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Lehanneur writer

Minority Report Steven Spielberg's Dreamwork 2002

House hypnosis Mathieu Lehanneur polyurethane foam, LCD TV, Film hypnotist Francis Roustand 2005

OBJECT TO LIVING

In 1989, Albert Ducrocq published "The living object," a popular book on cybernetics, the science that was formalized in 1947 by the mathematician Norbert Wiener and will then designated as "mastered the science of analogies between organisms and machines."

Sixty years later, Matthew Lehanneur offers Elements , intelligent household objects, "like a skin," the body that interface with its environment, to assure maximum well-being. The analogy goes beyond the status here merely symbolic and architectonic it occupies in the art nouveau and its fascination in the architecture metabolism and cybernetics, to embrace all these dimensions simultaneously in a new type of objects.

CYSP 1, cybernetic sculpture autonomous Nicolas Schoffer, presented on the roof of the Radiant City in Marseilles during a Ballet Maurice Bejart (1956).

Lehanneur Mathieu, of course, not only accomplishes this syncretism, drawing on the short story, certainly, but already rich artificial intelligence, nano-technology and bioengineering. His work is nevertheless a channel to learn about these discoveries and their possible applications and what they commit the fate of the human condition.

HUMAN DESIGN

By his own admission, his work has no social issue. It seems to give only task is to accompany a new stage of human evolution made possible by technology. He responds with current resources, needs immemorial.

"There I think no notion of "social progress" in my work. Needs and necessities remain, only our means and tools to meet evolving reality. "
Archistorm, March / April 2007. interview with Lucia Pesapane

These means and tools led him to propose objects communicating, intelligent and interactive as many units of current research and development. Let's recall for the record that since 2002, micro-controllers, the chips that make our cars, appliances and other machine tools more intelligent, have become more numerous than the people human and relational objects such as pets bots ( iBot , Nintendog ) have their place in our lives.
Bel Air is an air freshener with a living filter, composed of plants identified in the 80's by NASA for their filtering properties. Stale air, toxic gases responsible for the objects of domestic space (solvents, formaldehyde, trichlorethylene ...), is sucked under the Pyrex bell and forced to go through the sheets and cleaned out by the roots .

The specificity of the work of Mathieu Lehanneur is to put these technologies in rituals, the nearest of the human body. Already in his dissertation Therapeutic objects, he said his interest in the physiological well-being, above all social imperative. As a designer, his job is not to be a vehicle for social progress and even fewer participate in aestheticism of life, but to reduce psychological and physiological stress inherent in the condition of being alive. In this sense, it proposes a new definition of comfort, even as homeostasis, regulation or harmonious exchanges between our body and its environment.

With his "Health Angels, he intends to eliminate the boundary between inside and outside the body. But is it a broader corporeality? Not really ... because the objects do not mix our flesh, but the wrap at a respectable distance, offering us a new anthropology soothing and welcoming, the antithesis of the post-human cyborg.

Mathieu Lehanneur Man is not "master and possessor of nature", it is inscribed, and cooperates with it, without "distorting", ie without reducing it to a simple technical operator or active principle. So its air purifier Bel Air, exposes you it's active in her bodily integrity. The plant is there, clearly visible under his bell.
O. 2006. Glass, aluminum, micro-organisms, magnetic stirrer, white LEDs, oximeter probe, 47 x 42 cm.
O. oxygen generator is a native. A microorganism photoreactive, spirulina platensis, is activated by a light source connected to an oxygen, when oxygen levels drop significantly.

dB , 2006. ABS, mini speaker, motor, charger, 19 cm in diameter.
dB. is a mobile system operating on domestic noise nuisances. Able to identify and approach the noise source, then it emits a white noise, the sum of all the frequencies audible to the human ear brought to the same intensity, which creates a protective band sound.

C. 2006. Elastomer, shape memory alloy, thermal camera, infrared heating, 25 x 66 cm.
C. Smart is a radiator capable of identifying the occupants of a room and the heating of localized portions of the body, rather than the whole piece.

K. 2006. Aluminum clad optical fibers, photocells, white LEDs with high brightness, presence detector, 30 x 28 x 28 cm.
K. Light therapy is an instrument of shock. Able, using photocells to raise too low light, it emits its approach to intense light of 10000 lux, which restores our melatonin secretion and thus keeps us awake.

