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O b l i kova n j e z a o d l o č n o p ro d r u ž b e n i p osta p o ka l i pt i č n i s vet

CONTENTS

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Introduction How to survive the apocalypse Mika Cimolini Day 29 Jeff Bickert Today for Tomorrow Federica Sala New Cultures of Making Maja Vardjan Compassion in design for a sustainable future Matej Feguš Who’s Afraid of the Bogeyman? Leonora Jakovljević

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Products 44 46 48 50 52 54 56 58 60 62 64 66 68 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100 102

Nonstop Interior Landscape Lumitronome Radiator Line Wicker Vision Duavita & Shunga Nicoless Backpack Paper + Bioplastic Henhouse G rocking chair Wavy Surface Eli, digital personal assistant Adapt heat pumps Stellar Luminaire by Wa—t Lighthouse ETAT Collection: table no. 003 Soothing Stool Pitstop Concrete Garden Gift of the Future Cloudy Cutting Board & Drawers Everglow Garden Fireplace DIY Furniture Oli Vulgaris XII Wine Studiolo Kubis Rocking Light: Toasted Furniture Story of Women Serendipity Searcher [BIO 26]

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Authors Arne Vehovar, Urša Vrhunc Martin Bricelj Baraga, MOTA with Bella stock Dan Adlešič Darja Malešič David Tavčar Primozjezastudio for Donar Eva Garibaldi Gašper Fabijan, Atelier Grupo H Iztok Lemajič, IDFL Kofein Dizajn Kronoterm with Gigodesign Mashoni with Indata Matej Štefanac Monochrome Architects Peter Štrukelj ADDiD Plus Tina Rugelj Tina Košak Koren, Zavod Floios Tanja Pak Studio Moste tojo.i.to Trajna, Katarina Lampič, Matija Milkovič Biloslav Veronika Rožmanc Vulgaris woodcut Matic Komel, Lara Baler, Boštjan Kopinšek Folds Nuša Jelenec, Nina Mršnik Oloop Thomas Hügin, Maja Kolar, Yuxi Liu, Boris Smeenk, Špela Pavli Perko, Commonplace Studio, Žiga Cerkvenik, Irena Eiselt, Janko Klasinc Trajna

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[Tunnel 29] Design for a Post-apocalyptic World

Introduction

Under the scenario presented our natural environment has been destroyed – we now live in Tunnel 29. The selected projects envisage a dark future, a post-industrial dystopia where life persists in a closely controlled artificial environment filled with DIY furniture made of recycled plastics, wood from invasive plants and salvaged scrap metal, with survivors growing our own food. How are the efforts to tackle such reality reflected in the design for tomorrow? The selection of 30 products that dare to look beyond the present was made as early as December 2019, well before the Covid-19 pandemic, based on the open call for participation, which received submissions from 69 applicants who contributed more than 100 products. The jury composed of architect and designer Vasa Perović, designer and teacher Leonora Jakovljević, industrial designer Jan Jagodič, curator and designer Federica Sala, curator for architecture and design at MAO Maja Vardjan, and architect and head of programme of the

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CfC Mika Cimolini, selected 29 products. The selection was completed with the Serendipity Searcher, one of the projects commissioned for the 26th Biennial of Design, organised by MAO in 2019. The jury focused on how the projects address the issues put forward by the call, how they foresee life in the future; they were interested in whether the projects make life better for their users, whether they integrate the principles of circular economy and sustainable use of natural resources in their design concept and how they fit into the overall concept of the post-apocalyptic living. All 30 selected products received funding for further development and presentation. Due to the Covid-19 pandemic and the consequent cancellation of Design Week in Milan, the exhibition was presented for the first time in June 2020 in the Project Space of the Museum of Architecture and Design in Ljubljana (MAO).

of the cultural and creative sector (CCS). Its aim is to facilitate the empowerment of the full potential of Slovenia’s creative sector’s social and economic value, and to create stronger ties with business, science, education and other sectors. The project run by the Museum of Architecture and Design (MAO) serves as an important part of the environment that supports innovations in Slovenia. The CfC operates in the domains of architecture, design and visual arts, cultural heritage, archives and libraries, books, education in culture and arts, advertising, music, intermedia art, radio, television and other media, software and games, film and audio-visual industry, cultural tourism and other artistic expression.

Centre for Creativity (CfC) is a Slovenian national platform for collaboration, promotion, support and development

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HOW TO SURVIVE THE APOCALYPSE 12

Mika Cimolini, Head of Programme, Centre for Creativity TUNNEL

The aim of “design for a post-apocalyptic world” is to take people out of their comfort zones and find design solutions for the reality that we are already living. How can we prepare for the inevitable apocalypse heralded by viruses and climate-related disasters? How can we push it back through the way we live our lives? We are looking for survival scenarios that make do with only the raw materials that have already been sourced. In the future we will no longer mine and extract metals, coal, oil or other raw materials. The plan to reduce the amount of greenhouse gas emissions envisages halving our energy consumption, reducing industrial production, the construction of energy self-sufficient buildings made of green materials, reducing air and land travel, and abandoning the agricultural production that generates greenhouse gases. It is a scenario at odds with consumerism and the promotion of goods and services. Perhaps it even leads to a radical reduction in imports/ exports and, in the context of supply, isolates countries

into self-sufficient cells. The question for creative industries is, therefore, how to survive in a world where the production of anything “new” has been made redundant. On the one hand, product sustainability (rather than durability) is defined by the length of a product’s useful life, irrespective what it is made of (it may be plastic and can last 50 or even 100 years), and on the other hand by the way they are made, i.e. that they are made of eco-friendly materials and produced without generating harmful emissions. But what counts the most are the benefits that these products bring to society, the environment and the economy throughout their life cycle (from raw material to waste). Satisfying the user and at the same time protecting the environment constitute the two principal goals informing the products together with their social and ecological roles. The products on display at this exhibition embody these efforts and offer some answers to the questions posed herein.

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Design for a postapocalyptic world looks into three dimensions of living: housing, production and food. The projects in the first segment tackle mobility, the need for intimacy and basic functionality (sleeping, excretion, storage). They tend to users’ practical and emotional needs, because products that fail to satisfy these criteria don’t get to serve very long. The production segment showcases DIY projects, from a waste plastic recycling machine and simple plans for making furniture from invasive plants, to recipes for making bioplastics out of paper that cannot be recycled otherwise. Rather than being concerned primarily with the aesthetic dimension of the product these projects provide for basic functionalities and are made without harming the environment or society. If we are to enjoy healthy food without compromising the environment, we will probably have to grow our own. The third part therefore focuses on products that facilitate these efforts.

A Tschumiesque (as in Bernard) chicken coop for self-sufficiency, a fire plate that can also be used for cooking, wicker-clad bottles to carry water or concrete garden furniture – these products are not only ecofriendly and functional, they are what society and the economy will need to survive the future.

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DAY 29

Jeff Bickert, Editor TUNNEL

Design for a decidedly pro-social post-apocalyptic world

Today we see a vast “wealth” of schemes meant to compensate for, circumvent, confront, spurn or ignore the quarantine and socialdistancing measures we have all been observing for some time now. For better and for worse these schemes include a vast array of adhoc DIY mask designs, home-brew hand sanitizers, preventatives, “cures” and more. These, in addition to countless compensatory and substitution scenarios designed to stand in for whatever it is we don’t or can’t have, from common food items and household goods to entertainment, physical recreation and social engagement.

Just as we witness this nearrandom proliferation we also see, in parallel – both in reaction to and anticipation of the developments driven by the current crisis – a

deluge of questions. Perhaps the biggest such question today and looking forward – well forward into the indeterminate future, in the most general, existential sense – is this: Are we supposed to go on hiding; and if so, how long are we going to hide? The question however is not the right question, it is a false choice, on at least two critical points. This formulation suggests there is an actual choice involved, and that we must choose from two alternatives: hide, in relative safety, or open up and preserve our way of life (as part of the larger economic mechanism). It maintains that these are our only choices, and, ergo sum cogito, that the question posed is the only correct and relevant proposition; and further, the answer – the resulting question –

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serves to negate the second alternative entirely. So, how long are we expected to hide? For the foreseeable future, until it’s safe, until there’s a vaccine, a treatment, a cure, until we have widespread testing, develop so-called herd immunity, until the end of time? Until things change? But things don’t change – we change things. Changing things starts with changing the question. And a variation on a well-worn cliche says we can’t expect a different outcome if we keep asking the same question. If nothing else, this pandemic has raised – has moved us to raise – a plethora of questions that address the very fundamentals that frame, direct and dictate our lives – our lives as social beings, as custodians, as human subjects. Thus the question: Are we to go on distancing indefinitely; is that to be our new reality? Are we not distanced enough already? Do we not increasingly practice distancing through social

media, with all of our individual music, film, news, entertainment and communication apps, platforms and services? We tend to stay home and watch, listen, “engage”. And even then we call before we video chat, and text before we call; even emoji before we text. Hiding is anathema to the very concept of humankind as social beings. Without putting undue emphasis on it, hiding is not social behaviour, it is distinctly anti-social. Disclaimer: To be explicitly clear, we are not advocating or inciting people to disregard or disobey rules put in place to protect us, all of us, and which are put in place in our very (and largely genuine) best interest. By the same token, however, these are (and must be) temporary measures only; and are largely the result of an unwillingness to do more, to take real preventative and preparatory measures; to change; to take a very different position from the beginning; to ask a very different question: How (as social beings) do we want to live?

