At first the students visited the factory and were familiarized with the technologies and modes of assembly of the radiators. They then devised proposals addressing the mobility issues, and aspects of its use and / or quality perceived by the user. The company has selected three projects to produce a prototype.

Partnership : with Campa radiators

Tempo – Élodie Elsenberger

The radiator has a «crumpled» looking surface and changes color with the heat: temperature is then evaluated at a glance. The object is no longer hidden, but actively contributes to the decor and home life due its’ advanced and changing graphics.

Théo Demans

The decorative appearance of the radiator using a variety of superimposed materials, like paintings in a portfolio.

Travel, Damien Convert

The radiator can be laid against or hung on the wall. A simple handle is integrated for this purpose. Power is supplied by the base on the wall or at floor level.

Antoine Monnet

The idea of the project is to make the radiator more versatile, by separating the component parts it becomes more adaptable and durable. The electrical resistance and the control box, more fragile, are separated from the main body which has better longevity. The electrical resistance is contained within an aluminum casing and permits a variation of the possible materials for the heat diffusing surface. Thus, on the same basis, it is possible to generate radiators of varying shapes and radiant intensity.

Minima – Clément Bernard

Five objects (obsidian, corner, beam, fireplace, fireplace set) with a common heating function and a minimalist, geometric, black and lacquered look interact with the space and architecture, and can be used either together or separately.
Elodie Elsenberger, Tempo

The French Tannery Federation launched a competition between five schools of Design, selected in France, for the students to invent new ideas for the use of leather, other than the usual and conventional ways. In this way widening the field of application and encourage ingenuity and innovation in the use of the material as a structural element be it decorative and / or architectural. A team from the ESAD of Reims won the first prize of € 5,000.

Winners 1st Prize: Elodie Elsenberger et Fabien Szczepanowski “Arteria” The light fitting consists of a network of flexible or rigid leather strips on a metal core, crisscrossed by an array of LEDs, creating diffused light. (190x100cm).

Corrugated leather stool

This stool explores the structural properties of leather. The seat is made by the twisting of the material ad while maintaining the usual manner leather is used to cover a surface.

I’m crazy, crazy about the resonance between words, code , and the act of eating, of an edible alphabetic code delivering a message the guests do not expect, an edible interpretation of the phonetic alphabet in taste, texture and temperature, of food revealing text and figures under a certain light source, a mixture of food and words…

The culinary accessory is food seasoning, a tasty, sensual and sensory additional note just to sublimate our classics. This accompaniment incites us to dream, to savour rather than just feed and changes the whole perception of the everyday plate contents. The following proposals are made using traditional technology introducing a new instrument in the kitchen: the iron

Ingredients: dried, ironed and cut vegetables

Little, fine and frail are words suggesting the uncertain state of fragility. We do not know its strength; we doubt its ability to bend without breaking. Fragility implies possible breakage, a temptation for demolition; fragility navigates between endurance and fracture. For Soft Ground, this notion of fragility and precarious state crystallized around a single foodstuff: the meringue.

Research into the limitations and creation of volume in the use of this foodstuff is the focal point of this form of art, meringue in its usual decorative form is transformed into various emaciated, lightweight, ephemeral works of art. But if it does break up it gives its place up to a different foodstuff providing taste as vivid as the demolition is sudden because this fragile state is not doomed to remain stable or constant. The stress involved created all the delight of this experience.

The project was developed as part of the ESAD Reims “Semaine Folle” 2011 with the help of Jon Marin, a lecturer in multidisciplinary biomimetism and ecodesign projects at the Sabadell College of Design in Spain Urban Greenhouses aims to promote plants that naturally occur in undesirable places. The “weeds” we find in our cities are actually useful, life-affirming and sometimes even edible. The first goal of this project is therefore to promote them by the kind of signage one would find in a greenhouse so that they can flourish, grow and earn the respect of local residents and passers-by. The second advantage of the project is that it uses the plants that have been highlighted to make compost; by adding glucose syrup to the organic waste, it is transformed into a fertile solid substance. It can then be easily used for indoor plants by cutting it into cubes, which are a reminder of its protective role and also look like sugar cubes. This project’s strongpoint is that its invites us to reconsider the natural world we find in our cities and to put it to good use as a means of creating an urban lifecycle.

