_textiles _acoustics _architecture. Texaa

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1 _textiles _acoustics _architecture Texaa

2 Texaa designs and develops panels, screens, stretched fabrics and freestanding or ceiling-hung objects to improve the acoustic comfort of the places in which we live and work. They are made from sound absorbing foam covered in a high-quality sound transparent* fabric, available in a range of 24 colours. Our fabrics are knitted and our products assembled near Bordeaux, France. * Aeria, our sound transparent fabric, exclusively patented by Texaa 01

3 True music is Silence and all the notes are only framing this silence. Miles Davis

4 The ideal of calm exists in a sitting cat. Jules Renard

5 only the pulsing of soundlessness Eugène Guillevic

6 Less is more. Mies Van der Rohe

7 contents #1. Stereo... p. 12 Panels and acoustic screens for architecture Panels (single sided) / Acoustic clouds... p. 18 suspended in lines and attached together with steel brackets suspended in clouds suspended with vertical cable fixings or suspended from horizontal cable fixings screwed to the ceiling / clipped to walls fitted to vertical metal surfaces with magnets Screens (double sided) / Acoustic shields... p. 48 suspended with vertical or through cable fixings positioned in groups to form an acoustic shield mounted on a freestanding base (versatile, transportable partitions) screwed to the ceiling #2. Vibrasto... p. 70 Acoustic fabrics stretch and anchor Vibrasto p. 76 stretch and glue Vibrasto 10 and p. 86 positionable : Vibrasto blinds... p. 104 #3. Abso... p. 110 Acoustic objects to move around freely Totems... p. 116 Ceiling pads... p. 118 Cones, cubes and bricks... p. 122 Desk screens... p. 126 #4. Options... p. 132 Options... p. 132 Custom-made products... p. 144 #5. Texaa... p. 162 textile... p. 164 acoustics... p. 166 colours... p. 168 design... p. 170 environment... p. 172 Texaa... p. 174 _textiles _acoustics _architecture _Texaa 10

8 Our Stereo range of rigid acoustic panels and screens is designed to reduce excessive reverberation in large spaces. It is available in a multitude of sizes and the 24 fabric colour finishes of our exclusive sound transparent Aeria* textile range, providing the perfect sound solution for interiors both new and old, contemporary and traditional. The rigid metal skeleton frames guarantee the strict geometric format of each element, inspiring their use in creative combination, from elegant lines and constellations to suspended acoustic ceiling clouds or sound shields, for use on walls or ceilings and in open spaces. #1. Stereo acoustic panels and screens for works of architecture * Aeria, our sound transparent fabric, exclusively patented by Texaa

9 14 Stereo panels suspended with four vertical fixing cables from the concrete ceiling of the main conference hall of French daily newspaper Libération, Paris. Canal architecture, Patrick Rubin

10 Patrick Rubin is the leading architect of Canal architecture agency, based in Paris. He first worked with Texaa products as part of a design project for the offices of French daily newspaper Libération, in Extensive interview available at 16 Acoustics is not just a question of norms and standards, but a question of comfort. In a restaurant for example, it s so wonderful when you can actually hear what the person you re having dinner with is saying. It is our job to find ways of creating a sound absorbing bubble in which people can communicate with each other. And it s no easy task. The simple solution would be to content oneself with rolling out a false ceiling. Texaa has gone much further and has come up with a far superior option, in the shape of ceiling-hung panels which don t just deal with the problem of acoustic comfort, but also enhance the quality of a given space, endowing it with a real personality. The architect can play with the repeated coloured surfaces in a way that is at once hyper-functional and infinitely poetic. This is a very good example of how the different components of interior architecture come together. It all starts with a blank canvas and then gradually, the architect begins to assemble different elements within it, like words put together into phrases These elements are like pieces of furniture, except they can t be used for sitting on or eating at. Some trap sound or emit light It s no more complicated than that! Texaa s panels come in just the right shape and size and they are covered in a specially designed knitted fabric with a honeycomb texture, available in an inspiring range of colours. The fabric is laminated onto a sound absorbing foam backing which is amazingly efficient But that s not all! The panels are assembled and set in place with a carefully designed fixation system which is very simple to use all the hardware is supplied with the panels. And none of the fixation cables can be seen once all the panels have been hoisted. Now that really takes some doing! But that s Texaa for you, they like to think things through.

11 Stereo panels The panels from our Stereo range may be used individually or in combination to create pure lines and patterns, or exceptionally effective aerial acoustic clouds of varying sizes, fixed to the ceiling or seemingly floating in empty space. They may be suspended with vertical or horizontal cable fixings, screwed or clipped into walls or ceilings, or fitted to vertical metal surfaces with magnets. Stereo panels sizes x x 50 mm x x 50 mm x x 50 mm x x 50 mm x x 50 mm x x 50 mm suspended in lines and attached together with steel brackets suspended in clouds suspended with vertical cable fixings suspended from horizontal cable fixings screwed to the ceiling / clipped to walls fitted to vertical metal surfaces with magnets 18 Stereo panel x x 50 mm

12 20 An acoustic cloud made from assembled Stereo panels (596 x 1196 x 50 mm) suspended in the entrance hall of the Conseil Régional de Picardie, Amiens (photo: Hervé Abbadie) Richard architecture agency / Luc Nguyen, architect

13 22 Stereo panels suspended in rows and attached together with steel brackets in the open space offices of an architecture agency in Bordeaux. Architects: Luc Arsène Henry and Alain Triaud

14 24 Stereo panels suspended in rows with integrated lighting in a university cafeteria, Paris (photo: Hervé Abbadie). Beguin & Macchini, architects

15 26 Stereo panels arranged to form linear acoustic clouds, with lighting strips running between them. Entrance hall of Sciences Po, Paris (photo Hervé Abbadie) architecture agency Sahuc & Katchoura / architect Claire Leroux.

16 28 Stereo panels suspended in lines with integrated lighting in Kiéthon day centre for autistic children, Médréac, Ille-et-Vilaine (photo: Stéphane Chalmeau). Joël Gimbert, architect / Lena Riaux, interior designer

17 30 An acoustic cloud made from assembled Stereo panels suspended from a steel frame in the central control room of French television channel TV5 Monde (photo: Rodolphe Cellier). architect: Frédéric Druot

18 32 Stereo panels suspended with vertical fixation cables in the restaurant at Mac/Val, the contemporary art museum of the Val de Marne region (photo: Hervé Abbadie). Architecture agency Ripault-Duhart / Jacques Ripault, architect. The windows are dressed with sliding panels clad in Vibrasto 03.

