COMMUNICATIONS

AND PARTNERSHIPS DEPARTMENT

PRESS KIT

Mutations / Créations
15 MARCH - 3 jULY 2017

Mutations /
Créations
 Mutations/Créations
15 marCH - 3 JULY 2017

13 March 2017

CONTENTS

communications MUTATIONS / CRÉATIONS
and partnerships department
75191 Paris cedex 04 PRESS RELEASE PAGE 3
FOREWORD PAGE 4
director
MUTATIONS / CRÉATIONS SPONSORS PAGE 5
Benoît Parayre
telephone
00 33 (0)1 44 78 12 87
email IMPRIMER LE MONDE a collective exhibition
benoit.parayre@centrepompidou.fr
PRESS RELEASE PAGE 6
press officer EXHIBITION PLAN PAGE 10
Anne-Marie Pereira EXHIBITION PARTNERS PAGE 11
telephone MEETING AND STUDY DAYS PAGE 13
00 33 (0)1 44 78 40 69
email
THE EXHIBITION IN BRIEF PAGE 15
anne-marie.pereira@centrepompidou.fr LIST OF WORKS EXHIBITED PAGE 21
PRESS VISUALS page 26
www.centrepompidou.fr

VERTIGO
PRESS RELEASE PAGE 29
TWO SHOWS IN THE GRANDE SALLE PAGE 31
FOUR DAYS OF MEETINGS AND EXCHANGES PAGE 32
IRCAM PAGE 34

ROSS LOVEGROVE CONVERGENCE

PRESS RELEASE PAGE 35
EXHIBITION PLAN PAGE 37
PROFILE OF THE ARTIST PAGE 38
SWAROVSKI, A MAJOR PARTNER PAGE 39
TEN KEY PIECES PAGE 41
THREE QUESTIONS FOR ROSS LOVEGROVE PAGE 44
PARTNERS PAGE 45
LIST OF WORKS PAGE 48
PRESS VISUALS PAGE 52

USEFUL INFORMATION PAGE 55

13 March 2017

PRESS RELEASE
Mutations/Créations
communications
and partnerships department
75191 Paris cedex 04

director
Benoît Parayre
15 MARCH - 3 JULY 2017
telephone A NEW EVENT INVOLVING ART, INNOVATION AND SCIENCE
00 33 (0)1 44 78 12 87
email
benoit.parayre@centrepompidou.fr Imprimer le monde, exhibition
press officer
Ross Lovegrove, exhibition
Anne-Marie Pereira
telephone
Vertigo, forum Art - Innovation
00 33 (0)1 44 78 40 69
email “Mutations/Créations is a new event I wanted to encourage for the Centre Pompidou through every one
anne-marie.pereira@centrepompidou.fr of its components: a platform half-way between art and innovation, which invites the sciences to connect
with creation, and artists to dialogue with engineers. This is the Centre Pompidou's vocation and talent:
www.centrepompidou.fr
organising and hosting meetings and exchanges of this kind.“
Serge Lasvignes, President of the Centre Pompidou.

The Centre Pompidou is presenting “Mutations/Créations“: a new event decidedly turned towards
the future and the interaction between digital technology and creation; a territory shared by art,
innovation and science. Drawing on all the disciplines in a mix of research, art and engineering,
the first edition of this annual event calls upon music, design and architecture. It consists of
two exhibitions (“Imprimer le monde“ and “Ross Lovegrove“), an Art/Innovation Forum entitled
“Vertigo“, and various study days and get-togethers.

Each year, thematic and monographic exhibitions will be staged around meetings and workshops
that turn the Centre Pompidou into an “incubator“: a place for demonstrating prototypes, carrying
out artistic experiments in vivo, and talking with designers. This platform will also be a critical
observatory and a tool for analysing the impact of creation on society. How have the various forms
With support from of creation begun using digital technologies to open up new industrial perspectives? How do they
question the social, economic and political effects of these industrial developments, and their ethical
limits? What formal transformations have come about in music, art, design and architecture with
Major Centre Pompidou sponsor regard to technical and scientific progress?

Frank Madlener, Director of IRCAM

Frédéric Migayrou, Deputy Director, Musée National d'Art Moderne/Centre de Création Industrielle
Media partnership with
Marie-Ange Brayer, Curator, head of the Prospective Industrial Design department, Musée National d'Art Moderne/
Centre de Création Industrielle
4

FOREWORD
MUTATIONS/CRÉATIONS
A NEW EVENT
Since opening to the public in 1977, the Centre Pompidou has established itself as a unique venue where all
artistic fields converge. In view of this history, I wanted the Centre Pompidou to launch a new event entitled
“Mutations/Créations“ in 2017, the year of its 40th anniversary.

This new exhibition will be a critical observatory of the very latest creation linked with digital technologies, and
an idea incubator that nurtures the forward-looking spirit of the Centre Pompidou more than ever. For this is
where design dialogues with scientific and technological innovation, and all artistic disciplines cross paths,
mutually nourishing each other with shared experiences.

This first edition opens with the exhibition “Imprimer le monde“ (Printing the world). Half-way between
speculation and practical experiment, digital 3D printing technologies have led to a fourth industrial revolution:
one that is certain to have a lasting effect on our present. What is the status of works and their creators now
that the creative act and co-creation within open source platforms have become automated? This exhibition
brings together a new generation of artists, designers and architects who use the same digital design tools and
have moved over to 3D printing technologies. It mingles works from the Centre Pompidou collections with new
donations, acquisitions and pieces. IRCAM presents acoustic installations produced during artistic residences,
which explore the 3D simulation of the sound space. Meanwhile, numerous exchanges between creation,
research and teaching are expressed through various partnerships with universities, research laboratories and
art, architecture and design schools. The catalogue and study days based on “Imprimer le monde“ form part
of the academic programme of the Labex CAP (laboratory of excellence in creation, art and heritage).

Mutations/Créations also involves the Vertigo forum, coordinated by IRCAM and supported by the European
Commission STARTS programme. For a week, it lays on meetings, performances and shows where music, art,
engineering, scientific research and new technologies dialogue together.

The third chapter of the event is a completely new retrospective devoted to British designer Ross Lovegrove,
which shows how the artist has introduced a fresh dialogue between nature and technology, where art and
science converge. He employs a “holistic“ idea of design through a visionary practice that began incorporating
digital changes during the 1990s, rejecting the productivism of mass industry and replacing it with a more
economical approach to materials and forms. This exhibition emphasises the role of design in the post-
industrial era, now that we are seeing a significant shift from mechanics to organics: a changeover
symptomatic of our times, which these “digital forms“ endeavour to highlight.

Serge Lasvignes, President of the Centre Pompidou

 5

partners of mutations/créations

ENEDIS
Major sponsor
Enedis, formerly ERDF, is a company that distributes electricity in France to 35 million customers.
It embodies the values of a new-generation public service: closeness and commitment.
The modernisation of the power grid, digital transformation, the energy transition with the development
of electric vehicles and renewable energies like wind turbines and solar power are all industrial
challenges echoed in the creations of the Centre Pompidou and its new platform, “Mutations/Créations“.
As a major sponsor, Enedis is proud to support the first edition, entitled “Digital forms“. Digitisation, now
inevitable, enables new forms of innovation to emerge. Enedis is making use of these new paradigms to
make the grid safer and more reliable, and to further the ecological transition.

These social actions express the company’s vision of solidarity, the environment and culture: a service for
everyone, everywhere. Culture for everyone everywhere and electricity for everyone everywhere: this is the
idea behind the public service provided by Enedis each day all over France.

EMBASSY OF SWITZERLAND IN FRANCE

The Embassy of Switzerland in France congratulates the Centre Pompidou on the occasion of this
splendid anniversary, and is proud to join forces with this outstanding institution to celebrate
its 40 years of excellence.

The curators of the exhibition ”Imprimer le monde” (Printing the world) have chosen the Swiss partners
of this first edition of ”Mutations/Créations”. The Embassy of Switzerland supports these highly apposite
choices, and is working with the curators to provide audiences from Paris, France and further afield with
the very best of Swiss creation in this area.

For example, the architects Fabio Gramazio and Matthias Kohler from Gramazio Kohler Research,
ETH Zürich will present their latest findings in the exhibition Smart Dynamic Casting, A robotic gliding
process. Their research is focused on innovative solutions for sustainable use of resources and materials.

During the symposium “Vertigo”, speakers from the Polytechnical School of Lausanne (EPFL) will make
the demonstration of new digital forms of archives and show how this benefited 50 years of concerts
at the Montreux Jazz Festival and the mapping of 500 years of history of the city of Venice.
 6

Imprimer le monde
Une exposition collective
15 mars - 19 juin 2017
Galerie 4, niveau 1

Curatorship
Marie-Ange Brayer,
curator,
Olivier Zeitoun,
assistant curator

Exhibition catalogue
Co-published by HYX/Centre
Pompidou,
with support from Labex CAP Heather Dewey-Hagborg, Stranger Visions, 2012
270 pages, 150 illustrations Portraits and samples from New York
Script Collection 20.32 x 15.24 x 15.24 cm
Edited by Marie-Ange Brayer Photo credit : Heather Dewey-Hagborg
Articles by
Marie-Ange Brayer,
Olivier Zeitoun, Digital technology has disrupted the design and production of objects, transforming the way architects,
Camille Bosqué
designers and artists work. The exhibition "Imprimer le monde" (Printing the world) explores the
Mario Carpo,
Sophie Fétro, emergence of new digital 3D-printed artefacts in artistic creation.
Christian Girard
Price: €24
From the designer object to the architectural prototype, and from the production workshop to innovative
laboratory objects, this exhibition brings together a generation of artists, designers and architects who have
begun using 3D printing as a critical tool for experimenting. Through some forty creators, it questions the
transformation of forms within a "digital materiality", where a new object typology has appeared with 3D
printing as the common denominator.

What is the creator’s status in this age where these "non-standard" objects are produced, simultaneously
unique and industrially manufactured? What is the status of this object "printed" in 3D, simultaneously
an everyday object, technological object, work of art, designer object and architectural prototype? How
can we explain its rapid spread to all areas of production in the digital age? Qualified as a "breakthrough
technology", 3D printing has become widespread over the last fifteen years through open source software
platforms and development in industries ranging from aeronautics to biotechnology. From the micro world
(printing cells) to the macro world (printing architecture on a scale of 1:1), and from the visible to the infra-
visible, additive production raises numerous questions that touch on the status of the artwork as well as the
world of industry and scientific research.
7

Representational methods in the digital age are central to artistic approaches that explore the status of the
image and the borders between the physical and virtual. Achraf Touloub questions the circulation of digital
images, transferring them into three dimensions. Jon Rafman’s 3D printed busts echo both archetypes of
the past and hypertechnology. Morehshin Allahyari’s artefacts reactivate memories of historical monuments
destroyed by the war in Syria, using 3D printing as a tool for repairing history. The idea of an object’s
temporality is also explored by designer Dov Ganchrow through his hand-knapped flint tools with 3D printed
handles. A similar speculative approach is at work in the "dysfunctional objects" of Matthew Plummer-
Fernandez and the "hacked objects" of Jesse Howard.

This new digital artefact stands at the crossroads of artisanal skills that have changed the techniques of
designers. Olivier Van Herpt designs both digital files and machines to print design objects in 3D which
"simulate" and transcend the artisanal object. Designers make use of digital simulation software and
the programming languages of architects to design complex and innovative objects. The designer Joris
Laarman, who will be printing a metal bridge in Amsterdam in 2017, is at the cutting edge of this research,
as is Mathias Bengtsson, who has made the first titanium table using additive production. The organic forms
of these works draw on the evolutionary processes of nature, recreated using digital simulation tools. Dirk
van der Kooij asserts a "sustainable" approach, using processes involving recycled plastic filaments to make
his pieces. The designers François Brument and Sonia Laugier are presenting a set-up reconstructing their
workshop, retracing the design and production phases of their pieces.

Architects were the first to start using these digital technologies to develop new design and production
processes, experimenting with them through prototypes and materials: large-scale 3D printed concrete
(EZCT Architecture and Design Research in collaboration with XtreeE; Gramazio Kohler Research), ceramics
(Jenny Sabin) and new synthetic materials (Neri Oxman, Alisa Andrasek). Michael Hansmeyer and Benjamin
Dillenburger have pushed the possibilities of 3D design and printing to their limits through the Grotto II
installation, whose ornamental exuberance is the result of algorithmic calculations. Kevin Clement, Yusuke
Obuchi and Jun Sato, together with the University of Tokyo Advanced Design Studies Unit and the Kengo
Kuma Associates agency, have developed a project for the exhibition on site: a canopy of biodegradable
plastic filaments derived from food waste, produced using a 3D print pen designed to produce complex
architectural structures.

The installations produced by IRCAM deploy acoustic spaces. Whether sound or material is involved, the
digital space generates forms. How can we interpret and compose a space through the dimension of sound
and new spatialisation techniques? In Disenchanted Islands, the composer Olga Neuwirth takes the visitors/
audience on a virtual journey to San Lorenzo in Venice, the venue where Nono’s Prometeo was given its first
performance with a stage design by Renzo Piano. The sound imprint of the Venetian church is transferred
to the museum space through the 3D convolution process. With "Jardin d’Eden" (Garden of Eden), the
artists Raphael Thibault and Hyun-Hwa Cho present an immersive installation in the form of a double video
projection, 3D-printed sculptures and a sound and music panorama. Here, the spatialisation of the sounds
echoes the images. Digital simulation processes concern all artistic fields, whether the 3D simulation of the
sound space or the digital simulation of the territory through Thibaut Brunet’s 3D scans of photographs.
8

List of artists, designers and architects featuring in the exhibition

Additivism (Morehshin Allahyari and Daniel Rourke); Aleksa Studio (Aleksandrina Rizova); Alisa Andrasek
(Biothing); Aldo Bakker; Mathias Bengtsson; Henriette Bier and Sina Mostafavi; Erwan and Ronan
Bouroullec; François Brument and Sonia Laugier, Ammar Eloueini; Thibault Brunet; Heather Dewey-
Hagborg; Dong Lin and Chi Zhou; Goliath Dyèvre and Grégory Chatonsky; Hyun-hwa Cho and Raphaël
Thibault; Jean-Baptiste Fastrez; Vincent Fournier; Laureline Galliot; Dov Ganchrow and Ami Drach;
Gramazio Kohler Research; Michael Hansmeyer and Benjamin Dillenburger; Brian Harms; Jesse Howard;
Hiroshi Ishii, Lining Yao, Jifei Ou (Tangible Media Group, MIT); Joris Laarman; Achim Menges; EZCT
Architecture & Design Research (Philippe Morel: EZCT / XtreeE; Felix Agid); Nendo (Oki Sato); Nervous
System (Jessica Rosenkrantz and Jesse Louis-Rosenberg); Olga Neuwirth; Neri Oxman; Matthew Plummer-
Fernandez; Jon Rafman; Gilles Retsin and Manuel Jiménez García; Jenny Sabin; Neta Soreq; Studio A2 and
New North Press; Studio Swine (Azusa Murakami and Alexander Groves); Skylar Tibbits and Christophe
Guberan (Self-assembly Lab, MIT); Achraf Touloub; Unfold (Claire Warnier et Dries Verbruggen); University
of Tokyo Advanced Design Studies Unit (Yusuke Obuchi, Kengo Kuma, Jun Sato, Kevin Clement, Anders Rod);
Lilian van Daal; Olivier Van Herpt; Dirk Vander Kooij; Woody Vasulka; Daniel Widrig; Hongtao Zhou.

