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Design promotion in Belgium in the 1960s This problem raised by the director was subsequently discussed by the board members of the Design Centre. The general conclusion of this discussion was formulated in the reports: ‘The Belgian Design Centre is the best organized one of the six member states the EEC. It is positioned to become possibly the first Design Centre of the Common Market. It is necessary to study this issue more thoroughly.’ Thus, due to the blurring national frontiers with regard of the manufacturing of products, the Belgian Design Centre envisaged a European future. In 1968, the selection criteria were adjusted, but were still quite restricting especially by the conditions imposed by the federations of the different industries. The products promoted by the Brussels Design Centre, had to be sold under a Belgian brand but could be produced by an associated factory outside Belgium. Yet, for each such case, the Design Centre had to contact the federation of the industry in question for approval. Moreover, on demand of the federations, other foreign Design Centres were asked to revise in a similar way their regulation for selection. Products designed by Belgian designers but produced by foreign companies could not be promoted as being ‘Belgian’. They could only be shown in the Design Centre on the thematic temporary exhibitions. Still this formula was experienced as time-consuming and to restricting. Eventually, the procedure became slightly more relax. The Design Centre did no longer had to ask permission to the federations to include a Belgian product produced in an associated factory outside Belgium. Yet, the issue kept being brought up in the meetings of the board members. The chairman of the Design Centre Pol Provost stated in 1972 that it became ‘more and more difficult to define with precision the nationality of products, due to the internationalization of the production.‘ The members agreed unanimously with this statement of the chairman and claimed to support the principle of freedom. Yet, they argued that ‘one had to considerate the fact that the Design Centre is financially supported by the Belgian Office for Foreign Trade and has to remain a tool of national promotion and progress.’ 5. Conclusion In the scope of the European Common Market, transnational design initiatives were set up in the early 1960s to construct and disseminate the idea ‘European Design’. This ‘European design’ was understood as a compilation of products each having their own nationality. Unfortunately, most of these initiatives stranded. This failure was probably due to the lack of European infrastructure, which obstructed the development of a true European design network, while at the same time national identities were developed as an effective trading tool on the international market. At the end of the 1960s, the consequences of the European Common market on the way products were produced, created a discord between identity and the place of production. In the case of the Brussels Design Centre, the changing nature of production forced the national institute to rethink the question of national identity with regard to products. While it was before defined on basis of where it was produced, the evolutions on the market compelled to come with new selection criteria and definitions of what was ‘Belgian‘ or not. The Design Centre embraced this situation as a steppingstone to become the first European Design Centre, but was inhibited by its official status as national institute. References Belgisch Industrial Design-Selektie 1963. 1963. Informatieblad van het Instituut voor Industriële Vormgeving, 6 (2): 10-11. Bucquoye, M., Daenens, L., & De Kooning, M. (2001). Forms from Flanders. From Henri van de Velde to Maarten van Severen 1900-2000. Ghent: Ludion. Congressen en studie<strong>da</strong>gen. Bij de Gemeenschappelijke Markt. 1962. Informatieblad van het Instituut voor Industriële Vormgeving, 6 (10-11): 6. Courier, L. (2004). Design en Belgique/ in Belgium/ in België 1945-2000. Brussels: Racine. De industrial design en de Gemeenschappelijke Markt. 1963. Informatieblad van het Instituut voor Industriële Vormgeving, (3): 5-13. De Vos, E. (2009). The American Kitchen in Belgium? A Story of Countering, Reversing, Selective Appropriation and Sidelining. The Tensions of Europe/Inventing Europe Working Papers Series: http://www.tensionsofeurope.eu/www/en/publications/working-papers. Echo’s. 1965. Infordesign. Informatieblad van het Instituut voor Industriële Vormgeving, (6): 7. Een Design Centre te Brussel. 1963. Informatieblad van het Instituut voor Industriële Vormgeving, 6 (2): 9-10. Gimeno-Martínez, J. 2010. The Signe d’Or Award Scheme from 1956 to 1960: The Economic Reasons for “Good Design”. Konsthistorisk Tikskrift/ Journal of Art History, 79 (3):127-145. Het leven van het instituut. 1961. Informatieblad van het Instituut voor Industriële Vormgeving, 5 (3): 3-5. Het leven van het instituut. 1962. Informatieblad van het Instituut voor Industriële Vormgeving, 6 (8-9): 2. Het leven van het Instituut. E.G.K.S. Kongres. 1965. Infordesign. Informatieblad van het Instituut voor Industriële Vormgeving, (4): 3. Informations Belgiques. 1961. Esthetique Industrielle, (51): 67. Kjetil, F. 2007. How an Excavator Got Aesthetic Pretensions - Negotiating Design in 1960s’ Norway. Journal of Design History, 20 (1): 43-59. Ministére Affaires économiques. 1958. Quatre ans d’action économique Design Frontiers: Territiories, Concepts, Technologies 288
