Made in Slovenia 2022

090 115

Made in Slovenia 90–115

Centre for Creativity (CfC) Museum of Architecture and Design, Ljubljana

Center za kreativnost (CzK) Muzej za arhitekturo in oblikovanje, Ljubljana

The Centre for Creativity presents innovative products by Slovenian designers who break with the established, albeit often bad social habits. Through the products presented at this exhibition, the designers offer a critique of the existing economic and social systems as well as a different perspective on serial production. They bring new uses, new functionalities and materiality as well as a concern for healthy environments and society. They share a desire to reveal the background behind the product development process and the idea of using good design to build a community. They emphasise the value of combining digital and manual work, with the latter serving as a tool for people’s psychosocial empowerment.

The presented designers are looking for ways to reconnect people into a community, motivate them to look up from their screens, and to start socialising again. Their message is this: after we’ve been separated by the pandemic, discrimination, racisms and nationalisms, mistrust of state institutions, economic stratification, and climate change, it is design that can bring us back together.

So welcome to “New Times”!

Predstavljamo inovativne izdelke slovenskih oblikovalcev, ki opuščajo ustaljene, pogosto škodljive družbene navade. Z izdelki, ki so na ogled na tej razstavi, oblikovalci izražajo kritiko obstoječih ekonomskih in družbenih sistemov ter ponujajo drugačen pogled na serijsko izdelavo. Prinašajo nove načine uporabe, novo funkcionalnost in materialnost ter skrb za zdravo okolje in družbo. Skupna sta jim razkrivanje ozadja nastanka izdelka in želja po povezovanju človeštva v skupnost s pomočjo dobrega oblikovanja. Poudarjajo vrednost spoja digitalnega in ročnega dela, pri čemer slednje služi kot orodje za psihosocialno opolnomočenje posameznika.

Za oblikovalce, ki jih predstavljamo, je pomembno iskati načine, kako družbo ponovno povezati v skupnost, jo odvrniti od zaslonov in spodbujati druženje. Sporočajo, da nas lahko oblikovanje – potem ko so nas ločili pandemija, diskriminacija, rasizmi in nacionalizmi, nezaupanje v državne institucije, ekonomsko razseljevanje in podnebne spremembe – ponovno poveže.

Dobrodošli v »novih časih«!

Selection committee 2022:

• Luka Stepan, designer

• Ana Kyra Bekš, service designer

• Maja Vardjan, architect and curator

• Primož Jeza, architect and designer

• Mika Cimolini, architect

The products serve as a kind of forecast for the future of living, in which raw materials are no longer available in abundance, production methods and human resources need to be rationalised, and products are adapted to users who want customised solutions. These come with innovative, technologically advanced production that producers and designers blend with their love of life and nature.

With the »Made in Slovenia« mark of excellence we support and back the development of products and services that combine creativity with a business vision. We are building a collection that will be recognised worldwide as good Slovenian design, which will promote sustainable principles and contribute to cooperation between the creative and the business sector with the aim of furthering social progress and the development of innovative products and services, as well as build the visibility of Slovenian brands.

The logo created by Studio Kruh collective was selected in a public competition. The expert committee recognised its strength in the absence of symbolism. The logo is conceived as an optical

graphic code, which is unique and computer generated for each product. Our aim is for manufacturers and designers to recognise it as a tool that effectively communicates the characteristics of their products and services.

The Centre for Creativity confers the »Made in Slovenia« mark of excellence once a year. The mark may only be used by those designers or manufacturers who have been awarded it by the CfC / MAO panel of judges, who assess the excellence of products based on the following criteria:

❶ the product is more than 50% made in Slovenia

❷ the product is designed in Slovenia

❸ the product is sustainable (applying the principles of circular economy),

❹ the product is innovative (in terms of technology, design and similar),

❺ the product is straightforward, functional and thoughtfully designed, ❻ the product is socially engaged.

In many respects, the range of products that carry the »Made in Slovenia« mark of excellence represents the concerted efforts by the Centre for Creativity

– which operates under the wing of the Museum of Architecture and Design – to promote, support and develop the cultural and creative sector in Slovenia with the aim of facilitating a collaboration with the business, science and education sectors.

Komisija za izbor izdelkov 2022:

• Luka Stepan, oblikovalec

• Ana Kyra Bekš, oblikovalka storitev

• Maja Vardjan, arhitektka in kustosinja

• Primož Jeza, arhitekt in oblikovalec

• Mika Cimolini, arhitektka

Nabor izdelkov, ki so prejeli znak odličnosti »Made in Slovenia«, v mnogočem predstavlja napore Centra za kreativnost, ki deluje v sklopu Muzeja za arhitekturo in oblikovanje – povezovati, promovirati, podpirati in razvijati kulturni in kreativni sektor v Sloveniji ter ga aktivneje povezati z gospodarstvom, znanostjo in izobraževanjem.

Izdelki napovedujejo prihodnost bivanja, kjer surovih materialov ni več v izobilju, kjer je treba racionalizirati načine produkcije in uporabe človeških virov ter izdelke približati novi generaciji uporabnikov, ki si želijo njim prilagojene rešitve. Te so v tehnološko napredni in inovativni izdelavi, ki jo proizvajalci in oblikovalci združujejo z ljubeznijo do življenja in narave.

Z znakom odličnosti »Made in Slovenia« spodbujamo razvoj izdelkov in storitev, ki združujejo ustvarjalnost s poslovno vizijo. Ustvarjamo kolekcijo, ki bo v svetu prepoznana kot dobro slovensko oblikovanje, promovirala trajnostna načela ter prispevala k sodelovanju med kreativnim in gospodarskim sektorjem z namenom družbenega napredka, razvoja inovativnih izdelkov, storitev in prepoznavnosti slovenskih blagovnih znamk.

Znak, ki ga je oblikoval kolektiv Studio Kruh, smo izbrali na podlagi javnega natečaja. Strokovno komisijo je prepričal predvsem s svojo odsotnostjo simbolike. Znak je zasnovan kot optična grafična koda, ki je unikatna in računalniško generirana za vsak izdelek po-

sebej, na podlagi unikatnih parametrov izdelka. Želimo si, da bi ga proizvajalci in oblikovalci prepoznali kot učinkovit znak za sporočanje lastnosti njihovih izdelkov in storitev.

Znak odličnosti »Made in Slovenia« Center za kreativnost podeljuje enkrat letno. Znak lahko uporabljajo samo tisti oblikovalci ali proizvajalci, ki jim ga je podelila strokovna žirija CzK/MAO; ta odličnost izdelkov oceni na podlagi v naprej določenih kriterijev:

❶ da je izdelek v več kot 50 % izdelan v Sloveniji, ❷ da je izdelek oblikovan v Sloveniji, ❸ da je izdelek trajnosten (po principi krožnega gospodarstva), ❹ da je izdelek inovativen (tehnološko, oblikovno …), ❺ da je izdelek oblikovno domišljen, jasen in funkcionalen ter ❻ da je izdelek družbeno angažiran.

Hashtag Chair Stol 91

The chair emphasizes the beauty of wood and, by simple means, encourages the user to change sitting positions. At first glance a conventional piece of furniture, its shape redefines the ergonomics of seating and seeks a connection to traditional wooden chairs through its functionality. The main feature of the chair is the split backrest, which in combination with different inclinations creates a unique ergonomic function that encourages the user to change positions, making sure it keeps the body moving. Made locally from locally sourced wood the chair is made from a threemeter-long board, with the aim to ensure maximum durability and reduced carbon footprint.

Stol poudarja lepoto lesa in s preprostimi sredstvi spodbuja spreminjanje položaja med sedenjem. Na prvi pogled konvencionalen kos pohištva s svojo funkcionalnostjo premišlja ergonomijo sedenja in išče navezavo na tradicionalne lesene stole. Glavna značilnost stola je razdeljeno naslonjalo, ki s kombinacijo naklonov ustvarja edinstveno ergonomsko funkcijo: ta sedečega uporabnika spodbuja k spreminjanju položajev in skrbi, da se ne zasedimo. Izdelek je bil zasnovan z mislijo na trajnost in zmanjšanje ogljičnega odtisa, zato je narejen brez odpadka (iz tri metre dolge deske).

With Tetris we have created an affordable, multifunctional product that is more than just a bookend (or a book stand). The spatial elements of the stand create a three-dimensional play, collaboration; they define and transform space, while creating a visually appealing structure on monotonous bookshelves. They can also be used as a stand or storage area for books, tablets or kitchen utensils. They are made almost without waste, with the help of laser cutting and folding of metal plates, allowing us to utilize metal scraps from other production processes.

Stojala za knjige

P Folds W folds.eu Materials Material ① coloured metal barvana kovina

Z izdelkom Tetris smo ustvarili dostopen, večfunkcionalen izdelek, ki ni zgolj stojalo za knjige. Prostorski elementi stojala oblikujejo tridimenzionalno igro in sodelovanje, definirajo in preoblikujejo prostor, hkrati pa na monotonih knjižnih policah ustvarjajo vizualno privlačno strukturo. Uporabljajo se lahko tudi kot stojalo ali odlagalna površina za knjige, tablice ali kuhinjske pripomočke. Izdelujemo jih skoraj brez odpadka, s pomočjo laserskega izreza in s prepogibanjem kovinskih plošč. Pri tem lahko porabimo kovinske ostanke drugih proizvodnih procesov.

Colours Barve  red rdeča  white bela  black črna  green zelena  yellow rumena M / T W / H / L A 0.2 - 0.5 KG 15 / 15 / 15 CM B 0.2 - 0.5 KG 15 / 15 / 30 CM C 0.2 - 0.5 KG 15 / 30 / 30 CM

D Folds (Anja Mencinger, Nikolaj Salaj)

Olive Crystal vases

Kristalne vaze

Much of the author's work, including this project, relates to constant efforts to maintain and develop the skills of manual glass design, which are gradually being lost to robots. These invaluable skills and processes such as hand grinding, engraving and glass blowing, which masters have been perfecting for many years, are difficult to redevelop once they are lost. The Olive vase collection is made by hand, by grinding in a sophisticated technique with carborundum grinding heads, named after the slang term for the type of grinder called “olive”, which was used to produce the vases.

D Brina Steblovnik

P Brina Steblovnik

W brinasteblovnik.com

Materials Material

① crystal glass kristalno steklo ② opal glass opalin

Velik del avtoričinega delovanja, tudi ta projekt, se nanaša na prizadevanja za ohranitev in razvoj spretnosti ročnega oblikovanja stekla, ki ga po svetu izpodriva robotizirana proizvodnja. Izgubljamo neprecenljive spretnosti postopkov, kot so ročno brušenje, graviranje in pihanje stekla, za katere se mojstri izpopolnjujejo dolga leta in ki jih težko ponovno razvijemo, ko so enkrat izgubljene. Kolekcija vaz Olive je izdelana ročno, z brušenjem v zahtevni tehniki s karborundnimi brusnimi glavami. Poimenovana je po žargonskem izrazu za uporabljeni tip brusa (»oliva«).

