Interviews with Olivier Felix Isselin

It always starts with a spark. I can't explain it. It can happen anywhere, at any time. The idea is there, evident. After a necessary period of contemplation, comes the moment of bibliographic study. If my idea still seems relevant, I proceed with technical studies and begin the modeling process.

What characterizes me the most is perhaps my affinity for clean, unadorned forms.

Excitement, pleasure, stress, motivation, obsession.

The beginning is probably the most exciting part, when the idea suddenly appears and everything still seems possible. Then comes a much more obsessive phase, when I keep turning the project over in my head, trying to solve every detail.

I also like the moment when something that existed only as an idea finally becomes real. But strangely, once it is finished, I tend to detach myself from it quite quickly. I am usually already thinking about the next project.

As a child, I played a lot with Lego: I enjoyed challenging myself and finding solutions.

My grandfather, an Italian entrepreneur settled in France: I spent a lot of time with him. We would discuss his projects, and I would assist him in creating his plans. His analytical mind and ability to generate new ideas inspired me. And, like him, I enjoy looking ahead.

Directing art galleries was also a formative experience for me: I sharpened my eye and learned a great deal from the artists I represented and the people I encountered during that period.

Although my path has been ultimately coherent, it has unfolded in waves. I become passionate about each project, dedicate a great deal of time to it, and once it is completed, I need to move on to another one. It is still the creation and the challenge that drive me forward.

What has changed is that I now understand my practice much better. I used to move quite naturally from one field to another. Today I know that this is actually the way I work. I do not really see boundaries between designing an object, an exhibition, an audiovisual project, a building programme or an urban project. They are different scales of the same work.

This is one of the reasons I created my design lab: to give a structure to this way of working, while remaining free to bring together different disciplines depending on the project.

I am currently particularly interested in larger and more complex projects, including the built environment. But I still do not want to define a career by one particular type of project. If a subject interests me and I feel I can bring something to it, I am interested.

And I will always continue developing personal projects alongside commissioned work. The two are not mutually exclusive.

My dream project has not really changed. Everything I have done so far is part of me, but I still have not created my own place: somewhere entirely conceived by me, where architecture, art, design and landscape come together in a natural environment.

My own Villa Adriana.

At over 40 years old, I still consider myself a promising young creator! But on a more serious note, here are some classic pieces of advice that are always worth mentioning: Be curious about everything - Learn to appreciate the things in life while maintaining a critical eye - Don't give in to ease or take shortcuts - Don't hold back or shy away from hard work - Lastly, focus more on your output than on yourself.

I believe the most important thing is to stay true to your own convictions.

Of course, on a real project, you have to discuss, adapt and sometimes compromise. That is part of the work. But you also have to know what can be negotiated and what cannot. If you compromise on the idea itself, or on what gives the project its coherence, you usually lose something essential. I still think a certain degree of radicality is necessary to develop and preserve your own language. And you have to be honest with yourself. Even if you need the work, sometimes the right decision is simply to decline a project if it does not resonate with you, or if you know you will not be able to do it properly.

For many years, I worked mostly alone. It required a certain discipline, although I never really had fixed working hours. The project itself usually dictates my schedule. If I am finalising something, I can still isolate myself and work on it day and night. I never really learned how to do things halfway.

But this has changed quite a lot in recent years.

Working with Maxime Golay on ICONIC DESIGN[S], with whom I share this latest A’ Design Award, taught me something quite simple: I actually enjoyed not working alone. We have very different ways of thinking and working, and I discovered that this difference could make a project better.

It also changed the way I organise my work. Today, my days are divided between designing, writing, meetings, discussions with clients, coordinating different people and making decisions. I still need periods when I can work completely alone, especially at the beginning of a project, but I no longer see collaboration as something that comes afterwards.

This evolution is also one of the reasons I created my design lab. It allows me to bring together the right people around a project and to work on things that are much larger and more complex than what I could reasonably do alone.

The rhythm is therefore more structured today, but the basic rule has not really changed: when a project becomes important to me, it tends to occupy almost all my attention.

I try to avoid following trends. Nowadays, everything moves too fast, and the public doesn't have time to "absorb" them before moving on. The disposable culture is not for me. Moreover, our society will eventually have to question itself because the future lies in sustainability. Our planet cannot endlessly endure our missteps.

For me, design is primarily about the relationship with space. Good design is an object that appears obvious, yet different, and while it represents a particular era, it retains its modernity. Personally, I prioritize the pursuit of simplicity and purification. In this sense, I am a disciple of Mies van der Rohe: "Less is more." The visit to his Pavilion created in Barcelona in 1929 for the international exhibition left a deep impression on me. Everything is there!

It's not me who decides; it's the deadline imposed on me or the one I set for myself. It has always been a challenge for me because I struggle to stop. It becomes an obsession, as I believe there is always room to enhance the outcome, to refine it further. Fortunately, these deadlines push me to conclude. In retrospect, maybe it's because once a project is completed, it no longer belongs to me... It's akin to the feeling parents might have when their children leave the family nest: there is the happiness of seeing them take flight, but also a sense of heartache and letting go.

I still find it very difficult to rank my projects. In fact, I do not really like doing it. Each one corresponds to a particular moment, a challenge, an idea, and they are all important to me for different reasons.

Bacchanalia remains very special because it was an artistic project created almost instinctively, in an extraordinary place, an old shipyard transformed into a contemporary art space overlooking the sea. The location, the light and the scale of the installation all came together in a way that gave me a great deal of pleasure.

But today I am also working on projects of a completely different scale.

One of them is the Cité du Cristal in Bayel, a major cultural project dedicated to glass and crystal, for which I am responsible for the conception, scenography and museography. It is exciting because it brings together many things I care about: space, objects, history, transmission and the visitor experience.

I am also currently involved in the conception of a much larger project combining cultural, hospitality, leisure and urban components. I cannot say much about it yet, but it is probably the most complex project I have worked on so far. My role is not to design the architecture itself, but to define the overall concept, the programme, the relationships between the different parts and the coherence of the whole.

So I would not say that I have one “biggest” project. The scale has changed, certainly, but my relationship to the work has not. The project in front of me is always the most important one.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of lines, the play of light, the use of raw concrete, his relationship with nature... Everything moves me in his constructions.

Furthermore, I am very much in tune with the modernists and the freedom that characterized them. Like the artists of the Quattrocento, they completely disrupted existing codes. Artists such as those from the Bauhaus movement and its director Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer, and many others.