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Perhaps it is more than ironic that CfC’s exhibition theme in 2018 was “Open”, which declared that Slovenia and design coming out of Slovenia was open to new thinking and approaches, to new issues and concerns, methods and materials, open to flexible use, sharing and sales. This time around has proved no less ironic. The theme for CfC’s Milano 2020 exhibition, Tunnel 29, was set months before the world began hearing of a deadly virus that threatened to spread precipitously and would require unprecedented measures to contain and control it. The selection jury gathered an array of compelling designs under the rubric “Design for a postapocalyptic world,” which focused on positive material cycles, smart efficiency, the use of existing materials and technologies, mobility and the environment. Yet while this body of designs and concepts addressed and expressed these considerations under a far larger concern-umbrella, the designs herein share another key feature, one that is equally if not far more

important and relevant given the (now very real and dire) circumstances: the social component. Social because the modular storage scheme of Arne Vehovar and Urša Vrhunc appears to divide and separate – which it does – but the spaces it demarcates remain open. The partitions don’t reach to the ceiling, they are as symbolic as they are literal or functional; instead sound and air travel freely, and there remains a sense of openness as opposed to containment or isolation. And Martin Bricelj Baraga’s Lumitronome kinetic light installations were originally designed for (large, public) metro stations and are intended for outdoor public spaces – spaces that bring people together; spaces people share and experience, in common. Primoz Jeza’s Nico Less backpack for Donar envisions an extended sense of mobility away from a closed, fixed working environment toward a more flexible and open arrangement where people meet and work in an array of configurations. And while Kofein Dizajn’s Eli

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app is intended to connect, educate and entertain people with memory and dementia disorders digitally, and thus virtually, the emphasis is on connecting and community, bringing people together into a common fold, and is thus highly inclusive as opposed to exclusive. Oloop’s Story of Women is the exemplary explicitly social case among the designs here, weaving women’s personal and communal stories and experiences into a handembroidered textile-wall, with the aim of developing a series of bigger and smaller carpets and wall coverings. Floios studio creates jewellery that is meant to be shared with someone dear – shared in the larger sense of turning to our common natural environment for literal, figurative inspiration and passing it on in the form of a precious, enduring object. Tina Rugelj’s Concrete Garden line of fine outdoor fiber cement furniture is flexible and multifunctional: the Big Lamp can also be used as a tea table or even a chair, accommodating

family and friends in an array of social configurations. Similarly, Tomaž Čeligoj’s Everglow Garden Fireplace is an atypical variation on what may be the most social object ever – the fireplace. We’ve been gathering around organised fire forever, and his very contemporary take on this timeless ritual of multidimensional necessity continues, encouragingly, this most fundamental of social practices. Trajna’s DIY furniture brings together a number of key components, wherein invasive plant species are harvested for local furniture production using plans available online or from an open-source workshop. Not only is the scheme smart, socially inclusive, environmentally friendly and beneficial, the wood even boasts excellent mechanical properties and lovely reddish hues. The Vulgaris Wine Studiolo is a highly expressive free-standing bar cabinet designed to house your favourite drinks, glasses and accessories, in tasteful style. And a bar cabinet (and its contents) is typically meant

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to be shared and enjoyed in good company. And anyone with any experience of kids, camping or playtime knows tents are decidedly social. Sure, you can seek privacy taking some solo time out in a tent, but for the most part tents – and the sleeping bag into which Veronika Rožmanc’s Oli children’s tent converts – are all about company and sharing. And as Rožmanc says, Oli isn’t just a tent, Oli’s a member of the family.

the exhibition subtitle accordingly: Design for a decidedly pro-social postapocalyptic world.

It is surely the editor’s rare luxury to observe and comment post-factum, in this case on an exhibition and larger social commentary event, to unearth new or unexploited value and dimensions in the material at hand. For again, as social beings, and perhaps now more than ever, we cannot ignore or discount the power and relevance of the social component – in design and in all we do. How do we want to live? As social beings worthy of all the term implies, indeed demands. In such a spirit, let us then extend the post-factum luxury to reformulate

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TODAY FOR TOMORROW

Frederica Sala, curator and designer TUNNEL

A human being always projects himself into the future, be it far or near. A temporal dimension into which he places his hopes and anguish in equal measure. Only children in their early years live in the ongoing present, their horizons never extending into tomorrow. If this is our starting-point assumption, then humankind has been trying, since time immemorial, on the one hand to see beyond our mortality, and on the other to “read”, or better interpret, the future. Glory, descent, succession are concepts conceived by humankind to hold on to the future, and religion, philosophy and astrology are just some of the disciplines with which we have tried to anticipate and accept it. Thus, when it came to deciding our future humankind was left to the mercy of higher forces that acted on our behalf, which is why our focus always lay on the present moment, until at the onset of humanism and the Renaissance the concept of fate gave way to the concept of homo faber fortunae suae (every

man is the architect of his own fortune). The arrival of the concept of individual talent, on the other hand, was the seed that begot what was to become the philosophy of capitalism as captured in the concept of the self-made man. This being said, the remarkable scientific progress of the last century led to the development of a certain kind of scientific aristocracy that is associated with the very concept of knowledge. Since the end of World War II we have witnessed the overpowering adoration of humankind’s capacity to build the present, with blind faith in our individual capabilities. When Clash frontman Joe Strummer famously wrote: “The future is unwritten,” he wanted to stress, in the midst of the mass antiThatcher protests that swarmed over Great Britain in the 1980s, that anyone can be an agent of change. “The future is unwritten” meant no less than “anything is possible” – if only because of man’s passionate effort, enthusiasm and courage. This sentence captured a sense of absolute faith in humanity,

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both in an individual and society, faith in one’s ability to ask for what they are owed and to rebel. But today, more than ever, phrases like this sound out of tune and out of time. Today, the future is written and what we read there is a bleak promise for future generations. After decades of overwhelming human hubris against nature, scientific research and its authoritative and charismatic spokespersons predict a catastrophic and apocalyptic future. If until now man has been trying to build a better future, from now on one has to build the present in order to change the future that has already been written. The action/time axis is therefore two-fold, weaving the thread of our day-to-day behaviour with the thread that will be the tomorrow of future generations. From this perspective, our present must be defined by values such as responsibility, awareness and respect. Contemporary designers are asked to abandon the artistic, the intuitive and the passionate to make

way for a radical change in consumerism and behaviour in general. When the MAO, Museum of Architecture and Design, launched the “Design for the Future” exhibition nobody could foresee the way things were soon to unfold, the apocalyptic scenario that we are now living globally. It’s interesting to see how perfectly the previously selected projects respond to the many questions pressing on us all in this period of global lockdown and quarantine. The opportunity to go back to local production and materials (such as the scrap wood used by Studio Moste or the concrete in Tina Rugelj’s lamps from the Concrete Garden collection, or the chairs by Grupo H). The need for design to simplify the production process, like in Matej Štefanac’s lights, Dan Adlešič’s radiator, Nikolaj Salaj’s Folds or Monochrome studio’s furniture: all these projects use minimal materials, as a rule those that are easy to handle and form, such as aluminium.

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The importance of being surrounded with multifunctional objects. In a world that offers increasingly smaller living spaces we need objects that can be transformed, such as the Pitstop stool by ADDiD Plus, and even more so the Non-Stop Interior Landscape by Arne Vehovar and Urša Vrhunc – a modular architectural system of wooden boxes that can transfigure spaces and serve as furniture. A return to the age-old mentality that allowed objects and materials several life cycles before discarding them. A good example is Eva Garibaldi’s Paper+Bioplastic project, which offers DIY recipes for new materials, Nina Mršnik and Nuša Jelenec’s Toasted Furniture, or the 3D-printed recycled silver jewellery collection by Tina Košak Koren. The importance of taking care of others before we take care of ourselves. Taking care means listening and passing on stories, which is what Oloop’s Textile Stories of Women is all about, or making a better life for vulnerable groups of people,

such as Kofein’s app for the elderly and people with Alzheimer’s, which facilitates their communication with loved ones. A far-sighted project indeed, keeping in mind the many difficult situations in which the most vulnerable groups find themselves living today. Knowing how to impart a human value to artificial intelligence, like in the Serendipity Searcher project designed by the “Library” team for BIO26. The team conceived it as a visual atlas that gives meaning to chance encounters created through interactions between a physical gesture and a machine. The return to nature, a closer connection with its cycles and fruits. Fabijan’s henhouse takes us there, as does the invasive plant furniture collection by the Trajna collective. The newly found joy of making things by hand, which takes back the spotlight from the production aspect and puts it on the creative process, like Darja Malešič’s Wicker Vision and Tanja Pak’s glass cups.

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The designers of the new age, the pioneers of the new era, must therefore take on the roles of scientists, artisans, farmers and visionaries in order to shape their processes rather than their products, designing

the future by changing the instruments of the present. We must now lead together an unheard collective design action. Who better to design changes than them?

Here are the rules: 1 2 3 4 5 6 7 8

Back to the local. Think simple. Buy multifunctional. DIY attitude: recycle. Take care. Human A. I. A new rural era. Go craft.

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NEW CULTURES OF MAKING

Maja Vardjan, curator, Museum of architecture and design TUNNEL

“The good craftsman, moreover, uses solutions to uncover new territory; problem solving and problem finding are intimately related in his or her mind. For this reason, curiosity can ask, “Why?” as well as “How?” about any project.” 1 Richard Sennett In 2012, Ljubljana saw the first exhibition in the PopUp Home events series. Young designers furnished a flat in the city centre with their products and turned

it into a pop-up shop cum gallery and community space. This collaborative effort was a response both to the economic situation at the time and to the young creatives’ position in the context of changed relationships in design. The way things were at the time, it was clear that mass industrial production no longer played a prominent role in their work. The focus had shifted to local productions, limited series and DIY projects, which explored new ways products were being created, made, funded and distributed.