W / H / L 20 / 20 / 40 CM M / T 10 - 15 KG

Pra Carpet Preproga

Making a carpet out of corn husk is easy. Instead of buying a product we can just as well make it ourselves, with the help of online courses. We begin by weaving a braid, which we later sew together into a circular or oval shape. Corn husk has been used by different nations around the world, from Native Americans to the Japanese. In Slovenia, corn husks have traditionally been used for doormats. The aim of this project is also to transfer knowledge and preserve traditional manufacturing techniques. This is a simple example of circular economy, where waste is the basic raw material for a product that can be composted when its life cycle is completed.

D Darja Malešič

P Darja Malešič W darjamalesic.net

Materials Material ① Corn husk koruzno ličje ② cellulose fiber cord vrvica iz celuloznih vlaken

Izdelava preproge iz ličkanja je preprosta. Namesto da izdelek kupimo, ga lahko s pomočjo spletne učilnice izdelamo tudi sami. Najprej iz ličkanja spletemo kito in jo nato sešijemo v krog ali oval. Ličkanje so tradicionalno uporabljali narodi po vsem svetu. Izdelke iz koruznega ličkanja najdemo tako pri ameriških staroselcih kot v japonski rokodelski praksi; v slovenski tradiciji se material uporablja za predpražnike. Cilj tega projekta je tudi prenos znanja in ohranjanje tradicionalne tehnike izdelave. Gre za preprost primer krožne ekonomije, kjer je odpadek osnovna surovina, po zaključenem življenjskem krogu pa se izdelek kompostira.

Krater Capsule Kapsula

95The Krater capsule is made from a fungal biocomposite and is designed to store a Krater ceramic cup, but can also be used to store tea. It is made from the biomass from invasive plants and the fungal mycelium that acts as a binder. At the same time it also serves as a means of communication on the issue of invasive plants and the potential of biocomposites, which could replace plastic packaging, thermal or sound insulation, etc. The material used originates from the construction pit where the Krater creative laboratory is located, so it could well be said that the product is micro-local.

D Primož Turnšek, Rok Oblak

P Krater Creative Lab / Ustvarjalni laboratorij Krater W krater.si

Materials Material ① fungal biocomposite glivni biokompozit W / H / L 14 / 14 / 16 CM M / T 0.25 KG

Krater kapsula je izdelana iz glivnega biokompozita in oblikovana za shranjevanje keramične skodelice Krater kup, lahko pa se uporablja tudi za shranjevanje čaja. Narejena je iz biomase invazivnih rastlin, glivni micelij pa deluje kot vezivo. Izdelek tudi spodbuja komunikacijo o problematiki invazivnih rastlin in potencialu biokompozitov. S slednjimi bi lahko nadomeščali plastično embalažo, umetne materiale za toplotno ali zvočno izolacijo idr. Uporabljeni material izvira iz gradbene jame na lokaciji, kjer deluje ustvarjalni laboratorij Krater, zato je izdelek mikrolokalen.

Krater Cup Kup

96The Krater Cup is a tea ceremony cup made from wild urban clay obtained from building materials around the Krater production space. It combines a sensitive, intimate experience of a tea ceremony and rough, heavy building material. Wild ceramics as an alternative to industrial ceramics is reflected in the very shape of the cup. With its coarseness, it indulges in the wild character of the local clay and frees itself from industrially planned, standardized norms. The product is still a mass-produced and usable item, where the expressive form of the extrusion process shows the character of the clay and the process of its formation.

Krater kup je skodelica za čajni obred; izdelana je iz divje urbane gline, pridobljene v okolici produkcijskega prostora Krater. Združuje senzibilno, intimno doživetje čajnega obreda in grob, težak gradbeni material. Divjo keramiko predstavlja kot alternativo industrijski keramiki, kar se odraža v sami obliki skodelice. S svojo grobostjo se ta prepušča divjemu značaju lokalne gline in je osvobojena industrijsko načrtovanih, standardiziranih norm. Hkrati pa gre še vedno za serijsko izdelan in uporaben kos posode, kjer ekspresivna oblika, nastala z ekstrudiranjem, pokaže značaj gline in proces njenega oblikovanja.

P Krater Creative Lab / Ustvarjalni

Krater W krater.si Materials Material ① wild clay ceramics keramika iz divje gline W / H / L 7 / 7 / 12 CM M / T 0.4 KG

D Rok Oblak

laboratorij

97The VERSI heat pump is versatile in use and performance, designed for buildings with space constraints and those with low heating requirements. The versatility of installation and its compactness allow for outdoor installation as well as installation in the attic, under the stairs, on a balcony or even in a cupboard. It is suitable for houses as well as apartments, listed buildings, cottages and other small buildings. The minimalist design and almost inaudible operation ensure that it blends in with its surroundings and architecture.

Toplotna črpalka

D Kronoterm, Gigodesign P Kronoterm W kronoterm.com

Materials Material ① steel jeklo ② aluminum aluminij ③ copper baker ④ abs plastic ABS-plastika ⑤ polystyrene polistiren ⑥ polyurethane poliuretan

Toplotna črpalka VERSI, zasnovana za stavbe s prostorskimi omejitvami in stavbe z majhnimi potrebami po ogrevanju, je v uporabi in izvedbi vsestranska. Raznolikost možnosti vgradnje in kompaktnost omogočata tako zunanjo postavitev kot tudi postavitev na podstrešje, pod stopnice, na balkon ali celo v omaro. Primerna je za hiše in tudi za stanovanja, za spomeniško zaščitene stavbe, vikende in druge manjše objekte. Minimalistično oblikovanje in skoraj neslišno delovanje zagotavljata zlitje z okolico in arhitekturo.

Colours Barve  anthracite antracit  nebbia nebbia  corten corten  nero nero  inox inox M / T W / H / L A 145 KG 80 / 60 / 121.5 CM B 161 KG 60 / 71 / 128 CM C 147 KG 60 / 71 / 128 CM

98RemigoOne is the world's first fully integrated 1000 W electric outboard. It comes with a patented "unibody" design (fr. Monocoque, also called structural skin), an innovative cantilevered 2-part mounting bracket and a multi-functional joystick for ride control, offering the user a completely new way of operating the boat. Fully committed to sustainability the design provides for power charging from the existing green sources (solar panels on boats) and the company made a commitment to collect and recycle spent batteries. The durable compact unibody is lightweight thanks to aluminium, which is resistant to thermal shock and can withstand the effects of the sun and saltwater.

Električni izvenkrmni motor

D Ajda Bertok, Remigo P Remigo W remigo.eu Materials Material ① aluminum aluminij ② li-ion battery litij-ionska baterija W / H / L 4 / 21 / 122 CM M / T 12 KG

RemigoOne je prvi popolnoma integriran 1000-vatni električni zunajkrmni motor na svetu. Ima patentirano »unibody« zasnovo (fr. monocoque, enotno telo, ki tvori ogrodje in obod), inovativno konzolno vpetje in večfunkcijsko krmilno palico, s stališča uporabnika pa popolnoma nov način upravljanja. Njegovo oblikovanje je že od samega začetka zaznamovala zaveza k trajnosti, zato je omogočeno napajanje iz obstoječih zelenih virov (solarni paneli na plovilih), prav tako pa tudi sprejemanje in reciklaža izrabljenih baterij. Trpežno ohišje je izdelano iz lahkega aluminija, ki je v primerjavi s plastiko zelo odporen proti temperaturnim razlikam ter vplivom sonca in slane vode.

99

The Pendulum reading and ambient lamp is entirely made of aluminium. Each of its components can be easily replaced in the event of a breakdown or damage, which significantly extends the life of the product. The reflector helps to scatter light and reduces glare. The counterweight keeps the reflector in balance in any position, while the light source (LED) remains hidden from view. It can be tilted 90° and rotated 360° around the vertical axis. The lamp can be used for reading, work, or as room decoration, both at home or in public places.

Lamp Svetilka

Bralna in ambientalna svetilka Pendulum je v celoti izdelana iz aluminija. Vsak njen sestavni del je v primeru okvare ali poškodbe moč zamenjati na enostaven način, s čimer je bistveno podaljšana življenjska doba izdelka. Senčnik pomaga razpršiti svetlobo in zmanjša bleščanje. V ravnotežju ga ohranja protiutež, in to v kateremkoli položaju, medtem ko svetlobni vir (LED) ostaja skrit očem. Možno ga je nagniti za 90° in ga za 360° zasukati okoli navpične osi. Svetilka je uporabna za branje, delo ali kot okras prostora, doma ali v javnih prostorih.

D Matej Štefanac

P Zavod RE W www.matejstefanac.com

Materials Material ① Aluminum aluminij W / H / L 24 / 24 / 40 CM M / T 1 KG

Circulum Garden Houseplant container

Posoda za sobne rastline

100Circulum Garden is a contemporary, innovative houseplant container. It stands out with its characteristic silhouette that hides many unique benefits for the user. It utilizes the properties of clay, material which allows for “passive irrigation”, i.e. penetration of water through the pores of the clay vessel, to provide just the right amount of water for healthy growth of your plants. Circulum Garden comes in three versions – as a container that “floats in the air”, as a room garden on a stand or as a container with a characteristically raised edge. The product is a result of several years of research and participation of several thousand houseplant lovers.

Circulum Garden je sodobno oblikovana, inovativna posoda za hišne rastline. Že na prvi pogled izstopa zaradi značilne silhuete, ki skriva številne enkratne prednosti za uporabnika. Izkorišča lastnosti gline in tako omogoča »pasivno namakanje« oz. pronicanje vode skozi pore glinenega jedra posode – zaradi tega je količina vode v vsakem trenutku ravno pravšnja za zdravo rast. Circulum Garden je na voljo v treh značilno posebnih izvedbah – kot posoda, ki »lebdi v zraku«, kot sobni vrt na stojalu ali kot posoda z značilno privzdignjenim robom. Izdelek je rezultat večletnega razvoja in sodelovanja z več tisoč ljubiteljev sobnih rastlin.

