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• W1977519274 abstract "author(s) keywords Countless definitions of design have been formulated throughout history, and they have often been subject of much controversy, revealing consciously or unconsciously, a specific agenda or certain convictions. This paper examines how ‘design’ was understood when this term took root in Belgium and was appropriated by official circles in the postwar area. It tracks the search of state-related design institutions for an adequate definition and outlines their positioning in design networks. This paper then argues that the institutional foundations of Belgian design in the economic and industrial sector of the 1950s continued to influence its official understanding until the 1970s. However, influenced by international tendencies, the official design bodies struggled to break design loose of its economic base and get it recognized as a cultural and social phenomenon by the Belgian government. This paper draws on newly found archival records, adding new insights to existing accounts on Belgian design policies.1 By examining the state-backed definition, this paper is not so much interested in the etymology of the English term ‘design’, but rather on how the Belgian state accentuates certain aspects of this concept in their policy shaping certain understandings of design.2 In sum, this casus wants to provide an entry to map different processes that were important in postwar Belgium: (a) the role of the institutional framework in the formation of definitions and understandings of design, (b) the interaction between the discipline of design and the process of design institutionalization and (c) the influence of transnational and global networks in the creation of national design cultures. postwar design, definition industrial design, Belgium, design centre, design policies up Position: Defining Industrial Design in Postwar Belgium (1954-1970) Katarina Serulus katarina.serulus@uantwerpen.be University of Antwerp 1 The work of Javier Gimeno-Martinez (2011, 2010b, 2010a, 2007) addresses the relation between the Belgian state and design and the construction of national design identities. The design historian Fredie Flore (2010) studies design organizations that focused on furniture design and that were rather located outside the institutional framework. Other literature only provides an introductory account on design policies in Belgium (Coirier 2004; Bucqoye, Daenens, and De Kooning 2001). 2 In this regard, the project Words for design edited by Fujita (2007-2009) proves to be vary valuable. Although the emphasis is put on the etymology of ‘design’ and similar vernacular terms, it also touches upon the adoption of the term in official policies. 1. Exploring the field at the crossroads of Europe (1954-1963) How has a small country at the crossroads of Europe had to define this new phenomenon of industrial design? Although one of the first pioneers of industrial design in the beginning of the 20th century was the Belgian Henry van de Velde, the movement only took root in 1954 under the reign of the first social-liberal government. The kick-off theme 5 society strand 1 design policies Blucher Design Proceedings Dezembro de 2014, Numero 5, Volume 1 www.proceedings.blucher.com.br/evento/icdhs2014 Serulus, Katarina; Take up Position: Defining Industrial Design in Postwar Belgium (1954-1970), p. 575-580 . In: Tradition, Transition, Tragectories: major or minor influences? [=ICDHS 2014 9th Conference of the International Committee for Design History and Design Studies]. Sao Paulo: Blucher, 2014. ISSN 2318-6968, DOI 10.5151/despro-icdhs2014-0083 576 theme 5 society strand 1 design policies 3 Brussels, Archives & Musee de la Literature, Fonds Henry van de Velde, 211/15: Maurice Paquay, Association Belge des industrial designers. Historique des debuts de l’association. 4 Brussels, Archives & Musee de la Literature, Fonds Henry van de Velde, 211/14: Association Belge des Industrial Designers. L’Esthetique Industrielle en Belgique. was the speech of the Minister of Education, Pierre Harmel, in Liege3. The speech was titled “La Laideur se vend mal”, inspired by the title of the American bestseller of Raymond Loewy. Pierre Harmel regretted the considerable arrears of Belgium with regard to industrial design and stimulated the start of a new movement to make up the lost ground. In the formative years, this movement was composed mainly of industrials and policymakers who stood in close contact with leading figures of neighboring design scenes such as Henry van de Velde in Switersland, Jacques Vienot in France, Karel Sanders in the Netherlands and Paul Mahlberg in Germany. Originally initiated in Liege, the movement was relocated in Brussels in 1956 when it got official recognition of the Ministry of Economy and its definitive name: Institute for Industrial Design for Belgium and the Grand Duchy of Luxembourg. In its first documents of 1956, they define Industrial design as: “The art and science to create or improve industrial products considering all the elements technical, functional, commercial and aesthetical – who are capable of increasing the sales by the reduction of the cost price, of adapting the object to its function and especially of the aesthetic creation of the forms, the lines and the colors that pleases the eye and adds to its total unity”.4 In 1957, one sentence is added to this definition: “This improved design will augment the sales on the Belgian and foreign markets” (“Het Instituut voor Industriele Vormgeving” 1957). This added sentence reveals the economic concerns about the growing liberalization in light of the European Economic Community (EEC) or Common Market (Gimeno-Martinez 2010b). These new economic challenges, together with the prospect of the organization of the Brussels world fair in 1958, forced Belgium to take up a position in the realm of design. Roughly, we can discern three strands that dominated the first Belgian debates: the Dutch, the French and the American. In the frame of this short paper, only the last two will be shortly touched upon. The French strand of influence was especially represented by the French Institute for Industrial Design that was created in 1951 and headed by Jacques Vienot (19201960). In 1952, this institute published a chart that defined industrial design as “the science of beauty”(Le Boeuf 2006). The aesthetical in this definition was understood as philosophical discipline that was base on the idea by Paul Souriau (1825-1926) which was closely linked to modernist thinking on harmony of beauty and function (Maldonado 1962). In Belgium, this definition got contradictory reactions. Pol Provost, director of the Belgium firm De Coene, and later an important design personality as president of the Belgian Institute of Industrial Design and the Design Centre, was of the opinion that the French vision came the most close to an ideal definition. Yet, many misunderstood the “aesthetical” because of its associations with superficial decoration and rejected this definition. One of the most influential strands that dominated the early stage of the Belgian debate was the American. This is not surprising since the Marshall plan initiated a productivity campaign in Europe, facilitating the wide spread of American design ideas. American design was in general associated with marketing research and product development. The most important followers in Belgium then of this approach were economic and industrial organizations. Yet, for many American industrial design was a counterexample (Crowley" @default.
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• W1977519274 title "Take up Position: Defining Industrial Design in Postwar Belgium (1954-1970)" @default.
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