19 A B C D E F G H Examples of Stereo panels used individually or in combination to form acoustic clouds. A and J: restaurants, La Défense (arch.: Arch-e-tek) B: Gare de l Est, Paris C: Theatre Le Safran, Amiens (photo DR) D: Gare Montparnasse, Paris E: Goethe Institute, Paris (arch.: Richter+Piquard / Neufen, photo: Jean-Marie Monthiers) F: Municipal child daycentre, Paris (Canal architecture, Patrick Rubin, photo DR) G: Chamber of Industry and Commerce, Bordeaux (arch.: BLP) H: Art gallery Le Six Elzévir, Paris (Canal architecture, Patrick Rubin) I: Multi-media library, Lormont, Gironde (arch.: BLP) K: Entrance hall, Bordeaux (arch.: Arsène Henry- Triaud) 34 I J K

20 Multi-radio studios (NRJ, Paris) Jean-Marc Vernaudon, acoustical engineer / acoustical consulting firm Fréquenciel Extensive interview available at Acoustics is fundamental in a place like this we are in the studio of a radio station, where a number of people often work side by side - the presenter, programme director, up to six guests and members of the public. The camera also plays an important role. Nowadays, a radio studio is a mirror held up to society, and the image that we read captured by the camera lens not only includes the face of the guest of the moment, but also the brand name of the radio station itself. We chose the materials used here very carefully, not only for their sound absorbing properties, but also for their visual effect. The main challenge with this project was the size of the studio, some 15m long by 4.5m wide. It is also situated beneath glazed roofing, just about the worst imaginable environment for a recording studio. The technical stakes at play were enormous, and the situation made even more complex by the fact that the walls were already covered in screens and other equipment. For an acoustical engineer, the word glass rhymes with danger! We decided to use two Texaa products for diametrically opposed reasons. First, we hung some Stereo panels from the ceiling with horizontal cables the perfect solution, allowing us to absorb sound efficiently while barely increasing the load on the glazed roof. However, on the walls, the acoustical materials needed to be as discreet as possible. I slipped some Vibrasto 20 inconspicuously behind the screens. To my mind, the trump card of Texaa products lies in their simplicity. They go hand in hand with my desire to be as radical, or essential as possible in my designs to avoid the superfluous at all cost. Another great plus point is the fact that the products can be used retrospectively you don t have to embark on major building work. There are not many other products you can slip effortlessly into an existing space when even the interior design has been finished. And then something of a bond has been forged between the team at Texaa and me. When you need their help, they always answer present and they are extremely supportive. That s really what you need. 36 Stereo panels 1196 x 1196 x 50 mm suspended from the ceiling with two horizontal cables and Vibrasto 20 cladding the walls / Studio of radio NRJ (Paris) Acoustical engineer: Jean-Marc Vernaudon

21 38 Stereo panels suspended using through cables, Peugeot Champs-Élysées, Paris Sexer Loyrette architecture

22 40 Stereo panels clipped to the wall, meeting room, Syndicat Mixte de l Usine de la Nive, in Anglet, Pyrénées Atlantiques (photo DR) architect: Philippe Pastre

23 42 Stereo panels clipped to the wall, inter-corporate cafeteria, Paris La Défense architects: Arch-e-tek

24 A B C D E F G H Stereo panels used to clad walls. A: Meeting room, Renault, Paris, by interior design agency Parallel. B and C: panels positioned with magnets D: sports hall E: architecture agency Air architectes, Bordeaux. F: restaurant La maison des Jardiniers, Blanquefort, Gironde architect: Fabien Pédelaborde, Bordeaux G: restaurant, Cargolux (photo DR) H: restaurant, Le Grand Théâtre, Bordeaux (photo DR) I: open space offices, Paris (photo R. Cellier) J: Peugeot Champs-Élysées, Paris arch.: Sexer Loyrette K: MacDonald s restaurant, Waterloo (photo DR) 44 I J K

25 Stereo panels _format and arrangement Options available (see pages ). Stereo panels may be custom-made to provide for integrated lighting, or standard panels positioned in such a way as to leave room for lighting strips or fitments. 596 x 1196 x 50 mm Stereo panels used in isolation 1196 x 1196 x 50 mm in a line 1796 x 1196 x 50 mm in a dotted line 2396 x 1196 x 50 mm 46 in parallel lines to form a seamless cloud (only for panels 596 x 1196 x 50 mm and 1196 x 1196 x 50 mm)

26 Stereo screens Stereo screens may be suspended from the ceiling at various heights or mounted on a freestanding base and are designed to provide a high level of sound absorption for large open spaces. They are covered in removable fabric envelopes and offer a simple, easily transportable and effective way of marking out quiet zones or closing off individual spaces. Used in combination, they provide inspired means of sculpting interior spaces by creating an acoustic shield. Stereo screens sizes x x 50 mm x x 50 mm x x 50 mm x x 50 mm x x 50 mm 48 suspended with vertical cable fixings suspended between floor and ceiling with through cable fixings positioned to form an acoustic shield or baffle mounted on a freestanding base (versatile, transportable partitions) screwed to the ceiling Stereo screen 596 x 1196 x 50 mm

27 50 Stereo screens suspended from through cables in an open space office, Philips France, Suresnes.

28 52 Stereo screens (296 x 1196 x 50mm) positioned to form an acoustic baffle. Secondary school cafeteria Victor Hugo, Lunel, Hérault. (photo: Hervé Abbadie) architect: Pierre Tourre / acoustical engineer: Pialot Escande, Montpellier.

29 54 Stereo screens suspended with vertical fixation cables in the restaurant at Mac/Val, the contemporary art museum of the Val de Marne region (photo: Hervé Abbadie). Architecture agency Ripault-Duhart / Jacques Ripault, architect.

30 56 Stereo screens suspended with through cables to form acoustic shields, Institut Pasteur, Paris (photo: Rodolphe Cellier). Dacbert Cochet Chapellier associated architects / Vincent Bailly, architect.

31 58 Stereo screens suspended with through cables to form an acoustic baffle. Office building, Boulogne-Billancourt. architects: Foster&Partners / interior design: ateliers 234.

32 60 Stereo screens suspended with through cables to form an acoustic baffle in the company restaurant of French sports newspaper L Équipe. architect: Jean-Paul Viguier, Paris / interior design: Valérie Terzulli, for design agency Grenot, Paris.

33 A B C D E F G H Stereo screens A, B and C: offices of LVMH, Boulogne D: inter-corporate restaurant, Paris-La Défense, arch.: Arch-e-tek E: offices of Altae, Bruges F: Institut Pasteur, Paris (photo R. Cellier) Dacbert Cochet Chapellier, associate architects G: offices, Paris (photo R. Cellier) H: University cafeteria Rock Seller Lyon (photo Erich Saillet) arch.: X TO architectes, acoustic: EAI Venissieux I: detail of the through cables and their discreet floor fixations 62 I

34 A modular system of acoustic partitions The screens may be slotted into freestanding metal bases and arranged in a wide variety of positions to form a fully modular system of acoustic partitions. They can then be used to enhance the acoustic comfort of any open space without forasmuch isolating those who live and work there. They are ideal for use in meeting rooms, individual or collective work spaces or cafeterias. Setting up the partitions is the simplest of tasks and the screens may be repositioned or rearranged in an instant to adapt to changing uses of any given space. Stereo screens sizes x x 50 mm x x 50 mm x x 50 mm x x 50 mm x x 50 mm 64 These versatile, transportable acoustic partitions are mounted on a polished stainless steel base capable of holding up to four screens at right angles.

