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RAZMERJA V OBLIKOVANJU/ DESIGN RELATIONS 23. bienale oblikovanja/ 23rd biennial of design


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23. bienale oblikovanja 27. 9.–11. 11. 2012 muzej za arhitekturo in oblikovanje, ljubljana, slovenija

23rd biennial of design 27. 9.–11. 11. 2012 the museum of architecture and design, ljubljana, slovenia


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Kazalo/ Contents

Matevž Čelik, Predgovor/Foreword .................................................................... 4 Organisation in Design – Lisanne Fransen, Razmerja v oblikovanju/Design Relations ......................................................... 6 Razstavljena dela na BIO 23/BIO 23: Exhibited Works ................................. 21 Tehnologija/Technology ................................................................................. 22 Znanost/Science ............................................................................................. 24 Zdravje/Health ................................................................................................. 30

Stroji in procesi/Machines and Processes ...................................................... 40

Globalizacija/Globalisation ............................................................................. 54

Industrijski odpadki/Industry Leftovers ........................................................... 56

Pametne rešitve/Smart Solutions ................................................................... 66

Urbano okolje/Urban Environments ................................................................ 76

Družbeno lokalno/Social Local ....................................................................... 84

Digitalizacija/Digitalisation ............................................................................. 98

Obdelava podatkov/Data Processing ........................................................... 100

Protireakcije/Counter Reactions ................................................................... 110

Nazaj k obrti/Back to Crafts ......................................................................... 122

Grafično oblikovanje/Graphic ....................................................................... 130

Proizvodi/Products ....................................................................................... 158

Biografije, prireditveni odbor/Biographies, Organising Committee ......... 177

Kustosinji razstave BIO 23/BIO 23 Exhibition Curators ............................... 178

Žirija BIO 23/BIO 23 Jury .............................................................................. 180

Prireditveni odbor BIO/BIO 23 Organising Committee ................................ 183

Imensko kazalo oblikovalcev, soavtorjev, mentorjev, naročnikov, proizvajalcev, šol in držav/Index of Designers, Co-authors, Tutors, Clients, Producers, Schools, and Countries .................................................. 184 Zahvale/Acknowledgements ........................................................................... 188


Predgovor BIO ponovno odpira pogled na nova polja zanimanja v svetu oblikovanja. 23. razstava bienala se prvič v njegovi zgodovini osredotoča na določeno temo: Razmerja v oblikovanju. Odgovoriti skuša na vprašanje, kako se ta razmerja spreminjajo v povezavi z globalno dostopnostjo neskončnega toka informacij, povečanim zanimanjem za naravne biološke in kemične procese ter s cenovno vse bolj dostopnimi novimi tehnologijami. Predstavljena dela prikazujejo, kako vse to vpliva na razmišljanje oblikovalcev in razvoj tega zahtevnega poklica. Zgodovinsko je bil BIO vedno povezan z razvojem industrije in prizadevanjem za oplemenitenje industrijske proizvodnje. V predgovoru kataloga prvega BIO je predsednik takratnega organizacijskega komiteja Marjan Tepina poudaril, da je industrijsko oblikovanje »eno izmed tistih ustvarjalnih področij, kjer se najbolj očitno in prepričljivo izražata simbioza proizvajalne in umetniške ustvarjalnosti«. V tem duhu poslanstvo BIO ostaja predstavitev oblikovanja kot dejavnosti, ki vpliva na likovne in funkcionalne vrednote vsakdanjega življenja ter širjenje sodobne kulture oblikovanja. Toda od sredine prejšnjega stoletja do danes se je na področju proizvodnje in trženja, posledično pa tudi delovanja oblikovalskega sveta veliko spremenilo. Živimo v postindustrijskem času in večina industrije, ki se je nekdaj predstavljala skozi BIO, se je preobrazila ali propadla. V svetu se pojavljajo nove oblike proizvodnje. Govori se o tretji industrijski revoluciji, ki jo omogoča združevanje različnih izjemnih tehnologij: pametne programske opreme, spretnejših in cenejših robotov, tridimenzionalnega tiska, novih materialov in različnih spletnih storitev. V okviru vzpostavljanja razmerij med proizvodnjo in umetniško ustvarjalnostjo je bil bienale vedno široko odprt za porajajoče se nove discipline znotraj oblikovanja. Na BIO so poleg industrijskega, produktnega oblikovanja že v preteklih letih nastopale tudi druge discipline oblikovanja. S svojo 23. izvedbo BIO to dejstvo potrjuje tudi v imenu. Kratica BIO od letos naprej pomeni Bienale oblikovanja Ljubljana. Vse od prve razstave je imel BIO jasno ambicijo biti relevanten mednarodni dogodek, kar je uresničeval z odprtim mednarodnim razpisom in mednarodno ocenjevalno žirijo, ki je podeljevala mednarodno nagrado BIO. BIO tudi letos predstavlja svetovno oblikovanje – od Evrope, ZDA in Kanade do Brazilije in Indije. Vendar želi biti več kot le mednarodna predstavitev izdelkov. Namen BIO je tvorno prispevati k

Foreword BIO re-opens a view on new fields of interest in the world of design. For the first time in its history, BIO, with the 23 Biennial Exhibition, focuses on a specific topic: Design Relations. Through this theme the exhibition responds to the issue of how these relations vary in conjunction with the global availability of an endless stream of information, increased interest in natural biological and chemical processes, and with the application of increasingly affordable and accessible new technologies. The works presented here serve to demonstrate how all of these inputs affect the thinking of designers and the larger development of this demanding profession. Historically, BIO has always been associated with the development of industry and its efforts to enrich industrial production. In the foreword to the catalogue of the first BIO, Marjan Tepina, then President of the Organizing Committee, points out that industrial design “is one of those creative areas where the symbiosis of productive and artistic creativity is expressed in the most obvious and convincing way”. In this spirit, the mission of BIO remains the presentation of design as an activity that affects the artistic and functional values of everyday life and the spread of modern design culture. But since the middle of last century, the field of production and marketing, and consequently the direction of the design world, have changed significantly. Today we live in a post-industrial period and most of the industry that has been represented through BIO in the past has been transformed or has disappeared. Today we witness new forms of production. We talk about the third industrial revolution, which was born out of the fusion of various exceptional technologies: smart software, skilled and cheaper robots, threedimensional printing, new materials and various online services. In the context of developing relations between production and artistic creativity the Biennial has always remained wide open to the emerging, new disciplines within design. In recent years, in addition to industrial product design other design disciplines have been introduced into the BIO framework. With its 23rd incarnation BIO confirms this fact also in name. From this year on the BIO acronym simply stands for the Ljubljana Biennial of Design. Since the first exhibition, BIO displayed its clear ambition to be a relevant international event, which was demonstrated with an open international tender and international jury, which awarded the International


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mednarodni razpravi o sodobnem oblikovanju. Zato smo v Muzeju za arhitekturo in oblikovanje glavno razstavo prvič zaupali kustosinjama, ki sta vsakodnevno v stiku z mednarodno oblikovalsko prakso, z oblikovalci in proizvajalci ter imata širok vpogled v razvoj sodobnega oblikovanja. Letošnji kustosinji Margo Konings in Margriet Vollenberg iz studia Organisation in Design sta za 23. BIO izbrali naslov Razmerja v oblikovanju in v skladu s to temo zasnovali tudi razstavo. Razvoj v oblikovanju, ki ga zaznamujejo večja dostopnost informacij, deindustrializacija, nove oblike proizvodnje ter cenejša in lažje dostopna visoka tehnologija, odpira zelo raznolika vprašanja in od prireditve, kakršna je BIO, zahteva nov in kritičen pristop, določeno osredotočenost in filtriranje informacij, z namenom podati relevantne ugotovitve in sporočila. Izbor, ki sta ga Margo Konings in Margriet Vollenberg opravili med skoraj 500 prijavljenimi deli, predstavlja raziskovanja oblikovalcev, ki ustvarjajo uporabne izdelke, a s svojim delom obenem odgovarjajo na kulturna, družbena in intimna človeška vprašanja. Izjemni oblikovalci, ki nastopajo na razstavi, so napredno misleči strokovnjaki, ki se gibljejo na mejah med raziskovanjem, znanostjo, tehnologijami, digitalizacijo in globalizacijskimi procesi. Odgovarjajo na vprašanja, kaj je oblikovanje v sodobnem času ter kakšni sta vloga in odgovornost oblikovalca v 21. stoletju. Za podporo pri prizadevanjih za postavitev 23. bienala oblikovanja, ki ni le dogodek z dolgo tradicijo, temveč ima širok družbeni pomen za znanje, izobraževanje, ustvarjalnost in kulturo, se v prvi vrsti zahvaljujem ustanovitelju Muzeja za arhitekturo in oblikovanje, Ministrstvu za izobraževanje, kulturo, znanost in šport. Posebej se za podporo zahvaljujem prireditvenemu odboru BIO ter v njem sodelujočim organizacijam in podjetjem, ki s svojo finančno, logistično in moralno podporo omogočajo, da BIO ostaja živa in raznolika prireditev.

Matevž Čelik I MAO, direktor

BIO Award. Similarly, this year BIO represents design endeavour from Europe, the USA and Canada, to Brazil, India and beyond. By the same token, however, the event is more than “just” an international manifestation of product representation. Its purpose is to contribute, creatively, to the international dialogue on and around contemporary design. Therefore, for the first time ever, we at the Museum of Architecture and Design entrusted this major exhibition to curators from beyond our immediate borders—who are in daily contact with designers, producers and overall international design practice, and who have a comprehensive view of the larger development of modern design. For the 23rd BIO, this year's curators Margo Konings and Margriet Vollenberg from the studio Organisation in Design, chose the theme Design Relations, and in keeping with this topic also conceived the exhibition. Development in design, characterized by the vastly increased availability of information, de-industrialization, new forms of production, and cheaper, more readily available high technology opens up a variety of issues; and demands from events, such as BIO, a new and critical approach, a certain focus and filtering of information in order to provide relevant findings and messages. The selection Margo Konings and Margriet Vollenberg have produced from almost 500 entries represents the extensive research work of designers who create usable products; while at the same time their work also responds to cultural, social and intimate human questions. The exceptional designers exhibited here are progressive professionals who work at the crossroads of research, science, technology, digitalisation and globalization processes. They respond to the questions regarding the character and direction of design today, as well as the role and responsibility of the designer in the 21st century. First and foremost I would like to thank the founder of the Museum of Architecture and Design, the Ministry of Education, Culture, Science and Sport, for their support in setting up the 23rd Biennial of Design - an event with a long tradition certainly, but one that bears a wider social significance for knowledge, education, culture and creativity. And my special thanks go to the BIO Organising Committee, together with participating companies and organizations, whose financial, logistical and moral support that help allow BIO remain the vital and diverse event that it is.

Matevž Čelik I Director, mAO


Organisation in Design I Lisanne Fransen

Uvod Koliko oblikovalcev lahko trdi, da je prvi zadetek, ki se pojavi, ko vtipkate njihovo ime v Googlovo iskalno vrstico, »jogurt«? No, oblikovalec Tuur van Balen, ki je leta 2008 diplomiral na programu za oblikovanje interakcij na Royal College of Art, lahko. Novembra 2011, v času dogodka Next Nature Power Show v Amsterdamu, je pokazal, kako »hekati« DNK bakterije v jogurtu. Odkar je bil video njegovega nastopa januarja 2012 naložen na splet, je prejel že več kot 33.000 zadetkov.1 Van Balen je na odru – s pomočjo interneta in spletne baze podatkov Partsregistry,2 ki je namenjena biologom in drugim znanstvenikom, a je dostopna vsakomur – prikazal, kako lahko bakterija v jogurtu izdela prozac. Dejal je: »S štirimi kliki miške lahko pridete do kod DNK,« nato pa dodal: »Kaj, če bi ob svojem jutranjem zajtrku dobili še nekaj antidepresivov?« V manj kot desetih minutah je natančno pojasnil občinstvu (tudi spletnemu), kako »preprosto« je manipulirati kode DNK v bakteriji. Prav tako je pojasnil, kaj potrebujemo – in koliko to stane na eBayu – da naredimo laboratorij kar »doma v garaži«. Toda kako oblikovalec, sprva izučen kot inženir industrijskega oblikovanja, konča na odru in ustvarja spekulativen užiten produkt, ki pa se lahko izkaže kot uporaben za družbo prihodnosti, še posebej ker

Introduction How many designers can claim that when you enter their name in the Google search bar, the first hit that pops up will be “yoghurt”? Well, designer Tuur van Balen, who graduated from the Royal College of Art’s Design Interactions programme in 2008, can. In November 2011, he demonstrated how to DNAhack the bacteria in yoghurt during the Next Nature Powershow in Amsterdam. The online video of his performance has already seen more than 33,000 hits since it was uploaded in January 20121. On stage, Van Balen was able to make bacteria in yoghurt produce Prozac by using the Internet and an online database called “Partsregistry2”, which is meant for biologists and other scientists but is actually accessible to anyone. The designer demonstrated: “Within four mouse clicks you can get down to DNA codes” and imagined: “What if, with your morning breakfast, you could have some little anti-depressants?” Within less than 10 minutes, he carefully explained to the audience (including the online audience) how “easy” DNA codes in bacteria can be manipulated. And he also went on to explain what equipment was needed – and how much it cost on EBay – to build your own laboratory “at home in your garage”. How could a designer, initially educated as an industrial design engineer, end up on a stage creating

1

www.youtube.com/watch?v=Co8NOnErrPU, 2012.

1

www.youtube.com/watch?v=Co8NOnErrPU, 2012.

2

www.partsregistry.org, 2012.

2

www.partsregistry.org, 2012.


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je duševnih (in drugih) težav, povezanih s stresom, vse več?3 Ta nazorni primer zastavlja vprašanje, kako na oblikovalce in dela, ki jih ustvarjajo, vplivajo sodobne tehnologije, globalizacija in digitalizacija, modne besede naše postindustrijske dobe. Kako se bo razvijalo oblikovanje 21. stoletja glede na te vplivne dejavnike? 23. bienale oblikovanja (BIO 23) ponuja razmislek o tem, kaj je dandanes oblikovanje, katere so njegove tematike in kaj se pravzaprav v tem trenutku dogaja v svetu okrog nas. Razstava Razmerja v oblikovanju preučuje, na kakšne načine so sodobni oblikovalci sposobni združevati in spajati svoje kreativne impulze z nastajajočo tehnologijo, naravo in znanostjo ter kako se odzivajo na družbene, ekonomske in okoljske spremembe, ki jih doživljamo vsi. Obenem sledi tako majhnim kot večjim oblikovalskim trendom in se sprašuje, ali lahko ti trendi, medtem ko se razvijajo, pomenijo revolucionaren prispevek k oblikovanju, kot ga poznamo.

a speculative edible product, one that might prove useful in a future society, especially when stressrelated mental (and other) problems are increasing3? This clear-cut example raised the question of how designers and the works they create are influenced by modern technologies, globalisation and digitalisation, the buzzwords of our post-industrial era. Moreover, how will the design of the 21st century further evolve in relation to these powerful influences? The 23rd Biennial of Design (BIO 23) reflects on what design is today, what design is about, and what is happening in the world around us right now. The exhibition Design Relations investigates the ways contemporary designers are able to mix and mingle their creative impulses with emerging technology, nature, and science, and how they react to the current social, economic and environmental changes we are all experiencing. And it traces the emergence of both small and larger design trends and explores how these trends, as they continue to evolve, might well constitute a revolutionary contribution to design as we know it.

