Localizing Design/Designing Location: Creative Cities in the Low Countries

Abstract

Through a constructivist approach, the formative processes creating an association between location and creativity are analysed, focusing on the establishment of three narratives of urban creativity: Antwerp, Brussels and Eindhoven. Each case study positions the city in its cultural and economic contexts, such as the globalization of trade in the context of the European Economic Community and the importance of tourism in post-industrial societies. An exploration is then made of the role of these creative cities in the cultural valorization of design and fashion, transforming them into effective calling cards for European cities.

Keywords:

• creative cities
• design
• fashion
• historiography
• constructivism

This work has been partly financed by the Netherlands Organisation for Scientific Research (NWO, Mosaic).

Notes

1 The Design Centre was not the first official institution in Belgium related to the promotion of industrial design. In 1955, the Belgian Institute for Industrial Design was founded in Liège under the protection of Jean Rey, Minister of Economic Affairs. In 1958, this institute was transferred to Brussels and the name changed to the Institute for Industrial Design for Belgium and the Grand Duchy of Luxembourg. In 1957, the award scheme ‘Signe d’Or’ was created which selected each year the best industrial products in Benelux. After four editions, the Signe d’Or competition was stopped. Later, in 1966, the Design Centre would resume this initiative in a slightly changed form. (Belgisch Instituut voor Industriële Vormgeving 1968; Gimeno-Martínez 2010).

2 The existing literature provides only an introductory account of the Design Centre in Brussels. See: Bucquoye et al. 2001; Courier 2004.

3 The following part of this case study is based on the various reports of the Design Centre, which discuss this issue. The quotations that follow, unless otherwise referenced, are extracted from these reports, which are currently preserved in Brussels at the State Archives: I. 504, BDOP, 1081.

4 Alphons Botte was the only representative for handicrafts in the executive committee of the Design Centre, he was also a member of the provincial committee for handicrafts and industrial design.

5 The president of the Institute for Industrial Design for Belgium and the Grand Duchy of Luxembourg and member of the executive committee of the Design Centre, Hubert De Sy, regretted the introduction of these exhibitions on handicrafts.

6 The exhibition was organized in collaboration with the city of Charleroi and the Belgian Chambers of Commerce and Industry.

7 The exhibition was sponsored by the city of Kortrijk.

8 According to Russo & van der Borg (2006) Eindhoven’s ‘employment in cultural production is negligible at 0·5% of total city or regional employment’ (2006: 19). See also Marlet & van Woerkens (2005: 13).

9 ‘‘Betaalbare woon- en werkruimte is cruciaal voor ontwerpers zoals wij,’ stelt Baas. ‘Ik voel me happy in een omgeving waarin ik mijn eigen dingen kan doen. Ik hoef niet zonodig een opgepoetst onderkomen in een vooropgezet plan. Ook het Temporary Art Center (TAC) in Eindhoven is toch nog vrij prijzig voor de vierkantemeters die je krijgt. Gemeenten willen nu opeens allemaal broedplaatsen maken voor de creatieve industrie, maar hier is er toch al een! Ons letterlijk de ruimte geven, dat is het beste wat ze kunnen doen’’ (Baas quoted in Hulst et al., 2006: 28). Authors’ translation.

10 Many local designers could no longer afford studio space in the new Eindhoven. See, e.g. interview with Kiki van Eijk (Hulst et al. 2007: 29).

11 ‘‘Nieuwe, toegevoegde waarde creëren, dat is dé opgave voor het bedrijfsleven. Creativiteit en innovatie staan dus voorop.’ Aldus Peter Swinkels, directie-voorzitter van Bavaria en tevens voorzitter van de Brabants-Zeeuwse Werkgeversvereniging (BZW). Dutch design en Eindhoven als Designregio ziet hij wel zitten. ‘Het is nog een niche. Design kan het nieuwe handelsmerk van Nederland worden, zoals kaas dat voorheen was.’’ (Peter Swinkels quoted in Hulst et al., 2006: 4). Authors’ translation.

Additional information

Notes on contributors

Javier Gimeno Martínez

Javier Gimeno Martínez is Assistant Professor Design Cultures at the VU University Amsterdam. His research explores the cultural impact of national design policies.

Joana Ozorio de Almeida Meroz

Joana Ozorio de Almeida Meroz is a PhD candidate and Lecturer in Design Cultures at the VU University Amsterdam. Her dissertation, The History of the Construction of the Idea of Dutch Design (1970–2012), traces the networks involved in the production, dissemination, and institutionalization of this changing idea.

Katarina Serulus

Katarina Serulus is a PhD candidate at the Faculty of Design Sciences, University of Antwerp. In October 2011 she started her research project Design and Politics: The Design Centre in Brussels (1962–1986), which deals with national design policies in Belgium.