35 Stereo Screens _format and arrangement 1196 x 296 x 50 mm 1196 x 596 x 50 mm 1196 x 1796 x 50 mm 1196 x 2396 x 50 mm Stereo screens suspended with vertical cable fixings Stereo screens suspended with vertical cable fixings Stereo screens suspended with through cable fixings Stereo screens suspended with through cable fixings Stereo screens screwed to the ceiling 296 x 1796 x 50 mm 596 x 1196 x 50 mm 1196 x 1196 x 50 mm 1796 x 1196 x 50 mm 2396 x 1196 x 50 mm 304 mm 296 x 96 x 50 mm 1500 mm 1196 x 1796 x 50 mm 1196 x 2396 x 50 mm Stereo screens mounted on freestanding base (versatile, transportable partitions) 66 Stereo screens mounted on freestanding base (versatile, transportable partitions)

36 Stereo screens and panels 1-1: attachment for suspending Stereo panels from horizontal cable fixings 2-1: vertical cable fixings for Stereo panels 2-2: set of four adjustable stainless steel cables 2-3: bracket for attaching panels together 3-1: slide for adjusting height of Stereo screens suspended from vertical cable fixings 3-2: the two vertical cables 3-3: the head of the cable 4-1: clip for fitting to freestanding bases or ceilings 4-2: the two vertical cables 4-3: cable clamp positioned beneath the panel and used to adjust height

37 Vibrasto is our range of acoustic wall coverings and blinds, a tried and tested product designed some thirty years ago and constantly refined and perfected since. Today it is the recognised market leader, offering faultless acoustic and technical qualities, meeting the most exacting norms and professional requirements. Vibrasto is made from an outer layer of Aeria * laminated onto high performance absorbing foam or felt and may be used to cover walls or ceilings. It may be either stretched and anchored into position or glued to the surface. Strips of Vibrasto may also be suspended vertically across the interior volume of a room or used as blinds to dress glazed surfaces. #2. wall coverings and blinds solutions Vibrasto *Aeria, our sound transparent fabric, exclusively patented by Texaa

38 72 Vibrasto 20 cladding the interior of open metal forms and wall clipped Stereo panels cladding the walls of the cafeteria, Georges Pompidou centre, Paris architects: Jacob+MacFarlane / acoustical engineer: Jean-Paul Lamoureux

39 Sylvia Laquerbe and Jean-Lou Morey are interior designers working in Paris with interior architecture agency Parallel. Extensive interview available with Sylvie Laquerbe at My first encounter with Texaa products was when I was working on the interior design of the cafeteria in the Georges Pompidou centre (see preceding page). There was a vast organic sculpture clad with a sound-absorbing material Vibrasto on the inside. It suddenly dawned on me that a product like this could be used as a raw material, and a raw material with astonishing technical capacities, a product which could be stretched and glued and fashioned into any shape I had in mind My second encounter was at the workshops of Texaa headquarters in the suburbs of Bordeaux. I was shown into a sort of bunker with an almost unbearably echoey environment, a real sound box. It was so resonant in there that I couldn t even understand what the people I was with were saying to me. Then one of them brought in an acoustic totem (from the Abso range) and the situation improved a little a second, and then a third totem followed and the difference was unbelievable. We could have a totally normal conversation with no echo at all. Even five or six years ago, the comfort of our sound environment was of little concern to anyone. But today, demands in this field have become a leading priority for all buildings in the tertiary sector offices, meeting rooms, cafeterias. The acoustic quality of the places in which we work has become just as important as their environmental attributes. Texaa offers a range of products whose soundenhancing qualities are a tried and tested fact, and they are indeed regularly tested in national offices. In our line of work, there are many links in the chain which leads a project to its full fruition the manufacturer who supplies the product, then we, the interior designers, who decide how it is going to be used, and then the skilled workmen who control the practical side of things and bring the final touch. 74

40 Vibrasto 03 stretch and anchor acoustic fabrics Vibrasto 03 is made from an outer layer of Aeria * laminated to 3 mm thick felt and may be stretched and anchored into position over walls and ceilings. It is extremely simple to put in place and may be taken down and used elsewhere as and when required. The fabric functions as a second skin, providing a trouble-free, effective means of creating sound absorbing surfaces adapted to a wide range of situations. The interior designer enjoys full scope in creating the desired effect for each individual project, leaving the acoustician free to calculate the appropriate depth of backing required. Vibrasto 03 width 1500 mm * Aeria, our sound transparent fabric, exclusively patented by Texaa Vibrasto 03 is made from an outer layer of Aeria laminated to 3 mm thick felt. The composite material is stretched on 30 mm L-shaped tracks which lift the Vibrasto away from the substrate. The tracks may be mounted on battens to increase the space reserved for the sound absorbing backing.

41 78 Vibrasto 03 used on the walls of a swimming pool, Viry-Chatillon. Marc Mimram, architect Peutz & Associés, acoustical engineers.

42 80 Vibrasto 03 used on walls auditorium of BNP Consult, Paris interior designer Nadine Lainey

43 82 Vibrasto 03 used on walls meeting room, Chambre de Commerce et d Industrie, Bordeaux. architects Brochet Lajus Pueyo

44 Close-ups 1: Vibrasto 03 stretch and anchor, video-conference room, Paris / interior design: Parallel 2: Vibrasto 03 stretch and anchor, meeting room, CCI Bordeaux / architects: BLP 3 and 4: Vibrasto 03 is simply stretched into place and the edge slipped into a PVC runner with a spatula to fix it into place. 5: Open joint between two strips, auditorium of BNP Consult, Paris interior design: Nadine Lainey 6: Exterior open joint. 7: Electrical fittings and fixtures may be integrated (positioned on a buffer). 8: Vibrasto 03 stretch and anchor, positioned flush against a door frame. 9: Vibrasto 03 stretch and anchor, positioned flush against a skirting board. 10: Vibrasto used behind a perforated wooden panel. TGI Bordeaux (arch. Rogers and Ass.)

45 Vibrasto 10 and 20 stretch and glue acoustic coverings. Vibrasto 10 and 20 are made from an outer layer of Aeria * laminated onto a 10 or 20 mm layer of sound absorbing foam. They not only offer exceptional sound absorption, but are sufficiently flexible to be fitted round any curve or angle. Vibrasto 10 and 20 width 1500 mm * Aeria, our sound transparent fabric, exclusively patented by Texaa 86 The outer layer of Aeria fabric overlaps the foam backing and is used to conceal the foam along the outer edges of each panel, providing a perfect finish.

46 88 Vibrasto 20 used on walls bank central offices (photo Rodolphe Cellier).