Zgodovina razvoja oblikovanja The history of design’s evolutions Oblikovanje je razmeroma mlada disciplina, z zgodovino, ki sega približno sto petdeset let v preteklost.4 Pred več kot sto petdesetimi leti je prišlo do nezamisljivih, revolucionarnih sprememb v kmetijstvu, proizvodnji

3

Graham Leicester & Maureen O’Hara, Ten Things To Do In A Conceptual

Design is a relatively young discipline, with a history going back some 150 years4. Over 150 years ago, goods brought about inconceivable, revolutionary

3

Emergency, International Futures Forum, 2009. 4

Henk Oosteling, Dasein as Design Or: Must Design Save the World?, http://www.premsela.org/en/activities/premsela-lecture_1/, 2009.

Graham Leicester & Maureen O’Hara, Ten Things To Do In A Conceptual Emergency, International Futures Forum, 2009.

4

Henk Oosteling, Dasein as Design Or: Must Design Save the World?, http://www.premsela.org/en/activities/premsela-lecture_1/, 2009.


desno: Stefan Schwabe, Živi artefakti right: Stefan Schwabe, Living Artefacts

in tehnologiji. To je imelo globok učinek na družbene, ekonomske in kulturne okoliščine tistega časa. Zaradi te zgodovinske spremembe, industrijske revolucije, ki jo je označeval premik od ročne k strojni izdelavi blaga, se je začelo razvijati oblikovanje, to pa se je še naprej bliskovito delilo in specializiralo na številne različne podzvrsti. Oblikovanje je v tej kratki zgodovini doživelo mnoge mutacije in transformacije, močno povezane z družbenimi, ekonomskimi in kulturnimi okoliščinami vsakega posameznega obdobja (ali z odklonom od njih). Z oddaljevanjem od tradicionalnih industrijskih praks industrijske revolucije se je pojavila elektronska tehnologija, ki ji je sledila digitalna tehnologija in okrog leta 1947 označila začetek digitalne revolucije.5 V naslednjih desetletjih se je oblikovanje razvijalo – od vzpona ergonomije v petdesetih letih 20. stoletja6 do radikalne estetske občutljivosti šestdesetih in sedemdesetih let, pa do skorajda povsem komercialnega orodja, kakršno je postalo v osemdesetih letih, brez povezave s kakršnimkoli širšim družbenim kontekstom razen trga.7 V poznih devetdesetih letih 20. stoletja se je v delih angleškega oblikovalskega dvojca Dunne & Raby prvič pojavil izraz kritično oblikovanje. »Kritično oblikovanje se osredotoča na študij vplivov in morebitnih posledic novih tehnologij in politik ter svetovnih družbenih in okoljskih trendov, pa tudi na zarisovanje novih ciljev in interesnih področij za oblikovalce.«8 Ta proces kritičnega oblikovanja morda ne ustvari takoj koristnih, uporabnih predmetov, pa vendar eksperimentalni rezultat teh oblikovalskih praks zelo vpliva na oblikovalsko področje v tem trenutku.

changes in agriculture, manufacturing and technology. This had a profound effect on the social, economic and cultural conditions of the time. Due to this historic change – the Industrial Revolution – marked by the shift from manual to machine-made goods, design started to evolve, rapidly dividing into and specializing in many different sub-disciplines. Throughout this short history, design has known many different mutations and transformations strongly related to (or driven by dissatisfaction with) the social, economic and cultural conditions of any given time. Moving from the traditional industrial practices of the Industrial Revolution, electronic technology appeared, followed by digital technology, marking the beginning of the Digital Revolution some time around 19475. Ever since, in the ensuing decades, design has evolved from the rise of ergonomics in the 50’s6, to the radical aesthetic sensibilities of the 60’s and 70’s, to the almost purely commercial tool it had become by the 1980s, disconnected from any broader social context than the marketplace7. Come the late 90’s the term Critical Design appeared for the first time in publications by the UK-based design duo Dunne & Raby. “Critical Design focuses on studying the impact and possible consequences of new technologies and policies, and of worldwide social and environmental trends, as well as on outlining new goals and areas of interest for designers”8. This Critical Design process might not immediately create useful, useable objects, yet the experimental outcome of these design practices is influencing the design field at the moment in a big way.

Oblikovanje, izpopolnjeno glede na usmeritve kritičnega oblikovanja, se tako dandanes, na začetku 21. stoletja, bliža priložnosti, da se razvija še naprej, pod vplivom ali s pomočjo nastajajočih možnosti sodobnih tehnologij, digitalizacije in globalizacije. Na stičišču oblikovanja, tehnologije, performansa in eksperimentiranja se pojavljajo nova izobraževanja, tečaji in oblikovalski studii.9

Hence, today, at the beginning of the 21st century, elaborating on the focus of Critical Design, design arrives at an opportunity to evolve further, influenced by or taking advantage of the emerging possibilities of modern technologies, digitalisation and globalisation. New education, courses and design studios are appearing, rightly at the confluence of design, technology, performance and experimentation9.

Nove tehnologije so v veliki meri povezane z novimi znanstvenimi odkritji, kot sta nanotehnologija in biotehnologija, ki se z bliskovito hitrostjo razvijajo v različnih znanstvenih sferah. Ali pa ta razvoj le doživljamo kot bliskovit(ejši), saj doseže naš računalniški zaslon hitreje in natančneje kot kadarkoli prej? Eden od učinkov digitalizacije je možnost dostopa in izmenjave informacij

New technologies refers largely to new scientific discoveries like nanotechnology and biotechnology, which are developing at a rapid pace in various scientific spheres. Or do we only experience these developments as (more) rapid, because they reach our computer screen faster and more detailed than ever before? One of the effects of digitalisation is

5

Charlie Samuels, The Digital Age: 1947–Present Day, Gareth Stevens Publishing,

5

New York 2010. Darius Mahdjoubi, Epistemology of Design, The University of Texas, Austin, 2003.

6

7

Anthony Dunne & Fiona Raby, What If… http://www.dunneandraby.co.uk/content/

7

bydandr/496/0, 2009. Iz razgovora Michaela Johna Gormana z Anthonyem Dunnom

Charlie Samuels, The Digital Age: 1947 – Present Day, Gareth Stevens Publishing, New York 2010.

6

Darius Mahdjoubi, Epistemology of Design, The University of Texas at Austin 2003. Anthony Dunne & Fiona Raby, What If… http://www.dunneandraby.co.uk/content/ bydandr/496/0, 2009. From an interview by Michael John Gorman and Anthony


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iz skorajda vsakega kotička našega sveta. Izmenjevanje iste strani je značilen globalizacijski modni izraz, ki označuje naše mlado 21. stoletje in kaže, da je naš svet vse bolj raztegnjen, skrčen, povezan, prepleten, združen in soodvisen. V svetu, kjer je vse povezano in digitalno pri roki, se nezamisljivo nenadoma zdi mogoče. Oblikovalci, ki najdejo navdih in znanje v najbolj oddaljenih kotičkih sveta, na področjih, ki so pred tem pomenila neznano ozemlje, tega ne bi bili sposobni brez današnjih daljnosežnih digitalnih in tehnoloških možnosti. Primer oblikovalca Tuura van Balna in njegovega jogurta s prozacom kaže, kako oblikovalci raziskujejo nova, pred tem nedotaknjena interesna področja.

the possibility to access and share information from almost every corner of our universe. Sharing the same page is the characteristic buzzword globalisation that marks our young 21st century, suggesting that our world is increasingly stretched, shrunk, connected, interwoven, integrated, and interdependent. In a world where everything is connected and digitally close at hand, the unimaginable suddenly seems possible. Designers who find inspiration and knowledge in the farthest corners of the earth, in fields that represented unknown territory before, would not have been able to do so without the farreaching digital and technological possibilities of today. The example of designer Tuur van Balen and his Prozac-Yogurt demonstrates how designers are exploring new, previously untapped areas of interest.

Pod vplivom tehnologij, digitalizacije, globalizacije Ta nova področja – tehnologije, digitalizacija in globalizacija – se prav v tem trenutku še naprej preučujejo. Čeprav velika večina oblikovalcev še vedno dela za potrošniško usmerjeno industrijo in pošilja na

Influenced by technologies, digitalisation, globalisation These new areas – technologies, digitalisation and globalisation – are being further explored right at this Dunne & Fiona Raby on the occasion of the exhibition What If... at the Science

in Fiono Raby ob razstavi What If... v Science Gallery v Dublinu (sept.–dec. 2009). 8

Paola Antonelli, »States of Design 04: Critical Design«, http://www.domusweb.it/

Gallery in Dublin (Sept–Dec 2009). 8

Paola Antonelli, "States of Design 04:Critical Design", http://www.domusweb.it/

9

I bid.

en/design/states-of-design-04-critical-design-/, 2011. 9

Ibid.

en/design/states-of-design-04-critical-design-/, 2011.


trg nove izdelke, pa se pojavlja izjemna, grobo definirana (nova) kategorija. Sestavljajo jo oblikovalci, ki iščejo alternative svojemu položaju na trgu množične proizvodnje ali ki so začeli na novo definirati, kako se njihovo oblikovanje nanaša na družbeno, trajnostno ali okoljsko komponento. Ustvarjajo objekte iz novih materialov, drugačnih od standardne plastike, lesa, keramike ali stekla; namesto tega kreirajo iz živih bitij10 in industrijskih zalog ter ostankov. Drugi raziskujejo, kako naj produkti postanejo pametnejši, boljši ali primernejši za naše postindustrijsko življenje in življenjski slog. Ena od stvari, ki označuje to skupino, je dejstvo, da vključujejo domiselnost narave in njenih procesov, obenem pa izkazujejo neverjetno sposobnost za uporabo tehnologije. V nasprotju s pozicijo uveljavljenih generacij oblikovalcev Tord Boontje, produktni oblikovalec in predstojnik programa za produktno oblikovanje pri RCA,11 pravi: »Pogleda, da je oblikovanje dejavnost, ki ustvarja lepe dnevne sobe za zahodni svet, je nepreklicno konec.«12 Po njegovem mnenju teh oblikovalcev ne zanima več le stiliziranje stvari. Ti oblikovalci, ki eksperimentirajo in prestopajo meje tradicionalnega oblikovalskega poklica, nič več ne delujejo le znotraj vakuuma svoje lastne discipline, temveč iščejo navdih na drugih področjih in ustvarjajo zapletena razmerja med strokovno oblikovalsko prakso in družbo, naravo, tehnologijo in/ali znanostjo.

10

Paola Antonelli, »States of Design 07: Bio-Design«, http://www.domusweb.it/en/

very moment. Although the vast majority of designers still work for consumer-focused industries putting new products out on the market, an exceptional, roughly defined (new) category is emerging. It consists of designers who are looking for alternatives to their position in the mass-production market or who have started to redefine how their design relates to the social, the sustainable or the environmental. They are creating objects of new materials other than the standard plastic, wood, ceramics or glass; instead they are creating from living beings10, and from the bulk and leftovers from industry. Others are exploring how products can become smarter, more or better applicable in our post-industrial life and lifestyle. One thing that characterises this group is the fact that they embrace the resourcefulness of nature and its processes, while at the same time displaying an amazing capacity to use technology. Contrary to the position of the established generations of designers, Tord Boontje, product designer and head of the Design Products programme at the RCA11, offers: “the view that design is an activity to make pretty living rooms for the Western world is definitely over”12. According to Boontje, these designers are not interested in merely styling things any more. In order to experiment and transcend the boundaries of the traditional design profession, these designers no longer work solely within the vacuum of their own discipline; they seek inspiration

10

design/states-of-design-07-bio-design-/, 2011. 11 12

Paola Antonelli, "States of Design 07: Bio-Design", http://www.domusweb.it/en/ design/states-of-design-07-bio-design-/, 2011.

Royal College of Art v Londonu.

11

Royal College of Art, London.

Lou Weis, “The naturalist returns”, Inside Magazine, 68, 2011, str. 44.

12

Lou Weis, “The naturalist returns”, Inside Magazine, 68, 2011, 44.


10 ≤ 11 ∏

levo: Thomas Maincent, Pajčja farma left: Thomas Maincent, Spiderfarm

Pa vendar, kako so ti sodobni oblikovalci in delo, ki ga opravljajo, pravzaprav povezani s tehnologijami, digitalizacijo in globalizacijo? Ti oblikovalci eksperimentirajo z vsem mogočim; zdaj ko so jim vsi ti podatki, od »pozabljenih« obrtnih tehnik do kod DNK, dostopni na osebnih računalniških zaslonih, se zdijo dejansko nezaustavljivi. Njihove projekte, ki jih sprožijo kar sami, pogosto navdihnejo pereče družbene, trajnostne ali kulturne teme, temu pa sledijo poglobljeno raziskovanje na internetu, naredi-si-sam testi, ustvarjanje lastnih aparatur in izmenjave z zunanjimi strokovnjaki – spet pogosto skozi digitalne kanale. Njihova interdisciplinarna prizadevanja se materializirajo ne le kot otipljivi produkti, temveč prav tako pogosto kot surovine, produkcijski procesi, eksperimenti, stroji ali spekulativni scenariji. Oblikovalci skušajo s to interdisciplinarnostjo spremeniti ali preusmeriti človeške navade, pospešiti drugačen način razmišljanja ali se pripraviti na svet z redk(ejš)imi viri.

Tehnologija: znanost, zdravje, stroji in procesi Oblikovalci, kot je Stefan Schwabe, se ob ukvarjanju s problemom hitro izginevajočih virov igrajo z možnostmi uporabe mikroorganizmov za pridobivanje novih materialov. Schwabe je oblikoval metodo, s katero je pridobil toaletni papir iz celulozne bakterije. Še en primer je projekt Thomasa Maincenta, ki je želel razviti nove, naravne produkcijske metode in tako iznašel »Pajčjo farmo«, napravo, v kateri pajki ustvarjajo svilo. Pajčja farma posnema naravno okolje, v katerem živijo pajki v divjini, obenem pa jih oskrbuje z vsem, kar potrebujejo, da lahko pridelajo svilo.13 Maincent je moral za realizacijo tega procesa ustvariti lastne stroje. V tem trenutku vse več sodobnih oblikovalcev, kot je Maincent, prevzema produkcijske procese od precej toge industrije, ki jo žene množična proizvodnja. Z oblikovanjem tako produkta kot stroja, ki ta produkt izdela, želijo poudariti vse večjo potrebo po »slow tech«14 produkcijskih orodjih in sistemih. Poleg ustvarjanja novih materialov in strojev pa oblikovalci, kot je Susana Soares, v svoje delo vključujejo

in and from other fields, creating inextricable relations between their professional design practice and society, nature, technology and/or science. Nevertheless, how exactly are these contemporary designers and the work they do related to technologies, digitalisation and globalisation? These designers are experimenting with all kinds of inputs; they seem virtually unstoppable now that all of this data, from “forgotten” craft techniques to DNA codes, is accessible to them on their own personal computer screens. Their own, self-initiated projects are often inspired by acute social, sustainable or cultural issues, which is followed by in-depth research on the internet, DIY-testing, creating of their own machinery and exchanges with external experts – again, often through digital channels. Their crossover endeavours are materialised not only as tangible products but just as often as raw material, production processes, experiments, machinery or speculative scenarios. With these crossovers designers try to change or re-direct human habits, foster a different mindset or prepare for a world with scarce(r) resources.