If the Pop-Up Home was among the first harbingers of change at the time, such practices have become a staple in recent design production both in Slovenia and beyond. The interest shown by designers and users in locally produced hand-made objects is rapidly increasing as they continue to search for alternatives to excessive industrialisation, globalisation and the digitisation of our daily lives. The value of handwork is also changing in light of global labour exploitation, which has inspired many creators to look for ways to humanise the making process and contextualise a more responsible lifestyle.2 In her book Design as Attitude author and critic Alice Rawsthorn distinguishes between two types of projects that integrate the principles of handwork and traditional crafts with design: those that have made strategic use of artisanal symbolism and techniques, and 1 Richard Sennett, The Craftsman, Penguin Books 2008, p. 11. 2 Lidewij Edelkoort, “Art d’eco”, in: Formafantasma, Stedelijk Museum‘s-Hertogenbosch and Uitgeverij Lecturis 2014, p. 70.

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those that take a conceptual and anthropological approach to the idea of craftsmanship, addressing social, political and environmental issues as they explore the processes of hand making.3 So how do modern design, new technologies and the digital sphere co-exist and correlate with the principles of craftsmanship and traditional crafts in the postindustrial context? And how is this reflected in the products showcased by Tunnel 29?

New traditions The exceptional cultural heritage of traditional Slovenian crafts represents a rich body of material waiting to be translated into new ways of implementing artisanal knowledge and skills. In her Wicker Vision Darja Malešič applies traditional wicker craft to standard water bottles which, once dressed in carefully crafted protection, are transformed into valuable personal objects. With its random form Garden fireplace Tojo.i.to brings new content to the primary making process. Rather than recognising in crafts an opportunity for nostalgic

revival or a quest for ideals lost, such approaches unveil the potential of traditional crafts with their flexibility and ability to step outside the box. Floios jewellery takes flexibility and innovation to another level with a unique blend of traditional making techniques and new digital technologies. Designer Tina Košak takes unaltered forms she finds in nature and captures them in 3D scans to make jewellery from recycled precious metals. It’s an approach that gives new meaning and purpose to age-old techniques and materials.

3 Alice Rawsthorn, Design as an Attitude, JPR Ringier and Les Presses du Réel, Zurich 2018, p. 40.

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Industrial artefacts New technologies and methods of making no longer push us to produce series of identical products, but allow us to personalise, adapt and change what we do in the course of the making process. Small and mediumsized industrial and semiindustrial producers thus also play an important part in the discussion around handwork. Many products draw their appeal from the combination of serial production and artisanal details. The glass bowl line Cloudy by glass designer Tanja Pak combines small-scale mouldblown production with a hand blowing technique and subsequent hand finishing, which highlights craftsmanship as a thought process that aspires to achieve utmost purity and precision. Standard woodworking technology combined with a handcarved motif in the wine cabinet by the Vulgaris duo conveys how much time and skill was invested in its production; in a similar vein is the series of plates by Made

in Moste, a studio whose philosophy is grounded in local production of wooden furniture elements and home accessories. Another creator imparting the symbolism of individuality into his products is David Tavčar with his recycled polyester cotton fabrics that introduce the randomness and irregularity so characteristic of handwork into mass production. A graphic in the form of a repeated pattern is created with the help of computergenerated parameters to disrupt the machine weave and transform the fabric into a one-of-a-kind product. Imperfections that distinguish handcrafted products from massproduced commodities and rituals of the artisanal making process have become an important consideration for people who seek both a special experience and products with added symbolic value. Industry and craftsmanship are no longer seen as polar opposites, but complement each other in the making process.

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Hand making as critique and alternative Increased interest in handwork drives more and more creators to come up with DIY projects and opencode systems, and inspires them to reproduce existing products that redefine the very idea of designer as ultimate author. These principles often emerge and evolve as a response to social and environmental issues, climate change and like concerns. The Trajna collective’s project taps into the potential of invasive plants, exploring ways they can be used as raw materials to boost local production, such as paper production or DIY furniture. Eva Garibaldi’s project, which undertakes to extend the life cycle of non-recyclable paper, draws on the same principle, as does the Toasted Furniture

series, for which designers employed a special toaster to transform waste plastic into water-resistant panels that serve as material for oneof-a-kind furniture. Process, research and experiment also underline the work of the Oloop group. Their projects bring communities together through group rituals of handwork and conversation, with the focus on the cultural and social integration of a frequently marginalised population – women. Rather than generate commercial products these projects primarily aim to raise awareness of the wider context in terms of collaborations, processes, social significance, and ultimately change the way we think and work.

Programming and handwork The rebirth of crafts did not circumvent the digital domain. “Craft benefited

from the injection of new thinking, and forays into dynamic and new fields,

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such as software,”4 says Rawsthorn in the conclusion of her text Craft Revival, where she identifies the iterative programming process, which matches the hand with coded instructions, as a link between design and handwork. New technologies and programming are redefining both design and craft practice, but the Serendipity Searcher, designed by a

multidisciplinary group of creators for the National and University Library in the framework of the 26th Biennial of Design, stands out from other products showcased by Tunnel 29. By bringing together a spatial installation, a programmed digital archive and a human gesture, this installation becomes a digital generator for new readings of the library’s archive.

Despite their diverse approaches and aspirations the selected projects share a common denominator that looks at both traditional making techniques and digital processes from the critical position of our time. New forms and cultures of making are not just about forms and skills and their preservation at any cost; they are first and foremost about ideas and narratives that represent an integral part of the process and the product. The excellence of an artisan or designer lies not only in their quest for solutions to the problems at hand, but in their ability to raise the questions underlined by Richard Sennet at the beginning of this reflection. “Why?” and “How” evince new cultures of making as a thought process, and not simply a manual operation. And herein lies their strength, beauty and value.

4 Ibid., p. 46.

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COMPASSION IN DESIGN FOR A SUSTAINABLE FUTURE 34

Matej Feguš, Donar d.o.o. TUNNEL

Whatever world emerges after the #Covid19 pandemic, we’ll have an unique opportunity to use or rather re-use #DESIGN as a force for change. This is not new – this has been done in the past, when critical times called for decisive, constructive measures. Britain’s Design Council was established under Winston Churchill and his wartime government in December 1944 to support Britain’s post-war economic recovery. The Council of Industrial Design was founded with the purpose of promoting “by all practicable means the improvement of design in the products of British industry”. This time we have to go even further. We need to implement #compassion into design thinking and the methods we apply in our work. Design starts with empathy – the ability to understand or relate to and share the feelings of another. But great design builds on that important base with compassion! Understanding social needs means we empathise; to research and develop a real understanding of our users – and what we as users need most.

Compassion takes this a decisive step further. Whereas empathy is a much internalised feeling, compassion on the other hand moves outwards. Empathetic feelings allow you to relate to and feel what another person feels. Compassion, however, is an active emotional response to empathy and introduces the desire to help. (This is the difference between feeling heartbroken when you see another person crying, and giving that same person a comforting hug.) We are all designers. As designers of everyday life we will have to focus far more on the key challenges of our time — improving health and general wellbeing, and making sustainable living a reality. Only by focusing on compassion and starting to live and direct our lives towards building a socially responsible and sustainable future can we survive as a human race! Compassion; understanding over intolerance and wilful ignorance, co-operation over competition, and solidarity over selfishness! Here are two words that will both drive and characterise a sustainable future: COMPASSION DESIGN.

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WHO’S AFRAID OF THE BOGEYMAN?

Leonora Jakovljević, designer and teacher TUNNEL

We live in turbulent times. Only a few months ago we felt that despite the natural disasters, our uncertain destiny and inevitable wars we were still in control of our lives, living in the free little country of Slovenia within a free Europe, enjoying fundamental human rights. The coronavirus and the global pandemic have changed that, shaking our world and putting a stop to our lives overnight, turning them upside down. But it was only a seeming stop. In return, we were given time – time to think, to finish what we’ve started, talk, appreciate the value of the local, nurture genuine bonds with other people, and enjoy new challenges; time with our nearest and dearest, time for ourselves and the intimate experience of our every day. But there’s another side to this story. The government has responded by showering us with orders and restrictions, and violating our human rights in the process. Combined with various polemics in the media and

speculation about the future this has led to intolerance, anguish, poverty and violence. As impossible as it may seem, the divide between the interests of the working class, and the capital and automation on the other side is as present today as it was 100 years ago. Even worse, it has become a reality. With the helping hand of 21st-century science (read: corporate capital) the “democratic” authorities in power are now deciding what human life is and what it is not. Which is exactly what they reproach totalitarian regimes for. Today’s governance model, which we call democratic, has nothing in common with what democracy meant in Athens of ancient Greece, where every citizen had his place and was able to express his opinion in public. It was a society where the word of an artist carried particular weight. Set in 2019, Blade Runner1 was described by Zdenko Vrdlovec in the daily Dnevnik as “fascinating and anxiously

1 Blade Runner, 1982, directed by Ridley Scott.

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O b l i kova n j e z a o d l o č n o p ro d r u ž b e n i p osta p o ka l i pt i č n i s vet

prophetic”. Science fiction? A few years ago maybe, but not anymore. Both scientists and artists believe we are at a turning point in the development of humankind. More than ever we are aware that we’ve reached a point where our lives are about to change dramatically. A point of no return. Should we fear technology? Of course not! Technological manipulation is what we should be worried about. Since time immemorial, humankind has been on a determined quest for immortality, and we continue to look for new opportunities to achieve it. Will the “digital human” finally make that possible? Two human kinds are to evolve in the future: the digital, which will embrace all technological control, and the analogue or natural. The cities of the future will belong to transhumanists.2 China offers itself as an

example. Say the wrong thing or buy alcohol and your social credit is downgraded. When your score is too low you start losing access to the social benefits that you have come to depend on in the meantime. Michio Kaku, one of the greatest minds in theoretical physics of our time, populariser of science and futurist, explains the mechanism behind the android brain when he says that it is no longer the internet that’s in focus, but a brain-net, an enormous community of brains forming a kind of common organism. Today, robots don’t know who they are, but eventually they will become self-aware, and this will mark an even greater turning point. Kaku warns that conscious machines can pose a threat and predicts that “in the future, the robotics industry will be bigger than the automobile industry. In fact, your car will become a robot”. Despite the grim scenarios that trace the coming

2 Transhumanism as a philosophical movement goes back to the early 20th century, while the present-day meaning of the word is attributed to the philosopher W. D. Lighthall.