47 90 Vibrasto 20 used to cover the ceiling of a bistro in Paris. Interior design: Emmanuelle Lego

48 92 Vibrasto 10 discreetly used to cover the ceiling of café Étienne Marcel, Paris, leaving the inspired interior design of agency M&M to take centre stage. Designed by Philippe Parreno, Pierre Huyghe and Anna-Léna Vaney.

49 94 Vibrasto cladding the interior of arches created to furnish the inter-corporate restaurant, La Défense (92) > see pages following architects: Arch-e-tek, Amandine Bouheret and Amin El Fassi.

50 Renovation of a corporate cafetria, La Défense (92) by Compass Group architects : Arch-e-tek (Amandine Bouheret and Amin El Fassi) Extensive interview with Amandine Bouheret available at This was one of our very first projects. From the very earliest stages of the competition to win the contract, we were asked to justify our expressed intentions to address the issue of sound comfort, and there were indeed a couple of major acoustic problems to deal with. Take for instance the really noisy areas around the spot where the trays are emptied and the washing-up is done, just next to a seating area where people want to enjoy their lunch in peace. We designed a series of arches to shield the tables near the washing-up machines. The arches were an inverted L-shape, standing vertical against the wall and jutting out to form a canopy, with an integrated dining table beneath them. The interior of the arch was clad in sound-absorbing fabric from the Vibrasto range. Integrated overhead downlighting was fitted into each canopy for the users comfort, creating a feeling of intimacy and security. In fact, the most unpleasant places in the restaurant became those most agreeable to have one s lunch! We then decided we would try and deconstruct these arches and fragment them into half their original shape and size, with the same thickness of plaster, same interior cladding of Vibrasto, but without the vertical elevation. Gradually, the arches disappear altogether into empty space and give way to a series of Stereo acoustic panels suspended from cables and floating like clouds above the tables. The result is very simple and elegant and has an immaterial lightness about it, just as we had imagined it! The second problem we had to address arose from the groundplan of this long, narrow room, stuck between two lift wells. It was poorly lit and very noisy We decided to clad the walls with Vibrasto and create a button tufted effect which is very plush. Not only did it provide a pleasant sound environment, but the design effect was swish and modern. We had never worked with issues concerning acoustics like this before, and we needed to make sure that what we had imagined and planned for would be achievable before embarking on the project. Texaa s help was invaluable in this and we worked in close partnership. They accompanied us every step of the way. 96 Inter-corporate cafeteria, La Défense (92).

51 98 Vibrasto stretch and glue cladding the walls and ceiling-hung Stereo panels forming an acoustic cloud. Recording studio at Arte-Radio, Issy Les Moulineaux (92) Preparatory acoustical studies and project management: société Abso, Didier Josso.

52 Story-telling room for children, Médiathèque de Bonneuil-sur-Marne (94) Jean-Paul Lamoureux, acoustical engineer Extensive interview available at Architect Patricia Leboucq had decided to cap the room devoted to story-telling activities for children with a lofty dome. Now there is nothing worse than a dome as far as acoustic comfort is concerned. What actually happens is that the dome focuses sound emissions, so that in some places down below you can hear perfectly well, and in others, you can t hear anything at all. But that was no reason for giving up on the idea! We found the ideal solution together and decided to clad the interior of the dome with lengths of Vibrasto, hemmed together and laid flush for a perfect finish. We then added the fibre optic lighting cables to create a sort of starry firmament on high. This not only solved the lighting and acoustic problems in one go, but also provided a quality finish and luxurious feel thanks to the textile used. I really believe that acoustic issues should not get in the way of design projects, nor should they be allowed to impair the visual effect of a given space. If the architect and client take time to discuss things properly, effective solutions can always be found to satisfy both partners, and in which you can hear yourself and others speak. In a meeting room, for instance, one has the right to be able to hear someone speaking at the other end of the table without having the impression that massive sound absorbing fixtures have been stuck to the ceiling In an ideal world, you shouldn t even realise anything has been done to improve the acoustics at all. It should be effortless! At other times, an interior designer might deliberately choose to underscore a given acoustic solution, as a way of staging the materials used. 100 Vibrasto 20 stretch and glue cladding the ceiling dome. Story-telling room for children, multi-media library Bonneuil-sur-Marne (94). Patricia Leboucq, architect / Jean-Paul Lamoureux, acoustical engineer.

53 A B C D E F G H Vibrasto stretch and glue A: Music School, Montmagny (arch.: Crémonini Lauvergeat Paccard, photo: Hervé Abbadie). B and G: Banking institution, Paris. C: Recording studio, Switzerland, WSDG/Walters-Storyk design group Europe. D: Meeting room, Andersen Consulting, Brussels. E: Vibrasto 20 stretch and glue, clipped to battens and laid flush for a perfect finish. F: Vibrasto 20 stretch and glue with metal circlip. H: Buitenhout school, Netherlands SP Architecten bv BNA, Waddinxveen. I: Aluminium batten for use with Vibrasto 10 and 20. J: Conference hall / Parallel, interior design. K: Marriage ceremony room, Town Hall in Lons, Pyrénées Atlantiques. 102 I J K

54 Vibrasto acoustic blinds When used in front of glazed surfaces, Vibrasto blinds absorb sound reflections and filter light. When used in open plan spaces, they enhance the sense of user comfort by creating subtle visual partitions. Their blades consist of a foam core protected on both sides by an acoustic fabric covering and may be adapted to conventional rail systems. They meet with high-level fire safety requirements for a result beyond compare. Blinds Three finishes white with overcast edges, black with free edges, free-hanging strips (24 colours). 104 Vibrasto blinds in black with free edges used to form an almost immaterial partition wall, by architecture agency More.

55 The acoustic foam is sufficiently rigid to make unsightly bottom chains and weights superfluous. Vibrasto stores in the creative colour strips finish. Each blade is cut lengthways to form three strips of equal width, offering infinite possibilities of variation in effect or colour. 106 Vibrasto blinds in black with free edges each blade is simply composed of two outer layers of Aeria laminated onto 10 mm thick lengths of acoustic foam. Vibrasto blinds in white with overcast edges (close-up). --- The Aeria fabric envelope is produced in square knit to guarantee optimum shape maintenance and is available in the black and white finishes.

56 108 Vibrasto stores in the 24 creative colour strips finish close-up of the foot of the blind. Vibrasto free-hanging strips are available in the creative colours of our Aeria textile range (round knit) for moments when colour, creativity and movement throw shape maintenance to the wind.

57 It is not always possible to solve acoustic problems by installing panels or covering walls or ceilings. For this reason, Texaa has developed a range of freestanding or ceiling-hung objects which greatly enhance the user comfort of the spaces in which we live, work and play, from cubes, to totems, ceiling pads and desk screens. Our range of lightweight, practical and stain-resistant sound absorbing Abso objects can be moved around freely to meet the demands of impromptu or evolving acoustic situations. They are simple to use, do not require major installation work and can be used as and when required. #3. Abso acoustic objects to live and move with 110

58 112 A thousand Abso cones in the temporary library at the Georges Pompidou Centre, Paris, Frédéric Druot, architect / Jean-Paul Lamoureux, acoustical engineer.

