Your studio carries the legacy of Pierre Paulin while opening space for new interpretations. How do you balance preservation with reinvention?

What interests us is telling my father’s work as honestly and faithfully as possible. Our work is limited to create new contexts for a design that already exists,there is not any reinvention, actually. We realised that when models have been conceived with a timeless vision and they’re not presented in a “vintage” or dated context, they embrace the era and are ultra contemporary. Pierre Paulin’s work has in its DNA this kind of eternal youth that allows us to recontextualise the work through things that fascinate us, connecting it with people who make us dream and who feel concerned by his work. Tere’s a kind of magic that operates very naturally.

The only piece where we could talk about improvement is, for example, the Video Barnum project. Originally, in his models and drawings, the sound was around the furniture, not inside it. When we made the frst prototype, we realised there was space to create a sound compartment, to transform these backrests into speakers. We seized this opportunity to go even deeper into my father’s intention.

Pierre Paulin’s designs were always deeply connected to the body. How do you see that philosophy resonating in your contemporary projects?

This relationship to the body, whether through music, design, or architecture, is inevitable, inherent even to creation. My father didn’t have an artistic approach; his vision was purely functional. Te aesthetic aspect lived in the poetry that the designer allowed himself to leave without hindering function. Indeed, my father’s approach was fundamentally centred on service: improving people’s lives through design. Te body isn’t an abstract concept: it’s the starting point of every refection. When we do projects, particularly through sound installations, what we want is to propose a physical and emotional experience. Our approach to the work isn’t only historical or museum-like; it must be an emotional dive into Pierre Paulin’s work. Music, through these installations, allows us to amplify this direction.

You often bring to life prototypes that were never produced during Pierre’s lifetime. What draws you to these “unrealised dreams”?

I grew up with the rejected pieces, these utopias, these pieces he dreamed of seeing produced and which always came up against the market, either through lack of imagination from industrialists or because they maybe weren’t destined to become commercial successes. You have to put this in context: in the sixties, people spent their lives at the ofce, domestic design remained something quite limited. There were very few people who really bought furniture for anything other than its pure function.

What motivated me was to tell this story that no one had been able to tell and which couldn’t be written during my father’s lifetime. Sometimes a life isn’t long enough, and I’m delighted to be able to intervene in my father’s work and increase the iconography of his work.

Te Saal 1 installation for SPATIAL merges Paulin’s design language with sound. How did this collaboration with MONOM and 4DSOUND take shape?

We met a few months ago. Te MONOM team came to visit us in Paris in our house that we’ve transformed into a studio for an album project we’re working on. We got along so well and found so many common points between our approaches that this collaboration seemed like an obvious choice. Encounters led us to Julija Castellucci whom we met in Milan, who came to record at the house. We said to ourselves that this work would be perfect for spatialising the space of Saal 1. We’re really delighted to be able to collaborate with MONOM for this frst project, and I hope it will lead to many other collaborations in the months and years to come.