Crystal is a permanent installation that opened in Eindhoven during Dutch Design Week. It consists of hundreds of wireless LED crystals that light up when placed on the floor.
“The city of Eindhoven commissioned us to think about the future of light, where light gets liberated and jumps out of the lightbulb,” Roosegaarde explains. “We developed thousands of little crystals, which have two LEDs in them. The floor has a weak magnetic field and the moment you play with them they light up. No battery, no cable – it’s Lego made from light.”
Roosegaarde says that people have already started using the crystals in creative ways.
“People use it to write letters,” he says. “We had one lady, her boyfriend proposed to her. It’s great to make environments that are open to the influence of people. You can play [with the crystals], you can interact with them, you can share them, you can steal them. And I like it the most because it’s an experience you cannot download. You have to go here to experience it. The crystal and the location need each other.”
Roosegaarde will replenish the crystals every month, to replace those that are stolen. He also hopes that students will contribute their own crystal designs.
“We will open source how to make [the crystals] so students can make their own in different colours and shapes,” he says. “So Crystal will keep on growing. More crystals will be added, new shapes will arise, I will have nothing to do with that, people can do whatever they want.”
He adds: “In that way, it will be an ecosystem of behaviour and I think it’s going to be super exciting to see how the design will evolve.”
Daan Roosegaarde. Copyright: Dezeen
We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.
Spanish firm Nook Architects has renovated a Barcelonaapartment by adding patterned floor tiles plus a combined step and window seat leading out onto the terrace (+ slideshow).
The Casa Sal apartment in the Poble Sec district of the city is only three metres wide and 19 metres long.
Nook Architects covered the kitchen, bathroom and study with patterned ceramics to divide up the space visually. They then used wooden flooring for a softer look and feel in the rest of the home.
The kitchen acts as the hub of the apartment by linking the living room and the bedroom areas. Nook said they placed extra emphasis on the kitchen.
“For our client, the most important part was the kitchen which had to be the heart of the home; functional, resistant, lively, and very much on the lead in regards to the rest of the room.”
The brightly tiled kitchen leads on to the living room and a slightly raised terrace. Before work started the terrace was in poor condition and could only be accessed through a narrow, opaque door.
To make it feel more connected to the rest of the home, Nook fitted a window seat that doubles as a step with storage space underneath. By using the same material for the top of the bench and floor of the terrace they managed to integrate the terrace with the rest of the apartment. The sliding window doors also allow far more natural light into the room.
Like the kitchen and living room, the client’s bedroom is separated from the study by using floor tiles. Again, Nook used the eye-catching tiles to divide up the relatively small space.
It is becoming increasingly popular to use encaustic floor tiles in Barcelona, with many architects uncovering original flooring from the 1960s. In this case, with no original tiles to unearth, Nook’s client chose the tiles herself – a floral theme for the study, a checkerboard tile for the bathroom and geometrical patterns for the kitchen.
Here’s a project description from Nook Architects:
CASA SAL, Apartment in Poble Sec, Barcelona
For nook there are two different types of projects from the client’s point of view: that of an owner who will live on the dwelling, and those focused for an unknown user (for example, a rental apartment). On commissions for the first example, we try get to know the client’s day to day customs and habits as thoroughly as possible- anything that could have an effect on their way of life. This was the case of CASA SAL, where the refurbishment of a dwelling was shaped around personality of its owner.
On the other hand, we had to face de difficulties of the original geometry, a very compartmentalised rectangle, only 3 metres wide, and 19 metres long. On one of its ends lay a terrace in very poor conditions, elevated in regards to the dwellings floor level, which could only be accessed through a narrow, opaque door.
These were the premises we worked around in order to solve the architectural problems of the property and the functional requirements of our client. From the start, it involved teamwork, between the architects and the client.
For the client, the most important part was the kitchen, which had to be the heart of the home; functional, resistant, lively, and very much on the lead in regards to the rest of the room. The kitchen therefore articulates the rest of the spaces: on one side there’s the living room with Access to the terrace, and on the other the most private areas, her bedroom and study, a bathroom and a guest room.
To counter the sensation of the narrow proportions of the dwelling, we treated the pavement with fringes of different types of very eye-catching finishes, placing more resistant materials in the kitchen, bathroom, and study, and combining them with Wood for a softer look and feel on the rest of the home. Our client participated by choosing the different tiles used: a hydraulic mosaic for the kitchen with geometrical shapes, a floral theme for the study, and a checker board for the bathroom.