59 Frédéric Druot is an architect living and working in Paris. Exhaustive interview available at Acoustics is not merely a technical matter, it s a major component of space. It s not just an extra problem we have to deal with, but a key means in our desire to give the people who live and work in the spaces we create as much pleasure as possible. If a spacious lobby is a little resonant, it can be quite agreeable, while the same echoey environment in a meeting room is absolutely unbearable. We first started using the cones in our project to rehabilitate the Centre Georges Pompidou. We were working on how best to transform a basement supermarket into a library, and the acoustics of the place was uppermost on our list of problems to solve. I was lucky enough to be working on the project with Jean-Paul Lamoureux, who unlike most other acoustical engineers, does not talk about acoustics in terms of the quantity of sound absorbing material needed, but rather in terms of the quality of the resulting effect, as if he were talking about lighting or the fragrance of flowers The first think we did was to flock the walls and ceilings, but we felt something was still missing if this anonymous open space was truly to take on the feel of a library. Some extra sign was needed, even if maximum surface area was our main constraint. This is when we had the idea of hanging one thousand cones from the ceiling. All our acoustics problems evaporated into thin air and the ceiling space was still available for the lighting fixtures. The cones provided a sense of structure and order and even a playful delicacy, as they sway gently in the breeze created by the cycles of the ventilation system. Texaa was the perfect partner for this atypical project, and we were delighted with the result. The whole design was really a larger than life prototype, in the wake of which Texaa went on to perfect some of its industrial and commercial processes. 114

60 Abso Totems Abso totems not only provide high quality sound comfort, but may also be used to organise open spaces by partitioning off quiet zones. In an instant, they turn rooms with hard floors or ceilings, like entrance halls, corridors, open space offices, meeting rooms or restaurants, into far more pleasant sound environments. They are also inventive decorative features and come in a wide range of inspiringly creative colours. Abso Totems x 380 x 380 mm (including stand, depth: 65 mm) 116 Abso totem x 380 x 380 mm

61 Abso ceiling pads Especially designed for standard dropped ceilings using T runners, Abso pads clip effortlessly into the steel grid already in place. In just a couple of seconds, they can be slotted underneath the existing ceiling tiles with the help of our ultra-simple, quick fit fixation system. Abso ceiling pads Approx 600 x 600 x 70 mm designed to fit the majority of existing dropped ceiling grids 118 Abso ceiling pad 585 x 585 x 83 mm

62 120 Abso ceiling pads fitted into a standard dropped ceiling.

63 Abso cones, cubes and bricks These products may be suspended from the ceiling using vertical cable fixings and provide maximum sound absorption while occupying a minimum of ceiling space. They are the perfect solution for environments in which acoustic reverberation proves difficult to resolve. They are a playful and inventive means of structuring open spaces, bringing everyday environments to life and adapting easily to all types of ceilings. Abso cubes and bricks may be scattered on the ground and used as comfortable and inviting pouffes. Abso cones 610 x 180 x 60 mm 122 Abso cubes and bricks small cube: 380 x 380 x 380 mm large cube: 500 x 500 x 500 mm brick: 380 x 380 x 760 mm Abso cone 610 x 180 x 60 mm

64 124 Abso cubes and cones (photo Stéphane Chalmeau), Multimedia library Les Mureaux. Architect: agence Karine Millet

65 Abso desk screens Abso desk screens improve the acoustic comfort and privacy of desks and work tables in office environments. They are made of an inner core of sound absorbing foam inside an envelope of Aeria. Abso desk screen can be positioned on horizontal surfaces like an open book. Abso desk screens ( ) x 390 x 45 mm 126 Abso desk screens ( ) x 390 x 45 mm

66 128 Abso desk screens may be positioned on horizontal surfaces like an open book. Agency OOk paysagiste, Bordeaux. (photo : Hervé Abbadie)

67 totems x 380 x 380 mm ceiling pads ± 600 x 600 x 70 mm A B C cones 610 x 180 x 60 mm D F The Abso Range A: Abso ceiling pads used in a cafeteria B: Abso totem, offices Altae Bruges C: ceiling-hung Abso cones D: Abso ceiling pads slip effortlessly into a standard dropped ceiling grid E: Abso cubes and bricks hung in clusters F: Abso totems stand in a brushed stainless steel base G: Abso cubes in a call centre E cubes and bricks 380 x 380 x 380 mm 500 x 500 x 500 mm 760 x 380 x 380 mm 130 G desk screens ( ) x 390 x 45 mm

68 132 #4. Optional extras and custom-made products

69 Integrated light fittings Spaces for integrated light fittings may be made-to-measure in our workshops. We cater for the vast majority of light fittings available, turning Stereo panels, either used individually or in clouds, into miraculously luminous acoustic splendours. 134

70 Integrated cable transit Stereo panels may be fitted with integrated cable transit for ceiling-hung lighting (diam. 16 mm). 136

71 Digital printing * Why not customise your Stereo panels with digitally printed texts, logos or slogans? The printing is done directly onto the fabric envelope of each product, opening up a whole world of creative possibilities. *terms of reference available on demand 138 Stereo panel 1196 x 2396 x 50 mm, with integrated lighting fittings and digital printing, being produced in Texaa workshops.

72 140 Stereo panels, from the Noir&Blanc series The models shown here are Entrelacs, Infinité and Voisinage, designed by Philippe Jacques > see pages following

73 Stereo panels from the Noir&Blanc series Philippe Jacques is an architect and artist who lives and works in Bordeaux. Extensive interview available at Drawing is my constant companion. It has been for years and I ve always spent hours drawing in the early morning or late at night in addition to my professional activities. It is a solitary activity, like keeping a diary. Drawing is a way of exploring space and time, and I ve always considered each page as a virgin territory I then invade with dots, motifs and lines. My drawings don t have a specific way up, they don t have a top or bottom. I was utterly astonished when Texaa contacted me to design motifs for their acoustic products. How could something which for me was a moment of such intimacy be used for an industrial project and large-scale usages? It was clearly a challenge, one which I found quite overwhelming, but which, I must admit, soon captured my imagination. The Noir&Blanc series I designed for the Stereo range is a reworking of some of my drawings on paper. The design entitled Voisinage evokes the archetypal house and Infinité explores an enumeration of numbers. Entrelacs is based on the theme of landscapes, plotting lines and saturated spaces, while Sédiments explores superimposed layers and addresses the notion of space and time into which everything seemingly dissolves. My initial idea was not to design each screen as an individual picture, even if that is often how people see them. In hindsight, I think this first series is just the beginning of an aesthetic process which will go on to develop further. Working on elements deigned for use in works of architecture obliges the artist to explore such notions as the visible and invisible in certain cases, there is a need for strongly voiced motifs, while in others, discretion is the name of the game, or even the unexpected. 142 Stereo panel digitally printed with the Noir&Blanc series, here Sédiments designed by Philippe Jacques.