EDUCATIONAL ACTIONS

During the exhibition, Graphic Design certificate students from the Lycée Jacques Prévert in Boulogne-
Billancourt specialising in communication and digital media will be moving into Galerie 4 to present
audiences with mediation mobile apps linked with a selection of the works presented. Every Saturday, a
different interactive app will be offered to the exhibition’s visitors.
The project is assisted by the Centre Pompidou audience department.

Tree afternoon workshops will be presented on 6, 7 and 8 May in the Centre Pompidou Forum.
In an artistic exploration of 3D printing, these will invite audiences to try out various machines in a fab lab.

Podcast-Audioguide of the exhibition " Imprimer le monde " : " Objects have their say. Prosopopeia ".
To go with the exhibition, a 15-minute sound circuit is provided in the form of a fiction giving the floor to six
objects: materials or components present in the exhibition. The idea of this "prosopopeia" (the
personification of inanimate objects) is to take the attention of the visitor or auditor away from the finished
object and draw them into the manufacturing process.
This approach takes a playful look at the developments brought about by 3D printing in the sphere of
creation, art and furniture design.

This can be heard for free on:

• the free Centre Pompidou app, downloadable on smartphones
• the Soundcloud account of the Centre Pompidou

Writing Tony Côme, design historian

Actors Émilie incerti Formentini in "Ciel, mon ADN" (Good heavens – my DNA!);Julian Eggerickx in "Le
connecteur" (The connector); Modeste Nzapassara in "L’argile idéal" (The ideal clay);Jean Noël Lefevre in
"La chaussure sachant chausser" (The shoe that foots it featly); Geoffrey Carey in "L’anse de carafe" (The
jug handle); Pauline Panassenko in "La photosculpture" (Photosculpture); Grégoire Monsaingeon in
quotations from thinkers and creators.
Produced by Christophe Hocké
Music by Mocke (group)
9

A FEW KEY CONCEPTS

What is 3D printing ?
A generic term covering several technologies, 3D printing is an additive production method where material is
deposited layer by layer. The designer models his object using CAD (computer aided design) tools, and then
the digital file is sent to a 3D printer, which produces the object in three dimensions. 3D printing belongs
to the field of digitised production and rapid prototyping, ranging from stereolithography to selective laser
sintering and the deposit of molten plastic. This production method combines software development and
automation with a 3D printer and scanning tools.

History of 3D printing
The origins of 3D printing are found in photosculpture, François Willème’s invention of around 1860 introducing
three-dimensional photographic capture, together with Joseph Blanther’s late 19th-century topographical
relief mats, produced layer by layer. In the 1960s, the arrival of computers, digitally controlled machines
and automation led to a new digital space. At the same period, "hackers" and "makers", who emerged
from a community culture in the US, gave fresh life to a collaborative economy where craftsmanship was
hybridised with emerging digital technologies. In the 1980s, the first object made with additive techniques (the
stereolithography process) was printed. In the early 2000s, software paved the way to digital 3D modelling.
Today, designers and architects are directly involved in programming languages and production processes.

What is a Fab Lab ?

Fab Labs emerged in the early 2000s within the Massachusetts Institute of Technology in the USA. The
word is a contraction of "Fabrication Laboratory": a place open to the public providing access to computer-
controlled design and production tools for milling, laser cutting and 3D printing. These spaces were
linked with digital innovation in the wake of the "makers" movement that emerged in the 1960s: digital
"fabricators" who advocated a Do-It-Yourself approach halfway between craftsmanship and the use of
digital tools. Through fab labs, 3D printing became the symbol of a new economy based on sharing and
exchange.
10

exhibition plan
11

EXHIBITION PARTNERS
THIS EXHIBITION IS SUPPORTED BY

MA R I AW E T T E R G R E N
GALERIE

AND

3Doodler
eMotion Tech
E-Nable
Galerie Binome, Paris
Galerie Friedman Benda, New York
Galerie Vivid, Rotterdam
Kengo Kuma, Jun Sato Lab, Igarashi Lab et l’Université de Tokyo Advanced Design Studies Unit (Yusuke
Obuchi, Kengo Kuma, Kevin Clement, Anders Rod)
Les Arts codés : Atelier Gamil Pantin, CERFAV, In-Flexions, Magnalucis, Nouvelle Fabrique, Polyrepro
Materialise
New Balance
Nome Gallery, Berlin
Stratasys
Upfor Gallery, Portland

ACKNOWLEDGEMENTS

Centre national des arts plastiques (CNAP), Paris

Conservatoire national des arts et métiers (CNAM), Paris
Musée des arts et métiers, Paris
Colab et l’Ambassade de France en Nouvelle-Zélande
ETH Zürich
Le Lieu du Design, Paris
Lycée Jacques Prévert Boulogne-Billancourt – BTS Design graphique
The Bartlett School, UCL, Londres
Victoria and Albert Museum, Londres
Wake Forest Institute for Regenerative Medicine, Caroline du Nord, États-Unis

THE EVENT “MUTATIONS/CRÉATIONS” IS SUPPORTED BY

Grand mécène

media partner
12

Les 3Dandies is the first chocolate factory in France that is entirely dedicated to the 3D printing’s
chocolates creation.

Les 3Dandies was founded in 2016 by Thibaut, Olivier and Edouard, three former SKEMA Business
School’s students. Their vision is to bring freshness to chocolates’ creation thanks to 3D printing
technology.

The three friends are fond of chocolate and new technologies, so they decided to combinate both fields to
create original and outstanding chocolate bars and boxes.

With their bow ties and their imagination, they succeeded to convince Marie (former Lenôtre chocolatier)
and Florian (product designer who studied at ENSCI), to join the adventure and bring their talent and their
ideas.

On the one hand, Les 3Dandies sells its products on its website, marketplaces and in delicatessen shops.

On the other hand, they set up a chocolates’ customization service for companies and individuals. Les
3Dandies’ skills are at everyone’s disposal to obtain custom-made chocolates for events communication,
weddings and original gifts.
13

MEETING AND STUDY DAYS

STUDY DAYS

DIGITAL FORMS
SATURDAY 18 marCH 2017
This is part of the Vertigo Forum, staged in collaboration with the "Parole" ("Spotlight on") section of the Centre
Pompidou cultural development department.
This study day, supported by LABEX CAP ("Creation, arts and heritage" laboratory of excellence), has received
State funding, managed by the Agence Nationale de la Recherche.

This international day consists of meetings and talks, together with round tables bringing together artists,
designers and architects featuring in the exhibition "Imprimer le monde". Stakeholders from the industrial
world, involved in the digital manufacturing economy, will also be present.
How have the spheres of creation begun using digital technologies to open up new social, economic and
political prospects? In what way are creators now influencing new industrial developments?

2.30 – 3.00 p.m.: Mario Carpo, Professor at the UCL Bartlett School of Architecture, London, and the École
Nationale Supérieure d’Architecture Paris-Malaquais, Paris

3.00 – 3.15 p.m.: Marie-Ange Brayer, curator, head of the Industrial Design and Prospects Department,
MNAM/Cci, Centre Pompidou, Paris

3.15 – 3.30 p.m.: Christian Girard, architect and professor, École Nationale Supérieure d’Architecture
Paris-Malaquais, Paris

3.30 – 3.45 p.m.: Sophie Fétro, lecturer, Paris 1 Panthéon-Sorbonne University, Paris

3.45 – 4.00 p.m.: Camille Bosqué, PhD and teacher, Paris 1 Panthéon-Sorbonne University, Paris

4.00 – 5.15 p.m.: Round table: "New processes in design";

Moderator: Marie-Ange Brayer
Vincent Fournier, artist and writer
Yvon Gallet, founder of Initial, Prodways Group, France
Catherine Gorgé, Director of the "Les Créations" division of Initial, Gorgé Group, France
Dries Verbruggen, Unfold Studio, designer, Antwerp
Kevin Clément, PhD and architect, Kengo Kuma and Associates, University of Tokyo
Michael Hansmeyer, architect, programmer and guest professor at the Academy of Fine Arts, Vienna
Mathias Bengtsson, designer, Stockholm

TEA BREAK

5.30 – 6.45 p.m.: Round table: "Architecture and 3D printing"

moderator: Christian Girard
Alexandre Dubor, specialist in additive production and robotics, IAAC (Institute for Advanced Architecture
of Catalonia), Barcelona
Frédéric Vacher, director in charge of forward-looking and open innovation, Dassault Systèmes, France
Fabio Gramazio, architect, Gramazio Kohler Research, Zürich
Henriette Bier, architect and teacher, TU Delft University of Technology, Hyperbody Department,
Netherlands
Sina Mostafavi, architect, TU Delft University of Technology, Hyperbody Departement, Netherlands
Alisa Andrasek, architect, professer, Wonderlab, UCL Barlett School of Architecture, London
Lilian van Daal, designer, Arnhem
14

6.45 – 8.00 p.m.: Round table: "The end of representation?"

Moderator: Justin McGuirk, writer, head curator of Design Museum, London, and co-manager of the
Design Curating & Writing department, Design Academy, Eindhoven
Matthew Plummer-Fernandez, artist and researcher, Goldsmith College, London
Daniel Rourke, artist, critic and founder member of the Additivism collective, Berlin
Emmanuel Cyriaque, editorial director of the publisher HYX, teacher at ESAD Orléans, specialist in
literature and digital technology
Goliath Dyèvre, designer, Paris
Grégory Chatonsky, artist, Paris
Raphael Thibault, artist and film director
Cho Hyun-Hwa, composer

8.00 - 8.30 p.m.: discussion

3D PRINTING AND DIGITAL MANUFACTURING: ISSUES AND PROSPECTS

FRIDAY, 21 APRIL 2017
This study day, carried out with support from LABEX CAP ("Création, arts and heritage" laboratory of
excellence), has received State funding managed by the Agence Nationale de la Recherche.

Are 3D printing and digital manufacturing genuine revolutions or just another means of production? What
changes have been brought about by these processes, a mixture of the utopian and the practical, and what
are their repercussions in the very varied realms of design, architecture, engineering sciences, medicine
and ecology?

RESPONSIVE MATTER: from 3D printing to 4D matter

Thursday 1 June 2017
Study day staged by Ensad Lab, the laboratory of the École Supérieure des Arts Décoratifs,
PSL Research University, Paris

3D printing has redefined the relationship between matter and form, where matter only has meaning
when it is undefined and relegated to the background. But what is happening today with these new active,
reactive and adaptable materials? How can 3D printing become 4D printing?

Meeting
WEB-SESSIONS, FRANÇOIS BRUMENT
17 March, 7.00 p.m., PETITE SALLE
How do artists, writers and thinkers browse the Web? Which sites appeal to them? What do they think of all the
images that circulate on the Internet, and how do they live with them?
A new form of talk at the Centre Pompidou, web sessions invite you to follow a guest figure – an artist, thinker,
author, musician or film director – as they browse the Web live. A digital diving session with designer François
Brument.
15

THE EXHIBITION: A FEW KEY PROJECTS

Joris Laarman
Adaptation chair, Gradient Copper Chair Edition# 5/12, 2015
Copper, 3D print (SLS® - Selective Laser Sintering), polyamide
63 x 60 x 70 cm
Centre Pompidou, Musée National d’Art Moderne/Centre de Création
Industrielle, Paris. Recent acquisition
© Centre Pompidou / Dist. RMN-GP
Achraf Touloub
Dessein Global, 2015
3D printing (SLS® (Selective Laser Sintering), polyamide)
A graduate of the Design Academy in Eindhoven,
A series of 8 basins: The Forum, Aljazeera Live (Tahrir Square),
Racine, Wet Apples, Street Goth, Scan Page 140, Van (graffiti), Joris Laarman founded the Joris Laarman Lab
AirBnb room in 2003 in Amsterdam, where he set up a close
collaboration between artisans and engineers. He
has carried out pioneering research in industrial
After graduating in 2013 from the École des Beaux-
design, making use of digital technologies.
Arts de Paris, Achraf Touloub explored the status
Joris Laarman creates his own design software and
of images through drawing, video and sculpture.
manufacturing tools to go with them, to extend the
His project entitled Dessein Global groups together
application potential of these technologies.
different works where drawing subverts forms and
He works hand in hand with highly innovative firms,
multiplies meanings, thus producing new ways of
sometimes on an architectural scale. In 2017,
representation, halfway between the physical and
in Amsterdam, the Joris Laarman Lab and the
virtual. In Dessein Global, a series of basins, like
company MX3D will be creating the first entirely
antique bowls, feature 3D printed motifs. The artist
3D-printed metal bridge. Based on the Micro-Cellular
collated a series of images taken from the Internet,
Chair series, the Adaptation Chair is an iconic project
and reproduced them through drawing, reducing
based on the natural growth process of forms.
them to simple lines. Scanned and vectorised
The object can be read from bottom to top, like an
for 3D printing, these drawings, which resemble
arborescence: the chair stands on two long cells
photographic images, have acquired an ambiguous
similar to the branches of a tree, which develop into
volumetry that is simultaneously realistic and
a multicellular network forming the seat and back.
ghostly. The printed object evokes the immersion
The feet provide a more solid structure to meet the
and disappearance of images in the boundless
structural requirements of a chair. The object was
flow of data circulating on the Web. Achraf Touloub
initially designed using an SLS®-printed polyamide
is fascinated by the circulation of images in the
substratum, of which a number of pieces were then
contemporary digital space. 3D printing has enabled
assembled and welded together. This substratum
him to renew contact with a physical dimension,
was then covered in copper, a conductive material,
giving images a new condition.
thus doubling the resistance of this organically
intertwining object, where ornamentation is a
Achraf Touloub was born in 1986. He lives and works
generative structure.
in Paris and Berlin.

