4th Design Triennial
until February 27, 2005
Contemporary design can combine traditional or artistic ideas with industrial production. The industrial logic here seems to mesh in a fascinating way with ideas which do not immediately belong - imperfection, coincidence, recycling, humour, artistic concepts. However, companies are open to these influences and produce unusual and fascinating products.
(Im)perfect by Design shows products or objects by more than 30 designers from Belgium that interact with the industrial logic in an unconventional way. The products are influenced by traditional or artistic processes and are fairly strange entities in the world of industrial design.
(Im)perfect by Design also shows the creative process. Prototypes, sketches, photos and videos document the research and development for the projects.
Organized by Design Flanders and The Royal Museums of Art and History Brussels.
Philippe Allaeys, Betet Skara, Bram Boo, Vic Cautereels, Eric Chevalier, Siegfried De Buck, Hans De Pelsmacker, Jos Devriendt, Nedda El-Asmar, Anita Evenepoel, Paul Fastré, Davy Grosemans, Martine Gyselbrecht, Patrick Hoet, Charles Kaisin, Xavier Lust, Anne Masson, No-Mad [Re]Public, Pol Quadens, Patrick Reuvis, Stefan Schöning, Annick Schotte, Lucile Soufflet, Diane Steverlynck, Piet Stockmans, Vincent Van Duysen, Fabiaan Van Severen, Maarten Van Severen, Danny Venlet, André Verroken, Weyers&Borms, Sylvain Willenz, Dirk Wynants
Royal Museums of Art and History
parc du Cinquantenaire 10
B-1000 Brussels (Belgium)
10 a.m. – 5 p.m.
Closed on Monday
Entrance: €6, €5, €3
Guided tours: +32 (0)2 741 72 14
Catalogue (Nl-Fr-E), hardcover, 264 p., € 25
Around thirty designers from Belgium are present with one or more recent products or projects. Together, they form a heterogeneous group. Methods and starting points differ and the final products are not always what they seem. The choice was not obvious and was advised by a working group. Six broadly interpreted starting points form the basis for the selection. Thus, the (industrial) product may have emerged from a traditional practice and retain the material sensitivity and tactile quality in the industrial product that is inherent in the traditional craft. The product can also be the result of a craftsmanlike creative investigation which subsequently has to be translated into an industrial production process. Since industry and the associated production logic cannot be flexible enough for the machines to be easily adapted to the innovation to which the craft-based investigation has led, the conversion is a long and arduous process. Designer and manufacturer together have to want to look creatively for solutions, have to be willing to make adjustments, both to the design and to the machines, and must want to accept the limitations that necessarily go with industrial production. The final result can also explicitly pick up ideas that do not belong in the industrial design process but are derived from a craft-based context, such as imperfection, coincidence, individualisation, an idea of fragility and of cultural diversity. In addition, the product can be conceived based on a sculptural language or it can have a striking graphic or sculptural form as a result of the material and technology used. It may also be an industrial product in which artistic ideas are reflected. Finally, the starting point may be an industrial product that has been reconsidered from a conceptual context, with an (artistic) interpretation as its counterpart. What this selection ultimately produces is not a better form of design, but a different form.