PORTFOLIO Sixtine Neufville
Master thesis 2019
Creature of the 21st Century
A constraint share
workshop 2017 Young French industrial and multidisciplinary designer, I explore boundaries between nature and culture in my work. This sample of work is meant to illustrate my practice, sharpened by research; through our behaviours in our traditions, our history, our rituals, our technical progress, our social construction, our systems and our norms.
for LE TANNEUR 2017
for CSM 2017
with TedX BEYOND BORDERS 2019
2015 - now
LUCEM IMPERA Hand over
A missing piece From a gift
A past future history of our land legacy
from various work
2019 Master Thesis - CSM
ORDINARY SPECIES Creature of the 21st C.
day 1 : WRITE A LETTER
« I write but never intend to send the letter then » day 2 : CROSS THE DOOR
« I always check twice that the door is closed »
day 3 : SMOKING « I started because I was curious, my mother was smoking and forbid me to do the same. » - « I wanted to understand and defy the ban » - « It give me some space » - « it allows me to walk away from situations » - « it’s a natural break » - « it’s a timer » - « it’s a social activity»
day 4 : GO TO THE BAR
SELECTED HABITS IN THEIR CONTEXT
« I am going for social reasons. » - « I want to be seen »
E BILL PAY TH
A L ET
day 5 : WIP YOUR MOUTH « It depends if I have lipstick on »
day 5 : WEARING A WATCH « » «
I « I
escape on weekends » - « in fact, I don’t watch it that much « to stay in control » - « I need to know what the time is » it’s a freedom away from my phone, it facilitates my work » have holes in my trousers so I can’t keep my phone »
WATCH WEAR A
HABITS ANCE TEN IN MA
MAKE YOUR BED
SET YO UR ALAR M
day 6 : SAY HELLO « It’s weird, I don’t like that » - « we teach me this » « It’s a sign, like I see you » - « to respond politely » « to feel human »
day 6 : CHARGE DEVICE « to avoide bad surprise » - « LA PANNE » - « It’s easy » - « as soon as I am home, I charge my phone » - « cause I am scared » « I am dependent »
day 7 : SHARE A MEAL « We always did it this way » - « it brings focus » - « it’s more formal » - « it’s convenient »
day 8 : TAKE A PICTURE « I couldn’t even tell you why I am taking pictures » - « to share beautiful things » - « to fix something » - « to remember » - « I couldn’t even tell you why I am taking pictures » - « to talk to friend in a different way » - « to show what I want to show »
day 9 : MAKE YOUR BED « create to destroy 12 hours later, I don’t see the point » - « I make it when people are coming around »
day 10 : COOKING « I am cooking for the others » - « for special occasions » - «
To try out new things »
day 11 : WALK « Good for health » - « to open to the world » - « it’s a distraction » - « to choose » - « to play the power » - « I can’t teleport » - « to control the time » - « everyone walks » - « to explore »
day 12 : READ « to flee » - « to procrastinate » - « to look intelligent » - « to sleep » - « to escape and travel » - « to choose and imagine » - « I like to know » day 13 : TAKE NOTES
« I don’t know, I like the object (notebook) » - « I don’t like when people are watching » - « to think » - « I have a smartphone I don’t need to write » - « you never know ...
LISTEN TO THE EVERYDAY
R M OU
SAY HE LLO
LISTEN TO MUSIC
BITS L HA CIA O S
A WALK GO FOR
In offering a prism of five perspectives, this reification of behaviour challenges assumptions about everyday practice. Ordinary Species tend to estrange humans from themselves and their normality.
Towards a classification of behaviours observed in everyday practice, this project offers a grid in which humans can position themselves. Five identified stereotypes have been caricatured to illustrate general lines of conduct. A range of nine objects, chosen for their social meaning, has been created to facilitate these behaviours, reflecting on our conduct, rules and conventions.