Led by: Jon Marín, Sara Lubtchansky

Today these 300 acres of marshland, where water covers a hundred hectares, lies from the heart of the city, but only seven professional gardeners working 25 hectares make a living from it and sell their produce to the markets and supermarkets. With this Festival, artists (landscape architects, architects, designers and other students of these disciplines) are offered plots of wasteland to create temporary or permanent set-ups for the public to visit on foot or by boat. Students, after visiting the 2011 edition of the Hortillonnages, formed small groups in order to investigate the possibilities of integrating the natural and touristic dimensions of this area of natural heritage and adapt it to the general public.

Vegetal book – Madeleine Todd Morel A life-size herbarium, a life size living dictionary for the discovery of the principal species of local vegetation.

Disintegration – Thomas Kern et Marie Legentil The project focuses on the problem of the gradual disappearance of the islands and questions the existence of the possibility of an imaginary other side to the now abandoned gardens.

Save the floating gardens – Bérénice Garnier Huge photographs have been installed over these abandoned plots as a testimony to the heritage before it is deteriorated by the passing of time.

In 2013 Students of ESAD of Reims concentrated on urban agriculture placing it in the context of the City of Reims and in the Reims 2020 project. Led by Patrick Nadeau, architect, designer and founder of the Plant design workshop, Sara Lubtchansky, town planner, and Nicolas Bonnenfant, landscape architect within the organization COLOCO, they were invited to explore the issue from their point of view as designers , placing themselves at the level of interaction between man and his environment. Projects as diverse as nursery gardens, ways to promote local production, the creation of networks between consumers and producers … have been devised. Often with an educational approach, several projects have sought to develop a methodical and temporal vision of the agricultural productivity cycle. Five projects were brought together having in common the desire to go beyond the purely market garden approach, by using practices from the past or from elsewhere in the world, to show that agriculture is an activity that can contribute to the development of trade and re-organize industrial production cycles. Originally designed to be independent they prove to be complementary and interdependent.

Bio-gas – Élodie Elsenberger, Marion Galisson Methane is also a product of rotting compost. Compost mixed with air makes humus which feeds the soil and produces heat. Mixed with hot water, it ferments and produces methane. This bio energy feeds the stove to cooks the vegetables. In Japan and Cambodia, cabins are heated with compost; in Rwanda and Benin, methane is used for cooking, while in Sweden, bio gas is produced industrially to heat houses and run cars.

Stills – Salassa Mitsui If fruit trees grew in the city … the city would be a village! So as not to throw out rotten fruit from our urban orchards and supermarkets, we could distill them and make fruit brandy or a small amount of alcohol to run an engine. Fire produces ashes to make bricks, creates heat or cooks a snack and creates a social well-being, allowing some time to think. What if the city adopted the rural traditions ?

Educational garden – Line Lieng et léa Wlodarczyk This project shows the children that each plant grows in a differently: the potato is earthed up, chicory is grown in the dark, the strawberry plants are layered and tomato plants climb…. These educational gardens in sacks of non- woven fabric are suspended along the walls of the school in order to follow the growth cycle of the

Compost bricks – Thomas Ballouhey Putting humus into a brick form: a brick of dry and carbonnés organic waste is composed of sawdust, fungal matter, dry leaves, paper, cardboard, coffee grounds, egg shells and ashes. Mixed, wet, compressed and then dried, the brick is compact and easy to carry; it comes back to life with compost and water in order to fertilize

Mushroom bed – Martin Laforêt

Mixture of industrial and amateur practice in 6 steps. Step 1: Develop the mycelium in a jar of sweet water Step 2: Fill sterile jars with cereals (maize, rye, oats, wheat …) Step 3: Make substrate with leftover fruit, organic bricks, fermenting dregs. Step 4: Deposit grains coated with mycelium on the substrate Step 5: Start the process of mushroom production in a dark humid place Step 6: Consume mushrooms (usually oyster mushrooms)

With the city of tomorrow in mind, ESAD imagined to equip buildings in its city centers with vertical biotopes, real signs of biodiversity in urban areas. This vertical garden called upon the design work of the Schools students and the latest planting techniques. This living work of art is designed as a perfect example of vertical gardening, and includes undemanding plants coexisting with birds and insects and requires very little maintenance. Hives installed on the roof of the school in 2009 are fully integrated in this ecosystem that may obtain an official label as a LPO refuge.

