Un lieu parfait si vous aimez observer le monde autrement, comprendre les objets qui vous entourent et explorer le design comme un formidable outil de lecture de nos sociétés, lors d’une visite culturelle à Bruxelles, seul, en couple ou en famille curieuse.
Le Design Museum Brussels est situé dans la partie nord de la ville de Bruxelles, à 5 minutes à pied de la station de métro et tram Heysel (ligne 6 et 7) et juste en face du Palais 5, à 100 m de l'Atomium. • Métro : ligne 6 - station Heizel / Heysel • Tram : ligne 7 - station Heizel / Heysel • Bus : ligne 14 et 83 - station Heizel / Heysel • Bus touristiques : arrêt des bus rouges (City Sightseeing Brussels) à 100m, au pied de l’Atomium • Villo : station 281 à 30m (Boulevard du Centenaire) • Parking voiture de 500 places payantes à 50m de l'entrée (Parking Trade Mart - Avenue de l'Atomium)
6 Heysel /Heizel
7 et 62 Heysel / Heizel
Informations
Design Museum Brussels, comprendre le monde à travers les objets
À deux pas de l’Atomium, le Design Museum Brussels vous invite à regarder autrement les objets qui peuplent notre quotidien. Né de l’acquisition d’une collection privée par l’Atomium, ce musée est entièrement dédié au design du 20? siècle à nos jours, avec une ambition claire : rendre le design compréhensible, accessible et profondément humain.
Le design comme miroir de nos sociétés
Ici, le design ne se limite pas à la forme ou à l’esthétique. Il est présenté comme le témoin des évolutions économiques, sociales, culturelles, idéologiques et techniques de chaque époque. À travers les expositions, on découvre comment les objets racontent nos modes de vie, nos valeurs, nos innovations et parfois même nos contradictions.
Le parcours invite à observer, à questionner, à faire des liens. Une chaise, une lampe ou un objet du quotidien deviennent alors des clés de lecture pour mieux comprendre le monde dans lequel ils ont été conçus.
Des collections emblématiques et engagées
Depuis 2015, la Plastic Design Collection explore l’usage du plastique dans le design, du milieu des années 1950 jusqu’à aujourd’hui. Cette collection emblématique éclaire le paysage créatif et technique de la seconde moitié du 20? siècle, tout en interrogeant notre rapport aux matériaux et à leurs impacts.
En septembre 2020, le musée a également inauguré belgisch design belge, un espace d’exposition permanente consacré au design belge. On y découvre une scène riche, diverse et singulière, révélant le talent, l’inventivité et la capacité d’innovation des designers belges à travers les décennies.
Un lieu vivant, ouvert et accessible
Au-delà de ses collections, le Design Museum Brussels se veut une plateforme de réflexions et d’échanges. Les expositions temporaires, la programmation culturelle et les actions de médiation croisent disciplines et regards, dans une approche volontairement transversale, inclusive et accessible.
Le musée accompagne également les grandes transitions de notre époque, en interrogeant le rôle du design face aux enjeux contemporains. Espace de sensibilisation et d’éducation, il encourage le développement de l’esprit critique et rapproche le design de la société, sans jamais le rendre élitiste.
Entre mémoire et avenir
En préservant et en transmettant l’héritage matériel et immatériel du design, le Design Museum Brussels joue aussi un rôle essentiel d’archivage des savoirs. Il conjugue mémoire et prospective, héritage et innovation, pour nourrir la compréhension des générations présentes et futures.
Visite guidée
(Max. 20 pers.) sur réservation : info@designmuseum.brussels ou +32 2 669 49 21
• Langues : FR, NL, EN, DE • Tarif : Contactez-nous.
Le Design Museum Brussels est un lieu dédié au design et à son histoire. Venez découvrir tous les champs des possibles de la création en design, sous toutes ses facettes, depuis le 20ème siècle jusqu’à nos jours. Et y aller en train, c’est la classe !
------------------------
Vivez cette élégante escapade en train à un très beau prix : achetez vos tickets pour le Design Museum Brussels et bénéficiez d’une réduction de 50% avec le Discovery Ticket !
Achetez votre e-ticket sur https://designmuseum.brussels/ et ajoutez gratuitement un bon Discovery Ticket à votre panier d’achat.
Repérez le code Discovery Ticket sur votre e-ticket Design Museum Brussels : il s'agit d'un code de 16 caractères.
01/04/2026 - 20/09/2026:
* monday, tuesday, wednesday, thursday, friday, saturday and sunday: from 11:00 to 19:00
Prix
Normal: 11,00 € - Article 27: 1,25 €
As a testing ground for new materials and production processes, children’s furniture has left its mark on the history of 20th-century design. It embodies the ambitions, social changes and technological advances of its era. Gradually recognised as individuals in their own right, children are no longer seen as ‘little adults’ and have carved out a specific place for themselves in the home, society and the market.
As explorers of the world, children learn, play and express themselves through the objects that populate their daily lives. After the Second World War, home design evolved: children’s bedrooms and playrooms appeared, offering young children spaces conducive to creativity and imagination. Furniture then became a tool for learning as much as a means of emancipation.
Designers found children’s furniture to be a privileged field for experimentation. In the 1960s, the rise of polymers paved the way for new forms, free from traditional constraints. These materials made it possible to invent lightweight, ergonomic and playful furniture without sharp angles. Many designers embraced this field: Jean Prouvé, Alvar and Aino Aalto, Hans Wegner, Charles and Ray Eames, Nanna Ditzel, Bruno Munari, Javier Mariscal and, more recently, Stéphanie Marin, each offering a vision of childhood as a field of experimentation and freedom.