E TIV EA CR
In our seemingly diminished world, humans are constantly evolving creature, trying to find their place in society. Humans can be defined through their practice of everyday life, in which patterns of general conduct are observed. They wear these marks of structural obedience: physically on their wrists, and metaphorically in their movements.
TIE OF THE PRACTICE INER ITY OF CONSTRAINT S N DE S D EXPERIENCE S AN NEE L L DE SKI D NTIONALIT Y CONVE
â€œWhat we need to question is bricks, concrete, glass, our table manners, our utensils, our tools, the way we spend our time, our rhythms. To question that which seems to have ceased forever to astonish us. We live, true, we breathe, true; we walk, we open doors, we go down staircases, we sit at a table in order to eat, we lie down on a bed in order to sleep. How? Why? Where? When? Why?... Make an inventory of your pockets, of your bag. Ask yourself about the provenance, the use, what will become of each of the objects you take out.â€? George Perec
n°1 - AGONISTIC °3
Distinguished by its desire to stand out, this specimen is self-driven and doesn’t need any guidance. Its objects illustrate confidence and reaffirmation of an image of individuality
n°2 - ALTRUISTIC Defined by its allegiance to others, this specimen always shifts principles to sacrifice himself for others. Its objects depict a dependency on social interaction.
n°3 - OBSIDEUS Tipify by its need to be in control, this specimen meticulously follows instructions. Its objects fulfil a need to curb their immediate environment in the obsessive observation of detail.
n°4 - MIMETIC Characterised by its docility, this chameleon hides in the crowd and lives through the imitation of other’s behaviours. Its objects follow social expectation through the imitation of others.
n°5 - FEROX Discerned by its explorational spirit, this specimen ignores rules and conventions, and choose to act with its instinct. Its object offers the freedom of interpretation.
EDITORIAL FOR CENTRAL SAINT MARTINS - TAKING SHAPE https://www.arts.ac.uk/colleges/central-saint-martins/stories/taking-shape-sixtine-neufville
CRITIC OF THE WORK «This is a complete and compelling project exploring the quotidian, habitus and practice of through design poetics. You desmostrate control in all aspect of your process through research and translaton into design. You’ve developed the project effectively through iteration demonstrating a professional ethos in your work. This has been evident throughout your time on MAID. The design work is well detailed and honed with attention to detail. The work is playful and humours but developed with a sophisticated and well-detailed language. The categorisation model is well observed, synthesised and grounded in order to position the self conceptually and through the representative object. You afford a strange familiarity to associatewith through the tangibility of objects and parody structural obedience through the project range. You deliver manufactured behavior through objects. The work is subversive, playful and well observed in its objective examination of behavior and practices in contemporary European society. All components of the submission are thoroughly produces and a coherence runs throughout. We see your emerging identity as a practictioner within all aspect of the work and it’s clear how your style and voice has developed over the course of the study. You clearly demonstrate self-direction. Your studentship and collaborative working are to be commended.» GRADE : A* MARKER : Matt Malpass; Nick Rhodes; Ralph Ball DATE : 24/06/2019
A constraint moment
Our society is victim of solitary acceleration. It forgot rituals, their meanings and what they have to offer. Through the act of sharing a coffee there is a way back to find each others.
Two cups linked together by a metal ring: the white cup is fixed to the atypical â€œbranchâ€? handle, the black one is free. Hence, both objects are interdependent in order to force the synchronisation between the users, slowing their social exchange.