Joris Laarman was born in 1979. He lives and works

in Amsterdam.
16

Laureline Galliot
Teapot, 2012
Contour et MASSE collection, 2012-2016 
Prototype of polychrome hollow teapot
3D print (fritted gypsum powder and coloured binder), Zprinter
650 3D printer
22 x 12.5 x 22.5 cm
© Rights reserved/ CNAP/photo: Laureline Galliot

University of Tokyo Advanced Design Studies Unit

After studying fashion design, Laureline Galliot
(Yusuke Obuchi, Kengo Kuma, Jun Sato,
entered the ENSCI-Les Ateliers industrial design
Kevin Clement, Anders Rod)
school and completed her training in 2012 with the
Drawn Pavilion, 2017
diploma project Contour et MASSE, exhibited the
following year at Villa Noailles in Hyères.
This on-site installation was produced for the
With a background in painting, Laureline Galliot has
exhibition.
rethought the methods used in industrial design. She
In 2015, Kevin Clement, a young American architect
experiments with modelling and virtual colouring to
based in Tokyo, in collaboration with the digital
create objects based on a 3D palette, developed with
production department of the University of Tokyo,
the aid of the cinema animation software ZBrush,
designed the STIK (Smart Tool Integrated Konstruction)
here used in a new way. This tool makes it possible to
pavilion in a recyclable material called warishabi.
design an object by juxtaposing colours, substances
Harvesting Plasticity (2015, with Anders Rod) was his
and textures. It is produced using a colour 3D printer.
final year project. Under the supervision of Toshi
In Contour et MASSE, Laureline Galliot thought up
Kiuchi, the two architects developed a 3D printing pen
various everyday objects such as a teapot, a vase
to design complex large-scale architectural structures
or a piggy bank. Teapot is a model arising from the
using plastic filaments. They extended the University
play of coloured masses taken from a sample of
of Kyushu’s research work on a process for converting
the Tool digital palette. A spout is carved out of its
mixed food waste into PLA (polylactic acid), a type of
homogeneous volume, and a tube runs through it,
biodegradable thermoplastic used by numerous 3D
forming a handle. More broadly, Laureline Galliot’s
printers. This architectural prototype aims to "alter
approach explores the design process of objects and
the material flow of food waste to make the consumer
the omnipresent use of line drawing in industrial
society more sustainable and socially oriented."
production, replacing it with a "mass-based approach
Thermoplastic melts quickly and easily, meaning
to drawing" where the form is defined by the material
that it can literally making drawings "in the air". The
and colour.
filaments are linked together by acrylic stems creating
stable forms in the space. A control system calculates
Laureline Galliot was born in 1986. She lives and
the precise position of the filaments in real time and
works in Paris.
guides the user. This architectural project with its
sustainable approach can be constantly modified
through the addition or removal of construction
elements, so that it can adapt to the topography of any
site.
17

Olivier Van Herpt

Sediment Vases, 2015 – 2016 Jon Rafman
View of workshop, Eindhoven, 2015
New Age Demanded (Pocked Sea Foam), 2013
3D-printed ceramic
3D print (SLS® [Selective Laser Sintering], polyamide)
Copyright Design Academy Eindhoven
Courtesy of the artist
Photo credit: Femke Rijerman

A video maker, sculptor and essayist, Jon Rafman

A graduate of the Eindhoven Design Academy,
distributes his work on the Web and has become
Olivier Van Herpt combines craftsmanship with
well-known with his Nine Eyes of Google Street
cutting-edge technology. He built his own 3D
View series: a compilation of images taken between
printer to design fine clay ceramics with complex
2009 and 2012 by Google Street Views, which he
motifs and forms.
describes as “virtual safaris”. An explorer and
Fascinated by the processes used to produce
archivist of Web culture, he expresses himself
forms and the malleability of clay, a sedimentary
through digital media, appropriating them for his
material, he has created a printer 1.5 m high so
own ends. New Age Demanded is a series of digitally
that he can produce large-scale vases (around
conceived 3D-printed busts. By duplicating images
80 cm high with diameters of 40 cm). He has also
in the form of objects and objects in the form of
designed an extruder which he uses in different
images, Rafman dissolves the barriers between
ways, with various types of clay, the addition
the physical and the virtual. Inspired by Ezra
of water or the use of raw clay: all in subtle
Pound’s poem “Hugh Selwyn Mauberley”, New Age
proportions designed to foster the precision that
Demanded expresses Rafman’s point of view: each
characterises his pieces, particularly for the design
period demands something new from its artists.
of forms and details in motifs. By modifying the
The timeless busts of this series seem to capture
machine’s parameters, he can vary the appearance
the accelerated movement of an instant. These
of pieces and experiment with effects in texture,
works transcend categories, evoking the history
surface, form and size. Each piece is unique and
of sculpture and painting while looking ahead to a
results from research on traditional techniques
future that mingles with hypertechnology.
revolutionised by emerging technologies. Through
the use of digital technologies, Olivier Van Herpt
Jon Rafman was born in 1981, in Montreal, where
creates artisanal objects that are also innovative
he lives and works.
digital artefacts in terms of form and materiality.

Olivier Van Herpt was born in 1989. He lives and

works in Eindhoven.
18

Mathias Bengtsson
Growth Table Titanium, 2016 (design 2013)
Titanium, 3D print (EBM®-Electron Beam Melting)
140 x 66 x 81 cm 
Initial / Prodways
Copyright Matthias Bengtsson & Galerie Maria Wettergren
Gramazio Kohler Research
Centre Pompidou, Musée National d’Art Moderne/Centre de
Création Industrielle, Paris. Smart Dynamic Casting, A robotic gliding process
Produced with support from Initial, the Prodways group and the for complex structures, 2012-2015
Maria Wettergren gallery. Three concrete columns with bases
Purchased with funding from the law firm De Gaulle Fleurance 193 x 26 cm; 195.5 x 27 cm; 185 cm x 24 cm
& Associés and the Design Acquisition Group of the Société des Smart Dynamic Casting, Gramazio Kohler Research, ETH Zürich
Amis du Musée National d’Art Moderne, 2016.

In 2000, Fabio Gramazio and Matthias Kohler

The creations of Mathias Bengtsson (Slice Chair,
founded the architect’s firm Gramazio & Kohler and
Spun Chair, Growth Chair, 1998) are a combination
in 2005, the first robotic manufacturing laboratory
of craftsmanship and high technology. Mathias
at the ETH Zurich. They developed the concept
Bengtsson is one of the most innovative designers
of "digital materiality", asserting the pragmatic
when it comes to digital technologies, which he
necessity of confronting digital technology with
uses to design objects with complex forms in new
material construction.
materials. His "computational design" is based
In 2008, at the Venice Architecture Biennial, they
on an algorithm language similar to the approach
created a continuous brick wall over 100 m long
of architects, where forms are generated through
on site with a robot. A new stage in automated
parametric calculations. The result of pioneering
construction was achieved in 2011 with Flight
experimental research, the Growth Table Titanium
Assembled Architecture, where aerial robots
is made of titanium using the additive production
were used for architectural experimentation.
process known as EBM® (Electron Beam Melting)
Smart Dynamic Casting (2012-2015) is designed to
which uses an electron beam to produce pieces by
eliminate individual coffering for building complex
melting metal powder, and is mainly used in the
concrete structures.
aeronautics and defence industries.
While 5% to 8% of artificial CO2 emissions are
To create this work, Mathias Bengtsson developed
due to cement production, this process could
a completely new automation software program
help to reduce greenhouse gases by reducing the
through a grid of around 1,000 constraint
quantity of cement used. The robot moves along
parameters (including mass, energy, gravity and
a predefined trajectory at a speed adapted to
pressure), letting algorithms develop within them.
the setting time of cement through a retroaction
This process interprets the model of bone growth
system. In this process, the geometry of the
through the division and differentiation of cells.
coffering, the trajectory and the pouring speed go
The performances of living organisms are analysed
hand in hand with the properties of the material,
and applied to the performances of materials to
making it possible to create new non-standard
generate new, complex forms exploring the frontiers
architectural components.
between design, art, craftsmanship and scientific
research.
Born in 1970, Fabio Gramazio lives and works in
Zurich.
Born in 1971 in Copenhagen, Mathias Bengtsson
Born in 1968, Matthias Kohler lives and works in
lives and works in Stockholm.
Zurich.
19

Michael Hansmeyer et Benjamin Dillenburger

Grotto II, Digital Grotesque, 2017
3D print, silica sands and binder, multilayer covering Nendo (Oki Sato)
Centre Pompidou collection Diamond chair, 2008
345 x 323 x 194 cm 3D print (SLS® - Selective Laser Sintering), polyamide
Production. Recent acquisition of the Musée National d’Art 58 x 52.7 x 60 cm
Moderne. Centre Pompidou collection, Musée National d’Art Moderne/
Centre Pompidou collection Centre de Création Industrielle
Purchase funded by the Design Acquisition Group of the Société
des Amis du Musée National d’Art Moderne, 2016
Courtesy of Nendo and Friedman Benda
Together with Benjamin Dillenburger, Michael
Hansmeyer designed the 3D-printed Grotto II.
The project used subdivision algorithms as the Oki Sato founded the Nendo agency in 2002. Based
generative principle, reproducing the cell division in Tokyo, the agency works in the fields of design and
mechanism of living organisms. The ornamentation architecture. Nendo, meaning "plasticine", reflects a
system of Grotto II acquired an autonomy that desire for creative flexibility and perpetual reinvention,
absorbed the geometric order of architecture. free of all preconceived forms. It has brought Oki Sato
While the work echoes the archetypal myth of the spectacular success.
cave or grotto, a microcosm of the world during the The Diamond Chair, presented in Milan in 2008,
Renaissance, it also evokes Baroque architecture takes up the atomic structure of diamonds. Made of
and the ornamental profusion of cabinets of nylon powder and produced using a rapid 3D-print
curiosities, blurring the frontiers between natural, prototyping process called selective laser sintering
technological and marvellous objects. Grotto II is (SLS®), this extremely light chair illustrates the
a mesh of 260 million facets whose resolution is typical Nendo concept of "solid elastic". Oki Sato
calculated to a 10th of a millimetre. makes play with oxymorons and humour, drawing on
The algorithmic language behind these complex the ideas of void and balance, solid and fluid, light and
forms made it possible to extend the limits of the shade, transparency and opacity.
3D printing process to an unheard-of level. Halfway The Diamond Chair harks back to Harry Bertoia’s
between sculpture and architecture, Grotto II is iconic chair of 1950. It is also one of the first chairs
an architectural environment that takes us to the made using rapid prototyping techniques.
threshold of a haptic perception of space.
Born in 1977 in Toronto, Oki Sato lives and works in
Born in 1973, Michael Hansmeyer lives and works Tokyo.
in Zurich.
20

Jardin d’Éden © Raphaël Thibault Olga Neuwirth © DR

JARDIN D’ÉDEN (Garden of Eden) DISENCHANTED ISLAND

15 MARCH TO 19 JUNE, 11.00 A.M. TO 9.00 P.M. 15 MARCH TO 19 JUNE, 11.00 A.M. TO 9.00 P.M.
Centre Pompidou, GALERIE 4, niveau 1 Centre Pompidou, Galerie 4, niveau 1

Sound installation and visual creation 3D creation installation

Music* Hyun-Hwa Cho Conception and music Olga Neuwirth
Visual artist Raphaël Thibault Digital music production Gilbert Nouno
IRCAM digital music production Serge Lemouton IRCAM-STMS scientific consultant team
Flutes Anne-Cécile Cuniot, Emmanuelle Ophèle, Acoustic and cognitive spaces Markus Noisternig
Jérôme Van Wynsberge
In her 2015 creation at IRCAM, Le Encantadas o le
As part of the exhibition "Imprimer le monde" avventure nel mare delle meraviglie, the Austrian
within Mutations/Créations, Jardin d’Éden stages a composer Olga Neuwirth transported her audience
twofold video projection, 3D-printed sculptures and virtually to the lagoon and the church of San
a sound and music panorama. The video section Lorenzo in Venice.
consists of concrete 3D computer graphic and The artist this made a reference to Luigi Nono’s
compositing images, and a basically more abstract Prometeo, an iconic spatial work created by the
auto-generative section for the climax of the piece. Italian composer in San Lorenzo in 1984, in a
The title refers to the Garden of Eden described in spatial staging designed by Renzo Piano. The new
the Bible and by extension, to its connotation of a project consists of creating an acoustic installation,
friendly, unspoiled Nature. The cellular automaton this time through the 3D compilation process. This
of the same name – Jardin d’Éden – describes a recreates a venue’s acoustic starting from the
repetitive mathematical process serving as a measurement of its impulsive response, thus
source of inspiration for the musical composition, creating a genuine sound imprint that records the
similar to the idea of a canon. effects undergone by the sound waves during their
propagation. "Over there" is now "here".

*Aid for the writing of a new original musical composition from

the Ministry of Culture and Communication.

Useful information
Admission with exhibition ticket.
21

list of works exhibited

Additivism Ronan and Erwan Bouroullec
The 3D Additivist Manifesto, 2015 Untitled, 2015
Morehshin Allahyari et Daniel Rourke Chestnut tree, PLA 3D print
A3 format 290 x 200 x 15 cm
Ronan and Erwan Bouroullec, Paris
Morehshin Allahyari Produced by FRAC Bretagne, 2016
Material Speculation: ISIS
Lamassu, 2015-2016 François Brument, Ammar Eloueini
3D-printed and electronic components Chaise Fab (Fab Chair) #71, 2007
(Stereolithography), resin 3D print (SLS® - Selective Laser Sintering), polyamide
15.5 x 16 x 3.5 cm 87 x 48 x 56 cm
Morehshin Allahyari, Upfor Gallery Centre Pompidou collection
Donated by V.I.A., French furnishing industries,
Alisa Andrasek, Biothing 2010, aid for creation, 2007
XenoCells, 2015
Multimaterial robotic extrusion François Brument
230 x 53 x 47 cm Eclipse, 2014
Alisa Andrasek with the Wonderlab, Bartlett School of Wood, RGB LED, arduino, 3D print
Architecture (UCL), London (SLS® - Selective Laser Sintering), polyamide
80 cm (diam) x 7 cm
Aldo Bakker François Brument, Les Arts Codés, Pantin
Fat one, 2015
Fine silver, 3D-printed handle (stainless steel) François Brument and Sonia Laugier
15.5 x 14.7 x 15.1 cm Digital Crafts: the workshop, 2017
Designed by Aldo Bakker, produced by Jan Matthesius François Brument, Les Arts Codés, Pantin
Editor: Karakter, Copenhagen
Aldo Bakker Studio François Brument
Untitled, 2017
Henriette Bier, Sina Mostafavi, Ana Anton, Serban Video
Bodean, Marco Galli François Brument, Pantin
Scalable Porosity, 2016
Robotics design/production carried out by the students Thibault Brunet
Hyperbody, TU, Delft, Netherlands Territoires circonscrits (Circumscribed Territories), Untitled
Video #14, 2016
Netherlands Edition of 5 (+2 artists’ proofs)
Producer: Robotic Building, TU Delft Inkjet print on Hahnemühle Fine Art paper
Harman,
Mathias Bengtsson 150 x 200 cm
Growth Titanium Table, 2016 (design 2013) Galerie Binome, Paris
Titanium, 3D print (EBM®-Electron Beam Melting)
140 x 66 x 81 cm  Grégory Chatonsky and Goliath Dyèvre
Initial / Prodways L’augmentation des choses (The augmentation of things),
Copyright Matthias Bengtsson & Galerie Maria Wettergren 2017
Centre Pompidou, Musée National d’Art Moderne/Centre Installation
de Création Industrielle, Paris Screen, Plexiglas plate, 3D print of three objects
Produced with aid from Initial, the Prodways Group and 49 x 164 x 170 cm
the Maria Wettergren gallery Soundtrack by Christophe Charles
Purchase funded by the law firm De Gaulle Fleurance & Grégory Chatonsky and Goliath Dyèvre, Montreal and
Associés and the Design Acquisition Group of the Société Pantin
des Amis du Musée National d’Art Moderne, 2016 With support from COLAB (Auckland University of
Technology)
Mathias Bengtsson
Growth Titanium Table, 2016
Vidéo
© Initial-Groupe Prodways
22