Lastly, I have a great affinity for the furniture of the "Space Age" movement from the post-war period, including designers like Eero Saarinen, Verner Panton, the Castiglioni brothers, Eero Aarnio, and more. It's an era I didn't experience firsthand, so I likely idealize it, but I imagine it as a joyous time where anything seemed possible. That's the perception I gather from their creations.

If I had the chance to speak with just one deceased designer, who would I choose? The list is quite long, but I would probably choose Le Corbusier. He was not only an architect, urban planner, designer, painter, and sculptor but also a great theorist, whose influence on architecture and design is immense. I would have loved to learn from him and engage in debates.

Undeniably, my life experiences have a significant influence on my design projects. A person's culture inevitably shapes their aesthetic vision and preferences.

According to my friends, I'm perpetually 17 years old and will probably go bad before ripening! This mindset is undoubtedly a strength in my life as it fuels my insatiable curiosity and thirst for discovery. It's a driving force that guides my choices and actions, both in my personal life and in my design practice.

I've been fortunate to always live in beautiful places, from Paris to Dijon, the Alps to the French Riviera, passing through Langres. I'm deeply immersed in these environments, and they have greatly contributed to shaping me. My relationship with aesthetics has always been essential. I believe in the utility of beauty. Beauty is the added value of a place or an object. Beauty makes us feel good.

Music also plays a vital role in my life. It evokes profound emotions within me and surely plays a central role in my creative process. I attach great importance to its role in my daily life. It accompanies my moments of reflection and relaxation. For me, music is never just background noise. Artists like David Bowie, the Velvet Underground, Iggy Pop and the Stooges, Bob Dylan, Magma, Sonic Youth, Joy Division, and many others resurface tirelessly.

And whenever I can, I escape to explore museums and exhibitions and visit places I love. Whenever possible, I try to travel, not necessarily far or for long periods of time. Italy remains my favorite destination. I am in love with this country. Whether wandering through the landscapes of Tuscany, savoring a Spritz in front of the Colosseum, strolling among the fountains of Villa d'Este, or standing above the Bay of Naples, gazing at Mount Vesuvius, whether enjoying a simple pizza or taking a break at the spiaggia dell'Olivetta in Portofino, or discovering enchanting villages like Barga, getting lost in the alleyways of Venice, or revisiting Lake Como, I feel at home. Naturally.

All of this inevitably finds its way into my work. I don't really separate the way I live, the things I love and the way I design.

I no longer work alone. I still need a lot of independence, especially at the beginning of a project, but I have learned to enjoy working with other people.

Depending on the project, I work with different partners and specialists. I choose people quite instinctively. Of course, competence matters, but trust and loyalty are just as important to me. I prefer building long-term relationships rather than changing teams all the time.

Working with Maxime Golay is a good example. We are quite different, both in personality and in the way we work, and I think this difference is useful. We do not always see things in the same way, and that is precisely what makes the collaboration interesting.

I also like working with people who are curious, demanding and able to disagree with me. I don't need people who always say yes. I need people who care about the project.

For me, the important thing is that everyone understands what we are trying to do. After that, each person has to bring what they do best.

Trust and loyalty remain essential to me.

I still feel deeply involved in urban planning. I believe that poor urban development can have very direct social and environmental consequences, so I try, whenever I can, not only to criticise what seems wrong to me, but also to propose alternatives.

But over the years, transmission has also become increasingly important to me.

I take part in conferences and professional events, and I have also served on design juries. I enjoy these moments because they allow ideas and experiences to be shared, especially with younger designers.

This is also one of the reasons we created ICONIC DESIGN[S] with Maxime Golay. The project is not only about showing beautiful objects. It is about explaining why they matter, what intelligence lies behind them, and making design culture accessible to a wider audience.

The same applies to the cultural and museum projects I work on. I like the idea that design can help people understand something better, whether it is an object, a place, a history or a particular know-how.

I do not think of this as philanthropy in the strict sense. I simply think that, when you have acquired some experience, part of the job is also to transmit it.

This is my second A’ Design Award, after the one I received for Space Oddity, so the feeling is a little different this time.

What makes this award particularly special is that I have the pleasure of sharing it with Maxime Golay for ICONIC DESIGN[S]. It is a project we developed together, so receiving this recognition together obviously means a great deal to me.

It is also interesting because the two awards belong to very different categories. Space Oddity was a spatial design project, while ICONIC DESIGN[S] is an audiovisual project. In a way, this second award confirms something I have gradually understood about my own work: I do not really belong to one particular field of design.

I still think awards are useful for three reasons. First, they give external recognition to a project. Second, they force you to look at your own work differently. Preparing a submission means stopping for a moment, analysing what you have done and explaining why you did it. I find this kind of introspection very constructive.

And finally, awards create visibility and new connections. They allow projects to travel further than they might have done otherwise and sometimes lead to unexpected opportunities.

Being selected as Designer of the Day is also a pleasure, of course. More than anything, I see it as another opportunity to present my work, my ideas and, this time, a project that I am very happy to share with Maxime.

Our main focus was clarity.

We wanted to create a short, precise and visually rigorous format that could speak about design without becoming academic, decorative or nostalgic. The aim was not to say everything, but to make people want to look differently.

Each episode is built around one object, one story and one central idea. In two and a half minutes, we try to reach the essence of the subject without oversimplifying it.

Our ambition was straightforward: after watching an episode, viewers should no longer see the object in quite the same way, and they should want to learn more about it.

Our current priority is to find a distribution partner and develop ICONIC DESIGN[S] as an international short-form cultural series.

The pilot episode, devoted to the Tolix A Chair, allowed us to establish the project’s visual identity, narrative rhythm and editorial direction. It is the proof of concept upon which we intend to build the series.

Ultimately, our ambition is to devote each episode to an iconic object from a wide range of fields, including furniture, everyday objects, fashion, transportation and industrial design.

We see ICONIC DESIGN[S] as a format that can exist on television, on digital platforms and within cultural or museum settings. This initial series could later lead to new formats, special editions or thematic collections.

Maxime Golay:
The pilot was constantly evolving. We regularly questioned our decisions, sometimes right up to the shoot or the editing stage. Presenting an object in two and a half minutes ultimately requires far more precision than one might imagine.

Olivier Felix Isselin:
The concept is the result of many years spent thinking about design, objects and the ways in which they can be narrated. The development of ICONIC DESIGN[S] itself, however, took almost two years, from the earliest ideas to the completed pilot. During that time, we defined the format, the writing, the visual language and the balance between content and form.
It was this complementarity that shaped the project: I was seeking to articulate a particular vision of design, while Maxime was constantly considering how to make that vision clear, natural and engaging for the viewer.

ICONIC DESIGN[S] was not commissioned. It is an original creation that we chose to develop together.

