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Student Showcase Archive

Catherine Guiral De Trenqualye

PhD Work

PhD work

  • Écartelage, Quatrième Portrait Harmonique de Charles Fourier (courtesy of Jérôme Faucheux)

    Écartelage, Quatrième Portrait Harmonique de Charles Fourier (courtesy of Jérôme Faucheux), Pierre Faucheux (1924-1999) November 1965
    photograph, collage
    30 cm x 20 cm | Photographer: Pierre Faucheux (1924-1999)

  • Vladimir Propp, Morphologie du conte, collection « Points », Le Seuil

    Vladimir Propp, Morphologie du conte, collection « Points », Le Seuil, Pierre Faucheux (1924-1999) 1970
    offset printing
    18 x 11,5 cm | Photographer: —

  • Roland Barthes, Le Plaisir du texte

    Roland Barthes, Le Plaisir du texte, Pierre Faucheux (1924-1999) 1973
    offset printing
    21,5 x 14 cm | Photographer: —

  • Robert Lebel, Traité des passions par personne interposée

    Robert Lebel, Traité des passions par personne interposée, Pierre Faucheux 1972
    offset printing
    21 x 11 cm | Photographer: —

Pierre Faucheux – A writer of space and an architect of the book

Focusing primarily on French graphic design of the early 1950s onwards my research has concentrated on the eclipsed figure of graphic designer Pierre Faucheux (1924–1999). His activities ran across the post-war decades in France, forming a visual landscape which also maps the cultural variations taking place within French intellectual life.

 Faucheux was one of the major figures in editorial design in France. Effectively renewing this particular field of graphic design, he practised throughout the second half of the 20th century, leaving multiple traces which can be understood as experiments that revisit the ideas and techniques of the avant-garde. He coined a term – “general dynamic topology” (“topologie dynamique généralisée”) to describe this utopian territory. The use of such terms as “topology” or “territory” underlines to an extent to which space, in its multiple meanings, is inseparable from Faucheux’ work. After meeting Le Corbusier in 1947, his practice navigated between that of an inventive graphic designer and that of an architect “without title”. 

 The moves made by Faucheux – from his architectural practice as maître d’œuvre to his multiple works as graphic designer – seem to call, at first sight, for the Deleuzian notion of deterritorialisation. A key concept I first used as a working tool, the notion of deterritorialisation is close to the idea of dépaysement, a term Faucheux used to describe his way of producing a “symbolic iconography” he multiplied for the many covers he designed.

The latter were witnesses to Pierre Faucheux’s will to constantly reinvent signs and forms within his field of expertise. In parallel, his work as urbanist was concentrated on the modularity of space and the guiding idea that space could be specifically tailored for its users. Building the structures of books and writing the silhouette of spaces, Faucheux’s work is the image of a constant movement between being an “architect of the book” and a “writer of space”.

Exploring this movement has guided the writing and the construction of a series of exhibitions which took place at international venues and galleries spaces. Each of these exhibitions has both interrogated the work of the designer and the role of montage as a means to explore exhibition design in relation to the literary form of the essay.



  • PhD


    School of Arts & Humanities


    History of Design, 2013–2018

  • As a graphic designer, Catherine Guiral always tries to (re)define and explore the ideas of collaboration, citation, self-generated projects and the links or limits those enable within the expanded practice of graphic design.

    She has studied at the Ecole Nationale Supérieure des Arts Décoratifs, Paris, CalArts in Valencia and the Royal College of Art, London. The writing of her MA dissertation at the RCA led her to study the role of the out-of-field and the power of the invisible in cinema and art. Now teaching at the Ecole Supérieure des Beaux-Arts de Lyon, she is currently finishing her part-time PhD in the History of Design Department.

    Catherine's work has been shown at the Jeune Création in Paris, at the Strelka Insitute in Moscow, the Arts Décoratifs in Paris, and has been published in various magazines. She has also taught workshops at La Cambre, Brussels and the Victoria and Albert Museum, London, amongst others. Having travelled extensively in her childhood, her main interest lies in the details of high-brow and low-brow popular, visual culture and the enigmatic links that can exist between cinema and graphic design. She lives and works between Lyon and Paris.

  • Degrees

  • MA Graphic Design, École nationale supérieure des arts décoratifs (ENSAD), Paris, 2000; Postgraduate Editorial Design, ENSAD, Paris, 2001; MFA1, California Institute of the Arts, Valencia, 2003; MA Communication Art and Design, Royal College of Art, 2007
  • Experience

  • BA tutor, École supérieure des beaux-arts, Toulouse, 2008-2012; MA tutor, Haute École Art et Design, Geneva, 2011-2014; MA tutor, École nationale supérieure des beaux-arts, Lyon, 2011-
  • Exhibitions

  • Culture Clubs, Esba gallery space, Toulouse, 2011; CMIV—1+2+3=3 Notre Distraction Favorite, Centre Pompidou, Paris, 2013; Musiques d’autrefois, échos d'aujourd'hui. A study room on the works of Pierre Faucheux, 26th International Biennale of Graphic Design, Brno, 2014; Pierre et Astérisque. A space of clues, Ésa gallery space, Cambrai, 2015; CMIX—Quérir Choisir: Pierre Faucheux et l’esprit de collection, Musée Calbert, Grisolles-Toulouse, 2016
  • Awards

  • Excellence Award Icograda, 2014
  • Conferences

  • La magique coulée, L'Écartelage ou L’écriture de l’espace (d’)après Faucheux, Actes journée d'étude autour de Pierre Faucheux, Esba Toulouse, 27 October, 2011; We are only interpreters of interpretations, Brno Biennale, 29 September 2014; Autour de Pierre Faucheux, Cnap, journée d'étude sur l'histoire du design graphique, 18 September 2014; Situations graphiques, Les Grands Magasins et Université Paris 8, 2 December 2017; Like Agnes or Ulysses… a conversation piece, Design, Archives, Display, Ens Paris-Saclay Bibliothèque Kandinsky, 30 January 2018; Sur des objets lampadophores, Musée des arts décoratifs et du design, Bordeaux, 8 March 2018
  • Publications

  • with Randy Nakamura, A Shocking Tale, ARC journal, 2007; Critics don't R.I.P., Limited Language: Rewriting Design, Birkhaüser, 2010; with Randy Nakamura, The Utopian Artist, Ed Fella, éditions CIG Chaumont, 2011; with Jérôme Dupeyrat, L'art du XXe siècle, un art édité, Presses universitaires de Provence, 2012; with Jérôme Dupeyrat and Brice Domingues, L'écartelage ou l'écriture de l'espace d'après Pierre Faucheux, Paris, B42, 2013; Le manuel de Paul, Tombolo, 2013; with Alex Balgiu, Thierry Chancogne, Jérôme Dupeyrat, Damien Gautier, Culture Club, une discussion autour des clubs du livre, The Shelf, nº2, 2013; To love a bitch and a fake, Tombolo, 2013; De drôles de machines et des formats «ciné-graphiques» ou comment le stéréoscope a éduqué Brooke Shields (I), Tombolo, 2013; Dial M for Melrose, revue <o>f-u-t-u-r-e<o>, 2014; Of lines of desires… some notes on Pierre Faucheux, IDEA nº362, 2014; « L’imam libre sans mosquée de Barbès » ou petit ghazel pour Pierre Bernard, Tombolo, 2016; Poster of a girl, revue Faire, 2018