For the terrace, we had a double objective: to solve the deficient connection between it and the living room and to transform into source of natural light, giving it a purpose all year long. This is why we decided to open a large hole on the facade and placed a seating bench that doubles as a stair and storage area with bookcases and drawers. The same pavement was used to finish the terrace on the outside, and the bench on the inside, making the terrace part of the living room itself.
We understood from the beginning that even though our intervention was over, the client’s intervention had only begun. She now has a starting point based on a very familiar architecture to her past, her tastes, and way of live, which will evolve naturally and alongside herself.
Dezeen Guide: February begins with Stockholm Design Week, which kicks off on Monday, and we have 11 more architecture and design events in our update for this month.
Riyadh hosts the inaugural edition of this platform for art and design, which features a discussion forum and an initiative to help emerging creatives.
Studios and exhibitions open across Munich to connect designers and brands, as well as showcase work to the public.
Design Shanghai Shanghai, China – 27 February – 2 March 2014
The organisers of London’s 100% Design event bring contemporary, classic and collectible design to Shanghai.
Design Indaba Cape Town, South Africa – 28 February – 2 March 2014
This annual conference in Cape Town draws both renowned international designers and newcomers to South Africa’s emerging design scene. See Dezeen’s coverage of Design Indaba 2013 »
Rounded pentagons feature in all of the designs from Claesson Koivisto Rune‘s Five range for Matsuso T, a new brand curated by Japanese designer Jin Kuramoto.
“We live in a world of five elements that we experience through our five senses,” said the studio’s cofounder Mårten Claesson. “Five is gently odd. Five is not too many. Five is beautiful.”
The maple wood collection includes an armchair, a stool, dining and coffee tables, a coat stand, a clothes rail and a bench, each with softened corners.
“We developed a shape that combines a circle with a pentagon,” Claesson explained. “The chair, the table, the clothes rail and the other members of the Five family all share this iconic shape.”
Legs equally spaced at the corners of table tops and seats are denoted by indentations on the surfaces.
Some items are available with sections or just the dents coloured red. The chairs also come entirely in the same bright shade.
The chairs still have four legs, two of which are angled to meet the ends of the curved element that forms the arms and back. A fifth vertical strut is used to brace this piece in the centre.
One of the legs of a stool is extended through the seat to form a coat stand, with angled branches attached to the pole for storing garments.
A clothes rail is formed from a simple wooden beam with ends that gently point upward, which hangs from the ceiling on thin red strings.
The Five range will be unveiled at the Stockholm Furniture and Lighting Fair, which opens on 4 February as part of Stockholm Design Week.
Exterior: Bruder Klaus Field Chapel by Peter Zumthor – photographed by Tim Van de Velde
Organised by architectural stock photography website Arcaid Images, the awards were divided into four categories – exterior, interior, sense of place and buildings in use – and the winning images were selected by a panel of judges including architects Zaha Hadid, Eva Jiřičná, and Graham Stirk and Ivan Harbour of Rogers Stirk Harbour + Partners.
Winner: Trollstigen by Reiulf Ramstad Arkitekten – photographed by Ken Schluchtmann
The overall winner was a shot of the viewing platform perched high above a fjord at the Trollstigen Tourist Route in Norway by Berlin photographer Ken Schluchtmann, who has a total of four images shortlisted.
Runner-up: Dalian International Conference Center by Coop Himmelb(l)au – photographed by Duccio Malagamba
Exterior: Reindeer Pavilion by Snøhetta – photographed by Ken Schluchtmann
The winners were first announced at the end of 2013 and a selection of nine will go on show inside a renovated factory at 7–9 Woodbridge Street, London, from 28 February to 25 April.
Exterior: Absolute Towers by MAD Architects – photographed by Large + Bounhar
Here’s some additional information from Arcaid:
The Arcaid Images Architectural Photography Awards at Werkstatt
Sto presents Werkstatt – meaning workshop in German – a showcase for the whole Sto Group and a new East London cultural establishment with a lively program of exhibitions, talks, workshops and consultations. The inaugural exhibition is Building Images: The Arcaid Images Architectural Photography Awards 2013 which shows the breadth and invention in both architecture and photography today.