Technology: Science, Health, Machines and Processes In approaching the problem of fast-depleting resources, designers like Stefan Schwabe play with the possibilities of using microorganisms to grow new materials. Schwabe designed a method to grow toilet paper from cellulose bacteria. Another example is a project by Thomas Maincent, who was looking to develop new, natural production methods and came up with the “SpiderFarm”, a machine in which spiders produce silk. The SpiderFarm mimics the natural setting in which spiders live in the wild, supplying them with everything they need to allow the harvesting of their silk13. Moreover, Maincent had to build his own machines in order to realise the process. Currently, an increasing number of contemporary designers like Maincent are taking over the production processes from a rather inflexible, mass production-driven industry. By designing both the product and the machine(ry) with which to make it, they point up the growing need for “slow tech”14 production tools and systems.

13

http://thomas-maincent.com/spiderfarm/, 2012.

13

http://thomas-maincent.com/spiderfarm/, 2012.

14

Jeroen Junte, “Make it new: slow tech essay”, Frame Magazine, 86, maj/junij

14

Jeroen Junte, “Make it new: slow tech essay”, Frame Magazine, 86, May/June

2012, str. 208–215.

2012, 208–215.


DESNO: Susana Soares, diagnostična naprava Bee's RIGHT: Susana Soares, Bee's diagnostic tool

tudi navade in veščine iz živalskega kraljestva – v njenem primeru zato, da bi se na alternativen način lotili vprašanj človekovega zdravja in dobrobiti. Pri projektu »Bee's« je sodelovala z Londonsko čebelarsko zvezo in ekipo za raziskovanje čebel z raziskovalnega inštituta Rothamsted Research. Rezultat sodelovanja so objekti, ki izkoriščajo čebeljo sposobnost odkrivanja vonjav in tako nakazujejo ali diagnosticirajo različna stanja iz vzorcev človeške sape. S pomočjo teorije o refleksih po Pavlovu lahko

Alongside creating new materials and machines, designers like Susana Soares incorporate the habits and skills of the animal kingdom into their work – in the case of Soares, to address issues of human health and wellbeing in an alternative way. For her project “Bee's”, Soares worked together with the London Beekeeper Association and a Bee Research team at Rothamsted Research. The collaboration resulted in objects that exploit bees’ odour detection abilities to indicate or diagnose various conditions


12 ≤ 13 ∏

čebele v desetih minutah usposobimo, da prepoznajo nosečnost in množico bolezni, tudi raka, to pa pokažejo tako, da zletijo v različne prekate steklenega objekta.15 Razmišljanje in delovne metode, ki jih uporabljajo oblikovalci, povezani s tem delovnim področjem, pogosto zaznamuje in krepi tesno sodelovanje z znanstveniki ali drugimi strokovnjaki zunaj (oblikovalske) discipline. Oblikovalci, ki jih privlači takšno eksperi-

15

Susana Soares, Bee’s, 2007–2009, s spletne strani http://www.susanasoares. com/index.php?id=56#c194.

from samples of human breath. By employing Pavlov’s reflex theory bees can be trained within 10 minutes to target pregnancy and a host of diseases, including cancer, and indicate them by flying to different chambers in the glass object15. The nature of the thinking and the working methods employed by designers related to this kind of workfield are often characterised and enhanced by close collaboration with scientists or other experts

15

Susana Soares, Bee’s, 2007–2009, retrieved from http://www.susanasoares. com/index.php?id=56#c194


DESNO: Studio Swine in Kieren Jones, stol Sea RIGHT: Studio Swine and Kieren Jones, Sea Chair

mentalno sodelovanje, pogosto prevzamejo pobudo in ustvarijo nove, intenzivne odnose z raziskovalci povsem zunaj običajne cone udobja. Od živali in mikroorganizmov nas naslednji korak pripelje na področje DNK in sintetične biologije, k področju/disciplini, ki združuje znanost in oblikovanje, s poudarkom na preoblikovanju, inženiringu in izgradnji povsem novih bioloških sistemov.16 Izjemen primer s tega področja je projekt Lucy McRae, ki je skupaj s sintetičnim biologom razvila »užitni parfum«. Skupaj sta ustvarila prebavljivo kapsulo, ki koži omogoča, da med potenjem izloča dišavo.17 Čeprav je projekt še vedno v raziskovalni fazi, zahteva drugačno razmišljanje: smo se v prihodnosti pripravljeni potiti, da bi lepo dišali?

Globalizacija: industrijski odpadki, pametne rešitve, urbana okolja in družbeno/lokalno Ko so Alexander Groves, Azusa Murakami in Kieren Jones izvedeli, da po ocenah Združenih narodov svetovni oceani vsebujejo okrog sto milijonov ton plastike in da ta številka z večanjem potrošnje še narašča, so se odločili reagirati. S staro ribiško ladjo z vlečno mrežo so začeli pobirati plastiko, ki onesnažuje morja, in jo spreminjati v stole kar v tovarni na palubi. Skupaj s plastiko so v nove, robustne materiale in izdelke spremenjeni tudi ostanki lesa, papirja, hrane in snovi modne industrije. Toda oblikovalci ne pobirajo le ostankov, temveč snujejo pomembne zamisli za izboljšanje samih proizvodnih procesov, skušajo se izogibati odpadkom in pretirani embalaži ter zato uporabljajo tehnike ploskega pakiranja in druge pametne rešitve. Posledice globalizacije vplivajo tudi na to, kako oblikovalci razmišljajo o spreminjajočih se življenjskih okoljih ljudi. Medtem ko naša mesta postajajo vse večja in vse bolj gosto naseljena, oblikovalci raziskujejo načine, kako ponovno integrirati zelene, tipično ruralne, zdravilne elemente v naša urbana okolja – tudi v naše hiše. V tem smislu je oblikovalec Matej Colja ustvaril »Zeleno steno«, arhitekturni element, ki lahko zamenja neizkoriščeno obstoječo steno ter omogoči gojenje sadja in zelenjave kar na steni stanovanja. V drugih primerih pa

outside the (design) discipline. Designers, attracted to such experimental collaboration, often take the initiative to create new, intensive relationships with researchers well outside the designer’s conventional comfort zone. From animals and microorganisms the next step down the scale brings us to the realm of DNA and synthetic biology, a field/discipline that merges science and design with its focus on redesigning, engineering and constructing entirely new biological systems16. One remarkable case from this area is that of Lucy McRae, who teamed up with a synthetic biologist to develop a “swallowable parfum”. Together they are creating a digestible capsule that enables the skin to excrete fragrance during the act of perspiration17. Though this project is still in the research phase, it requires a different mindset: are we prepared to sweat, in the future, in order to smell good?

Globalisation: Industry Leftovers, Smart Solutions, Urban Environments, and the Social/Local When Alexander Groves, Azusa Murakami and Kieren Jones discovered that the United Nations estimates the world’s oceans to contain some 100 million tons of plastic, with the count ever increasing as consumption rises, they decided to react. With a retired fishing trawler they started harvesting plastic polluting the seas and transforming it into chairs in an on-board factory. Along with plastic, leftovers from our wood, paper, food and fashion industries are being turned into new, robust materials and products. Furthermore, designers are not only picking up the leftovers but are also making important attempts to improve production processes themselves, working to avoid leftovers and excessive packaging materials in the first place by using flat-pack techniques and other smart solutions. The implications of globalisation also affect the way designers are thinking about people’s changing living environments. As our cities continue to grow bigger and more densely populated, designers are exploring ways of re-integrating green, typically rural, healthful elements into our urban environments

16

Antonelli, »States of Design 07: Bio-design«.

16

Antonelli, "States of Design 07: Bio-Design".

17

Lucy McRae, Swallowable Parfum, s spletne strani http://swallowableparfum.

17

Lucy McRae, Swallowable Parfum (2012), retrieved from http://

com/, 2012.

swallowableparfum.com/


14 ≤ 15 ∏


DESNO: Rui Quinta in Tiago Nunes, preoblikovanje poslovanja Fishing for Ideas RIGHT: Rui Quinta and Tiago Nunes, Fishing for Ideas, redefining business

se oblikovalci odzovejo z nasprotno reakcijo in se intenzivno osredotočijo na tradicionalno lokalno proizvodnjo ali socialne projekte, da bi tako ponovno združili trg in okoliške vire. Takšen primer je bil projekt »Ribolov idej« Ruija Quinte in Tiaga Nunesa. Quinta in Nunes sta se odločila pomagati lokalnemu družinskemu podjetju v portugalski ribiški industriji, ki jo je radikalno spremenjen trg, na katerega so vplivale globalizacija, ribolovne omejitve, spreminjajoče se potrošniške navade in premestitev osrednjega transakcijskega trga 50 kilometrov stran, močno prizadel. Z vključitvijo lokalnih portugalskih trgovin z živili v prodajo svežih rib in z ustvarjanjem močnega spletnega informiranja je družinsko podjetje v le 45 dneh od začetka projekta pridobilo 12 novih strank.18

Digitalizacija: obdelava podatkov, protireakcije in vrnitev k obrti V današnji izjemno industrializirani in digitalizirani družbi se vse številnejši oblikovalci počutijo še posebej odtujene od proizvodnega procesa, od izdelave.19 To je privedlo do nostalgične vrnitve k obrti in drugim podobnim nasprotnim reakcijam. Koncept za čevelj »Popravi-si-sam«, ki ga je oblikovala Eugenia Morpurgo, ni namenjen le opozarjanju na pomanjkljivosti tradicionalnega čevljarstva, temveč tudi spodbujanju zamisli o popravilu namesto zamenjave. Rachel Griffin predlaga nov odnos med industrijo in obrtjo s ponovno uporabo tradicionalnih tkalskih tehnik za modne izdelke iz škrobne plastike. Novinar s področja oblikovanja Jeroen Junte meni, da ti obrtniški, ročno izdelani produkti zaslužijo precej več pozornosti, saj »zagotavljajo sodobnim potrošnikom vpogled v to, kako je ustvarjen materialni svet okoli njih«.20 Vzporedno s tem tokom nostalgije pa drugi oblikovalci izkazujejo globoko težnjo po uporabi digitalizacije, saj v svoje procese in produkte vključujejo digitalne podatke. Projekt »Realnočasna življenja mest« mreže Art is an Open Source si tako predstavlja novo geografijo, ki temelji na kvocientu sreče velikih mest, s spremljanjem in merjenjem želja in čustev, izraženih v širšem, javnem digitalnem pogovoru. Ta alternativni pristop k razumevanju in uporabi digitalnih podatkov v realnem času je v veliki meri še ve-

– even into our own houses. In this vein designer Matej Colja created a “Green Wall”, an architectural element that can replace an unexploited existing wall, enabling the cultivation of fruit and vegetables right on the apartment wall. In other cases, however, designers react with a counter reaction, focussing intensely on traditional, local production or social projects in order to reunite the market with its surrounding resources. Such was the case in the “Fishing for Ideas” project of Rui Quinta and Tiago Nunes. Quinta and Nunes decided to help a local family business in the Portuguese fishing industry that suffered heavily from a radically changed market impacted by globalisation, fishing restrictions, shifting consumer habits, and dislocation of the central transaction market 50 km away. Involving local Portuguese grocery shops in selling fresh fish and creating significant online buzz, the family business gained 12 new clients after just 45 days of the project launch18.

Digitalisation: Data Processing, Counter Reactions, and Back to Crafts In today’s hugely industrialized and digitised society, an increasing number of designers find themselves particularly alienated from the process of production; of making19. This has resulted in a nostalgic return to crafts and other similar counter reactions. Eugenia Morpurgo’s “Repair it Yourself” shoe concept is not only designed to address the shortcomings of traditional shoemaking, but moreover to promote the idea of repairing over replacing. In addition, Rachel Griffin suggests a new relation between industry and craft by re-employing traditional weaving techniques to fashion objects from starch-based plastics. Design journalist Jeroen Junte argues that these handcrafted products deserve far more attention, as they “provide modern consumers insight into how the material world around them is created”20. Parallel to this stream of nostalgia, other designers are demonstrating a profound capacity to embark upon the path of digitalisation, incorporating digital data into their processes and products. For example the “Real-Time Lives of Cities” project of the network Art

18

Fishing for Ideas, s spletne strani http://fishingforideas.wordpress.com/.

18

Fishing for Ideas, retrieved from http://fishingforideas.wordpress.com/

19

Junte, “Make it new: slow tech essay”, str. 208–215.

19

Junte, “Make it new: slow tech essay”, 208–215.

20

Ibid., str. 209.

20

Ibid., 209.


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dno spekulativen, uvesti pa želi radikalne inovacije in strategije v urbanem načrtovanju, oblikovanju politik in družbenih odnosih.

Sodobni oblikovalci Kot je že precej očitno, ta sodobna raziskovanja ne le vodijo oblikovalce k ustvarjanju komercialnih izdelkov, temveč jim pomagajo tudi bolje razumeti aktualna družbena, emocionalna, kulturna in gospodarska vprašanja. Danes lahko na razstavi najdemo tako konceptualna kot komercialna dela, kajti to je ta »mešanica«, v kateri v tem trenutku smo. Živimo na temeljih potrošniške dobe, obenem pa se sprašujemo, kako se odzvati na vse večje pomanjkanje naravnih virov ali pred obličjem nekako srhljivih tehnoloških možnosti sintetične biologije in podobnega. Današnji oblikovalci izkazujejo sposobnost razumevanja teh neprecedenčnih sprememb v tehnologiji, znanosti in družbenih interakcijah ter njihovega spreminjanja v objekte, procese in ideje, ki jih ljudje lahko razumejo in uporabljajo.21

Naslednja revolucija? Pod vplivom treh prevladujočih, značilnih gonilnih sil našega časa – tehnologije, digitalizacije in glo-

21

Paola Antonelli, Design and the Elastic Mind, MoMa, New York 2008, str. 15.

is an Open Source imagines a new geography based on the happiness quotient of big cities by monitoring and quantifying the desires and emotions exhibited in the larger public digital conversation. This alternative approach to understanding and using digital data in real-time, though largely still speculative, stand to introduce radical innovations and strategies to urban planning, policymaking and social relations.

The Contemporary Designers As has become well apparent these current explorations are leading designers not only to create commercial products but also helping them to better address the social, emotional, cultural and economic questions of the day. Today, we find both the conceptual and commercial works on display, as this is the “mix” in and with which we find ourselves at the moment. We are living on the foundations of the consumption era, at the same time wondering how to react to the increasing scarcity of natural resources or in the face of the somehow frightening technological possibilities of synthetic biology and similar. Today’s designers have and are demonstrating the ability to grasp such unprecedented changes in technology, science, and social interaction and to convert them into objects, processes and ideas that people can understand and use .21

21

Paola Antonelli, Design and the Elastic Mind, MoMa, New York 2008, 15.


