over two decades of the bouroullec brothers' designs now at philadelphia museum of art

The Bouroullecs in Designboom

Designboom’s visit to the studio of brothers and designers Ronan and Erwan Bouroullec in 2016 offered the flair and penchant of the brothers for their craft, underlined by the slew of functional and trivial objects and the clash of minimalism and maximalism that cocooned in their workspace. Queues of books stacked on multiple shelves. Chairs faced the four cardinal points. Drafts of sketches hung on the walls. Sticky notes stuck on surfaces and screens. Team members brainstormed and chatted. The brothers told Designboom that producing meaningful objects had always been, and still is, their goal.

Today, art and design enthusiasts can journey through the decades of passion that has struck the brothers to materialize works for international brands such as Flos, Vitra, and Samsung. At the Philadelphia Museum of Art, the exhibition ‘Circus: Bouroullec Designs’ explores the essential works the brothers have created, from furniture, lighting, textiles, and glass to ceramics, architecture, and room division systems. On display until May 30th, the Bouroullecs and their studio even designed the gallery’s environment, the continuity of their expertise touching upon the aura and facades of the museum.

clouds (370), 2009, designed by ronan bouroullec and erwan bouroullec. made by kvadrat, ebeltoft, denmark. image by studio bouroullec

Inventive, whimsical designs

The Bouroullecs have given birth to inventive, whimsical designs for over two decades, all of which investigate the flexible interactions between people and their environments, as well as the potential of form, materials, and texture to bring comfort or joy. One of the reasons the duo has fulfilled and maximized the principles of their designs gravitates toward them picking up projects that sit close to their hearts.

‘We are in a fortunate position that we have always been a very small studio. We have many requests, which means we can be more selective. This means every project – from a vase to a television and a big exhibition – is a challenge, and there is no hierarchy between subjects,’ the duo told Designboom in 2016.

In the exhibition, the artery of the Bouroullecs pumps throughout the space. The synthesis of contrasts their Rope Chair (2020) unveils, in collaboration with Artek Oy Ab, demonstrates the gentleness the rope confers to the seat, transforming its stiff-looking structure into a chair to laze about in.

Their mouth-blown design for Lighthouse Table Light (2010) with Established & Sons takes its design cues from the Murano masters of glass blowing in Italy. Crafted using a large spherical glass supported by a delicate aluminum stick, the brothers focus on the precariousness of the equilibrium. ‘There is only one acute point of contact. No fixation, as if the glass were still in its original state,’ they share.

The sea’s treasure reappears in the dome of the museum as the brothers re-hung the Algues (Algae) [2004] installation made with Vitra in one room. The cobwebs of algae drape the landscape with the work’s enveloping presence. As viewers step into the interconnected strings, the awareness of how miniature they are against the force of nature springs, a reminder of the ecosystem living beings share and live in.

algues (algae), 2004, designed by ronan and erwan bouroullec. made by vitra gmbh, basel, switzerland. image by paul tahon and ronan and erwan bouroullec.

Creative process

According to the museum, the features that mark the brothers’ approach to design lie in their regard for the natural world as a source of inspiration and their profound relationship with manufacturing processes and materials to produce visual and physical effects.

‘Many objects in this exhibition reflect an intertwining of traditional craft techniques with contemporary style. They celebrate the handmade qualities of these designs and the imperfections inherent in production processes as a source of variety, visual interest, and means of softening the sometimes mechanical characteristics of mass manufacture,’ the museum writes.

When Designboom asked the Bouroullecs about their creative process, they shared how they deviated from a single structure, a preference for spontaneity over a rigid system. ‘We discuss, we sit down, we walk, we draw. It is more and more difficult to associate a specific process and to know what, in fact, is a good idea. The design process usually takes two or three years. It is not about the speed. It is a long time, and during this process, there are so many aspects that can destroy an idea. So, when it comes out, surviving a long period means it is a good idea.’ Two decades later, these ideas have braved the ever-changing art and design landscape, retaining their essence, quality, and grit along the way.

aim lamp and steelwood chair, 2013 & 2007, designed by ronan and erwan bouroullec. lamp made by flos, brescia, italy. chair made by magis s.p.a, treviso, italy. image by flos and studio bouroullec