The Liberator, fired, 2013 Vincent Fournier,

Designed by Defense Distributed, Austin, USA Où sont nos souvenirs rangés (Where are our memories
3D print stored?), 2016
8.8 x 13 x 4 cm 3D print (SLS® - Selective Laser Sintering), polyamide,
Victoria and Albert Museum, London, acquired by the 177 x 50 x 50 cm
Design Fund With support from Initial, Prodways Group
New Square Gallery, Lille
Heather Dewey-Hagborg
Stranger Visions
Laureline Galliot
Portraits and samples from New York, 2012
Contour et MASSE, 2012-2016
3D print (3DP) of seven faces, exhibition copies
Solidification of mineral powder through projected
Each face measures 20.32 x 15.24 x 15.24 cm
coloured binder.
Heather Dewey-Hagborg, New York, 2016
FNAC 2015-0331-2 ; FNAC 2015-0512
Centre National des Arts Plastiques
Heather Dewey-Hagborg
Stranger Visions, 2016
Teapot, 2012
Vidéo
Polychrome hollow teapot prototype
Heather Dewey-Hagborg, New York, 2016
3D print, Zprinter 6503D printer
12.5 x 22.5 x 22 cm
Ami Drach and Dov Granchrov
BC-AD tool: contemporary flint tool design (two-sided axe),
Lucky Toad n°1, 2013
2011
Polychrome hollow vase prototype
Stone, aluminium, rope, 3D print
3D print, ProJet®CJP 660Pro printer, 3D systems.
12 x 10 x 3 cm
25 x 20 x 30 cm
Centre Pompidou collection
Donated by Jacqueline Frydman, 2016
Piggy Bank, 2013
Piggy bank prototype
eMotionTech
3D print, ProJet®CJP 660Pro printer, 3D systems.
Prusa Mendel I2, 2011
20 x 15 x 15 cm
Rep-Rap, metal rods and electronics, 3D print
(FDM® - Fused Deposition Modelling), PLA (polylactic
Teapot#2, 2016
acid), 47 x 48 x 41 cm
Teapot prototype
eMotion Tech, Toulouse
20 x 16 x 22.5 cm
Laureline Galliot, Paris
e-Nable
Hand prosthesis, 2017 Gramazio Kohler Research
3D print (FDM® - Fused Deposition Modelling), PLA Smart Dynamic Casting
(polylactic acid) A robotic gliding process for complex structures, 2012-2015
10 x 22 x 13 cm Three concrete columns with bases and a video
e-Nable, France 193 x 26 cm; 195.5 x 27 cm; 185 cm x 24 cm;
EZCT Architecture & Design Research Smart Dynamic Casting, Gramazio Kohler Research, ETH
Zürich
Prototypes in concrete, 2017 and video
3D print (concrete with random foam-cloud motif, Michael Hansmeyer and Benjamin Dillenburger
concrete shells, ultra-thin 3D clay mould) Grotto II, Digital Grotesque, 2017
140 x 200 x 60 cm 3D print, silica sands and binder, multilayer covering
EZCT Architecture & Design Research (Philippe Morel, 345 x 323 x 194 cm
EZCT, XtreeE; Felix Agid) Centre Pompidou collection

Jean-Baptiste Fastrez Brian Harms

Yatari, 2015 Suspended Deposition, 2012
Wooden bow, 3D print (FDM®-Fused Deposition Resin cubes and extrusion head
Modelling), PLA (polylactic acid) 8 x 8 x 8 cm.
156 x 86 cm Extrusion head: 32.75 x 12.2 x 11.5 cm
Jean-Baptiste Fastrez, Paris Brian Harms (nstrmnt.com); Haejun Jung, Vince Huang,
Yuying Chen, Southern California Institute of Architecture
(SCI-Arc)
23

Video Brian Harms Achim Menges

Suspended Deposition, 2012. Video Untitled, 201. Video
Brian Harms (nstrmnt.com); Haejun Jung, Vince Huang, Achim Menges
Yuying Chen, Southern California Institute of Architecture
(SCI-Arc) Nendo
Diamond Chair, 2008
Adrian Harrison 3D print (SLS® - Selective Laser Sintering), polyamide
A23D: A 3D-Printed Letterpress Font, 2014 58 x 52.7 x 60 cm
Video Centre Pompidou collection
Adrian Harrison, New North Press, London Purchase funded by the Design Acquisition Group of the
Société des Amis du Musée National d’Art Moderne, 2016
Jesse Howard
Toaster Transparent Tools, 2012 Nervous System and New Balance Athletics, Inc.
Electrical components, stainless steel, Corian, 3D print 3D printed and data driven midsoles, 2016
(SLS® - Selective Laser Sintering), Nylon 3D print (SLS® - Selective Laser Sintering)
15 x 25 x 15 cm Shoe: 11.5 x 29.2 x 13.1 cm;
Jesse Howard, Amsterdam prototypes by New Balance Athletics, Inc. and Nervous
System
Joris Laarman Lab
Adaptation chair, Gradient Copper New Balance Athletics, Inc.
Chair Edition# 5/12, 2015 3D Printed Midsole, 2016. Video
Copper, 3D print (SLS® - Selective Laser Sintering), New Balance Athletics, Inc.
polyamide
63 x 60 x 70 cm New North Press, A2-Type & Chalk Studios
Centre Pompidou collection A23D, 3D-printed letterpress font, 2014
25 x 34 cm
Butterfly Screen prototype, 2016 Acrylic resins mounted on model plate
Robotic print, bronze, stainless steel Richard Ardagh, New North Press, London
200 x 290 x 63 cm
Produced by MX3D Neri Oxman (with Mediated Matter, MIT Media Lab)
Joris Laarman Lab, Amsterdam Lazarus Mask, 2016
3D print in multimaterials, 3D Objet500™ printer
Butterfly Screen prototype, 2016. Video Connex3, Stratasys® Ltd.
Produced by MX3D 16.5 x 19.5 x 26.5 cm
Joris Laarman Lab, Amsterdam “The New Ancient” collection managed and printed by
Stratasys® Ltd.
Adaptation chair, Gradient Copper
Chair Edition# 5/12, 2015 Vespers, 2016
Video Mask 1 B series 2
Joris Laarman Lab, Amsterdam 3D print in multimaterials, 3D Objet500™ printer
Connex3, Stratasys® Ltd.
Joris Laarman, Erik Loots, Anita Star 34 x 37 x 19.8 cm
MX3D Bridge, 2015 “The New Ancient” collection managed and printed by
Video Stratasys® Ltd.
Joris Laarman Lab, Amsterdam
Vespers, 2016
Dong Lin and Chi Zhou, with contributions from Dr Pengli Mask 3 series 2
Yan and Weston Grove 3D print in multimaterials, 3D Objet500™ printer
Samples of Graphene Aerogel, 2016 Connex3, Stratasys® Ltd.
1 x 5 x 5 cm 34.1 x 40.5 x 22.1 cm
Pr. Dong Lin, Department of Industrial and Manufacturing “The New Ancient” collection managed and printed by
Systems Engineering, Kansas State University, Pr. Chi Stratasys® Ltd.
Zhou, Department of Industrial and Systems Engineering,
University at Buffalo, The State University of New York Matthew Plummer-Fernandez
Digital Natives 1L, 4, 7 L, 2012
3D printing of ultralight aerogel, 2016. Video Plaster, ink and epoxy resin, 3D print
Dong Lin and Chi Zou, with contributions from Dr Pengli 35.56 x 7.62 x 10.16 cm
Yan and Weston Grove Matthew Plummer-Fernandez, London
24

Disarming Corruptor, 2013 Programmable Materials, 2015. Video

Plastic, ink and adhesive, 3D print, video Self-Assembly Lab, MIT
20 x 8.3 x 6.3 cm
Christophe Guberan, Carlo Clopath, Self-Assembly Lab, MIT
Matthew Plummer-Fernandez, London
Active Shoes, 2015
Initial, Prodways Group Shoe, pattern on stretched textile
Fabric sample, 2016 10 x 25 x 9 cm
22 x 22 x 22 cm Elasthane textile, 3D print
3D print (SLS® - Selective Laser Sintering), polyamide,
knitwear and video Active Shoes, Video
Initial, Prodways Group
Studio Swine
Jon Rafman Meteorite Shoes, 2014
New Age Demanded (Pocked Sea Foam), 2013 Aluminium foam, leather
3D print (SLS® - Selective Laser Sintering), polyamide Centre Pompidou collection
45 x 26 x 34 cm Purchase, 2015
Private collection
Tangible Media Group, MIT Media Lab
Gilles Retsin and Manuel Jiménez Garcia Biologic Second Skin, 2015
Voxel Chair v1.0, 2015 Second-skin sculpture-garment
3D print (FDM® - Fused Deposition Modelling), 57.4 x 27.9 x 38.1 cm
PLA (polylactic acid) and video Lining Yao, Oksana Anilionyte, Chin-Yin Cheng, Wen Wang,
82 x 60 x 49 cm Jifei Ou, Hiroshi Ishii
Gilles Retsin and Manuel Jiménez Garcia, Bartlett School Tangible Media Group, MIT Media Lab, Cambridge, MA
of Architecture (UCL), (Miguel Angel Jimenez Garcia,
Ignacio Viguera Ochoa, Vicente Soler, Nagami Design, BioLogic, 2015. Video
Vicente Soler), London Lining Yao, Wen Wang, Guanyun Wang, Helene Steiner,
Chin-Yin Cheng, Jifei Ou, Oksana Anilionyte, Hiroshi
Aleksandrina Rizova/Studio Aleksa Ishii, Tangible Media Group, MIT Media Lab, Cambridge,
Transitional Fields, 2014 Massachusetts
CNC-cut and milled walnut wood top, resin base made Tangible Media Group, MIT Media Lab
using stereolithography
45 x 88.9 x 42.4 cm Cilllia
FNAC 2015-0239 3D print, load-bearing micro-structures for reactive touch
Centre National des Arts Plastiques surface
2016. 4 x 4 cm
Jenny Sabin Jifei Ou, Mike Wang, Gershon Dublon, Chin-Yi Cheng, Karl
Polybrick 1.0, Polybrick 2.0, Polybrick 3.0, 2014-2017 Willis and Hiroshi Ishii, Tangible Media Group, MIT Media
3D print (stoneware, porcelain, ceramic) Lab
17.78 x 17.78 x 7.62 cm; 12.7 x 7.62 x 5.08 cm;
30.48 x 30.48 x 15.24 cm Cilllia
Jenny Sabin Studio, Martin Miller, Nicholas Cassab, 3D print, load-bearing micro-structures for reactive touch
Jingyang Liu Leo, David Rosenwasser, Sabin Design Lab, surface, 2016, Video
Cornell University, Department of Architecture, Ithaca, NY Tangible Media Group, MIT Media Lab

Jenny Sabin, Dan Luo, Shogo Hamada Achraf Touloub

Polybrick, 2016. Vidéo Dessein Global, 2015
Jenny Sabin, Dan Luo, Shogo Hamada Series of 8 basins: The Forum, Aljazeera Live
(Tahrir Square), Racine, Wet Apples, Street Goth,
Neta Soreq Scan Page 140, Van (graffiti), AirBnb room
Energetic Pass I, 2016 32 x 49 x 16.3 cm; 40.4 x 28 x 14.5 cm; 34.5 x 25.6 x 12.3
3D print (Stereolithography), resin, nylon cm;
23 x 9 x 27 cm 28 x 20.5 x 10.3 cm; 33.7 x 24.8 x 12.5 cm; 21 x 29 x 11 cm;
Neta Soreq, Gedera, Israel 29.3 x 21.5 x 11 cm; 35 x 25 x 12.7 cm
Self-Assembly Lab, MIT 3D print (SLS® - Selective Laser Sintering), polyamide
(Christophe Guberan, Erik Demaine (MIT CSAIL), Produced with aid from Matei Cioata.
Carbitex LLC, Autodesk Inc.) Achraf Touloub, Paris
25

Unfold (Claire Warnier and Dries Verbruggen) Wake Forest Institute for Regenerative Medicine,
Skafaldo, 2015 Winston-Salem, NC
Wood, bronze 3D Bioprinter in Action, 2017
60 x 60 x 60 cm Video
In collaboration with Materialise Wake Forest Institute for Regenerative Medicine, Winston-
Unfold, Antwerp Salem, NC

University of Tokyo Advanced Design Studies Unit Daniel Widrig,

(Yusuke Obuchi, Kengo Kuma, Jun Sato, Kevin Clement, The Descendants, 2015
Anders Rod) 3D print in multimaterials, 3D Objet500™ printer
Drawn Pavilion, 2017 Connex3, Stratasys® Ltd.
Canopy, creation in situ, 3D print (PLA - polylactic acid), Woman: 178 x 75 x 50 cm / Man: 180 x 80 x 50 cm
video Collection managed and printed by Stratasys® Ltd.
3D print pen used to create the canopy
University of Tokyo Advanced Design Studies Unit François Willème
Photosculpture, c. 1860
Lilian van Daal Clay, plaster. 37 x 14.5 cm
Shapes of Sweden for Volvo, 2015 Loaned by the Musée des Arts et Métiers - CNAM, Paris
3D print (stereolithography)
65 x 50 x 50 cm Hongtao Zhou,
Prototype made with help from 3D Systems Benelux Textscape, 2015-2016
Centre Pompidou collection 3D print (FDM® - Fused Deposition Modelling), ABS
Purchase funded by the Design Acquisition Group of the (acrylonitrile butadiene styrene)
Société des Amis du Musée National d’Art Moderne, 2016 6 x 25 x 18 cm
Hongtao Zhou, Tyler Francisco, Hongliang Wang,
Olivier Van Herpt University of Hawaii-Manoa, Tongji University of China,
Sediment Vases, 2015 – 2016 Hunan University of Science and Engineering of China
Three 3D-printed vases (ceramic)
60 x 25 cm Photosculpture machine, 1939
Centre Pompidou collection Marcus Adams.
Purchase funded by the Design Acquisition Group of the 1’11’’ excerpt from a film of 1’53’’
Société des Amis du Musée National d’Art Moderne, 2016 © British Pathé