Moseanic Composite material

Kompozitni material

101Moseanic is a composite material, a combination of a mineral base and accumulated marine plastic. They used colourful pieces of secondary marine plastic washed upon the beaches of the Adriatic, waste that is not usually recycled, and a semi-transparent mineral with porcelain qualities. The production does not require heat treatment for drying or maturing. The result is a solid surface with the appearance of a colourful terrazzo. Each Moseanic panel is unique and handmade, but can be produced in larger quantities. The final product is a non-toxic and hypoallergenic mineral material that is dilutable in water if not protected. The designers work with environmental organizations to collect marine plastic.

D Lučka Berlot, Ági Göb P Moseanic Partnership W moseanic.com

Materials Material ① mineral base mineralna osnova ② marine plastic morska plastika W / H / L 60 / 60 / 3 CM M / T 3 KG

Moseanic je kompozitni material – kombinacija mineralne osnove in nabrane morske plastike. Za osnovo sta uporabili barvite koščke naplavljene sekundarne morske plastike, ki se je sicer ne reciklira, in polprosojne mineralne mase, ki spominja na porcelan. Za sušenje in zorenje material ne potrebuje toplotne obdelave. Končni rezultat so trdne ploskve z videzom barvitega teraca. Vsaka plošča Moseanic je unikatna in izdelana ročno, zaradi lastnosti materiala pa jih je mogoče proizvajati v večjih količinah. Izdelek je nestrupen in hipoalergenski, nezaščiten pa je tudi topen v vodi. Pri nabiranju plastike proizvajalec sodeluje z okoljskimi organizacijami.

102The basic idea of the multi-purpose table assembly X is a table that can be assembled by the user. Intended mainly for occasional use, even in crisis situations, it can serve as an emergency workstation or a school desk. The basic module is made of a metal joint with six openings and wooden beams or legs. The assembly provides for multiple purposes and allows the user to decide on the size of the table that will accommodate their home and business needs, even for larger events.

Mizni sestav

Osnovna ideja koncepta X je večnamenskost, pri čemer lahko mizni sestav izdela uporabnik sam. Namenjen je občasni rabi, tudi v kriznih razmerah, saj lahko služi kot zasilna delovna postaja ali šolska miza. Osnovni modul je sestavljen iz kovinskega spojnega elementa s šestimi odprtinami in iz lesenih nosilcev oziroma nogic. Uporabnik si lahko sam izbere, kako veliko mizo potrebuje, zato je sestav poleg domače in poslovne rabe primeren tudi za večje dogodke.

D Luka Rugelj P Guianadesign W guianadesign.com

Materials Material ① wood les ② metal kovina W / H / L 100 / 80 / 75 CM M / T 12 KG

Earth flag Earth flag Zastava Zemlje

103The aim of the project is to address cultural differences, establish a common ground for the people of the Earth and predict a clear path to the future of the planet. The flag of the Planet Earth does not separate us into individual countries, but unites humanity at a time when we are separated by the pandemic, discrimination, racism and nationalism, distrust of state institutions, economic desolation, climate change, and similar. The designers are convinced that we will only survive as a species if we connect and act together. As a symbol of the unification of humanity they designed the flag of the Planet Earth as an abstract illustration of the Sun, Earth and Moon. The flag of Planet Earth is part of the collection of solar system flags.

Cilj projekta je poenotiti kulturne razlike, vzpostaviti skupne točke za ljudi Zemlje in predvideti jasno pot v prihodnost planeta. Zastava planeta Zemlje ne ločuje na posamezne države, ampak človeštvo združuje v času, ko nas ločuje pandemija, diskriminacija, rasizem in nacionalizem, nezaupanje državnim institucijam, ekonomsko razslojevanje, podnebne spremembe itd. Oblikovalca sta prepričana, da bomo kot vrsta preživeli le, če se bomo povezali in ukrepali. Zato sta kot simbol združevanja človeštva, oblikovala zastavo planeta Zemlja kot abstraktno ilustracijo Sonca, Zemlje in Lune. Zastava planeta Zemlja je del kolekcije zastav sončnega sistema.

Pattern Generator Pattern Generator Generator vzorcev

104The Pattern Generator is a program that engages carpet buyers into the production process through a computer-controlled process of co-creating the final product. The Pattern Generator is an ever growing worldwide collection of made-to-order carpets. Each piece is a one-off, conceived from the buyers’ words, rendered into a unique pattern by a computer algorithm and crafted by the experienced women in our fair trade weaving mill in Bosnia. It is a new approach to carpet design that combines modern technology with tradition in order to promote the development of the traditional carpet-making craft, which has become extinct in recent decades. This way it reaffirms the relevance of the centuries-old craft.

Generator vzorcev je program, ki kupce kilimov vključuje v proizvodnjo, skozi računalniško voden potek soustvarjanja končnega izdelka. Generator vzorcev je rastoča svetovna zbirka preprog po naročilu. Vsak kos je enkraten, zasnovan iz vaših besed, upodobljenih v edinstven vzorec z računalniškim algoritmom in izdelan s pomočjo rok izkušenih žensk v naši tkalnici v Bosni. Gre za nov pristop k oblikovanju kilimov, ki združuje sodobne tehnologije s tradicijo z namenom spodbujati razvoj tradicionalne obrti izdelovanja kilimov, ki v zadnjih desetletjih izumira. Obrt, ki se je izoblikovala skozi stoletja, na takšen način ostaja aktualna.

105A selfie is a product designed for the psychological and social well-being of its users/creators. It is a hand-embroidered self-portrait, made by each individual following the instructions of the Oloop collective. Selfi challenges the internet culture of selfies, as it is created through a process of slowed down, contemplative, handmade creation, using the traditional textile technique of embroidery. By spreading the Selfi embroidery community through the web and social networks, the Oloop collective promotes connection, belonging and collaboration. The product was developed by the artists to work with immigrant women from different cultural backgrounds, as its production promotes wellbeing, encourages reflection and has a meditative effect.

self-portrait Vezeni avtoportret

Selfi je izdelek, namenjen psihični in socialni dobrobiti svojih uporabnikov/ustvarjalcev. Gre za ročno vezen avtoportret, ki ga izdela vsak sam po navodilih kolektiva Oloop. Pomeni izziv internetni kulturi selfijev, saj nastaja v procesu upočasnjenega, kontemplativnega ročnega ustvarjanja, ob uporabi tradicionalne tekstilne tehnike – vezenja. Kolektiv Oloop s širjenjem vezilske skupnosti Selfi prek spleta in družbenih omrežij spodbuja povezovanje, pripadnost in sodelovanje. Izdelek so avtorice razvile za delo s priseljenkami iz različnih kulturnih okolij, saj njegova izdelava krepčilno deluje na počutje, spodbuja refleksijo in ima meditativni učinek.

106The tooth clock promotes water-efficiency during toothbrushing. The classic hourglass is modified to reflect on the responsible use of water by precisely timing 3 minutes for brushing your teeth. This is how it goes: before brushing their teeth, the user fills up the element with water and places it in the glass. During toothbrushing the water drips from the top element to the bottom of the glass for exactly 3 minutes. When empty, the top element is removed and the water collected in the glass can be used to rinse the mouth. The entire process thus requires a minimum amount of water.

Zobna ura

Zobna ura spodbuja varčno porabo vode med umivanjem zob. Klasična peščena ura je prilagojena tako, da z natančnim odmerjenjem treh minut za ščetkanje zob prinaša razmislek o odgovorni porabi vode. Postopek uporabe je takšen: uporabnik pred umivanjem zob do vrha natoči vodo v zgornji element in ga postavi v kozarec. Nato sledi ščetkanje zob, voda pa v vmesnem času odteka v kozarec, kar zaradi zasnove izdelka traja točno tri minute. Po tem času zgornji element odstranimo in si z vodo iz kozarca splaknemo usta. Zato porabimo za umivanje zob minimalno količino vode.

P

W

Materials Material ① glass steklo W / H 6 / 8,5 CM M / T 0.4 KG

D Sara Badovinac, Peter Zabret

Studio Prapra

prapra.net

Fragile bodies Ceramics collection

Kolekcija keramike

107With this product, the artist seeks to transform simple objects from everyday life into complex, inimitable pieces for eternity. Cotton swabs are transformed from disposable products into products with special value. The shape of the cotton swabs is frozen into porcelain through a firing process. The Fragile Bodies remind the user of the meaningfulness (meaninglessness) of everyday objects that surround them. The project is concerned with transforming the function and purpose of a simple, consumable element into a product of special value that reflects the skill of the creator-craftsperson.

D Maruša Mazej

P Maruša Mazej W marusamazej.com

Materials Material ① porcelain porcelan W / H / L 30 / 25 / 20 CM M / T 1 KG

Avtorica z izdelkom išče način, kako preproste predmete iz vsakdanjega življenja preoblikovati v kompleksne, neponovljive kose za večnost. Bombažne palčke za čiščenje ušes se iz izdelka za enkratno uporabo prelevijo v predmete s posebno vrednostjo. Oblika ušesnih palčk je zamrznjena v porcelan s pomočjo procesa žganja. Krhka telesa uporabnika spominjajo na (ne)smiselnost vsakdanjih predmetov, ki ga obkrožajo. Projekt se ukvarja s spremembo funkcije in namena preprostega, potrošnega elementa, pri čemer nastane izdelek s posebno vrednostjo, v katerem se zrcali veščina njegovega ustvarjalca oziroma izdelovalca.

108The Layer sofa is a hybrid between a bookshelf, a coffee table and a sofa. With its innovative layered backrest design it allows the user to store books, magazines, tablets, phones and remote controls. In the design and construction of the backrest layers it was very important to ensure that they return to their original shape after use, without signs of object imprints. We managed to achieve this by combining technologically advanced materials. Inspired by the interplay between the ancient and the contemporary the designer referenced the Roman amphitheatre with its stepped architecture, whereas the digital layers that we use to classify dictated the evolution of form and function.

Zofa

Sedežna garnitura Layer je hibrid med knjižno polico, kavno mizico in sedežno garnituro. Z inovativno zasnovo naslonjala – v plasteh – omogoča uporabniku shranjevanje knjig, revij, odlaganje tabličnih računalnikov, telefonov in daljinskih upravljalnikov. Pri načrtovanju in izvedbi plasti naslonjala je bilo zelo pomembno, da se po uporabi vrnejo v svojo prvotno obliko, ne da bi se predmeti vanje vtisnili. To je avtorjem uspelo s kombinacijo naprednih materialov. Avtor je navdih črpal iz prepleta med starodavnim in sodobnim. Navdihnil ga je rimski amfiteater s svojo stopničasto arhitekturo, razvoj oblike in funkcionalnosti pa so narekovale tudi digitalne plasti, ki jih uporabljamo za razvrščanje.

