TECH TRIBUNE (France)
Production : Mélissa Babineaux





Production : Mélissa Babineaux
Photo : Noël Manalili
Photo : Noël Manalili
Production : Jean-François Camuset
Production : Nathalie Truche
Photo : Roland Tisserand
Production : Gay Gassman
Photo : Roland Tisserand
Production : Clémence Leboulanger
Photo : Roland Tisserand
Production : Kaoru Urata
Photo : Roland Tisserand
Production : Marie Farman
Photo : Raphael Dautigny
Production : –
Photo : Roland Tisserand
Production : Dominique Deveaux
Photo : Roland Tisserand
Production : Matthieu Jacquet
Photo : Roland Tisserand
Production : Laurine Abrieu
Photo : Roland Tisserand
Photo : Roland Tisserand
Photo : Roland Tisserand
Production : Véronique Lorelle
Photo : Roland Tisserand
Production : Madeleine Voisin
Photo : Alexis Leclercq
At first glance, the ALTER table is a ‘simple’ design but there are some details that lift this practical table up: the way the oak veneer criss-crosses the top, that playful indentation in the conical leg, the overall shape that allows for multiple placements.
The BLEND dining sofa is about the customer’s way of life. Which is why the BLEND dining sofa is modular – this leaves room for individuality, where you create your own perfect set-up. Each user has the opportunity to choose the BLEND that best connects with the rest of their interior. Giving the customer this option of creating an interior that perfectly suits his or her needs and will therefore be enjoyed for a very long time, is a rarely mentioned aspect of sustainability.
There is a distinct art déco vibe in the clear interplay of lines of the TILT armchair. The slant of the seat in relation to the arm and backrest is repeated at the bottom along the front. The tilt is achieved in this way: a wooden pole running along the full breadth cants both the comfortable armchair and the accompanying pouf ever so slightly.
The ‘Offset’ series of accent and coffee tables, appear to be carefully fretsawn “puzzle pieces”. A slit in one piece, a slit in another, slot them into one another at a 90° angle, and, hey presto, the most stable base. However, this apparent simplicity leaves no room whatsoever for impurities: the finish of the wood and the marble in ‘Offset’ is therefore sublime thanks to the craftmens of Linteloo.
Production : Pierre Léonforte
Production : Clémence Leboulanger
Photo : Roland Tisserand
Production : Joseph Brami
Photo : Papier Plié
Production : Véronique Lorelle
Photo : Agnes Dherbeys
Production : Marie Dewilde
Photo : Roland Tisserand
Production : Antoine Mansier
Photo : Roland Tisserand
Production : Tonje Madsen
Swarming in the space, the Onde sofa ends, in wood, concrete or metal finish, awaken the living room gently.
Playing with full and empty shapes just like wave rolls, these monolithic elements are like interior design punctuations and provide surfaces. ONDE tables are like a small living room archipelago.
All in softness and sinuosity, the Dune sofa recalls the undulations of the sand swept by the wind. Its simple line, its round shapes underlined by discreet seams, its enveloping volumes make it a masterpiece around which the house comes alive.
Its irregularly deep seat invites you to sit on it throughout the day, varying your posture. At times convivial, at times intimate, Dune becomes a refuge for dreaming and reading.
The sandblasted oak base emphasizes the curvature of the seat and reminds us of Philippe Hurel’s attachment to cabinet making.
production: Julie Rebeyrol
photo: Roland Tisserand
production : Mikhael Kolotov
photo : Roland Tisserand
production: Violaine Belle-Croix
photo: Roland Tisserand
production: Caroline Bouige
photo: Roland Tisserand
production: Segolene de Wacronier
photo: Roland Tisserand
production: Clémence Le boulanger
photo: Roland Tisserand
production: Xavier de Jarcy
photo: Roland Tisserand
production: Violaine Belle-Croix
photo: Roland Tisserand
production: Sylvie Adigard
photo: Roland Tisserand
production: Myriam Boucharenc
photo: Roland Tisserand
production: Sophie Roulet
photo: Roland Tisserand
production: Victor de Sepausy
photo: Roland Tisserand
production: Rachel Gallaher
photo: Roland Tisserand
production: Marie-Hélène Balivet
photo: Roland Tisserand
production: Laure Amoroso
photo: Roland Tisserand
production: Lise Coirier
photo: Roland Tisserand
production: Lise Coirier
photo: Roland Tisserand
production: Yvette Yang
photo: Roland Tisserand
production: Thierry Bodin-Hullin
photo: Papier Plié
production: Antoine Le Fur
photo: Roland Tisserand
production: Caroline Bouige
photo: Roland Tisserand
production: Pierre Léonforte
photo: Roland Tisserand
production: Laurie Abrieu
photo: Roland Tisserand
production: Roxanne Robinson
photo: Roland Tisserand
production: Guy-Claude Agboton
photo: Roland Tisserand
“I knew that I would never possess this young cyclist if I did not possess also what was in her eyes. And it was consequently her whole life that filled me with desire; a painful desire because I felt that it was not to be realised, but exhilarating, because what had hit her to been my life, having ceased suddenly to be my whole life, being no more now than a little part of the space stretching out before me, which I was burning to cover and which was composed of the lives of these girls, offered me that prolongation, that possible multiplication of oneself which is happiness.”
Marcel Proust, In the Shadow of Young Girls in Flower
Albertine Simonet is the most quoted character in the novel. She is one of the “young girls in flowers” that the Narrator meets for the first time in Balbec (Cabourg). Impertinent, ethereal and ever changing, Albertine is described by Marcel Proust as “a being of flight”.
In the infinite series of imaginary Albertines who followed one after the other in my fancy hour by hour, beach, figured only at the head, just as the actress who “creates” a role, the star, appears, out of a long series of performances, in the few first alone.
Marcel Proust, In the Shadow of Young Girls in Flower
Loving the Narrator when he doesn’t want her any more, releasing him when he makes her a prisoner, Albertine is fickle and elusive: an object of desire.
The Pomare chair takes its name and origin from the last dynasty of Tahiti’s kings. Anthony Guerrée was inspired by this high-backed chair because it symbolizes romantic desire. This chair entered popular culture in the 70’s after it was featured in the poster of the erotic film Emmanuelle and evokes lightness and liberal mores.
I knew that I would never possess this young cyclist if I did not possess also what was in her eyes. And it was consequently her whole life that filled me with desire; a painful desire because I felt that it was not to be realised, but exhilarating, because what had hit her to been my life, having ceased suddenly to be my whole life, being no more now than a little part of the space stretching out before me, which I was burning to cover and which was composed of the lives of these girls, offered me that prolongation, that possible multiplication of oneself which is happiness.
Marcel Proust, In the Shadow of Young Girls in Flower
The circular back designed by Anthony Guerrée for the “Albertine” chair is directly inspired by the bike that Albertine rides away on.
production: Marion Vignal
photo: Roland Tisserand