SCIENCE AND CONSCIENCE
Blending design, art and technology, Mathieu Lehanneur's magic touch permeates all of his creations.
Architecture, furnishings, objects, decoration, accessories... His production is multifaceted and grounded, but decidedly poetic. Reality is woven into his design - only to be better transcended.
"2024 Maison&Objet Designer of the Year"
Now that's an award commensurate with the quality of Mathieu Lehanneur's creative output. From
his Factory in the Paris suburbs to his pied-à-terre in New York, the French designer is shaking
up the discipline with his conceptual approach imbued with science and conscience. He is one
of those who believe that design has a functional role, for sure, but also a transcendental symbolic
force. He joins us to take a look at his latest work and share his vision.
Has 2024 been your year ?
Mathieu Lehanneur: I don't know. I like to think of it as a continuation, or even the start of something. I have a sinusoidal view of my career. Sometimes I'm proud of what I've done; other times I can’t believe how much there’s still to do! There was the Olympic flame, the Olympic cauldron, the opening of the Factory and Maison&Objet; but also, the completion of our first "pied-à-terre" in New York. That's the codename we've given our Manhattan penthouse, furnished entirely with our creations. The USA is bigger, faster, and stronger. A symbol for me.
You are one of the few who has created a brand in your name.
Is it important to create with total freedom?
M. L.: That's the dream. You have an eye on everything. For sure, there are choices to make; technical and budgetary ones; but you decide alone. It's the best way, I think, of getting an idea to germinate. An idea is like a seed: to help it grow, you must give it the right conditions; in a well-meaning hothouse.
Design, art, technology... How do you define your design approach?
M. L.: I think we must always come back to what we are: human beings. Sure, objects should be useful and functional; but humans need things to go beyond that; we need magic, something extraordinary. In design, I do what I think it's legitimate to do. So, some of my pieces are very functional, inhabitable even; while others are more artistic.
This comes across in several of your creations, how do you
think that design relates specifically to sport, movement and the dynamic?
M. L.: This year was special in this area, with the design of the Olympic torch and cauldron; two objects that are part of the sporting world, without being sporting equipment in themselves.
They're more symbolic, almost liturgical. To me, sport is enthralling, but it can make design functional above all – centered around performance and efficiency. However, when you think of a sports shoe design, for example, it can be something that gives you the feeling of moving faster. And that simple belief can enhance performance. The design of a sporting object can also deliver a message to its user.
What do you think about using AI in design?
M. L.: I don't use AI; or at least, very little of it. So far, I think it's built to make a résumé of things.
A mix of the existing, a perfect average, a giant, historical moodboard. But my work isn't a synthesis. As long as AI is unable to surprise, it will be bad.
What role do designers play in today's society?
M. L.: They can go everywhere. Although they still have to be invited! I worked in a church, because I was invited by the priest. If you think of design as the missing link between humans and things, then there are no limits. I have no preconceptions; everything depends on the client and the aim of a commission. Why not one day design a toilet, if it's legitimate; if there's a strong concept, or new technology at the heart of the project, and not just a way to make money?
Photo credits : Mathieu Lehanneur, Rudy Waks, Leandro Viana, Felipe Ribon