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levo: Eugenia Morpurgo, čevlji Popravi si sam left: Eugenia Morpurgo, Repair it Yourself shoes

balizacije – se današnji oblikovalci bodisi odzivajo nanje bodisi jim nasprotujejo. Slednji skušajo obnoviti naš odnos z obrtjo ali lokalnim trgom ali obnoviti ali zamenjati vire, ki smo jih tako učinkovito izčrpali. Prva skupina pa prikazuje in uporablja sposobnost ekstrapoliranja daljnosežnih možnosti digitalnih podatkov, znanstvenih raziskav in inovativnega urbanega načrtovanja. Kljub razlikam oboji delujejo. Razstava Razmerja v oblikovanju poudarja vzorčne primere teh aktivnosti dandanes in razkriva razmerja, ki jih oblikovalci izpeljujejo, pa tudi povzročajo s svojimi dejanji, od lokalnega družinskega ribiškega podjetja do sintetičnega biologa. Razstava Razmerja v oblikovanju vidi to pozicijo, ta prostor, ki ga oblikovalci trenutno zasedajo, kot zelo obetaven. Po mnenju kustosinj razstave Margo Konings in Margriet Vollenberg »so ti sodobni oblikovalci z ustvarjanjem produktov, naprav ali orodij za naša vsakdanja življenja prevedli posledice vseh dosedanjih revolucij. Takoj po naših industrijskih in digitalnih revolucijah so začeli prevajati naslednjo revolucijo. Če pogledamo na trenutno dogajanje v oblikovanju, dobimo jasen vpogled v to, kar prihaja, saj se oblikovalci pripravljajo na svet z omejenimi viri in delujejo v smeri spodbujanja drugačne miselnosti. Oblikovalci se igrajo z zelo nekonvencionalnimi idejami, predstavljajo si svet, v katerem smo odvisni od mikroorganizmov, živali, digitalnih emocij in urbanega kmetijstva.«22 Kako se bodo ti trendi, če se bodo še naprej razvijali, preoblikovali v revolucionaren prispevek v praksi, v disciplini oblikovanja ali v družbi na splošno? S postavljanjem tega vprašanja smo si prisiljeni predstavljati, kako bodo oblikovalci prevedli naslednjo revolucijo v vsakdanje življenje, obenem pa razmisliti, kako bo videti naša prihodnost kot rezultat njihovih prevodov.

The Next Revolution? Influenced by the dominant three driving characteristic forces of our time – technology, digitalisation and globalisation – today’s designers either react to or work to counteract them. The latter groups aim to restore our relationship with craft or the local market, or to restore or replace the resources we have so efficiently depleted. The former group, on the other hand, displays and exercises the ability to extrapolate on the far-reaching possibilities of digital data, scientific research and innovative urban planning. Despite their differences, however, both act. Design Relations highlights exemplary instances of these actions today and reveals the relations the designers drew from and consequently affected through their actions, from the local family fishing business to the synthetic biologist. Design Relations views this position, the place designers currently occupy, as highly promising. According to the exhibition curators Margo Konings and Margriet Vollenberg, “these contemporary designers have translated the implications of every revolution so far, by creating products, devices or tools for our everyday lives. In the wake of our industrial and digital revolutions, designers have begun work translating the next revolution. If we look at current developments in design”, Konings and Vollenberg explain, “we get a clear glimpse of what is coming, as designers prepare for a world of scarce resources and working to foster a different mindset. Designers are playing with highly unconventional ideas, imagining a world where instead we depend on microorganisms, animals, digital emotions and urban agriculture.”22 How will these trends, if they continue to evolve as they are, be transformed into a revolutionary contribution to the practice, the discipline of design; or indeed to society at large? By asking this question of ourselves we are compelled to imagine how designers will translate the next revolution into everyday life; and moreover, consider what our future will look like as a result of their translations.

22 22

Iz razgovora Lisanne Fransen z Margo Konings in Margriet Vollenberg, junija 2012.

From an interview by Lissane Fransen with Margo Konings and Margriet Vollenberg, June 2012.


21 ≤ 21 ∏

Razstavljena dela na BIO 23/ BIO 23: Exhibited Works


Tehnologija/Technology


Znanost/Science


Tehnologija/Technology Znanost/Science

»Hekanje« jogurtove DNK/ DNA Hacking Yoghurt Oblikovalec/Designer Tuur van Balen, London, Združeno kraljestvo/ United Kingdom 2011

Oblikovalec v tem biotehnološkem nastopu prikazuje, kako hekati – spremeniti – jogurtovo DNK. S pomočjo tehnik naredi-si-sam in tehnik s področja sintetične biologije (ter z obilico institucionalnih in strokovnih informacij, prosto dostopnih na internetu) nas vodi skozi transformacijski protokol laktobacila, ene od dveh glavnih bakterij, prisotnih v jogurtovi kulturi. Van Balen uporablja oblikovanje za raziskovanje družbenih in političnih posledic novih tehnologij. S pomočjo oblikovanja in eksperimentiranja z novimi interakcijami želi izgraditi nove miselno provokativne realnosti. S procesi ustvarjanja teh objektov in intervencij ter njihovo posledično fizično realizacijo želi soočiti različne dele javnosti z možnimi (in nemožnimi) vlogami tehnologije v našem vsakdanjem življenju.*

In this biotech performance, the designer demonstrates how to DNA hack yoghurt. Using techniques from both DIY and synthetic biology (with extensive institutional and expert information freely available on the Internet), he runs through the transformation protocol of Lactobacillus, one of the two main bacteria present in yoghurt culture. Van Balen uses design to explore the social and political implications of emerging technologies. Through designing and experimenting with new interactions, he works to construct new thought-provoking realities. Both the process of creating these objects and interventions, and their resulting physical realisation, aim to challenge various publics with the possible (and impossible) roles of technologies in our everyday lives.**

* Iz nastopa na Next Nature Power Showu v Amsterdamu novembra 2011. www.NextNature.net

**From a performance at Next Nature Power Show Amsterdam, (November) 2011. www.NextNature.net


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Živi artefakti/ Living Artefacts Oblikovalec/Designer Stefan Schwabe, Schmalkalden, Nemčija/Germany 2012

Oblikovalčevo delo raziskuje potencial in posledice proizvodnega procesa, ki temelji na živem materialu. Oblikovalec je z uporabo kombuč (prehransko dopolnilo, pripravljeno iz simbiotične kolonije kvasovk in bakterij, ki se zaradi domnevnih blagodejnih učinkov dodaja čaju) izvedel vrsto poskusov, da bi raziskal, kako voditi ali nadzorovati rast celuloznih bakterij, da bi se oblikovale zamišljene oblike in izdelki. Najnovejša poskusa sta gojenje in navijanje neskončnega celuloznega zvitka (projekt »Vsakdanji papir, papir vsak dan«) ter avtomatska proizvodnja napihnjenih celuloznih jeder in mošnjičkov (»Kimaerina jedra«).

The designer’s work explores both the potential and implications of a manufacturing process based on living material. Using Kombucha (a food supplement prepared from a symbiotic colony of yeast and bacteria that is added to tea for its alleged health benefits), he conducted a series of experiments to investigate how the growth of cellulose bacteria can be guided or controlled in order to form intended shapes and products. The latest of these involves growing and harvesting an endless roll of cellulose (the "Everyday Paper, Paper Everyday" project), as well as the automated production of inflated cellulose kernels and pouches ("The Kernels of Chimaera").


Tehnologija/Technology Znanost/Science

Svetilka Halflife/ Halflife lamp Oblikovalec/Designer Joris Laarman, Amsterdam, Nizozemska/The Netherlands 2010

Halflife je bioluminiscenčna svetilka, izdelana s pomočjo gensko spremenjenega materiala, ki je bil ustvarjen v sodelovanju z Oddelkom za regeneracijo tkiva na inštitutu za biomedicinsko tehnologijo in tehnično medicino MIRA na univerzi Twente na Nizozemskem. Njena celična linija, ki izhaja iz ovarijskih celic kitajskega hrčka in je genetsko obogatena s kresničinim genom za luciferaso, se sveti v temi v prisotnosti encima, imenovanega luciferin. Svetilka Halflife za ustvarjanje svetlobe načeloma ne potrebuje električne energije in je biološko razgradljiva. Razstavljena je v neživem, konzerviranem stanju. Pri njeni izdelavi ni bila prizadeta nobena žival.

Halflife is a bioluminescent lamp made using a genetically modified material that was created with the Department of Tissue Regeneration at the MIRA Institute for Biomedical Technology and Technical Medicine, University of Twente, in the Netherlands. Its CHO cell line, genetically enriched with the firefly’s luciferase gene, glows in the dark in the presence of an enzyme called luciferine. In principle it needs no electricity to generate light and is biodegradable. The Halflife Lamp is exhibited inanimate, in a preserved state; and no animal suffered in the making of this lamp.


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Parfum Swallowable/ Swallowable Parfum Oblikovalka/Designer Lucy McRae, Amsterdam, Nizozemska/The Netherlands 2011

Parfum Swallowable je prebavljiva dišeča kapsula, ki orje ledino v znanosti o človeku. Ko kapsulo absorbiramo, postane koža razpršilec, biološko izboljšan s pomočjo naravnih procesov v telesu. Molekule vonjav se izločijo skozi površino kože med potenjem, kar pušča edinstven vonj. Značaj in moč vonja določajo reakcije vsakega posameznika na temperaturo v okolju, stres, gibanje, vznemirjenje in/ali seksualno vzburjenje. Kapsula je sestavljena iz sintetiziranih dišečih lipidnih molekul, ki posnemajo strukturo normalnih telesnih maščobnih molekul, ki se naravno presnavljajo (s pomočjo encimov) v telesu. Parfum Swallowable izkorišča te naravne encime za sproščanje dišečih molekul, zaradi česar koža oddaja genetsko edinstven vonj o tem, kdo smo in kako to sporočamo.

Swallowable Parfum is a digestible scented capsule that breaks new ground in the human sciences. Once absorbed, the capsule enables the skin to become an atomizer, biologically enhanced using the natural processes of the body. Fragrance molecules are excreted through the skin’s surface during perspiration which excrete a unique scent. The character and potency of the scent is determined by each individual’s reactions to ambient temperature, stress, exercise, excitement and/or sexual arousal. The capsule consists of synthesised fragrant lipid molecules that mimic the structure of normal fat molecules naturally found in and metabolised (using enzymes) by the body. Swallowable Parfum takes advantage of these natural enzymes to release fragrant molecules, enabling the skin to emit a genetically unique scent about who we are and how we communicate this.


Zdravje/Health


Tehnologija/Technology Zdravje/Health

Diagnostična naprava Bee's/ Bee’s diagnostic tool Oblikovalka/Designer Susana Soares, London, Združeno kraljestvo/ United Kingdom 2007–danes (projekt v delu)/ (on going project)

Znanstvene raziskave kažejo, da imajo čebele izredno izostren občutek za vonj in da se jih lahko usposobi za opravljanje zdravstvenih pregledov za zaznavanje posebnih vonjav iz sape ljudi. Projekt je sestavljen iz niza alternativnih diagnostičnih orodij, ki uporabljajo čebele za natančno napovedovanje zgodnjih faz različnih bolezni. Po diagnostičnem delu jih vrnemo v panj. Na podlagi načel pogojnega refleksa po Pavlovu lahko čebele v približno desetih minutah naučimo, da se usmerijo k širokemu obsegu naravnih in umetnih kemičnih vonjav, vključno z biomarkerji, ki so povezani z določenimi boleznimi. Cilj projekta je nadgraditi sedanjo tehnološko raziskavo s pomočjo oblikovanja ter rezultate prevesti v sisteme in objekte, ki jih ljudje razumejo in uporabljajo. Steklena

Scientific research has demonstrated that bees have an extraordinarily acute sense of smell and can be trained to perform health checks by detecting specific odours on people’s breath. The project consists in a series of alternative diagnostic tools that use bees to accurately indicate the early stages of a variety of diseases. After their diagnostic work, they are returned, unharmed, to the hive. The bees can be trained in as little as 10 minutes based on Pavlovian reflex principles to specifically target a wide range of natural and man-made chemical odours including biomarkers associated with certain diseases. The aim of the project is to build on current technological research by using design to translate outcomes into systems and objects that people can un-


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struktura ima manjši prekat, ki služi kot diagnostični prostor, in večji prekat, kjer za kratek čas hranimo usposobljene čebele, ki bodo zaznavale splošno zdravstveno stanje. Oseba izdihne v manjši prekat, čebele pa bodo vanj prihitele, če bodo na sapi te osebe odkrile vonj, ki so se ga naučile prepoznavati.

derstand and use. The glass structure features a smaller chamber that serves as the diagnostic space and a larger chamber where previously trained bees are kept for short periods to detect general health. A person would exhale into the smaller chamber and the bees would rush into if they detected on the person’s breath the odour they have been trained to indicate.


Tehnologija/Technology Zdravje/Health

Športno kolo za ljudi z omejenimi gibalnimi funkcijami Wisb/ Wisb Walking Impairment Sport Bike Oblikovalka/Designer Claudia Bär, Bezau, Avstrija/Austria 2011

Kolo Wisb je športni pripomoček za ljudi z omejenimi gibalnimi funkcijami ali brez možnosti uporabe nog. Pogonski mehanizem, zavore in krmilo so ročno vodeni ter združujejo prednosti prilagojenih in ležečih koles. Uporabnik je v sedečem položaju in lahko neodvisno preklaplja med tremi različnimi načini vožnje in dvema pogonskima sistemoma. Prvi način je gibčen voziček na kolesih s konvencionalnim ročnim delovanjem; drugi način je okreten športni voziček (visoki način), ki uporablja pogonske ročaje. Tretji način je ležeče kolo (nizek način) za tekaške izlete in izlete na dolge razdalje z boljšo energijsko učinkovitostjo ter aerodinamiko. Kolo Wisb ljudem z omejenim gibanjem lajša mobilnost in jim vrača užitke kolesarjenja.

The Wisb is a sport vehicle for people with restricted or no leg function, where drive mechanism, brakes, and steering are all hand-operated, combining the advantages of adaptive bikes and recumbent bikes. The user switches between three different modes and two different drive systems independently, while remaining seated. Mode one is a versatile wheelchair with conventional hand operation on the wheels; mode two makes it an agile sports wheelchair (high mode) using the crank-handles. Mode three is a recumbent bike (low mode) for cross-country and long distance trips with better power efficiency and aerodynamics. Wisb facilitates mobility and returns the joy of biking to those with restricted mobility.


34 ≤ 35 ∏

Zapestnica Breathtaking PEF* meter/ Breathtaking wristlet PEF** meter Oblikovanje/Designer Borut Keržič, Ljubljana, Slovenija/Slovenia Mentor/Tutor Jure Miklavc, Akademija za likovno umetnost in oblikovanje/Academy of Fine Arts and Design, Ljubljana, Slovenija/Slovenia 2012

Zapestnica Breathtaking je osebni zdravstveni pripomoček za astmatike, ki omogoča objektivno merjenje delovanja pljuč. Ideja ni bila oblikovati zgolj še en merilni pripomoček, temveč povsem novo izkušnjo za uporabnike, zaradi katere se bodo počutili kot osebe, in ne kot pacienti. Napravo sestavljajo zapestnica, v kateri je merilni mehanizem, števec, ki uporabnike obvešča o njihovem počutju, in spletni uporabniški vmesnik. Produkt se od drugih na trgu ne razlikuje le zaradi lepega videza, temveč predvsem zaradi interakcije z uporabnikom.

*osebni pripomoček za nadziranje astme **personal asthma monitoring device

The Breathtaking wristlet is a personal medical device for asthmatics that provides an objective measure of how well the lungs are functioning. The idea was not to design yet another measuring device but to design a whole new experience for the user, making them feel like a person and not like a patient. The device consists of a wristlet that houses the measuring mechanism, the charging unit that informs users of their wellbeing, and the web-based user interface. In this way the product differs from others on the market, not only by virtue of its aesthetics but mainly by its interaction with the user.