Dirk Vander Kooij The Last Whole Earth Catalog: Access to Tools
Endless Chair, Natural, 2010 Dir.: Steward Brand. N. 1160, June 1971
3D print (FDM® - Fused Deposition Modelling), recycled
plastic, using a customised 6-axis robotic arm 3Doodler V.1, 2013; 3Doodler Create, 2016; 3Doodler Pro,
79 x 40 x 62 cm 2016; 3Doodler Start, version for children, 2016
Studio Dirk Vander Kooij, Amsterdam 3D printing pens
19.21 x 4.1 x 5 cm; 15.9 x 1.8 x 1.9 cm; 16.5 x 2.9 x 3.1 cm;
Creating an Endless Chair, Video 14 x 3.8 x 4.4 cm
Producer: Esgo Klein Designed by Maxwell Bogue, Thomas Walker and Peter
Dilworth
Woody Vasulka WobbleWorks, Inc
C-Trend, 1975
1-inch digitised NTSC video, colour, sound The World’s First 3D Printing Pen, 2016.
Centre Pompidou, Musée National d’Art Moderne/Centre Video WobbleWorks, Inc
de Création Industrielle, Paris

Wake Forest Institute for Regenerative Medicine

Bio-impression 3D, 2017
3 Petri dishes, 3D print (artificial ear, nose and finger
bone), 7 cm (diam)
Wake Forest Institute for Regenerative Medicine, Winston-
Salem, NC
26

press visuals
GENERAL REPRODUCTION CONDITIONS FOR PRESS PUBLICATIONS
• The use of images of works is reserved exclusively for illustrating articles devoted to this exhibition or a
topical event directly related with it
• Any manipulation or alteration of works is forbidden; these must be reproduced in their entirety.
• The copyright to be indicated with any reproduction must include the author’s name and the title and date
of the work, followed by ©, whatever the provenance of the image or the place where the work is kept.
• Authorisation for any reproduction on the cover or the first page must be requested in advance.
• In all cases, the use of visuals is only authorised during the period of the exhibition.
Images may only be used in low definition on websites.

Achraf Touloub
Dessein Global, 2015
University of Tokyo Advanced Design Studies Unit
3D print (SLS® (Selective Laser Sintering), polyamide)
(Yusuke Obuchi, Kengo Kuma, Jun Sato, Kevin Clement, Anders Rod)
Series of 8 basins: The Forum, Aljazeera Live (Tahrir Square),
Drawn Pavilion, 2017
Racine, Wet Apples, Street Goth, Scan Page 140, Van (graffiti),
AirBnb room.
Photo: Gilles Puyfagès

Laureline Galliot
Teapot, 2012
Contour et MASSE collection, 2012-2016
Prototype of polychrome hollow teapot
3D print (fritted gypsum powder and coloured binder), 3D printer
Zprinter 650
22 x 12.5 x 22.5 cm
© Rights reserved/ Cnap/photo: Laureline Galliot

Joris Laarman
Adaptation chair, Gradient Copper Chair Edition# 5/12, 2015
Copper, 3D print (SLS® - Selective Laser Sintering), polyamide
63 x 60 x 70 cm
Centre Pompidou, Musée National d’Art Moderne/Centre de
Création Industrielle, Paris. Recent acquisition
© Centre Pompidou / Dist. RMN-GP
27

Olivier Van Herpt

Sediment Vases, 2015 – 2016
View of workshop, Eindhoven, 2015
Ceramic 3D print
Copyright Design Academy Eindhoven
Photo credit: Femke Rijerman

Jon Rafman
New Age Demanded (Pocked Sea Foam), 2013
3D print (SLS® [Selective Laser Sintering], polyamide)
Courtesy of the artist

Gramazio Kohler Research

Smart Dynamic Casting, A robotic gliding process for complex structures,
2012-2015
Three columns in concrete with bases
193 x 26 cm; 195.5 x 27 cm; 185 cm x 24 cm
Smart Dynamic Casting, Gramazio Kohler Research, ETH Zürich

Mathias Bengtsson
Growth Table Titanium, 2016 (design 2013)
Titanium, 3D print (EBM®-Electron Beam Melting)
140 x 66 x 81 cm 
Initial / Prodways
Copyright Matthias Bengtsson & Galerie Maria Wettergren
Centre Pompidou, Musée National d’Art Moderne/Centre de
Création Industrielle, Paris
Produced with support from Initial, Prodways Group, and the
Maria Wettergren Gallery
Purchase funded by the law firm De Gaulle Fleurance & Associés
and the Design Acquisition Group of the Société des Amis du
Musée National d’Art Moderne, 2016
28

Michael Hansmeyer and Benjamin Dillenburger

Grotto II, Digital Grotesque, 2017
3D print, silica sands and binder, multilayer covering
Centre Pompidou collection
345 x 323 x 194 cm
Production. Recent acquisition of the Musée National d’Art Nendo (Oki Sato)
Moderne. Diamond chair, 2008
Centre Pompidou collection 3D print (SLS® - Selective Laser Sintering), polyamide
58 x 52.7 x 60 cm
Centre Pompidou collection, Musée National d’Art Moderne/
Centre de Création Industrielle
Purchase funded by the Design Acquisition Group of the Société
des Amis du Musée National d’Art Moderne, 2016
Courtesy of nendo and Friedman Benda
© photo Masayuki Hayashi
 VERTIGO, the Art - Innovation Forum
IRCAM
Institute for Acoustical/Musical
Research and Coordination
www.ircam.fr
www.vertigo.ircam.fr 15 TO 18 MARCH 2017, Centre Pompidou
Press contact
Ircam
Opus 64
Valérie Samuel
Claire Fabre
Devised by IRCAM, VERTIGO is a new international and multidisciplinary forum for creation and
+33 (0)1 40 26 77 94 innovation in music, art, design and architecture, linked with digital technology
c.fabre@opus64.com
This year’s event brings together artists, engineers, scientists and entrepreneurs, who
Ircam contact substantially shift and transgress the limits of our here and now in a world disrupted by
Emmanuelle Zoll technology and its uses. It invites people to share new objects and fresh artistic inventions,
Communication
and Partnerships manager
breakthrough designs and innovative approaches to conception and production currently being
+33 (0)1 44 78 42 52 developed in workshops and laboratories. The result is a coming-together of several disciplines
emmanuelle.zoll@ircam.fr and cultures that often know nothing about each other in a "vertigo" effect, zooming in and
zooming out on our world...

The programme includes prototype presentations, critical and epistemological "Key Notes", round
tables and testimonies of artistic experiences tuned into engineering and scientific research.

A theme: Simulated Space and Digital Forms

In a digitised world, what are the implications of formal transformations in music, art, design,
architecture and cinema with regard to technological progress? The development of computation
has achieved radical changes that are fundamentally changing the work of architects, designers and
artists. Today, digital simulation processes have spread to every field, including the digital simulation
With the support of
of territory, 3D simulations of visual space and sound spatialisation. Whether in terms of sound, image
synthesis or the production of material objects, the digital space generates new forms that raise
numerous questions. Art meets the ecosystem of fab labs and "makers", while "digital manufacturers"
Major sponsor of the Centre Pompidou
are central to a new collaborative economy that has completely transformed the creator’s role.
Designers devise new sharing protocols with users, who can then work on digital files within
information exchange platforms, as part of an open innovation system.

In media partnership with

30

The aim of these interdisciplinary get-togethers is to outline and debate the artistic trends introduced
through 3D modelling and new materialisations of digital technology in the tools, forms, and processes of
contemporary creation.

1. WEDNESDAY 15 MARCH, 3.00 – 8.00 p.m., FORUM-1, CINEMA 2

Architecture and 3D Conception

2. THURSDAY 16 MARCH, 3.00 – 8.00 p.m., FORUM -1, CINEMA 2

Simulation and Virtual Reality

3. FRIDAY 17 MARCH, 9.30 a.m. – 8.00 p.m., FORUM -1, CINEMA 2

Makers, Design and Morphogenesis

4. SATURDAY 18 MARCH, 11.30 a.m. – 8.00 p.m., FORUM -1, CINEMA 2

Study Day: Digital Forms

VERTIGO: an interactive European residency project between artists and researchers

On 14 March 2017, during the forum, a first call for residencies will be launched for "VERTIGO", a
European project selected by the DG Connect of the European Commission in July 2016 (as part of the
STARTS (Science, Technology and the ARTS) initiative of the H2020 programme), and coordinated by
IRCAM.
VERTIGO brings together seven European partners which, after a three-year period of annual invitations,
are to organise 45 original collaborations in Europe in the form of artistic residencies interacting with
R&D projects in the field of information and communication technologies. VERTIGO will also unite the
synergies of these interdisciplinary communities via a communal digital platform - vertigo.starts.eu. The
aim is to connect artistic communities to stakeholders in innovation— laboratories, companies, incubators
and investors — and to present their joint creations not only at this annual forum initiated by IRCAM-
Centre Pompidou, but also at public events in France and within the international network of 20 cultural
correspondents involved in the project.

VERTIGO IS A EUROPEAN PROJECT

PARTNERS NETWORK OF CULTURAL
CORRESPONDENTS
IRCAM : France  
Artshare, LDA : Portugal Victoria & Albert Museum : United Kingdom
Fraunhofer Gesellschaft, FHG : Germany La Biennale : Italy
Inova + : Portugal Ars Electronica : Austria
Association Culture Tech, ACT : France Futureeverything : United Kingdom
EPFL : Germany ZKM |Center for Art and Media :Germany
Libelium : Spain Laboral : Spain
  TSRACT : Czech Republic
Factoria Cultural : Spain
CreativeApplications.Net [CAN] : United Kingdom
Kersnikova Institute : Slovenia
RIXC.org (Rasa Smite) : Latvia
DeTao Master : China
Association Leonardo / ISASTS : France / United States
of America
IPSAS : Slovakia
Fly Global : Taiwan
NCIS : Brazil
NANO : Brazil
Stromatolite : United Kingdom
Gluon : Belgium
31

TWO SHOWS IN THE Grande salle

Collaboration BETWEEN Ircam / spectacles vivants, centre pompidou

Le sec et l’humide
WEDNESDAY 15 AND THURSDAY 16 MARCH, 8.30 p.m.
Centre Pompidou, Grande salle
Toneelhuis Production. Co-production: IRCAM/Les Spectacles vivants-Centre Pompidou.
With support from the European Union’s Creative Europe Programme

While he was writing Les Bienveillantes (The Kindly Ones), Jonathan Littell wrote Le Sec et l’Humide (The
Dry and the Wet) about the fascist Belgian Rexist, Léon Degrelle. According to Degeele’s own terms and
ideology, this pits the dry, i.e. the verticality of fascist ideology, against the wet: the mud of communism.
A lecturer tells his modern audience about the Russian campaign and the fascist’s escape to Spain,
represented by sound archives. The narrator becomes the subject of his own story, and with the help of
sound engineering, History is confused with the present in the very body of the voice on stage.
Based on the eponymous work by Jonathan Littell, Gallimard Editions, 2008.

Guy Cassiers stage director

Filip Jordens performance
Johan Leysen voice
Erwin Jans dramatisation
Diederik De Cock sound design
Camille de Bonhomme assistant stage director
Grégory Beller IRCAM computerised music

Ircam live
SATURDAY 18 MARCH, 8.30 p.m.
Centre Pompidou, Grande salle
Co-production: IRCAM/ Les Spectacles vivants-Centre Pompidou.
With support from the ULYSSES Network, financed by the European Union’s Creative Europe Programme.

During the IRCAM Forum workshops, IRCAM Live (an introduction to music and sound technologies
for international professionals and artists) presents a new generation of electronic musicians and a
performance by a major artist.

Tarek Atoui : performance (20’)

Giulio Colangelo / Valerio De Bonis : [re]BO[u]NDS ~ expanded media (15’)
Florian Hecker : Formulation As Texture (working title), first performance (20’)
32

FOUR DAYS OF MEETINGS AND EXCHANGES

Centre Pompidou, cinéma 2, level – 1

WEDNESDAY 15 MARCH
ARCHITECTURE and 3D design

3.00 – 6.00 p.m. Round table: Introduction

With architects Gilles Retsin, Manuel Jimenez Garcia, Jenny Sabin and Joris Laarman; Philippe Morel,
President of XtreeE – 3D Printing in architecture, and Designer Joris Laarman.
Presenter: Frédéric Migayrou, assistant director of the Musée National d’Art Moderne/Centre de Création
Industrielle

6:30 p.m Meeting: music/architecture

With composer Olga Neuwirth and architect Greg Lynn
Presenter: Frank Madlener and Frédéric Migayrou

THURSDAY 16 MARCH
SIMULATION AND VIRTUAL REALITY

3.00 – 6.00 p.m. Talks

3.00 p.m. Franck Varenne, lecturer at the University of Rouen

3.30 p.m. Bruno Lévy, director of Inria Research; supervisor of the ALICE team-project

4.00 p.m. Gaël Seydoux, research and innovation manager of Technicolor

4.30 p.m. Frédéric Kaplan, director of the Digital Humanities Laboratory of the École Polytechnique
Fédérale, Lausanne
5.00 p.m. Olivier Warusfel, Markus Noisterning, researchers at IRCAM-STMS

5.30 p.m. Thierry Coduys, LanniX Association project manager/Gaël Martinet, co-founder of the Flux::
company

friday 17 marCH
MAKERS, DESIGN AND MORPHOGENESIS

9.30 a.m. – 11.00 a.m. Introduction to sound synthesis by the scientific teams of IRCAM

11.00 a.m. – 12.00 P.M. Introduction to sound design by the London Royal College of Arts

12.00 P.M.– 1.30 p.m. Round Table: Makers, Design and Collaborative Economy
With Sebastien Broca, sociologist, Paris 1-Panthéon-Sorbonne University, and the lawyer Amélie Capon
Marie-Christine Burau, sociologist, head of research of the CNRS-CNAM, and Vincent Guimas, co-founder
of the Nouvelle Fabrique, Ippolita Collective
Presenter: Anne-Cécile Worms (founder and president of the Art2M company)

3.00 – 4.30 p.m. Talks: New stringed instrument-making

3.00 p.m. Frédéric Bevilacqua and Emmanuel Fléty, researchers at IRCAM-STMS, Hugo Silva, co-founder
of the PLUX company

3.30 p.m. Adrien Mamou-Mani, founder of the HyVibe start-up

4.00 p.m. Pauline Eveno, founder of the HyVibe start-up
4.30 p.m. – 6.00 p.m. Round Table: Design
With Alain Prochiantz, researcher in neurobiology, professor at the Collège de France and Alain Connes,
mathematician, professor at the Collège de France and the IHES.
Presenter: Marie-Ange Brayer
33

6.30 p.m. Meeting: Forms and the mathematical expression of the world
With Alain Prochiantz, researcher in neurobiology, professor at the Collège de France and Alain Connes,
mathematician, professor at the Collège de France and the IHES.

