R·F Studio

L'Image Eclaire

Exhibition at the gallery Michel Rein, 2016

L’image éclaire

LUX, LUCIS, f, 1 century B.C., Ciceron 

Radiance, noun: bright light emanating from a glowing body 

Lightness, noun: largely widespread light ière largement répandue

Light 1. noun: that which illuminates 

Light 2. noun: that which allows one to understand 

The work of Ramy Fischler "creates light" in every sense of the term, in which it develops light and reunites all of its original meanings: body of light; lightness itself; that which provides light in a practical as well as metaphorical sense. 

When Alain Fleischler invited him to display at the Fresnoy, Ramy Fischler suggested that they work in the relationship between the world of the lighting industry and that of cinema, to produce a "film whose purpose is to illuminate", and thus to bring the worlds of cinema and design closer together. Design consists of anticipating, observing usages and giving them forms, whilst trying to stay ahead of tomorrows' questions and usages, or even inventing them; according to him, design intrinsically implies a cinematographic relationship to reality, as it's about creating stories, anticipating the future. They are two arts of the industry, for which another common point is to give a central place to narration. 

A short time ago, cinema was associated with projectors and film reels, lighting, with light bulbs and filaments. Today, cinema and lighting use the same technology and the same operational modes. Electroluminescent diodes have become the norm in both domains. These worlds thus have a common "industrial" life but continue to lead parallel daily lives. Ramy Fischler had a desire to fusion these universes. 

"At the same time, as we live through a period which tends to tell more and mores stories, I wanted to tell a story with light and to use the cinema as a form of lighting." 

Narration, images, cinema, light ... "The idea is that tomorrow we may just as well light our surroundings with moving images as with lighting itself." By exploiting the plethora of resources available to us through new home automation tools, the designer operates an extension of the primary function of light to the possibility of making it the catalyst of experiments where anything is possible: Creating night sequences, morning sequences, modulating its colours, making it interact with its environment etc. Applying the narrative power of light. 

Furthermore, the designer elaborates this project around a subject, which is at the heart of most of his research: connected objects, which he considers as the future of the industrial world. Connected objects are, by definition, the reverse of obsolescence as they evolve, regenerate, adapt to their users, and are enhanced by new information and new software. However, their future and place in our daily life remains to be defined, to be questioned. 

L'image éclaire is thus born at the interlacing of three worlds - lighting, cinema, and connected object - like a reply to the questions within questions : What is a connected film, a film in real time which never ends? A light connected to the world of cinema and to real time? What is it to create a light through cinema in real time ?  

A preoccupation accompanies Ramy Fischler in every process of creation: it is one thing to use new technology, but one must consider above all the way in which one uses it and keep a critical eye open. A camera, a smartphone, or any other object of that type, appears at first as an object of freedom, but everyone knows that the object can also be turned into a tool for surveillance, oppression or war. Behind the technology, there is reality: from territory wars for the precious minerals used as components in our connected objects, through to a form of modern slavery. Just the fact of using these technologies, putting all the cogs out of sync, a fortiori, manufacturing them leads us to an uncomfortable, ambiguous and paradoxical relationship to humanity. 

The images which Ramy Fischler has chosen to film for these lighting-screens metaphorically address the problem which concerns him, the exploitation of part of humanity by the world of technology. Contemporary servitude, work, pain, exhaustion ... Reflecting this are the people who light us from the other side of the world. A completely plausible, if not absurd situation. However, a totally true situation: people light us up in a figurative sense, from the other side of the world,by ensuring the operation of our daily services, from telephones to social networks. Technology doesn't intrinsically exist, in the back-ground there is humanity. 

The Hermès Parfumerie - New-York

In collaboration with RDAI
Photographies : Franck Oudeman

RF Studio designed in collaboration with the agency RDAI the first perfume store Hermes. Located in the heart of the new luxury neighborhood  "Financial District" in Manhattan, the place, opened in September 2015, is dedicated to the collection of perfumes of the famous Maison.

Within this scents library created by Hermes, the interior design perfectly reflects the classicism and elegance of the brand while emphasizing its modernity.