D Dejan Kos, Desnahemisfera

P Kauch W desnahemisfera.com

Materials Material ① plywood vezana plošča ② memory foam spominska pena ③ polycarbonate polikarbonat ④ textile tekstil W / H / L 88 / 192 / 40/70 CM M / T 170 KG

Konstrukta Wooden Toy

Lesena igrača

109One of Slovenia's most influential industrial designers, Niko Kralj, designed the wooden toy Konstrukta in 1976 to encourage creative thinking and technical skills in young people. Unfortunately, production never took off. The plans for the wooden toy ended up in the collection of the Museum of Architecture and Design, which recognised its potential and encouraged production within the framework of the social enterprise Festival Lesa. With the Konstrukta toy, wooden modules are used to build your own fantasy world. The toy is assembled into different shapes by passing the wooden modules through each other and attaching them with connectors of the appropriate length.

D Niko Kralj P Festival lesa W festival-of-wood.com

Materials Material ① Beech wood bukov les

contains 85 modules + 90 connectors vsebuje 85 modulov + 90 veznikov M / T 3 KG

Niko Kralj, eden najvplivnejših slovenskih industrijskih oblikovalcev, je leseno igračo Konstrukta zasnoval leta 1976, da bi spodbudil ustvarjalno razmišljanje in tehnične veščine mladih. Žal proizvodnja ni nikoli stekla. Načrti za igračo so pristali v zbirki Muzeja za arhitekturo in oblikovanje; ta je prepoznal njen potencial in v okviru socialnega podjetja Festival lesa spodbudil njeno proizvodnjo. Z igračo Konstrukta iz lesenih modulov sestavljamo svoj domišljijski svet. Gradnike v različne oblike sestavljamo tako, da lesene module pretikamo drugega skozi drugega in jih pritrdimo z vezniki ustreznih dolžin. Posamezen zaboj vsebuje 85 modulov različnih dimenzij in 90 barvitih veznikov.

Klop 110

The Julijci bench was initially designed for the renovation of the interior of the Bank of Slovenia. Its shape mimics the iconic contours of the Julian Alps, Slovenia's highest mountains. The bench is primarily intended for use in business premises, as part of the furnishings of waiting rooms or informal meeting spaces. By varying the arrangement of the backrests and armrests, the shape of the bench can be changed, and so can the seating arrangement or the utility of this piece of furniture. The frame of the bench is made of chrome-plated reused steel, while the seat and backrest are made of soft polyurethane foam re-pressed into a solid material.

D Jurij Sadar

Boštjan Vuga

Belen Villan Fernandez

Lovrenc Kolenc P RPS d.o.o. W sadarvuga.com

Materials Material

Klop Julijci je bila sprva zasnovana za prenovo notranjosti Banke Slovenije. Njena oblika posnema ikonične obrise Julijskih Alp, najvišjih slovenskih gora. Klop je namenjena predvsem uporabi v poslovnih prostorih, kot del opreme čakalnic ali neformalnih prostorov za sestanke. Z različno razporeditvijo naslonjal in naslonov za roke lahko poljubno spreminjamo obliko klopi in tako tudi način sedenja ali uporabnost tega kosa pohištva. Za ogrodje klopi je uporabljeno zavrženo jeklo, ki je kromirano, sedalo in naslonjalo pa sta oblikovana iz ostankov mehke poliuretanske pene, ki so ponovno stisnjeni v trden material.

① steel chrome plated kromirano jeklo ② wood les ③ reconstituted foam obnovljena pena W / H / L 200 / 60 / 52 CM M / T 10 KG

111Lake Bled, a tectonic glacial lake with an island, is Slovenia's symbol of tourism and probably the most photographed place in the country. The surface of the Bled table is the exact ground floorplan of famous Lake Bled. The Bled table was designed for the social areas of the interior of the Bank of Slovenia. Together with the Triglav chair and the Julijci bench it forms an ensemble, suitable for furnishing informal and social spaces. It can also be used in homes as a side table for holding things. The table is laser cut from reused aluminium.

Miza

Blejsko jezero, jezero tektonsko-ledeniškega izvora z otokom, je slovenski turistični simbol in verjetno največkrat fotografiran del slovenske pokrajine. Površina mizice Bled natančno povzema tlorisno obliko znamenitega jezera. Mizica Bled je bila oblikovana za družabne prostore interierja Banke Slovenije. Skupaj s stolom Triglav in klopjo Julijci tvori skupino, primerno za opremo neformalnih in družabnih prostorov. Uporablja se lahko tudi v stanovanjskih prostorih, kot stranska mizica za odlaganje. Mizica, izdelana z laserskim razrezom, je narejena iz ponovno uporabljenega aluminija.

P RPS d.o.o. W sadarvuga.com

Materials Material

aluminij

Colours Barve  gold zlata  srebrna silver

D Jurij Sadar Boštjan Vuga Belen Villan Fernandez Lovrenc Kolenc

Home care products

Trajnostni izdelki za nego telesa in doma

112Equacare is a range of home and body care products that nourish the skin naturally, while protecting the planet from harmful ingredients and waste produced by traditional cosmetics. The home and body care products are in the form of concentrated powder, which the user mixes with water. Reusable dispensers made of recycled plastic are part of the package. Cosmetic products in general contain only ten percent of active ingredients, the rest being water. Equacare products contain only active ingredients and you add the water yourself. The user thus contributes to better efficiency and quality while reducing waste.

Equacare je linija izdelkov za nego doma in telesa, ki negujejo na naraven način, hkrati pa varujejo planet pred škodljivimi sestavinami in odpadki, ki nastajajo z uporabo tradicionalne kozmetike. Izdelki za nego doma in telesa so v obliki koncentriranega prahu, ki ga uporabnik sam zmeša z vodo. V paketu pa so tudi dozirniki in razpršilniki iz reciklirane plastike za večkratno uporabo. Za kozmetične izdelke v splošnem velja, da vsebujejo le desetino aktivnih sestavin, ostalo pa je voda. Zato izdelki Equacare vsebujejo le aktivne sestavine, vodo pa dodate sami. Uporabnik teh izdelkov prispeva k učinkovitosti, kakovosti in zmanjšanju količin odpadkov.

D Equa, d.o.o.

P Equa, d.o.o. W equa-care.com

Materials Material

① recycled polyethylene recikliranega polietilena ② coconut oil kokosovo olje ③ palm oil palmovo olje

④ natural essential oils naravna eterična olja

⑤ plant extracts izvlečki iz rastlin

⑥ recycled packaging reciklirana embalaža V 350 ml M / T 0.1 - 0.5 KG

113Madres is an organic, fully degradable natural deodorant in a degradable wrapper, an environmentally friendly, natural product. Although its packaging is made of paper, precise manufacturing and carefully selected materials allow the packaging to be sealed and filled directly. Innovative technological solutions extend the functionality of the paper packaging, which is fully comparable to other, less environmentally friendly solutions. Madres cosmetics is formulated without unnecessary chemicals for environmentally conscious consumers.

eco-friendly cosmetics

okolju prijazna kozmetika

Madres je ekološki, popolnoma razgradljiv naravni dezodorant v razgradljivem ovoju, okolju prijazen, naraven izdelek. Čeprav je njegova embalaža narejena iz papirja, natančna izdelava in skrbna izbira materiala omogočata tesnjenje in neposredno polnjenje. Funkcionalnost papirnate embalaže razširjajo inovativne tehnološke rešitve, tako da je povsem primerljiva z drugimi, okolju manj prijaznimi rešitvami. Kozmetika Madres je na voljo vsem, ki želijo poskrbeti zase brez odvečne kemije in so hkrati okoljsko odgovorni.

D Aki, d.o.o., Pikto, d.o.o.

P KONKAM Jožef Drešar s.p. W madres.si

Materials Material

① paper packaging papirnata embalaža ② coconut oil kokosovo olje ③ corn starch koruzni škrob ④ baking soda soda bikarbona ⑤ jojoba wax jojobin vosek ⑥ vitamin E vitamin E ⑦ natural essential oils naravna eterična olja

In Slovenian we have a saying: “He is sitting on his money”. It is used for those who keep a tight hold on their money and do not invest. In Primož Jeza’s design studio they took the saying literally and conceived a chair out of shredded money for the Bank of Slovenia. They treated money as recyclable industrial waste. After researching the usefulness of different composites with money pulp, they found a way to apply the money, cut into strips, to a base shape made of wood and polystyrene. The idea is disruptive because it breaks with the material value of money at a time when it is increasingly immaterial.

Editor's choice

Izbor urednice

V slovenščini za ljudi, ki pretirano varčujejo in ne investirajo, pravimo, da »sedijo na denarju«. V studiu oblikovalca Primoža Jeze so izraz vzeli dobesedno in za Banko Slovenije zasnovali stol iz razrezanega denarja. Pri tem so denar obravnavali kot odpadek, ki ga je moč reciklirati. Na podlagi raziskovanja uporabnosti različnih kompozitov z denarno pulpo so našli način, kako na trakove narezan denar nanesti na osnovno obliko iz lesa in polistirena. V času, ko denar postaja vse bolj nematerialen, ideja razgrajuje njegovo materialno vrednost.

D primozjezastudio

P primozjezastudio, SPOI FAB W primozjeza.com

Materials Material

shredded money razrezan denar

wood les

polistiren

Novi časi

Mika Cimolini

architect, Head of Programme of the Centre for Creativity arhitektka, poslovna vodja programa Centra za kreativnost

New Times is the exhibition of new products that have been awarded the “Made in Slovenia” mark of excellence. The title of the exhibition featured at the 2022 Milan Design Week references Modern Times, the 1936 silent comedy film written and directed by Charlie Chaplin, in which his iconic Little Tramp character struggles to survive in the industrialised modern world.

The film is a commentary on the desperate employment and financial conditions that many people faced during the Great Depression – conditions that, according to Chaplin, were created by the (in)efficiencies of modern industrialisation. Fordism, standardised mass production, and consumption have ultimately led to alienation between the consumer and the producer. In today’s market, mass produced goods appear in an extremely impersonal form, as a “commodity fetish”. Corporations hide the origin of goods and social circumstances in which they were produced, preventing users from having a say in the products they buy.

This is why New Times stands in dialectical contrast to Chaplin’s Modern Times. The pandemic, climate change, and alienated and stratified social relations call for radical systemic change. The products we are presenting offer a critique of the existing market, and economic and social systems, they break with established, often bad social habits, and bring new uses to the fore. What’s more, they have the potential to become serial products or services that no longer use the established modes of serial production.

