rough-hewn rugs in the lobby, the brothers explored a variety of fabrics for bring the imposing historic building to life. .
This is without counting the tubular benches in aluminum bronze in the square in front of the entrance, and the 15-meter-high chandeliers on the 19th century stairs, in blown glass embedded in metal. For Ronan Bouroullec, it’s about creating a space where people want to linger.
âFor me, a museum is a place that should allow you to enter a contemplative state, to enjoy a physical sensation similar to that which you have at the beach or sitting in a field looking at a landscapeâ, a- he declared.
With counters located outside the building, the reception area of ââthe museum is designed as a place of relaxation and conviviality. The sound is dampened by mats with an abstract weave, also used to line large benches. It was developed by a factory working on old jacquard looms in northern France.
The Bouroullec brothers played with the tension of the threads to create the organic pattern. âWe worked with this feeling of something that seems almost random. It seems irregular, alive, âsaid Ronan Bouroullec. âRight now I’m really interested in creating objects that produce vibration.â
With a practice that ranges from cutlery for Alessi to furniture for Cassina, including a television set for Samsung, the Bouroullec brothers know well the creation of mass design objects. Their latest success is the Rope Chair, launched with Artec last year, which is dotted throughout the Bourse de Commerce.
For Bouroullec, this makes collaboration with artisans all the more important. He is working on a new project with lacquer masters in Japan, some of whom are over 90 years old.
“Handicraft means a lot to me, because if designers like us don’t take an interest in it, a lot of know-how will be lost and jobs will be lost due to the loading of trucks, which is already starting to happen, unfortunately” , did he declare. “It is important to find a new language for these ancestral techniques.”
Nowhere is this more evident than in the Halle aux grains, the museum’s top-floor restaurant run by award-winning chefs Michel and SÃ©bastien Bras. The Bouroullec brothers wanted to create a feeling of intimacy without resorting to bourgeois conventions.
Wrought iron was used for tables, seats, and lamps, and the space is punctuated by thick green and brown glassware produced near Venice, Italy. The openwork curtains are made from guipure fabric, borrowed from the world of haute couture.
âIt’s extremely comfortable, but the language is fairly recent,â Bouroullec explained. “It looks quite contemporary, raw and straightforward, but at the same time there is a real sweetness.”
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