{"id":10062,"date":"2020-07-10T11:47:53","date_gmt":"2020-07-10T09:47:53","guid":{"rendered":"https:\/\/diploma2020.ecolecamondo.fr\/memoire\/lame-des-choses\/"},"modified":"2020-10-20T18:00:53","modified_gmt":"2020-10-20T16:00:53","slug":"the-soul-of-things","status":"publish","type":"dissertation","link":"https:\/\/diploma2020.ecolecamondo.fr\/en\/memoire\/juliette-droulez\/the-soul-of-things\/","title":{"rendered":"The soul of things"},"content":{"rendered":"
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Nous sommes un macrocosme d\u2019individualit\u00e9s, chacun avec nos souvenirs, nos d\u00e9sirs, nos fantasmes, qui se lisent au travers d’objets, de lieux ou de films, et qui forment le monde que nous habitons.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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CHAPITRE 2. L’OBJET – Dans ce chapitre je parle beaucoup du processus de cr\u00e9ation de chaque designer que j\u2019\u00e9voque. \r\nJe parle de Castiglioni, d\u2019une visite que j\u2019ai faite \u00e0 Milan, visite guid\u00e9e par la fille d\u2019Achille Castiglioni. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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C\u2019\u00e9tait un espace museal, chaque objet \u00e9tait mis en sc\u00e8ne et racont\u00e9, chaque objet con\u00e7u \u00e9tait inspir\u00e9 d\u2019un autre objet, d\u2019une myriade de souvenir. \r\nAinsi, il nous \u00e9tait permis de comprendre et d\u2019appr\u00e9hender tout un processus de cr\u00e9ation, comme si nous rentrions dans la t\u00eate d\u2019Achille Castiglioni.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Puis, je parle des Bouroullec, d\u2019une vid\u00e9o sur laquelle je suis tomb\u00e9e il y a deux ans et qui m\u2019a beaucoup \u00e9mue. \r\nOn y d\u00e9couvre toute la phase cach\u00e9e d\u2019un de leur projet, je d\u00e9cris cette vid\u00e9o de mani\u00e8re extr\u00eamement pr\u00e9cise ; les gestes des artisans verriers et la sc\u00e9nographie de l\u2019objet fini…<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Puis finalement, en d\u00e9cortiquant et en analysant cette vid\u00e9o, la magie se dissipe, je comprends que le storytelling a une place tr\u00e8s importante au sein de chaque projets; peut-\u00eatre n\u2019aurais-je pas \u00e9t\u00e9 touch\u00e9e de la m\u00eame fa\u00e7on par ces objets, s\u2019il n\u2019y avait pas eu toute cette mise en sc\u00e8ne. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Tout cet aspect marketing pourrait peut-\u00eatre s’apparenter \u00e0 de la “manipulation \u00e9motionnelle ?”…<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Enfin, dans ce chapitre, j\u2019\u00e9voque le travail de Martine Bedin ; c’\u00e9tait pour moi un moyen de faire un premier pas vers ces designers pluridisciplinaires qui me plaisent tant, celles et ceux qui poss\u00e8dent une grande libert\u00e9 dans leur travail. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Mais aussi, ayant \u00e9t\u00e9 les \u00e9l\u00e8ves de Martine durant quelques ann\u00e9es, ce passage \u00e9tait aussi une fa\u00e7on de parler du lien et de la transmission, des enseignements mais surtout des histoires. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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CHAPITRE 3. LE CHERCHEUR DE TR\u00c9SORS – \r\nCe chapitre est un d\u00e9bat avec un ami antiquaire, qui lui, pense que le design est une certaine “forme d\u2019\u00e9litisme”, puisque peut-\u00eatre r\u00e9serv\u00e9 \u00e0 un public assez ouvert \u00e0 ce domaine pour comprendre l\u2019histoire de chaque objet.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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J\u2019ouvre le d\u00e9bat autour de la soci\u00e9t\u00e9 de consommation et de nos besoins imm\u00e9diats, bruts, vifs, de ce dont on pourrait se passer, mais aussi des objets que l\u2019on ach\u00e8te car on les trouve beaux, car ils nous \u00e9voquent des souvenirs, et pas uniquement car ils sont fonctionnels ou utiles. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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CHAPITRE 4. L’ARCHITECTURE – Je parle de l’exposition sur le travail de Junya Ishigami, qui mettait en avant non pas des b\u00e2timents, mais surtout une pens\u00e9e architecturale, un processus, au travers de centaines de maquettes, plans, coupes, dessins, r\u00e9alis\u00e9s uniquement dans le cadre de l\u2019exposition.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Ainsi, je me demande encore une fois si toute cette mise en sc\u00e8ne ne participe pas \u00e0 vendre et toucher. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Peut-\u00eatre que finalement ces architectures n\u2019existeraient m\u00eame pas sans tous ces documents annexes, peut-\u00eatre qu\u2019elles seraient moins bien comprises, moins biens accept\u00e9es, peut-\u00eatre qu\u2019on les aime gr\u00e2ce \u00e0 tout ce panel de repr\u00e9sentation qui est mis \u00e0 disposition sous nos yeux. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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CHAPITRE 5. LES D\u00c9CORS – Je parle donc dans ce chapitre des d\u00e9cors au travers de 3 films de Jacques Demy ; Peau d\u2019\u00e2ne, Les Demoiselles de Rochefort, et Les Parapluies de Cherbourg. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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J\u2019essaie de comprendre la mise en oeuvre, le processus par lequel il est pass\u00e9 pour \u00e9crire et dessiner ces trois films l\u00e0, et comment les d\u00e9cors ont particip\u00e9 \u00e0 l\u2019histoire racont\u00e9e. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Je parle de la mani\u00e8re dont le cin\u00e9aste touche les gens par le beaux, par des d\u00e9cors oniriques enchant\u00e9s, r\u00eav\u00e9s, pour finalement parler d\u2019histoires sombres, graves, engag\u00e9es parfois. \r\nJ\u2019\u00e9voque \u00e9galement le lien entre chaque film, les similitudes que l\u2019on retrouve, les personnages qui reviennent. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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CHAPITRE 6. LES SOUVENIRS – Ce dernier chapitre est celui que j\u2019ai le plus aim\u00e9 \u00e9crire, mais qui \u00e9tait aussi le plus dur \u00e0 travailler car le plus personnel. J\u2019y parle de la maison familiale, des souvenirs propres \u00e0 chacun, qui se cachent derri\u00e8re des murs, des objets. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Apr\u00e8s avoir d\u00e9cortiqu\u00e9 tous les degr\u00e9s de la narration, de ce qui nous semble le plus \u00e9vident, \u00e0 ce qui est le plus cach\u00e9, ce chapitre pose le degr\u00e9 de narration le plus intime, le plus infime, le moins atteignable par les autres. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Celui du souvenir et des histoires propres \u00e0 chaque individu, qui n\u2019existent vraiment que lorsqu\u2019ils sont racont\u00e9s, et qui alors \u00e9voquent chez les autres d\u2019autres souvenirs et d\u2019autres histoires. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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