We shared the same conviction: design deserved to be presented differently. Too often, it is reduced to a trend or a consumer product or, at the opposite extreme, confined to specialist discourse. We wanted to propose another approach.

Our ambition was to create a format that respected both the object and the viewer: short, clear and accessible, without ever compromising its cultural standards. More than a programme about design, we wanted to tell the stories that objects carry within them.

At this stage, ICONIC DESIGN[S] is a project that we are developing and producing ourselves.

Our objective is to find partners capable of supporting its development while respecting its identity. We are open to distribution, co-production, licensing and international adaptation agreements, provided that the editorial principles, production quality and spirit of the format are preserved.

We conceived ICONIC DESIGN[S] as a format capable of being distributed across different countries and media while retaining what makes it distinctive: a rigorous perspective on objects, presented through a short, accessible and universal format.

Olivier Felix Isselin:
Maxime and I wanted to tell the stories of objects differently. I have always been interested in the way objects reveal our relationship with the world. As a designer, I do not merely create forms. I try to understand what they say about our culture, our habits and our time. To me, the representation of an object is already part of the design process: how should it be filmed, how should it be staged, and how can its intelligence be revealed without overemphasising it?

Maxime Golay:
We wanted design to be understood by as many people as possible without losing its depth. The challenge was to establish an immediate connection with the viewer, find the right tone and tell the story of each object simply, without ever oversimplifying it.

Maxime Golay:
When we first began considering which iconic objects we might feature, I immediately thought of Pixar’s Luxo Jr. To me, that lamp was not merely a physical design object. It was also part of a shared cultural imagination.

Olivier Felix Isselin:
I immediately thought of the Anglepoise lamp because it belongs to the history of industrial design, balance, movement and function.
The project was not shaped by one single influence, but by a culture of precision encompassing industrial design, modernism, architecture, museography, documentary filmmaking and graphic composition. I am drawn to objects that have achieved a particular balance between form, use, material and period.
This anecdote captures our complementarity quite well. Within moments, the same object had led us towards several different histories: industrial design, the domestic object and animation. That is exactly what we wanted to achieve with ICONIC DESIGN[S]: to begin with an object everyone recognises and reveal everything it already carries within it.

The project is initially intended for broadcasters, platforms, cultural television channels, museums, schools, festivals and organisations working in design, heritage and culture.

The audience itself is much broader. ICONIC DESIGN[S] is intended for anyone who is curious about the objects around them, whether they are already interested in design or simply wish to better understand the designed world in which we live.

We created a premium cultural format without ever wanting it to become elitist. Our ambition is to show that design can be presented with intellectual rigour while remaining clear, accessible and universal.

Olivier Felix Isselin:
ICONIC DESIGN[S] is neither a conventional design documentary, nor a lifestyle programme, nor a product showcase.
Its distinctiveness lies in the balance between a very short format, rigorous writing and genuine cultural ambition. Each episode is conceived as a demonstration: an object is observed, placed within its context and then revealed from a new perspective.
We do not try to tell everything. We try to tell what matters, with precision.

Maxime Golay:
The rhythm is another important difference. Two and a half minutes is very short, but the viewer should never feel that the programme is rushing. We wanted to give each object enough time to exist. When the rhythm is right, curiosity emerges naturally.

The title ICONIC DESIGN[S] emerged quite naturally. We wanted a name that would immediately express the subject of the series, without unnecessary artifice or stylistic effects.

The word iconic does not simply describe a famous object. It refers to an object that has moved beyond its function and entered the collective memory: something instantly recognisable, yet whose history often remains unknown.

The title therefore announces the central principle of the series directly. Each episode focuses on an iconic object, not only because it can be readily identified, but because it embodies a form, a use, a history and genuine cultural significance.

We wanted a name that was simple, international and immediately understandable. Like the series itself, it does not try to impress. It aims to be accurate.

Our first tools were scriptwriting, editorial development, documentary research and storyboarding. We also devoted considerable time to defining the scenography, camera movements and rhythm of each sequence before filming began.

From a technical perspective, the pilot was shot using a RED Monstro 8K VV camera, Angénieux lenses and an Atrax robotic motion-control arm. This equipment enabled us to achieve highly precise and repeatable camera movements, allowing the object to be presented with the same degree of rigour as the narrative.

Post-production then brought together editing, colour grading, sound design, motion graphics and an original musical score, with the aim of creating a coherent audiovisual experience rather than a simple sequence of images.

Olivier Felix Isselin:
The most distinctive aspect of ICONIC DESIGN[S] is that we applied to the format the same principles that we admire in the objects it presents.

The series does not merely discuss design. Its writing, rhythm, lighting, framing, typography, music, camera movements and staging were conceived as elements within a single system. Every decision has a precise purpose. Nothing is arbitrary.

Maxime Golay:
And yet all of that must remain invisible. The viewer should never feel that we are giving a technical demonstration. They should simply be guided towards the object, forget the mechanics of the programme and feel that everything is natural.

ICONIC DESIGN[S] is a project conceived and developed by the two of us: Olivier Felix Isselin and Maxime Golay.

Maxime Golay:
I am the presenter and a co-producer. Beyond my on-screen role, I contribute to the tone of the programme, the rhythm of the narration and the way in which each episode addresses the viewer.

Olivier Felix Isselin:
I am responsible for the concept, writing, art direction and directing. My role is to construct the overall visual and editorial language, ensuring coherence between the text, image, rhythm and staging.

The pilot also brought together professionals specialising in cinematography, robotics, lighting, sound, editing, colour grading, motion graphics and original music. ICONIC DESIGN[S] is the result of an ongoing dialogue between creative vision, its human embodiment on screen and high-level technical execution.

Technology plays an essential role, but it is never used as a form of demonstration.

The 8K camera, robotic arm, lenses, controlled lighting and post-production all serve one simple purpose: to help us look more closely at the object. They allow us to reveal the proportions, surfaces, details, materials and presence of an iconic design.

In ICONIC DESIGN[S], technology is not there to impress. It is there to reveal.

The project is primarily based on historical, cultural, visual and technical research.

For each object, we study its origins, its designer, its manufacturer, its industrial context, its uses, its evolution and the place it continues to occupy today. The purpose is not to accumulate information, but to understand why certain objects endure and eventually become iconic.

For the pilot episode devoted to the Tolix A Chair, we researched the history of Xavier Pauchard, the development of galvanised-steel furniture, Tolix’s manufacturing expertise and the evolution of the chair from a utilitarian object into an internationally recognised design reference.