TUNNEL

technological transhumanism, Sadhguru, an Indian yogi, author, and the founder of the Isha foundation, welcomes artificial intelligence, even to the point of mocking it. Laughingly, he says that it’s needed where intelligence is lacking. Looking at the way how throughout history the artist and creator flirted with the future, predicted and shaped it, invented it and was critical of it, I can assert that in the new age of transhumanism this role is changing, too. Which is yet another reason for the growing importance of engaged design, a design practice that helps people achieve important goals – to learn, grow and connect with each other by employing engaged psychology as a tool that will facilitate social inclusion. Engaged design rests on the insights from behaviour change science informed by contemporary psychology. This way, we can create the conditions to achieve new experiences,

which in turn leads to effective and entrancing products in all spheres of design, claims Amy Bucher in her book Engaged: Designing for Behaviour Change. As I understand Italian design theorist Manzini,3 the “postindustrial metropolis” is a product of information technology, which pushed the forceful growth of violent capital by helping it create a product design system that never ceases to produce, thus destroying both nature and human beings. And the short and non-sustainable product lifecycle resulted in the as yet unsolved problem of waste, excesses and dangerous diseases. The approach behind engaged design works well both in slow and zerowaste design,4 as simply defined by product designer Collin Dunn. Both processes introduce straightforward valuation methods and work procedures within designproduction processes and practices, which nudge the latter towards social,

3 Ezio Manzini is an academic and author known for his work on design for social innovation. 4 “Zero waste design” according to the principles of the Institute for Innovative Products, Cradle to Cradle.

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cultural and environmental sustainability. Quality, “slow” products are definitely opening up increased opportunities for a more environmentallyfriendly, sustainable and ethical understanding of design, both in terms of production and consumption. The obsession with image and novelties can be tamed by careful planning and process focus, and most effectively with zero-waste products. The incessant quest for a slower-paced, more humane and ethical future that brings durable, long-lasting, authentic, environmentallyfriendly products created with care and regard for local crafts facilitates open communication between the designer, producer and user. Slow design and zero-waste design are unique, vital and topical expressions of “creative activism”, which can be defined as a kind of meta-activism. They work to engage active citizens

in temporary, strategic and transformative interventions, helping them resolve their disputes through better communication and seek out solutions that will change society for the better, while at the same time facilitating self-sufficiency. In the process, they also stimulate reflection and with it behaviour change. Such activism brings new values to design, promoting the shift towards exploring uncharted qualities and sustainability options.5 All this leads us to believe that we can only hope to retain at least some degree of independence and control over our future if we reclaim our own production, both industrial and craft. What comes at the other end of the tunnel of the future depends not only on external factors, but first and foremost on ourselves, our intelligence and intellect, diverse experience, intuition and, last but not least, our awareness, which is eternal, intangible and capable of taking us on a journey of discovery to hidden galaxies.

5 After writing from professor Silas F. Harrebye, who discusses social change, the impact of globalization on new forms of democratic participation and social innovation.

TUNNEL

[Tunnel 29] Design for a Post-apocalyptic World

This catalogue accompanies the exhibition of the same name.

Publisher Center for Creativity (CfC) Museum of Architecture and Design, Ljubljana Rusjanov trg 7, SI-1000 Ljubljana

Curation and management Mika Cimolini, Head of Programme, Centre for Creativity

For the publisher Dr. Bogo Zupančič, Director, MAO Head of the Centre for Creativity Anja Zorko, Editors Mika Cimolini and Jeff Bickert Texts Jeff Bickert; Federica Sala, Leonora Jakovljević, Maja Vardjan, Matej Feguš, Mika Cimolini Graphic identity Ivian Kan Mujezinović, Grupa Ee Product photos Klemen Ilovar, Ansambel Photo arrangements Dan Adlešič, Ansambel

Graphic identity Ivian Kan Mujezinović, Grupa Ee The Centre for Creativity team Maja Kovačič, Urška Krivograd, Marko Podjavoršek, Zala Košnik, Mirna Berberović, Marin Berović and Saša Žafran. Social media Zavod Neuropolis Translations Andreja Šalamon Verbič (ENG>SLO) Copy editor (SLO) Katja Paladin Print ABO grafika Circulation 500 copies © 2021 MAO / Centre for Creativity, Ljubljana Texts copyrighted by the authors © photos and other images are the property of the authors 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). ISBN 978-961-6669-73-3

O b l i kova n j e z a o d l o č n o p ro d r u ž b e n i p osta p o ka l i pt i č n i s vet

A system of modular building boxes

Arne Vehovar, Urša Vrhunc

Expect the Unexpected Nonstop Interior Nonstop Interior explores the intersection of architecture and furniture, and takes its inspiration from the radical proposals of Archizoom and their No-Stop City project of 1966–72. Today, decades later – and in very changed circumstances – domesticity no longer consists of a single functioning model, but continually seeks new configurations. The house has become both an open and closed laboratory. “Home” has receded and furnishings have been reduced to leave more space for what has not been planned – call it a contingency plan – and has been transformed to accommodate a life that needs

to be open to the temporary and the unexpected. Nonstop Interior is both an analysis of and an answer to the contemporary condition of living and working. It’s a collection of large-scale modular plywood furniture boxes that can be combined, stacked or simply piled up to create horizontal or vertical structures. The resulting never-ending landscape is shaped through repetition and mirroring, creating a social and physical reality that is entirely continuous and undifferentiated, without hierarchies, representational roles and the like.

tioning and comfort of each box is effected through a system of add-ons – upholstery, acoustic paneling, curtains, shelving, lighting, etc. – that imbue a generic box with function and character. The basic modular boxes are made of strong and lightweight 30mm perforated spruce plywood. They come flat-packed (cheaper, friendlier to ship & handle) and are easily assembled using visible screw connections. The perforations enable modular connectivity in all directions, and elements are interconnected with the use of nylon cable zip ties or screws.

The authors would like to thank the Stritar carpentry The micro spatial configurations, condi- workshop and Kerrock by Kolpa.

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Kinetic light installation

Martin Bricelj Baraga, MOTA with BellaStock

Extinction Illuminated Lumitronome With the recycling of waste materials and sustainable energy production, Lumitronome addresses the prospect of our very coexistence – and ultimately survival – in the future. While it’s made from scrap aluminium pipes often found on bulky waste, aluminium is in fact a highly recyclable material that can be reused almost indefinitely. It’s a sustainable approach to designing new, self-generating elements that enhance the quality of living in an ecological, discreet and visually-compelling way. The Lumitronome is a series of kinetic lamps powered by solar energy that produces a slow and

gentle sense of light in motion. Lumitrons are designed as a luminaire for both various architectural applications or entirely natural environments. In interiors, they can remain still or in constant motion, creating the impression of a wave, a flock of birds, whatever the situation might call for. What’s more, they’re an experiment in creating meditative ambiences in public spaces – spaces now under threat of extinction no less.

tectural collective BellaStock. Lumitronome tests how we can create more environmentally friendly environments in public spaces using systems made of waste materials and only natural sources of energy – using what’s left, what comes to hand. It’s about testing the possibilities of light and movement – how to create different spatial ambiences and in so doing affect the regular, the visitor or the crowd?

Originally designed as a lighting system for metro stations the system is the fruit of collaboration between artist/designer Martin Bricelj Baraga with the Paris-based archi-

47 motamuseum.com bellastock.com

Alt-heating and drying solution

Dan Adlešič

Caution, D-tour Ahead Radiator Line A square steel tube bent to form a continuous zigzag becomes a towel-drying radiator. This exercise in lockdown neo-survivalist aesthetics explores the sculptural value of a product that is often recognised as a non-design interior element. The path of the D-toured water here is highlighted, transforming and subverting function into fashion. The high-glam component also gets a serious upgrade with the use of high-gloss automotive lacquer, which lends it the look and feel of a shiny automotive product. The range of radiators on the market compared to other domestic products is curiously dispro-

and laborious, albeit creative one.

portionate, in view of just how simple they are and what they do is. This detour of a radiator in particular was created out of a special need – in this auspicious case, in the course of renovating an old apartment. In order to make the product air-tight, multiple welding techniques have been used and tested – which techniques are slated for further development. The plan is to create a second version fashioned out of a round tube featuring curved lines. A zigzag and the curved version would conclude the series; and both would offer the choice of a number of colours. The road to rebuilding is a long

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Well-dressed eco water bottle

Darja Malešič

Respect Now Wicker Vision According to the UN, as early as 2025, two-thirds of the world’s population will live in water-scarce areas, and forecasts show that by 2050 the world’s water requirements will grow by more than 50%.

valuable, nor are they repairable.