They all share the desire to reveal not only the final product, but the back ground of the product development

Razstavo novih izdelkov slovenskih oblikovalcev, ki smo jim podelili znak odličnosti Made in Slovenia, smo poimenovali Novi časi. Naslov razstave, ki jo prikazujemo na tednu oblikovanja v Milanu, asociira na ameriško nemo komedijo Moderni časi iz leta 1936, ki jo je napisal in režiral Charlie Chaplin in v kateri se njegov kultni lik, Mali potepuh, trudi preživeti v industrializiranem sodobnem svetu. Film je komentar na obupne zaposlitvene in finančne razmere, s katerimi so se soočali številni ljudje v času velike depresije – po Chaplinovem mnenju so te razmere nastale zaradi (ne)učinkovitosti sodobne industrializacije. Proizvodni procesi, osnovani na fordizmu, standardizirani množični proizvodnji in porabi, so pripeljali do dokončne odtujitve med potrošnikom in proizvajalcem. Množično proizvedeno blago je na trgu v skrajno brezosebni obliki, kot »blagovni fetiš«. Korporacije skrivajo izvor blaga in družbene razmere, v katerih je nastalo, uporabnikom pa tudi preprečujejo, da bi kakorkoli posegali v izdelke, ki jih kupijo.

Zato so Novi časi v dialektičnem nasprotju s Chaplinovimi Modernimi časi. Soočanje s pandemijo, podnebnimi spremembami, odtujenim in razslojenim družbenim dogajanjem kliče po korenitih sistemskih spremembah. Izdelki, ki jih predstavljamo, ponujajo kritiko obstoječih tržnih, ekonomskih in družbenih sistemov, opuščajo ustaljene, pogosto škodljive družbene navade, prinašajo nove načine uporabe in imajo potencial, da postanejo serijski izdelki ali storitve, ki ne uporabljajo več ustaljenih načinov serijske izdelave.

Vsem sta skupni želja po razkritju ozadja nastajanja, ne le končnega izdelka, ter želja po povezovanju človeštva v skupnost s pomočjo dobrega oblikovanja.

process, and the idea of using good design to build a community. These not-so-subtle messages reiterate the value of handmade versus machine-made. Perhaps this is nothing more but replacing one fetish (technologically perfected mass production) with another (imperfect and handmade). It could be that in Western culture, which is saturated with brands and cheap, mass-produced goods, we romanticise handcraft because it is quality not quantity that we crave. At the same time this craving reveals the divide between Western consumers who are rediscovering handicraft and the other, poorer part of the world, countries that have local craftspeople but pursue a course of industrialisation. Nevertheless, mass production still offers a solution that can lift people out of poverty – so how can the two coexist?

Gre za ne tako zelo subtilna sporočila, ki ponovno poudarjajo vrednost ročno izdelanega pred strojno izdelanim. Morda gre za zamenjevanje enega fetiša (tehnično dovršena množična proizvodnja) za drugega (nepopolno in ročno izdelano). Morda v zahodni kulturi, ki je zasičena z blagovnimi znamkami in poceni množično proizvedenim blagom, romantiziramo ročno delo, ker hrepenimo po kakovosti, in ne po količini? Vendar pa to hrepenenje razgalja delitev sveta na zahodne potrošnike, ki ponovno odkrivajo rokodelstvo, in drugi, revnejši del sveta, države, ki imajo lokalne rokodelce, vendar si prizadevajo za industrializacijo. Množična proizvodnja je še vedno bistvenega pomena za rešitev milijarde ljudi iz revščine – kako oboje združiti?

The designers we are presenting are looking for ways to reconnect people into a community, motivate them to look up from their screens and take notice of the people around them. And if craftsmanship, in Richard Sennett’s words, names the basic human impulse, it is about focusing not only on developing our own skills, but also on ourselves and the community. We crave things that mean something to us, that bring us closer to like-minded people, contribute to one’s psychosocial empowerment and build community spirit. Then there is the sense of freedom we get and the environmental responsibility that we demonstrate when we use these products.

With her Olive vases Brina Steblovnik aspires to preserve and develop manual glass shaping skills, which are gradually being lost to robots. Darja Malešič’s

Za oblikovalce, ki jih predstavljamo, je pomembno iskati načine, kako družbo spet povezati, jo odvrniti od zaslonov in usmeriti pozornost na sočloveka. Če je obrtništvo osnovni človeški nagon, kot pravi Richard Sennett, potem gre za to, da se poleg razvijanja lastnih spretnosti osredotočamo nase in na skupnost. Želimo si stvari, ki nam nekaj pomenijo, ki prispevajo k povezovanju z enako mislečimi, ki prispevajo k psihosocialnemu opolnomočenju posameznika in gradijo pripadnost skupnosti. Gre pa tudi za občutek svobode in odgovornost do okolja, ko te izdelke uporabljamo.

Brina Steblovnik si z vazami Olive prizadeva za ohranitev in razvoj spretnosti ročnega oblikovanja stekla, ki ga po svetu izpodriva robotizirana proizvodnja. Izdelka, ki vključujeta uporabnika, sta Pra preproga Darje Malešič in sodobni vezeni avtoportret SELFI Zavoda Oloop. Oba izrabljata ročno delo kot orodje za osebno in skupnostno psihosocialno opolnomočenje uporabnika skozi obliko-

Pra carpet and the modern embroidered self-portrait SELFI by Zavod Oloop engage their users. Both use handwork as a tool for personal and community psychosocial user empowerment through design – the Pra carpet by taking the corn husk tradition from the community and bringing it to the modern home, and SELFI with an ironic take on the “selfie”, engaging the user by creating a therapeutic needlepoint image of themselves. The transition from the digital to the material is at the heart of Kobeiagi Kilims’ Pattern Generator project, which engages carpet buyers in hand production through computer-controlled co-creation of the final product. Each carpet is a one-off, conceived from the buyer’s words that the algorithm renders into a unique pattern.

The second group of products seek and employ more environmentally friendly materials. The Krater capsule is made of biocomposites, which could potentially replace plastic packaging or thermal insulation. The capsule holds a tea ceremony cup, which comes from wild urban clay collected on a construction site and is an alternative to industrial ceramics. Material exploration cum tea ceremony … In her Fragile Bodies project young artist Maruša Mazej looks at disposable objects. By freezing them into structured ceramic products she transforms them into objects of special value. Lučka Berlot and Ági Göb on the other hand have taken pieces of plastic harvested from the sea and frozen them into a semi-transparent composite material that resembles colourful terrazzo. The pieces were collected by volunteers from environmental NGOs and various communities on the coasts of Greece, Croatia, Slovenia, and Italy.

vanje. Pra preproga s tem, da tradicijo ličkanja koruze iz skupnosti prenese v sodobni dom, SELFI pa z ironičnostjo »selfija«, uporabnikovo podobo samega sebe, ki ga v obliki gobelina terapevtsko poveže z izdelkom. Prehod od digitalnega k materialnemu je bistvo projekta Generator vzorcev znamke Kobeiagi kilims, ki kupce kilimov vključuje v ročno proizvodnjo skozi računalniško vodeno soustvarjanje končnega izdelka. Besede kupca algoritem pretvori v edinstven vzorec ročno tkane preproge.

Druga skupina izdelkov išče okolju manj škodljive materiale. Kapsula Krater je izdelana iz biokompozitov, s katerimi bi lahko nadomestili plastično embalažo ali termoizolacijo. Skodelica za čajni obred, za katero je ta embalaža izdelana, je iz divje urbane gline, nabrane na gradbišču, in pomeni alternativo industrijski keramiki. Pri tem gre za materialno raziskovanje, pa tudi za čajni obred … Krhka telesa so projekt mlade umetnice Maruše Mazej, v katerem problematizira izdelke za enkratno uporabo, ki jih zamrzne v strukturirane keramične predmete s posebno vrednostjo. Lučka Berlot in Ági Göb pa sta koščke v morju najdene plastike zamrznili v polprosojen kompozitni material z videzom barvitega teraca. Koščke so nabrali prostovoljci iz okoljevarstvenih nevladnih organizacij in različnih skupnosti na obalah Grčije, Hrvaške, Slovenije in Italije.

Ne nazadnje je v duhu novih časov tudi prestol oneandhalfmilionchair Primoža Jeze iz razrezanega denarja. Denar obravnava kot odpadni material pretirano industrializirane družbe, ki je denar dematerializirala. Zato ga je kot material treba reciklirati v nekaj trajnejšega – kot je denimo stol.

Last, but not least, Primož Jeza’s oneandhalfmilionchair also breathes in the spirit of new times. Made from shredded banknotes it treats money as a waste material generated by an overly industrialised society that has dematerialised money. Which is why it should, as a waste material, be recycled into something more durable – like a chair. The third section showcases state of the art products, such as the first electric outboard RemigoOne and Versi heat pump. In addition to energy efficiency, they both seek new functionalities that bring users more freedom and independence – RemigoOne with its compact unibody, mobility and the option to be charged from any existing solar source, and Kronoterm Versi with its compactness that makes it suitable for use in apartment buildings.

Designers Miha Artnak and Srđan Prodanović are convinced that we can only come together as a society under the common flag of planet Earth by leaving our cultural, national, and other differences represented by national symbols aside. Their message is that after we’ve been separated by the pandemic, discrimination, racisms and nationalisms, mistrust of state institutions, economic stratification, and climate change, it is design that can bring us back together.

So see you in new times!

Tretji sklop pa sestavljajo tehnološko dovršeni izdelki, kot sta prvi električni zunajkrmni motor RemigoOne ali toplotna črpalka Versi; oba poleg racionalne rabe električnih virov iščeta tudi nove funkcionalnosti, ki posamezniku omogočajo večjo neodvisnost, svobodo, RemigoOne s tem, da je kompakten in mobilen ter ga lahko priklopimo na katerikoli obstoječi solarni vir, Kronoterm Versi pa s tem, da ga lahko uporabimo tudi v večstanovanjskih objektih.

Oblikovalca Miha Artnak in Srđan Prodanović sta prepričana, da se lahko kot družba povežemo le pod skupno zastavo planeta Zemlja oziroma tako, da pozabimo na kulturne, nacionalne in druge razlike, ki jih predstavljajo nacionalni simboli. Pravita, da nas lahko, potem ko so nas ločili pandemija, diskriminacija, rasizmi in nacionalizmi, nezaupanje v državne institucije, ekonomsko razseljevanje in podnebne spremembe, oblikovanje spet poveže.

Se vidimo v novih časih!

The challenges of Slovenian industrial design

Izzivi slovenskega industrijskega oblikovanja

Primož Jeza architect and designer arhitekt in oblikovalec

It’s not easy, but not impossible either, to write about something that doesn’t exist, or to be precise something that no longer exists. Archaic industry is disappearing and transforming, and with it concepts such as national labels or territorial peculiarities. In the wake of globalisation it is difficult to talk about, or identify for that matter, Italian, Japanese, Scandinavian or any national design. It is good or bad design that we recognize – and I can’t really see anything wrong with that. Generally speaking, today labels are much more easily attached to the environments where quality design is appreciated and consequently also marketed. In the first place, this means the very regions that I have just mentioned and that used to be associated with their unique design. By now they have been joined by the rest of the developed world, which before its prime did not necessarily pay much attention to its own good design on the one hand, but on the other hand cared enough to import foreign design.