Maxime Golay:
All this research must then be synthesised. We have to retain what matters, find the right balance and tell a story that the viewer can follow naturally. The hardest part is not finding information, but deciding which part of it to tell.

The main challenge was synthesis.

Design can quickly become technical, historical or academic. Yet each episode lasts only two and a half minutes. We therefore had to find the right balance between the richness of the content, the clarity of the story, rhythm, emotion and precision, without ever making the subject feel oversimplified.

Olivier Felix Isselin:
Another challenge was to create a strong visual identity without ever overshadowing the object. The staging had to remain restrained but never impoverished, elegant but never demonstrative, and precise while still leaving the object enough space to exist.

Maxime Golay:
For me, the challenge was to be present without becoming the subject. The presenter guides the viewer’s attention, but the object must always remain at the centre of the story.

We chose to submit ICONIC DESIGN[S] to an international design competition because we were convinced that it was more than an audiovisual programme.

The project is itself a work of design: an identity, a writing style, a scenography, a visual grammar, a rhythm and a particular way of telling the stories of objects. We wanted it to be assessed for this design process as much as for its content.

Maxime Golay:
It was important to us that this dimension should be recognised. ICONIC DESIGN[S] speaks about design, but the format itself is also based on a genuine design process. We wanted to show that an audiovisual project could be considered a work of design in its own right.

Olivier Felix Isselin:
For me, submitting the project to the A’ Design Award also meant defending a simple idea: design does not reside only in objects. It can also be found in the way they are observed, staged, narrated and transmitted. It was also an opportunity to confront our vision with the judgement of international design professionals and determine whether this approach resonated beyond our own conviction.

This project reminded us that constraints can often be productive.

A short format forces you to make choices. Everything that does not serve the object, the story or the viewer’s understanding has to be removed. This demand for selection, precision and hierarchy was central to the development of ICONIC DESIGN[S].

Olivier Felix Isselin:
The experience reinforced a conviction that already guides my work: restraint is never a form of renunciation. It is a discipline. When mastered, it gives greater strength to forms, images and ideas.

Maxime Golay:
It also confirmed for me that simplicity is often the most difficult part. Saying little, but saying it accurately; being clear without becoming simplistic; creating interest without trying too hard: that requires real discipline.

ICONIC DESIGN[S] is based on a simple conviction: objects shape our lives more quietly than words do.

They organise our gestures, our spaces, our habits and our memories. Some become iconic because they achieve something rare: they remain deeply useful while also carrying aesthetic, historical and cultural significance.

Maxime Golay:
Ultimately, our ambition is quite simple: to encourage people to look differently at what surrounds them. If, after an episode, a familiar object becomes a discovery, then we have achieved what we set out to do.

Olivier Felix Isselin:
What we want to explore is not design as ornament, but design as a way of understanding the world. ICONIC DESIGN[S] is only a starting point. This way of telling the stories of objects could naturally extend into other areas of design and creation while maintaining the same standards of observation and transmission.

I was interested in the spa because I don't like what's out there. Most of the products in this segment compete on the basis of ugliness: it's a true tuning contest. However, wellness is also about beauty!

Now we need to find a bright future for this spa and find the right distributors and prescribers around the world.

Between my first sketch and the finalization of the product, about a year had passed.

Space Oddity is a personal project that I wish to develop.

The realization of this spa is entirely carried out in the workshops of CDE, the French leader in the construction of storage tanks. I do not wish for any other manufacturer for my spas. It is sold under my own brand of stainless steel pools and spas: Linoxydable. However, I am looking for distributors internationally.

I assume and claim a space age style for this project... so, of course, creators such as Verner Panton, Eero Saarinen, the Castiglioni brothers, Eero Aarnio, etc. have influenced me.

Space Oddity positions itself in the luxury market.

Its aesthetics.

The first step is to jot down an idea on paper... Sketches and various notes... then I work with a 3D design software.

It seems to defy gravity.

I am working with an industrial partner, CDE, the French leader in the construction of storage tanks, for this project. For equipment: my partner OZONEX for ozone water treatment and spa regulation, and the company REGUL for level management.

The visible formal aspect didn't pose too much of a problem for me. I immediately knew where I wanted to go. However, the highly minimalistic rendering of this spa ultimately required a particularly complex technical design.

Every creator wants success for their creations, but I am not very good at marketing them. Moreover, I lack the means to go further and meet the right distributors and prescribers. Winning an A'Design award will surely allow this spa to take off in the international market. It will find its place in beautiful locations.

The design process for the Space Oddity spa was exactly the same as for all my other creations. I just tried to improve the realistic 3D presentation of the project.

It quickly became evident to me. If life is filled with constraints, mine is the freedom I granted myself.

I am a curious man, so I don't close any doors.

For a designer, as well as an architect, education is, in my opinion, secondary. In fact, almost all the architects who have made an impact on me are not graduates of architecture schools. Tadao Ando is not an architecture graduate. The same goes for Mies Van der Rohe, Le Corbusier, Frank Lloyd Wright, and Oskar Niemeyer... The list goes on...
It primarily depends on sensitivity, or more precisely, sensitivities... The essential thing is to maintain a childlike spirit, to always have a keen eye and to be able to draw inspiration from everything around us. Then comes the work.
Finally, one should focus more on their production than on themselves.

A good designer is someone who achieves success during their productive period. A great designer is someone whose creations become the markers of their era and/or endure throughout time.

A design that pleases is a good design. A great design creates an object that appears obvious yet different, and while being a marker of an era, it retains its modernity.

For an entrepreneur, a good design is an added value to their product. For a buyer, pleasure should prevail.

I am curious and therefore very open to the question. Any proposition can potentially interest me.

Everything I have done so far is a part of me, but due to lack of time and resources, I haven't been able to create my own haven: a place that I would have completely imagined, where architecture, art, and design would blend together... All within a natural setting: My Villa Adriana.

I try to be true to my choices.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of the lines, the play of light, the use of raw concrete, his connection to nature... Everything moves me in Tadao Ando's constructions...
Then, I have a strong attraction to the modernists who completely disrupted conventions: Mies Van der Rohe, whose motto was "Less is more," which is also one of my principles... There's also Le Corbusier and his Modulor, of course, as well as the designers of the Bauhaus, like Gerrit Rietveld.
Finally, the creators of the post-war boom period, such as Eero Saarinen, Verner Panton, Eero Aarnio... They symbolize an era I didn't experience, so perhaps I idealize it: a positive era, open to the future, where everything seemed possible.