So how should we carry drinking water, and could the vessels in which it’s kept reflect real respect for this vital element? Perhaps by re-defining so-called As consumers, indeed luxury fashion we aspiring survivors, could focus more on we need to change fundamental things our attitude towards like water which, this precious asset. with their increasing Part of this change scarcity, become involves how we carry increasingly valuable? our precious water in our daily lives. Wicker Vision is built Buying water in plastic on the use of local bottles has already and sustainable wicker earned scathing materials, such as criticism, but the willow, corn husks recent trend of buying and straw. And wicker reusable water bottles, has a long life span: which should be part with the right care of the answer, has its willow wicker products own shortcomings. can last – best case Currently most of optimistic scenario – these products have 20 to 30 years. Then a short life-span, they it’s into the compost are thrown away or once the life-cycle is passed over because completed. they aren’t considered

The modular design allows it be repaired, and for the recycling or reuse of the bottle – which in the next version will be made of borosilicate glass with a stainless steel top. Possible further development includes some high-tech innovations, where the lid also serves as an ozone-system purifying water filter. Innovative portable filtering technology solutions are already available as start-up prototypes. And come 2050, personal portable solutions for the self-supply of drinking water from accessible water sources will surely be essential.

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Upholstery and curtain fabrics

David Tavčar

Calculated Random Duavita & Shunga It’s about time. Duavita & Shunga introduce individuality and ‘‘randomness’’ into mass production. With the help of computer generated parametrics a scribble-like graphic is inscribed atop a repeated pattern.

back in the day – make. Owing to the random positioning of the black scribble each meter is unique, even though it’s actually machine- and not man-made.

Here the choice of materials is simple: a durable polyester For today, the old blend is a standard familiar notion of an upholstery textile, industrially produced with recycled PET good as repetition bottles and other is gone. So both the plastic waste spun Duavita and Shunga into new polyester designs look both yarns. Which in the back and forward, end means a blend of optimistically yet 75% jacquard woven soberly, playing as recycled polyester they do with classic and 25% cotton wallpaper design almost 1.5 metres archetypes. wide. It’s a case of repetition with no But the designs repetition, producing aren’t printed, they’re a compelling and woven (including the responsible one of a black scribble-like foretelling kind. graphic element) that’s reminiscent of a ballpoint pen drawing made a child would – or used to,

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Portable folding chair/backpack

Primoz Jeza Studio for Donar

Got Your Back Nico Less Backpack

store CO2. Future development of the unique design and accessories (various Work as we know (70% of which from it – in a fixed, closed recycled PET bottles) metal frames) will allow for an easy working environment and two folding – is obsolete. Or not. plywood elements to upgrade of the Either way, in the ensure the chair has product to a fixed or fixed swivel chair. future working envi- sufficient load-beaAfter all, disruptions ronments will not be ring capacity. and upheavals still limited to standard call for a little swiveloffices – not by any Nico Less folds stretch of the imagi- simply and easily into -room. a functional backpack nation – but will be that has enough flexible and diverse. space to accommoSuch a flexible date the needs of a workplace will allow, mobile office, and at indeed require you the same time allows to work in different for an easy switch to locations and on a comfortable chair. different occasions. The design well takes In this spirit of into account the the times Donar concept of circular introduces a multieconomy with the functional backpack use of recycled felt designed by Primoz as well as the 100% Jeza Studio that is recyclability of the also a folding chair shell itself. that can be easily assembled for use The wood is FSC both indoors and out. (traceability) certified according to sustaMobility and real inability guidelines portability are and is the only mateensured by a rial out there that is lightweight shell both renewable and made of scrap felt has the capacity to

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Homemade biocomposite

Eva Garibaldi

Try This at Home Paper + Bioplastic When (and if) we think about recycling paper, we rarely think about the fantastic amount of paper that ends up as waste due to its non-recyclability. How to extend the life of shredded paper that’s non-recyclable owing to its short cellulose fibres – and not have it simply converted into products with lower added value? As a student at the Academy of Fine Arts and Design, Garibaldi set out to explore the potentials of a biocomposite made of non-recyclable paper, flour, water and glycerin. On the other side of the equation, the research also focuses on DIY approaches to new materials and applications. Based on the prin-

in the hands of the end user. And while it may not change the end product in ciples of circular terms of function design and DIY – nor save us from practices, Paper + Bioplastic introduces ourselves – it does incorporate learning users – through and knowledge workshops and the transfer of DIY matePaper + Bioplastics rials and principles book – to simple into the user experirecipes that can be used to prepare new ence. materials. The project The Paper + Bioplatakes advantage stics project by Eve of the concept of Garibaldi was created learning through in 2018/19 under the play, with the aim mentorship of Asst. of making toys like dr. Barbara Predan building blocks and similar. This way, the at the Academy of Fine Arts and project introduces new ways of teaching Design, University of Ljubljana, within the concept of the interdisciplinary circularity, together with the importance program of the paper of key materials and furniture business, as part of the INNOsustainability. RENEW CoE project in collaboration With this larger with RRA LUR, ICP concept, Paper + and paper industry Bioplastics resists companies. established – and increasingly conflicted – systems of consumer living by putting the power of environmental change

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Movable henhouse for four hens and a rooster

Gašper Fabijan, Atelier

Naturally Optimistic Kurnik Today, a truly sustainable culture may be the only future that can inspire real optimism in us. Technology is making it increasingly possible to work independently of location. Self-sufficient environmentally-friendly food production is becoming both increasingly compelling and inevitable, together with the idea of a culture that nurtures a direct relationship with the environment. The minimalist wooden construction of the henhouse, which is surrounded by a simple metal mesh, takes its shape from the golden section. The box/ hut, which stands suspended a full meter off the ground, is accessible from below and can be

closed off from the outside at night. It’s a perfect 1x1x1m cube and serves as a shelter for sleeping and laying; the eggs can be retrieved from outside the henhouse at the back of the structure. The ceiling of the box is perforated with holes for ventilation that take the form of the blueprint for our galaxy – because after a brief yet extensive survey of religions and origin stories it seems the universe emerged from an egg.

and produce something new. Surely cause for optimism if ever there was one.

A gilded egg with an inscription in ancient Greek is affixed to the henhouse, which reads “God always uses geometry.” So the owner of a hen can always hope that one of their hens will produce a golden egg that will hatch

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Steel frame rocking chair

Grupo H (Srdjan Nađ & Urška Podlogar Kos)

Simple Story G Rocking Chair The rocking chair has been with us for centuries – to which many a design is surely to return in the days to come. This simple rocking chair is made from tubular steel bent to form elegant and functional curves. The final shape of the tubular steel has a dual purpose: it creates the supporting structure and makes the rocking motion possible. The seating element and backrest are formed by stretching rope back and forth between the structural tubular structure. So back to basics.

become increasingly important. What’s more, the user is able to repair or replace any part of the chair, which gives rise to its long service life and makes it a highly sustainable piece of furniture.

The simplicity of the design and the equally simple choice of just two materials allows for endless customisation – and facilitates easy sourcing, which will

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Serving tray

Iztok Lemajič, IDFL

Shake Things Up Wavy Surface The natural landscape surrounds and amazes us with its many shapes, textures and colours. This we can take comfort in. This tableware by IDFL takes its specific inspiration from an array of Slovenian landscapes, from the sea and lakes through the forest and up to the mountaintops.

landscape: larch, ash, oak or maple wood from the Slovenian forest, treated with natural oils, and clay from the good earth below. The good earth provides.

The tray is naturally versatile, and can be used for any number of applications in as many settings: a personal storage area for jewellery, a phone, The Wavy Surface a watch; as a breaktray from the IDFL fast dish for fruit, Tableware series bread, or for snacks follows those shapes like nuts or chips. Or and textures – the press it into action on lake surface when the desktop for small the wind blows, the home/office supplies white-capped moun- like pencils, scissors, tains reflected in the paper clips ... water. Here ceramic cups stand on the Any way you stack tray like mountains it it comes up ripe above the lake. for use and reuse, for sharing shaking Basic materials like things up just a wood and clay are little – if things aren’t closely connected already sufficiently with, and actually shaken up. taken from the

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Digital literacy for people with memory and dementia disorders

Kofein dizajn

In the Loop Eli, digital personal assistant

to the user’s daily habits. Navigation on the computer – or likely more commonly on a tablet People with memory grim confirmation – is simplified and impairment issues we aren’t actually reduced to a single and dementia are seeking.) touch of the screen. deprived of plenty The scope of content – including digital For many technoon offer extends from services – owing to logically illiterate social interaction with their age and the elderly people, digital family and friends digital illiteracy that services that connect, and multimedia to typically comes with entertain and educate educational, spiritual, it. Eli is a digital from the comfort medical and first-aid personal assistant of one’s home are services. for people with practically non-exisdementia that aims to tent. The Eli program Eli recognises the bridge the personal, makes online services concept of the positechnical and social accessible to those tive feedback loop constraints involved who are simply left as the driving force in trying to enjoy the out of the equation. behind connecting, benefits technology In addition, it encou- exchanging, storing can bring to older rages us all to think and reusing content. people’s lives. about how technology can bridge physical Eli is the result of At least one in three and generational cooperation between people experience gaps, as well as help Kofein Dizajn, the memory loss in old combat loneliness and association Spominage. As we age, new marginalisation. čica – Alzheimer technologies become Slovenija, DSO increasingly difficult With the help of Ljubljana Vič-Rudnik, to manage, and machine learning and the Association demographic data and a personalised for Technical Culture reveals that ageing user profile, the Eli of Slovenia. The societies are both a scheme offers users project is under source and a victim of truly customised web development and unease. (We needn’t content, and content is currently at the look too far for the is adjusted according prototype stage.