Panorama 17

Techniquement Douce, au Fresnoy

I usually define myself as an industrial designer, but the industry today is not easy to define or to understand, in a world where production machines, like objects, are becoming dematerialized, and where usages and business models are becoming global. A world that seems fuller, and yet is drained, that is constantly challenging us to renew, redefine and rebuild in new ways. It is this world, which some have termed “post-industrial” that inspires my approach and my productions. Whether I’m designing a handcrafted object, an exhibition, an industrial product or a virtual interface, the task in hand always provides me with a new opportunity to immerse myself in a particular area, to observe, to exhaust the subject and its potential, and to establish a collective synergy, the content and the appearance of which, are as important as the final result, even more so. Indeed, the exchange of ideas, research and experimentation, necessary for all innovation, not only allows designers to survive and develop, but also manufacturers and scientists, who increasingly collaborate with the former. The designer often finds himself in a position most favourable to initiating new encounters between the principal actors of worlds that are usually apart. This crisscrossing of knowledge and ideas — which remains, in my practice, the only essential or immutable tool — allows me to discover and understand techniques and issues that are constantly changing. What I share with Le Fresnoy is the will and the ability to connect creative spheres. To seek to know, to interact, and to enter into a dialogue with the worlds around us. Whether virtual or physical — and increasingly both at the same time — our creations and projects are dependent on techniques, and technology, without which we could not implement them, and that are constantly evolving, and indeed, sometimes escape us. However in today’s world, these digital tools, these mutant technologies, are all factors that we need to know, to understand and master, but also question, divert, and use in other contexts, for other purposes.

Both inside, as a user, an actor, and outside, as a critical observer of what appears to be, or could become, an issue. Digital surveillance, sleep science, electronic musical instruments, or rapid prototyping technologies are just some examples of current phenomena I have explored in recent years, working alongside researchers, doctors, engineers, programmers, manufacturers, lighting engineers and composers. Experimenting with light is a constant feature of my work, whether in projects concerning spaces or objects. Lighting technology is constantly developing, both in terms of power or efficacy, and in the miniaturization of components. With the decline of filament bulbs, and the emergence of low-energy technologies, domestic lighting is taking on new functional and aesthetic dimensions. Remote control lighting has been increasingly democratized, and the expectations of consumers are evolving. Light is not only synonymous with lighting: its ability to modulate colours and to interact with the environment, leads me to experiment with tomorrow’s lighting, and to imagine it as an interface, a narrative, rather like a cinema screen. To quote Alain Fleischer’s fine words: “A cinema illuminating the world.” Perhaps that is how I could sum up the starting point of my research at the Le Fresnoy.

New Concept Store Fenêtre sur Cour – Place dedicated to tableware and furniture 

This first project of RF Studio in Morocco is born from a meeting between the universe of Ramy Fischler and the design passion of Ghislaine and Saad Belhaj, owners of this place.

For this concept store, Ramy Fischler had to take in consideration some codes of Moroccan population, including the way to be welcome. With fantasy, good-sense and attention, Ramy Fischler succeeds to catch the essence of what could make the differences of places he conceives. For Fenêtre sur Cour, Ramy Fischler created several spaces typologies, allowing customers to seat everywhere and observe - through different windows – objects. The space layout is defined by the desire to provide unique variety of atmospheres and experiences.

Ramy Fischler also considered the large panel of brands and products offered by Fenêtre sur Cour. The exposure of each product was previously defined in order to assure fusion and harmony, and to find the right balance that allows each object or universe to expose itself or through others.

The intention of Fenêtre sur Cour is to develop the art of living in Morocco. And the owners and Ramy Fischler succeed applying theirs shared values: creation, sharing and authenticity. The project that emerges from this collaboration is a contemporary place, where the functionality of the spaces binds with precision of materials. 

After the inauguration in Casablanca, the brand reviews his concept in Rabat. For this second store, furniture now appears next to tableware. Thus, brands as Christofle and Baccarat stand alongside Cassina and Fornasetti.

For this store, Ramy Fischler succeed to highlight notions of proximity, elegance and refinement. Points of view are multiple, the lightings are carefully designed, and objects are glorified on concrete and visible through openwork windows reminding Moroccan and international Art Deco styles. 

RDL, appartement privé

Photographies : Vincent Leroux

A design firm in a broad sense, RF Studio was founded by Ramy Fischler in 2010. A graduate of the Ecole Nationale Supérieure de Création Industrielle, ENSCI-Les Ateliers, this Belgian designer, currently based in Paris, has an eclectic approach to design, from research, to industrial design, artisanal design, or forward-looking design. As the exclusive partner of Patrick Jouin for nearly nine years, he participated in various and diverse projects such as designing the exhibition display of "Parade", the biggest extramural design exhibition organized by the Centre Pompidou in Sao Paulo, everyday objects such as the "Pastapot" for Alessi, the "Nightcove" alarm clock for Zyken, collections of tableware for Alain Ducasse and Thierry Marx, as well as numerous exhibition displays or cultural events. From their collaboration on the “Barbe Bleue” show for Lille Capitale de la Culture to the display design of the "Patrick Jouin: La substance du design" exhibition at the Centre Pompidou in 2010, Ramy Fischler has never ceased to hone his interest in research and experimentation.