SATURDAY 18 MARCH
STUDY DAY: DIGITAL FORMS
As part of the Vertigo Forum and in collaboration with the "Parole" (spotlight on…) department of the
Centre Pompidou’s Department of Cultural Development.
This study day, made possible with support from the LABEX CAP ("Creation, Art and Heritage" excellence
laboratory) and State financing managed by the Agence Nationale de le Recherche.

See programme page 11

FROM WEDNESDAY 15 MARCH – FRIDAY 17 MARCH

THE FORUM WORKSHOPS: DESIGN AND ACOUSTIC SPACES

The purpose of the IRCAM Forum workshops is to introduce the latest developments of IRCAM software,
bring together the users of this software, and enable artists and scientists to interact over the challenges
of innovation.

This year, the workshops will focus on design and acoustic spaces. They will be introducing projects by
students from the Royal College of Arts, the Le Mans École Supérieure des Beaux-arts and Goldsmith
College.

New sound spatialisation and sound architecture software will be presented, as well as new collaborative
musical applications based on smartphone networks.
The Forum will also be an opportunity to introduce hackers/makers to new motion-capture open hardware.

Over these three days, sessions on how to use IRCAM software will be available.

Users will also introduce their own applications, projects, and developments. Artists including Daniel
Formo, Forian Hecker and Lorenzo Bianchi will present projects developed during their IRCAM artistic
residencies.

USEFUL INFORMATION
Reservations: vertigo.ircam.fr
Prices: €18/€14/€10
34

IRCAM
The Institute of Acoustical/Musical Research and Coordination is one of the world’s most important public
research facilities devoted to musical creation and scientific research. Founded by Pierre Boulez, IRCAM
works in collaboration with the Centre Pompidou under the Ministry of Culture and Communication.
The STMS (Sciences and Technologies of Music and Sound) mixed research unit, hosted by IRCAM, is also
supervised by the CNRS and the Pierre & Marie Curie University.

250,000 people attend IRCAM’s productions in Paris and its international tours (concerts, performances,
installations). 150 young artists and science students are trained by IRCAM, and 290 music and sound
professionals take part in its 25 courses.

The institute is a unique site: a converging point between artistic, scientific and technological innovation.
Over the course of a season in Paris, during tours within and outside France and at ManiFeste (a new
event introduced in June 2012 combining an international festival and a multidisciplinary academy),
IRCAM focuses on three major concepts: creation, research and transmission.
 35

Ross Lovegrove
Convergence
12 april
3 july 2017
Galerie 3
level 1

With support from

Major partner to the exhibition

Major sponsor of the Centre Pompidou

The Centre Pompidou is devoting a first "forward-looking retrospective" to the work of the industrial
designer Ross Lovegrove, who promotes an overall vision of design based on the natural evolutionary
process. The exhibition looks back at this quest for new paradigms in creation, at the crossroads of art,
design, technology and nature.

"The idea of ‘convergence’ is important because it brings art and science together. It is an overall approach to
design that ought to play an essential role in the 21st-century ‘Renaissance’ we are currently experiencing, which
will lead to tangible creative principles that concern us all, wherever we are in the world," he says.

For Ross Lovegrove, designers are interpreters or "sculptors" of technology. His objects with their dynamic
shapes, seemingly in virtual movement, reflect digital developments in the contemporary world while
opening out to new ways of living, marked by a "sustainable" awareness of the world where form harmonises
with nature. The designer draws on the growth principles of natural forms to conceive complex structures
Media partner
with innovative materials, focusing on the lightness of form and use. Biomimicry and the minimal use of
energy are central to his approach.
 36

Ross Lovegrove's intelligent use of materials and industrial processes is unique.

Curatorship Through designs that range from everyday objects to cars, aviation and architecture, the designer
Marie-Ange Brayer,
has developed the concept of "DNA" (Design, Nature, Art), creating a powerful link between digital
curator,
Olivier Zeitoun,
technologies, the science of materials and organic forms. As well as observing nature, he draws
assistant curator fundamental inspiration from the hole-riddled sculptural forms of Henry Moore, the paintings of Francis
Bacon and the "kinetic" sculptures of Tony Cragg.
Exhibition catalogue
published by the Centre
Pompidou Ross Lovegrove is one of the few designers who makes biology, anthropology, physics and ecology central
160 pages, 200 illustrations to his work, and promotes a humanistic vision of design as part of a holistic approach to creation. In his
Edited by Marie-Ange Brayer view, "the idea of convergence intimates a time where the merging of all things takes the form of a profound
Articles by
change in the way we see and make the physical world around us".
Ross Lovegrove,
Marie-Ange Brayer,
Frédéric Migayrou,
Olivier Zeitoun
 "Design is a sphere that is continually being reinvented. Because it involves transforming natural resources
Price: €32
into useful objects, the designer is at the very heart of today's technological issues, which affect not only our
own emotional and aesthetic state but also our collective awareness as human beings – a species that is ever
rapidly evolving and needs to adapt continuously." Ross Lovegrove

MEETING BETWEEN ROSS LOVEGROVE AND ALAIN PROCHIANTZ

SPOTLIGHT ON DESIGN
12 APRIL, 19H, PETITE SALLE
An industrial designer and pioneer in the use of digital tools, Ross Lovegrove draws inspiration from the
evolutionary processes of nature and has adopted a holistic approach to creation.
Alain Prochiantz, a specialist in molecular biology, constantly explores the morphogenetic dimension
of living organisms. A summit meeting between a designer and a scientist on the convergence between
technology and life forms.

Ross Lovegrove in his workshop

37

exhibition plan
38

profile of the artist

Born in Cardiff, Wales, in 1958, Ross Lovegrove studied industrial design at the Manchester Polytechnic,
then at the Royal College of Art in London, graduating in 1983.

He became well-known for his work with Frogdesign in Germany, designing Walkmans for Sony and
iMac computers for Apple. He worked as a designer with Knoll International in Paris from 1984 to 1987,
creating the Alessandri Office System. During this period, he collaborated with Philippe Starck and Jean
Nouvel at the Atelier de Nîmes, and was a consultant with Hermès, Louis Vuitton and Dupont. In 1986, he
returned to London, where in 1990 he opened Studio X in Notting Hill, working on projects for numerous
clients including Airbus Industries, Kartell, Idée, Cappellini, Moroso, Artemide, Driade, Luceplan, Apple,
Issey Miyake, Vitra, Motorola, LVMH, Yamagiwa Corporation, Tag Heuer, Herman Miller, Airbus Industries,
Japan Airlines, Kiko, KEF, Barrisol, Lasvit, Swarovski and Zanotta.

In 1990, his Eye Camera already sported a biomorphic form adapted to the body. The fluidity of his objects
paves the way to a new sensorial experience. For Lovegrove, form is the narrative of an organic process.
After the Go Chair (1998), the Supernatural chair of 2005 put the spotlight on his approach, which he
described as "organic essentialism", reducing the object to its minimal formal language. He was now
established as an "organic designer", following in the footsteps of Eero Saarinen and Charles Eames.

With each of his objects, Lovegrove implements a completely new production process, drawing from the
digital technologies he has pioneered in the field of design. In 1999, the Ty Nant Bottle, whose form is
inspired by the undulating movements of water, was one of the first industrial projects to be designed
digitally.

Lovegrove sees design as part of an environmental approach. In 2006, he advocated the use of solar
energy for cars (Swarovski Crystal Aerospace Car). The carbon fibre Ginkgo Table (2007) echoes the dynamic
principle of a gingko biloba leaf. The stackable aluminium Diatom chair (2014, Moroso) incorporates
automobile technologies while taking inspiration from diatoms – primitive single cell organisms. His
lighting for Artemide sidesteps the physicality of objects, becoming light-filled environments. He was
one of the first designers to use the simulation software and digital tools of architecture, similar to the
approach of Zaha Hadid, whom he describes as an "organic architect". The LiquidKristal Pavilion (2012,
with Alisa Andrasek) is a piece of parametric architecture in glass: an optical arrangement that turns into
an immersive setting. In 2012, he began working for Renault on the new Twingo concept car, the Twin’Z: a
project for an electric car based on the most advanced digital modelling technologies.

Ross Lovegrove has received numerous awards. His works are widely exhibited throughout the world, and
are found in the MoMA in New York, the Design Museum in London, the Vitra Design Museum in Weil am
Rhein and the Centre Pompidou.
 39

SWAROVSKI
The main sponsor for the Ross Lovegrove exhibition staged by the Centre Pompidou as part of the
Mutations/Créations event, Swarovski has developed close ties with the British designer, particularly
Major partner of the exhibition
for two new projects presented for the first time in this retrospective: Swarovski Crystal Aerospace and
Generator House.

The designer looks back at this remarkable collaboration.

Swarovski Crystal Aerospace, at the convergence point of artistic design and science
"My work with Swarovski has mainly consisted of promoting innovation by exploring the use of crystal in
unusual forms. These major projects concern two main fields, arising from a universal human need: the first
is to explore solar energy to obtain the actual movement in automobile design; the second is to live without
polluting, independent from any electricity grid, thanks to innovation in product architecture. Swarovski Crystal
Aerospace is a polarising, convergent example of the way in which a unique artefact can have a foot in several
worlds and foster a completely new conception of design in the 21st century. This realisation has been broadly
exposed in the realms of art, design, technology and transport, which gives it a unique position unparalleled by
any other work in the last fifty years.

Inspired by the intelligent engineering central to the space industry, this object contains one thousand
specifically cut crystals, mounted on a thousand photovoltaic polycrystalline cells by means of 3D-printed
transparent supports, so that the two crystal states are in line.
The solar energy is intensified and divided evenly over the solar panel to optimise the energy gain, and the
electricity produced in this way in the upper layer is stored in lithium batteries inside the vehicle.

This biomorphic cell covering, based on natural materials, is embodied in a strikingly beautiful aerodynamic/
hydrodynamic form. When I was designing this car, I was working with Cambridge University on the Solar
Challenge Vehicle project, and I learned that the most expensive solar car built at the time was a Honda, which
cost €5 million. In comparison with an equivalent average fossil fuel automobile programme, which can cost
up to $2 billion, I found this an extraordinary occasion to benefit from the amazing integrity of this alternative
thinking, and to encourage artistic and scientific minds to follow this approach.

The vehicle defends and promotes a new form of universal awareness in line with this progressive, intelligent
engineering, where physics and the science of materials serve to create supremely beautiful objects. It links all
the components of its concept, art and design with science and technology. Today, now that images of space are
omnipresent in the media – thanks to SpaceX, for instance – it would be marvellous and valuable to introduce
this level of beauty and reasoning into everyday life on earth."

Generator House:
"Why wouldn't a company with plenty of money, a philanthropic cultural policy, the necessary technological
expertise and a world-famous name use this foundation to explore new avenues, advance the way we live and
foster the cause of ecology for the new millennium? After the car, the next stage involved searching for new
paradigms for the way we live and the places we live in. In this age of increasingly present social media, access
to information via the Internet and the huge steps made in autonomous energy technologies — off the grid —,
more and more people want to live in the country, away from cities, while remaining totally connected to human
activities and culture.

This development, combined with increasingly serious concerns about climate change and atmospheric pollution,
makes the idea of living in an autonomous house at the cutting edge of progress particularly appealing.

The “Generator House” programme was developed over a year, in association with the engineers of Ove Arup,
under the supervision of Mits Kanada in Tokyo.
40

A very big thank you to Nadja Swarovski, who personally supported the project and is now the main sponsor of the
retrospective devoted to my work by the Centre Pompidou."

Ross Lovegrove
December 2016
41

10 KEY PIECES

Swarovski Crystal Aerospace (2005-2006)

Car prototype, polycarbonate, aluminium Gingko Carbon Table (2007-2008)
H. 100 x L. 420 x D. 180 cm Carbon fibre
Editor and collection: Swarovski H. 120 x L. 125 x D. 72 cm
Editor: Lovegrove Research
Centre Pompidou, Musée national d’art moderne/Centre de
Fascinated by the solar cars developed for the création industrielle, Paris
Trans Australia Solar Car Race, Ross Lovegrove
designed this concept car, an innovative forerunner The carbon fibre Ginkgo Table is based on the
in terms of solar energy. Created in collaboration dynamic principle of a gingko biloba leaf through
with Sharp Solar Europe and Swarovski Optical the interaction of two carbon leaves, which fold and
Laboratories, this ultra-light, ecological and unfold to distribute the material’s structural forces.
long-lasting biomorphic structure is covered with The advanced technology of composite materials
polycrystalline photovoltaic cells, which refract the based on carbon fibre makes the Gingko Table is an
sunlight and turn it into energy. extremely light object, whose reticulated texture
The Swarovski Crystal Aerospace stimulates the is derived from technology used in the automobile
visionary dream of new methods of silent, non- and aeronautics industries.
polluting transport.

Ty Nant bottle, (1999-2001) Ilabo Shoes (2015)

Polyethylene 3D-printed nylon
H 23 – diam. 6 cm H. 35 x L. 30 x D. 12 cm
Editor: Ty Nant Editor: United Nude
Ross Lovegrove

The result of reflection on the essence of water, the

Ty Nant Bottle is one of the first industrial products The Ilabo Shoes (United Nude) lie at the crossroads

to be digitally designed. Inspired by the movements of design, architecture and bioengineering. Printed

of water, the Ty Nant Bottle succeeds in capturing in 3D using parametric software, the Ilabo Shoe

the very essence of the element, beautifully is based on a simulation of gravitational forces.

expressing its fluidity. In a non-toxic material, Its three-dimensional polygon mesh results from

this object embodies Ross Lovegrove’s concept a 3D scan of the foot’s bionic geometry, which

of “DNA” (Design, Nature, Art): how design can accentuates verticality and produces weight without

become art through technology. gravity and mass without material.