The pantheon of my favorite designs is quite cliché, but these objects didn't become iconic by chance—they are brilliant!
Verner Panton's Panton Chair
Ray & Charles Eames' Lounge Chair
The Gyrofocus fireplace created by Dominique Imbert
Noguchi's coffee table
Charlotte Perriand & Le Corbusier's LC4 chaise longue
Eero Saarinen's Tulip table
The Castiglioni brothers' Arco lamp

And more recently, Pablo Reinoso's Spaghetti Benches.

Finally, I'm not immune to the charm of a beautiful convertible or a fine Louis XV chest of drawers...

My greatest project... It's always the next one... As for considering one of my creations as brilliant... I am the least qualified to make such a judgment.

In my opinion, a good designer is someone who can break free from trends and impose their own vision.

Perhaps I would have liked to make documentaries or films. But maybe I'll come to that one day, who knows...

Design, for me, is primarily a relationship with space. A good design creates an object that appears obvious yet different and while being a marker of an era, retains its modernity.

Undoubtedly, my parents, who, even though they were not always in sync with my life choices, never imposed theirs on me (maybe because they knew it was impossible!). I owe them the taste for effort and perhaps this independent character.

My life journey.

Being independent and living in an isolated area complicates things considerably: Living in Agay (French Riviera) brings me immense joy—the climate, the light, and the beauty of the place are very conducive to my creativity. However, I am a bit far from everything.

I'm working on several projects simultaneously, both as an artist and a designer... I don't yet know which one will emerge first.

My only wish is for the success of my creations.

They expect me to stay true to myself.

Beauty is the added value of an object, a place... Beauty makes us feel good.

One project that comes to mind is perhaps one of my installations: "Bachanales." I created this piece in a magical location—an contemporary art space overlooking the sea. I was there because I was the curator of the ongoing exhibition, and in this space that I had initially decided not to occupy, given the low attendance (which is often the case for exhibitions in provincial areas), I realized this installation that I had a clear idea about for some time. The result, the location, the sea, the light... All of it brought me great joy.
This artistic project could be adapted into a fountain and would fit perfectly in a city or within a vineyard estate. I hope to be able to realize this project.

One thing we can be reasonably certain of is that, in the face of environmental disasters, design will be more responsible, both in the choice of materials used and in the manufacturing process. Objects will be more sustainable. Let's hope so, at least!

For the idea, I'm in the moment, in the instant. Then, every project requires a period of reflection. The idea matures. The finalization takes a few months. It all depends on the complexity of the project.

I study what has already been proposed on the subject. Then, I establish a critical report. Finally, I bring my own technical and artistic solutions to the deficiencies I have observed.

I don't dream my life, but I live my dreams.

It would be desirable for design to define the trend and not the other way around!

Technology is often essential in the design process, but it should never take over: we must not lose sight of the fact that it is merely a tool and it should remain as such.

Color, it's the first word I learned to say! In design, color expresses the sensitivity of the object.

I would just like them not to have any questions, for it to seem obvious to them.

Pleasure and emotion.

Regardless of the field, if there's a team, there needs to be a project leader. As for me, in pure design, I find it a bit difficult to imagine co-design. I don't know, it would be worth trying... However, working with a team, as I have done in my artistic directions or event project management, is always very motivating.

My close circle, those I love. They will recognize themselves. They are my first judges. Then I take their remarks into account, or not! In the end, it's me who decides, but having an initial evaluation of my creations is necessary for me.

Perhaps "Lives of the Most Excellent Painters, Sculptors, and Architects" by Giorgio Vasari (16th century). The author discusses architecture, sculpture, and painting in the context of the Italian Renaissance, associating them with the lives of his genius artists who often excelled in multiple domains.
Much more anecdotal but not without influence: "The Three Little Pigs," which, from a very young age, instilled in me the idea that every construction should be of quality and durable.

I believe that it is primarily my open-mindedness and curiosity that have allowed me to progress. My encounters, the cities where I have lived, frequenting art venues, my travels, architecture, and my love for nature, etc. ... I try to nourish myself with everything around me. I also associate it with my critical sense, whether positive or negative.

There are so many.
The first that come to mind are undoubtedly Diderot and Voltaire. Their ideas, their freedom, their optimism, their taste for progress, the emphasis on all-encompassing knowledge... These men have contributed so much to the development of thought...
In a different vein, I would have loved to meet Andy Warhol in his Factory with the Velvet Underground... The vibrant sphere of creativity in the New York underground scene of that time has always fascinated me.
Finally, because there are too many people to mention, I would end with my paternal grandfather, whom I did not know: he died in a car accident one year before my birth. But I would have certainly liked this man a lot.

My goal is not to be famous. The goal is for my creations to be famous. The fame of the creator is just a tool that helps achieve that.

What is your favorite color, place, food, season, object, and brand?
•My favorite color: Black.
•My favorite place: It's impossible for me to mention just one:
I am a lover of Italy: Whether it's sipping a Spritz in front of the Colosseum in Rome, strolling through the gardens of Villa d'Este, enjoying a pizza overlooking the Bay of Naples with a view of Mount Vesuvius, bathing at Spiaggia dell'Olivetta in Portofino, discovering a village like Barga, getting lost in the streets of Venice, or taking a walk around Lake Como, I am in my favorite place.
Furthermore, I have always had a deep connection to the places I have lived: in the city center of Dijon with the Palais des Ducs de Bourgogne and its mansions; in Paris, with its galleries, Île Saint Louis, Centre Pompidou, Sainte Chapelle, cafes, and clubs; in Langres; in Agay, the Esterel, and my rock overlooking the Mediterranean Sea... Once again, I am in my favorite place.
•My favorite food: Mediterranean cuisine.
•My favorite season: Summer.
•My favorite object: My old Hasselblad 500.
•My favorite brand: Caterham. The brand that resumed the production of the Lotus Seven, the work of Colin Chapman, which I must mention: "Less is more."

Every phase of creation is exciting. When I'm in the design phase, I'm filled with enthusiasm, and my days can be very long without me even realizing it.

Nothing is ever guaranteed. The current period may be anxiety-inducing, but being naturally optimistic, I have confidence in the future.

I may not always be understood, but I always strive to do my best...

As an independent, I manage my own design studio. I am responsible for all stages of the design process, from idea generation to final realization.

Design, for me, is primarily defined by its relationship to space.

While being an artist involves having an intense and personal perception of one's environment and expressing it freely through various mediums, with art being the result of this process, design distinguishes itself in the sense that it is not solely focused on its creator, but rather it primarily addresses the user and is thus closely linked to functionality. Technique, materials, and ergonomics are among the elements to consider during the creation process. Design represents the response to a problem.

However, this doesn't mean that the designer is not also an artist. In addition to solving problems, creativity remains essential and imparts personality to the created object.