Just as in nature, insects allow plants to reproduce, while the flora provides food and refuge to small wildlife. It is in this balance of the living and its integration in the city that demonstrates the various skills of the ESAD.

Students were asked to develop the project and imagine birdhouses, insect hotels and pots for plants. This successful project running since May 2012 is a mixture of wall plant boxes and various objects designed by students which are suspended by a system of hooks representing branches. These objects have been developed and prototypes created out of organic concrete by the expertise of the Companions of duty, the LPO (Bird Protection League) and experts of insects in urban areas. It is an opportunity to experiment with new techniques in natural materials.

A full-immersion session at the company allowed students to understand its semi-artisanal production process and to develop a response to the issues facing both the business and society as a whole. The objects currently in production are new additions to the foundry’s traditional repertoire and they mark the first stage in a long-term collaboration between ESAD and small companies and craftsmen practising traditional methods in the Ardennes.

Jelly Belly Candy: substance, colour, flavour …. enhanced or modified by students of food design.The results were successfully exhibited in October 2012 at the Publicis Drugstore on the Champs Elysees (Paris).

For the fifth edition of Food Design at the SIAL Food Show, students from ESAD Reims drew on their vision as budding artists to think up prototypes for products on the theme of “Home Chef”. XTC World Innovation consultants have identified an underlying trend that home cooking is influenced by celebrity chefs, the new gurus, and ESAD students were inspired to consider the relationship between the general public, food and cookery.

Led by : Marc Brétillot et Frédérique Bastien

Partner: SIAL

The ESAD Reims students who took the food design option approached the theme of “Our Daily Bread” as part of a design project that combined contextual analysis, experiments, relevance and coherence. The research took place between October 2011 and January 2012 having been initiated by a visit from the company Eurogerm and followed up with their food design professors Marc Brétillot and Frédérique Bastien assisted by ESAD’s chef, Georges Ribeiro. Reinventing Our Daily Bread is an extremely wide-ranging subject area that covers every culture and discipline. Pride of place goes to the many diverse student projects. They examine how bread is produced, distributed, consumed and recycled. Time is a particular focus, some students delving into mythology while others look forward to new models of consumption to come. There is a dialogue between conceptual, palpable, ideological and practical points of view; they express movements and tastes, they discuss uses and techniques.

Led by: Marc Brétillot et Frédérique Bastien

Partner: Eurogerm

ESAD had two food design activities on show: firstly on one of the stands helping with the demonstrations, and secondly through its food design proposals for the closing dinner organised by postgraduate students and the Ecole Grégoire Ferrandi around the theme of Food Explorer. Manufacto is a cocktail that was dreamt up and prepared by students from the two colleges. They met several times to discuss their different approaches and decide on a subject relevant to both: the hand.

Food explorer / Manufacto

Performance at Paris des Chefs show

Led by: Marc Brétillot

Observing and examining plants, their form, their structure, their geometry, their colour and their relationship with their surroundings helps designers to offer special, tailor-made and innovative solutions to current social, economic and environmental problems. This work on the scale of humans and plants complements the approaches of architects and landscape architects working at the scale of a city or landscape. This research project was led by Patrick Nadeau, Sara Lubtchansky and Patricia Ribault and involved first-year Master’s students in 2011/12. The first results went on show at the Jardin des Tuileries from 31 May to 3 June 2012 as part of the “Jardins, Jardin” exhibition. The projects were also included in a science and culture exhibition with INRA and Accustica as part of the 3rd International Art and Design symposium co-organised by ESAD and the Comédie de Reims in November 2012 on the theme of plants.

For this workshop supervised by designer and ESAD teacher Renaud Thiry, and coordinated by Patricia Ribault, students put forward propositions based on preliminary research and those who were selected went to Venice to make their prototypes, where they were advised by glass designer and decorator Norberto Moretti, and by Dario Stellon who runs the SALVIATI workshop.

INTERNATIONAL WORKSHOP IN FOOD DESIGN with Anne Xiradakis ‘Pot au feu’ Diane Bisson, ‘Des contenants mangeables’ (edible containers), Renato Bispo and Sergio Gonçalvès ‘Deux pour un’ (two for one)

Publication: Les 400 goûts, Design Cuisine et Geste.

Proceedings of the First International Symposium of Art and Design

Reims – October 2010.

