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Selected Works

Demisch Danant x Made in Situ
Barro Negro and Burnt Cork works on view at Demisch Danant gallery in NYC

View of Demisch Danant x Made in Situ by Noé Duchaufour-Lawrance in the gallery. Photography Adrianna Glaviano

Burnt Cork works on view in the Demisch Danant gallery NYC

Selection of Burnt Cork works. Photography Adrianna Glaviano

Burnt Cork Chaise Longue on view in the Demisch Danant gallery

Installation view. Photography Adrianna Glaviano

Barro Negro vases soil pit installation on view in Demisch Danant gallery NYC

Tondela Vases S, M, and L, 2020. Photography Adrianna Glaviano

Select Barro Negro works. Photography Adrianna Glaviano

Select Barro Negro works. Photography Adrianna Glaviano

Barro Negro vase process with outdoor firing of clay
Burnt Cork Chair and Caramulo Lamp I Photography Marco Galloway

Burnt Cork Chair and Caramulo Lamp I Photography Marco Galloway

Burnt Cork Chair and Burnt Cork Stool Photography Marco Galloway

Burnt Cork Chair and Burnt Cork Stool Photography Marco Galloway

Burnt Cork Coffee Table II and Soenga Photography Marco Galloway

Burnt Cork Coffee Table II and Soenga Photography Marco Galloway

Portugese trees used to create Burnt Cork collection

Demisch Danant x Made in Situ

The US Debut of Contemporary French Designer
Noé Duchaufour-Lawrance and his tribute to Portugal

Showcasing the Burnt Cork and Barro Negro collections

September 9, 2022 - October 8, 2022

New York, NY –Demisch Danant is proud to present the US debut of illustrious French designer Noé Duchaufour-Lawrance with the first two collections of his Portugal–based studio, Made In Situ, on view September 9, 2022 through October 8, 2022.

A dynamic examination of the exchange between person and place, Made In Situ is a series of cross-disciplinary works in conversation with nature, feeling, and materiality. For three years, Duchaufour-Lawrance has been living and working in Lisbon, developing these poetically site-specific collections alongside local artisans and craftspeople. The first two collections –Barro Negro and Burnt Cork– serve as testaments to time spent truly discovering a place, its people, and their history.

“The designed pieces are the fruits of my adventures, explorations of geological and biological textures, patterns, materials and their related techniques. Above all, my inspiration comes from human knowledge and sensitivity, linking to and embedded in each specific place,” says Duchaufour-Lawrance.

The first collection and eponymous installation, Barro Negro, is a series of handcrafted black ceramics — vases, diffusers, lamps, and vessels that marry raw materials with ancestral practices. Each piece embodies the mythical spirit of ‘Serra do Caramulo’ in central Portugal with a sense of camaraderie around the traditional practice of soenga, a process that dates back to Neolithic times where pottery is fired with burning pine and then buried in soil. The series includes Caramulo Lamps, Xana & Carlos Dry Vases, the Tondela Installation, and the Soenga Perfume Diffuser.

The second collection, Burnt Cork, is a tribute to Portuguese cork – an ode to the resilience of material, of people, and of process. The work rises from the ashes of discarded cork burnt by forest fires. The damaged cork is transformed into custom gradient blocks by a family business in Algarve. The blocks are then carved by a CNC machine, operated by master technicians at Granorte, a cork company in Rio Meão, in the north of Portugal. This series explores the symbolism of resurrection and reinvention. Each creation is a geometric composition of vertical and horizontal blocks that morph into fluid shapes to reveal its function.

“I had seen some of Noe's Burnt Cork collection from afar, but everything was enhanced when I experienced it in person. To feel the material and appreciate its tactile character is to understand the innovation of the craft – an ultra-contemporary design born from something honest in its materiality,” says Demisch Danant co-founder Stephane Danant.

Demisch Danant and Duchaufour-Lawrance came together for this exhibition with a shared admiration for narrative-driven design and material-forward conception. Highly respected for their meticulous curation of innovative twentieth-century design, Demisch Danant’s presentation of Made In Situ speaks to their respect for the artistry and perspective of Noé Duchaufour-Lawrance, a rare contemporary amongst their roster of historical greats. Since its inception, the gallery has specialized in French works from the late 1950s through the 1970s that have pushed the boundaries of their respective times. With a focus on multifaceted experiences, their exhibitions sit at the intersection of architecture, art, and design.