Sense of place: Tungeneset by Code Arkitektur – photographed by Ken Schluchtmann
Arcaid Images is a photographic resource representing images from all aspects of the built world, ancient and modern, iconic and ordinary. The Arcaid Images Architectural Photography Awards started in 2012. This year’s judges were: Zaha Hadid, Ivan Harbour, Catherine Slessor, Eva Jiricna and Graham Stirk.
Interior: Shanghai Museum of Glass by Coordination – photographed by Ken Schluchtmann
The exhibition will present nine shortlisted photographs including The Awards’ winner Ken Schluchtmann’s photograph of ‘Nasjonale Turistveger’ Trollstigen, Norway. A building suspended in clouds next to a waterfall, which highlights the magical nature of architecture and its power within a landscape.
Interior: Liverpool Central Library by Austin-Smith:Lord – photographed by Keith Hunter
Friederike Meyer: “Described as much more than mere reproductions, Schluchtmann’s images penetrate to the very essence of his subjects. They distil light and colour in a long process involving both analogue and digital techniques, imbuing photographs with an unusually sculptural depth. Some say they create incarnations of design in the way that other photographers create incarnations of fashion.”
Buildings in Use: Pátio des Escolas by José Barra and Gonçalo Byrne – photographed by Fernando Guerra
Other remarkable photographs being shown in large scale c-type prints beauty include Adam Mørk’s ‘exterior shortlisted’ photograph of The Blue Planet, Denmark and in ‘the buildings in use category’ Fernando Guerra’s striking image of Pátio des Escolas, Portugal.
Interior: Dalian Congress Centre by Coop Himmelb(l)au photographed by Duccio Malagamba
The Arcaid Images Architectural Photography Award aims to put the focus on the skill and creativity of the photographer.
Interior: Citta del Sol by Labrics – photographed by Fernando Guerra
The judges and the viewers are asked to look beyond the architecture to the composition, light, scale, atmosphere, sense of place and understanding of the project.
The exhibition mirrors the innovation available in this three-storey renovated factory in the heart of Clerkenwell. A full range of Sto Group’s products are at Werkstatt for architects to play and create with, including glass and rendered rainscreen cladding, seamless acoustics, facade elements and photo catalytic interior paint coating.
Sense of place: exterior approach to the Shanghai South Railway Station – photographed by James Leynse
Werkstatt also extends out from its hub in Clerkenwell to offer connections to Sto’s international network of technical experts with local and global knowledge. Werkstatt is a workshop for international designers and architects to meet, hear, see, be inspired, photography in relaxed surroundings with a backdrop of Sto innovation.
Exterior: The Blue Planet by 3XN – photographed by Adam Mørk
Interview: when designer Isabelle Olsson joined the secret Google X lab in 2011, Google Glass looked like a cross between a scuba mask and a cellphone. In this exclusive interview, Olsson tells Dezeen how she turned the clunky prototype into something “beautiful and comfortable”.
Sketch of Glass with frames from the Glass design team
“When I first joined I had no idea what I was going to work on,” she said, speaking via a Google Hangout video link from New York. “Then I walked into a room full of engineers wearing a prototype of the glasses. These were very crude 3D-printed frames with a cellphone battery strapped to the legs. They weighed about 200 grams.”
She was given her first brief, which was “to make this beautiful and comfortable”.
“My initial goal was: how do we make this incredibly light? I set up three design principles; if you have something that is very complex you need to stick to some principles. The first was lightness, the second was simplicity and the third scalability”.
The original Google Glass frame, launched in 2013, designed by Isabelle Olsson’s team
“We would first start by sketching by hand,” she said. “Then we would draw in Illustrator or a 2D programme. Then we would laser-cut these shapes in paper.”
“After many iterations the team would start to make models in a harder material, like plastic. And then we got into laser-cutting metals. So it was an intricate, long, back-and-forth process.”
This painstaking, craft-led approach was essential when designing something that will be worn on the face, Olsson believes.
Google Split frames
“A 0.2mm height difference makes a complete difference to the way they look on your face,” she said. “What looks good on the computer doesn’t necessarily translate, especially with something that goes on your face. So as soon as you have an idea you need to prototype it. The next stage is about trying it on a couple of people too because something like this needs to fit a wide range of people.”