Worshop: J.Rousselle - C. Rosso
Luminous Intensity The switch, the first-touched object when someone enters a room, is often vector of a binary information. To transcend the imposed day-light, the play of shades of colors and intensity can overpass its rythm. On this switch, the movement of the hand is to be guided through the relief of the porcelain dome. The two axes naturally created by this shape define the light : colorimetry and intensity. Copper captors translate the information to the light through a variator. Thanks to the liberty offered by the gesture, the user take control of a new luminous environment.
for LE TANNEUR
Two payment methods exist today: credit card or cash. Both are used separately. This model of wallet - inscribed in the legacy of the â€œsans-coutureâ€? - is made of two pockets independent from the other in order to simplify the use of the object. The fold created by the pattern allowing a special personal pocket. An added ring allows a hook for a USB key. To reveal these pockets, two flaps in wooden bark are added. They bring a different feeling to the leather and are protected by an injected metal wound, which also leaves the fastener hidden.
nb age in CSM
1. 3 words to describe CSM atmosphere
2. If CSM was an object ?
3. Idea of CSM before
4. This idea changed ?
5. What would you like to change/improve in CSM ?
6. What make you feel proud of CSM ?
Feel like home
A huge book
She doesn't have any
It develops, learn how to study
Classes more organized
Yes, because this is the place where she wants to be.
Frustrating and exciting
Big pink lorry, because it is slow and ridiculous but colourful
College changed, from an art school to university (more accademic, strict)
More time and contact with the students
Sometimes he is proud
Cold, Clinical, Clean (building)
Liberal, open minded, free thinking
The building itself, in the gravitationnal portrait, elctrifying, intersting omnipresent object, incapsulat all of student - a SHIP
7. Tell us a story about you in CSM
Notes : Sujet n.2
Nationality Age Course nb age in CSM
End of year shows
Notes : Sujet n.3 Nom
Course nb age in CSM
Notes : Sujet n.4 Nom Nationalité Age Course
BA Fine Arts - 3D pathway
nb age in CSM
Less rules, health and safety, more freedom, make it more like an art school, paint it everywhere.
Proud - Importance of staff, Amazing works, great gettingtowhat you want, with great be associated working hard - be a part of this association. collective that could shape the future in a positive way, when the present world is more diverse in the slighlty Fucking awful student they choices, TRANSITION BTW - bad larger consideration thigs and ... we actively I was stubborn and narrow towards ethnicity and etc shift the ijustice of what is mined, percpetion open ... include people that are going one, change the up, to an artistic approach, not just white and british - world to the better - pro Corrolate how CSM open culturaly and needs to be implement equality pro, is - imaginated artisticaly, and politically slightly more - be equal - PASSIONATE, deal with what is going around exactly as it is etc .... BUILDING ROOTS no molds Really excited, madness, honour, pride
Good tutorials, tailored to research. No creche, not allowed to bring children at school, more inclusive.
Can't remember - bravo la drogue !
Notes : Sujet n.5
Cold + Space
Bound from fashion shows
Just another University not disapointed way, but in the way that when you put a goal so high in your dream when your reach it, you feel more empty More computers
Crowded, creative, complicated
Didn't know much
Shrunk, investing more money in Drama
Inviesting more money in Drama
Proud good experience and good people
Busy, packed, warm, gross
Luxurious, dreamland, nice
No, buy degree, dreams, walk around.
More space, more organized.
I have to. I paid too much money.
Fire in the workshop.
Workshire - British
Age Course nb age in CSM
Proud because, working hard to get in, really good world wide reputation,
Notes : Sujet n.6 Nom
MA Directing Student
nb age in CSM
Notes : Sujet n.7
Nom Nationalité Age Course
nb age in CSM
Anthropologically and personally, traditions, rituals or meanings of gifting are shaped by our own culture. This project create a ritual here in the exchange between the donor (a student who will draw the handle) and the receiver. To represent the Central Saint Martins as we know it, a gift in two parts has been created. A spinning top, hybridisation of two elements, two different materials and two different techniques of fabrication: The handle, unique for each object : shaped by student’s drawing lines. In 3D printing plastic. It represents the heart of the school. The body, shaped by morse code CSM (a dot is a hollow and a the dash is a bump), made out of wood and turn on lath. It represents the body of the school. The metaphor of the organ donation was used through this project. The spinning top is an object experienced instinctively. As a child, it’s often the first object that is built to play. Equally symbol of imagination and endless creation, the body needs a handle to give its inertia.