SOUP ROUND

Marc Brétillot (designer), Philippe Chatelain (sound artist), and Eric Trochon (cook) created a participatory food performance on the theme of ‘Cooking and Gestures’ for 120 spectators and diners with their free take in a soupe au pistou.

Performance coproduced by Le Manège de Reims, Scène Nationale and the Reims ESAD.

Students from the ESAD food design workshop took part and imagined scenarios with innovative forms and flavours for the hamburger of the future.

Weaving with food waste – ADRIEN LEROY
Edible packaging

Taking a bite out of life whilst preserving it at the same time – AURELIE HOEGY
Fermentation as a production method

Seasons’ platters – NADIA BOUGHEDAOUI
Colourful palette of flavours

Bun – AVRIL DE PASTRE
Edible vegetarian container

Three pebbles – CELINE MARDER
Chewing as a way of tasting

Everyone has their own gestures – ISABELLE MAJOU
Wipe, spread, wet, dunk

1+1+1 – CLARA LOU NADEL
Contents, form, and flavour

Deal hamb – IRIS DELVALLE
Mouthfuls to share

Slow-cooked meals – FERREOL BABIN
Bread cauldron

Cooked news – PIERRE DUSSAUSSOY
Sinking your teeth into the news

Resonances – ALEXANDRA ROUDIERE
Food sound mapping

(cf: catalogue of the exhibition held in Paris and Brussels in 2011).

Quicklab

“As a designer I am interested in organoleptic sensations and how a product interacts to stimulate sensory receptors. To take this idea further it is first necessary to study the sensory impact when the food is placed in the mouth.

Is flavour simply an expression of this? Etymologically, the word “expression” refers to the act of pressing the juice out of a food, or in mathematical terms a reduction. But is it not rather the locus for sensory resonance more generally? In other words not just taste but everything that is directly or indirectly related to the forms of the sensations caused by the other senses, such as hearing, sight, smell, and touch. And this led me to address the following issue: is the moment of placing food in the mouth simply the revelation of a flavour, or a locus for sensory resonance?”

“My research is based at the intersection of two disciplines, cookery and contemporary dance. I see the culinary gesture as a choreographic fresco. Culinary gestures draw the eye and delimit space. The volume thus created is constantly redrawn. The shapes and lines vary and stimulate the imagination. The culinary gesture appears and disappears. It cannot be pinned down and stimulates our attention. It acts in the present in accordance with a logic of action. The smells, colours, foods, and soundscapes (utensils and conversations) accompany and provide a framework to the sequence of specific gestures involved in making a dish. All these gestures taken together form a network of exchanges, circuits, and affects within a system of interactions.

The gesture is perceived as a rhizome; a necessary means for performing and re-performing the act of making. The culinary gesture is a continuum that tells us about our relation to the world. It is part of our tradition and its transmission as well as being a form of self-expression. It finds its way into the interstices of memory and is constantly redefining our sense of belonging. The food gesture becomes a means of perceiving expression organised by actions.”

This research project relates to new sorts of indoor objects made using plant material.

The strength of the project comes firstly from the materials used – European flax and hemp (plant material that can be processed in multiple ways) taken from the plant world. It also comes from the references the dozen or so students working on the project drew on in designing their objects, taking their inspiration from the landscape (contours, relief, erosion, vegetation, and so on), as well as from their original development of these themes, combining composite materials and textiles made entirely of flax and hemp.

The concept of landscape comprises 2 notions: – One offering a global, panoramic vision (stand-back). A vision that takes in everything, making it possible, on analysis, for whole assemblies to be defined, then sub-assemblies and so on, from macro to micro.

– The other proposing a point of view, spatial of course, but by extension an ideological and cultural point of view. What can we see, what do we want to see?

Naturally, the notion of landscape is broader than the stereotyped image of the beautiful bucolic landscape that decorates cake boxes or cross-stitch tapestries hung over the fireplace, little wooden chalet set against a verdant mountain backdrop, naïve landscapes… There are urban, industrial, sound, olfactory and food landscapes… Products lining supermarket shelves constitute a landscape, the sight of an open-air market, another food typology; it’s up to the designer to decide to create his/her point of view, to propose. The notion of landscape englobes all scales, crop landscape, production landscape, transformation, distribution, table or plate landscape. Difficult not to cite the “haute couture” experience of chef Michel Bras who creates the landscapes of Aubrac in his plates, not in any anecdotal way, but through a look that is at one and the same time distant and sensitive: for example a dish called “Shadow and light” (tuna and tapenade).

