Olivier Felix Isselin

As a child, my favorite game was Lego: I enjoyed posing problems to myself and finding solutions. I also spent a lot of time making plans and discussing projects with my grandfather, an Italian entrepreneur settled in France. Furthermore, my relationship with aesthetics has always been essential to me: I have always lived in beautiful places, which undoubtedly greatly contributed to my development. Later on, I studied architecture in Paris. However, I quickly realized that I didn't want to finish that course. After spending some time with an architect, I understood that this profession, as it is practiced, would not suit me: creative freedom was too quickly restricted, and there were too many administrative constraints... It should be mentioned that alongside my studies, I was in charge of the artistic direction of major events in Paris (Centre Pompidou, Conciergerie, Hôtel de Sully, etc.). A choice had to be made... Subsequently, I notably managed several contemporary art galleries, curated exhibitions, and created and oversaw the execution of various spaces... My relationship with artists has also had a significant impact on me. In short, to keep it brief, my entire career path has been that of a free man, merging my passions with my work and vice versa. Design is the obvious continuity of my life journey.

As an independent, I manage my own design studio. I am responsible for all stages of the design process, from idea generation to final realization.

Design, for me, is primarily defined by its relationship to space. While being an artist involves having an intense and personal perception of one's environment and expressing it freely through various mediums, with art being the result of this process, design distinguishes itself in the sense that it is not solely focused on its creator, but rather it primarily addresses the user and is thus closely linked to functionality. Technique, materials, and ergonomics are among the elements to consider during the creation process. Design represents the response to a problem. However, this doesn't mean that the designer is not also an artist. In addition to solving problems, creativity remains essential and imparts personality to the created object.

I always enjoy the ones I'm currently working on: each project I undertake is a new challenge, so it's always very motivating. Lately, I've been quite occupied with spas. Just by walking through the aisles of specialized trade shows, one can realize that there is a lot to be done! It's quite surprising that in the wellness industry, aesthetics is not really given much importance, even though aesthetics is an essential component of well-being.

During the finalization phase of a project, if another idea comes to mind, I take notes, scribble a bit, just to make sure I don't forget it... Because during this phase, I make an effort not to get distracted. The ongoing work requires all of my attention.

They no longer belong to me. I no longer have control. I quickly need to move on to something else.

It depends on what we define as success. On one hand, there's design that draws inspiration from trends and arrives at the right moment, neither too early nor too late. Such a product, in tune with its time, stands a good chance of achieving commercial success. On the other hand, there's exceptional design that is not necessarily expected, transcending the notion of fashion. It becomes timeless and remains modern even after years have passed.

My entire sensibility revolves around a certain form of aestheticism. It's very personal and highly variable. While I'm naturally drawn to minimalist designs, which aligns with my own work, I can also appreciate more unconventional designs that I would never be able to imagine myself! For example, I'm in love with the Centre Pompidou in Paris by Richard Rodgers and Renzo Piano... I can also mention the Guggenheim Museum in Bilbao designed by Frank Gehry—it was a true shock when I discovered that place. It all depends on the context. And precisely, what I dislike is anything that is out of context. To be clearer, I can mention Frank Gehry again and the LUMA: This structure in that location bothers me considerably. It doesn't make sense! The prevailing horizontality of the city and especially in the Camargue region is no longer there! There surely must have been another way to stand out. The landscape is completely disrupted as a result.

The designer's relationship with society and the environment is becoming increasingly significant. One thing we can be certain of is that, in the face of the environmental disaster, design will become more responsible, both in the choice of materials used and in the manufacturing process. Objects will be more durable. Let's hope so!

We just mentioned the future of design: it will be environmentally conscious. Now, whether we produce less and better? I'm not sure, but we will get there. We will be compelled to do so!

My last exhibition was last summer. I was invited to participate in a contemporary art festival in Var, French Riviera. I presented one of my photography series there. As for my next exhibition, I'm not sure yet... I have a few leads, but I have nothing to announce at the moment.

My inspiration comes from my life experiences. Anything has the potential to inspire me. I believe I always have an observant eye. Then, I jot down or scribble in my notebooks... Every idea is a synthesis.