She now leads a team of less than ten designers at Google X, including “graphic designers, space and interior designers, design strategists and industrial designers but also people who work in the fashion industry”.
She says: “The funny thing is almost nobody on the design team has a technology background, which is very unusual for a tech company. But the great thing about that is that it keeps us grounded and keeps us thinking about it from a lifestyle product standpoint.”
Google Edge shades
With Glass, she was keen to ensure the product was as adaptable and accessible as possible, to ensure it could reach a wide range of potential users. “From the very beginning we designed Glass to be modular and to evolve over time,” she said.
“We’re finally at the beginning point of letting people wear what they want to wear,” Olsson said. “The frames are accessories so you detach the really expensive and complex technology from the style part: you can have a couple of different frames and you don’t need to get another Glass device.”
Images are courtesy of Google.
Here’s an edited transcript of the interview:
James Pallister: Can you start by telling me a little bit about how you started designing Google Glass?
Isabelle Olsson: Two and a half years ago I had a very simple, concise brief, and it was to make this [prototype of Google Glass] beautiful and comfortable. When I first joined I had no idea what I was going to work on. I just knew I was joining Google X and working on something new and exciting.
Then I walked into a room full of engineers wearing a prototype of the glasses. These were [very crude] 3D-printed frames with a cell-phone battery strapped to the legs. They weighed about 200 grams.
James Pallister: What were your initial design intentions?
Isabelle Olsson: My initial goal was: “how do we make this incredibly light?”. I set up three design principles; if you have something that is very complex you need to stick to some principles. The first was lightness, the second was simplicity and the third scalability.
The first thing that made me nervous was not how are we going to make this technology work but how are we going to be able to make this work for people; how are we going to make people want to wear the glasses? The first thing that came to mind is that when you walk into a glasses store you see hundreds of styles.
From the very beginning we designed this to be modular and be able to evolve over time. So in this version that you have probably seen already, there is this tiny little screw here and that is actually meant to be screwed off and then you can remove this frame and attach different kinds of frames.
Screenshot from Dezeen’s Google Hangout with designer Isabelle Olsson showing how wearers can attach different frames to the Glass
James Pallister: You’re launching new prescription frames and sunglasses which fit the Google Glass you launched in 2013?
Isabelle Olsson: Yes. What is really exciting is that this is our first collection of new frames. The frames are accessories so you detach the really expensive and complex technology from the style part: you can have a couple of different frames and you don’t need to get another glass device. So we’re finally at the beginning point of letting people wear what they want to wear.
James Pallister: How many people were on the team who refined the clunky prototype into what we see today?
Isabelle Olsson: The team started off very, very small: it was like a little science project. As we started to transition it into something that you could actually wear we have grown the team. Our design team is still really small. So in the design team I can count them on my 10 fingers.
James Pallister: What kind of people do you have on your team?
Isabelle Olsson: I really believe in having a mixed team: graphic designers, space and interior designers, design strategists and industrial designers but also people who work in the fashion industry. The funny thing is almost nobody on the design team has a technology background, which is very unusual for a tech company. But the great thing about that is that it keeps us grounded and keeps us thinking about it from a lifestyle product standpoint.
Screenshot from Dezeen’s Google Hangout with Isabelle Olsson showing the prototype of Google Glass, which Olsson’s design team developed into a sleek design
James Pallister: Is that one of the strengths of the team, that you are not too obsessed the technology?
Isabelle Olsson: There’s often the view that designers and engineers have to fight; that there should always be a constant battle. I don’t believe that. I think that view belongs in the 1990s.
James Pallister: Are the glasses manufactured by Google?
Isabelle Olsson: They are made in Japan. They are made out beautiful titanium that is extremely lightweight and durable.
James Pallister: With the spectacles and sunglasses, how did you choose which styles to develop?
There actually aren’t that many styles out there, so we looked at the most popular styles and condensed then into these really iconic simplified versions of them. Bold for example is great for people that would normally prefer kind of a chunky, square style. Curve, which I’m wearing, is perhaps a little more fashion-forward. And Split is for those who like almost rimless glasses or ones which are lighter on your face. Then Thin is this very classic traditional simple style that doesn’t really stand out.
James Pallister: Had you ever designed glasses before?