I always enjoy the ones I'm currently working on: each project I undertake is a new challenge, so it's always very motivating. Lately, I've been quite occupied with spas. Just by walking through the aisles of specialized trade shows, one can realize that there is a lot to be done! It's quite surprising that in the wellness industry, aesthetics is not really given much importance, even though aesthetics is an essential component of well-being.

During the finalization phase of a project, if another idea comes to mind, I take notes, scribble a bit, just to make sure I don't forget it... Because during this phase, I make an effort not to get distracted. The ongoing work requires all of my attention.

Excitement, stress, motivation, obsession.

They no longer belong to me. I no longer have control. I quickly need to move on to something else.

It depends on what we define as success. On one hand, there's design that draws inspiration from trends and arrives at the right moment, neither too early nor too late. Such a product, in tune with its time, stands a good chance of achieving commercial success. On the other hand, there's exceptional design that is not necessarily expected, transcending the notion of fashion. It becomes timeless and remains modern even after years have passed.

My entire sensibility revolves around a certain form of aestheticism. It's very personal and highly variable. While I'm naturally drawn to minimalist designs, which aligns with my own work, I can also appreciate more unconventional designs that I would never be able to imagine myself! For example, I'm in love with the Centre Pompidou in Paris by Richard Rodgers and Renzo Piano... I can also mention the Guggenheim Museum in Bilbao designed by Frank Gehry—it was a true shock when I discovered that place.
It all depends on the context. And precisely, what I dislike is anything that is out of context. To be clearer, I can mention Frank Gehry again and the LUMA: This structure in that location bothers me considerably. It doesn't make sense! The prevailing horizontality of the city and especially in the Camargue region is no longer there! There surely must have been another way to stand out. The landscape is completely disrupted as a result.

The designer's relationship with society and the environment is becoming increasingly significant. One thing we can be certain of is that, in the face of the environmental disaster, design will become more responsible, both in the choice of materials used and in the manufacturing process. Objects will be more durable. Let's hope so!

We just mentioned the future of design: it will be environmentally conscious. Now, whether we produce less and better? I'm not sure, but we will get there. We will be compelled to do so!

My last exhibition was last summer. I was invited to participate in a contemporary art festival in Var, French Riviera. I presented one of my photography series there.
As for my next exhibition, I'm not sure yet... I have a few leads, but I have nothing to announce at the moment.

My inspiration comes from my life experiences. Anything has the potential to inspire me. I believe I always have an observant eye. Then, I jot down or scribble in my notebooks... Every idea is a synthesis.

I simply try to be myself and not deny who I am. I think that's the only way to have one's own style.

I live in Agay, a little corner of paradise on the French Riviera, located between Cannes and Saint Tropez: nature, light, and the sea... It's very inspiring! In fact, the places where I live have always been very important to me and, therefore, to my work. Living in France is a blessing because, in addition to an immense cultural heritage, the landscapes are very diverse within relatively short distances. I have lived in Langres, Dijon (Burgundy), Paris, and even in the mountains (Les Arcs – Savoie). All of these places are magical and have witnessed my growth. What surrounds us, and more broadly, our life, is our own reference. We either appreciate or reject it, and that's what nourishes our creativity.

As for the advantages and disadvantages of living in one's own country: It's essential to travel to learn... I have traveled and stayed in many countries for varying lengths of time, but I have never lived anywhere other than France—until now! So, I'm not really in a position to evaluate that. For me, what matters is being free and feeling good wherever you are.

I consider the companies I work with as my partners. First and foremost, there needs to be a good connection, a feeling of mutual understanding. I always aim for long-term collaboration based on exchange, loyalty, and trust.

Be careful not to interfere too much during the design process! Designers are wild creatures. If they have chosen this profession, it's usually not for the sake of convenience, but because they are fundamentally attached to their freedom. Therefore, it is crucial for the entrepreneur to develop an extremely precise design brief regarding their requirements. This will help avoid any disappointments. If the client already has a clear idea in mind, it would be better to hire an executor rather than a creator.
As for how companies can select the right designer, it simply comes down to a matter of feeling. It's a meeting of two entities. If there's a connection and mutual understanding, it could be the beginning of an idyllic partnership, leading to great success in the future.

1: A crystal ashtray (Royal Cristallerie de Champagne - Bayel). This crystal block is perfect. I think I've always seen it. It's part of my family history, and we all have one.

2: The Panton chair: iconic!

3: My collection of Illy cups, where a brand has managed to develop unique collaborations with great artists around an object, their coffee cup designed by Matteo Thun, whose design is immediately recognizable. The result is very interesting.

4: My desk lamp: Tizio model (Richard Sapper - ed. Artemide).

5: The Mini Chair by Rietveld (from the miniature collection of the Vitra Design Museum).

At over 40 years old, I still consider myself a promising young creator! Friends often tell me that I still have the spirit of a 17-year-old...
But on a more serious note, here are some classic but always valuable reminders: Always keep your eyes open, don't take the easy way out, don't hold back, and focus more on your work than on yourself.

Being able to reconcile life, work, and passion is to grant oneself freedom, and that freedom is essential to me. At the same time, choosing to be an artist or a designer is a lifelong commitment. It never stops.

I remain a disciple of Mies Van der Rohe: "Less is right."

Cultural knowledge, open-mindedness, and inventiveness.

I rely on a variety of tools for my creative process: books, magazines, my notebooks, notes, photographs, objects, my computer... All of these contribute to my creative process.

Indeed, while the initial idea may not require much effort, certain stages of the design process demand a lot of concentration and work. It's these stages that dictate my schedule. I never hold back or count the hours spent, so during certain periods, I can dedicate entire days and nights to it. It's quite exhilarating in the end. I enjoy it.

It varies greatly. An idea may seem simple or even simplistic, but its design process can take a significant amount of time. It depends on the technicality involved. The time spent does not determine the value of the object.

I am often approached without people realizing that being a designer is a full-fledged profession, and even sharing an idea or advice requires work.

I don't rank them in terms of importance. The most significant project for me is always the one I'm currently working on.

I'm curious about everything. Each new design is a new challenge, a new adventure.

Currently, I'm working on several projects simultaneously, both in terms of pure art and object design. I'm not sure which one will emerge first.

I work alone and rely on my partners when I need technical answers.

They can reach me via email at felix.isselin@gmail.com, by phone at +33 (0)6 51 50 33 85, or by mail at 10, avenue des Mimosas – Domaine Les Roches Rouges - 83530 AGAY – France.

I would just like to mention that I am currently looking for international distributors for my spas.