74 Custom-made products Texaa products are produced by highly skilled craftsmen in our own workshops, fully enabling us to come up with custom-made solutions for specific projects and individual contexts. Down the years, we have forged close partnerships with designers and acoustical engineers, in turn fuelling our research and development through major projects. 144 Acoustic cloud of Stereo panels with gilt framing and button tufting (custom-made). Café Le Marly, Paris / interior design: Olivier Gagnère

75 Stéphane Mercier Peutz France, acoustical and building materials consultant Extensive interview available at In my line of work, the main thing is being curious we have to know everything there is to know about different building materials, especially their acoustic properties, and how each can be used in a project. That s why we spend so much time talking to the businesses which manufacture them. The building industry has been a hotbed of innovation over the past thirty years. Industrialists have designed and perfected new materials and invested widely in research and development, thereby vastly enriching the vocabulary architects have at their disposal. Texaa has been a pioneer in its own specific field and has produced sound absorbing materials which by far surpass mere technical considerations. They are effective and sophisticated products in their own right. Over and beyond their acoustic qualities, Texaa products present a whole range of other plus points. They are light and easy to use - setting them in place is child s play, and that s a real bonus in a world where specialised labour is a rarity. They are also beautifully designed from the aesthetic point of view, available in a creative range of colours. The products adapt perfectly to a whole array of specific contexts where delicacy and elegance of touch are of the essence. The finishing of each product is incomparable, and that really makes a difference in the final result. Currently I am working with Texaa on a conference room which is going to be used as a concert hall in the evening. It s no easy task to provide the ideal acoustic conditions for two very different functions within the same space. There are only about thirty rooms in the world which have variable acoustic functions of this sort. I asked Texaa to help me find a product that wouldn t absorb too much sound. This was a real paradox for a company which generally aims at maximum sound absorption. But they took up the challenge and designed a fabric with singular acoustic properties and which was perfect for this project because it is sound transparent. We are going to use the fabric in a totally new way and a highly specific context and the firm is keen to put time and energy into researching this idea. That s really what I call a partnership! 146

76 148 Acoustic clouds made from Stereo panels (custom-made), ceiling-hung from a metal framework. University cafeteria (Paris) Beguin & Macchini architects

77 150 Acoustic clouds made from Stereo panels (custom-made), multi-media library, Lormont, Gironde. architects: BLP

78 152 Vibrasto glued to the wall and button-tufted Veolia / Christophe Genty, architect / interior design: Christophe Périchon

79 154 Acoustic cloud made from Vibrasto 03 stretched across an inner frame, aquapark Olomouc, Czech Republic (photo DR). architect: Architektonický atelier Héta ing. akad. arch. Jan Vrana

80 156 Two-tone Stereo acoustic panel (custom-made). Two colours from the Aeria colour range have been brought together here to form the envelope of a Stereo panel. The two pieces of fabric are sewn together with an elegant zig-zag stitch.

81 Le 308, Maison de l Architecture, Bordeaux Julie Fabre and Matthieu de Marien, architects Extensive interview available at In 2009, a project was launched to redevelop a former electricity distribution station to house a training school for architects, along with the Conseil Régional de l Ordre des Architectes d Aquitaine. A conference hall and offices were planned for this particularly empty and echoey site --- The ceiling height was immense, and the building was lit from above through an impressive glazed roof. The shell of the building is concrete - the perfect ingredients for the sound environment within to be particularly disagreeable. We wanted to find a solution which would not distort the spirit of the building. In no way did we want to clad the ceiling with fabric or some other material the original design had deliberately left it in its raw state. Nor did we wish to introduce colour it seemed essential to us that the gentle harmony of the unadulterated concrete and the whiteness of the whole be conserved as an expression of the building s contemporary mood. Before even setting pen to paper, we decided to pay a visit to Texaa s workshops in Gradignan, in the Bordeaux suburbs, to get to know their products and learn about the production and installation processes. We spent a long time talking with the company manager, and gradually ideas began to take shape in our minds. We had spotted these soft cushions with no inner metal framework and it had dawned on us that the interior space we were working on had already been equipped with overhead cables to suspend the lighting fitments. Why not use them to create a cloud of ceilinghung acoustic panels. We only had to fix the cushions to the cables It was a great idea. One of the acoustical technicians at Texaa helped us calculate the exact number of cushions necessary. All we had to do was find someone capable of putting them up and check that the calculations were right. From the acoustic point of view the result is very effective, and from a more aesthetic stance, the cushions are a subtle and inventive means of sculpting space. 158 Abso soft cushions 625 x 1250 x 100 mm suspended from the ceiling with horizontal cable fixings. Le 308, Maison de l Architecture, Bordeaux

82 160 Acoustic gabions at the Texaa workshops, Gradignan, Gironde. Texaa has lined the walls of its workshops with gabions galvanised steel wire cages filled with off-cuts and loose trimmings of absorbing foam, some coated in Aeria fabric. The gabions are stacked up and linked together with clamping rings, greatly enhancing the acoustic comfort of these vast and very busy open spaces.

83 162 #5. Texaa

84 Textiles All Texaa products are covered in an envelope of Aeria *, a fabric knitted on machines in our workshops in Gradignan. The fabric is almost totally sound transparent and is very hard wearing. It does not fray or ravel, wear, rub or fluff. It is protected with a waterrepellent coating, is stain resistant and machine washable. Its colour fastness is equal or superior to 5 on a scale of 0 to 8. Aeria * maintains shape perfectly and is not affected by changes in climatic conditions. Aeria * is fire resistant and continues to be so, year after year, wash after wash. * Exclusive international patent, manufactured in our workshops in Gradignan, Bordeaux. 164

85 Acoustics Texaa products absorb sound and decrease the reverberation time of the spaces in which they are used. Suddenly, speech becomes intelligible and the noisy commotion of a busy workplace becomes a comfortable sound environment in which it is pleasant to live and work. The acoustic properties of our products are tested in our laboratories (two reverberating rooms). The full range of our products panels, stretched fabrics and objects are tested as per ISO 354 norm. Test reports and full details are available for each product. 166 Acoustic test in the main reverberating room, Texaa workshops, Gradignan, Gironde.