Isabelle Olsson: I have designed glasses and jewellery. So it wasn’t completely new but we did spend a long time refining these. We wanted the shape to be absolutely perfect. A 0.2mm height difference makes a complete difference to the way it looks on your face. Prototyping was absolutely crucial. We also cut paper and used laser cutting and used 3D printing.
James Pallister: Could you explain the design process?
Isabelle Olsson: We would first start with sketching by hand. And then Illustrator or a 2D programme, then we would laser-cut these shapes in paper and do many alterations [iterations?]. Then we would go into a harder material, like a plastic.
Once we have the icons, then we got it into 3D. And then 3D print that. Then we got into laser-cutting metals. So it is a long, intricate, back-and-forth process.
Google Classic shades
James Pallister: So it was quite a manual process? It wasn’t so much using models and computers?
Isabelle Olsson: Yes. What looks good on the computer doesn’t necessarily translate, especially with something that goes on your face. So as soon as you have an idea, you need to prototype it to see what is broken about it. You can then see what looks weird. It can be completely off – too big or too nerdy and you look crazy! It can be a case of a couple of millimetres.
The next stage is about trying it on a couple of people too because something like this needs to fit a wide range of people. That is what I think is most exciting is that everyone on our team uses Glass. We gave them prototypes early on. It was interesting to get feedback from them and it was also valuable for me to see people walking around with them everyday.
James Pallister: What do people pay to get the device?
Isabelle Olsson: So the Explorer edition [the version of Glass released last year] is now $1500 then this new prescription glasses accessory is going to be $225.
James Pallister: Did you have to build different software to cope with the curvature of the lens?
Isabelle Olsson: No, it just works for the regular device. What’s great about it is that our existing Explorers can buy the accessory, which is just the frame part, and then attach it to their device.
James Pallister: How long do you think it will be before wearing Google Glass becomes a normal, everyday thing? Five years? Ten years?
Isabelle Olsson: Much sooner than 10 years I would say. The technology keeps on evolving. That’s the critical part about the Explorer programme [the early adopters who have been given access to Glass], to get people out in the world using Glass in their daily lives. Once more people have it, people are going to get used to it faster.
Even with the original edition or the base frame, after half an hour people say that they forget they are wearing it. When you put it on, it is so lightweight; you can personally forget that you are wearing it. Then it is about other people around you getting used to it. It takes maybe three times that amount for that to happen.
James Pallister: Have you heard of any unexpected uses of Glass?
Isabelle Olsson: I mean personally I was hoping for these cases so when anything comes up I am more excited than surprised. The artistic use of it appeals to me as a designer, when people use it to make cool stop-motion videos or in other arts projects. But also there is this firefighter who developed this special app so he can see the floorplan of a building, so it could help save lives. The more people I see using it, the more exciting it gets and the more diverse it becomes.
Google Thin frames
James Pallister: Some people are predicting that wearable technology is just a stepping stone towards cyborg technology, where the information is fed directly into the brain. What do you think of that notion?
Isabelle Olsson: I think the team and myself are more interested in what we can do today and in the next couple of years, because that is going to have an impact and be really amazing. You can speculate about the future but somehow it never ends up being what you thought it would be anyway. When you see old futuristic movies, it is kind of laughable.
James Pallister: It seems that we are getting closer and closer to a situation where we can record every situation. Does that ever worry you from a privacy viewpoint?
Isabelle Olsson: I think with any new technology you need to develop an etiquette to using it. When phones started having cameras on them people freaked out about it.
Part of the Explorer programme is that we want to hear how Glass is working and when it is useful and in what instances do you use it. We are also interested in the social side, how people react when you are wearing it. What are peoples concerns, fears, issues and hopes for it.
We hope that Glass will help people to interact with the world around them, really quickly process information and move on to the conversation they were having.
James Pallister: What do you think is the next stage for Glass?
Isabelle Olsson: Tight now we are definitely focused on slowly growing the Explorer programme, making sure that people get these frames in their hands – or on their faces should we say. We are really excited about that and obviously we are working on prioritising feedback and also creating next generation products that I can’t talk about!
James Pallister: Are there any types of technology that you think Glass will feed into in the future?
Isabelle Olsson: I think a lot of things. It is hard for us to speculate without revealing things but the focus is to make technology a more natural part of you and I think any type of services that does that. Glass is going to feed that.