The 150-second format was never conceived as a limitation. It was conceived as a form. A constraint, certainly, but a productive one.In such a short episode, it is impossible to say everything. That is precisely what forces us to make choices. We must find the right narrative thread, the right detail, the right sentence. Short formats leave no room for imprecision.ICONIC DESIGN[S] is not intended to replace a book. The series offers an entry point. It does not simplify design; rather, it creates the conditions for an initial understanding. It encourages viewers to look differently.At a time when images are consumed at great speed, we wanted to create a short format that would not be superficial. A short format can be demanding. It can be dense. It should respect the intelligence of the audience.Perhaps this is what a certain future of design education looks like: not explaining everything, but teaching people how to see, without overwhelming them with information.ICONIC DESIGN[S] can act as a catalyst. It can inspire the desire to learn more, to look longer, and to better understand what lies behind objects we thought we already knew.

Olivier Felix Isselin: The use of 8K capture and motion control was never intended as a technical demonstration. It was a response to the subject itself. Filming a design object requires a certain form of respect. Precision is not a luxury; it is a methodology.An iconic object exists through its proportions, assemblies, material choices, curves, angles and often through details that are almost invisible. The robotic arm allowed us to approach these elements with an almost analytical level of stability. In that sense, the process was very close to architectural drawing: observing accurately, framing accurately, and directing the viewer’s gaze with precision.To me, good design has always been about accuracy and appropriateness. A successful design is not only beautiful; it organizes, solves problems and endures over time. The image had to convey that idea.Maxime Golay: On set, this level of precision changes everything. Every movement is prepared. Every camera move matters. It imposes a strong discipline, but it also creates a great deal of freedom because you know exactly what you are looking for.With an object such as the Tolix A Chair, for example, the robotic system allows you to reveal things that a more approximate movement would miss: the spaces, the lines, the balance of the composition. The camera does not move around the object simply to create attractive images. It serves a purpose: understanding the object’s form.

Receiving the Bronze A’ Design Award in the Movie, Video and Animation category was an important recognition because the project exists precisely at the intersection of several fields: design, visual culture and knowledge transmission.ICONIC DESIGN[S] is not a conventional design program. Our ambition was to make design a cinematic subject. The object is not simply presented as a reference or a collectible piece. It becomes a presence. It is filmed as something that possesses its own history, form and intelligence.This distinction confirms that it is possible to make design accessible without diminishing its richness. Accessibility does not mean oversimplification. It can be achieved through clarity, rhythm, beauty, precision of framing and precision of language.For us, this recognition also provides international legitimacy to the project. It demonstrates that the series can speak to different audiences beyond the circle of design specialists alone.This is particularly important because design belongs to our shared cultural heritage. It exists in our homes, in our everyday gestures and routines. It silently shapes the way we live.

Maxime Golay:The tension between depth and duration is present in every episode. In the pilot dedicated to the Tolix A Chair, it was particularly significant because the object is both deceptively simple and remarkably rich in what it conveys. Within 150 seconds, we needed to find a visual language that was immediately understandable without becoming simplistic.From an audiovisual perspective, this required an exceptional level of precision. Every camera movement had to support an idea. Every shot needed to contribute something: a curve, a material, a function, a manufacturing detail. With motion control, nothing is filmed by chance. That precision was essential to helping viewers understand the object without relying on lengthy explanations.Filming in Autun, at the Tolix factory, was equally important. We were able to see the machinery, the craftsmanship and the continuity of the industrial process. It allowed us to avoid treating the chair merely as a museum piece. It became, once again, a manufactured object.Olivier Felix Isselin:That transformation was precisely what interested me. I did not want to confine the chair to its status as a design icon. I wanted to rediscover what gives it its authenticity.The A Chair did not become iconic simply because it was declared beautiful. It became iconic because it was right. It was robust, stackable, economical, recognizable and useful.The trap would have been to try to say everything: Xavier Pauchard, galvanization, French industry, cafés, schools, terraces, design heritage. In reality, completeness would have weakened the episode.Instead, we chose to focus on a few essential elements: material, line, function and longevity.Maxime Golay:That is where the short format becomes particularly interesting. It forces you to transform a large body of information into a visual experience. You cannot explain everything, so you must trust the image, the editing, the sound and the rhythm.Olivier Felix Isselin:This experience confirmed one of our core convictions: a carefully composed image, a meaningful detail or a simple sentence can sometimes communicate more than a lengthy explanation.

Olivier Felix Isselin:My background has naturally influenced the series. Architecture teaches you to observe relationships: between a volume and a space, between a line and a function, between light and material. This way of thinking naturally extended to objects.The minimalist cyclorama, the carefully calibrated lighting and the empty space surrounding the object all stem from the same intention: removing anything that might distract the viewer’s attention.The set was never meant to comment on the object. It was designed to give it space. In that sense, the studio becomes a space for observation and interpretation.Maxime Golay:From my perspective, it was important that this level of rigor did not become cold or distant. The visual system is extremely precise and highly refined. Part of my role is to create a more direct connection with the audience.I am not there to perform the role of a presenter. I am there to guide the viewer’s gaze and provide a human presence alongside the object.What matters to me is that someone with no particular knowledge of design can enter the episode without feeling excluded. Precision is important, but so is accessibility.Olivier Felix Isselin:That balance lies at the heart of the series: a strong formal discipline, almost architectural in nature, combined with a living human presence that prevents the project from becoming purely abstract.We wanted to remain precise without becoming cold, and sensitive without becoming decorative.

Maxime Golay:We conceived ICONIC DESIGN[S] as a format designed to travel. An episode can exist on television, on a digital platform, in a museum, or within educational and cultural contexts. That is one of the strengths of the short format: it can adapt to different modes of distribution without losing its identity.From an audiovisual perspective, the fact that the series is mastered in HDR10, with highly defined imagery, carefully crafted sound, and delivery formats suited to multiple environments, opens the door to a variety of uses. On television, the series can function as a premium cultural capsule. In a museum, it can accompany an exhibition. Online, it can serve as a gateway to longer-form content: archives, interviews, research materials, and educational resources.We are currently seeking broadcasters and editorial partners, both in France and internationally. The objective is to identify the environments where the series can genuinely connect with its audience.Olivier Felix Isselin:This capacity to circulate is important because design objects themselves move between different worlds: industry, the home, the museum, and collective memory. An iconic object never belongs to a single place. It emerges from a specific context and sometimes becomes universal.Future episodes may explore a wide variety of subjects: furniture, lighting, transportation, everyday objects, fashion, and industrial design. The Tolix A Chair is a first example, but the series could just as easily feature the Arco lamp, the Bic pen, the Fiat 500, the Citroën DS, a perfume bottle, the Walkman, the Panton Chair, a game console, or a Riva Aquarama.What matters is not merely the fame of an object. What matters is its ability to tell the story of an era. An iconic object is a cultural archive. It speaks of a technology, a use, a collective aspiration, and a particular way of life.Maxime Golay:That is precisely what audiovisual storytelling can accomplish so effectively: creating an immediate connection with an object and then opening the door to something larger. We begin with a form, a material, a movement, and arrive at a story.

