The Fox and the hedgehog Designers of incredible pieces of furniture,
Ronan (far left) and Erwan Bouroullec (left) are busy building a
reputation founded on astonishing originality. Christopher Kanal
speaks to the brothers who reveal that, while they share the same
background, their success is largely due to their individuality
and opposing philosophical approaches.
French brothers Ronan and Erwan Bouroullec have been working together
for more than ten years and in that time have produced extraordinary
pieces of furniture, earning them a remarkable reputation as Europes
most original design team. It is a collaboration based not only
on their special relationship as brothers, but also on their distinct
personalities. In Gary Hustwits acclaimed 2009 documentary
on design, Objectified, the duo described themselves as a fox (Ronan)
and a hedgehog (Erwan), employing philosopher Isaiah Berlins
categorisation of intellectuals, which divided them into foxes,
who know many things and hedgehogs, who know one
big thing. It is an intriguing description of both the way
they work and their complexity.
Originally from Brittany, Ronan, born in 1971 and the older of
the two, was the first to become a designer. Erwan, who is five
years younger, studied art before working with his sibling. In 1997,
the brothers presented their Disintegrated Kitchen at the Salon
du Meuble in Paris. It was here that they were spotted by Giulio
Cappellini, which led to their first major industrial design projects,
including the Closed Bed and the Spring Chair. This was followed
by a commission from the designer Issey Miyake, who asked them to
create an interior for his new APC shop in Paris.
Their biggest breakthrough, however, was a decisive meeting with
the chairman of Vitra, Rolf Fehlbaum, which resulted in their development
of a new kind of office system, Joyn, manufactured in 2002. This
was the beginning of a special partnership that has borne fruit
in the form of numerous projects, including Algues, the Alcove Sofa,
the Worknest, the Slow Chair and the Vegetal.
Since 2004 the Bouroullecs have also been working with Magis, designing
two complete furniture collections, Striped and Steelwood. Today,
Ronan and Erwan design for numerous manufacturers as well as Vitra
and Magis, including Kvadrat, Kartell, Established and Sons, Ligne
Roset and Cappellini.
Since 2001 they have worked in an experimental capacity at Galerie
Kreo in Paris, where they have maintained the activity that has
been essential to the development of their work. They have held
five exhibitions, with the last one this spring, where they experimented
with lighting. The exhibition had a certain delicacy in terms of
the materials used: leather covered the Lianes lamps electrical
wires, their Roches shelving units were painted with a finish of
matte mineral-looking paint and the Conque lamps were mirrored to
give a sense of mystery when lit up. The brothers have compared
their work for the gallery to the use of a sketch pad where they
can explore different media and extraordinary techniques that are
rejected by industry.
The Bouroullecs were voted Designers of the Year at the Salon du
Meuble in 2002. In 2009, the Vegetal chair won the ICFF award for
outdoor furniture.
Their work is part of numerous international collections including
the Musée National dArt Moderne, the Centre Pompidou
and the Musée des Arts Décoratifs in Paris, the Museum
of Modern Art in New York, the Art Institute of Chicago, the Design
Museum in London, and the Museum Boijmans van Beuningen in Rotterdam.
They have also expanded into several architectural projects including
La Maison Flottante (The Floating House) in 2006, Camper
stores in Paris and Copenhagen (2009), and the Casa Camper Hotels
restaurant, Dos Palillos, in Berlin (2010).
The Bouroullecs are currently working on the launch of a new collection
of elements for the bathroom for Hansgrohe/Axor, which took several
years to be developed. Axor Bouroullec will debut in Paris in June.
Christopher Kanal: What is your working relationship as brothers?
Ronan and Erwan Bouroullec: We grew up with the same background
and same deep relationship with shape and colour. However, we didnt
go to the same school or have the same friends, so we can have quite
different points of view. We have a very high level of understanding
of each other but still disagree occasionally. On our projects,
we always reach the same opinion, but it is not always evident from
the beginning. It requires a long process of discussion and agreement.
We comment and criticise if necessary, and often have very frank
and animated discussions. Every project is discussed at length at
each step of the project, and in the end what is important is that
we find a common view, a solution that satisfies both of us. When
we disagree, we try everything possible to find an agreement.
CK: How would you characterise your work?
RB: Well, this is a difficult question
for us. We are happy to read about our projects, to see what people
suggest and to review comments from journalists that describe them,
but as for characterising our work and our projects
ourselves, we do not feel comfortable doing this.
CK: Can you describe your design process?
EB: What we feel makes a successful
designer is his or her ability to keep the line with the projects
from A to Z, knowing that the process is highly complex and full
of obstacles. To be capable of integrating this complexity while
keeping the essence of the initial project, is the number one difficulty
for us. It is easy to have an idea yet it is challenging to make
it real. This is, in a few words, all the complexity of leading
a design project successfully. We tend to do this every day.
CK: What is your relationship like with manufacturers?
RB: We work with a distinct group
of manufacturers, like Vitra, for example.
Working in collective intelligence is very important to us. We
do not work with compromises. Erwan and I question the project over
and over again to be certain that we are following a good
path, which will lead to the closest good design.
We follow this philosophy with the manufacturers we are working
with.
EB: I would add that as designers,
our everyday concern is to find the right balance between a variety
of parameters that each object is made of. Design is a multifaceted
discipline. What drives us is the quest for the good harmony between
all these parameters, which can be tangible (i.e. shape, colour,
size, weight, etc.) or intangible (i.e. sensuality, comfort, etc.)
It is not exclusively the search for the right balance between form
and function. We share this with the manufacturers we are working
with.
CK: Can craft ever be reconciled with mass-production?
EB: Furniture and product design sit
exactly between craftsmanship and industry. It is, or should be,
the perfect conciliation between both disciplines.
CK: How did the collaboration for Clouds
for Kvadrat come about?
RB: We actually started working with
Kvadrat after initially turning them down when they invited us to
design their showroom in Stockholm because we are not architects.
After several months, we agreed that it would be a great opportunity
to try a new way to divide public, or private, spaces with textile
walls. This is how we came up with the idea of Tiles, which were
the main focus design point of the showroom.
CK: Your installation at Galerie Kreo in
Paris touches on your interest in industrial design. Does mass production
interest you?
RB & EB: Our interest in industrial
design is linked to the unlimited reproduction of objects. Nevertheless,
for the past ten years we have been creating in the unique framework
provided by the Galerie Kreo.
This helps us to breathe between other projects. This unique context
has often led us to compare our work for the gallery to the use
of a sketch pad, a more instinctive form of research free from the
constraints imposed by industry, the norms, weight, size or other
issues more or less justified by mass production. Here, we give
ourselves time to explore different media and extraordinary techniques
that are rejected by industry, to approach unique skills.
Our work for the Galerie Kreo has always produced exceptional events,
and our research is about magic as much as use.
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