I simply try to be myself and not deny who I am. I think that's the only way to have one's own style.

I live in Agay, a little corner of paradise on the French Riviera, located between Cannes and Saint Tropez: nature, light, and the sea... It's very inspiring! In fact, the places where I live have always been very important to me and, therefore, to my work. Living in France is a blessing because, in addition to an immense cultural heritage, the landscapes are very diverse within relatively short distances. I have lived in Langres, Dijon (Burgundy), Paris, and even in the mountains (Les Arcs – Savoie). All of these places are magical and have witnessed my growth. What surrounds us, and more broadly, our life, is our own reference. We either appreciate or reject it, and that's what nourishes our creativity. As for the advantages and disadvantages of living in one's own country: It's essential to travel to learn... I have traveled and stayed in many countries for varying lengths of time, but I have never lived anywhere other than France—until now! So, I'm not really in a position to evaluate that. For me, what matters is being free and feeling good wherever you are.

I consider the companies I work with as my partners. First and foremost, there needs to be a good connection, a feeling of mutual understanding. I always aim for long-term collaboration based on exchange, loyalty, and trust.

Be careful not to interfere too much during the design process! Designers are wild creatures. If they have chosen this profession, it's usually not for the sake of convenience, but because they are fundamentally attached to their freedom. Therefore, it is crucial for the entrepreneur to develop an extremely precise design brief regarding their requirements. This will help avoid any disappointments. If the client already has a clear idea in mind, it would be better to hire an executor rather than a creator. As for how companies can select the right designer, it simply comes down to a matter of feeling. It's a meeting of two entities. If there's a connection and mutual understanding, it could be the beginning of an idyllic partnership, leading to great success in the future.

1: A crystal ashtray (Royal Cristallerie de Champagne - Bayel). This crystal block is perfect. I think I've always seen it. It's part of my family history, and we all have one. 2: The Panton chair: iconic! 3: My collection of Illy cups, where a brand has managed to develop unique collaborations with great artists around an object, their coffee cup designed by Matteo Thun, whose design is immediately recognizable. The result is very interesting. 4: My desk lamp: Tizio model (Richard Sapper - ed. Artemide). 5: The Mini Chair by Rietveld (from the miniature collection of the Vitra Design Museum).

At over 40 years old, I still consider myself a promising young creator! Friends often tell me that I still have the spirit of a 17-year-old... But on a more serious note, here are some classic but always valuable reminders: Always keep your eyes open, don't take the easy way out, don't hold back, and focus more on your work than on yourself.

Being able to reconcile life, work, and passion is to grant oneself freedom, and that freedom is essential to me. At the same time, choosing to be an artist or a designer is a lifelong commitment. It never stops.

I remain a disciple of Mies Van der Rohe: "Less is right."

I rely on a variety of tools for my creative process: books, magazines, my notebooks, notes, photographs, objects, my computer... All of these contribute to my creative process.

Indeed, while the initial idea may not require much effort, certain stages of the design process demand a lot of concentration and work. It's these stages that dictate my schedule. I never hold back or count the hours spent, so during certain periods, I can dedicate entire days and nights to it. It's quite exhilarating in the end. I enjoy it.

It varies greatly. An idea may seem simple or even simplistic, but its design process can take a significant amount of time. It depends on the technicality involved. The time spent does not determine the value of the object.

I am often approached without people realizing that being a designer is a full-fledged profession, and even sharing an idea or advice requires work.

I don't rank them in terms of importance. The most significant project for me is always the one I'm currently working on.

I'm curious about everything. Each new design is a new challenge, a new adventure.

Currently, I'm working on several projects simultaneously, both in terms of pure art and object design. I'm not sure which one will emerge first.

I work alone and rely on my partners when I need technical answers.

They can reach me via email at felix.isselin@gmail.com, by phone at +33 (0)6 51 50 33 85, or by mail at 10, avenue des Mimosas – Domaine Les Roches Rouges - 83530 AGAY – France.

I would just like to mention that I am currently looking for international distributors for my spas.

