Entrance display case with two rotating mobiles
Crafting Time, Maison Hermès of Dubai, 2023
Triple shadow of the Pendulum
Detail of one of the leaves with its projected shadow
The Whirlwind and the Leaf
General view of the scenography
Detail of the fusion of parametric patterns in carbon and paper
The Pendulum marking time, following the curve of the Leaf
The Finesse of Time, Hermès Horloger, Watches and Wonders 2023, Geneva.
The Finesse Of Time, Maison Hermès, Shanghai, 2023
The Finesse Of Time, Maison Hermès, Tokyo, 2023
The Finesse Of Time, Hermès Horloger, Watches and Wonders, Geneva, 2023
Parametric settings for the paper’s perforations on Rhino/Grasshopper
Detail of the pattern following the Voronoi diagram
Application of paper on a section of carbon
Detail of the Column
Detail of the Pendulum with a combination of blue papers
Detail of the column with a combination of red and yellow papers
Various tests with ranges of non-woven paper composed of cellulose, polyester, and fiberglass (Procédés Chénel)
The shape of the carbon elements results from their tensioning. This is the principle of ‘active bending’
Model of the scenography, scale 1/10
Placement of limestone floor elements
Overall plan of the scenography including sails, islands, and watch displays
Detail showing the Heart and its island
Detail showing the Tower and its island
Detail of the island of the Heart and its mineral geography
Hermès Salon The Texture of Time, Bâtiment des Forces Motrices, Geneva 2021.
Hermès Salon The Texture of Time, Bâtiment des Forces Motrices, Geneva 2021.
Assembly of the structure in the EPFL workshops in Lausanne
The rigidity within the structure is achieved by tensioning certain cables.
Montage de la structure dans les ateliers de l’EPFL à Lausanne
Diagram of the sizing complex for engineer Landolf Rhode-Barbarigos’ structure, a
specialist in tensegrity structures.
Milling in high-strength aluminium for an excellent strength-to-weight ratio, followed by
anodising for the bluish colour.
The joint is the keystone of the entire structure. More than 200 of these knots articulate 5
tension cables and two compression tubes.
It is designed to accept deformations and angle
variations during deployment.
Curved plexiglass showcases composed of hundreds of 3D-printed resin
impressions in which watches are displayed.
Filming of Pierre Pauze’s film The Texture of Time.
The arrangement with three semi-deployed wings, Panorama 21, Le Fresnoy, Studio
National des Arts Contemporains, 2019.
Tensegrity projection device where screen and projector are structurally and metaphorically linked.
Film of a rotation around a fern with the Kano system.
L’agencement aux trois ailes semi-déployées, Panorama 21, Le Fresnoy, Studio National des Arts Contemporains, 2019
Stages of deployment of the Agencement prototype.
The sower (Kano System), Panorama 20, Le Fresnoy, Studio National des Arts Contemporains.
The sower (Kano System), Panorama 20, Le Fresnoy, Studio National des Arts Contemporains.
Qui sème sa muse, Panorama 20, Le Fresnoy, Studio National des Arts Contemporains
Diagrams of the Coyote (Michel Giroud)
The Coyote (Michel Giroud), filming 5 Fragments of a spiral
The helical seed (Monkor)
Paul Mignard in front of Le vent violet, filming 5 Fragments of a spiral
Tensegrity structure, Villa dei Cedri, 5 Fragments of a spiral
Brochure entitled Fossil Acceleration (Daniel Peñaranda Restrepo),
5 Fragments of a spiral
Fern garden (with the assistance of gardener Armand Joly), 5 Fragments of a spiral
5 Fragments of a spiral, Villa dei Cedri teaser. (Juan Pablo Villegas)
The deployment was organised around 6 revolutions. Each revolution was composed of 6
phases in which elements from the 6 cells were activated. In the end, 36 actions led to the
total deployment of the elements.
Opening of the prism
Installation of the tensile sphere
From bottom to top, the contents of the cells are as follows:
Cell #1: a series of colourful fabric shapes designed to create a playground on the ground on
which the other elements are arranged.
Cell #2: a mobile made of transparent plexiglass discs on which atmospheric paintings by
William Turner and reproductions of William Bentley’s ice crystals are printed.
Cell #3: seven wooden crates containing photographic leporello. Once deployed on the
ground, they take the form of a visual labyrinth; a heterotopia of past and future moments.
Cell #4: a set of wooden pieces and tension cables for building the tensile sphere.
Cell #5: Maquette Europa - America. Designed a year before, after a
trip to the Amazon and Peru. It is inspired by the Inca terraces of the Sacred Valley near
Cuzco.
Cell #6: Projection space with 3 screens.
Positioning of the fern leaf
Positioning of the python skin
Installation of the tensile sphere
Final phases
Construction of the labyrinth
The final stages of deployment allowed for a gradual rise of shadows announcing the
collapse of the sphere and the arrival of honey.