Tehnologija/Technology Zdravje/Health

Športno protezno koleno Art-leg/ Art-leg sport knee Oblikovalec/Designer Zmago Vidrih, Art-leg, d. o. o., Žalec, Slovenija/Slovenia Soavtor/Co-author Rok Žunič Proizvajalec/Producer Akrapovič, d. d., Ivančna Gorica, Slovenija/Slovenia Naročnik/Client Art-Leg, d. o. o., Žalec, Slovenija/Slovenia 2011

Športno protezno koleno je edini protetični kolenski sklep, namenjen posebej za šport, ki omogoča posebne gibe in zagotavlja aktivno pomoč pri vračanju v stoječi položaj. Ko uporabnik prenese svojo težo na protetično koleno, se to zaradi edinstvenega, patentiranega pozicioniranja kolenskih osi premakne navzdol in naprej (simulacija skupnega učinka gležnja in kolena pri normalni, zdravi nogi). Uporabnik lahko tako med športnimi aktivnostmi s svojim telesnim položajem še vedno ohranja idealno težišče gravitacije ter izvaja potreben nadzor nad smučmi in drugo športno opremo.

The Art-leg sport knee is the only prosthetic knee joint meant specifically for sports that allows for special movement and provides active help for returning to the standing position. When the user transfers their weight onto the prosthetic knee it moves, due to the patented unique positioning of knee axes, both down and forward (simulation of combined effect of ankle and knee in a normal, healthy leg). This means that the user still maintains the ideal centre of gravity body position during sports activities and can therefore exercise the required control over skis and other sports equipment.


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Suhi slani inhalator DSI/ DSI – Dry Salt Inhaler Oblikovanje/Design Co & Co Communication, Budimpešta/Budapest, Madžarska/Hungary Proizvajalec/Producer Gia Form Molds and Parts Ltd., Érd, Madžarska/Hungary Naročnik/Client Salt Pharma Ltd., Jud. Brasov, Romunija/Romania 2012

Suhi slani inhalator DSI je inovativen, ergonomičen prenosni pripomoček za zdravstveno nego. Izdelan je iz biokompatibilne plastike, primerne za medicinsko uporabo, in vsebuje zgolj naravne kristale soli iz največjega rudnika soli v Evropi, iz Parajda v Romuniji. Je naraven izdelek brez kemičnih primesi, ki lajša naslednje simptome in bolezni: astmo, bronhitis, kronične obstruktivne pljučne bolezni, dihalne alergije, zapore maksilarnih in obnosnih votlin, piskanje v prsih, kašelj, težko dihanje, smrčanje in stranske učinke kajenja.

The Dry Salt Inhaler is an innovative, ergonomic, portable health care product. The inhaler is made of a biocompatible plastic suitable for medical use, and contains only natural salt crystals from Europe’s largest salt mine, in Parajd, Romania. It’s a natural, drug-free product that can ease the following symptoms and afflictions: asthma, bronchitis, COPD, respiratory allergies, blockage of maxillary and paranasal sinuses, wheezing, coughing, shortness of breath, snoring and side-effects of smoking.


Tehnologija/Technology Zdravje/Health

Modni dodatki A Mente Fisica/ A Mente Fisica fashion accessory Oblikovalka/Designer Irene Capra, Spinea, Italija/Italy Mentorica/Tutor Leonora Jakovljević, IUAV, Univerza v Benetkah/ University of Venice, Benetke/Venice, Italija/Italy 2011

Projekt A Mente Fisica se giblje med tehnično-anatomskimi in holističnimi perspektivami, ki so predstavljene z zdravilnega vidika. Ti dodatki so zasnovani na različnih fizičnih stanjih, ki so v preteklosti vplivala na oblikovalko. Iz objektov, ki so oblikovani naravno in na podlagi študija človeškega telesa, še posebej njegovega gibanja, izhajajo linije in krivulje. In čeprav so dodatki izjemno prijetni za nošenje in so interaktivni s telesom, ohranijo svojo individualnost, tudi ko jih nosimo ločeno. Gibanje in linearnost bogatita in poudarjata silhueto, ko se dve obliki, tako podobni, pa vendar tako različni, združita in ustvarita nekaj zelo posebnega.

The project A Mente Fisica moves between the technical-anatomical and holistic perspectives as visualized from a healing point of view. These accessories are based on the different physical conditions that have affected the designer in the past. Through the study of the human body, in particular its movements, lines and curves arise from objects that are formed naturally. And though extremely wearable and interactive with the body, the accessories retain their individuality, even when taken separately. Movement and linearity enrich and enhance the silhouette, as two forms, so similar yet so different, combine to create something special.


Stroji in procesi/Machines and Processes


Tehnologija/Technology

Stroji in procesi/Machines and Processes

Stolček Gravity/ Gravity Stool Oblikovanje/Designer Jólan van der Wiel, Amsterdam, Nizozemska/ The Netherlands Mentor/Tutor Bas van Beek, Gerrit Rietveld Academie/DesignLab, Amsterdam, Nizozemska/ The Netherlands 2011

Stolček Gravity dobi svojo edinstveno obliko iz interakcije med magnetnima poljema in gravitacijo. Oblikovalec izhaja iz zamisli, da gravitacija vpliva na vse in da ima tudi močan oblikovni učinek, ter tako manipulira s tem naravnim pojavom in izkorišča njegovo osnovno silo: magnetizem. Na nasprotna pola postavljeni magnetni polji v stroju v veliki meri določata končno obliko stolčka Gravity. Kombinacija magnetnega stroja s plastičnim materialom, razvitim za ta namen, ustvari majhno, a učinkovito proizvodno verigo. Nastale forme in izdelki imajo arbitrarno, organsko obliko, ki je značilna za samo naravo. In razvijanje novih »orodij« je pomembno sredstvo razvijanja novih oblik.

The Gravity Stool takes its unique shape from the interaction between magnetic fields and gravity. Starting from the idea that everything is influenced by gravity, which has a strong shaping effect, the designer manipulates this natural phenomenon by exploiting its own integral power: magnetism. The directing of the magnetic fields in the machine, in opposition to each other, largely determines the final shape of the Gravity Stool. The combination of the magnet-machine with the plastic material developed for this purpose enables a small but efficient chain of production. The resulting forms and products are characterised by the arbitrary, organic shapes typical of nature itself. And developing new “tools” is an important means of giving rise to new forms.


42 ≤ 43 ∏

Lesene preobleke/ Wooden coats Oblikovalec/Designer Max Böhme, Halle (Saale), Nemčija/Germany Mentor/Tutor Dieter Hofmann, Burg Giebichenstein Kunsthochschule, Halle, Nemčija/Germany 2011

Lesene preobleke so izdelki umetnega procesa rasti. Pričujoči primeri sprožajo odpiranje vprašanj, kot so: kaj je naravni videz v umetno oblikovanem svetu? Kako naj se naše z izdelki povezano obnašanje loči od zakonov rastočega trga? Okoljske sile oblikujejo posamezne oblike iz karboksimetilne celuloze, 100-odstotno kompostabilnega, nestrupenega, delno recikliranega materiala, brez uporabe posebnih proizvodnih strojev, v procesu, ki lahko nastane vsepovsod in ni nikjer odvečen.

Wooden coats are the product of an artificial growth process. The current product examples serve to open questions like: What is a natural look in an artificially designed world? How can our productrelated behaviour deviate from the laws of a growing market? With each new production individual forms are shaped by environmental forces using Carboxymethyl cellulose, a 100% compostable, nontoxic and partly-recycled material, requiring no special production machinery, in a process that is germinable everywhere and excrescent nowhere.


Tehnologija/Technology

Stroji in procesi/Machines and Processes

Pajčja farma/ Spiderfarm Oblikovalec/Designer Thomas Maincent, Bruselj/Brussels, Belgija/Belgium 2011

Cilj projekta Pajčja farma je raziskati uporabo naravne živalske tehnologije za proizvodnjo in druge še nerealizirane potenciale. Vsa zemeljska bitja so se razvila v popolni skladnosti z naravo in za izkoriščanje specifične biološke niše. Kaj je potemtakem boljši način za izdelavo 100-odstotno naravnega proizvoda kot to, da uporabimo takšno prirojeno obliko in pustimo naravi, da opravi ostalo? Kitajci so to počeli tisočletja, saj so skrbno gojili sviloprejke za svilo. Oblikovalec torej predlaga, da naredimo enako z madagaskarskimi svilenimi pajki. Njihova svila je nenavadne zlate barve in je petkrat močnejša od jekla z enako gostoto, obenem pa je tudi zelo elastična, zaradi česar je še posebej privlačna surovina. Pripadajoča biotovarna, pajčja farma, bi posnemala naravno oko-

The aim of the Spiderfarm project is to explore the use of natural animal technology for production and other as yet unrealized potentials. All earthly creatures have evolved to fit perfectly into and serve a specific biological niche. What better way then to produce a 100% natural product than to utilise such innate design and let nature do the rest? The Chinese have done it for thousands of years, carefully cultivating silk worms for silk. Here the designer proposes to do the same with Madagascar silk spiders. Their silk is a striking golden colour and is five times stronger than steel of the same thickness, while it is also highly elastic, making it a particularly attractive raw material. The required bio-factory, the spider farm, would mimic the natural setting in which the spi-


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lje, v katerem živijo pajki v divjini, ti pa bi bili oskrbovani z vsem, kar potrebujejo, da bi prišli do pridelka svile. Tovrstno industrijsko pridelovanje doslej ni uspelo, deloma zaradi kanibalske narave pajkov. V tej zamišljeni pajčji tovarni bi bilo reproducirano popolno naravno ravnovesje, obenem pa je ves sistem zavezan izostreni zavesti o ranljivosti narave.

ders live in the wild, supplying them with everything they need to allow the harvesting of their silk. So far, such industrialscale harvesting has not succeeded, partly owing to the cannibalistic nature of the spiders. In the spider factory envisioned, nature’s perfect balance is reproduced; at the same time the system is intended to communicate a strong awareness of nature’s vulnerability.


Tehnologija/Technology

Stroji in procesi/Machines and Processes

Posoda Edible – trajnostni prehrambni oblikovalski izdelki/ Edible Containers, sustainable food design products Oblikovalka/Designer Diane Leclair Bisson, Montreal, Kanada/Canada Soavtor/Co-author, sodelavec (pri nekaterih izdelkih)/ collaboration (on some products) Vito Gionatan Lassandro 2010

Posoda Edible, Užitna posoda, je narejena zato, da bi zamenjala embalažo za hrano za enkratno uporabo in tako ponudila rešitev za zmanjšanje količine odpadkov na samem začetku. S pomočjo obrtnih in industrijskih tehnologij so bili ustvarjeni okusni izdelki za različne kontekste (gostinstvo, šole itd.). Inovativne funkcionalne oblike, hrustljave, mehke in želirane teksture ter prehranske barve (100 % iz sadja in zelenjave) – vse to prispeva k ustvarjanju nove estetike. Užitna posoda spodbuja drugačno obnašanje in navade, ki pomagajo zmanjševati količino odpadkov ter spodbujajo trajnostne odnose med ljudmi in hrano (izdelki).

Edible containers are designed to replace disposable food containers and to offer solutions for reducing waste at source. Artisanal and industrial technologies are used to create tasty products for diverse contexts (catering industry, schools, etc.). Innovative functional shapes, crunchy, soft and jelly-like textures, and nutritional colours (100% from fruits and vegetables), all contribute to creating a new aesthetic. Edible containers foster new gestures and habits that help reduce waste and promote sustainable relationships between people and food (objects).


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Svetilke MeshMatics/ MeshMatics lamps Oblikovalec/Designer Rick Tegelaar, Arnhem, Nizozemska/The Netherlands 2011

Oblikovalec je ustvaril napravo in niz orodij, ki omogočajo skrbno nadzorovano in zelo natančno oblikovanje pletene žice. Z raztezanjem materiala čez model se žica prilagodi obliki in jo prevzame. S pomočjo napetosti, ki jo zaradi raztezanja prevzame material, se oblikuje izjemno čvrsta struktura. Svetilke so prekrite s plastjo bambusovega papirja, ki se, ko je navlažen, zaradi svojih dolgih vlaken razširi. Ko se papir na mreži posuši, se tesno ovije okoli nje, to pa ustvari strukturo svetilke. Vse svetilke so povsem funkcionalne, usmerjajo svetlobo, ki je mehka in topla. Bambusov papir razprši svetlobo in omogoči, da tudi najgrše varčne sijalke postanejo prijetne za uporabo.

The designer has produced a machine and set of tools that enable the forming of chicken wire in a closely controlled and highly accurate fashion. By stretching the material over a mold the wire contracts over the form and assumes its shape. The tension assumed by the material from stretching remains captured to form a highly efficient structure. Here lamps are covered with a layer of bamboo paper that expands when moistened due to its long fibres. When the paper dries over the mesh it wraps itself tightly around it, contributing to the structure of the lamp. All of the lamps are fully functional, directing the light and making it both soft and warm when needed. The bamboo paper diffuses the light and makes even the worst looking energy saving bulb pleasant to use.


Tehnologija/Technology

Stroji in procesi/Machines and Processes

Pridelana potrošniška elektronika Sugar Frames/ Sugar Frames growing consumer electronics Oblikovanje/Design Jim TerMeer, Jess Giffin, Studio Giffin’Termeer, Chicago, ZDA/USA 2011

Sugar Frames je eksperiment, ki se sprašuje, kaj pomeni, če izdelke kar pridelamo – in sicer z uporabo lastnosti sladkorja, da se kristalizira v strukturo. Najprej je s tridimenzionalnim tiskanjem narejena vrsta potrošniških izdelkov – ohišje fotoaparata, ura, očala in fonogram – kot minimalno odprtih struktur. Ti izdelki so za več dni postavljeni v koncentrirano raztopino sladkorja, na njih pa se začnejo oblikovati kristali. Rastoče okvirje vzamemo iz sladkorne kopeli v različnih časovnih presledkih in jih skeniramo s 3D-skenerjem; posamezen okvir lahko dobi različne oblike zgolj s skeniranjem ob različnih fazah rasti. Proces skuša kombinirati nadzorovan proces rasti (3D-tiskanje) z nenadzorovanim (rastoči kristali) in tako ustvariti nove oblike.

Sugar Frames is an experiment that asks what it means to grow products. Using sugar’s ability to crystallize onto a structure, a series of consumer products – a camera body, watch, eyeglasses, and phonograph – are first designed as minimal open structures (that are generated using 3D-printing.) Placed in a concentrated sugar solution over several days crystals begin to form on these scaffolds. The growth frames are taken out of the sugar bath at various intervals and scanned with a 3D scanner; a single frame can generate multiple forms just by scanning it at different growth stages. The process attempts to combine controllable growth process (3D-printing) with an uncontrollable one (growing crystals) to generate new forms.


48 ≤ 49 ∏

Polžji laboratorij/ Snail Laboratory Oblikovalka/Designer Lieske Schreuder, Haag/Den Haag, Nizozemska/The Netherlands Mentor/Tutor Stijn Bisscheroux, Utrecht School of Arts, Nizozemska/The Netherlands 2012

Oblikovalka je zasnovala laboratorij, v katerem bi lahko opravljala nadzorovane raziskave navad polžev, ki se hranijo s papirjem (in papir tudi izločajo). Ugotovila je, da polži jedo barvni papir, toda tudi izločajo v barvah, in sicer glede na barvo papirja, ki so ga jedli. Tako je izdelala napravo, ki obdela, zmelje, zmeša, stisne in zvije polžje iztrebke ter jih predela v preprogo ali ploščice. Napravo lahko prenesemo na sam kraj, kjer izdelujemo ploščice. Nitka iz polžjih iztrebkov ima premer 5 mm, je zelo občutljiva in ročno narejena s potiskanjem mešanice polžjih iztrebkov v kalup.