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Adaptable heat pumps

Kronoterm with Gigodesign

Fair Exchange Adapt Heat Pumps

waste and pollution. And the Cloud. Kronoterm application allows users to Together with according to the the Hydro indoor particular home envi- monitor performance, unit, Kronoterm ronment. The robust consumption and efficiency from Adapt heat pumps housing withstands represent a compre- all kinds of weather, wherever, even set hensive, variable which means no extra the desired temperature at home. More system that’s highly protection is requthan ever, adapt is adaptable in terms of ired. And modular the operative word. both refrigerant and design reduces the hydraulics, depending costs of both instalon the building’s ling and connecting (i.e. your) heating the unit. needs. The outdoor unit, a compact air/ Heat pump technology has steadily water heat pump, boasts extremely been gaining in silent operation, popularity in recent with a dedicated years owing to the nod to design. These potential to slash outdoor units are heating and cooling hermetically sealed costs; and as interest and use a simple in reduced reliance water source to on municipal or regitransfer energy to onal grids and local the indoor unit. They heating networks are also distinguished – understandably – by cutting-edge grows. technology, convincing specifications, As personal health and high energy and the environment efficiency. are increasingly important consideUsers can choose rations, degradable from a wide range of materials are used in colours and materials order to produce less

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Modular lamp

Mashoni with Indata

Let’s Get Personalised Stellar Luminaire by Wa—t Modularity, mixing and adaptation are fast becoming a big part of both our desirous expectations and explicit requirements. We are moving into a new era – one of change, opportunities and new challenges – which marks the end of standardised experiences and opens up new possibilities for participation and customisation. The Stellar luminaire is designed with the context and time in which we live very much in mind: the basic human need to remain in control, while at the same time allowing for flexible, personalised modularity. The design combines any number of

modules with two types of LED units – a spotlight that provides direct illumination, and a glass globe with soft, dispersed illumination. Stellar is designed as an object floating in space and allows for expansion in all three dimensions. It is suitable for both small and large spaces using just a single module with an unlimited number of geometric assemblies to form a unified whole.

and thanks to LED technology power consumption is minimal and the unit’s life cycle far longer. And environmentally friendly materials abound: the tubular structure is made of aluminium and the illuminating globe is fashioned from blown glass, both of which are highly durable, eco-friendly and 100% recyclable; and by saving on on electricity it also saves on resources.

The system employs eco-friendly LED lamps with a colour temperature of 2800 K. In plain and simple user language that means the luminaire issues a warm, comforting light,

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Table lamp

Matej Štefanac

All About the Beam Lighthouse Products of the future will be de-materialised, using as few of the scarce raw materials available as possible, and an absolute minimum of parts/elements. Similarly, the future of illumination will be all about the light itself, and less about the actual physical product. And It will be about finding new ways of controlling and channelling light, about bending and twisting it. The multifaceted surface of the reflector – made from moulded and polished thin aluminium sheet metal – “bends” or redirects the light from the single LED light source and focuses it in a single direction, instead of dispersing it all over the lit surface.

This way users get more intense light exactly where they need it. And thanks to the big round reflector, which can be freely rotated around its axis, shadows are very soft and bright, which makes work – or whatever you’re up to – more enjoyable. The lamp is easy to disassemble and thus easy to repair and dispose of. Disposal is easy, as the only materials used in the Lighthouse other than the electrical cables are aluminium and glass, which are both highly recyclable. (Glass and aluminium can be recycled over and over again in a true closed loop; and recycling aluminium requires only a fraction of the energy required to produce new metal.)

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Universal table

Monochrome Architects (Špela Hudnik, Peter Vezjak)

Serial Seduction ETAT Collection: Table no. 003 The ETAT Collection furniture series was created over the course of an entire decade, from 2008 to 2018, and was designed for various Monochrome interior design projects. The serial no. 003 Side Table (2015) is a prototype, also for use in a private flat. The table is designed as a multi-purpose piece using a minimum of material. It’s made of 5 mm-thick aluminium and measures 100x70 cm and stands 60 cm tall. The tabletop is fashioned from anodised aluminium, while the base is brushed aluminium. This piece is designed as universal furniture, which can be used as part of a living room, office,

hallway or bathroom. Anywhere it goes it brings, creates a sense of elegance and lightness. And as it can be produced in an array of sizes it can be employed in a range of public and private spaces – in apartments, hotel lobbies, shops, galleries and similar. The universal component of both tables offers flexibility and adaptability to different living needs, which change over time and according to circumstance. And all materials can be both recycled and reused – so both very much of and for our time, and timeless.

73 spela.hudnik@gmail.com

Facilitating bathroom accessory

Peter Štrukelj

Basic Instinct Soothing Stool

store and distribute. It’s made of beech wood (Fagus As everyday life of luxurious, refined sylvatica), which has natural antibacterial seems to get more relaxation. But the properties, measures complicated and slouched seated a compact 9 x 25 complex day by position is far from day, people are ideal, is in fact unhe- x 45 cm, and is looking increasingly althy, when it comes treated with linseed oil, beeswax and a to natural, intuitive to ridding ourselves synthetic oil. products and related of unwanted waste. processes. Trying Things get squeezed times call for soluand all bound up, so This is no time to tions that are simple, things don’t proceed ignore some basic truths, add potential sensible, and bring a as smoothly or worries to your sense of satisfaction efficiently as they that comes with should – or could, if to-angst-about list, doing something instead we assumed nor find yourself in good for oneself. the proper squatting an unnecessary bind. Similarly, looking position with the help Stay healthy. ahead, personal of the Soothing Stool. health and hygiene assume greater Because poor importance and protocol leads to evolve from random complications far considerations to beyond immediate required practices. discomfort and inconvenience. But Getting straight the Soothing Stool to the point, our helps by raising the daily excretion / feet well off the evacuation practices ground, transforming are not part of the our poor posture solution – they’re into a healthy and part of the problem. streamlined squat. Because Western civilisation invented The stool consists the modern toilet of four parts, and is in part as a source easy to assemble,

75 daowood9@gmail.com

Design manifestation: Seating for the 21st century

ADDiD Plus (Andraž Rudi Vrhovšek, Blaž Skodlar)

Have a Seat Pitstop Pitstop is the result of studying seating and sitting practices all over the world, and the subsequent development of a very particular kind of chair. Particular because it only offers the user seating for a limited time. As the Pitstop provides only a minimum of support it encourages people to stop sitting and move. This way it seeks to find a balance between our conventional perception of the chair as an object of comfort and rest, and as a purely utilitarian object – one not intended for prolonged sitting, but instead offering pause. We have turned into increasingly sedentary creatures. Today we sit – at home, at work, in front of

our computers, and sit some more. And our sitting habits run contrary to human nature, our muscles lose tone and atrophy, and we suffer more pressure on our spine and joints. No matter how ergonomic chairs simply do not comply with our true, basic nature – as hunters and gatherers in constant motion. With this in mind, Pitstop goes off- piste in terms of conventional ergonomics to put people back in motion. Construction, distribution and maintenance are all designed to be friendly and simple, for everyone in the chain: it’s constructed of metal and wood, without glues and similar; the wood is a basic biomass

product; it’s stackable and flat-packed in cardboard for efficient distribution; it’s easy to both assemble and disassemble; replacement parts can be ordered online and easily installed; and end-of-use recycling is simple and straightforward. And not only is Pitstop a stool, but it can also be used as a table base, a hanger and more, making it flexible and extending the use-life of the materials and inputs involved. * From a Bachelor’s thesis, under mentor doc. Vladimir Pezdirc, Academy of Fine Arts and Design, Ljubljana.

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Cat house, planter/ lamp

Tina Rugelj

Solid Thinking Concrete Garden

which fiber cement was initially developed. On the local anecdotal level, its Concrete Garden is a gical and economic shape also resembles line of fine outdoor footprint. the country’s most furniture made of popular cake, potica. natural fiber cement. The cat house is As is the lamp is As a material fiber simply a smaller cement is light, version of the larger meant for indoor use, durable, and weather dog house. The cellu- and works equally resistant, and poses lose fibers in the thin well in the dining no risk to health nor (8 mm) fiber cement room, the hall, or in a shop or similar. the environment. panels prevent the house from excessive Just as compelling cooling in the winter Fiber cement is the idea that and from overheating concrete furniture might well be the furniture doesn’t in the summer, and ultimate expression, have to be moved can be used yearironically, of sustainside with a change -round. inable flexibility and in the weather nor multi-functionality the season. And all Then there are the products are made of lamps, big and small. – though heavy, natural raw materials The Big Lamp is desi- perhaps, on 3-D prinlocally sourced from gned to be maximally ting schemes. All of the surrounding multifunctional. It can which are coming to region. And this is a be used as a pot for assume increasingly important roles as we kind of nature – and bigger plants with turn to nature, simplinatural sources like a cover for water cement, limestone, retention, while it can city and adaptability water, and air – that also be used as a tea to get us through. future generations table inside or out in can rely on. the garden, or as a handy storage contaIt’s also 100% iner, even a chair. recyclable, with a service life of at The Small Lamp is least 60 years, which something of an means it produces homage to corruboth a small ecologated roofing, for

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Handmade sustainable jewellery

Tina Košak Koren, Zavod Floios

The New Natural Future Present Floios studio is not your standard jewellery studio. It’s a little different because they create handmade sustainable jewellery from recycled silver recovered from electronic waste. Which closely correlates with their claim that they are not designers, but “design foragers”.

precision 3D scanned and can be produced in larger series, using only recycled silver and eco-friendly packaging materials, all traceable.

