Waiting for Ideas | Creative Studio
- Onur Çoban
- Apr 21
- 5 min read
Turntable PP-1, courtesy Mathilde Hiley
Jean-Baptiste Anotin is the founder of Waiting for Ideas, a Paris-based creative studio that combines design and art. Drawing on industrial aesthetics, Anotin strikes a strong balance between form, function and interaction. From ashtrays to turntables, each piece is characterised by technical finesse and a desire for emotional connection. His minimal yet striking works are a reflection of his quest for timelessness. We talked to him about his design process, material obsessions and the relationship between the user and the object.
We talked to him about his design process, material obsessions and the relationship between the user and the object.
Interview: Onur Çoban
Who is Jean-Baptiste Anotin? Can you briefly tell us about yourself?
I am a designer and founder of Waiting for Ideas, a creative studio based in Paris. My work explores the intersection of Art and Design, creating objects that balance functionality with strong sculptural presence. I work across various scales, from objects like ashtrays, lamps… to seating, larger artistic installations and spaces, often producing both unique custom pieces and small exclusive series.
I grew up in an industrial environment—my parents are car dealers—and I’ve always been fascinated by what humans are capable of creating. When you look at a car, a spaceship, a computer, or even a building, it seems simple at first, but the deeper you dig, the more complex it becomes, both in terms of creation and construction. That’s what amazes me the most—the hidden layers of thought, precision, and ingenuity behind every object.
Turntable PP-1, courtesy Mathilde Hiley
How would you describe your design philosophy?
I believe in purity of form, high-quality craftsmanship/manufacturing, and a thoughtful relationship between materials and space. My approach is rooted in minimalism—not just as an aesthetic choice, but as a way to refine an object to its essential qualities. For me, it’s about precision, timelessness rather than excess or ornamentation.
Interaction is also key to my approach: whether it’s assembling a piece like Self Reflection, opening and closing the ashtrays with a twist, rocking the Godspeed rocking chair, or simply pressing the play button on my latest piece, the turntable PP-1. Interaction creates a stronger connection between the user and the object, making it more than just a static piece—it becomes an experience.
What factors do you consider when researching materials or choosing materials for your new projects? Can you tell us a little bit about the material choices in your work?
I grew up in an industrial environment— as I said before my parents are car dealers, and I spent a lot of time in workshops, at car shows, and even had the chance to visit a car factory once. This exposure naturally shaped my affinity for industrial techniques and materials. So far, I’ve worked with aluminum, stainless steel, and acrylic glass, but I don’t want to be labeled as “the designer who only works with metal”. It’s a defining part of my artistic direction today, but who knows what might come next—glass, wood? I don’t set strict boundaries; I follow my instincts and experiment with what excites me.
The Godspeed Rocking Chair, courtesy Mathilde Hiley
For instance, the ashtray Lift Off is CNC-machined because, at the time, I was immersed in (too many) Instagram reels about CNC techniques and rewatching Interstellar. At some point, those two influences collided in my mind, and the design just clicked. On the other hand, my first piece, No Seat Belt Required, was entirely handmade. While its aesthetics and construction were inspired by the automotive world, the materials I used—aluminum, metal, polyurethane foam, fiberglass, and car paint— are all elements commonly found in a car workshop. That mix of craftsmanship and industrial influence defines a lot of my approach.
Can you tell us a bit about the design and production process in your work? Are you closer to analogue or digital techniques?
I work at the intersection of analogue and digital. My process always starts with documentation and emotions—I absorb, reflect, and let ideas take shape in my mind before even putting pen to paper. It often becomes an obsession. I’m constantly thinking about the production process, and I can already picture how a piece could be made before I even sketch it.
Once I feel ready, I create quick sketches—sometimes just a few, sometimes dozens. Then, I transition to 3D modeling, where I refine the design and push its precision. The time spent on each piece varies: some come together in an hour, while others take months to develop.
Practice Your Swish, courtesy Mathilde Hiley
"I love the contrast between digital fluidity and the hands-on nature of physical production—it’s in this balance that the best ideas come to life."
For physical models, I adapt my approach depending on the project—sometimes using paper and cardboard for rapid maquettes, other times 3D printing for more precise prototyping. The final step is collaborating with artisans and manufacturers, ensuring the idea is translated into reality with the right materials and craftsmanship.
Which of your works has excited you the most in terms of the design process and the final product?
Every work comes with its own unique challenges and excitement. No Seat Belt Required was driven by emotion, heritage, and experimentation, while Godspeed is centred around material and form—and I’m eager to push it even further in terms of materials.
Self Reflection, courtesy Mathilde Hiley
For me, every project is a journey, and they always will be. I love the idea that a piece I create today could be owned, cherished, and eventually passed down to the next generation, building a true relationship between the object and its owner —a sense of continuity, of timelessness. I put my heart into everything I create, always aiming to make each piece intemporel.
Right now, I’m particularly excited about my new vinyl turntable, PP-1. It merges my passion for music, my approach to design, and my love for technology, demanding both technical precision and aesthetic refinement. I’ve been working on this piece for the past two years, and now I’m eager to take the music experience even further—developing a spatial project around sound and immersion. If anyone is interested, feel free to reach out! :)
No Sealt Belt Required, courtesy Mathilde Hiley
Can you tell us a little about the sources of inspiration behind your work? Who are the names you follow with curiosity in this field or in different disciplines?
Inspiration comes from many places—architecture, contemporary art, technology companies, space exploration, the automotive industry, and music. I admire designers who master minimalism with a strong sense of materiality, such as Dieter Rams, Jonathan Ive, and others. In architecture, Tadao Ando’s work resonates deeply with me for its purity and spatial mastery.
Beyond design, music is a major source of inspiration. I look to artists like James Blake, Frank Ocean, Brian Eno, Tyler, the Creator, and many more. I admire not only their music innovation but also their creative process and global vision—how they craft not just music, but immersive experiences that shape culture and emotion.
Are you excited for the future? What are your plans?
Absolutely. I’m always looking for ways to push my work further, whether through collaborations, new materials, or projects that challenge conventional boundaries. Apart from that, a key focus for me is expanding my studio’s reach, developing more collaboration and immersive spatial experiences. Beyond that, I want to keep surprising myself—exploring new territories, refining my process, and creating work that feels both timeless and deeply personal.
