[1] - Dingeman Kuilman, ‘Room to Experiment’, in: Premsela Newsletter, April 2003, p. 5.

[2] - Cf. Ed Van Hinte, Richard Hutten, Rotterdam, 2002, p. 150 and 200: ‘Richard Hutten is an industrial designer who works from a clearly defined set of limitations rather than towards an image of what the object is going to have to look like.’

[3] - Thimo te Duits, in ‘The future of the crafts: views from around the world’, in: Crafts, 181, March-April 2003, p. 22.

[4] - Louise Schouwenberg, Hella Jongerius, London, 2003, s.p.

[5] - Ida van Zijl, Droog & Dutch design, Utrecht, 2004, p. 74.

[6] - Louise Schouwenberg, ‘Sumptuous content deserves a beautiful vase’, in: Nieuwsbrief Fonds voor Beeldende kunsten, vormgeving en bouwkunst, 6, May 2004. The text was originally published for the exhibition Twaalfdelig en méér (Twelve-part and more) in January 2004 at the Fonds voor Beeldende kunsten, vormgeving en bouwkunst, Amsterdam.

[7] - Louise Schouwenberg, ‘A Dutch Perspective on Craft’, in: Malu Halasa and Els van der Plas (eds.), The Future is Handmade. The Survival and Innovation of Crafts, (Prince Claus Fund Journal, 10a), The Hague, 2003, p. 108-121.

[8] - Kristi Cameron and Paul Makovsky, ‘When did craft become a dirty word?’, in: Metropolis, October 2003, p. 115.

[9] - Susanne Helgeson, ‘Konstantinian concentration’, in: Form, 1, 2004, p. 63.

[10] - David Revere McFadden in ‘The future of the crafts: views from around the world’, in: Crafts, March-April 2003, p. 31.

[11] - In the discussion organised by the journal Domus under the heading, ‘In the World of Objects’ for the April 2004 edition, between Andrea Branzi, Ettore Sottsass, Alessandro Mendini, Vico Magistretti and Enzo Mari, the focus is immediately on the need for passionate company managers who are not guided solely by mass production. After the Second World War, Italian design became great thanks to manufacturers who dared to think big and still worked partly at traditional level. Ettore Sottsass: ‘And manufacturers were different too. They were young industrialists, almost all of them anti-fascists that had entered their fathers’ businesses right after the war. They hoped that Italy could come up with something new, both socially and ethically. They followed us with great ethical passion, but they were not real industrialists. They were mechanized artisans.’ - Enzo Mari: ‘They were industrialists who were not familiar with the horrors of industrial production and naively took risks in equipping their factories. Sometimes all went well, often they went bankrupt.’ Maria Cristina Tommasini, ‘In the World of Objects’, in Domus, 869, April 2004, p. 32.

[12] - Louise Schouwenberg, Hella Jongerius, London, 2003, s.p.

[13] - Lewis Mumford, Technics and Civilization, New York, 1934, p. 358.

[14] - Louise Schouwenberg, Hella Jongerius, London, 2003, s.p.

[15] - Cf. the discussion between Marc Vlemmings and Maarten Baas in Items, 1, 2004, p. 26-28.

[16] - Cf. the Trace box project (2001) by Richard Hutten for Picus in Renny Ramakers, Less + More. Droog Design in context, Rotterdam, 2002, p. 124-125.

[17] - Gaetano Pesce in Gaetano Pesce: Modern Times Again, New York, 1988, s.p.; quote in George H. Marcus, What Is Design Today?, New York, 2002, p. 31.

[18] - Jennifer Kabat, ‘Smart hands of Hella Jongerius’, in Metropolis, July 2002, p. 112.

[19] - Ibidem.

[20] - Cf. embroidery decoration by Hella Jongerius; Louise Schouwenberg, Hella Jongerius, London, 2003, s.p.: ‘(…) embroidery gives me a way of saying something about customs of eating and decorating, about being trapped in conventions and etiquette.’ The cultural significance of decoration is not further developed as a theme in the 4th Triennial.

[21] - Francesca Picchi, ‘Redeemed by imperfection’, in: Domus, 860, June 2003, p. 86.

[22] - Lotta Jonson, “Creator of surprises”, in: Form, 3, 2004, p. 71.

[23] - Jane Pavitt, Brilliant. Lights & Lighting, (V&A Publications), London, 2004.

[24] - Christine Colin, Moins et Plus. Collection design du Fonds national d’art contemporain, Ministère de la Culture, Paris, France, 1980-2000, Paris-Taipei, 2001, p. 13.

[25] - Ineke Schwartz, ‘Martí Guixé’, in Ed Annink and Ineke Schwartz, Bright Minds, Beautiful Ideas. Parallel Thoughts in Different Times. Bruno Munari, Charles & Ray Eames, Marti Guixé, Jurgen Bey, Amsterdam, 2003, p. 101-102.

[26] - Edith Doove, ‘I am a Good Horse on a Soft Brick ... A collage of reflections on the work of Johan Creten’, in Johan Creten. Miami Dreams, Mechelen, 2004, s.p.

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