SERULUS, Katarina 1954-1958. Brussels: Author. Sparke, P. (2004). An Introduction to Design and Culture (2th ed.). Lon- don/New York: Routledge. Thompson, C. 2011. Modernizing for Trade: Institutionalizing Design Promotion in New Zealand, 1958-1967. Journal of Design History, 24 (3): 223-239. Van Besien, F. (film director) & R. Thierry, R. (journalist). (1969, July 2) Marché Commun ou demain l’Europe, 9 millions [Television broadcast]. Brussels, RTBF: Radio Télévision Belge Francophone. van Milleghem, K. (Ed.). 1966. Europa unita. Tielt/Den Haag: Lannoo. Woodham, J. M. 1997. Twentieth-Century Design. Oxford/New York: Oxford University Press. Woodham, J. M. 2010. Formulating National Design Policies in the United States: Recycling the “Emperor’s New Clothes”?. Design Issues, 26 (2): 27-46. Yagou, A. 2005. Unwanted Innovation. The Athens Design Centre (1961- 1963). Journal of Design History, 18 (3): 269-283. About the author Katarina Serulus is a PhD Candi<strong>da</strong>te at the Faculty of Design Sciences at the Artesis University College. In October 2011 she started her research ‘Design and Politics. The Design Centre in Brussels (1962-1986)’, which deals with national design policies in Belgium. Design Frontiers: Territiories, Concepts, Technologies 289
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Priscila Lena Farias / Anna Calvera
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Design Frontiers: Territories, Conc
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The following chapter contains 28 p
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68 The Information Department at th
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179 Political Toys: Perón’s gift
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285 Design promotion in Belgium in
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396 Graphic innovations implemented
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502 The graphic translation by the
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612 About the editors / 613 About I
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Art, symbolism and power in Moche S
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JORDÁN, Régulo Franco Figure 5. H
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JORDÁN, Régulo Franco Figure 14.
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Pioneers of Brazilian Design CUNHA
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CUNHA LIMA, Guilherme Janeiro. In t
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Traditions, archaeologies and genea
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Traditions, archaeologies and genea
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History of design education Haruhik
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Academies of Art and schools of Des
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Academies of Art and schools of Des
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A fruitless misunderstanding: the h
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Japanese industrial design concepts
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AMAGAI, Yoshinori design new Japane
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Best Maugard, Elena Izcue and Theod
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BARBOSA, Ana Mae Figure 2. Surface
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BARBOSA, Ana Mae lic education. Mas
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Design history: from service subjec
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Design history: from service subjec
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Pevsner on Design education: meetin
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Pevsner on Design education: meetin
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Antipodean Design Science: applied
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WAITE, Noel nificant sea-change in
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Bauhaus pedagogy and digital design
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ANAY, Hakan / ÖZTEN, Ülkü concep
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ANAY, Hakan / ÖZTEN, Ülkü Ülkü
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The Information Department at the U
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The Information Department at the U
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Search for meaning: a study on the
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CAMARGO, Iara Pierro de / VELLOSO,
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CAMARGO, Iara Pierro de / VELLOSO,
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(not)Solving (non)problems: Design
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(not)Solving (non)problems: Design
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The role of typeface categorization
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A sparkle in people’s eyes PACHEC
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PACHECO, Heliana Soneghet / TOLEDO,
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Past, present and future of designe
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LIMA, Ana Gabriela Godinho / STEFAN
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John Ross’ pioneering role and co
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RYU, Hyun-guk The author(s) of this
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RYU, Hyun-guk The author(s) of this
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Teaching arts and crafts or the tec
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Teaching arts and crafts or the tec
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Design in Brazil: which revolution?