I studied architecture in Paris, but I quickly realized that I didn't want to pursue that path. After spending some time working with an architect, I understood that the profession, as it was practiced, wasn't suitable for me: creative freedom was stifled too quickly, and there were too many administrative constraints... I should mention that alongside my studies, I was also involved in the artistic direction of major events in Paris, held in magical places like the Centre Pompidou, the Conciergerie, the Hôtel de Sully, and so on. I had to make a choice ! Subsequently, I directed several contemporary art galleries, curated exhibitions, and created and managed various spaces. Finally, it was only when I settled on the French Riviera that I decided to showcase my work as an artist. Ultimately, my entire journey has been that of a free man, turning my passions into my work and vice versa. Design is a natural continuation of my life's path.

It always starts with a spark. I can't explain it. It can happen anywhere, at any time. The idea is there, evident. After a necessary period of contemplation, comes the moment of bibliographic study. If my idea still seems relevant, I proceed with technical studies and begin the modeling process. What characterizes me the most is perhaps my affinity for clean, unadorned forms.

As a child, I played a lot with Lego: I enjoyed challenging myself and finding solutions. My grandfather, an Italian entrepreneur settled in France: I spent a lot of time with him. We would discuss his projects, and I would assist him in creating his plans. His analytical mind and ability to generate new ideas inspired me. And, like him, I enjoy looking ahead. Directing art galleries was also a formative experience for me: I sharpened my eye and learned a great deal from the artists I represented and the people I encountered during that period.

Although my path has been ultimately coherent, it has unfolded in waves: I become passionate about each project, dedicating all my time to it, and once it is completed, I need to move on to something else. It is the creation and the challenge that drive me forward. My future plans: I don't have a predefined career plan, so I remain open to possibilities. As long as a subject interests me and falls within my area of expertise, which includes requests for creative work (space or product design), artistic direction, organizing an exhibition, and so on, I am potentially interested. Of course, I will always continue working on my personal projects. The two are not mutually exclusive. My dream project: Everything I have done so far is a part of me, but due to a lack of time and resources, I haven't been able to create my own nest: a place that I have envisioned entirely, where architecture, art, and design intertwine... All set within a natural environment: My "Villa Adriana."

At over 40 years old, I still consider myself a promising young creator! But on a more serious note, here are some classic pieces of advice that are always worth mentioning: Be curious about everything - Learn to appreciate the things in life while maintaining a critical eye - Don't give in to ease or take shortcuts - Don't hold back or shy away from hard work - Lastly, focus more on your output than on yourself.

I believe the most important thing is to stay true to your own convictions and never compromise! Only a certain level of radicality allows for the creation and preservation of one's own style. That's why it's crucial to be honest and, even if you need it, learn to decline a project if it doesn't resonate with you.

Working alone requires great discipline, so I try to establish a daily routine with some rituals, but I don't set fixed hours. It's the ongoing work that dictates my schedule. For example, if I'm in a phase of finalizing a project, I isolate myself and dedicate all my time to it, sometimes working day and night! I never hold back, but I don't consider it a merit because I genuinely love what I do.

I try to avoid following trends. Nowadays, everything moves too fast, and the public doesn't have time to "absorb" them before moving on. The disposable culture is not for me. Moreover, our society will eventually have to question itself because the future lies in sustainability. Our planet cannot endlessly endure our missteps.

For me, design is primarily about the relationship with space. Good design is an object that appears obvious, yet different, and while it represents a particular era, it retains its modernity. Personally, I prioritize the pursuit of simplicity and purification. In this sense, I am a disciple of Mies van der Rohe: "Less is more." The visit to his Pavilion created in Barcelona in 1929 for the international exhibition left a deep impression on me. Everything is there!

It's not me who decides; it's the deadline imposed on me or the one I set for myself. It has always been a challenge for me because I struggle to stop. It becomes an obsession, as I believe there is always room to enhance the outcome, to refine it further. Fortunately, these deadlines push me to conclude. In retrospect, maybe it's because once a project is completed, it no longer belongs to me... It's akin to the feeling parents might have when their children leave the family nest: there is the happiness of seeing them take flight, but also a sense of heartache and letting go.