A gift : a risky move to materialize our faith, our commitment, or our loyalty into something or someone.
2019 TedX LDN - BEYOND BORDERS
A Past Future History of a land legacy
Far future: the overexploitation of the earth and the threats of the 21st century reached its critical point. The debt towards the earth was increasing considerably, the world was overpopulated, the nature was losing ground (overused and destroed with a poisoned soil). Nineteen Ouroboros have been considered. These shapes, visible from the sky, are mass graves, build as an alternative to traditional cemeteries. The human body is used as a natural fertilizer to grow some life over the dead. These cycles have made it possible to recreate some artificial ecosystems. Each 13th of November, a hole was dug to bury all the lost souls of the year. The following year, another ring was dug around. And so life/death goes. As the time goes by, the territories of the Ouroboros were getting bigger, and the roots of each plantation stronger. The rings then became a symbol of life and regeneration.
Each year of burial corresponds to one grave, and a community of dead bodies. It works as an instrument of measurement : One flora (specie) corresponds to one unit, one ring, one circle, planned to matched the interaction that exists between the species. This necro-culture gave a new meaning to death but also gave a material object to take care of: the relatives are able to cherish their loss in the culture, and cherish the life on land. The dead were not considered as individuals anymore, but as a community of people, which aims to sacrifice itself for nature, all equal in the face of death. As a print of our ancestors, this tombs were registered through their geographical coordinates and the circle they were buried in. Inscribed on ceramic tokens able to travel through the ages. A massive mind shift occurred during the 21st Century. If this funeral was not the most popular in its early days, it finally became the only authorised way to be dead. Life on Land was threatened, and damaged. Since humans were a part of this life on land, this happened mainly for three reasons : A cheaper cost for the funeral. An expiation to thank nature and purge manâ€™s consciousness. A protection for the life on land : giving back some territories rather than consume it.
Beyond borders CityX lab - Innovators OUROBOROS
marks created by the circular annual graves, it’s also a circular symbol of a snake or dragon devouring its tail, standing for infinity or wholeness. The living heritage society gave this name to their project in 2023. Today, 19 Ouroboros have been found
territories created by the ouroboros, they have been separated in 7 categories corresponding to 7 lands of Earth
AFTERDEAD - Human state of the dead buried in the Ouroboros, according to the believes, it’s an alternative state to life LIVING HERITAGE -
life left after dead for the living remaining persons on earth, and for earth itself. It’s also the name of the funeral society that launch the Ouroboros
OBOLE (mostly called token)
- in Greek
mythology it’s the coin that the dead used to give to Charon to cross the Styx, this legend has been reused to create a tribute memory to the dead buried in the OUROBOROS, On each obole is inscribed the coordinates of the Ouroborus where they are buried, as well as the circle in which the person is located
activity that consists in cultivating the soil over the dead and use body as fertilizer
product of the necroculture
- leaving a spiritual part in the wor-
ld after the death, opposite to decedere which means getting out of the world
in Greek mythology it’s a river in Hades whose water caused forgetfulness of the past and offer a new begenning on earth. name given to the drawings created by the ouroboros that can be observed from the sky
What could the human give away to protect life on land ? A half-altruitic answer is to give away our dead body: a compromise
to give back some territories, bit by bit, to the Earth and to recreate an optimized culture. A living heritage of our ancestors which tell us their story. -- This project, meant to be shown and shared had been exhibited as a part of the tedX XcityLab - Inventors for Beyond Borders in 2019. with the collaboration of Burton&Nitta.
PIECES Pick up one image and ask for its story! Extracted from projects, those pieces are research, from dead-end to possible tracks. They all have their own meaning and story. 1- giving life by death -126.96.36.199- stool typology -188.8.131.52.9- material researches -6- bear paper trophy -11- growing plants on animal for a matching ecosystem (protect life on land) -12- measure of strangeness - 14.15- Hanging electricity, copper.
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