Q. 2006. Steel with PVC coating, system diffision by pumps and nozzles, presence detector
Q. Diffuse serum fortifying our immune system's approach.

SIGNATURES

In general, the appearance of objects Lehanneur Mathieu is also an aesthetic of ostentation, distantly inspired by the theory signatures, after the 16th century, he quotes explicitly reference Liquid Bone (one of its therapeutic objects, an effervescent sticks evoking a bone for the treatment of osteoporosis). It seeks to make her immediately identifiable objects, producing forms analog functions. This is particularly evident desire for objects that involve invisible features, like its Elements.

"I was indeed" undress "enough devices and systems in place (emission of oxygen, diffusion of white noise, fogging Quinton) so we understand them immediately."

This theory of signatures, described by Michel Foucault in words and things, based on the concept of similarity to justify the principle of causality (eg nuts are good for headache and because a kernel looks like a brain). Episteme in this (way of thinking, the Foucauldian sense), the signature is a key, available to men by God's providence, so they can enjoy the benefits of nature. Mathieu Lehanneur exploits this principle of signing up in relatively recent work. Thus Q his spray Quinton, discusses the ramifications of the bronchi called to inhale this serum. It should be noted however that our modern episteme can not tolerate a purely allusive use of signatures and never take them for real. The placebo effect, expected on this basis in the therapeutic objects can not take place, which perhaps explains Mathieu Lehanneur have failed to put on the market, despite his insistence. It is they allowed to keep intact the meaning of medical practice, integrating the conditioning dose of the drug analogy, reminding the place where the treatment was acting, which is not nothing.

Liquid Bone effervescent sticks prescribed under a treatment of osteoporosis.

THE CABINET OF CURIOSITIES Lehanneur

Besides a more or less rational use of the theory of signatures, Mathieu Lehanneur also draws some of its discursive or aesthetic codes in the same 16 century.

First by an explicit reference to alchemy in its draft wAter , spring water laden with gold food, but also by the bell that caps the plant Bel Air or forms of its Elements , referring to both shells, breastplates, coral, forms Pythagorean or Platonic shapes reminiscent artificialia (human creations) and naturalia (creations of nature) that sits in the cabinets of curiosity. But this attraction to the "Wunderkammer" Is there more than a fad?

His proposals halfway between the artifact and natural, as Bel Air or O. (purifier incorporating a bath of Spirulina platensis "living organism with the highest yield of oxygen"), mimick singularly mind borrowing the occult and wonderful 16 ° century for which there was no difference really naturalia and artificialia, as evidenced by the bones scult and chimeras made by human hands from several animals that were found in the cabinets of curiosity. He finds this an aesthetic capable of carrying his point about "living being".

OF UTOPIA IN REAL

"I do not place a prospective dimension by saying that I'm doing pure research and I do not want to happen. I'm not in that kind of romanticism-there ".

Fine Arts Magazine, February 2006.

Mathieu Lehanneur has long been a designer of utopia or dystopia of, as evidenced by his collaborations with François Roche and the simple fact that none of its highlights is far been published and that the sustainability of "scenarios" has not really been verified. The Hall of mass hypnosis that he proposes for the city project self-generative and abstract I've heard about regressive utopia is reducing man to the magic, the body and the unconscious-king, recalling images most exhilarating, but also the most disturbing film of anticipation.
On the homepage of its website, it says "Mathieu Lehanneur Since 1974" ... somewhere between the tombstone inscription and stamp. Even if he imagines
entering the story ... or on the market, beyond the image of glossy dark brown to light steel face is a decidedly original design approach. Already his working method, focused entirely on the principle of scenario and its inability, by his own admission, to master the tools of conventional design (layout, modeling, production start) is surprising.

But his project Bel Air, the fruit of his collaboration with David Edwards, says a new commitment: to colonize the real, with a viable proposal and positive. The object is already functional and free to sale at the prototype stage, to a large-scale commercialization in 2009.

sources:

http://www.mathieulehanneur.com/

http://fr.wikipedia.org/wiki/Mathieu_Lehanneur

http://www.ecoledumagasin.com/ session16/spip.php? Article60

http://www.cacbretigny.com/inhalt/informationLeha.html

http://www.dezeen.com/2007/11/29/bel-air-by-mathieu-lehanneur/

http://www.ensci.com/uploads/media/dizajn_news2.pdf

intramural No. 135 March / April 2008

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