Admitted in 2010 into the guest resident program of the Académie de France in Rome, he left Patrick Jouin's firm to stay at Villa Médicis until September 2011. During his stay there, he undertook a research project on formalizing the presentation and residency discourse at this mythical place. The research project is still ongoing and has extended to other cultural institutions undergoing change such as the Palais de Tokyo in Paris.

Because of his passion for keeping the space configuration and furniture separate, and his obsession with meaning, he founded RF Studio where he now develops private and public projects of objects and space design. Some of the projects he completed include designing the display of the "Poussin and Moses" exhibition at Villa Médicis, the space and furniture of the Tai Ping showroom in Paris, along with a collection of Chinoiserie carpets, patisseries for the Mandarin Oriental in Paris, as well as several interior space design projects for private clients in France and abroad.


Connected alarm clock

Withings Aura is a cleverly designed system that both monitors.

A sensitively designed bedside device that records your sleep environment (noise pollution, room temperature, and light level), and provides with scientifically validated light, and sound programs.

Connecting wirelessly an application lets you visualize your sleep cycles, understand what wakes you up, and compare nights. From the palm of your hand you can control your personalized wake-up, and fall-asleep programs. A soft and discreet sensor that slips under your mattress to monitor your personal sleep patterns, and cycles (body movements, breathing cycles, heart rate). Withings Aura will come with a dedicated application to control the system, and manage your personalized programs. As part of the Withings 360° well-being experience, all sleep data will also using the recorded data, Withings Aura provides you with scientifically-validated light, and sound programs that will adapt to your personal body clock, and positively impact your sleeping conditions.

The multi-color LED dimming lighting technology makes the most of a proven correlation between lighting wavelengths, and secretion of Melatonin, the hormone responsible for the sleep-wake cycle.

The delicate sound programs replicate the circadian rhythm’s frequency, and pattern. They relax you while falling asleep, and stimulate you upon waking up.

Dom Pérignon

Creation of spatial and visual universe of P2
Photographies : Arnaud Lajeunie

Panorama 16

Solus Locus, Fresnoy

The subtitle of this Panorama 16, “Solus Locus” does more than juste invert the title of Raymond Roussel’s famous Book, Locus Solus (1914). (...) This paradoxical discrepancy is something to be articulated and constructed, as when, “away from the bustle of Paris”, the inventor Martial Canterel revealed his fascinating contraptions to his guests, thoses changeable and ingenious visual question shown on-site in what very much looked an exhibition without deliberately taking the name of one. These magnetic marvels will be displayed in Le Fresnot, hearing the words spoken by the artists themselves in their discourse and in their working notes: mythologies, alterations, metamorphoses, falls, brain waves, shaman ism, the golden section, hallucinations, morphing, fetishes, ghostly presences, the big bang and other utopian territories. (...) A contemporary “Solus Locus” that is not a negation of the world, but an oblique look into its lines of tension and disappearance, making it incredibly complex, desirable, unstable (politically, socially and spiritually) – a place of perpetual becoming 

Designer : Ramy Fischler 

Curator : Mathieu Orléan 

Cité de la Mode et du Design

Multipurpose spaces


AD Intérieurs 2013

“When you work on a space in its totality, focused on the minute detail, the narrative always remains a priority. The world that you create must, in the end, embody a history where the host location plays the most important role. This is why fantasy and reality are never very far apart in my work ». Ramy Fischler, 2013

This “visionary office” designed by Fischler is a place of power and decision-making. The furniture consists of a table and a triptych suspended from the ceiling and a rug designed by Fischler and produced by Tai Ping Carpets. This hand made wool carpet is inlaid with marble stones from Ateliers de France, and covers the floor completely. The inlaid wooden walls features marble produced in the quarries of Ateliers de France. A marble table is surprisingly suspended from the ceiling by leather cords and features a cutting-edge touch keyboard that controls light and the sound of the room. At the centre of the room sits a triptych mirror that is adorned with gilded lines. This mirror, covered in marble, has been transformed into an audio system to broadcast music that has been composed for the exhibit by Sébastien Grandgambe. The exhibit is completed by a futuristic landscape sketched on one wall.