Design has succeeded in educating consumers and now we are reaping the results in the form of a generally high awareness of the importance of integrating quality design into our everyday lives. Today, good design is recognised as a must-have and included on the agenda of every successful country, alliance, or corporation. Investments in design pay off and are visible, measurable. But most importantly, good design improves the quality of life across the board, and since we are here, why should we live our lives less than well?

Pisati o nečem, česar ni, ali pravilneje, česar več ni, je težko, ni pa nemogoče. Arhaična industrija izginja, se preobraža, kot se dogaja tudi s pojmom nacionalnih etiket oz. teritorialnih posebnosti. Globalizacija je naredila svoje, in zato danes težko govorimo o italijanskem, japonskem, skandinavskem ... oblikovanju ali ga prepoznamo. Prepoznamo zgolj kakovostno ali slabo oblikovanje – in to se mi navsezadnje sploh ne zdi tako slabo. Danes se na splošno veliko lažje prepoznajo in z etiketami oblepijo okolja, kjer cenijo in posledično tudi tržijo kakovostno oblikovanje. To so v prvi vrsti ravno prej omenjena območja, ki smo jih v preteklosti povezovali z njihovim svojskim oblikovanjem. Pridružil se jim je večinoma tudi ves preostali razviti svet, ki pred svojim razcvetom ni nujno namenjal veliko pozornosti svojemu dobremu oblikovanju, a je hkrati uvažal tuje. Uspešna oblikovalska edukacija potrošniškega telesa danes žanje rezultate, ki se kažejo v visoki splošni kulturi integracije kakovostnega oblikovanja v vsakodnevno življenje. Danes je dobro oblikovanje prepoznano kot nuja, zapisana v agendi vsake uspešne države, zveze ali korporacije. S tem povezana vlaganja se obrestujejo in so vidna, merljiva. Ključno pa je to, da dobro oblikovanje na vseh področjih izboljšuje kakovost življenja, in zakaj bi živeli slabo, če že živimo?

Nowadays, the past and its traditions are important mainly in view of delivery of content, the story, rather than from

Preteklost in z njo povezana tradicija sta danes ključni predvsem s stališča podajanja vsebine, zgodbe, in ne toliko s stališča industrijske proizvodne kontinuitete. Pomagata tržiti in vlivati zaupanje. Nista pa usodno nepogrešljivi. To dejstvo omogoča praktično vsaki resni »ambiciji« vstop tudi na oblikovalsko tržišče. Vsakodnevno nastajajo nove industrije in z njimi produkti, ki seveda ne morejo

the perspective of continuing industrial production. They facilitate marketing and inspire trust, but they are not absolutely indispensable. With this in mind, any serious “ambition” can find its place also in the design market. New industries emerge every day, and with them products that have not yet been around long enough to have a tradition. Compared to the car manufacturer Mercedes-Benz or book publisher Penguin Books their modern counterparts Tesla (electric vehicle manufacturer) and Amazon (which started off as an online marketplace for books before it evolved into a major e-commerce business) hardly have a tradition to speak of, but integration of new technologies, sales channels, and design approaches (including service design) has propelled them to stand among the world’s most successful companies in a very short time. So how important, if at all, is tradition in contemporary design?

Some time ago, in the context of my collaboration with the Donar company, I had a short interview with a multinational news agency on the subject of sustainable design. Among the questions I was asked were also two questions on the challenges and international reputation of Slovenian industrial design. Fascinating and relatively fateful topics that haven’t changed for decades, neither in terms of questions nor in answers. Pioneers such as Niko Kralj, Marko Turk, Davorin Savnik and others blazed the trail that was followed by early Oskar Kogoj as well as by Saša Mächtig and Vladimir Pezdirc, both of them active as professors and practitioners. Today, this reputation continues to be built by Lara Bohinc and Nika Zupanc, who cater to gourmet tastes in the global design arena. So there is

imeti tradicije. Proizvajalec električnih vozil Tesla in (sprva knjižno, danes pretežno trgovsko) distribucijsko podjetje Amazon imata v primerjavi z uveljavljenim proizvajalcem vozil Mercedes-Benz ali založniško-distribucijsko hišo Penguin Books povsem zanemarljivo tradicijo, a ju je integracija novih tehnologij, trgovskih kanalov in oblikovalskih pristopov (tudi storitvenega oblikovanja) v kratkem času pripeljala na sam vrh gospodarsko uspešnih družb. Torej, kakšno težo, če sploh, še ima tradicija v sodobnem oblikovanju?

Pred časom sem imel za eno od novinarskih multinacionalk v kontekstu svojega sodelovanja s podjetjem Donar krajši intervju na temo trajnostnega oblikovanja. Med vprašanji, ki so mi bila zastavljena, sta se pojavili tudi dve o izzivih in ugledu slovenskega industrijskega oblikovanja v svetu. Nadvse zanimivi in docela usodni temi, ki tako po vprašanju kot po odgovorih nanj skozi desetletja ostajata enaki. Ugled industrijskega oblikovanja so nam pridobili oz. vzpostavili pionirji, kot so Niko Kralj, Marko Turk, Davorin Savnik ..., nadaljevali so zgodnji Oskar Kogoj ter z delom v izobraževanju in praksi Saša Mächtig in Vladimir Pezdirc. Danes ta ugled za sladokusce v svetovni oblikovalski areni dopolnjujeta še Lara Bohinc in Nika Zupanc. Torej o temelju kreativnosti in v zadnjih desetletjih tudi kakovosti izobraževanja ni dvoma.

A izzivov je veliko. Prvi in v mojih očeh eden najpomembnejših je vzpostavitev konkretnega in predvsem stalnega sodelovanja med izobraževanjem in gospodarstvom. Mogoče sprva samo z obvezno študijsko prakso, štipendijami ...?

V tej povezavi dodobra odpovemo. Tako kot danes so bila tudi v času »pionirjev« podjetja, ki so se zavedala pomena dob-

no doubt regarding the creativity, and in recent decades also the quality of education.

But the challenges are many. The first, and to my mind one of the most important, is to set up concrete and ongoing cooperation schemes between education and the business sector. With mandatory work experience during study perhaps, or scholarships to begin with? Here is where we fail. Companies that were aware of the importance of good design and consequently of the added value that comes with it, were few and far between when our “pioneers” were active, and remain the exception rather than the rule still today. And while things haven’t taken a turn for the worse, they have not, regrettably, exactly changed for the better either.

Over the past decade the state has taken a more active role in mediating between the creative industries and the rest of the business sector. The initial clumsy attempts involved hiring a “stage” at major design events and fairs. Clumsy because the public agency Spirit Slovenia was not given the competence to curate the selection of exhibitors. The result was a system that allowed products of questionable quality and authorship to be displayed in the same exhibition space next to the finest our industry and individual studios have to offer.

rega oblikovanja in posledične dodane vrednosti, ki jo prinese, bolj redkost kot pravilo. Na tem področju se ni nič spremenilo na slabše, škoda pa je, da se tudi nič konkretneje ne premakne na bolje.

V zadnjem desetletju se je v povezavo med kreativnim sektorjem in preostalim gospodarstvom aktivneje vključila država. Sprva malce nespretno, kot npr. s financiranjem najema prostora za »oder« na pomembnih oblikovalskih dogodkih in sejmih. Izbor razstavljavcev je namreč potekal brez kuriranja, saj državna agencija Spirit ni imela te pristojnosti. Slednje je omogočalo sistem, v katerem so se na istem razstavnem prostoru predstavljali tako izdelki vprašljive kakovosti in avtorstva kot tudi vrhunski izdelki naše industrije in studiev.

In recent years, the state in partnership with the Museum of Architecture and Design (MAO), which runs competitions with its Centre for Creativity (CzK), has been facilitating active collaboration between the business sector and the design discipline. The projects they endorse are aimed predominantly at pro-

V zadnjih letih država v navezavi z Muzejem za arhitekturo in oblikovanje (MAO), ki s svojim Centrom za kreativnost (CzK) vodi razpise, omogoča aktivno sodelovanje med gospodarstvom in oblikovalsko stroko. Projekti, ki jih podprejo, so usmerjeni predvsem v podjetniško nadgradnjo kreativnega sektorja. S takšnim pristopom bomo verjetno v približno petnajstih letih prišli do ravni, kjer bo kreativni sektor dejavni partner ostalih gospodarskih vej in strateški atribut države. Ob tem bo morala slednja v svojo prezenco vpeljati tudi pristope ozaveščanja o pomembnosti kakovostnega oblikovanja in o tem izobraževati celotno prebivalstvo ter s premišljeno izbrano opremo svojih institucij (od vrtcev, šol in univerz do zdravstvenih domov, občin, še posebej pa npr. ambasad), kjer sedaj prek javnih razpisov za najnižjo ceno kraljujejo slabi produkti z vsega sveta, predstavljati dosežke slovenske kreativne industrije.

moting entrepreneurship in the creative sector. With such an approach we are likely to need about 15 years to reach the level where the creative sector becomes an active partner with other business branches and a strategic tool of the state. For this to materialize the state will have to introduce approaches to raising awareness of the importance of quality design and implement them in educating the general population on the subject, starting with carefully selected furnishings and equipment for its institutions (from kindergartens, schools, health centres, municipal buildings, and in particular embassies), which currently showcase generally poor-quality products from across the world procured through tenders looking for the lowest price, rather than the best of what our creative industries have to offer.

And it’s absurd, even comical, how often we find ourselves debating at round tables (very popular recently) in settings furnished with low-cost furniture, sitting on ubiquitous, poor-quality chairs (improperly upholstered, visually unappealing, and ergonomically lacking). A tragicomedy, if there ever was one. The same concept – the lowest price – has become the norm in open public space as well. Poor quality, generic urban equipment in streets, squares, renovated and restored façades on public buildings, builders’ joinery … – they are all subject to open calls where price is the one and only criterion. The process of systematic awareness raising among citizens on the importance of integrating design in public space should be a necessary step towards the required goal, and one to be taken both by the state and the creative industry as a whole.