I find it hard to rank my projects. I have an insatiable appetite for challenges, so every new project excites me. But if I have to mention one creation, perhaps I would choose one of my installations: "Bacchanalia." I created this piece in a magical location—an old shipyard transformed into a contemporary art space overlooking the sea. I was the curator of the ongoing exhibition, and in a space that I initially decided not to occupy, I ended up creating this installation, which I had a precise idea about for some time. The result, the location, the sea, the light... All of it brought me great joy. This artistic project could be adapted into a fountain and would fit perfectly in a city or within a vineyard. I hope that it will become a reality.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of lines, the play of light, the use of raw concrete, his relationship with nature... Everything moves me in his constructions. Furthermore, I am very much in tune with the modernists and the freedom that characterized them. Like the artists of the Quattrocento, they completely disrupted existing codes. Artists such as those from the Bauhaus movement and its director Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer, and many others. Lastly, I have a great affinity for the furniture of the "Space Age" movement from the post-war period, including designers like Eero Saarinen, Verner Panton, the Castiglioni brothers, Eero Aarnio, and more. It's an era I didn't experience firsthand, so I likely idealize it, but I imagine it as a joyous time where anything seemed possible. That's the perception I gather from their creations. If I had the chance to speak with just one deceased designer, who would I choose? The list is quite long, but I would probably choose Le Corbusier. He was not only an architect, urban planner, designer, painter, and sculptor but also a great theorist, whose influence on architecture and design is immense. I would have loved to learn from him and engage in debates.

Undeniably, my life experiences have a significant influence on my design projects. A person's culture inevitably shapes their aesthetic vision and preferences. According to my friends, I'm perpetually 17 years old and will probably go bad before ripening! This mindset is undoubtedly a strength in my life as it fuels my insatiable curiosity and thirst for discovery. It's a driving force that guides my choices and actions, both in my personal life and in my design practice. I've been fortunate to always live in beautiful places, from Paris to Dijon, the Alps to the French Riviera, passing through Langres. I'm deeply immersed in these environments, and they have greatly contributed to shaping me. My relationship with aesthetics has always been essential. I believe in the utility of beauty. Beauty is the added value of a place or an object. Beauty makes us feel good. Music also plays a vital role in my life. It evokes profound emotions within me and surely plays a central role in my creative process. I attach great importance to its role in my daily life. It accompanies my moments of reflection and relaxation. For me, music is never just background noise. Artists like David Bowie, the Velvet Underground, Iggy Pop and the Stooges, Bob Dylan, Magma, Sonic Youth, Joy Division, and many others resurface tirelessly. And whenever I can, I escape to explore museums and exhibitions and visit places I love. Whenever possible, I try to travel, not necessarily far or for long periods of time. Italy remains my favorite destination. I am in love with this country. Whether wandering through the landscapes of Tuscany, savoring a Spritz in front of the Colosseum, strolling among the fountains of Villa d'Este, or standing above the Bay of Naples, gazing at Mount Vesuvius, whether enjoying a simple pizza or taking a break at the spiaggia dell'Olivetta in Portofino, or discovering enchanting villages like Barga, getting lost in the alleyways of Venice, or revisiting Lake Como, I feel at home. Naturally. My lifestyle and culture, shaped by my experiences, my appreciation for aesthetics, my love for music, and my thirst for exploration, all come together to influence my approach to design. They provide me with inspiration, inform my choices, and contribute to creating meaningful and impactful designs.

I work alone. And depending on my projects, I seek partnerships. Whether they are service providers or sponsors, I operate based on instinct with the goal of establishing long-term collaborations built on trust and loyalty.

I feel deeply involved in urban planning. I strive to denounce its aberrations while also being proactive in proposing solutions. I firmly believe that poor urban development is the root cause of many social and environmental issues in our society. There is so much to be done. Object design is also important, but its significance may be subject to reassessment over the years. Nevertheless, it is of lesser concern. Being a recipient of the A' Design Award will hopefully lend more legitimacy to my viewpoints and make them more widely heard.