The project was born from a meeting between Ramy Fischler, Tai Ping and Ateliers de France, as well as with additional partners Henri Intégrateur Domotique, Laval and Au Gré du Verre. Fischer used these initial discussions to guide his design for AD Intérieurs 2013, leveraging each partner’s expertise. Tai Ping, an international custom carpet manufacturer, produced the carpet. Ateliers de France, a stone and flooring specialist in complex projects and tailor-made in France and abroad, contributes the minerals, as well as wood and marble carpentry for the furniture. Henri Intégrateur Domotique offered expertise in the design and installation of electrical and audio solutions. Laval, provided the design and production of seating. And finally Au Gré du Verre gilded the triptych mirror.


Fischler’s collaboration with his design partners was just the beginning. He also involved talented French writer, Jean-Baptiste Del Amo, who attended all meetings and who will make Fischler’s futuristic vision comes to life in narrative. The narrative is that of a forger named Nemrod. This mysterious character, full of power and timeless, crosses the city to meet him at his office even though an election is held. Located in a tower that marks the skyline of the city, Nemrod found that what composes his identity and recalls his memories. He also reflects on the meaning of objects, their construction and symbolic value.


From 2010-2011 Fischler spent twelve months as a ‘pensionnaire’, or resident, at the Villa Médicis, the French Academy in Rome. Fischler used this time in Rome to focus on his theoretical research, deliberately turning down product development projects during this period. Talking of the importance of marrying the concrete with the abstract, he asserts that, “theory must be somewhere in the project,” for it to be meaningful. His desire is to “always have one foot in research,” and with each new assignment, “find time for reflection.” In continuity with this process, Fischler’s project for AD Intérieurs 2013 demonstrates that vision and creation can transcend materials.

Liaising directly with French artisans and manufacturers to develop pieces unique to AD Intérieurs 2013, Fischler draws on history and craft to create work that is contemporary yet strengthens the ties between old and new. Revealing multiple challenges and encouraging thought, he also takes this opportunity to create a unique exhibit unlike any other.


The city had grown steadily over the centuries and, while threatened by the surrounding waters, had risen upon itself while tempered in prosperity by the ocean to the East and the arid land to the West.

Reaching the utter level of the tower, the doors opened with a muffled sound and he stepped out. The silence was absolute, even at a time when the city life welled up at the foot of the tower, and a clear, warm light bathed the room. He took a deep breath. He liked to find himself in this place, the only place he had really built in his image; he who had everything that life offered, yet whose life had led him to leave behind material goods.

He stepped forward and the room’s glow began to noticeably fluctuate, colouring the marble and mirrored triptych at which he stopped to look and reflect upon the archaic triad: Jupiter, Mars and Quirinus, symbols of the three key foundations of any societal function. He looked at his fragmented reflection, a picture of him through past ages and centuries to come, and he knew that only he would be able to make the choice to never accept simply being a piece of history.

Facing him now was a bay window cut into the wall of the tower structure that showed a piece of sky in which the sun, now hidden by the city, had not yet fully emerged. In the past, he had hoped that the tower was the highest ever built, not to dominate and enslave the city, nor to challenge the rest of the world, but to retain a memory that many citizens had lost: the city’s skyline. Rays of light coming from the tower shone on his shoulders and seemed to make him look even more slender, both fragile and immortal.

Dozing a moment and lulled by the sound of the room, he was carried away by the endless stream of memories, as one by one they arose from the depths of his memory as if they descended from heaven. From his tower of glass and steel he seemed to seize old memories from all ages of life, moments he had forgotten but still recognized as they reappeared in his mind, views of himself that constitute the man he was today and the builder that he had become.

He was a child playing in the tall grass near a lake while his mother lay asleep on a blanket under the moving shadow of a willow tree. He was a proud student clutching his diploma from school, fearing nothing and challenging the life ahead. He was a proud young man, trembling with a languid woman in a bright room circled by the city lights. He walked on stones heated by the sun from which sprouted tender grass. He was the architect and visionary, exploring a vast and desolate plain and vowing to raise a new city. The warmth of the room and the light creeping in through the cracks of the walls propelled him far away to a time when he built, between the branches of a huge oak tree, a wooden hut where the day filtered between the loose planks and touched his forehead as he lay on the ground in the rustling leaves of the tree. That day, he had dreamed of building a city.