The designer devised a laboratory in which she could perform controlled research into the paper-eating (and excreting) habits of snails. She observed that snails not only eat coloured paper but also defecate in colour, according to the colour of the paper they eat. Similarly she created a machine for the processing of snail excrement, which grinds, mixes, presses and rolls, and with this enables the possibility to use them to produce a sort of snail excrement carpert or tile. It is movable for making tiles on the spot. Snail excrement thread has a diameter of 5 mm, is very delicate and is handmade by pressing a mixture of snail excrement into a mold.


Tehnologija/Technology

Stroji in procesi/Machines and Processes

5. Uporaba/Usage

4. Skupno raztezanje/ Collaborative stretching Nabavna delavnica/ The (Work)Shop

3. Ponovno taljenje pri 70 °C ali biorazgradnja/(Re)melting at 70°C or biodegradation

2. Tehtanje plastike/ Weighing plastic

1. Nova potreba/New need

Novi kontekst/ The New Context Oblikovalec/Designer Thomas Vailly, Eindhoven, Nizozemska/The Netherlands Soavtor/Co-author Gardar Eyjolfsson Mentor/Tutor Jan Boelen, Design Academy Eindhoven, Eindhoven, Nizozemska/The Netherlands 2011

Sanje! Četudi smo vzgojeni kot množični potrošniki v potrošniški družbi, na naša vrata trka narava. Izrabili smo vire, da le ne bi zaostajali. Napad informacij zapoveduje zadovoljevanje naših želja skozi potrošništvo, obenem pa se od nas zahteva, da manj porabljamo in ohranjamo vire, kar prinaša zmedo in zbuja pesimizem. V 21. stoletju potrebujemo nove sanje. Razvoj novih materialov (ponovno uporablji-

Dreams! Raised as mass consumers in a consumer society we also have nature knocking on our door. We use up resources just to keep up. An assault of information preaches satisfying our desires through consumption, yet we’re also told to consume less and preserve resources, which is confusing and spurs pessimism. We need new dreams for the 21st century. The development of new materials (re-usable


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ve bioplastike) in družbene spremembe nas usmerjajo k zamislim o oblikovanju novega sveta. Kaj, če je ta novi material vsepovsod okrog nas? Vse lahko naredimo iz njega – hiše, oblačila, predmete, celotna mesta. Proces gradnje stavbe lahko vključuje vse od ogromnih prototipskih strojev do razteznih tehnik. Ker ta material povsem spreminja način uporabe materialov, ljudje znova vstopajo v proces ustvarjanja. Za nebotičnike stopite velike kose plastičnih blokov. Izdelajte vse, kar potrebujete – takrat, ko to potrebujete: skodelice, krožnike in pribor, ki ga še istega dne preoblikujete v nakit. Večina plastike, izdelane iz petrokemičnih snovi, ni biorazgradljiva, biopolimeri in nove tehnologije pa so uresničljivo, hitro razvijajoče se področje. Običajna plastika se začne topiti pri približno 150 °C, obdelava je težka in zahteva močne stroje. Plastika (polikaprolakton), ki jo uporabljajo oblikovalci, ima zelo nizko tališče, 60 °C, ohladi se v petih minutah, lahko jo ponovno stopimo v vroči vodi in zaradi njene kitaste gostote jo lahko obdelujemo z rokami. Zaradi preproste, nizkotehnološke obdelave lahko vse naredimo na enem mestu – v novem lokalnem sistemu, kjer snovi niti ne odvržemo niti ne recikliramo, temveč jo preprosto preoblikujemo tako, da ustreza novemu namenu. Stari izdelek – snov + ideal – je pretvorjen v nov izdelek – isto snov + nove ideale. Nabavna delavnica Nabavna delavnica je središče refleksije, servisni sistem, prostor, kjer ljudje kupijo surovo snov in neskončen dostop do ciklične izkušnje ustvarjalnosti, sodelovanja, izdelave in uporabe. 1. Nova potreba: stranka potrebuje poseben izdelek in poišče nabavno delavnico. 2. Tehtanje plastike: stranka vstopi v nabavno delavnico; da bi pridobila dostop do sistema, mora kupiti vsaj 1 kg snovi. 3. Ponovno taljenje pri 70 °C ali biorazgradnja: snov se raztopi v vroči vodi (60 °C) ali pa je po koncu življenjske dobe biorazgrajena v kompostu. 4. Skupno raztezanje: stranka ustvarja želeni izdelek z drugimi strankami v obrtni skupini; stranke vodi oblikovalec, ki usmerja njihove poteze in tako ustvarja dialog med vsemi elementi. 5. Uporaba: stranka zapusti nabavno delavnico in uporabi svoj izdelek doma ali kje drugje; ko ga bo nekoč morala zamenjati, lahko znova vstopi v cikel, znova stopi material in ga preoblikuje v drug izdelek; in cikel se znova ponovi.

bio-plastics) together with social change moves us to imagine a new world forming. What if this new material were all around us? Everything could be created out of this material – houses, clothes, objects, houses, entire cities. The process of making a building could involve everything from huge prototyping machines to stretching techniques. Because this material completely alters the way we use materials, people again step into the process of making. Melt huge chunks of plastic blocks out of skyscrapers. Building instantly, what we need, when we need it: cups, plates and cutlery transformed into jewellery later the same day. Most plastics produced from petrochemicals are not biodegradable, but biopolymers and new technologies represent a viable, fast-growing field. Common plastics start to melt at around 150°C, are difficult to handle and require heavy tooling. The plastic (polycaprolactone) the designers use has a very low melting point of 60°C, cools in five minutes, can be re-melted in hot water, and its putty-like consistency makes it easy to handle by hand. Due to simple, low-tech processing everything can be done in one, local place – a new local system in which matter is not thrown away nor recycled but simply reshaped to suit another new purpose. The old product – matter + ideal – is converted into a new product – same matter + new ideals. The (Work)Shop The (Work)Shop is the core of reflection, the service-system, the place people buy raw matter and endless access to the flow-cycle experience of creativity, collaboration, making and usage. 1. New need: the customer has a need for a specific function, and seeks out the (Work)Shop 2. Weighing Plastic: the customer enters the (Work)Shop; to gain access to the system he is required to purchase at least 1 kg of matter. 3.  (Re)melting at 70°C or biodegradation: the matter melts in hot water (60°C), or is biodegraded in a composter after a lifetime of many flow cycles. 4. Collaborative stretching: the customer creates his desired function with other customers in collaborative craft; customers are conducted by a designer who orchestrates their moves, creating a dialogue between all elements. 5. Usage: the customer leaves the (Work) Shop to use his function at home or elsewhere; once he needs to replace the object he can enter the cycle again to re-melt the material and crystalise it in another function; and the cycle repeats itself.


Tehnologija/Technology

Stroji in procesi/Machines and Processes

Vmesnik za računalniško nadgrajeno obrtno prototipiziranje/ Computer Augmented Crafts prototyping interface Oblikovalec/Designer Christian Fiebig, Balingen, Nemčija/Germany Mentorica/Tutor Louise Schouwenberg, Design Academy Eindhoven, Nizozemska/The Netherlands 2011

Oblikovalec si je zamislil delovni prostor, kjer se oblikovalski proces začne z nejasnim, arhetipsko usmerjenim sklopom pravil, ki ga preda računalniku – kot osnovni, temeljni načrt. Računalnik sestavi program in ustvari prvi predlog. Ko je to narejeno, začne oblikovalec ustvarjati, njegove odločitve pa podpirajo izračuni programa. To je dinamičen proces: računalnik nakaže smer, oblikovalec to interpretira po svoje, računalnik interpretira to akcijo na podlagi algoritma in ustvari nov predlog. Ta proces ne bo ciljno usmerjen, kot so navadno oblikovalski procesi, saj ne obstaja nobena prvotna ideja, ki bi ji sledili. Gre za svoboden kreativni proces, ki ga podpirajo in nadgrajujejo prednosti računanja, generativnega oblikovanja.

The designer envisions a workspace where the design process begins with a vague archetype-oriented rule set which he hands over to the computer – as a basic, fundamental agreement. The computer compiles a program and generates a first suggestion. Once this is done the designer starts creating in reality, and his decisions supported by the calculations of that program. This is a dynamic process: the computer suggests a direction, the designer interprets that in his own way; the computer interprets this action based on the algorithm and creates a new suggestion. This process will not be target-driven as design processes typically are, as there will not be any original idea to follow. This result is a free creative process backed up and augmented by the advantages of computation, of generative design.


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Kolektivna dela/ Collective Works Oblikovanje/Design Mischer’Traxler, Dunaj/Vienna, Avstrija/Austria 2011

Kolektivna dela je naziv proizvodnega procesa, ki izdeluje košaro – toda le, če ga opazujete. Proces se odziva na občinstvo in prevaja pretok oseb v predmet. Vsak gledalec na objektu pusti pečat in tako vsaka košara postane edinstven zapis zanimanja ljudi za njeno izdelavo. Ko prvi gledalec aktivira napravo, se 24 mm širok lesen furnirski trak počasi navija in ustvarja posodo. Ko Kolektivna dela začne opazovati naslednji gledalec, stroj označi furnir z barvnim označevalcem. Več ljudi pride do stroja, več označevalcev je aktiviranih in vsak ima temnejšo gradientno barvo. Kolektivna dela obravnavajo razmerja med človekom in strojem, pri čemer so gledalci pretvorjeni v »delavce«.

Collective Works is a production process that manufactures a basket – but only if it is being observed. Reacting to its audience, the process translates the flow of people into an object. Every spectator leaves a mark on the object and thus each basket becomes a unique record of people’s interest in the object’s production. When the first viewer activates the machine a 24mm wide wooden veneer strip is slowly coiled to produce a vessel. When a second viewer observes Collective Works, the machine marks the veneer with a coloured marker. The more people that come to look at the machine, the more markers are activated, each with a darker gradient tone. Collective Works addresses the relationships between man and machine, whereby spectators are transformed into “workers”.


Globalizacija/Globalisation


Industrijski odpadki/Industry Leftovers


Globalizacija/Globalisation

Industrijski odpadki/Industry Leftovers

Stol Sea/ Sea Chair Oblikovanje/Design Studio Swine in Kieren Jones, London, Združeno kraljestvo/ United Kingdom Soavtorja/Co-authors Azusa Murakami, Alexander Groves 2012

Stol Sea je v celoti izdelan iz plastike, pobrane iz svetovnih oceanov. Oblikovalci so ustvarili naprave za zbiranje in predelavo morskih naplavin v serijo izdelkov. Zaradi preprostih kalupov in orodij lahko proizvodnja poteka na morju, izdelki pa so označeni z ustreznimi geografskimi koordinatami. Majhni plastični peleti, ki se uporabljajo pri tlačnem litju, delujejo kot gobe za škodljive kemikalije, in ker spominjajo na majcena morska bitja, vstopijo v prehranjevalno verigo in tako povečujejo toksičnost morskega življenja. Zato so oblikovalci ustvarili stroj, imenovan »Nurdler«, »Peletar«: podoben je starim pripravam za izpiranje zlata ter zbira in ločuje plastične morske naplavine. Stol Sea preučuje – ob plastičnih naplavinah, ki jih je vse več, in zamislih o plačevanju ribičem

The Sea Chair is made entirely from plastic recovered from the world’s oceans. Together, the designers have created devices to collect and process marine debris into a series of products. Using simple moulds and tools, production can take place at sea, where the products are tagged with their geographical coordinates. Nurdles – small plastic pellets used in injection moulding, act as sponges for harmful chemicals, and resembling small sea creatures they enter the food chain raising the toxicity of marine life. Thus the designers have created a machine called the ‘Nurdler’, a sluice-like device that collects and separates marine debris from plastic. With marine plastic growing and plans considering paying fisherman for plastic by-catch, Sea Chair explores a


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za prilov plastike – potencialni model za bodočo industrijo morske plastike. Z zajemanjem plastike in toplotno obdelavo materialov na predelovalnih ladjah je morske odpadke mogoče reciklirati v hiperlokalne, trajnostne izdelke, obenem pa s tem pomagamo obnavljati ribiške skupnosti.

potential model for a future sea plastics industry. By fishing for plastic and heat moulding the materials in factory ships, marine waste can be recycled into hyperlocal, sustainable products whilst helping regenerate fishing communities.


Globalizacija/Globalisation

Industrijski odpadki/Industry Leftovers

Omara Plywood/ Plywood cabinet Oblikovalka/Designer Nienke Janssen, Amsterdam, Nizozemska/The Netherlands 2011

To je tradicionalna omara, narejena iz nenavadnega materiala – iz ostankov vezane plošče. Material, predelan les, ki se navadno uporablja za gradnjo in (podlago) talne obloge, je tukaj obravnavan kot »pravi«, predvsem neobdelan les. Z dodajanjem vrednosti s pomočjo različnih obrtnih tehnik bo ta brušena, izrezljana omarica s struženimi nogami pokazala lepoto tega precej zapostavljenega materiala.

This is a traditional cabinet made of an unusual material – scrap plywood. Here a material – processed wood – usually used for construction and (base) flooring is treated like “real”, largely untreated wood. By adding value through a variety of crafting techniques, this milled, sculpted cabinet with turned legs shows the beauty of this rather neglected material.


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Kolekcija oblačil (Un)Useful/ (Un)Useful clothes collection Oblikovalka/Designer Irena Rojs, Maribor, Slovenija/Slovenia Mentorica/Tutor Metka Vrhunc, Naravoslovnotehniška fakulteta/Faculty of Natural Sciences and Engineering, Ljubljana, Slovenija/Slovenia 2012

Ostanki so pri industrijski proizvodnji vedno obstajali; še več, vedno so se pokazali tudi kot uporabni. Je mogoče še bolj zmanjšati količino produkcijskih ostankov; ponuditi oblačila, ki jih kupci kupujejo manj, za katera zapravijo manj, pa vendar dobijo več; izdelati oblačila iz ostankov, ki jih današnje ženske lahko oblečejo za pomembna srečanja ali družabne dogodke? Kolekcija (Un)Useful združuje sodobne in izvirne oblikovalske strategije s tistimi, ki so značilne za okoljsko trajnostno oblikovanje. Linija uporablja ostanke blaga iz proizvodne sheme Stelle McCartney, ki kljub tehnologijam za zmanjševanje ostankov, kot sta lasersko rezanje in računalniško oblikovanje – še vedno proizvede kar precej odpadnega materiala. Te obleke so krojene kot sprednji in zadnji deli, ki jih je mogoče ločiti, (iz)menjati, kombinirati z drugimi deli in podobno.

Industrial production waste has always existed; even more, it has also often proven to be useful. So, is it possible to further minimise production waste; to offer clothes for which customers buy less, spend less, yet get more; to make clothes from waste that today’s woman can wear for an important meeting or social event? The (Un)Useful collection is designed such that it incorporates both contemporary and originaldesign strategies with those characteristic of environmentally-sustainable design. The scheme utilizes remaining waste fabric from the Stella McCartney production line where, despite waste-minimising technologies like laser-cutting and CAD, a substantial quantity is still wasted. These clothes have been created as front and back sections that can be separated and (ex)changed, combined with other parts and similar.