Olivier Felix Isselin:The journey of the project has been an essential part of its development. Cannes, in January 2024, was the moment of intuition. Autun brought the industrial and historical substance. The robotic studio near Paris gave the pilot its visual language. The French Riviera became the place of refinement and structuring, while Dublin provided an international perspective.Each location transformed the project in its own way. Cannes provided momentum. Autun provided roots. The studio provided precision. Dublin provided distance.Maxime Golay:Autun was particularly meaningful. Filming at Tolix was not simply about finding a location. It was about returning to the origin of the object. You understand a chair differently when you see where it is made and when you meet the people who continue to carry that history forward.The studio, by contrast, was another world entirely. Everything was controlled: light, framing, movement and sound. The contrast between the factory and the cyclorama became very important to us. On one side, industrial reality. On the other, an almost pure and highly controlled visual environment.Olivier Felix Isselin:This movement between very different places strengthened the identity of the series. ICONIC DESIGN[S] is not merely a French project. It has a European and international ambition.Design objects are often born within a specific context and then travel across the world. We wanted to make that transformation visible: the journey from manufacture to icon.

Showing an object is not enough. One can film a chair, a lamp or a car in a highly elegant manner without creating any real understanding. For an image to become knowledge, the viewer’s gaze must be guided.In ICONIC DESIGN[S], we pay particular attention to progression: first the object’s overall presence, then the detail, then its use, and finally the idea behind it. Composition is not merely aesthetic; it serves an editorial purpose.A camera movement can reveal a curve. A static shot can make a proportion understandable. A close-up can reveal a material. A sound transition can create a new form of attention.We are also careful not to duplicate information. If the image already communicates something powerfully, the text should not simply repeat it. It should open another layer of understanding. Conversely, if the narration introduces an idea, the image should embody it without illustrating it too literally.What our first audience responses have shown is that understanding often emerges from the meeting of a visual detail and a very simple sentence. The viewer does not merely retain information. Their way of looking at the object changes, even if only slightly.That is what interests us most: transforming observation into attention, and attention into knowledge.

Maxime Golay:I hope that a viewer who appreciates design, even without specialized knowledge, will leave an episode with a simple desire: to look more carefully. To see a chair, a lamp, a car or a pen differently. To understand that an everyday object may contain a history, a logic and a beauty that are not always visible at first glance.Audiovisual storytelling makes this possible in a very direct way. A camera can move around an object, reveal a detail, express a proportion and bring a material to life. Sound, movement and light create an immediate relationship. The audience does not simply receive information; they physically experience the presence of the object.That is also why technique matters. Motion control, spatialized sound and precise framing are not spectacular effects. They help the viewer enter into the object without becoming lost. Technology should disappear behind the clarity of the experience.Olivier Felix Isselin:A written essay explains. A museum label provides context. A traditional documentary develops an argument. Audiovisual media can do something different: it can make an idea felt at the same moment it is expressed.What interests me about design is that it makes thought usable. A chair, a lamp, a car or a pen are formal responses to needs, but also to desires, lifestyles and particular moments in history. Design is not merely a question of form. It is a culture.With ICONIC DESIGN[S], we do not simply want to say that an object is important. We want viewers to understand why it is important through the very way it is filmed.Maxime Golay:Ultimately, we would like viewers to think: “I knew this object, but I had never really looked at it.”Olivier Felix Isselin:Exactly. To encourage people to see differently.Maxime Golay:And to use image, sound and movement to make that discovery simple, immediate and almost self-evident.

It is very difficult for me to answer this point. The fusion of retro-futuristic elements with contemporary wellness design is not a deliberate choice. It is just a fact. I do not start a project thinking I will create an object with this or that ingredient. I try to remain free. Then, like any creator, my inspiration comes from what I experience, what I have seen, and what has pleased me… However, as its name suggests, the space age universe and, more generally, that of modernists have nourished me.

We conducted a number of tests. I did not want a polished mirror-finish interior surface due to the risk of scratches… Brushed stainless steel was not the solution either because of the linear aspect of the brushing. We needed to find something else. We therefore tried sandblasting, projections of various materials with different consistencies at different pressures. Ultimately, it was the glass bead blasting that convinced me, both visually and in terms of touch: it is very pleasant.

Accessibility is achieved between the double walls (inner basin and outer shell). This was a crucial point during the design of the spa. And in the end, we succeeded in installing the nozzles where we wanted them, according to demand… For my part, I prefer to use Space Oddity as a Nordic bath (without bubbles).

The fact that Space Oddity can be installed either indoors or outdoors is mainly due to the material used: stainless steel. In fact, I use only one type of stainless steel for the entire spa (structure and walls): AISI 316L stainless steel, also known as marine stainless steel, which is the most suitable for this type of product.

It is certainly technically challenging to achieve this type of shape, but with good partners, manufacturing is not a problem. We always manage it… Then, the structural integrity of such shapes is, on the contrary, quite simple.

As with any luxury product, customization seemed essential to me. However, the identity of Space Oddity is primarily formal. Therefore, only a few details of Space Oddity could be modified without fundamentally changing the object. Customization through color was obvious and ultimately satisfying. For the overflow grid, it came up during the design phase: I designed several types of grids for the overflow, and the final choice was difficult because, in the end, I liked many of them and so they could be proposed… It’s a bit like a car: choosing the color, the bodywork, and the wheels is a way to make it your own without altering it.

The remote machinery system in spas, while rare, is not really a novelty. For Space Oddity, it was a technical necessity on one hand and indeed the desire to eliminate any noise disturbance so that one can fully enjoy a moment of relaxation.

For spas, it wouldn’t be a luxury if designers aimed a bit more at creating beautiful objects rather than engaging in tuning contests where the winner is whoever adds the most features… I firmly believe that aesthetics are a fundamental component of well-being.

This was evident from its creation. Like any object, a spa is not used all the time, and given its size, when it is not in use, it remains visible and difficult to hide. Therefore, it had to be beautiful. I believe this is a necessity for any object, at least for those I create. Functionality and beauty are always the first two points in my specifications. The technique adapts.