Then, a sound brought him back to consciousness, and he saw that the sun was at its peak. A few hours had passed and he was not quite sure of the truth of his memories. Had he lived them or had others experienced them before him: his father the builder; his grandfather the architect; or his great-grandfather the explorer? Their lives merged into one. Their common history, composed of an infinite number of moments, had brought him so far, as well as the city, whose complex assembly of materials and designs sprung from the ground to be so high. So much mystery, choice, chance--how delicate was the balance that had brought him to the top of the tower at this time of deliberation?

There were so many things that did not depend on him, but that had been placed in his hands. The responsibility was so big and vital that it would have been devastating if he had not desired it. But he wanted this power; he had formed his own empire and considered it justly earned and deserved. His gaze slid down the leather ropes that supported the table and triptych. Had he not designed it to remember the right measure of all things, the delicate balance of justice that was expected of him?

As the hours passed and the day swept across the room, he sensed the palpable hope that welled up in the city, in the crowd of citizens gathered at the Grand Place and at the foot of the tower. For many, he embodied the patriarch, the wisest of the wise, virtually God. For others, he was known to be the tyrant, the dictator. But both his critics and followers were all hanging in wait, eyes focused on their computer screens or TVs. Others, with hands shielding them from the sun, peered to the top floor as if a visible sign was to rise like smoke from a conclave.

He loved the idea of this timeless place removed from the great torment of the universe, this sleek and faithful room in which he had found himself at so many different times in his life, but where he had never been quite the same. He loved the consistency of objects that, once created by man, are indifferent to his will.

His index finger touched the lit keyboard. Under a blazing sun, reflected off of the shimmering buildings and the depths of the city, a sudden roar swelled and rose majestically, as if the city were crying out.

Mobilier “Colombie” 2

Bedside table in ash and lacquered wood

Tapis “Chinoiserie”

Carpet collection created for the Tai Ping showroom in Paris, l'Hôtel de Livry
with Heidi Winge Strom

The « Chinoiserie » rug collection, for Tai Ping

The Chinoiserie collection, designed in collaboration with the textile designer Heidi Winge Strøm, is made up of eleven hand-tufted rugs in wool and silk. Designing the new Parisian showrooms for Tai Ping, Ramy Fischler was becoming interested in the cultural relationship between France and China. He discovered, in a collection of 18th century oriental drawings by Jean-Antoine Fraisse, the details of an incredible visual and inspiring force. The designers scaled up the semi-abstract motifs and applied them to the rugs. 300 years after the golden age of chinoiserie in the West, they were initiating one final reinterpretation of these exotic motifs on the products of a Chinese manufacturing works. 

Mobilier “Chinoiseries”

Collection of hand made furniture created during the conception of Hotel de Livry, Paris

Mobilier “Chinoiseries”

Table basse en chêne et bois laqué

Mobilier “Colombie”

Hand made production of home furniture

Mobilier “Colombie”

Table laquée et plateaux en marbre


Christmas pastries designed in collaboration with Pierre Mathieu,
pastry chef of Thierry Marx in Mandarin Oriental Hotel, Paris, 2012
Photographies : Mathilde de l'Ecotais

Chariot à champagne

Trolley in lacquered wood and stainless steel, created for the chef Thierry Marx
and the sommelier David Biraud

Mobilier Feuilleté

Collection of furniture in multi pleats of birch

Photographies : Hélene Hilaire

Pichet de bistrot

Collaboration with the ceramicist Valeria Polsinelli for the D'Days 2013

This is the story of a ceramist and a designer, who gather around a “quart de rouge” at the corner bistro. They need a subject, and the pitcher arrives just at the right moment. It reunites all the ingredients of a good meeting. Wine, certainly, but also a popular clay pot, which it is now well established on all tables in France and Navarre with its barrel shape. The exercises is perilous but up to the meeting. Giving a fresh boost to a usual object, which withstands time, so well that we no longer notice that it contains. Some drawings, a model in paper, a plaster mould, and hopefully some pitcher to celebrate with dignity the D’Days at corner bistro.

