vincent van duysen on his assortment for perennials & sutherland
DB: WE READ THAT YOU FIRST WORKED FOR ALDO CIBIC IN MILAN. WHAT DO YOU TREASURE ABOUT THIS EXPERIENCE – STILL TODAY?
VVD: I feel that my research through the emergence of postmodernism and my time with aldo cibic at sottsass associati in milan gave me an appreciation for important and pure kinds however the software of supplies, resembling linen, pure stone, and oak, is influenced strongly by my belgian heritage.
DB: YOU ARE TRAINED AS AN ARCHITECT, BUT FROM THE ONSET THERE HAS BEEN A GREAT INTEREST IN INTERIOR DESIGN WITH MOSTLY RESIDENTIAL PROJECTS FOR YOU. WHY IS THIS SO?
VVD: for me it was essential to know how individuals dwell of their properties, to in some way uncover an artwork of dwelling, in order that I may mildew it, afterward, into my works. I’ve by no means considered inside design as being severed from structure: interiors are structure. interiors and exteriors are carefully interwoven.
DB: YOU SAY FUNCTIONALITY, DURABILITY AND COMFORT ARE THE PRIME COMPONENTS OF THE WORK, SOMETHING THAT RESISTS FASHION AND TRENDS. CAN YOU PLEASE ELABORATE ON THIS?
VVD: I’ve all the time needed to create serene environments and areas which are timeless, elegant, and complicated. I imagine design is turning into an increasing number of what it must be – targeted and paying extra consideration to sustainability, craftsmanship, total high quality and use of good/top quality supplies. I feel in future we’ll see much less of the standard ‘signature design’ with a really recognizable robust assertion of the designer. design is getting – on one facet – smarter, extra user-orientated, production-optimized and versatile (additionally within the sense that the design language is versatile sufficient for use in numerous contexts, for various functions). on the opposite facet, you see extra little labels creating fantastically hand-made, crafted objects the place the high-quality supplies, textures and particulars are clearly extra essential than the non-public assertion of the designer.
DB: YOUR DESIGN ATTITUDE – THAT ALWAYS SEARCHES THE ESSENCE – HAS OFTEN BEEN DEFINED AS MINIMAL WHICH PROBABLY DID NOT MEET YOUR INTENT. CAN YOU EXPLAIN WHY THE TERM MINIMAL IS OVERUSED AND WHY IT DOES NOT SUIT YOU?
VVD: I don’t see myself as a minimalist. I need soul in my work. I’m not a mathematical architect or designer – extra instinctive and intuitive – and the expertise of working for and with totally different individuals, and their personalities, provides every challenge a singular context. additionally, I feel a big a part of the emotion in my work comes from my consideration for the supplies inside an area. I imagine the work goes strongly towards the soulless, clichéd beliefs of minimalism. I’ve been known as a heat brutalist by the t journal, see, I feel that that time period matches my imaginative and prescient and work greater than minimalist.
DB: THE USE OF PURE AND TACTILE MATERIALS RESULTS IN YOUR WORK IN A CLEAR AND TIMELESS DESIGN. CAN YOU SAY SOMETHING ABOUT WHY ‘TIMELESSNESS’ IS SOMETHING YOU APPRECIATE IN THINGS?
VVD: I take pleasure in sharing and being impressed, and I feel you will need to develop a set of labor that demonstrates a development or evolution of pondering. I like that individuals confer with my work as far as timeless, however you will need to me that work continues to be up to date, stunning, and reaches individuals on an emotional stage. for me, interiors radiate luxurious and luxury when the fundamentals of design are pursued – timeless areas which are outlined by the important, the place solely mild, form and supplies are at play.
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