42

Cosmic series (2009-2011)

Editor : Artemide

Cosmic Leaf, 2009

Steel, chrome, polymer
H. 192 x L. 38 x D. 22 cm
Base: Diam. 22 cm
Artemide

Cosmic Angel, 2009-2011

Aluminium, polymer
H. 25 x L. 178 x D. 80 cm
Editor: Artemide
Ross Lovegrove

Cosmic Landscape, 2009-2011

Polymer
Generator House (2006-2008)
H. 44 x L. 48 x D. 80 cm
Plan for self-sufficient house using solar energy
Editor and collection: Artemide
Computer-generated images. Created with the support of
Swarovski.
Cosmic Angel, Cosmic Leaf and Cosmic Landscape
make up a series of lamps created for the Italian In the same line as Solar Car and Solar Tree,
firm Artemide, which sidestep physicality and this project for a responsible house, designed in
become light-filled environments. Their fluid partnership with Carbo Tech and Arup, responds
organic forms, simultaneously simple and complex, to current and future concerns for human beings
are the result of algorithmic calculations. The light as regards adapting to changes in the climate and
is deflected through coloured filters and acquires a atmosphere.
polysensorial, atmospheric dimension. The house spreads out in a natural, non-urban
environment where the families who occupy it can
live in synergy with nature, in a space conducive to
well-being. The structure of the house is developed
from polymers and other light composite materials.
Its entirely transparent facade is equipped with
photovoltaic cells. The power source for the house
is a turbine incorporated into its architecture.
43

Diatom (2014) Pavillon Lasvit LiquidKristal (2012)

Varnished natural aluminium with glossy transparent protective Lasvit glass, steel structure, Barrisol roof
coating, or colour-painted H. 400 x L. 1200 x D. 800 cm
H. 77 x L. 72 x Diam. 63 cm Editor and collection: Lasvit
Editor: Moroso
Ross Lovegrove
Presented at the Milan Triennial in 2012, the Lasvit
LiquidKristal pavilion features fluid architecture in
With Diatom (Moroso), Ross Lovegrove took
undulating glass. Designed using parametric
inspiration from diatoms: single-cell organisms
design tools, the glass panels are all unique and
found in the ocean depths. This ultra-light stac-
give the impression of passing from a liquid to a
kable chair in pressed aluminium was entirely
solid state through play on optical effects. On the
generated by parametric design tools. Its mass,
ceiling, a video of digital "animated "forms created
reduced to a minimum, is covered in figured motifs
by the architect Alisa Andrasek, immerses us in a
whose structural density reinforces the material’s
dematerialised world where natural forms are
properties, using processes similar to automobile
recreated digitally.
and aeronautics technologies.

Concept-car Renault Twin Z (2012-2013)

Mixed materials Infinity Loop (2014)
H. 170 x L. 363 x D. 152 cm; 850 kg Textile, aluminium
Editor and collection: Renault H. 179 x L. 187 x D. 53 cm
Editor and collection: Barrisol

In 2012, Ross Lovegrove worked for Renault on a

new Twingo concept car: the Twin’Z, a project for an Designed using an innovative material, Barrisol,
electric car based on cutting-edge digital modelling the three Alpha, Beta and Sigma lights consist of
technologies. LED lighting covered in stretched fabric over a
Designed as a light filled, streamlined metal structure. The fabric surfaces coil around
technological box, its aerodynamic performance is each other to produce an architectural volumetry.
linked with a network of LEDs that gradually light Digital simulations made it possible to study the
up to emphasise the idea of a journey. Through the behaviour of materials to produce forms that are
use of composite and recycled materials, Twin’Z both simple and complex, and adapt to a variety
promotes ecological principles and a new attitude of scales
to consumption.
44

THREE QUESTIONS FOR ROSS LOVEGROVE

Interview published in Code Couleur no. 27, the Centre Pompidou programme magazine

MARIE-ANGE BRAYER : What made you become a designer? What does being a designer mean today?

ROss LOvEGROvE : I became a designer because design brings together art, science and technology,
and also to express my wonder at nature. Design is in a constant state of reinvention. Because it involves
transforming natural resources into useful objects, designers are central to the ecological issues that
affect our emotional and aesthetic state, and our collective awareness. We are a rapidly, continuously
evolving species that has to adapt.

MAB : Using the most cutting-edge technology, you design a wide range of objects, often evoking the
idea of "organic design". What does that involve?
RL : I call "organic essentialism" a physical state that is as natural as possible. Forms that appear as
biomorphic come from the intrinsic forces of the material. We are being propelled into a new "biological"
age, where the design of robotics, prosthetics, driverless cars and architecture is based on the structural
principles of nature. The minimal use of energy and biomimicry seem crucial to me, as with the
Supernatural chair (2005). With the carbon fibre Ginkgo Table (2007), I reproduced the dynamic principle of
a leaf from this tree. Diatom (2014) makes use of automobile technologies while taking inspiration from
diatoms: primitive single cell organisms. Mass is converted into light, supple, perforated membranes
echoing the principles of organic growth.

MAB : Biology, anthropology, physics and ecology are central to your designs and promote a humanistic
vision of design. What does "convergence" mean in this holistic approach to creation?
RL : For me, the idea of "convergence" comes down to a time where the merging of all things takes the
shape of a profound change in the way we design and produce. The revolution now introduced by additive
manufacturing will enable us to print material with a cellular biological precision. Advances in the
science of materials, clean energies and biomimicry, combined with progress in physics, will provide a
better understanding of the components of life itself, where intelligent adaptation will echo the human
imagination. The idea of "convergence" brings together art and science: this overall manner of seeing
things will play a primordial role in this second "Renaissance" in the 21st century, and will result in
tangible creative principles that concern us all, wherever we are in the world.
45

partners

As a part of the Centre Pompidou exhibition “Barrisol is the world’s leading manufacturer of
dedicated to Ross Lovegrove’s works Lasvit, the stretched ceilings. Today, we are proud ta present our
Czech-based manufacturer, is proud to present collaboration with Ross Lovegrove, who is a world-
LiquidKristal Pavilion, innovative organic-like glass acclaimed designer of intelligent organic forms.
panels, the result of a year-long collaboration With more than 45 years’ experience in the industry,
that designer Ross Lovegrove defines as a “high the Barrisol team shows exceptional workmanship in
precision heat transfer.” its products, which form these unique organic shapes.
Lasvit deployed its most advanced technology to The pairing of Ross Lovegrove and Barrisol has
produce the transparent, undulating and dynamic enabled us to expand the universe of design, in order t
crystal panels. Working with mathematical o provide brilliant solutions for lighting and mirrors.”
models, the behavior of glass was simulated Jean-Marc Scherrer, president Barrisol-Normalu
under controlled thermo induction. This produced SAS
a highly-informed line code, which serves as
the blueprint for the production process, where “Barrisol has great potential to explore organic and
highly precise temperature control imbues the linear spaces. Our studio, committed to innovation
glass surface with optical effects seen in water. and modernity, has focused on amplifying its
Working with Lovegrove, Lasvit’s research facilities values of acoustic dampening, reflectivity, elasticity,
developed a special flexible mold system to capture diffusion and lightness. This installation opens up an
this unstable beauty. Lasvit, founded in 2007 aesthetic territory that lies between the deep ocean
by Leon Jakimic, combining innovative technologies and deep space, to create a dialogue for the 21st
and creative craftsmanship. Nendo, Arik Levy, century between aquatic biomorphism and Nasa-like
Daniel Libeskind, Maarten Baas, Czech legends intelligent systems.”
Rene Roubicek and Borek Sipek are among those Ross Lovegrove, London, 2014
who chose Lasvit in order to embody
their unconventional artistic vision.
46

KEF, one of the originators of British Hi-Fi Groupe Renault has been making cars since 1898.
sound, will once again be joining forces with Today it is an international multi-brand group,
Ross Lovegrove by sponsoring a major exhibition selling more than 3,18 million vehicles in 125
dedicated to the visionary industrial designer at the countries in 2016, with 36 manufacturing sites,
Centre Pompidou in Paris, France. The exhibition 12,000 points of sales and employing more than
will showcase Lovegrove’s unique philosophy of 120,000 people. To meet the major technological
connecting nature and computation, challenges of the future and continue its strategy
biology and design, and scientific research with of profitable growth, the Group is harnessing its
a high artistic dimension. Lovegrove’s design international development and the complementary
approach echoes KEF’s belief in the power of fit of its four brands, Renault, Dacia, Renault
design and engineering excellence to enhance the Samsung Motors and Alpine together with electric
everyday pleasure of enjoying music in ways that vehicles and the unique Alliance with Nissan. With
fit people’s changing lifestyles. KEF first partnered a new team in Formula 1 and a strong commitment
with Lovegrove in 2007 to create the ultimate in Formula E, Renault sees motorsport as a vector
MUON loudspeaker - a formidable marriage of innovation, image and awareness.
of groundbreaking audio technologies and
advanced materials in a uniquely sensuous, organic
form. A second collaboration took place in 2015,
which resulted in the portable Bluetooth speaker
MUO, featuring the same innovative design DNA.
Both MUON and MUO have since become design
icons of the audio industry and the industrial design
community.
47

Ross Lovegrove and Patrizia Moroso first met in the

late ‘90s at the birth of M-Sofa, a seating range for
the contract market. Later, in 2002, Moroso invited
Lovegrove and other famous designers
to take part in the Off Scale exhibition and design
a furnishing item, which was 3D-printed as a
small-scale model. Supernatural arrived the
following year. Its design united the fundamentals
of the nature studies which have always interested
Lovegrove, and advanced pressing and production
techniques. “I was fascinated,” says Patrizia,
“by the vision underpinning Lovegrove’s designs,
which are influenced by his love of Nature and her
forms. Precise, never casual laws always govern
his creations, a magical union of a perfect structure
deriving from mathematical models and his powerful
aesthetic. He has a sophisticated, sensuous aesthetic
with a personal inner elegance”. That research led
in 2013 to the Diatom chair inspired by the form of
a single-cell organism, which is invisible to the eye
yet embodies the essence of perfection.

Moroso Press Office

+39 02 878990
Alice Caudera :
alice.caudera@moroso.it
Alessandra Monteleone :
alessandra.monteleone@moroso.it
48

list of works
Disc Camera, 1981 Emma Office System, 1995-2000 Go Chair Model, 1998
Acrylic, H. 25 x L. 8 x D. 3 cm Resin, steel, first-generation Model
Editor and collection: Ross polymer H. 77.5 x L. 58.4 x D. 68.6 cm
Lovegrove 50 x 50 x 15 cm Editor: Bernhardt
Editor: Herman Miller Ross Lovegrove
Eye Camera, 1990 Ross Lovegrove
Silver Resin Go Chair Model, 1998
H. 15 x L. 8 x D. 3 cm Emma Office System, 1995-2000 Model in wood
Editor: Olympus Model, model in resin H. 77.5 x L. 58.4 x D. 68.6 cm
Ross Lovegrove Editor: Herman Miller Editor: Bernhardt
Ross Lovegrove Ross Lovegrove
Eye Camera, 1990
9 models, resin mould, Emma Office System, 1995-2000 Oasi, 1998
H. 15 x L. 8 x D. 3 cm Steel tiling PU foam, leather, steel
Editor: Olympus 250 x 250 x 5 cm H. 74 x L. 90 x D. 76 cm
Ross Lovegrove Editor: Hermann Miller Stool: H. 37.5 cm
Ross Lovegrove Editor: Frighetto
Giorgio Armani, 1991 Ross Lovegrove
Resin, H. 15 x L. 10 x D. 3 cm Qwerty/Apollo, 1997
Editor: Armani Beige-painted deck chair and steel Jal Seat, 1998-2002
Ross Lovegrove framework; shell in untreated rattan Model 1:5, mixed materials
H. 92 x L. 152 x D. 40 cm Editor: Japan Airlines
Driade Solo, 1991 Editor: Driade Ross Lovegrove
Stainless steel, 24 x 25 x 0.5 cm Ross Lovegrove
Editor: Driade Jal Seat, 1998-2002
Ross Lovegrove Villa Matoso, 1997 Model 1:20, mixed materials
Model, stereolithography (SLA®) Editor: Japan Airlines
Lotus, 1991-1993 H. 200 x L. 450 x D. 750 cm Ross Lovegrove
Ceramic Editor and collection: Ross
H. 14 x L. 19 x D. 26 cm Lovegrove Biowood, 1999
Editor: Driade Wood, H. 42 x L. 10 x D. 10 cm
Ross Lovegrove Biolove’Biomega, 1997-1999 Editor: Lovegrove Research
Carbon fibre Ross Lovegrove
Lotus, 1991-1993 185 x 71 x 108 cm
Ceramic Editor: Biomega Biowood, 1999
H. 4 x L. 6 x D. 8 cm Ross Lovegrove Wood, H. 42 x L. 10 x D. 10 cm
Editor: Driade Editor: Lovegrove Research
Ross Lovegrove Solar Bud bollard light, Ross Lovegrove
1998
Solar Seed, 1994 Polycarbonate, aluminium Ty Nant Pet Bottle, 1999-2001
Model 1:20, polymers H. 15 x Diam. 30 cm Aluminium moulds
H. 50 x Diam. 38 cm Editor and collection: Luce Plan H. 50 x L. 25 x D. 25 cm
Editor: Lovegrove Research Editor and collection: Ty Nant
Ross Lovegrove Go, 1998
Powdered magnesium coating, seat Brazilia, 2003
Emma Office System, 1995-2000 in polypropylene Polyurethane
Polymer table top H. 77.5 x L. 58.4 x D. 68.6 cm Chair: H. 83 x L. 56 x D. 100 cm
190 x 45 x 5 cm Editor: Bernhardt Stool: H. 38 x L. 46 x D. 55 cm
Editor: Hermann Miller Ross Lovegrove Editor: Zanotta
Ross Lovegrove Ross Lovegrove
Go Chair Explosion, 1998
Emma Office System, 1995-2000 Powdered magnesium coating, seat Cetacea, 2000
Table, mixed materials in polypropylene Hand-moulded copper
75 x 35 x 20 cm 122 x 140 x 27.5 cm H. 63.5 x L. 182.2 x D. 70.5 cm
Editor: Hermann Miller Editor: Bernhardt Editor: Lovegrove Research
Ross Lovegrove Ross Lovegrove Ross Lovegrove
49

Megabioform, 2000 Muon, 2005-2007 Andromeda, 2008

Aluminium Aluminium Steel with painted finishings, rigid
H. 72 x L. 290 x D. 162 cm H. 200 x L. 38 x D. 60 cm; 115 kg polyurethane foam, mirror
Editor: Lovegrove Research Editor: KEF H. 27 x L. 80 x D. 46 cm
Ross Lovegrove Ross Lovegrove Editor: Yamagiwa
Ross Lovegrove
Bamboo Bike Biomega, 2001-2008 Hu, 2005-2008
Bamboo, 156 x 102 x 57 cm Titanium, H. 10 x L. 10 x D. 5 cm Cellular Automata, 2008
Editor: Biomega Editor: Issey Miyake Stereolithography
Ross Lovegrove Ross Lovegrove H. 45 x L. 45 x D. 45 cm
Editor: 21:21 Gallery Tokyo
Tube Architecture, 2002-2003 Hu, Black Version, 2005-2008
Ross Lovegrove
Digital print Titanium, H. 10 x L. 10 x D. 5 cm
H. 29.7 x L. 42 cm Editor: Issey Miyake Geon, 2008
Ross Lovegrove Ross Lovegrove Polycarbonate
H. 47 x L. 20 x D. 43 cm
Solar Tree, 2002-2009 Hu, Printed Model, 2005-2008
Editor: Yamagiwa
Model, mixed materials Model, H. 10 x L. 10 x D. 5 cm
Ross Lovegrove
65 x 65 x 75 cm Editor: Issey Miyake
Editor: Artemide Ross Lovegrove Calgat, 2008
Ross Lovegrove 3D print
Hu Case, 2005-2008
H. 80 x L. 80 x D. 80 cm
DNA, 2003 Case, H. 12 x L. 10 x D. 7 cm
Editor: Lovegrove Research
Combination of fibreglass and Editor: Issey Miyake
Ross Lovegrove
unidirectional carbon Ross Lovegrove

