the alchemy of our day-to-day lives.
glass has the appearance of being fragile and sparkling, instead of glamorous
and equipment-like and on account of this fits unexpectedly exactly within these
times. a time where we have no regrets of our recent past and our wild dance
around the golden calf, but where we are forced out of sheer necessity to think
about reform as a consequence of the collapse of the world’s existing financial
systems. due to this, an unusual new year’s awaits, where traditionally people
still want to have a great deal of pleasure but within a new mentality that requires
authenticity and creativity.
this is glass, the saving angel.
glass is a noble and essential material, created from the four elementary ingredients;
air, earth, fire and water. invented by man as an alchemist. man, who desires
to change materials and even create them; who can blow glass or form glass,
through his innovation and craftsmanship for industrial usage.
glass is essential and is still used as a container of everyday items, such as
drinks and perfume, a glass for beer and wine, and as a wine decanter for alcohol.
however, glass is also avant-garde and precocious as it takes on the
fragile rounded wave forms like that of a weak virus; it possesses
a piece of furniture, like mushrooms which profit from bark on the
side of a tree, as it occupies space in antiquated forms or writes on
walls in abstract idioms. glass is mischievous as it portrays an erotic
alphabet, as if letters designed from semen or like frivolous sex toys,
wearily looking down toward us from high glass supercilious feet.
glass is back as a material to be studied, and expressed. in the hands
of a generation of young designers and artists it appears to become
alive. gothic glass, biological forms, curiosa and religious objects
cross the design sabers or foils with tight and voluminous styling
in the tradition of copier. however, glass can also be applied as an
optical alienation or as an illusion of the icon. the awe-inspiring versatility
of this curious material gives this exposition its enchanting
atmosphere and transports the spectator ‘through the looking glass’
into a world where imagination and creativity shine through and our hope for a
better future is guaranteed.
in short, the exhibition explores the creative record of the material glass in all its
appearances, from purely industrial and serial design to autonomous design
and art, with work from among others maria roosen, pieke bergmans, anna
carlgren, tanja saeter, giorgio vigna, bernard heesen, jens pfeifer, dick van ’t hof,
various designers from design academy eindhoven and companies as baccarat and
royal leerdam crystal.
talent 2008
TALENT shows a colorful collection of new European talent (graduated in 2008)
and gives an overview of the recent developments within design education. Over
150 rising stars have taken over the Designhuis to show their projects across the
borders for the first time. About 75 academies in all have been asked to select
ten of their best students. Li Edelkoort, this exhibition’s curator and art director
of the Designhuis, has made the final selection among 30 academies, giving a
varied view of what goes on in Europe. 

By organizing this second graduation show in Eindhoven during Dutch Design
Week, the town becomes the unrivalled centre when it comes to discovering upand-
coming talents. This will considerably increase the number of visits by press
and professionals from abroad as well. Among other things TALENT shows how
far the Design Academy Eindhoven is ahead compared to its associate institutions
and it charts where creation stands in Europe with strong suits like
illustration, graphic designs and animation and weaker areas like pure industrial
design. The autonomous discipline is gaining ground and finds a breeding ground
in schools like Konstfach in Stockholm and Ecal in Lausanne. 

The European graduates have tackled various themes such as improvising
design, softening and tactilising the industrial form, and using
earthly and primitive means like timber, fur, fabric and earth.
Fabric and embroidery are important, as is the use of sketches and
drawings. Photography is almost invisible and nostalgic, far from the
harsh reality that has characterized this domain in the last decades.
Animation is at its very peak in Europe with a very distinct and emotional
language at right angles with the American cartoon culture. 

The exhibition TALENT has ambitions to become a European institution
where strengths can be measured but also combined and where
there are plans to organize a small-scale and exclusive seminar together
with the Design Academy and the various design institutions in

To support and fan this outburst of young energy, Pierre Bergé, wellknown
as partner of the famous fashion designer Yves St Laurent, has
established a generous prize. That’s why the auction house Pierre Bergé & Associés,
specialized in vintage and modern design, will award a prize of 10,000 euro’s to
Europe’s most talented student during a special ceremony.

100 days two-wheeler event
Exhibition ‘Bicycle’

The Netherlands has 16 over million inhabitants and an estimated 18 million bicycles. This summer the Designhuis in Eindhoven will honour this very Dutch phenomenon with an exhibition titled ‘’.
From 22 June through 5 October 2008 this exhibition will form the heart of a 100 day two-wheeler with a wide range of activities, lectures and trips.

The Dutch are born on a bike, it is sometimes said. They use the bike in large numbers in their daily commute to school or work or as a tool for transporting kids, groceries and mail. As a healthy hobby for young and old or as a (top-class) sport, they ride it by the thousands on the road, on the track, on forest paths or on a cross-country course. Yes, the bicycle is even considered a vehicle for good causes.
Partly as a result of this versatile use, next to the ‘standard’ touring bike a lot of variations and niche markets have come into being: the hybrid, children’s bikes, folding bikes, mother bikes and grandmother bikes, racing bikes, cross hybrids, mountain bikes, ATB’s, reclining bikes, BMX bikes, electrical bikes. Plus all kinds of bicycle carts to transport children or objects. Not to mention clothes and accessories: from bags, baskets and children’s seats to pumps and many lighting systems.

The Designhuis in Eindhoven honours this phenomenon from 22 June through 5 October in the form of the exhibition ‘ Bicycle’. The exhibition will give an overview of the bicycle in its context, as a means of transport, a social phenomenon, as a means of recreation, as a lifestyle, as a means of engaging in (top-class) sport. The Designhuis will show how such an ordinary and everyday object as the bike remains a subject of research, development and design creativity. Motivated by desires and needs of consumers or by their own experiences designers keep finding inspiration for new forms, functions and materials in an ‘ordinary’ tool like the bike. It is exactly the cross-pollination between the creative industries and the manufacturing industries that appear to be a fertile breeding ground for innovation.

Bold, Studio Job

With the exhibition BOLD, Studio Job, the DESIGNHUIS is the first to present a Dutch retrospective exhibition of the work of Job Smeets and Nynke Tynagel who are widely considered to be among the world’s leading designers today. This exhibition, co-produced with Z33 and compiled by curator Mark Wilson, offers rich visual works that lets industrial design flow smoothly into visual design and introduces the visitor into Studio Job’s way of thinking and working.

The exhibition in the DESIGNHUIS consists of forty works that show a selection of iconic and often symbolic works next to the more down-to-earth designs by Studio Job. Studio Job uses a clever play of measurements, materials and study of the primordial shape to question the common notions on functionality, mass-production and style. The archetypical shapes of a vase, a candlestick or a tea pot are magnified, turning the designs into symbols of their own shapes. The materials are selected for their tactile and plastic qualities. You can see and feel the prints Job and Nynke made in them. Dead objects almost seem to come alive. Bulk and decorative ornaments add to the unreal look of the designs.

The exhibition can be seen 20 October through 16 December 2007.