Absurdno oz. komično je tudi, da se na okroglih mizah o slovenskem oblikovanju, ki so v zadnjem času zelo aktualne, velikokrat srečujemo v prostorih z generično nizkocenovno opremo in sedimo na vseprisotnih nehigieničnih stolih (dobesedno zaradi neustreznega oblazinjenja in likovno-ergonomsko zaradi šibke kakovosti). Prava tragikomedija. Z enakim konceptom – »najnižje cene« – se srečujemo tudi v odprtem javnem prostoru. Spet nekakovostna generičnost pri urbani opremi ulic, trgov, prenovljenih in obnovljenih fasadah javnih zgradb, stavbnem pohištvu ... – vse to je predmet javnih razpisov, kjer je ključno oz. edino merilo nakupa cena ponudbe. Proces načrtnega ozaveščanja državljanov o pomembnosti integriranja kakovostnega oblikovanja v javni prostor bi moral biti skupen in nujen korak k želenemu oziroma zastavljenemu cilju – tako za državo kot tudi za celotno kreativno industrijo.

Drugi izmed glavnih izzivov slovenskega produktnega oblikovanja je vrednotenje tekoče produkcije. S spremenjenim konceptom Bienala industrijskega oblikovanja (BIO) je namreč stroka izgubila periodični pregled in s tem tudi vse ocenjevanje, dokumentiranje ... Ob zanimivih, pogosto samo »laboratorijskih«, a za razvoj stroke nujnih projektih BIO je treba obuditi tudi pregledno razstavo in jo vrniti pod okrilje več kot pol stoletja starega bienala. S tem bomo pridobili boljšo uveljavitev oblikovanja v domačem okolju in spodbudili pretok idej oz. širši dialog znotraj stroke, laične javnosti in med aktivnimi udeleženci razpisanih bienalnih konceptov. Ob svojem zelo širokem primarnem delovanju MAO na področju oblikovanja razvija in izvaja tudi številne pomembne, v tujino usmerjene kurirane promocij-

Another key challenge in Slovenian product design is evaluation of the current production. With the new concept of the Biennial of Industrial Design (BIO), the profession was suddenly left without a periodic overview and in turn without an evaluation and documentation process. Along with fascinating but often “laboratory” BIO projects, which are nevertheless important for the development of the discipline, we should also bring back the survey exhibition and leave it under the auspices of the Biennial with its half century long tradition. This would help us establish design in our own environment and facilitate the flow of ideas, sparking a broader dialogue within the discipline, among the lay public, and the active participants in the Biennial’s brief.

Alongside the very broad scope of its primary activity in design MAO develops and performs many internationally-oriented curated promotional projects on topical issues such as excellence, sustainability, and the circular economy – Silent Revolutions, We're Open!, The Circle, and others, including the more recent Made in Slovenia. The latter is the project for our third challenge – the introduction of a certificate, urgently awaited both by the design discipline and the business sector. But if I turn back to what I started with: is there still such a thing as national/territorial design and industry, and if so, what defines or differentiates them that allows us to showcase them as national? Whether this is a quality location or a location of quality will be up to us.

Challenge 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22 ...

ske projekte na aktualne teme odličnosti, trajnosti in krožnega gospodarstva –Silent Revolutions, Odprti smo! (We're Open!) , The Circle ..., eden izmed zadnjih je Made in Slovenia.

Slednji je že projekt za naš tretji izziv – s stališča oblikovalske stroke in gospodarstva nujno potrebno uvedbo certifikata. A če se vrnemo na začetek tega zapisa: ali še obstajata nacionalno/teritorialno oblikovanje in industrija, in če, kaj ju potem definira oz. diferencira, da ju lahko kot takšna izpostavimo? Od nas bo odvisno, ali bo to kakovostna lokacija ali lokacija kakovosti.

Izziv 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22 ...

What is service design and how can it serve us?

Kaj je storitveno oblikovanje in kako nam

lahko koristi?

Ana Kyra Bekš

independent service designer samostojna oblikovalka storitev

Even though it has been around for more than 15 years, service design still does not have a single definition. Every new article, book, or publication offers a slightly different description and perspective on this relatively young discipline. My first encounter with service design was in the third year of my industrial design studies, and since then my understanding of it has changed substantially. Discussions on the subject are changing too. A few years ago, there was a lot of talk about toolboxes and handbooks, while today the focus has shifted to systems thinking and complexity. Like most beginners, I initially saw it as a set of methods and tools used in the design process, but today I understand service design as a mindset, a point of view from which I observe and tackle problems.

Service design is one of many approaches that are becoming increasingly popular among various organisations (private, public, and non-governmental) also in Slovenia. They see added value firstly in the structured planning of services and user experience. In our neck of the woods most wouldn’t call it service design but more likely design thinking. Five years ago, I would start explaining the difference between one and the other, but today I am more interested in what they have in common. When I compare service design with other innovative approaches such as lean and agile it becomes obvious to me that they share more than appears at first sight. All approaches have their beginnings during the transition from the industrial to the information society as an answer to technological progress and economic development. In one way or another they all build on users’ needs and the needs of everyone

Storitveno oblikovanje še vedno nima enotne definicije, čeprav se o njem govori že več kot petnajst let. Vsak nov članek, knjiga ali kakšna druga publikacija prinese malo drugačen opis in pogled na to relativno mlado stroko. Z njo sem se prvič srečala v tretjem letniku študija industrijskega oblikovanja in od takrat se je moje razumevanje storitvenega oblikovanja precej spremenilo. Tudi razprave, povezane z njim, se spreminjajo iz leta v leto. Pred nekaj leti sem lahko veliko brala o »toolboxih« in »handbookih«, danes pa o sistemskem razmišljanju in kompleksnosti, ki ju storitveno oblikovanje obravnava. Na začetku sem ga, kot večina začetnikov, videla predvsem kot nabor metod in orodij, ki se jih uporablja znotraj procesa oblikovanja, sedaj pa je zame storitveno oblikovanje zorni kot, izhodišče, s katerega opazujem probleme in se lotevam njihovega reševanja.

Gre za enega izmed mnogih pristopov, za katere se organizacije (zasebne, javne in nevladne) vedno bolj zanimajo tudi pri nas. Dodano vrednost vidijo predvsem v strukturiranem načinu načrtovanja storitev in uporabniških izkušenj. No, morda pri nas temu vsi še ne rečejo ravno storitveno oblikovanje, ampak recimo oblikovalsko mišljenje. Pred petimi leti bi vam začela razlagati, kakšna je razlika med enim in drugim, danes pa me bolj zanima, kaj imata skupnega. Ko storitveno oblikovanje primerjam z drugimi inovacijskimi pristopi, kot sta vitko razvijanje (ang. lean) in agilno vodenje (ang. agile), opazim, da imajo več skupnega, kot se zdi na prvi pogled. Vsi omenjeni pristopi imajo svoje zametke na prehodu iz industrijske v informacijsko družbo in pomenijo odgovor na tehnološki napredek in razvoj gospodarstva. Vsem je skupno, da tako ali drugače izhajajo iz potreb uporabnikov, oziroma širše, kar

involved (human-centred approach).

All of them employ iterative processes, repeating cycles, and engage various interdisciplinary stakeholders through the entire process.

No one discipline offers answers to all questions. Similarly, there is no perfect problem-solving method, tool, or model, each of them comes with their own blind spot. Therefore, it is important for professionals and their methods to complement each other and adapt to the context in which they are used.

Constant research and understanding of the context in which we operate is key to any organization’s successful practice and viable business. Like many other innovation approaches, service design first and foremost focuses on understanding the problem. On one hand It allows rapid evaluation of proposed solutions through constant prototyping and testing, and on the other it provides continuous insights into the needs of users and the context in which they use a product or a service.

With growing markets and an expanding service sector, many organizations have begun (and continue) to wonder which problems they are actually solving and how they can solve them better than their competitors. Service design thus offers one of many structured approaches for understanding (and solving) organizational problems and as an opportunity to innovate and succeed.

vseh vpletenih ljudi (usmerjenost v človeka). Procesi vseh so iterativni, v praksi ponavljajoči se cikli in vsi skozi celoten proces vključujejo različne deležnike z različnih področij.

Nobena stroka nima odgovorov na vsa vprašanja. Prav tako ni popolna nobena metoda, orodje ali model za reševanje problemov, vsak od njih ima svojo slepo pego. Zato je pomembno, da se strokovnjaki in njihove metode povezujejo in dopolnjujejo ter prilagajajo glede na kontekst uporabe. Neprestano raziskovanje in razumevanje konteksta, v katerem delujemo, je ključno za uspešno delovanje in poslovanje organizacij. Storitveno oblikovanje se tako kot mnogi drugi inovacijski pristopi najprej osredotoča prav na razumevanje problema. Z nenehnim prototipiranjem, preizkušanjem in testiranjem idej v praksi, z uporabniki, omogoča hitro preverjanje uspešnosti zasnovane rešitve na eni strani ter kontinuirano spoznavanje uporabnikov in kontekstov, v katerih produkte ali storitve uporabljajo, na drugi.

Zaradi vedno večje ponudbe na trgu in zaradi rasti storitvenega sektorja so se mnoge organizacije začele spraševati (in se še vedno sprašujejo), katere probleme pravzaprav rešujejo in kako jih rešiti bolje od konkurence. Storitveno oblikovanje se tako ponuja kot eden izmed strukturiranih pristopov k razumevanju (in reševanju) problemov organizacij ter s tem priložnosti za inoviranje in uspešnost.

I believe that, the enthusiasm for new innovative approaches reflected in eminent publications such as Harvard Business Review has led some organizations to set their expectations (too) high. In a rapidly changing world, many

Navdušenost nad novimi inovacijskimi pristopi, ki se odraža v člankih eminentnih publikacij, kot je Harvard Business Review, je po mojem mnenju pri nekaterih organizacijah vzpostavila (pre) visoka pričakovanja. V hitro spreminjajo-

organizations are looking for near instant solutions that would offer rapid innovations and help them keep pace with the competition. If there was an approach that could guarantee the desired results, I am quite sure that we would already be using it by now. But the thing is that every organization is unique, and so is every team and every context. And it is this diversity that hinders the application of any one approach as a recipe. The complexity of interactions between the suppliers and receivers of value is a hard nut that every innovative approach aspires to crack. Service design attempts to crack it by putting users, their needs, and expectations at the centre, as the key to successful problem solving.

Even though service design in Slovenia (and abroad) is often still associated with generating innovative ideas, and innovation with creativity, I think the biggest added value of similar approaches to service design is everything that happens prior to the problem-solving stage: the understanding of the context, the awareness of the needs of everyone involved, and of the consequences of (not) solving the problem.