Place de Colombie

Interior design and furniture of an apartment in Paris, 2010 - 2011
Photographies : Paul Graves et Eric Laignel

The Place de Colombie apartment in Paris’ 16th arrondissement is my first solo foray into the world of interior design following ten years working with the designer Patrick Jouin and time at Villa Medicis in Rome. Since returning to Paris, I’ve been using an eclectic approach to design by fusing art, industry, craftsmanship, fantasy and reality. Interior design – or should I say decorative arts? – plays a key role in bringing harmony and evolution to my work. It drives creative growth and experimentation in a world where concepts that are so vital to our profession are becoming harder and harder to preserve. To me, designing an apartment or house is like running a research laboratory in that lots of different expertise works together to produce a unique piece that everyone has a part in. The Place de Colombie apartment is the result of a group of ideas and talents coming together as one.  

A chance encounter with the lucky owners formed the foundation of this 350m² worksite on the ground floor of a listed building named after its architect, “Walter”. Better known for his social housing and hospitals, Jean Walter designed this luxury Art Deco garden city in the 30s. The apartment has two floors, a garden and direct street access – a unique privilege for the building undoubtedly approved because of the former owner’s notoriety. The latter left the apartment period woodwork covering the walls in the living room and dining room. We have restored this woodwork and the Versailles parquet flooring that covers the fore section of the apartment. This prestigious pied à terre embodies Paris, is imbued with its history, respects its past yet is deeply rooted in the present and almost avant-garde in nature. The result? A delicate piece of composition and harmony, a concept that is classic, subtle, unexpected and even surprising at times. From the hallway to the kitchen, each space can be read like a chapter in a novel working its aesthetic and sensorial vocabulary without glossing over its technical feats or previous uncertainties: from the creation of the lacquered plaster shutter as if frozen in time and living room wall features that transform into a ceiling that then metamorphoses into a light. A few additional lights in the living room, a range of furniture tailor-made for the premises surrounding a bespoke semi-circular lacquered coffee table like the dining table. In the walk-in wardrobe - between the dining room, bathroom and long corridor to the kitchen – the wood parquet floor turns into engraved white paving finished with a thin layer of shiny and clear resin used in the apartment’s bathrooms. The atmosphere changes when you go down from the living room to the ground floor with garden views. Dutch silkscreen prints on wood conceal a desk or a suitcase whilst the fireplace shares a large sculpted setting with a TV hidden behind a mirror. The bedroom in this little suite opens onto the lounge and is enclosed by thick padded wall panels. Two bespoke bedside tables in moulded wood stand on either side of the bed. 

Companies and artisans:

Au Gré du Verre / Yk Creations / Groupe Rinck . Stéphane Corler Sarl / LAVAL / Parquet Briatte / Stickerei Muller / Marberie des Deux Communes. 

Tai Ping Paris

Interior design of the Tai Ping showroom in Paris
Hotel de Livry, 2012
Photographies : Hélene Hilaire et Eric Laignel

In September 2011, I was preparing to return to Paris, after having spent a year in the timeless gardens of the Villa Médicis. I had to invent new dreams, new desires, far from this gilded prison where I examined archives, inventories and furniture in search of a dormant collective memory.

The phone call from Catherine Verges, director of Tai Ping France, who asked me to rethink the spatial identity of the brand, came at a very timely moment. I had already collaborated with Tai Ping for the realisation of several carpets when working with Patrick Jouin. But I hadn’t seen the full scope of the company’s activities, the extent of their savoir-faire, let alone be introduced to their remarkable history. During my first encounter with the team in Paris I learned about the life of this Iraqi Jewish family, who in the 1950s emigrated from Iran to China after travelling across India, then England, before finally settling in Hong Kong during the cultural revolution and setting up a workshop that produced handmade carpets.

I discovered the existence of a handgun for tufting carpets, invented by the Kadoorie family, who still own the company, that revolutionized the production of carpets and allowed manufacturing to grow on an international scale. And a few decades on, Tai Ping has become the leading Chinese luxury brand in the West. I had no idea that this company employs 4,000 staff – forty of which are based in France, including a dozen in-house designers – who are busy monitoring the custom made carpets that are made nearly 10,000 kilometres away, south of Shanghai. Naturally, for their new address in Paris, in the heart of Saint-Germain-Des-Prés, I wanted to weave this history into the fabric of the building, while taking into account the primary use of the place: welcoming designers and their clients, stimulating their creativity, and accompanying them throughout their projects. So it wasn’t just about designing yet another showroom, like the dozen that exist in the neighbourhood, but rather a living space, into which each component participates – by their presence or function – in forging the identity and mission of the company. A custom designed place, for custom projects. Selling exceptional expertise and heritage requires a strong narrative dimension that I wanted to bring to the environment, to the furniture, and to the tools of the trade. And you can’t express the identity of Tai Ping without mentioning its origins, and similarly the links that they forged with the West long before the arrival of foreign companies in China. It still seems unlikely today that a Chinese company can base itself in Europe selling a high quality service, without causing a certain amount of mistrust.