400 x 230 cm diameter; 400 kg Car on a Stick, 2009

Mill Path Studies, 2006
Editor: Lovegrove Research Model, Diam. 80 cm
Black-anodised, H. 30 x L. 30 x D.
Ross Lovegrove Editor and collection: Ross
45 cm
Lovegrove
Editor and collection: Ross
Physics, 2005
Lovegrove Cosmic Leaf, 2009
Glasses, H. 4.5 x L. 27 x D. 34 cm
Steel, chrome, polymer
Editor: Tag Heuer
Generator House, 2006
H. 192 x L. 38 x D. 22 cm
Ross Lovegrove
Model to the scale of 1:20
Base: Diam. 22 cm
3D print and acrylic tubes
Ridon, 2005 Editor and collection: Artemide
H. 50 x Diam. 45 cm
Carbon fibre on digitally moulded
Editor: Lovegrove Research Novartis Stairs, 2009
foam core
Ross Lovegrove Model, H. 113 x L. 64 x D. 33 cm
H. 105.5 x L. 181.5 x D. 40 cm
Editor: Novartis
Editor: Lovegrove Research GT110, 2006-2008
Ross Lovegrove
Carbon fibre and Kevlar
Supernatural, 2005
46 x 14 x 37 cm
Monohull in polypropylene Cosmic Angel, 2009-2011
Editor: Globe Trotter
H. 79 x L. 64 x D. 56 cm Aluminium, polymer
Ross Lovegrove
Editor and collection: Moroso H. 25 x L. 178 x D. 80 cm
Ross Lovegrove Editor: Artemide
Download Pen MGX, 2007
Ross Lovegrove
Resin and 3D-printed rubber
Vertebrae, 2005
Editor: Materialise
Carbon fibre on digitally moulded Cosmic Landscape, 2009-2011
Collection: Ross Lovegrove
foam core Polymer, H. 44 x L. 48 x D. 80 cm

252 x 63 x 205 cm Editor and collection: Artemide

Liquid Carbon, 2007
Editor: Lovegrove Research Carbon fibre on digitally moulded
Kenzo Perfume Bottle, 2010-2011
Ross Lovegrove foam core
Glass, H. 9 x L. 3 x D. 13 cm
292 x 94 x 60 cm
Editor: Kenzo
Swarovski Crystal Aerospace,
Editor: Lovegrove Research
Ross Lovegrove
2005-2006
Ross Lovegrove
Car prototype, polycarbonate,
Kenzo Perfume Bottle Models,
aluminium Gingko, 2007
2010-2011
H. 100 x L. 420 x D. 180 cm Carbon fibre
H. 9 x L. 3 x D. 13 cm
Editor and collection: Swarovski H. 120 x L. 125 x D. 72 cm
Editor: Kenzo
Editor: Lovegrove Research
Ross Lovegrove
Ross Lovegrove
50

Liquid Shelves, 2011 Monolith, 2013 Factoria

Aluminium, H. 300 x L. 200 x D. 50 cm H. 72 x L. 60 x D. 50 cm Model, 1:10
Editor: Lovegrove Research Editor and collection: Moroso H. 23 x L. 23 x D. 103 cm
Ross Lovegrove Editor: Lovegrove Research
Foliates Collection, 2014
Ross Lovegrove
Nebula, 2012 3D-printed poured gold
Aluminium, opaline, methacrylate, H. 6 x L. 6 cm
Nest Architecture
polished chrome metal H. 6 x L. 4 cm
Model, H. 120 x Diam. 22 cm
Diam. 80 x D. 14 cm H. 6 x L. 3.5 cm
Editor and collection: Ross
Editor: Artemide H. 8 x L. 4 cm
Lovegrove
Ross Lovegrove Editor: Louise Guinness
Ross Lovegrove
Notebooks
Corolised Chairs, 2012
Paper and leather
Three models, 3D-printed alumide Infinity Loop, 2014
Open: H. 16 x L. 44 x D. 2 cm
H. 70 x L. 45 x D. 45 cm Textile, aluminium
Closed: H. 16 x L. 22 x D. 2 cm
Editor: Lovegrove Research H. 179 x L. 187 x D. 53 cm
Ross Lovegrove
Ross Lovegrove Editor and collection: Barrisol

New Nature, 2012 Biophilia, 2014 Elephant skull

Steel, polymer Roto-moulded polyurethane H. 67 x L. 70 x D. 107 cm
H. 188 x D. 20 cm H. 103 x L. 47 x D. 56 cm Ross Lovegrove
Base: D. 28 cm Editor and collection: Vondom
Editor and collection: Artemide Dessins et croquis
Diatom, 2014
Instinctive Override, 2012 Varnished natural aluminium Pixelated Architecture Study
Video projection onto foam form, with glossy transparent protective Digital print
H. 340 x L. 250 cm coating or colour-painted H. 29.7 x L. 42 cm
Editor and collection: Ross H. 77 x L. 72 x Diam. 63 cm Ross Lovegrove
Lovegrove Editor: Moroso
Ross Lovegrove Swarovski Crystal Aerospace Meets
Pavillon Lasvit Liquidkristal, 2012 Henry Moore Mother & Child
Lasvit glass, steel structure, Ilabo Shoes, 2015 H. 29.7 x L. 42 cm
Barrisol roof 3D-printed nylon Editor: Swarovski
H. 400 x L. 1200 x D. 800 cm H. 35 x L. 30 x D. 12 cm Collection: Ross Lovegrove
Editor and collection: Lasvit Editor: United Nude
Ross Lovegrove Pixilated Composition
Alisa Andrasek (Biothing)
Multimaterial Research
Pavilion’s digital animation Chlorophillia, 2015
H. 29.7 x L. 42 cm
Lasvit Liquidkristal, 2012 Polycarbonate and aluminium
Ross Lovegrove
Video H. 200 x L. 77.5 cm
Ross Lovegrove Editor and collection: Artemide
Tube Architecture With Marc

Ross Lovegrove Christmas Collection, 2016 Forner Drawing

Twin Z, 2012-2013 Editor and collection: Kiko Digital print

Mixed materials Ross Lovegrove H. 29.7 x L. 42 cm

H. 170 x L. 363 x D. 152 cm; 850 kg Ross Lovegrove

Summer Collection, 2016
Editor and collection: Renault
Polymer Tube Architecture –

Renault Wheel Model, 2012-2013 Editor and collection: Kiko Vertical Tower Studies

3D-printed model Digital print

Fall Collection, 2016 H. 42 x L. 29.7 cm
H. 45 x L. 50 cm
Editor and collection: Kiko Ross Lovegrove
Editor: Renault
Ross Lovegrove
Barrisol Cocoon, 2016
Tube Architecture
Barrisol panels, metal structure
Moot, 2012-2013 Digital print
265 x 820 x 820 cm
Carbon fibre, H. 80 x L. 59 x H. 29.7 x L. 42 cm
Editor and collection: Barrisol
D. 46 cm Ross Lovegrove
Seat: H. 46.5 cm
Ty Nant Installation, 2016
Editor and collection: Established & Son Tube Architecture
Glass and polyethylene
Digital print
H. 368 x L. 331 x D. 25 cm
H. 29.7 x L. 42 cm
Editor: Ty Nant
Ross Lovegrove
51

Tube Architecture Kyoto Car Study

Digital print Drawing
H. 42 x L. 29.7 cm H. 29.7 x L. 42 cm
Ross Lovegrove Ross Lovegrove

Speculative Architecture With Milled Foam Architecture Study

Roman Lovegrove Drawing
Digital print H. 29.7 x L. 42 cm
H. 29.7 x L. 42 cm Ross Lovegrove
Ross Lovegrove
Milled Foam Architecture Study
Coloured Composite Chaise Long Drawing
Study Part of Gingko Studies H. 29.7 x L. 42 cm
Digital print Ross Lovegrove
H. 29.7 x L. 42 cm
Ross Lovegrove 3D Printed Architecture Study
Drawing
Liquid Carbon Bench Adaptation H. 29.7 x L. 42 cm
Study Ross Lovegrove
Digital print
H. 29.7 x L. 42 cm 4D Printed Architecture Study
Ross Lovegrove Drawing
H. 29.7 x L. 42 cm
Floral Architecture With Roman Ross Lovegrove
Lovegrove
Digital drawing Cranbook Study With Martha
H. 42 x L. 29.7 cm Graham Dance Troupe
Ross Lovegrove H. 29.7 x L. 42 cm
Ross Lovegrove
Knoll Surf Accessories Computer
Support Studies
Digital print
H. 29.7 x L. 42 cm
Ross Lovegrove

Studio Staircase Study

Digital print
H. 29.7 x L. 42 cm
Ross Lovegrove

Drawing of a Car
H. 29.7 x L. 42 cm
Ross Lovegrove

Peugeot 504 Car Study Organic

Fluidity 89
Digital print
H. 29.7 x L. 42 cm
Ross Lovegrove

Peugeot 504 Car Study

Digital print
H. 29.7 x L. 42 cm
Ross Lovegrove

Kyoto Car Study Development

Drawing
H. 29.7 x L. 42 cm
Ross Lovegrove
52

press visuals
GENERAL REPRODUCTION CONDITIONS FOR PRESS PUBLICATIONS
•The use of images of works is reserved exclusively for illustrating articles devoted to this exhibition or a
topical event directly related with it.
• Any manipulation or alteration of works is forbidden; these must be reproduced in their entirety.
• The copyright to be indicated in any reproduction must include the author’s name and the work’s title and
date k, followed by ©, whatever the provenance of the image or the place where the work is kept.
• Authorisation for any reproduction on the cover or the first page must be requested in advance.
• In all cases, the use of visuals is only authorised during the period of the exhibition.
Images may only be used in low definition on websites.

Swarovski Crystal Aerospace (2005-2006)

Car prototype, polycarbonate, aluminium
H. 100 x L. 420 x D. 180 cm
Editor and collection: Swarovski
Photo: John Ross

Ty Nant bottle, (1999-2001)

Polyethylene
H 23 – diam. 6 cm
Editor: Ty Nant
Photo: John Ross

Gingko Carbon Table (2007-2008)

Carbon fibre
H. 120 x L. 125 x D. 72 cm
Editor: Lovegrove Research
Centre Pompidou, Musée National d’Art Moderne/Centre de
création industrielle, Paris
53

Diatom (2014)
Varnished natural aluminium with glossy transparent protective
coating or colour-painted
H. 77 x L. 72 x Diam. 63 cm
Editor: Moroso
Ross Lovegrove
Generator House (2012)
Photo: Moroso
Generator House (2006-2008)
Project for self-sufficient house using solar energy
Computer-generated images

Concept-car Renault Twin Z (2012-2013)

Mixed materials
H. 170 x L. 363 x D. 152 cm; 850 kg
Editor and collection: Renault

Cosmic series (2009-2011)

Editor: Artemide

Cosmic Leaf, 2009

Steel, chrome, polymer, H. 192 x L. 38 x D. 22 cm,
Base: Diam. 22 cm
Artemide. Photo: Artemide

Cosmic Angel, 2009-2011

Aluminium, polymer, H. 25 x L. 178 x D. 80 cm
Editor: Artemide
Ross Lovegrove

Cosmic Landscape, 2009-2011

Polymer, H. 44 x L. 48 x D. 80 cm
Editor and collection: Artemide
Infinity Loop (2014)
Textile, aluminium
H. 179 x L. 187 x D. 53 cm
Editor and collection: Barrisol
54

Pavillon Lasvit LiquidKristal (2012)

Lasvit glass, steel structure, Barrisol roof
H. 400 x L. 1200 x D. 800 cm
Editor and collection: Lasvit

Ilabo Shoes (2015)

3D printed nylon
H. 35 x L. 30 x D. 12 cm
Editor: United Nude
Ross Lovegrove
55

useful information
useful information also at the centre curatorship

Centre Pompidou cy twombly Frank Madlener

75191 Paris cedex 04 until 24 april 2017 director of IRCAM
telephone press contact
00 33 (0)1 44 78 12 33 Élodie Vincent Frédéric Migayrou
metro 01 44 78 48 56 assistant director, Musée National d’Art
Hôtel de Ville, Rambuteau elodie.vincent@centrepompidou.fr Moderne / Centre de Création Industrielle

josef koudelka
Opening times Marie-Ange Brayer
la fabrique d’exils
The exhibition is open every day except curator, head of the Industrial and
22 february - 22 may 2017
Tuesdays from 11 a.m. to 9 p.m. Prospective Design Department, Musée
press contact
National d’Art Moderne / Centre de
Élodie Vincent
Création Industrielle
01 44 78 48 56
Prices
elodie.vincent@centrepompidou.fr
€14; concessions: €11
Valid for the same day for the Musée collections modernes 1905-1965 
National d’Art Moderne and all the POLITIQUES DE L’ART
exhibitions. until 3 april 2017
Free entry for members of the Centre press contact
Pompidou (annual pass holders). Anne-Marie Pereira
01 44 78 40 69
Free entry to the Centre Pompidou for anne-marie.pereira@centrepompidou.fr
those under 18.
Those under 26*, teachers and students théa westreich wagner and
of art, theatre, dance and music schools ethan wagner collection
are granted free entry for museum visits, until 24 march 2017
and a reduced price for exhibitions. press contact
Single tickets may be purchased online Anne-Marie Pereira
at www.centrepompidou.fr and printed 01 44 78 40 69
anne-marie.pereira@centrepompidou.fr
at home.

KOLLEKSTIA +
contemporary art in the ussr
*18-25 year-old European nationals
and russia
or nationals of a State party to the
a new donation
Agreement on the European
until 2 april 2017
Economic Area
press contact
Élodie Vincent
01 44 78 48 56
elodie.vincent@centrepompidou.fr

WALKER EVANS
26 april - 14 august 2017
press contact
Élodie Vincent
01 44 78 48 56
elodie.vincent@centrepompidou.fr

modern collection
1905-1965
L’ŒIL ÉCOUTE
new circuit of dossier rooms
starting 3 may 2017
press contact
Dorothée Mireux
01 44 78 46 60
dorothée.mireux@centrepompidou.fr

DAVID HOCKNEY
21 june – 23 october 2017
press contact
Anne-Marie Pereira
01 44 78 40 69
anne-marie.pereira@centrepompidou.fr