In this respect service design is similar to all other design disciplines that build on understanding the problem as the basis for its (successful) resolution. For example, industrial designers think about creating a product that will fit with and meet certain human needs, what technology will be used for its production, and how it will be used in the users’ life. A service designer on the other hand is focused on the end-to-end customer experience with a service, service provision and implementation, and business viability. On a more abstract level, the role of a servi-

čem se svetu številne organizacije iščejo skoraj instantne rešitve, ki bi omogočile hitro inoviranje in zagotavljale konkurenčnost. A če bi obstajal pristop, ki bi lahko v kratkem času zagotovil želene učinke, mislim, da bi ga že vsi uporabljali. Tako pa je treba razumeti, da je vsaka organizacija drugačna, prav tako vsaka ekipa in vsak kontekst. In ravno ta različnost preprečuje, da bi katerikoli izmed pristopov deloval kot recept. Kompleksnost interakcij med tistimi, ki ponujajo, in tistimi, ki prejemajo vrednost, je trd oreh, ki ga želi streti vsak inovacijski pristop. Storitveno oblikovanje se tega »oreha« loteva tako, da uporabnika in razumevanje njegovih potreb in pričakovanj postavlja v središče. Ravno to pa je ključ do uspešnega reševanja problemov.

Čeprav se storitveno oblikovanje pri nas (pa tudi v tujini) še vedno pogosto enači z iskanjem inovativnih idej, inoviranje pa s kreativnostjo, mislim, da je največja dodana vrednost pristopov, kot je storitveno oblikovanje, v vsem, kar se zgodi pred samim reševanjem problema: v razumevanju konteksta, potreb vseh vpletenih in posledic (ne) reševanja problema. V tem pogledu je storitveno oblikovanje podobno vsem ostalim oblikovalskim smerem, kjer je dobro razumevanje problema temelj za njegovo (uspešno) reševanje. Na primer, industrijski oblikovalci razmišljajo o tem, kako bo izdelek narejen po meri človeka, kakšna tehnologija je potrebna za njegovo izdelavo in kako bo deloval v življenju uporabnika. Storitveni oblikovalec pa se sprašuje, kakšna bo celostna uporabniška izkušnja uporabnika s ponudnikom storitve, kako bo storitev mogoče izvajati in ali je poslovno smiselna. In če stopim še za eno abstraktno stopničko višje, je vloga storitvenega oblikovalca

ce designer is to design value exchange between those who create and those who receive value. But when it comes to services, the line between the value creators and receivers begins to blur. Value exchange is the cornerstone of the economy. In the previous century we focused on tangible value exchange, mainly through objects (or raw materials). At the end of the previous century services were considered a nuisance that were part of the goods. Today, the tables have turned, and products are seen as tangible parts of services. We live in a service economy where we satisfy our need for belonging, safety, or inspiration by using various services. Thinking about products alone is no longer enough to gain a competitive advantage on the market.

A new paradigm that sees all human action as a series of service exchanges might be a radical shift from the status quo for most organizations in Slovenia. Still, growing demand for experts in UX (today understood primarily as the design of digital products and services) indicates a shift towards the understanding of users, prototyping, and testing solutions before they are implemented. I see the phrase user experience enjoying increasing interest and use, both in articles and conferences, reflecting a growing awareness of the added value of user-centred design.

A number of models, methods, and processes intended to optimise business processes, improve organization management, and solve problems have been developed through history, each as a response to the context in which it evolved. Design as a field is constantly changing, growing, and transforming. In 15 years' time we may no longer spe-

oblikovanje izmenjave vrednosti med tistimi, ki vrednost ustvarjajo, in tistimi, ki jo prejemajo. Meja med ustvarjanjem in sprejemanjem vrednosti pa se pri storitvah začne brisati. Izmenjava vrednosti je temelj ekonomije. V prejšnjem stoletju smo se ukvarjali predvsem z izmenjavo vrednosti prek otipljivih predmetov (ali surovin), danes pa se izmenjave vedno bolj premikajo na polje neotipljivega. Storitve so bile konec prejšnjega stoletja nevšečnost, razumljene so bile zgolj kot dodatek k blagu. Danes so se vloge obrnile in so produkti le medij za izvajanje storitev. Živimo v ekonomiji storitev, kjer zadovoljujemo potrebe, kot so na primer potreba po pripadnosti, varnosti ali navdihu. Razmišljanje zgolj o produktih ni več dovolj, da bi bili lahko na trgu konkurenčni.

Nova paradigma, ki razume vse človeško delovanje skozi izmenjavo storitev, je morda za večino organizacij pri nas še prevelik preskok iz statusa quo. Vendar se s porastom zaposlovanja na področju UX (ki ga danes razumemo predvsem kot načrtovanje digitalnih produktov in storitev) kaže premik v smeri razumevanja uporabnikov, prototipiranja in testiranja rešitev, preden jih implementiramo. Opažam, da je uporabniška izkušnja vedno pogosteje uporabljana besedna zveza, tako v člankih kot na konferencah. S tem se kaže vedno bolj prepoznana dodana vrednost usmerjanja v uporabnika.

Skozi zgodovino je bilo razvitih veliko modelov, metod in procesov za optimizacijo poslovnih procesov, izboljšanje organizacijskega vodenja in reševanje problemov. Vsak je bil odgovor na kontekst, v katerem je bil razvit. Področje oblikovanja se nenehno spreminja, raste in se preobraža. Če morda čez petnajst

ak of service design, but I hope its basic premises of human-centred design, constant testing, and interaction between different disciplines will stay as relevant as they are today.

let ne bomo več govorili o storitvenem oblikovanju, pa upam, da bodo temeljne premise o usmerjenosti v človeka, nenehnem preizkušanju in povezovanju strok še vedno aktualne.

Mark

Znak oblikovalske odličnosti

The "Made in Slovenia" mark of excellence is awarded to products that represent the good practices of Slovenian artists and companies operating in the creative sector. The mark of excellence is uniquely generated for each product.

Znak odličnosti »Made in Slovenia« podelimo izdelkom, ki predstavljajo dobre prakse slovenskih ustvarjalcev in podjetij, ki delujejo v kreativnem sektorju. Znak odličnosti je unikatno generiran za vsak izdelek.

Addid Plus 20 Aki, d.o.o. 84 Miha Artnak 52 Sara Badovinac 64 Lučka Berlot 46 Ajda Bertok 38 Ivana Blaž 56 Bled 76 Circulum Garden 44 Desnahemisfera 70 Earth flag 52 Equa Care 80 Equa, d.o.o. 80 Belen Villan Fernandez 74, 76 Folds 22 Fragile bodies 66 Festival lesa 72

A G H J K L M

B C D E F

Gigodesign 34 Ági Göb 46 Hashtag 20 Julijci 74 Lovrenc Kolenc 74, 76 Konstrukta 72 Dejan Kos 70 Niko Kralj 72 Krater 30, 32 Kronoterm 34 Layer 70

Madres 84 Darja Malešič 28 Maruša Mazej 66 Anja Mencinger 22 Moseanic 46 Nina Mršnik 56

Rok Oblak 30, 32 Olive 26 OLOOP 60 oneandhalfmilionchair 86 Pattern Generator 56 Pendulum 42 Pikto, d.o.o. 84 Pra 28 primozjezastudio 86 Srđan Prodanović 52

O P R

Matej Štefanac 42 Š T V X Z

Tetris 22 Primož Turnšek 30 Versi 34 Boštjan Vuga 74, 76 X 50 Peter Zabret 64 Zobna ura 64

Made in Slovenia

Catalogue / Katalog

Publisher / Založnik

Center for Creativity (CfC) Museum of Architecture and Design, Ljubljana

Center za kreativnost (CzK) Muzej za arhitekturo in oblikovanje, Ljubljana

Rusjanov trg 7 SI-1000 Ljubljana

For the publisher / Zanj dr. Bogo Zupančič Director MAO / direktor MAO

Head of the Centre for Creativity Vodja Centra za kreativnost mag. Anja Zorko

Editor / Uredila Mika Cimolini Head of CfC Programme Vodja programa CzK

Concept and product descriptions / Idejna zasnova in opisi izdelkov Mika Cimolini

Graphic design, Layout and Illustration Grafično oblikovanje, prelom in ilustracija Studio Kruh d.o.o. Gregor Makovec Gašper Uršič Blaž Rojs

CfC team / Ekipa CzK

Maja Kovačič

Urška Krivograd Marko Podjavoršek Zala Košnik Blaž Šenica

Hana Vardjan

Social media / Družabni mediji Zavod Neuropolis

Copy editor / Jezikovni pregled Andreja Šalamon Verbič (angleščina) Katja Paladin (slovenščina)

Print / Tisk Collegium Graphicum

Circulation / Naklada 300

Typeface / Črkovna vrsta Favorit Pro (ABC Dinamo)

© 2022 MAO Centre for Creativity, Ljubljana Center za kreativnost, Ljubljana

© Texts copyrighted by the authors. Photos and other images are the property of the authors.

Besedila so last avtorjev. Fotografije in drugo slikovno gradivo so last avtorjev.

All rights reserved. No part of this publication may be reproduced, stored or transmitted in any way – electronically, mechanically, photocopied or otherwise recorded –without the prior written consent of the publisher.

The project is co-financed by the European Union (European Regional Development Fund) and the Republic of Slovenia. The project is implemented in the framework of the Operational Program for the Implementation of the European Cohesion Policy 2014–2020. The Centre for Creativity program is conceived by the Museum of Architecture and Design (MAO).

Vse pravice pridržane. Nobenega dela te publikacije ni dovoljeno reproducirati, hraniti ali kakor koli posredovati – elektronsko, mehansko, s fotokopiranjem ali kakršnim koli snemanjem – brez predhodnega pisnega soglasja založnika.

Projekt sofinancirata Evropska unija (iz Evropskega sklada za regionalni razvoj) in Republika Slovenija. Izvaja se v okviru Operativnega programa za izvajanje evropske kohezijske politike v obdobju 2014–2020. Program Centra za kreativnost je zasnoval Muzej za arhitekturo in oblikovanje (MAO).

The »Made in Slovenia« mark of excellence is awarded to products that represent good practices by Slovenian artists and companies operating in the creative sector. We spotlight the stories of small brands that express functionality, a passion for life and nature, innovative applications of local materials, and new production techniques that benefit from regional craftsmanship and advanced techniques of sustainable production.

Znak odličnosti »Made in Slovenia« podelimo izdelkom, ki pomenijo primere dobre prakse slovenskih ustvarjalcev in podjetij, ki delujejo v kreativnem sektorju. Poudarjamo zgodbe majhnih blagovnih znamk, ki izražajo funkcionalnost, strast do življenja in narave, inovativne načine uporabe lokalnih materialov in nove tehnike proizvodnje, ki se opirajo na regionalno obrtništvo in napredne tehnike trajnostne proizvodnje.