News: Finnish furniture brand Artek has acquired the production facilities that were used by its co-founder Modernist architect Alvar Aalto to develop his signature bent wood furniture.
HKT Korhonen, a factory founded by Otto Korhonen near the Finnish city of Turku, has been used by Artek ever since the furniture company was founded by Aalto, his wife Aino, art promoter Maire Gullichsen and art historian Nils-Gustav Hahl in 1935.
“Under its new owner, Artek comes into contact with a significantly larger and more international market,” said a statement from the brand. “When the chain of operations also includes manufacture, production can be developed to better serve a continuously evolving and growing market.”
Aalto designs produced at the factory include Armchair 41 (this image) and Stool 60 (main image)
Artek’s core archive comprises Aalto’s birch wood furniture designs, which were originally created in cooperation with Otto Korhonen’s factory. These designs include Armchair 41 created for the Paimio Sanatorium that Aalto completed in 1932 and Stool 60, the much-copied classic that’s been in continuous production since 1933.
The statement adds that “a proprietary manufacturing company also offers a framework for product development at Artek.”In recent years the brand has been collaborating with high-profile contemporary designers, including Shigeru Ban and Naoto Fukasawa, to develop new products.
The buy-out by Vitra in September was intended to give Artek a more international presence. Speaking about the deal at the time, Artek CEO Mirkku Kullberg said: “The international dimension, which was a clear goal already in Artek’s founding manifesto of 1935, needed to be revitalised.”
Artek will make the next major presentation of its portfolio at the Stockholm Furniture Fair next week.
Dystopian Brutalist Outerwear, which Van Strien exhibited at the Design Academy Eindhoven graduate show during Dutch Design Week last year, consists of five coats made out of cut sheets of folded tarpaulin.
“It’s a kind of trend forecast for a dystopian future that, when everything is not so great with the economic stuff that’s going on right now, we might be heading towards,” says Van Strien. “It will be cold; people will be unhappy; we’ll be living in buildings that are just grey blocks. These are coats that we could produce for people that don’t have a lot of money, when we don’t have a lot of materials, when a coat needs to last for a lifetime.”
Van Strien says he chose tarpaulin because it is cheap, resilient and simple to work with.
“[The coats] are all cut from a single piece of black tarpaulin,” he says. “You then have to weld the parts together with heat. In the front I’ve made closures with magnets and that’s pretty much it. This material is super easy to work with, you don’t need to finish it or anything and it will last forever.”
The coats were designed to provoke a reaction and make people think about where the world could be heading, Van Strien says.
“A lot of people feel a bit creeped out [by the coats] and that is the goal, that we think about how we’re handling our social malaise,” he explains. “I see myself as a fashion designer, so I’ve looked at this from a purely aesthetic point of view. But the thought behind it is something that I feel very strongly about. I never make a garment just because it’s pretty, it always has to tell a story.”
Despite being designed for a future that does not exist yet, Van Strien says he has been approached by a number of people interested in putting the coats into production.
“I was not planning on putting these coats into production when I first made them, it was just a statement,” he says. “But a couple of parties have come up and they asked me if I wanted to take them into production so now I’m considering it.”
Martijn Van Strien. Copyright: Dezeen
We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.
Grima and his Genoa-based design and research collaborative Space Caviar will curate a programme of exhibitions, talks and films for Biennale Interieur 2014, which will investigate the current role of the home and the future of interiors.
“Interieur is one of Europe’s oldest design biennials, and has a remarkable tradition of advancing critical thinking with specific regard to the domestic sphere – a realm that is rarely explored or challenged by any other biennial,” said Grima.
“It is therefore the perfect context within which to conduct an investigation into domesticity as the site of encounter between design and everyday life today.”
The research will focus on how shifts in society and technology could impact domestic life and the design of homes.
“We were struck by how urgently such an investigation into the condition of the domestic sphere is needed – particularly considering the rapidly-evolving context of the twenty-first-century city and the central role of the home in the present crisis,” Grima said.
Space Caviar’s investigation will take the form of a multi-site exhibition, a series of talks and panels, and a film programme at the event, plus a book revealing the findings.
The twenty-fourth edition of the biennale will take place from 17 to 26 October, encompassing exhibitions and events across Kortrijk.
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