Eimear Ryan: Argot Studio

Irish designer Eimear Ryan is the founder of Argot, a Paris-based design studio with a focus on furniture, object and spacial design. Since her first collection of modular oak furniture in 2018, she has worked on a range of designs, utilizing both craftmanship and technology for production. This year, the launch of Argot Edit – dedicated to 3D printed objects made from bio-based materials – sees her working collaboratively with her partner Jean-Eloi. For the duo, printing offers solutions for today’s urgent concern of sustainable production and this collaboration is an opportunity to explore its possibilities. Here she talks about her creative process, design influences and offers advice for those who would like to participate in the world of design. 

Can you talk about your background prior to starting Argot Studio? 

My route to Argot studio was quite atypical as I didn’t study design. I interned and did work experience with several architects and interior designers while also attending night classes to learn design programs. This led me to a job as an interior designer in Paris where I stayed for 4 years. During the last year there I launched Argot with a furniture collection made by my dad (a carpenter) and from then it slowly evolved into what Argot is today.

What is your creative process?

It varies depending on object, furniture or space. With object, as it’s usually 3D printed, it can be very fast as I can immediately try a prototype and see if it works  - I can have a rough idea of an object in the morning and a finished product the same evening. Furniture is a much longer process and I’ll usually sketch something by hand and leave it aside for a while, if I’m drawn to pick it back up again I’ll either modify it aesthetically at several steps along the way or be forced to adjust due to material or production constraints.

 

Can you talk about the different mediums used for your designs?

My dad is a carpenter and so I have always had that influence if you like. Wood(my favourite material) I feel is the most versatile and human material to use within the spaces we live, and can really make us feel good in our interior surroundings. I wish I could use it a lot more unfortunately, but instead find myself searching for good sustainable alternatives, which I’m also very hopeful about and interested in. 

3D printing was suggested - in the very early days of Argot - by my husband. I printed one vase and felt completely liberated and overexcited as I had so many designs in mind and already 3D modelled on my computer. As a young designer I feel production is the biggest obstacle to overcome due to mainly cost, plus a list of other reasons. 3D printing enabled me to bring my designs to life, I just had to work out how to translate 3D printing using my own aesthetic. 

The Argot rugs are an ongoing project of mine. I think it stemmed from the lack of good rugs I could find in the market while working as an interior designer for clients. It’s also due to the fact that I don’t really ever feel limited with Argot and enjoy designing all of the different elements that go into making an interior space.

What/who are your design influences/inspiration?

Eileen Gray has been one of my biggest inspirations, not only because she grew up in Ireland and worked in France, but also from the angle that she was one of the founders of the modernist movement and used new technological advances to produce her work. She wasn’t afraid to use new materials and production methods to realise her aesthetic and I try to remember this with 3D printing. 

 

You are based in Paris, does this play a role in your participation in the world of design? 

I think thanks to social platforms and the internet in general we have access to design on a global level and that gives room for a lot more opportunity and room for growth. I do feel however on a local scale it can and has influenced my work due to personal relationships, Parisian culture,  the shows and exhibitions here etc

You experimented with innovative materials for the “Sustainable TEN project”, can you talk about your experience and perspective on sustainability in design?  

I feel like it’s no longer something designers are ‘trying’ to be aware of but a built in element in their practice. With Ten chairs I was exploring and bringing awareness around materials that already exist in the market, but were only being used for, for example, acoustic panels or other structural/architectural usage. I wanted to show through the use of colourful, visual chairs that designers can begin to adapt these materials for their designs. I feel that through a marriage of craftsmanship and technology designers can achieve sustainability in their practice.  

 

What advice would you give to individuals who would like to participate in the design space? 

Don’t be afraid to develop your own aesthetic regardless of current trends and stay flexible and move with the times in terms of production, technology and new sustainability practices.

What has been your relationship with creating work during the pandemic?

It has been very up and down. During the first (very harsh) lockdown, I had a massive surge in energy and creativity and worked on ''Ten Chairs''. Then equally sometimes the uncertainty of it all got me down and slowed down my urge to design something new. Still now I find it kind of challenging to know where we're headed and what makes sense to put out there, but perhaps that's where something interesting may arise...

What can we look forward to from Argot Studio in the coming months?  

We are working on a collection of utile objects for the home/office as well as some innovative steps in the 3D printing process we are so excited to share! As well as some collaborations with great people!

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