Lauriane Heim is a designer with interest in contextual and societal subjects. The result of her projects are materialised into visuals, objects and installations. Her work explores processes of production as definitions of societal and cultural practices.
+ (33) 6 58 03 57 89 firstname.lastname@example.org Based in NL/FR
In an era dominated by the visual our hearing can become an underrated sense. So what can design research into our sonic lives teach us about our contemporary fears? This question is placed at the centre of the design duo’s hybrid platform.
Through research and interviews, they’ve explored the particular sound effects that feed our sensorial feeling of fear. How are the emotions of the receiver manipulated through sonic cues and triggers? And how do they then impact the way we hear our urban environments?
Part installation and part podcast station, this project plays host to a series of conversations and sound performances. Each episode involves discussions between moderators, Studiocalh, and a series of guests who have been given the titles of sound agent or sound politician.
COSF In collaboration with Lucas Dubois
Visual identity, 2021
COVID-19 is marking a re-structuring of the pharmaceutical landscape as nation states recognize a need for security and resilience within production processes. Heavily affected by the pandemic, the production of paracetamol slowed down significantly while demands grew due to the medication’s positive impact on symptoms of an infection with COVID-19.
In response to the ongoing global pandemic, Mutated Industry points out how a highly confidential and ingrained pharmaceutical industry is developing resilient approaches to redesign its global supply chain. With a scenario set three years in the future, Mutated Industry explores strategies of total reshoring, the return of production back to the company’s original country, of a component critical for pharmaceutical production. A symphonic visual lecture, Mutated Industry addresses possible developments within a global pharmaceutical supply chain incited by disruptions caused by COVID-19.
Concept and design : studiocalh
Soundscapes of Fear
Studiocalh, 2020 Shown at during the What A Time To Be Alive exhibition at TAC
The project Soundscapes of Fear highlights studiocalh’s ongoing investigation on the relation between sound and the feeling of fear. What can we learn when we consider fear from a sonic perspective? Through an audiovisual installation, the project explores the growing exposure to sensory information extracted from popular and trending sources such as film, news media, and music The installation consists of different viewing stations exude sounds that trigger the spectrum of alertness, including fear. The structures disseminate the experiences that are crafted in our exposure to the media’s manipulations of our fear triggers. This research visualization is part of the FORMAT 2020 program at Z33 and supported by Creative Industries Fund NL.
Production Toward Mortality 2019 Shown at the graduation show at Design Academy Eindhoven
In a time of spiritual loss, rational system underpins our understanding of the modern world. We produce, act, move toward a result oriented, toward a specific goal. What would be the purpose if the object’s only function becomes the gesture itself ? To process an emotion, rather than a material profit. Intervening in the ceramic field, Productions toward mortality is an embodiment production system for an emotional purpose, to process the feeling of fear of death. As negotiation with death can not appeal functional answers, the project proposes a material exploration starting from a rational approach: the act of recycling clay.
It explores a design methodology based on the process of a negative emotion implemented in a rational system. The project uses the vocabulary of a production system in a performative installation in which an audience and an operator have to experience a cycle of clay. The final outcome is a secular response to prevent the death phenomena in an institutional framework. By processing clay infinitely at every stage of the cycle, this project seeks design as a point of inquiry, rather than a production of an answer.