Globalizacija/Globalisation

Industrijski odpadki/Industry Leftovers

Pohištvo Paper planet/ Paper planet furniture Oblikovanje/Design Hettler.Tüllmann, Berlin, Nemčija/Germany 2012

Paper planet je kolekcija papirnatih izdelkov, narejenih iz recikliranih papirnatih vrvi in tankih papirnatih listov. Strukturni vidik papirnatih oblik je raziskan z rezanjem in prepogibanjem, sukanjem in zlaganjem, tkanjem in pletenjem, s čimer dobimo strukturo in volumen. Prepognjene in stisnjene tanke papirnate plasti postanejo močne, odporne, pa vendar nežne vrvi, dolgi listi papirja pa ob upogibanju dobijo volumen. Stola Rope in Knitted temeljita na tehnikah tradicionalne obrti pletenja vrbovega protja – na tkanju in pletenju. Papirnate svetilke sledijo tradiciji origamija: prefinjeno prepognjeni robovi ustvarjajo strukturo in obliko, same svetilke, razsvetljene z notranje strani, pa so vir tako žareče svetlobe kot temnih senc. Projekt je okolju prijazen in 100% biorazgradljiv, vsi izdelki so lahki, zaradi poceni in preprostega transporta pa jih lahko dobimo zložene.

Paper planet is a collection of paper items made from recycled paper rope and thin paper sheets. The structural aspect of paper forms is explored through cutting and folding, twirling and stacking, weaving and knitting to attain structure and volume. Thin twisted and compressed paper layers turn into strong, resistant yet delicate ropes and long paper sheets become volume once folded. The Rope Chair and the Knitted Chair rely on the techniques of traditional wicker craftsmanship – weaving and knitting. The paper lamps follow the Origami tradition: delicately folded edges pop up and create structure and shapes; and lit from inside they’re a source of both glowing light and dark shadow. The project is environmentally sound and 100% biodegradable, all items are lightweight, and can be flattened for cheap, easy transport.


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Serija posod Particles/ Particles series of vessels Oblikovanje/Design, proizvajalec/producer Studio Jo Meesters, Eindhoven, Nizozemska/ The Netherlands 2012

Particles je serija posod in drobnega pohištva, ki temelji na odpadni žagovini in ostankih tramov iz lesnopredelovalne industrije. Modeli za posode so sestavljeni iz lesenih kock, ogrodje pohištva pa iz ostankov tramov. Iz žagovine in celuloze je narejena zmes, ki prekrije modele in les ter s pomočjo recikliranih, a izboljšanih materialov ustvari povsem novo kolekcijo. Serija temelji na zamisli o izdelavi kolekcije notranjih izdelkov in oblikovanju alternativnega proizvodnega procesa, ki ga lahko razvijamo s pomočjo delavnic, organizacij ali okolij, ki zaposlujejo ljudi s hendikepom.

Particles are a series of vessels and small furniture based on waste sawdust and remaindered beams from the wood processing industry. The moulds from the vessels are made up of blocks of wood and the furniture base from leftover beams. With a mix of sawdust and cellulose a mixture is made to cover the moulds and the wood to make a completely new collection using upcycled materials. The collection is based on the idea of manufacturing a collection of interior products and creating an alternative production process that can be developed with the help of workshops, an organisation or environment that employs people with disabilities.


Globalizacija/Globalisation

Industrijski odpadki/Industry Leftovers

Ribja gostija/ The Fish Feast Oblikovalec/Designer Erik de Laurens, London, Združeno kraljestvo/ United Kingdom 2011

Oblikovalec je v zadnjem letu študija raziskoval načine za izdelavo lokalne in trajnostne plastike. Ob spremljanju naraščajočih cen izdelkov na osnovi nafte si je zamislil hipotetični scenarij, kjer bi za proizvodnjo dobrin uporabili presežek (odpadke) prehranske industrije. Skozi nadaljnje raziskave je ustvaril material, izdelan izključno iz ribjih lusk. Številni procesi v ribiški industriji ustvarjajo tone ribjih lusk, ki so preprosto – po nepotrebnem – zavržene. Oblikovalec je z uporabo teh odpadkov kot surovine za proizvodnjo plastike iz ribjih lusk skušal izpostaviti potencial potratnosti in napak industrijskih procesov. Kot preizkus materiala je oblikoval tri pare očal po modelu zaščitnih plavalnih naočnikov, mizo z ribjo intarzijo in nekaj pisanih čaš. Išče finančne možnosti, da bi lahko dalje razvijal tako material kot sam projekt.

In his final year of study, the designer explored ways of producing local and sustainable plastics. Watching the rising prices for petroleum-based products, he came up with a hypothetical scenario where the surplus (waste) of the food industry would be used for the manufacture of goods. The resulting investigations produced a material made exclusively from fish scales. Many processes in the fishing industry generate tons of fish scales that are simply and unnecessarily discarded. Using this waste as a raw material for the production of a fish scale-based plastic the designer highlights the potential of wasteful flaws and shortcomings in industrial processes. As a test of the material he has designed three pairs of goggles and glasses modelled after swimming goggles, a table with a fish inlay and a number of colourful beakers.


Pametne rešitve/Smart Solutions


Globalizacija/Globalisation Pametne rešitve/Smart Solutions

Izjemno lahek konstrukcijski sistem za modularne strukture/ Extra-light modular structure construction system Oblikovalec/Designer Herbert Gsottbauer, Gmunden, Avstrija/Austria 2010

Temeljna zamisel je ponuditi znanje za izdelavo in montažo čvrste in lahke osnovne stavbne strukture z minimalno količino lesa in jekla, ki jo lokalni obrtniki lahko preprosto reproducirajo v bližini gradbišča. Glavna prednost je prožno strukturno obnašanje med potresom. Opeke ali betonske stene se lahko zrušijo zaradi neprožnosti, izjemno lahki okvirji, povezani z jeklenimi nateznimi palicami, ki tečejo po vrhu in dnu zunanjih sten, pa ohranjajo prožnost stavbe, tako kot mišice, ki podpirajo skelet.

The initial idea is to provide the know-how to manufactwure and assemble a sturdy and lightweight primary building structure using a minimum of wood and steel designed so it can easily be reproduced by local craftsmen close to the building site. Flexible structural behaviour during an earthquake is a major advantage. While brick or concrete walls may collapse due to their rigidity, the Extra-Light frames, connected with steel-tension-rods running along the top and bottom of the exterior walls, maintain the building’s flexibility, much like the muscles employed to support a skeleton.


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Stol iz klobučevine FF1 Fox & Freeze 1/ FF1 Fox & Freeze1 felt chair Oblikovanje/Design Tom De Vrieze in/and James Van Vossel, Belgija/Belgium Proizvajalec/Producer Fox & Freeze, Stekene, Belgija/Belgium 2010

FF1 je sobni naslanjač, narejen iz ene same kvadratne ploskve sintetične klobučevine. Pri izdelavi ni odvečnega materiala in struktura je samonosna. Stol povežemo z laneno vrvjo in ga tako estetsko dovršimo. Lupina in podlaga nista ločeni od ploskve, temveč ostaneta z njo povezani. Klobučevinasto ploskev znova in znova zvijamo, tako kot šal, dokler ne pridemo do simetričnega, pa vendar asimetričnega predmeta. FF1 je izjemno lahek, samonosen in zelo močan, dobimo ga v celoti sestavljenega, potegniti moramo le en sam vozel. Vsi materiali so lokalnega izvora, prejmemo ga po pošti, kupimo pa ga lahko le v spletni trgovini družbe Fox & Freeze. Minimalna količina materiala, maksimalno zadovoljstvo, obenem pa še nizek ekološki odtis.

The FF1 is an indoor lounge chair made from one square sheet of synthetic felt. There is no loss of material in manufacture and the structure is self-supporting. The flax rope retracts the chair and finishes the chair aesthetically. The shell and base are not separate from the sheet but remain connected. The felt sheet is twisted and twisted again, just like a scarf, ending in a symmetric yet asymmetric object. The FF1 is extra light, self-supporting and extra strong, comes fully assembled and only requires a pull on one knot. All materials are local, it’s delivered via post, and is only for sale through the Fox & Freeze online shop. Minimum materials, maximum result, low ecological footprint.


Globalizacija/Globalisation Pametne rešitve/Smart Solutions

Kolekcija pohištva 3DLC/ 3DLC Collection furniture Oblikovalec/Designer Shir Atar, Tel Aviv, Izrael/Israel 2011

Ta projekt so navdihnile stare tehnike varjenja, ki so se uporabljale za rezanje in upogibanje kovinskih profilov. Združevanje te tradicionalne metode s sodobno in natančno tridimenzionalno lasersko tehnologijo rezanja je oblikovalcu omogočilo selektivno odstranjevanje odvečnega materiala ter oblikovanje spojev in zgibov znotraj samega profila. Ta proizvodni proces odpravi številne korake in dele, ki jih navadno potrebujemo za izdelavo kosa pohištva. Izrezan profil pride iz stroja pripravljen za prevleko in raven, kar zniža visoke stroške transporta iz tovarne.

This project was inspired by old welding techniques used to cut and bend metal profiles. Combining this traditional method with modern and precise 3D laser cutting technology allowed the designer to selectively remove excess material, creating joints and hinges within the profile itself. This one production process reduces the many steps and parts needed to create a piece of furniture. The cut profile exits the machine ready for coating, arriving flat to reduce the high transit costs from the factory.


70 ≤ 71 ∏

Kolekcija oblačil Hybriding/ Hybriding clothing collection Oblikovalka/Designer Arijana Gadžijev, Ljubljana, Slovenija/Slovenia 2012

Kolekcija oblačil Hybriding je potiskana s hibridnimi cvetličnimi vzorci, ki upodabljajo moč narave, njeno prožnost, nežnost in ranljivost. Oblikovalka je želela, da so odtisi manj predvidljivi in v bolj specifičnem odnosu do reza oblačila in telesnih oblik, kot je to običajno pri drugih komercialnih potiskanih aplikacijah. Ta poliestrska oblačila uporabljajo sublimacijsko tiskanje; edini odvečni material je papir, a oblikovalka je iz njega izdelala embalažo v obliki škatle masu, ki ne potrebuje vezave. Kolekcija je hibrid med vsakdanjo in visoko modo, oblikovana je tako, da je brezčasna, neodvisna od trendov ali letnih časov.

The Hybriding clothing collection is printed with hybrid floral patterns that visualize the power of nature, its flexibility, tenderness and vulnerability. The designer wanted the prints to be less predictable, and to be used in a more specific relation to the cut of the garment and body shape than is typical of other commercial print applications. These polyester garments employ sublimation printing; paper is the only leftover material, from which the designer fashioned packaging in the form of a Masu box that needs no binding. The collection is a hybrid between casual and couture wear and designed to be timeless, regardless of trends or season.


Globalizacija/Globalisation Pametne rešitve/Smart Solutions

Naslanjač Tonda/ Tonda armchair Oblikovanje/Design, proizvajalec/producer Capolinea Design, Bassano del Grappa, Italija/Italy 2012

Tonda je nov ekološki naslanjač, ki ga je oblikovala in izdelala italijanska oblikovalska skupina Capolinea Design, ki oblikuje trajnostne interierje. Naslanjač združuje vnovično uporabo recikliranih materialov in tehnološke inovacije. Cevi, narejene iz reciklirane celuloze, ki se navadno uporablja za industrijske namene, so rezane z uporabo lokalne visoke tehnologije in naprednega obrtnega znanja, nato pa sledi še končni pečat, pralna blazina za sedež iz ekološkega usnja s polnilom. Naslanjač lahko kustomiziramo v vseh njegovih elementih, vsi materiali in končni izdelek pa so narejeni v Italiji. Je ekološki in lahko ga recikliramo.

Tonda is a new ecological armchair designed and produced by Capolinea Design, an Italian designer group that designs sustainable interiors. The Tonda design combines the reuse of recycled materials with technological innovation. Tubes made of recycled cellulose normally used for industrial purposes are cut using local hi-tech and advanced craftsmanship to apply the finishing touches, like the stuffed, washable eco–leather seating. Tonda is fully customizable in all its parts; and all materials and final product are 100% made in Italy, ecological and recyclable.


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Pručka Flowerbud/ Flowerbud stool Oblikovalka/Designer Monica Correia, Tiffin, ZDA/USA 2011

Pručko Flowerbud zlahka sestavimo in razstavimo. Njeno obliko opredeljujejo ravni deli z organskimi konturami. Ko oštevilčene dele postavimo pravokotno na osi X in Y, jih skupaj drži gravitacija, pručko pa lahko dvignemo za njene noge. Rezultat je udobna pručka, ki je dobro videti tako v stanovanjskih kot v poslovnih prostorih, kot ena sama enota ali v skupinah. Njeni čvrsti leseni deli so izrezani s pomočjo računalniškega numeričnega krmilnika; na voljo so tudi v ploskem pakiranju, kar olajša skladiščenje in transport.

The Flowerbud stool is easy to assemble and disassemble by the user. Its shape is defined by flat pieces with organic contours. Once placed perpendicular to axes “X” and “Y”, the numbered pieces are held together by gravity and the stool can be lifted by its legs. The result is a comfortable stool that adapts well in both residential and commercial spaces, as a single unit or in groups. Its solid wood pieces are cut with CNC technology and can be packed flat, facilitating easy storage and transportation.


Globalizacija/Globalisation Pametne rešitve/Smart Solutions

Kavna mizica Span/ Span coffee table Oblikovalec/Designer Vinicius Lima, Iowa City, ZDA/USA 2012

Span je mizica, namenjena ozaveščanju o odpadkih v pohištveni industriji. Vsi deli so izrezani iz plošče v velikosti 1,2 x 1,2 x 0,02 m s pomočjo računalniškega numeričnega krmilnika. Pri montaži ne potrebujemo ne posebnih pripomočkov ne lepila – deli mize sami po sebi zagotavljajo strukturno celovitost. Izdelek se želi izogniti odpadkom tudi tedaj, ko je izrezan iz surovine. Zgornji del mizice sledi krivuljastemu vzorcu, ki ustvarja nov odnos med predmetom in njegovo senco, kar krepi njegovo prisotnost v prostoru.

Span is a table designed to raise awareness of the waste in the furniture industry. From a 1.2 x 1.2 x 0.02 m sheet of material, all parts are cut using CNC Technology. Assembly does not require any hardware or adhesives – its fittings alone are enough to ensure its structural integrity. The approach also aims to avoid waste when cut from the raw material. Its top follows a curved pattern that creates a new relationship between the object and its shadow, enhancing its presence in the interior.


74 ≤ 75 ∏

Pohištvo Boomerang/ Boomerang furniture Oblikovanje/Design, proizvajalec/producer Bernarda Silov, Davor Silov, Atmosfera, Zagreb, Hrvaška/Croatia 2010

Oblikovalca sta si zamislila in izdelala en sam element, ki ga lahko kombiniramo in zlagamo z drugimi ter tako naredimo veliko uporabnih predmetov: naslanjač, stol, stolček, mizo, klop, pregrado, obešalnik, police in podobno. Element Boomerang je zabaven, pa tudi lahek, preprost za uporabo in vzdrževanje ter varen. Zasnovan je bil z namenom zagotavljanja ergonomske namestitve v vseh položajih, narejen pa je iz 100% naravnega, obnovljivega hrastovega lesa, premazanega z oljem, in montažnih členov iz nerjavečega jekla inox. Poraba energije pri izdelavi je zelo nizka v primerjavi s kakovostjo in trajnostjo končnega izdelka, ki je prijeten na dotik ter ustvarja naravno ravnovesje med ljudmi in samim predmetom. Elementi Boomerang pri prevozu in skladiščenju zahtevajo zelo malo prostora.

