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Born in 1964 in the Vendée region.
Bruno Houssin grew up in a family of carpenter-cabinetmakers, so he discovered woodwork and construction as a young child.
He trained in applied arts and furniture design at the Ecole Boulle in Paris, and also in interior architecture.

After travelling around the world of creation, he set up in Paris and opened the ZEBULON office in 1987.
A space-creator, he is an innovator in the art of mise en scène (VIA, Megalit, Artemide). Aware as he is of the needs of architects, he invents solutions for realistic lighting.
He developed a range system made by ARTEMIDE, proposing lighting objects, detail lamps and atmosphere lighting. As an interior architect and creator of objects, he exercises his skills in many fields, and some of his lighting and furniture projects have set new benchmarks. The secret of his success lies in his determination to experiment: he is a designer by experience.

Since 2003, his productions are marketed under his own label - Bruno Houssin Design.

His creative thinking is now focused on eco-design, by which he hopes to bring together the factors of sustainable development: ecology, economy of means, and social equity.

The principle is to integrate concern for the environment as early possible in the product development process, and at every phase of production, including quality, cost control, schedules, security, health, transport and energy saving. If we are to reduce the impact of human activity on the planet Earth, this approach is compulsory.
As an ideas man, Bruno Houssin feels that he is under an obligation to apply it, so that little by little it will grow.

He is critical of the consumer society and its frantic production of ephemeral objects. Designing an object entails inscribing it in a relationship to time. This is why his creations obey a logic of strength and durability.
It was his work in lighting, in particular for Artemide, that made him aware of energy-related issues and led him to direct his work towards environment-friendly solutions. ‘I like to design objects that will last, or at least optimize their functioning life by using just one material’.
His creations are noteworthy for their soft forms and clean lines. As he remarks: ‘You have to hone down an idea until you get to the essential’. If he aims at obviousness and purity, it is because only simplicity is spectacular.

He insists on quality dialogue between creator and manufacturer, and thinks that it is up to the designer to adapt to production methods. It was in this state of mind that he took part in the 2007-08 Eco design Burgundy & Brittany timber programmes, which brought together designers and makers. Prior to production start-up, he believes that his role is to explore possibilities of local production and quality rather than favour mass-produced industrial design.
The difficulty here is to use the potential of each player, and in this he is unstinting in his efforts, considering as he does that the imperatives of partnership should be routine practise for a designer.