The luxury market moves in one direction, which seems normal to us, but this wasn’t always the case. During the Age of Enlightenment, exoticism was all the rage, and the eyes of the West were riveted on Asia and its treasures. Fabrics, spices and porcelain from China that arrived via the Silk Route were a constant source of amazement, and stimulated the collective imagination. Studied and copied, these objects were embraced by passionate researchers, more often than not eager to discover the secret of producing porcelain. The competition was rude. Copying became common practise, and to bypass the Asian market France and England adapted Oriental shapes and motifs to Western tastes, rapidly giving rise to unexpected combinations of monkeys and dragons subtly mixed with cows and sheep. This cultural interbreeding was responsible for creating an entire chapter of history of art. They contributed to a general evolution of savoir-faire, born of the collective emulation, and learning from each other and elsewhere. So why not connect this period of openness and development of means of communication to our world, a kind of apotheosis of these domains? In any case this was my line of thinking when it came to shaping a common identity for the Hôtel de Livry and its new Chinese hosts. During my research on French chinoiserie I discovered a collection of drawings created by an artist at the court of Chantilly, whose work had fallen into oblivion. Inspired by Asian scenery, his incredibly bold watercolours seem to contain elements found in American Abstract Expressionism, even though they predate this period by two hundred years. I chose to base my inspiration around these motifs when creating the carpets for the new house of Tai Ping. Once we have reinterpreted these hybrid works they are sent to Nanhai, where a Chinese craftsman executes the final touches with his tufting pistol. Finally they return to France in the form of silk and wool carpets. They now cover the old parquet floor of the Hôtel de Livry, like a fine layer containing memories that develop into new ideas with each passing day.

Oyster Bar

For La Jeune Rue

The Thread

Digital interface designed for Tai Ping, and developed by Louis Jean Teitelbaum

The numerical interface Thread was created in order to generate a new form of collaboration between Tai Ping and its clients – designers, decorators or prescribers. Conceived as the virtual extension of the showroom, this application allows its users to organize their documents, to share and distribute them during the project, from the conception phase to the development, until rugs production. Thus, all the information, exchange and images related to a project cluster in this shared virtual memory, accessible in network by all members of the team and that becomes, at the end of the project, a precious and useful record for future collaborations.

Thread also contains a virtual librairy allowing its users to discover technics, materials and colours to integrate them in them project.

Available in June, 2013. 

De Livry à Hong-Kong,
à la croisée des chemins

Exhibition designed for the Designer's Days 2012, at Hotel de Livry

At the Crossroads Between Livry and Hong Kong

“Long ago, it was the Orient that descended, as if from a great light, towards the darker regions of the West, and with it religions, sciences, arts, all the wisdom and poetry.” Theophile Gautier, 1882.

The inauguration in 2012 of the new Tai Ping showroom in the Hôtel de Livry coincided with the “Identities” edition of Designer’s Days. Aside from the design of the new Parisian showroom, Ramy Fischler put forward an idea for an installation about the history of Chinoiserie. “It seemed obvious, to talk about an artisanal Chinese manufacture works setting up in an 18th century Parisian townhouse”. The designer, inspired by Oriental wonders, explored the relationship between France and China at the beginning of the century of the Enlightenment, their rivalry and mutual emulation in the arts and savoir-faire. In parallel to the collection of “Chinoiserie” rugs that he created for the occasion, he orchestrated an event that combined the exhibition of ancient objects, additions from historians, multimedia installations…


Conception of interior design and furniture
for the executive floor of the tower
In collaboration with Grenot Agency, Marseille, 2009 - 2010

Objets Trouvés

Research project and exhibition conceived in Villa Medicis, Rome, 2010 - 2011

At the Villa Medici, Ramy Fischler devoted himself to the study of objects and spaces used for hosting residents and receiving members of the public. He also examined the phenomena of interaction and exchange that arise from the interplay between the varied cultural projects held at the Villa. This complex and continuously evolving issue raises many questions about the life of the institution, its form and its meaning.  The answer partly lies locked in history, in the buried memory of the building, its grounds and the accumulated, juxtaposed objects that collect, layer upon layer, year upon year.