86 Colours Christine Bernos is a plastic artist, colourist and architect. She works in Bordeaux with Alain Triaud and is the inspirational force behind the 24 colours of the Aeria range. Extensive interview available at When Texaa first asked me about ten years ago to work on a colour range for its products, I thought I wouldn t be capable of working for others, even if I had quite a lot of experience in choosing colours for use in architecture. I was worried about how I would escape the standardisation effect a set range of colours brings with it, and how I would manage to come up with colours in which each and every individual would find something to suit their own creative ideas. The individuals in this case are mainly architects and their clients, but perhaps also secretaries, who sometimes get to have their say How could I come up with a colour range that would have a meaning in today s world? [ ] It was as an architect that I approached these challenges, as an architect passionate not only about interior design, but also fashion, cinema and design in general and innovation and changing ideas in these fields. The Texaa range is not enormous, with only 20 to 23 colours. It is not given a complete overhaul at pre-determined dates, but rather evolves gradually through the year. We remove two or three shades and replace them with others. Within this strict framework, my job is to redesign a coherent new range of colours. This process is rooted in a delicacy and lightness of touch akin to that required of the architect working on the rehabilitation of an existing building new images have to be raised from the ashes of a pre-existing situation, the building has to be enriched, sublimated through its rebirth. My first colour range discarded shades which I considered were non-colours in other words, shades we plump for when we want to avoid making a real choice. I m talking about very neutral greys and beiges, of course. Instead, I put forward a range of far brighter and more colourful tones, to accompany the new product range, especially the first acoustic objects, like the cones and cubes. Later, the inspiration for the colour range was more natural, with a base of grey shades some coloured, others not associated with much brighter colours. Today, the new range still draws on this feel, with a palette of hues inspired by bronzes, tree bark and moss. They go perfectly with contemporary architecture and materials like concrete, metal or wood. There are also some more noticeably strong colours oranges and reds in particular but there were no pinks, blues and purples to be used as accent colours, or to emphasise the sculptural qualities of a given object and underscore its presence. When one designs a colour range, each shade has to be explored in the light of its architectural possibilities and one has to imagine how different colours might be brought together and interact. I ve always been deeply fascinated by the way in which my colleagues play with the colours in the range and what wonderful surprises they serve up with them! And then I m always reassured by the fact that if someone wants a specific colour which is not part of the set range, Texaa will create it for them. NOIR MR490 GRIS BRUN MR780 GRIS MÉTAL MR840 GRIS PERLE MR820 MOKA MR230 ÉCORCE MR210 GRÈGE MR710 LIN MR240 BRONZE MR220 VERT AJONC MR430 OLIVIER MR200 SABLE MR270 VERT KIWI MR760 VERT POMME MR750 CIMENT MR700 JAUNE TRAFIC MR380 OCRE ROUGE MR390 ROUGE TRAFIC MR470 ORANGE MR720 ROSE MR VIOLET MR740 BLEU MR 790 BLEU VERT MR690 GRIS CIEL MR770

87 Design Guillaume Martin is designer and often works with Texaa products in partnership with Michael Damen, his associate at the K-Nowdesign workshop. Extensive interview available at Working on a product used in architecture means developing tools that other people will then use to create specific spaces and this, for the designer, means that modesty must be the by-word. I have no trouble with that at all - I have no desire to sign my production or leave my stamp on new objects. What I do want to do is bring products to life which correspond to the image and innate character of the company who manufactures them. For me, perfection in design rhymes with no design at all! At Texaa, our job is all about adding infinitely delicate touches to enhance the quality of a pre-existing context. And teamwork is the key. New ideas are born from the in-depth discussion between people working in the company. These then become preparatory sketches for new products or hanging systems. Each embryonic idea becomes a prototype, or a series of gradually perfected prototypes, until the initial seed reaches its full fruition. I work as an exterior team member I know the people at Texaa very well, but I don t work alongside them every day and this provides an insightful distance and clarity of vision. We always take the existing range of products as the basis of our work how can we make them even easier to use, to hang or to produce? This process often encourages us to see things in a different light, and that s exactly how we came up with the idea of mobile partitions, born from the basic Stereo panel we already had. We added a freestanding base, panels of different sizes, and hey presto, individual spaces could be sculpted out of empty space. For the steel wire collection, the challenge was how to make a freestanding object from a soft cushion. A piece of acoustic furniture should be completely independent from the walls of a room. But how could this be achieved with something so soft and bendable? Rather than try and find ways of screwing the cushions to the wall or glue them into place, we decided to insert them into a simple metal wire grip, like sheets of paper held by a paper clip. All of a sudden, the contrasting effect of metal and fabric, of spongy softness and cold rigidity, became a source of creativity. In my opinion, not a lot needs to be changed in Texaa s basic product range, but attention to detail is always essential. New ways of improving the fixation systems, new colours, subtle changes in the size of the fabric knit are the object of constant attention. I really think Texaa should let their hair down with their new designs and go for things that are funky too. That s the only way you keep the lifeblood racing round the veins of a company! It s the Texaa ethos constantly striving to improve and perfect the existing ranges and launching new ideas which take people by surprise 170

88 The Environment Texaa seeks to develop processes which respect each and every individual concerned and works hard to strike a balance between environ-mental, social and economic demands. Over the last thirty years, we have endeavoured to make intelligent choices in the materials used for the manufacturing of our products and to use the means available to us wisely. Acoustic comfort is one of the main criteria of the HQE standard (High Environmental Quality), used to evaluate the environmental impact of architectural design and renovation projects and their sustainability. 172 THE 14 CRITERIA OF THE HQE STANDARD IN THE LIGHT OF TEXAA s PRODUCT RANGE. Eco-construction 1. Creating a harmonious relation between buildings and their immediate environment. Not relevant for Texaa products 2. Making integrated choices for construction methods and materials Texaa provides full data sheets describing the environmental and health impact (FDE & S) of its products, with reference to norms NF P & Texaa products respect the regulations laid down by French law for buildings designed for public usage. Our products respect the norms laid down by European law concerning fire safety. 3. Minimizing the disturbance caused by building work Texaa products generate virtually no waste, do not cause sound or any other form of pollution, either during or after installation, and may be fitted in a site already in use. Eco-management 4. Minimizing energy consumption 5. Minimizing water consumption 6. Managing waste produced during building 7. Maintenance and repair work Not relevant for Texaa products Interior comfort 8. Hydrothermal comfort Not relevant for Texaa products 9. Acoustic comfort Texaa products are designed to reduce sound reverberation in echoey rooms, efficiently and simply. They absorb sound of all frequencies and may be used on walls, ceilings and glazed surfaces or suspended in empty space. Their sound absorbing efficiency is measured in Texaa s laboratory and defined according to the terms of ISO norm Visual attractiveness Texaa products create a harmonious atmosphere and are available in a creative array of 24 colours or digital prints. The products come in a range of forms, from strips of fabric to panels or sound-relieving objects, all of which can be co-ordinated with other products from the range or an existing interior design scheme. The colours used demonstrate a high level of light fastness (>5 on the scale of ISO 105-B02) and resistance to wear and tear, making them highly sustainable. 11. Smells and odours Texaa products do not give off any perceptible odour (although we do recommend that stretch and glue fabrics be fitted in a well ventilated room.) Health and safety 12. Hygiene and cleanliness Hygiene: the materials used in the products reduce the presence of house dust-mites and micro-organisms. Maintenance: the antistatic and fluid-repellent surface of our fabric protects products from dust, staining and degradation (instructions for care available). 13. Air quality control Texaa products respect the quality of the air we breathe and do not give off toxic or carcinogenic gases. The level of VOCs and formaldehyde emitted respect the norms laid down by ISO (sections 3,6,9 and 11) and meet with the requirements of German norm AgBB. For Stereo panels and screens, the emissions of VOCs after 28 days are inferior to the detection threshold. 14. Water quality control Not relevant for Texaa products

