The child prodigies of the design world, Ronan et Erwan Bouroullec form a close duo bonded by brotherhood. They are as forthcoming on the subject of their current projects (Vitra, Cappellini, Rosenthal, Magis…) as they are discreet on the subject of themselves. Though nothing filters out of their work methods, the two brothers are ready to hold forth on their approach to their work which is trying to get away from simple rationalisation. « The fact that there is a response to the function does not mean that an object is a success ». Their intention is to bring feelings back to the relationship between man and the material world. « We need shapes with feelings which touch the subconscious and make the object something that can be appropriated ». One thinks immediately of the series of carafes « Torique » produced at Vallauris the design of which is based on simple bottles, of the bench brought out by Domeau & Perès the comfort of which harks back to the seat of an old 2CV, or even better the famous “Lit- clos” distributed by Cappellini which brought back memories of childhood tree- houses. They are as economic with words as with design, they erase as much as possible so as to avoid closing off avenues to the user. Their design is open to free interpretation to avoid the ritualization of the gesture. In the style of the first collection of “Vases combinatoires”, interlaced vases, put together like a child’s construction game. Their approach tends to the spare, it stands out by the way in which their off-kilter attitude pushes the object into the realm of the unpredictable.
When the Bouroullecs take an interest in a domestic location like the kitchen for example, they imagine it « disintegrated » into simple, light materials which can be taken apart easily. « Our objects are tools which make their own solution, they are open questions on ways to live ». The seductive power of these creations is such that they cannot leave us indifferent. As proof, the numerous collaborative efforts of Ronan and Erwan Bouroullec which led them to invest as much in artisan know-how as in industrial production (or more recently the scenography and interior of the A POC boutique for Issey Miyake). The discovery of an as yet unexplored universe motivates their choice of the obvious interest of bringing a new perspective.
This, their first exhibition with kreo is another type of adventure which frees them from the habitual constraints. They have approached the gallery space as a place for experimentation, with a wish to formalise their research. Along the same lines as the « cabane » which was first presented in Hyères in the villa de Noailles (summer 2000), the Bouroullec brothers are sticking to their idea of micro-constructions, exploring the possible links between design and architecture.
Among the new pieces is a flexible structure in foam and wool with slightly rigid plaited strips which forms an object with undefined contours. Half wind-breaker, half shelter, it creates a light, transparent zone of rest. Along the same lines the « indoor parasol » enables the user to define a sub-space within the living area, materialised this time by the neon light which is concentrated under its dome. The exaggerated dimensions give this maxi-lamp which measures 2X2 metres a particular presence which is accentuated by the way in which it acts as a beacon. Ronan and Erwan Bouroullec enjoy upsetting images so as to create the conditions which lead to habits being broken. A twisted mind and a critical eye on the fuss about the coming dematerialization, the brothers occupy their time by making their vases the size of a television or a giant bulb, by lighting them up while covering their outer layer with reflective metallic paint. These highly visible objects say so much more than their mere function would lead us to believe. And this is what makes them so appealing.