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NOBRE, Ana Luiza Nations Economic C
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The historical trajectory of the pi
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The historical trajectory of the pi
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Educational practice discourse on t
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OLIVEIRA, Izabel Maria de / COUTO,
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Identities and territories Oscar Sa
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The island of Italian Design? Some
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The island of Italian Design? Some
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Design without borders: the nomadic
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BARBOSA, Lara Leite be made with in
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BARBOSA, Lara Leite goods. A better
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Redesigning Turkish cult objects: f
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Redesigning turkish cult objects: f
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Incubation in isolation: how distan
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SMYTHE, Michael Figure 3. from left
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SMYTHE, Michael Figure 7. from left
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SMYTHE, Michael Figure 11. from lef
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Design Promises: the case study of
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BOONLAOR, Nanthana / CHUENRUDEEMOL,
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BOONLAOR, Nanthana / CHUENRUDEEMOL,
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Who’s who in brazilian design? No
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SOUZA LEITE, João de vironments. 4
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Territories of practice: convergenc
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TEASLEY, Sarah The author(s) of thi
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TEASLEY, Sarah The author(s) of thi
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Paradise identity, between projecti
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Paradise identity, between projecti
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Politics of fragility in Catalonia:
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MITRANI, Alex whether on a table to
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Designing ‘The House of Man’: F
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MEKINDA, Jonathan solini’s regime
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‘Swedish Modern’ meets internat
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HAGSTRÖMER, Denise specially commi
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Imported design ideas and its sprea
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CORTÉS, Dannae / CRUZ, Aura / GALL
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Political Toys: Perón’s gifts fo
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BENDESKY, Mora Figure 2. Mundo Pero
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The identity and design of the mode
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YOSHIMURA, Noriko cles were adopted
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Lira Popular, chilean broadsheets f
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MALACCHINI, Simoné pages had been
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MALACCHINI, Simoné Acknowledgment
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The signature of Portuguese posters
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The signature of Portuguese posters
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From the improvisation to the solut
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SILVA, Camila Assis Peres / LIMA, G
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Design of dissent: the multimodal d
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Figure 6/7/8/9. Glaser: 1997, Olive
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Design and the street GEIGER, Noni
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GEIGER, Noni Figure 2. Some spreads
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GEIGER, Noni Latour, B. 2008. “A
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Designing new tattoos technology. T
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Designing new tattoos 5. Conclusion
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Outside looking in: foreign percept
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Outside looking in: foreign percept
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Corporate identity in a global mark
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SKJERVEN, Astrid of the UK protecto
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Mapping and analysis possibilities
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PEREIRA, Fabiano Encourage recognit
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PEREIRA, Fabiano Figure 8. Filezim
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Graphic narratives of the domestic
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SOLóRZANO, Augusto / CORREA-ORTIZ,
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SOLóRZANO, Augusto / CORREA-ORTIZ,
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Place branding: graphic design’s
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Page 241 and 242: Public information: Design, visibil
Page 243 and 244: Here we don’t speak, here we whis
Page 245 and 246: MATOS, Sónia interactive phenomena
Page 247 and 248: MATOS, Sónia Noë, A. 2004. Experi
Page 249 and 250: Modernity boundaries in the process
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Page 253 and 254: Packaging design in Portugal during
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Page 257 and 258: Ocuppy Design: São Paulo and New Y
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Page 261 and 262: A practical experience on acting lo
Page 263 and 264: A practical experience on acting lo
Page 265 and 266: The doctrines of Good Taste BÁRTOL
Page 267 and 268: BÁRTOLO, Carlos the designed purpo
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Page 271 and 272: Between art and Industry The Factor
Page 273 and 274: Between art and Industry file of th
Page 275 and 276: Transforming territories and forgin
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Page 279 and 280: The Belgian participation in the Mi
Page 281 and 282: Furnishing the street HERRING, Elli
Page 283 and 284: HERRING, Ellie 1963 onwards. There
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Page 287: SERULUS, Katarina More concretely,
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Page 295 and 296: Sweden designed by Ikea ally clear,
Page 297 and 298: Sweden designed by Ikea ducers of h
Page 299 and 300: Opportunities and challenges for th
Page 301 and 302: Opportunities and challenges for th
Page 303 and 304: Design as strategy to improve woode
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Page 313 and 314: Contributions of design: a tool to
Page 321 and 322: Techniques and technologies Paul At
Page 323 and 324: A survey on low-income housing rese
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Page 327 and 328: Design of elastic form with paramet
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Page 333 and 334: Digital personal fabrication: socia
Page 335 and 336: Living system design Studio: from d
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PAIO, Alexandra / OLIVEIRA, Maria J
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The evolving terrain of the book: A
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The evolving terrain of the book: A
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Joining Up: evaluating technologica
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Joining Up: evaluating technologica
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Making Space: the future places, to
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Making Space: the future places, to
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Designing through the loop: program
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SILVA-JETTER, Jorge The following e
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SILVA-JETTER, Jorge importance to n
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Sewn or Simulated: transformational
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Sewn or Simulated: transformational
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The use of ceramics within the sign
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FERRAZ, Nicoli / ALVAREZ, Cristina
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FERRAZ, Nicoli / ALVAREZ, Cristina
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History, Design and technology in t
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History, Design and technology in t
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Design for glass: a study of the hi
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Design for glass: a study of the hi
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How to supply designers effectively
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ZITKUS, Emilene / LANGDON, Patrick
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ZITKUS, Emilene / LANGDON, Patrick
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Online platforms for the co-Design
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Online platforms for the co-Design