Ramy Fischler’s installation assembled objects and information taken from the entire body of written documents, images and objects found by combing through the Villa, its reserves, its archives and its inventories. The objects chosen were brought together and presented in the ateliers that line the garden’s walkways. Visitors, equipped with headsets and maps, were invited to discover the objects and pieces of furniture through the atelier windows. The objects have been part of the day-to-day life and backdrop of the Villa, and begin to take on different meanings when accompanied by hitherto unheard stories about them. New light is shed on the objects’ history and provenance but most importantly on the emotional, symbolic or political role the object held or still holds today in the life of the institution. The exhibition provided a way for the Villa’s unique heritage to be understood from a different angle. The Villa holds the history of the Académie de France à Rome but is in a sense ‘condemned’ to develop and reinvent itself constantly in service of this living place of creation.

Poussin et Moïse

Scenography of the exhibition dedicated to tapestries from Nicolas Poussin's artwork
Villa Medicis, Rome, 2011

Few Months after Ramy Fischler’s arrival at Villa Médicis, the Malraux’s Mission organised the exhibition of Nicolas Poussin’s tapestry, realised after his death and according his painting inspired by Moses’s life. The designer choose to be involved in this project designing the exhibition scenography, breeding ground for ideals experimentations to comprehend the question of welcoming and the way of the visit in the Villa. These preoccupations were in the middle of his research in Rome.

The exhibition can be a means to experiment, outside the main subject that are tapestry, how to reunite the story of lodger artists, royals manufactures and academy in a welcoming plan dedicated to visitors.

The scenography plan

On the supports he created, Ramy Fischler proposes link and senses in the interstice between two institutions that are living under the same roof but never communicate (events and exhibitions organisation and lodgers welcoming).

Distance / Threads of wool

Interrupted from the beginning to the end of the process, the threads of wool create continuity between the different rooms of the exhibition, and create a link with the structure. A way to express the affiliation of the subject treated with the others missions of the Villa.

Thanks to this delicate treatment that allows public to observe colours barely discernable in the tapestries due to the subtle weaving, the plan forcing a distance doesn’t disturb the lecture of the exhibition. Quite the opposite, the threads of wool express a connivance with works.

The lecterns

These display units in curved sheet metal that punctuate and rhythm the different rooms of the exhibition contain an explicative text and an image book. Each book illustrates an historian point of view on the exhibited works. Key readings are given to apprehend associations, resemblances or oppositions to detect drawing, painting et tapestry of the same theme.

The fanzines

The fanzine size permitted Ramy Fischler to reunite his investigations, making them interact with a selection of books from the Villa Médicis’s librairy (reserved to researchers and lodgers), photographed and printed in black and whit on a journal paper. As many survey elements from which he created stories, weaved links, crossed destinies that only the Villa and Poussin can reunite. They form a France’s history fragment on the Pincio hill.

Graft table

This is by the cafeteria that visitors penetrate in the garden to prolong their visit. This pathway gave the chance to Ramy to work on this kind of place where the least intervention has to be legitimate. Why things persist? Why others disappear?

The fact that there is no place for discussion or consensus on these questions shows a lack of choice. The graft table are everything except a manifest object. 

Scenes from the Ghetto

Shoah Memorial, Paris

World War II started with the invasion of Poland in September 1939. In the countries annexed to the East, the German army assembled the Jewish inhabitants in ghettos that rapidly became overpopulated and unsanitary. The ghettos were liquidated in 1942-1943, marking the first step in the genocide of Central European Jews and the inhabitants transported to death camps. Although the extermination process was put in place in great secrecy by the Nazi authorities, the first phase has, paradoxically, left considerable photographic documentation. Between 15,000 and 20,000 photographs were taken in the ghettos during World War II. What is the meaning of these pictures? Propaganda? Testimony? Resistance? Denunciation for History?

The answers may be found in the context of the photos as well as in the personality of the photographers.

The exhibition presents an historical analysis of the photographs from collections preserved all over the world including pictures from many different ghettos (aside from the large ghettos like Warsaw, Lodz or Kovno, more than 400 other ghettos existed). These photographs relate the history of the confinement and slow death of several millions of Jews in the ghettos.

L'accueil au Palais de Tokyo

Analysis conducted on the request of Palais de Tokyo,
on visitor orientation and reception in the contemporary art center.
In collaboration with Alexandre Mussche and Wavier Figuerola
Paris, 2012


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