Future Present is fluid and flexible, two key virtues that will surely guide, inform and characterise what we produce, how we produce, and We could say that how we use, consume nature is the ultimate and reuse in the days designer, one that and years ahead. So simply cannot be Future Present is approached nor functionally flexible reproached. So the and accommodating studio does not – it’s a sculpture, a work to improve on broach, a bracelet; nature, but works to it’s a cypress picked reflect and reproduce in early winter in that which nature Ljubljana. provides – naturally; to make us aware Similarly, their of the beauty of jewellery box is a nature through minimalistic lava faithful, beautiful, stone (designed by environmentally Icelandic nature) that responsible jewellery. takes on a variety of roles – as a jewellery All of the objects box, a pedestal, a they produce are sculptural decoration

that replaces the houseplant that needs a regular watering we may or may not be up to providing. Because as cities grow and nature both retreats and changes, our connection with the natural environment serves as a key source of physical nourishment and spiritual inspiration. Because the future is flexible, recycled, and positively transformative.

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Glass cups

Tanja Pak

Labour of Light Cloudy The Cloudy cups are double-layer hand-blown glass cups produced in two different colour combinations – black and white, and colourless/transparent with white. Part of the process is executed in small-scale production using moulds, but employing a manual blow-moulding technique, which allows for vivid colour coatings. These special vessels are then manually treated so that the top layer is gradually sanded until the bottom layer of glass is exposed. And the manual machining that follows allows for a soft, uneven structure reminiscent of accumulating clouds shot through with sunlight.

today, we will look increasingly to technology and techniques that satisfy our need for a sense of calm warmth and composure, if only for certain fleeting moments. And in a world where we find ourselves increasingly alienated, we turn to the intimacy of reflection both literal and metaphorical. Light and tactility are two of the fundamentals to which we can return, anytime, anywhere. Similarly, we return to the art of making, to the basics of materials, materiality and craftsmanship, and on a more personal level. Transcending the anonymous will be central to our wellbeing, indeed survival.

While the poetic and the ephemeral might be considered gratuitous luxuries

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Cutting Board & Drawers

Studio Moste (Klara Zalokar, Klemen Zupančič)

On the Cutting Edge Drawer 2 This cutting/serving board is actually the by-product of massive-wood furniture and kitchen module production – like the studio’s own kitchen drawer unit – whereby smaller pieces and 4x4 cm blocks of unfinished red oak, from which boards are hewn, are often left behind and discarded as waste.

that brings out its particularly graphic character – not unlike their interpretation of the classic drawer unit that features a tower of contrasting drawers made of radial oak inserted into a spatial mesh construction of bleached maple.

As for the cutting/ serving boards, each bears a serial number This special board and employs soft feet is designed as an for safe and conveend-grain butcher’s nient use. And they’re block, traditionally available in three used by butchers sizes – S, M and L. and in professional And despite the fact kitchens as a that the manufactuhighly durable work ring process is the surface. The specific same for all boards, fabrication process each board is actually produces a pattern different due to the of squares with a original character of symmetrical cross the wood cuts, so section, which in turn they’re all actually creates a lace-like unique pieces. effect. Ultimately, both the The board is cut drawer unit and in a circular shape cutting/serving board

express a decidedly positive outlook, one that looks to a future that is cleaner, calmer and more thoughtful; and one where rampant mass production and consumption, temporary solutions and untold waste are relics of our irresponsible, short-sighted past. The home of tomorrow will value longevity, functionality and emotional attachment to the product. That may be asking a lot, but our future is on the chopping block – so let’s get cooking, with a taste for something better.

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Garden fireplace

Tojo.i.to (Tomaž Čeligoj)

Catching On Everglow

The simple garden fireplace – and other like-minded schemes The Everglow Garden mythical status. – are sure to catch Fireplace is an fire, taking us back exceedingly simple But don’t let those to simpler times and product, and the curves and curvaensuring we maintain result of the equally ceous demeanour simple desire to light fool or distract you – certain fundamental and observe a fire in the Everglow Garden rituals; and ensuring we, as post-neothe comfort of one’s Fireplace is also a garden. Similarly, its truly useful product: -primal people, get shape is a variation simply drop a grill on our food properly cooked. on one of the simp- top and it becomes lest shapes around, a bbq grill, for i.e. the circle. A tuck roasting chestnuts, here and a tuck strip sirloin or just there on basic sheet about anything else metal give way to you like. an organic shell-like shape. This compelling alt-fireplace is The very contempo- constructed of rary, future-driven ordinary sheet iron, form and intention which is prone to actually derives, ironi- rust; outdoors it’s cally, from the most sure to rust all the primal of elements faster. Which lends and experiences. For it a certain primal, it is, certainly, primal almost noble charain its design, form cter. It just keeps on and manufacture. And getting better. And as such, the fireplace as untreated iron it’s (more accurately also easy to recycle. perhaps fire-plate) Happily, recycled iron also represents a retains its value and connection to the goes on to assume past – a past when yet more forms and fire assumed critical, functions.

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Dining table, work desk, wardrobe, bookshelf, footstool, nesting box

Trajna with Matija Biloslav Milkovič and Katarina Lampič

Desirable Undesirables Invasive DIY Furniture

Undesirable invasive plants – of which there are increasingly more every year – are Gleditsia triacanthos array of other catacommonly removed sounds more like clysmic challenges. and incinerated. the next nasty virus The product series But using them as or alien invader to provides an infrabiomass to form threaten humankind structural framework wood products solves and our ever more for local furniture a host of concerns fragile planet. production as an and gives back. And To which there’s alternative to simply the honey locust actually more than buying the next used to make this a little truth. For object of desire. furniture series – Gleditsia triacanthos consisting of a dining is the Latin name for The process employs table, desk, cupboard the invasive honey basic DIY principles, and bookcase – locust, which instead which means that boasts both excellent of strangling and local townspeople will mechanical properkilling off traditional be able to make it ties and interesting native species is themselves or using reddish hues. being used by Trajna the help of a local to make DIY furnicarpentry workshop; So alien invaders ture. and the plans are might just be friendly available online or after all – if we have Trajna’s DIY furniture from an open-source the resourcefulness is a response to the workshop. And and good sense mass production and damaged parts can to make the most so-called necro-eco- simply be replaced of them; to turn a nomic approaches and composted, as looming threat into a that lead to climate they are biodegrastrategic opportunity. change, systemic dable, without any homelessness and an harmful coatings.

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Children’s tent

Veronika Rožmanc

My Private Whale Oli Oli is a children’s tent, but it’s also much more than just a tent. Because Oli takes the shape of and actually looks like a playful whale. It’s a fun and cosy place for kids to hide and play in. They can even write or draw on the interior walls, which are made from a special material that can easily be wiped clean with a damp cloth. Just as compelling is the fact that kids can put the tent up all by themselves, so they learn as they play. And the frame can be easily removed, which sees the tent transformed from a tent into a cosy blanket or comfortable sleeping bag. So there’s no shortage of places to hide, play, rest, enjoy. Even the whale’s fins can be used as storage space for toys and other playthings.

We all need some place we can retreat to, a place we can call our own, feel safe in and be ourselves. If we can share that place all the better, especially if it’s flexible enough to fill a number of roles without getting too complicated or involved. And while it’s not going to keep all the nasties away, it will keep them at a safe, friendly and comfortable distance. And as designer Veronika Rožmanc says, Oli isn’t just a tent, Oli’s a member of the family.

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Free-standing bar cabinet

Vulgaris woodcut (Nina Koželj, Manca Kemperl)

Passionate New World Order VULGARIS XII Wine Studiolo Back in the Renaissance, wealthy humanists shut themselves up in “cabinets” or secluded rooms furnished with rich inlaid paneling, where they read, studied, and wrote – and stored their valuable objects like books and scientific instruments. These early learned man caves they called studiolo.

and treasures their passionate personal interest would likely appreciate the gesture. As our lives become more challenging, complex and dispersed, people look to symbols of stability and personal connection with the things they hold dear. Hence the wine lover chooses a dedicated wine cabinet for the wines she holds dear, and all that goes with it.

Manca Kemperl sees to the formal design of the cabinets – which measure 610 mm x 450 mm x 1510 – while the hand-carved and imprinted motif for each piece is the domain of visual artist Nina Koželj, with individual theme-titles like Forget Me Not, Goodnight, My Dear and similar.

Every passion has its cherished place, and that sensibility establishes an integral relationship with a Centuries later, we well-designed, localhave the Vulgaris ly-crafted product – Wine Studio, a freea sensitivity that can -standing cabinet for give rise to a local storing wines, wine The cabinets are market and a trade glasses and related carefully crafted from in the passionately accessories. Whether Slovenian cherry sensible. And now a wine can be equated wood dried in its walnut wood studio with books and own dedicated drying is currently under learning is a matter room, and every construction. The of interpretation, component part but future of the studiolo but the thoughtful the hardware is made never looked brighter. user who respects in a home workshop.