In this new collaboration, the Design Museum Brussels enriches the narrative initiated by the Centre Pompidou by highlighting the Belgian contribution. Through pieces from its collections, the museum emphasises the vitality of design in Belgium, in resonance with major international narratives. It reveals an approach that is attentive to children’s needs, integrating ecological and educational issues from an early stage. From children’s bedrooms designed by Sylvie Feron in the 1930s to Jules Wabbes, to the current initiatives of the ecoBirdy duo with the Charlie chair made from recycled plastic, Belgian designers also introduce childlike singularity into the domestic space. Thus, design in Belgium reflects a creativity where formal innovation is combined with a reflection on society and the environment.
Today, at a time of new environmental, social and technological challenges, children’s furniture continues to reflect its era. 3D printing, open source, recycled materials and local manufacturing herald a new generation of creative, responsible and accessible furniture.
This universe remains a formidable laboratory where imagination, learning and innovation come together, reminding us that design, at a child’s level, also illuminates our common future.
24/04/2026 - 25/10/2026:
* monday, tuesday, wednesday, thursday, friday, saturday and sunday: from 11:00 to 19:00
Prix
Normal: 11,00 € - Article 27: 1,25 €
In 1826, François Kemlin and Auguste Lelièvre founded the public limited company ‘Verreries et Établissements du Val Saint-Lambert’ in Seraing. The glassworks quickly benefited from considerable investment, which promoted technical progress, the growth of exports and the promotion of a young national industry. In 1879, they became Cristalleries du Val Saint-Lambert, a key player that successively bought up several glassworks and, between 1880 and 1914, enjoyed a real golden age: more than 5,000 workers, outlets all over the world and a reputation consolidated by prestigious participations in the World’s Fairs, from 1894 in Antwerp to 1925 in Paris. Throughout its existence, Val Saint-Lambert has successfully reinvented itself, navigating the Art Nouveau era, the 1930s and the post-war period by collaborating with renowned artists and designers: Léon Ledru (1855–1926), the Muller brothers (Henri Muller, 1868–1936; Désiré Muller, 1877–1952; Eugène Muller, 1883–1914), Charles Graffart (1893–1967), René Delvenne (1901–1968), Yan Zoritchak (born in 1944) and Philippe Starck (born in 1949).
In 2026, Cristalleries will celebrate its bicentenary. To mark this anniversary, the Design Museum Brussels is joining forces with several museums and scientific institutions to highlight this jewel of Belgian industrial heritage and creativity. In collaboration with the Charleroi Glass Museum and curated by Catherine Thomas and Anne Vanlatum, the exhibition Val Saint Lambert & Design at the Design Museum Brussels is dedicated to the creative output of Val Saint-Lambert from the 1958 World’s Fair to the early 2000s, a period that witnessed an unprecedented creative renewal. It embodies Val Saint-Lambert’s desire to preserve craftsmanship while bringing it into the modern era and engaging in constant dialogue with design. In line with the American Studio Glass movement, it opened its doors to international artists and designers who, alongside the crystal factory’s master glassmakers, experimented with new forms and pushed the boundaries of creation. Crystal, a material that symbolises artisanal excellence, became the medium for bold creations, combining traditional know-how with aesthetic innovations. Created in 1989 under the impetus of director Patrick Depuydt, the Crystal Studio marked a decisive step in the history of Val Saint-Lambert.
Through this joint exhibition, the Design Museum Brussels and the Charleroi Glass Museum invite their visitors to discover the Crystal Studio, a founding chapter in the contemporary history of glass, reflecting the dynamism, the innovation and the international influence of the Cristalleries du Val Saint-Lambert.
20/11/2026 - 07/03/2027:
* monday, tuesday, wednesday, thursday, friday, saturday and sunday: from 11:00 to 19:00
Prix
Normal: 11,00 € - Article 27: 1,25 €
The Design Museum Brussels presents a unique exhibition dedicated to Pierre Lallemand, an architect and designer from the contemporary Belgian scene. Through a rich and well-documented exhibition route, visitors are invited to discover more than thirty years of creative work at the crossroads of design and architecture.
Preparatory drawings, models, prototypes, objects, furniture, and experimental pieces mark the exhibition and reveal the singular universe of a creator for whom each project is a form of research in itself. The exhibition highlights a body of work in which technical rigour is in constant dialogue with formal freedom, as well as with a critical reflection on our built environment.
Trained in Brussels at the end of the 1970s, Pierre Lallemand developed an early, highly personal approach to design, shaped by experimentation, attention to detail, and a direct relationship with manufacturing. The first part of the exhibition looks back at his beginnings on the Brussels scene of the 1980s, notably through his first lighting designs shown at Galerie Théorème. These pieces already demonstrate an interest in hybrid objects, oscillating between function and sculptural expression.
The exhibition then explores the international dimension of his career. Visitors discover how his experiences in Italy, within the Milan-based firm BBPR, and later in the United States working with César Pelli, profoundly influenced his way of thinking about space, from furniture to architecture, from object to city. This global vision is reflected in the wide variety of projects presented: bicycles, sailboats, sculptures, furniture and architectural studies.
Throughout the exhibition, a coherent and committed approach emerges, in which each work is conceived as an act of visual thinking. For Pierre Lallemand, designing means questioning form, use, and the poetic dimension of the objects that surround us.
The Design Museum Brussels offers an immersive journey into a body of work in constant motion, shaped by the technical, urban, and cultural challenges of our time, and invites visitors to (re)discover design as an open, experimental field, deeply connected to the way we inhabit the world.