There are many fields where landscapes and food are one, where landscape is changed by man to meet his nutritional needs. The next time you’re on a train between two stops, look out the window at the vast nourishing roll-out, the fields for livestock, workers’ allotments, vine slopes, ripe wheat, sugar beet. Further afield, banana plantations, rice paddies, soil-free greenhouse tomatoes, fish farms in the sea and oyster pots… a large part of what surrounds us is sculpted by the need to produce food. Current ecological and sustainable development challenges will certainly change these landscapes, just as previous challenges once designed them. The notion of landscape is not far removed from that of local land or terroir. Those who eat will be increasingly intrigued to know about and understand what they are eating. In the product itself, on its packaging, in the way it is distributed and proposed to consumers, the landscape will be increasingly present in various forms, as witness the number of recent advertising campaigns using it to enhance communication clout..

There is not a presentation in my activity of food designer where I do not begin by quoting the superb text of Francis Ponge “Bread”, where bread crust is compared to the Andes Cordillera. Is there any finer illustration of how far removed from matter we can be which will propose an interpretation that is right on the nail, sensitive and holds out promise of fertile imagination? Is it not the challenge that the designer has to meet to understand a global problem with as much stand-back as possible, the least amount of preconditioned reflexes and the minimum of preconceived ideas, and, fuelled by this analysis, propose a precise and singular project which perfectly expresses the whole?

“As already demanding consumers and future players in this world that is changing at an increasingly fast pace, students have a valuable point of view. Small, expressive “brushstrokes” give us a picture of young people’s dreams, concerns and directions on the threshold of active life. Each with his or her own sensitivity and food culture works out a particular approach. The diversity of breeds echoes well for the future.” Marc Brétillot.

Each student carried out his/her research with his/her own personal world, his/her attention to food science, aesthetics, poetic and social considerations. The projects have been then developed in taste terms and “cooked” by the rule book by Eric Trochon’s students at the Ecole Supérieure de Cuisine Française – Ferrandi (Paris). About twenty projects are exhibited at the SIAL (Paris Food Industry Show), the biggest show for food industries in the world. Some projects can be tasted in the kitchen of the Show. The works and research are published in the bilingual catalogue “Food design: Dairy products” and “Food design: Dairy products” co-edited by La Sauce and available at ESAD’s secretariat (price: 10 euros with the catalogue “Delicatessen”).

“Educational Garden” by Charles Baudoin, Germain Cagnac, François Hédin and Estelle Mercier. Based on a botanical list of plants, from noble specimens to the humblest weeds, that have grown in this courtyard, the project provides a lesson in botany. Explanatory items classify and give a framework to in vivo specimens.

“Spiritual Elevation” by Aurélien Mirofle and Seung Yong Song. The garden’s verticality draws inspiration from the former function of the premises.

“Plant Growth” by Ulysse Neau and Pauline Regalia provides a structured expression and sound track.

“Architecture in situ” by Julien Renault uses minimalist artistic elements and the site’s architectural backdrop to provide a sculptural setting with flower boxes.

The work is divided into four thematics: Preparation, conservation, table service, multimedia and gestronomie. These works have been shown at the Saint-Etienne International Design Biennial in 2006.

The partners are: Les Crayères, Dyson France, Activ Concept, Fanfoart, Restaurant dans le Noir, Mauviel, Villedieu les poêles, Philippe Cauquil, Théma Design, Dupont-Corian®, Thierry Marx, Delcam France, Césaré, l’Astrance, IEHA, Délicabar, galerie Fraich’ Attitude.

Each student carried out his/her research with his/her own personal world, his/her attention to food science, aesthetics, poetic and social considerations. The projects have been then developed in taste terms and “cooked” by the rule book by Eric Trochon’s students at Ecole de Haute Cuisine Grégoire-Ferrandi (Paris). About fifteen projects have been exhibited at the SIAL (Paris Food Industry Show), the biggest show for food industries in the world. Some projects could be tasted in the kitchen of the Show. The works and research were a success and are published in the bilingual catalogue “Food design: The workshop”, available on demand at ESAD’s secretariat.

Through observation of the growth of climbing plants, the students develop appropriate domestic objects.