“As a gallery, we’re interested in presenting various dialogues and uncovering the stories behind each work. I was attracted to Made In Situ’s point of view as well as their use of local and natural materials. While cork and clay are not new materials, Noé’s unique design process and aesthetic is innovative,” says Demisch Danant co-founder Suzanne Demisch.


About Demisch Danant
Demisch Danant was founded in 2005 by Suzanne Demisch and Stephane Danant. The gallery specializes in twentieth-century French design with an emphasis on the late 1950s through the 1970s and represents the work of Maria Pergay, Pierre Paulin, Jacques Dumond, Joseph-André Motte, Pierre Guariche, Michel Boyer, Antoine Philippon & Jacqueline Lecoq and René-Jean Caillette. Curated exhibitions on historical work are presented within environments that reference architecture and interiors of the era.

The gallery also features exhibitions concerning the intersection of architecture, design, and art, including the work of Sheila Hicks and César.

Demisch Danant is dedicated to research and scholarship on French design and has published and authored monographs including Antoine Philippon and Jacqueline LecoqMaria Pergay: Complete Works 1957-2010Maria Pergay by François Halard, and Maria Pergay: Sketch Book. Current projects include a comprehensive monograph on seminal designer Joseph-André Motte and a new book about works by Sheila Hicks commissioned for architectural projects.


About Noé Duchaufour-Lawrance
Noé Duchaufour-Lawrance is a French designer working across a wide range of disciplines and materials to create a unified body of work with a narrative deeply rooted in nature.

Born in the south of France in 1974, he followed the footsteps of his father, with an academic training in sculpture from the École Nationale Supérieure des Arts Appliqués et des Métiers d’Art, followed by a degree in furniture design from the renowned Les Arts Décoratifs. Fuelled by a rich creative background, Noé approaches design with an instinct and sensibility that gives form to projects ranging from architecture to furniture, interiors to bespoke, limited edition collections. His sculptural work showcases a respect for the past, combined with a simplicity of line and an honest desire to create pieces that last.

He has designed for industry leaders such as Saint Louis, Hermès, Ligne Roset, Cinna, Ceccotti collezioni, Bernhardt Design, Sèvres, Mobilier National, Dior, Baccarat, La Chance, Petite Friture, Zanotta, Tacchini, ZaoZuo, Kundalini, Neal Feay, as well as many exhibitions and cultural institutions. His designs for architectural spaces include global boutiques for Montblanc, Air France and SFL business lounges #Cloud Business Center lounges, the interior of the Ciel de Paris and Sketch in London, as well as private residences around the globe.

Noe’s approach to design celebrates the coming together of heritage, materials, industrial design, natural forms and fine craftsmanship.


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The Burnt Cork collection in Noé's words

When I moved to Portugal in summer 2017, I decided to drive from France alone. It was a 3 day drive during which I sensed a change in my life and the beginning of a new chapter. This road-trip was open to feeling, seeking and finding, eloquently narrated by landscape.  Upon entering the country, I was met by flames, burnt forests and charred black trees. It was a shock to drive into these hills ablaze, the inferno consuming the landscape and leaving behind a world of visible entropy. Hauntingly dark, each spike of burnt wood sticking from the ground where a tree used to be. The power of fire struck me, one of the five elements vital to existence on earth, a keystone to the development of culture. It is a transformer of environments: subtle when controlled and aggressive when wild.  Fire is somehow always beautiful.  Part of me didn’t want to think about this, but I took photos and this experience stayed with me. It made me question my interaction with nature as a designer and as a consumer. I felt it would resurface in the work I was to do here in Portugal.



Barro Negro - A collection that connects materiality to senses, to earth and fire, to food, to smell, to touch and to light.

Why black ceramics?

I was drawn to the immersive black ceramics, Barro Negro, on our visit to the Portuguese Ethnology museum archives in Lisbon. The material has a depth to it, the way it absorbs the light and registers the process of its creation, it looks like charcoal but with a density that gives it a curious strength. Digging deeper I found out about the Soenga, an ancient pit firing technique still practiced today in Molelos village. During this annual event, the artisans and village population come together to keep the tradition alive. These distinguishing characteristics in material, process and community are what made me decide to learn more about this craft.


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