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Light

Matic Komel, Lara Baler, Boštjan Kopinšek

Light3 Kubis The Kubis light is a basic geometrical object – a cube. The cube in itself is a clean and complete form, so much so it constitutes, in most any space, an elegant design object. The idea is to create a light that not only illuminates the space around it, but that can stand alone as a design object. When completely closed, Kubis has a strong, monumental decorative presence; as a flexible, creative light source it gives the user the freedom to adjust it, to play with the light and shadow it produces. The cube is cut, halved along a diagonal axis, producing two halves, each with its own light source, and opens up providing an array of looks and

lighting possibilities. You might say it’s the Venus flytrap of lighting, only friendlier.

recycled after they have served their original (or previous) life purpose.

It hangs suspended using metal rods and wires, which makes it highly flexible and adjustable. As a closed cube it has a meditative quality, while open it generates a seemingly endless series of both forms and illumination scenarios. Today, our contemporary way of life demands certain qualities, like personalisation, possibilities and sustainability. With this in mind, Kubis is made from recycled stainless steel, which is exceedingly durable and sustainable. In fact, the vast majority of the world’s stainless steel products are

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LED light

Folds (Anja Mencinger, Nikolaj Salaj)

Lifetime Interaction Rocking Light From the most basic of forms to the more sophisticated, many if not all are eventually united under the same principle — the fold. For the fold represents the simplest and simultaneously most universal technique employed in the processing of steel. Which is both promising and essential, as simple, basic and universal come to assume increasingly important roles – particularly in a world that will look increasingly to correspondingly simple solutions. Folds serves to describe the look of Folds pieces as well as the technique by which they are fashioned. This basic process transforms a two-dimensional steel plate which, through cutting and folding (both time

and energy-efficient operations) acquires volume.

cient LED strip that boasts a lifetime of more than 36000 hours.

The Rocking Light literally sets to rocking with just a touch for an effect that is both dynamic and – for the more reflective – personal, poetic even. Even the mere form/shape suggests, invites playful interaction, which might here and elsewhere see us a little more engaged with the things we choose to surround ourselves with in the future. Made from hot rolled sheet aluminium it’s both lightweight and durable. It’s available in a range of sizes – R400 mm, R600 mm, R800 mm, and R1000 mm – and a wide range of colours. And it comes equipped with a sophisticated built-in energy-effi-

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DIY recycled furniture

Nuša Jelenec, Nina Mršnik

Easy as Toast Toasted Furniture As we become more aware of the things we do and how we do them, become more environmentally aware and engaged in issues like climate change, travel, and the movement of goods and people, things are changing. Similarly – and as a result – people will become increasingly self-sufficient, both in food production and in object making. In the future, we might well begin to slow down and spend more time at home, thinking about how to get or make the things we need; begin to collect our waste and make things from it. Toasted furniture combines elements of design, innovation, and ecology. Everyday waste plastics, like cleaning product packaging, are recycled with the

Looking forward, we people of the future will make objects in help of a simple and accordance with our innovative tool – the specific needs and toaster – to produce principles: a piece of furniture on which durable, waterproof plastic panels. These to sit, one to store our belongings, and panels can then serve as the basis for another to hold our books and notebooks the manufacture of, among other things, full of our many thoughts and ideas furniture. for the days ahead. Each piece of furniture produced is unique, as every panel is itself unique, with the emphasis here on the material, patterns and functionality, so that each individual product serves its purpose. And all products can simply be re-formed into new plastic sheets, as they are made from just one type of material – HDPE high density polyethylene HDPP polypropylene; or they can disassembled (unscrewed) and re-assembled into a new, different product.

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Hand-embroidered textile-wall

Oloop

Happy Endings Story of Women

develop the project for the market with a series of smaller and larger carpets The design project Story of Women was and wall coverings created by the Oloop suitable for use at group in collaboration home, all made from with the humanitarian wool felt and cotton rope. group Society Up. The hand-embroThe process was idered textile-wall also recorded for the was created at the short film Happiness House Story of Women by in Jesenice and at Miha Možina. the Asylum Center in Ljubljana. It’s the result of an eight-month creative journey of women of different ages, nationalities, religions, and life circumstances. Through storytelling in a safe and inclusive environment, immigrant women thought about their lives and the things that give their lives special value. The authors then translated their words into visual symbols – the patterns that the women embroidered on the textile wall.

Co-creation is essential for the Oloop group. Their working process is based on respecting and reviving manual labor and rituals revolving around social interaction. Here, the group’s role is not only the design of new products, but to transform handicraft production and strengthen social relations between all stakeholders in the production chain. Similarly, it demonstrates design’s potential to address complex societal challenges and break down cultural barriers. This way the group contributes to building a more sustainable social fabric based on local participation and traditional knowledge – and explicitly rejects the disposable culture that has long reigned largely Going forward, unchecked. the group aims to

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BIO 26

Thomas Hügin, Maja Kolar, Yuxi Liu, Boris Smeenk, Špela Pavli Perko (project manager), Commonplace Studio (design menthors), Žiga Cerkvenik, Irena Eiselt and Janko Klasinc (knowledge menthors)

Serendipity Searcher This project was produced within BIO 26 production platform - the 26th Biennial of DesignCommon Knowledge curated by Thomas Geisler together with assistant curator Aline Lara Rezende. BIO – The Biennial of Design in Ljubljana is organised by the Museum of Architecture and Design (MAO), and is an international platform for new approaches in design. Under the motto Common Knowledge, 26th Biennial of Design tackled the information crisis. BIO 26 addressed the pressing issues of our society’s primary institutions of knowledge production and transmission, namely a library, a museum, a university and a news media organization. Most libraries are designed according to stand-ards from the time when

computers and Inter-net access were not yet widely available. Since then, they have experienced numerous trans-formations in their functional concept and common perception as institutions and public spaces as well. The National and University Library (NUK) challenged the participants to redesign the old structures and propose new spatial solutions, organizational forms and services that will facilitate the transmission of infor-mation to the modern library user.

and human agency to physically reveal, select, and search for visual relations among the library’s holdings. The result is an ever-changing atlas of items that might otherwise never meet. The installation consists of a large light panel and transparent filters that can magically reveal images when placed within its frame. Visitors are invited to interact and physically move the filters to explore visual connections or generate new ones by highlighting any two images of interest. Inspired Serendipity Searcher by the architectural is a visual atlas and ideals of Jože a physical search Plečnik, the project engine that generseeks to present ates unexpected an array of stories pathways to the valu- to a public curious able archive of the enough to search National and Univer- for them. sity Library (NUK). It brings together a spatial installation, machine learning,

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Paper from invasive plants

Trajna

Weeds Aren’t Weeds

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PAPIR NotWeed TRAJNA

Notweed Paper is an initiative of Trajna, a collective that took it upon themselves to explore how invasive plants can be used to make locally-sourced paper, with the aim of offering it to the general public through its newly established brand. Both the product and the brand evolved through several years of efforts to turn the environmental problems caused by invasives into an opportunity. The answer appeared in the form of a concept for a unique line of paper Invasive alien species products that at the same time offers have a negative impact on nature and itself as a reflection on sustainable alterthe economy, and natives to standard even cause harm to paper production. By human health. Our replacing virgin wood society sees them fibres with Japanese as one the biggest threats to biodiversity, knotweed we contribute to sustainable as some invasives management of spread so rapidly invasive species and that they take over help preserve life in and push out native our forests. species, changing native ecosystems across the world. The The Notweed Paper brand was aggressive spread founded by Slovenian of these species causes much distress non-profit organisation Trajna in to local authorities and landowners who support of efforts to develop proposals invest considerable for the management efforts in removing of invasive plants them to protect the biodiversity of native by exploring their useful properties. ecosystems. The catalogue in your hands is partly printed on Notweed Paper, paper made of cellulose extracted from invasive plants. Notweed Paper is a Slovenian eco-friendly paper brand, the first in the world to make paper out of biomass from invasive plants. It not only provides an innovative eco-friendly alternative for environmentally conscious people, but also opens up new perspectives on alien invasive plants that traditionally suffer a poor reputation.

The topicality and importance of paper from invasive plants and brand development, including production, marketing and distribution of paper products from invasive alien plants, was recognised also by the Centre for Creativity, with the support of the Ministry of Culture of the Republic of Slovenia, which provided financial assistance in the frame of the open call “Promotion of Creative Cultural Industries – Centre for Creativity 2019”. The call aims to promote the development of creative industries and closer collaboration between the cultural and creative industries and the business sector. Notweed Paper consists of 50% cellulose from Japanese knotweed, 45% wood cellulose and 5% waste paper. This unbleached (chlorine-free) paper can be used for different printing applications and is available in A2 and B2 formats, in 250 and 130 gsm sheets.

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PAPIR NotWeed TRAJNA

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.05:62(497.4)“20“(083.82) TUNNEL XXIX : tunnel 29 : design for a post-apocalyptic world / [texts Jeff Bickert ... [et al.] ; editors Mika Cimolini and Jeff Bickert ; product photos Klemen Ilovar, Ansambel ; translations Andreja Šalamon Verbič]. - Ljubljana : Center for Creativity (CfC), Museum of Architecture and Design, 2021 ISBN 978-961-6669-73-3 COBISS.SI-ID 55451907

O b l i kova n j e z a o d l o č n o p ro d r u ž b e n i p osta p o ka l i pt i č n i s vet

[Tunnel 29] – Design for a Post-Apocalyptic World