This is a significant milestone for me. It is the first time I have participated in a design competition. This award is an honor, and I thank you for it. Receiving this recognition has prompted me to engage in valuable introspection. While I naturally prefer to focus on the future rather than dwell on the past, it compelled me to pause and take stock. This critical self-reflection has proven to be highly constructive. Ultimately, it is quite stimulating. Additionally, being a recipient of the A' Design Award should help elevate my spa, Space Oddity, and more broadly, introduce my work internationally, which is one of my objectives. Lastly, this award will lead to new connections and, consequently, new opportunities, both on a personal and professional level.

I studied at the School of Architecture in Paris La Villette. However, I quickly realized that I didn't want to complete that program. After spending some time with an architect... I understood that this profession, as it is practiced, wouldn't suit me: creative freedom being restricted too quickly, too many administrative constraints... It should be noted that alongside my studies, I was also overseeing the artistic direction of major events in beautiful venues in Paris (Centre Pompidou, Conciergerie, Hôtel de Sully, ...). I had to make a choice... Subsequently, I notably managed several contemporary art galleries, curated exhibitions, created and oversaw the project management of various spaces... Finally, at a later stage, I decided to establish myself as an artist... In short, to put it briefly, my entire career has been that of a free-spirited individual, turning my passions into my work and vice versa. Design is the natural continuation of my life's journey.

It quickly became evident to me. If life is filled with constraints, mine is the freedom I granted myself.

For a designer, as well as an architect, education is, in my opinion, secondary. In fact, almost all the architects who have made an impact on me are not graduates of architecture schools. Tadao Ando is not an architecture graduate. The same goes for Mies Van der Rohe, Le Corbusier, Frank Lloyd Wright, and Oskar Niemeyer... The list goes on... It primarily depends on sensitivity, or more precisely, sensitivities... The essential thing is to maintain a childlike spirit, to always have a keen eye and to be able to draw inspiration from everything around us. Then comes the work. Finally, one should focus more on their production than on themselves.

A good designer is someone who achieves success during their productive period. A great designer is someone whose creations become the markers of their era and/or endure throughout time.

A design that pleases is a good design. A great design creates an object that appears obvious yet different, and while being a marker of an era, it retains its modernity.

For an entrepreneur, a good design is an added value to their product. For a buyer, pleasure should prevail.

I am curious and therefore very open to the question. Any proposition can potentially interest me.

Everything I have done so far is a part of me, but due to lack of time and resources, I haven't been able to create my own haven: a place that I would have completely imagined, where architecture, art, and design would blend together... All within a natural setting: My Villa Adriana.

Undoubtedly, the architect who evokes the most emotion in me is Tadao Ando. The simplicity of the lines, the play of light, the use of raw concrete, his connection to nature... Everything moves me in Tadao Ando's constructions... Then, I have a strong attraction to the modernists who completely disrupted conventions: Mies Van der Rohe, whose motto was "Less is more," which is also one of my principles... There's also Le Corbusier and his Modulor, of course, as well as the designers of the Bauhaus, like Gerrit Rietveld. Finally, the creators of the post-war boom period, such as Eero Saarinen, Verner Panton, Eero Aarnio... They symbolize an era I didn't experience, so perhaps I idealize it: a positive era, open to the future, where everything seemed possible.

The pantheon of my favorite designs is quite cliché, but these objects didn't become iconic by chance—they are brilliant! Verner Panton's Panton Chair Ray & Charles Eames' Lounge Chair The Gyrofocus fireplace created by Dominique Imbert Noguchi's coffee table Charlotte Perriand & Le Corbusier's LC4 chaise longue Eero Saarinen's Tulip table The Castiglioni brothers' Arco lamp And more recently, Pablo Reinoso's Spaghetti Benches. Finally, I'm not immune to the charm of a beautiful convertible or a fine Louis XV chest of drawers...

My greatest project... It's always the next one... As for considering one of my creations as brilliant... I am the least qualified to make such a judgment.

In my opinion, a good designer is someone who can break free from trends and impose their own vision.

Perhaps I would have liked to make documentaries or films. But maybe I'll come to that one day, who knows...

Design, for me, is primarily a relationship with space. A good design creates an object that appears obvious yet different and while being a marker of an era, retains its modernity.

Undoubtedly, my parents, who, even though they were not always in sync with my life choices, never imposed theirs on me (maybe because they knew it was impossible!). I owe them the taste for effort and perhaps this independent character.