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Relationships between Neuroscience
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Relationships between Neuroscience
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The voices of the users: how techno
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ESSI, Kuure / LINDSTRÖM, Antti tec
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ESSI, Kuure / LINDSTRÖM, Antti Enc
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Graphic innovations implemented in
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Graphic innovations implemented in
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Firebird: Alex Steinweiss’ 78rpm
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Firebird: Alex Steinweiss’ 78rpm
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The presence of the autotype techni
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Dutch maps of Pernambuco from the s
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Dutch maps of Pernambuco from the s
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Co-ordinated design policy and the
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PRESTON, David Henrion and Parkin
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From ‘Do it yourself’ to ‘Ope
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MALDINI, Irene the stages of creati
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Contributions of improvisation tech
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MASSARA, Bruno Based on a deleuzian
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Human development design centered:
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FLORES MAGóN Y JIMÉNEZ, Héctor /
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FLORES MAGóN Y JIMÉNEZ, Héctor /
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Identity across boundaries. A study
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Identity across boundaries. A study
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Digital clothing manufacture: digit
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Digital clothing manufacture: digit
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How to go from the file to the fact
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BARBOSA, Wilson / CELANI, Gabriela
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Space, information and cosmology in
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BOECHAT, Marina Pantoja tween ‘ph
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The new imperialism: the internatio
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Frontiers of looking past: a Nietzs
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Frontiers of looking past: a Nietzs
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Design, histories, empires and peri
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Design, histories, empires and peri
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Mythification of national discourse
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Mythification of National Discourse
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Mythification of National Discourse
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Towards a digital batavia: resonanc
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Towards a Digital Batavia: Resonanc
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Questionable translatability: theco
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Questionable translatability: theco
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Eastern craft in Orientalism and Mo
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Eastern craft in Orientalism and Mo
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Mapping Cup & Saucer Design in the
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Mapping Cup & Saucer Design in the
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Mappin tells the history of graphic
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“Go you too to Amazonia”: analy
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“Go you too to Amazonia”: analy
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Organic Design, MoMA 1940: the brea
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Organic Design, MoMA 1940: the brea
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Modern design meets Latin America:
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Modern design meets Latin America:
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Lina Bo Bardi and Aloisio Magalhãe
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Lina Bo Bardi and Aloisio Magalhãe
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The graphic translation by the desi
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The Graphic Translation by the Desi
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The design of Manoel Bandeira: a hi
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The design of Manoel Bandeira: a hi
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Open strand Victor Margolin / Chair
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Brazilian Graphic Design in the ‘
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Brazilian Graphic Design in the ‘
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The Design of book bovers in Brazil
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The Design of book bovers in Brazil
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The design of Fred Jordan With his
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The design of Fred Jordan Figure 2.
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Domestic technologies and moderniza
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Domestic technologies and moderniza
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la escuela de Artes y Oficios de sa
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CAsTillO, eduardo The author(s) of
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Itineraries for a Design Culture in
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FARKAS, Mónica / STERLA, Mauricio
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Sertanejo Art Deco: an inspiration
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SOUZA, José Marconi B. de / ROSSI,
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SOUZA, José Marconi B. de / ROSSI,
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Souza, José Marconi B. de / Rossi,
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Architectural lettering: from infor
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Architectural lettering: from infor
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A dialogue between art and city thr
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HANNS, Daniela Kutschat / DE MARCHI
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Vernacular design: a discussion on
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Vernacular design: A discussion on
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Italian Radicals and Dutch conceptu
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Italian Radicals and Dutch Conceptu
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Italian Radicals and Dutch Conceptu
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Art criticism and the semantic cons
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Art criticism and the semantic cons
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Interieur Kortrijk, an edu-commerci
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Interieur Kortrijk, an edu-commerci
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The story of convertible Sofa-Bed:
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MERZALI CELIKOGLU, Ozge / ER, Alpay
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MERZALI CELIKOGLU, Ozge / ER, Alpay
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Vapourware and the agency of ideas
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Vapourware and the Agency of Ideas
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Pre-Columbian Asceticism: the Tuza-
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Pre-Columbian Asceticism. The Tuza-
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The collection of textbooks “Tape
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RAMIL, Chris standards for the layo
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“Their pen draws everything, as i
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Diniz, Kollontai The author(s) of t
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Diniz, Kollontai The author(s) of t
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Cruzeiro Novo Project: Design and t
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Cruzeiro Novo Project: Design and t
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Design for a sustainable culture Fi
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Design for a sustainable culture th
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Design for a sustainable culture al
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Design and biodiversity: the produc
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Design and biodiversity: the produc
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Lightness and beauty in furniture d
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Lightness and beauty in furniture d
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About ICDHS / The International Com
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Emmanuel Ruffo / Institute for Arch
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Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

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