89 Bernard Demptos has been the managing director of Texaa since it was first established. 174 Texaa began as a business venture in At the time I was no longer happy working for the pharmaceutical company I was with, and a friend happened to speak to me about a firm that had been making trimmings for over a hundred years braid, silk cord, pompons and the like for local slipper and sandal manufacturers, along with open weave, heavily sized textiles, like canvas, for the production of bags etc. As these fabrics were almost totally sound transparent, they had been laminated onto an early type of pliable polyurethane foam to create what they called acoustic wall coverings. The problem was that the shoe industry had hit the doldrums, and was bringing the textile production firm down with it At the time I didn t know much about acoustics, but I was keen to find out more. I had a sort of sixth sense that by investing in this firm and their specialist knowhow, I would have the means of making inroads in the construction sector, and that we could make a really important, quantifiable contribution in this field. So I took over the business and let the trimmings side of its activity drop, to concentrate on the acoustic side of things. From wall coverings to objects Our first line was a range of wall coverings on which the company thrived for about ten years. At that point I realised that textile wall coverings were falling out of favour with architects Is that really the only option?, they kept asking. In the States, tests had been carried out with rhomboid figures made of fibreglass positioned around the walls of swimming-pools. This was the inspiration behind our own range of noise-absorbing objects. A new type of foam came out, much lighter, far more sound absorbent, and a great deal cheaper than the foams we had been using previously. This encouraged us to work on far thicker acoustic panels which could

90 be positioned strategically on walls or ceilings, but without covering their entirety. This transition, from wall coverings to individual objects, didn t just happen over night. A lot of thought and research went into it, with the laws of acoustics as its theoretical and conceptual basis, so that we could determine what sort of objects we should be producing and how best to do so. The highest standards Some of the first textiles to leave our workshops were used at the Maison de la Radio in Paris to clad the acoustic fixtures which had been installed. That was when we started testing the acoustic efficiency of our wall coverings in the ORTF s laboratories, which were cuttingedge in their time. When we started to produce objects, this became a far more complex matter we needed to test their capacity to absorb sound in empty spaces. The only solution was to build our own laboratories, where we could test them ourselves. Rapidly, architects began to take a lively interest in our objects and, with the passing years, we refined and perfected their appearance. Today, they are far from the rough and ready acoustic blobs of the early days! These architects invented new creative ways of using them and gradually the range began to blossom. Often, the architects themselves inspired us with new ideas. Take for example Daniel and Patrick Rubin, or Frédéric Druot, who was one of the first people to say to us But this isn t just a wall covering, it s a beautifully creative material that architects will be able to appropriate and fashion with their own ideas! He was the one who forced us to produce the cones and acoustic clouds. Bordeaux, gateway to the world We decided to set up our workshops in the suburbs of Bordeaux, in Gradignan, and we have no intention of delocalising our production. However, I have always had my eye set on conquering the overseas market - it issomething of a family tradition really, and blends in well with Bordeaux s commercial past. I ve always been in awe of the astonishing vitality and optimism of countries which burst onto the international trade scene in the wake of the Second World War South Africa, Australia, California and with my brothers and sisters, I was brought up in a spirit of admiration for such drive. Today, exports count for a significant percentage of Texaa s turnover. Industrial craftsmanship It s not something we always manage to achieve, but in general we like to think we are deserving of our best clients, and that we don t have to depend on the custom of those who aren t so good. The firm is a cross between craftsman and farmer we like to get time on our side, and prepare ourselves well in advance for both poor seasons and more fruitful ones. This is hard to maintain in the hostile and aggressive commercial climate of the world today, but we fight to maintain our ethos. Our main concern is the absolute quality of our production every step counts, even the simplest parts of the process, carried out by those working behind the scenes. The sincerity of our approach is clearly perceptible in our products, especially those which seem endowed with a soul, and which move us, over and above their purely acoustic function. Something extra has been instilled into them, something which makes them much more than just the sum of their individual parts. Companions along the way Foam and fibre manufacturers, textile mills, dyeing and sizing firms are the people we work hand in hand with. Most of our suppliers are companions from the early years

91 and we work in close industrial partnership with them. A real sense of trust and loyalty has been established which takes into account the needs and desires of each partner. When I first began, some thirty years ago, one of our main textile suppliers was a well-established and flourishing business with a real command of complex technical production processes. However, over the last few years, companies such as this have gone into rapid decline, and there s very little we can do but stand and watch in dismay. Europe has neglected its once expert know-how in the field of textile manufacturing and the industry has lost its market, and its expertise with it. My friend, artist Daniel Dartois, really knew what a fibre, a strand of thread was, and how to weave with a high or low warp, or knit with a loom. He initiated me into this world of specialised craftsmanship and helped me get to know textiles more intimately. He produced our first knitted products and for many years also designed our colour range and catalogues. He was the inspirational driving force behind many of our products. He had no preconceived ideas about what constituted good or bad taste, and was graced with an infinite curiosity which had made him an eminently cultivated man. He also helped us identify our limits, be they human or material, and taught us how to exploit them to the best of our ability, how to strive towards better and better solutions. When he passed away, this way of functioning with the people we work with remained. It is a relationship based in pragmatism and trust. Our partners are always clear about where our limits lie. When the question of building new workshops arose, I asked Alain Triaud for his opinion on the matter. He too was to play a key role in Texaa s future. He had an objective but benevolent vision of our products, and for many years I always sought his advice. As an architect, his chosen idiom is steel, concrete and glass, and within this framework, our products signify a certain comfort. The contrast between the two, a certain austerity, and then a softer sense of comfort, is enticing. When we were looking for a colourist, it was Alain who suggested we ask Christine Bernos, who has been designing our colour ranges for over ten years now. As for asking a product designer to come and work with us, well, I was really rather hesitant at first. When I first met Guillaume Martin, I made it perfectly clear to him that in no way did I wish to start producing purely design objects their purpose and function was to remain uppermost. But Guillaume has acquired an intimate knowledge of our technical processes and the demands our products must respond to, and has used this as the basis for creating even better objects. He works with Texaa in a spirit of absolute humility and exacting standards and a fruitful partnership has been established. As for presse papier, the graphic design agency which produces our catalogues, well, what they do is lift the scales from before our eyes they show us things we would otherwise be blind to. Texaa needs companions to accompany it along the way and help it progress towards new horizons.

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