The designers have created and produced a single element from which many usable items can, by combining and stacking the element, be made: armchair, chair, chaise, table, bench, partition, hanger, shelves and similar. The Boomerang element is also fun; as well as lightweight, easy to handle, safe and easy to maintain. It was designed to provide ergonomic deployment in all positions and is made of 100% natural, renewable oak wood preserved with oil, and fittings from Inox stainless steel. Production energy consumption is very low compared to the quality and durability of the final product, which is pleasant to touch and creates a natural balance between people and the object. And Boomerang elements occupy very little space during transport and storage.


Urbano okolje/Urban Environments


Globalizacija/Globalisation Urbano okolje/Urban Environments

Arhitekturni element Green Wall/ Green Wall architectural element Oblikovalec/Designer Matej Colja, Komen, Slovenija/Slovenia Mentor/Tutor Vladimir Pezdirc, Akademija za likovno umetnost in oblikovanje/Academy of Fine Arts and Design, Ljubljana, Slovenija/Slovenia 2011

Green wall, Zelena stena, je arhitekturni element, ki ga lahko postavimo na neizkoriščeno steno doma in tako gojimo sadje in zelenjavo prav tam, na stenah stanovanja. Lahko ga postavimo v stanovanje kot predelno steno. Uporaba tega elementa nam omogoča, da imamo vsak dan svežo zelenjavo, ne da bi nam bilo treba na tržnico ali vrt zunaj mesta. Zelena stena služi kot odličen izolacijski modul, rastline na njej pa med fotosintezo reoksigenirajo zrak v stanovanju. Posebno fotovoltaično steklo proizvaja električno energijo, ki jo lahko izkoristimo v stanovanju.

Green wall is an architectural element that can replace an unexploited wall in the home, enabling the cultivation of fruit and vegetables right there on the apartment walls. It can be placed in the apartment to serve as a barrier wall or partition. The use of this element allows us to have fresh vegetables every day without having to go to the market or to a garden outside the city. Green wall serves as an excellent isolation module, while the plants on the wall re-oxygenate the air in the apartment during photosynthesis. And special photovoltaic glass produces electricity that can be exploited in the apartment.


78 ≤ 79 ∏

Prilagodljiva sončna fasada Intelligent EyeLashes/ Intelligent EyeLashes adaptable solar façade Oblikovalci/Designers Bratislav Gaković, Zoran Lazović, Nemanja Zorić, Ivan Zorić, Aleksandra Kirn, Ksenija Bunjak, Milena Delević - Grbić, Aleksandar Bobič, Vladan Stevović, Architectural Alchemy, Beograd/Belgrade, Srbija/Serbia Soavtorja/Co-authors Milorad Ristić, Srdjan Tufegdžić 2010

Pikselacija je vizualna metoda, s katero želimo dematerializirati ali reducirati maso stavbe, je nujen korak, da se ta umesti v okolico in postane realna, razpoznavna sodobna stavba (študija primera stolpnice Piraeus v Atenah). »Inteligentne trepalnice« so zaščitni elementi, ki ustvarjajo gibanje, podobno tistemu, ki ga vidimo pri sončnicah ali na žitnih poljih. Njihov glavni namen je zaščita stavbe pred toplotnim pregrevanjem. »Trepalnice« so gibljive, prilagodljive rolete, ki spreminjajo videz stavbe skladno z gibanjem sonca.

Pixelation is the visual method by which we work to de-materialise or reduce the bulk of a building, a necessary step in making it blend in with its surroundings; and to render it a viable, contemporary landmark building (case study Piraeus Tower, Athens). Intelligent EyeLashes are protective elements that create movement similar to that observed in sunflowers or in wheat fields. The main aim of the process is to protect the building from solar gain. At the same time EyeLashes create changeable, adaptable elevations that alter the building’s appearance with the movement of the sun.


Globalizacija/Globalisation Urbano okolje/Urban Environments

Foto-bio bitja/ Photo-bio creature Oblikovalec/Designer Cesare Griffa, Torino, Italija/Italy Soavtorji/Co-authors Massimiliano Manno, Denise Giordana, Federico Borello 2012

Foto-bio bitja so ekološko občutljivi organizmi z umetno inteligenco, ki jih lahko uporabljamo kot konstrukcijske sisteme nizkega vpliva v arhitekturi za ustvarjanje ovojev in površin velikega obsega. Fototropični organizmi (fitoplankton) se razvijajo v prozornih ceveh, ki tečejo po lesenem okvirju arhitekturnega organizma. Tehnologije za rast vključujejo črpalni sistem, LED-diode, okoljske senzorje in elektronsko nadzorno ploščo za vsak organizem. Različni organizmi so lahko v interakciji med seboj, pa tudi z ljudmi, in tako ustvarjajo življenjsko okolje. Foto-bio bitja so zasnovana in razvita predvsem z uporabo odprtokodnih tehnologij, ki so na voljo brezplačno. V bližnji prihodnosti bi lahko postala aktivni elementi arhitekturnih ovojev in površin, ki bi skupaj z

Photo-bio creatures are artificially intelligent eco-sensible organisms that can be used as low impact construction systems in architecture to create big scale envelopes and surfaces. Phototropic organisms (phytoplankton) are grown in transparent pipes that run over the wooden frame of each architectural organism. Growth technologies include a pumping system, LEDs, environment sensors, and an electronic control board on every organism. Different organisms might be able to interact with each other, and with people to create a living environment. Photo-bio creatures are conceived and fabricated using mainly open source technologies available for free. In the near future they could become active parts of architectural skins and surfaces, col-


80 ≤ 81 �

gradbenimi sistemi niĹžali porabo energije, absorbirali CO2 ter ustvarjali rezervoarje toplotne mase in biomaso kot obnovljivi vir energije.

laborating with building systems in order to reduce energy consumption, absorb CO2, create thermal mass reservoirs, and produce biomass as a renewable energy source.


Globalizacija/Globalisation Urbano okolje/Urban Environments

Svetilka Glasshouse/ Glasshouse lamp Oblikovalka/Designer Kristýna Pojerová, Brno, Češka republika/ Czech Republic Proizvajalec/Producer Krikri/Kavalier glass a.s., Češka republika/ Czech Republic Mentor/Tutor Rony Plesl, Akademija za umetnost, arhitekturo in oblikovanje/Academy of Arts, Architecture and Design, Praga/Prague, Češka republika/ Czech Republic 2011

Oblika svetilke Glasshouse se navdihuje pri procesu rasti rastlin. Rastline so posajene v notranjost steklene svetilke, vzdolž njene stene, v nekakšen jarek okrog osrednje odprtine. Ta odprtina omogoča preprost dostop do rastlin in prehod svetlobe iz žarnice, ki visi z vrha, obenem pa zagotavlja zadostno prezračevanje te naravne mikroklime. Projekt je zasnovan tako, da se uporabi odpadna toplota žarnice. Svetlobo lahko uravnavamo s senčnikom, ki ga postavimo prek svetilke.

The shape of the Glasshouse lamp takes inspiration from the process of plant growth. Herbs are planted inside the glass lamp along its inner wall in a kind of gutter around a central opening. This opening not only facilitates easy access to the herbs and passage of light from the bulb hanging above, but also ensures adequate ventilation in this natural microclimate. The entire undertaking is grounded in making use of the otherwise squandered waste-heat of the bulb. The light can be regulated with a dimmer or shade placed over the lamp.


Dru탑beno lokalno/Social Local


Globalizacija/Globalisation Družbeno lokalno/Social Local

Preoblikovanje poslovanja Fishing for Ideas/ Fishing for Ideas, redefining business

Oblikovalca/Designers Rui Quinta in/and Tiago Nunes, Lizbona/Lisbon, Portugalska/Portugal Naročnik/Client Sodomar, Lda, Sao Juliao do Tojal - Loures, Portugalska/Portugal 2012

Fishing for Ideas je delo v nastajanju – v pomoč družinskemu podjetju Sodomar, eni najstarejših portugalskih veleprodajnih družb – za načrtovanje prihodnosti na bolj trajnosten način. Fizična re(dis)lokacija osrednjega portugalskega trga transakcij zunaj mestnega središča je med drugim negativno vplivala tudi na celoten veleprodajni posel. Vendar pa je bilo najdenih veliko potencialnih rešitev, ki lahko ta posel korenito spremenijo, in nekatere od njih že delujejo v praksi, recimo pionirski distribucijski kanal za Sodomar, ki pri prodaji svežih rib uporablja lokalne portugalske trgovine z živili. Odprti projekt Fishing for ideas – ki uporablja oblikovalsko razmišljanje, znamčenje, trženje in komu-

Fishing for Ideas is a work in progress: helping the Sodomar family business – one of the oldest companies in the Portuguese wholesale market – envision the future in a more sustainable manner. The physical re- (dis)location of the central Portuguese (seafood) transaction market outside the city centre has, along with other factors, negatively impacted the entire wholesaling business. However, many potential solutions that can revolutionize the business have been identified and some are already in practice, including a pioneer distribution channel for Sodomar using local Portuguese grocery shops to sell fresh fish. The open Fishing for Ideas project – employing design thinking,


86 ≤ 87 ∏

nikacije – je sprožil precejšnje zanimanje in poizvedovanje morebitnih partnerjev, ki si želijo razširiti svoje posle na različna področja, kot je pakiranje (svežih rib) in certificiranje posebnih portugalskih vrst (doslej še neznanih na trgu).

branding, marketing and communication – has generated big interest, with enquiries from potential partners hoping to extend the business to different areas such as (fresh fish) packaging and certification of specific Portuguese species (so far unknown in the market).


Globalizacija/Globalisation Družbeno lokalno/Social Local

Mandljeva začimba Ametlla+ de Mallorca/ Ametlla+ de Mallorca almond seasoning Oblikovanje/Design Barbara Flaquer v sodelovanju z/in collaboration with Ametlla + partners Proizvajalec/Producer Ametlla+ S.L., Palma de Mallorca, Španija/Spain 2011

Ametlla+ je začimba, narejena iz majorških mandljev in organskih lokalnih sestavin. Narejena je kot okusen, zdrav in trajnosten kakovosten izdelek, ki uteleša tradicionalne kuharske okuse, značilne za pretekle generacije. Njena filozofija govori o ohranjanju tradicij in kulture z vključevanjem tradicionalnih receptov prednikov v sodobne okuse in prehranjevalne navade. Ametlla+ kot celota ustvarja bogate okuse, saj uporablja kakovostne sestavine iz starodavnih časov in tako dosega žlahtno ravnovesje med okusno hrano in uravnoteženim prehranjevanjem.

Ametlla+ is a seasoning made from Majorcan almonds and organic local ingredients. It is made to result in a tasty, healthy and sustainable quality product that embodies the traditional cooking flavours typical of generations past. Ametlla+’s philosophy is about working to help maintain traditions and culture by incorporating the traditional recipes passed on from their ancestors into modern tastes and eating habits. As a whole, Ametlla+ creates rich flavours using quality ingredients of the right, early age to achieve a fine balance between tasty food and balanced nutrition.


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Pralni stroj Seesaw (NODD-E)/ Seesaw washing machine (NODD-E) Oblikovalec/Designer Kailash Verma, Bangalore, Indija/India Soavtorji/Co-authors Amit Jaiswal, Rohit Biyani, V Vidhya Naročnik/Client National Innovation Foundation, Ahmedabad, Indija/India Mentor/Tutor Sudipto Dasgupta, Srishti School of Art Design and Technology, Bangalore, Indija/India 2011

Nacionalna ustanova za inovacije (NIF) podpira novosti, ki nastajajo v civilnodružbenih gibanjih in skupnostih, zbira, dokumentira in razvija uporabne ideje in izdelke, s katerimi običajni ljudje rešujejo neposredne in lokalne težave. Srishti School of Art Design and Technology želi v sodelovanju z NIF te novosti nadgraditi, da bi postale trajnostni in tržni izdelki. Pralni stroj je resen poskus, da bi olajšali naporno delo ročnega pranja perila, saj združuje pranje z dejavnostmi, ki sicer vključujejo vnos človeške energije, so pa manj naporne, celo zabavne. Končni izdelek je hibrid, ki spaja videz in igrivost gugalnice z delovanjem (modernega) pralnega stroja. Izdelava, upravljanje in vzdrževanje so poceni, stroj deluje brez omrežja in je preprost za uporabo.

The National Innovation Foundation (NIF) supports innovation from the grassroots, collecting, documenting and developing useful ideas and products made by ordinary people to solve problems that are local and immediate. The Srishti School of Art Design and Technology works with the NIF to take these innovations to the next level to become sustainable and marketable products. The washing machine is an earnest attempt to ease the arduous task of washing clothes manually (by hand) by combining washing with activities that involve human energy input yet are less strenuous, even fun. The final product is a hybrid that marries the look and fun of a see-saw with the workings of a (modern) washing machine that is inexpensive to manufacture, operate and maintain, works off the grid, and is easy to use.


Globalizacija/Globalisation Družbeno lokalno/Social Local

Etiketa za oljčno olje Razatuša/ Razatuša olive oil packaging Oblikovanje/Design Šesnić & Turković, Zagreb, Hrvaška/Croatia Ilustrator/Illustrator Tomislav Tomić Proizvajalec/Producer Studio za dizajn, Zagreb, Hrvaška/Croatia Naročnik/Client Andrija Buljević, Postira, Hrvaška/Croatia 2011

Razatuša je področje na Hrvaškem, kjer gojijo oljke in proizvajajo oljčno olje. Ta etiketa je bila narejena za ekstra deviško oljčno olje, ki ga proizvaja majhno družinsko podjetje. Nanos etikete je moral biti preprost, saj je družina želela etiketirati sama. Oblikovalec je ustvaril etiketo, ki se jo z lahkoto nadene na steklenico (brez strojev), nato pa pritrdi z voščenim žigom; na etiketi je lahko z roko napisan tudi letnik trgatve. Etiketa je iz blaga in tako zaustavlja neželeno kapljanje (olja) iz steklenice.

This design was done for a label for extra virgin olive oil produced by a small family business. Razatuša is the name of the area in Croatia where the olives are grown and the oil made. Application of the label had to be simple as the family wanted to do the labelling themselves. The designer created a label that could be easily slipped onto the bottle (without machinery) and then secured by a wax stamp; also the vintage year can be handwritten on the label. The label design is actually printed on the cloth, which serves to stop unwanted (oil) dripping from the bottle.


90 ≤ 91 ∏

Priročnik Izolacija ali integracija/ Isolation or integration book Oblikovalka/Designer Goga Golik, Norma International, d. o. o., Zagreb, Hrvaška/Croatia Naročnik/Client B.a.B.e. (Budi aktivna. Budi emancipirana./Be active. Be Emancipated.), Zagreb, Hrvaška/Croatia 2011

Raziskava iz leta 2009 je jasno pokazala na problem diskriminacije manjšinskih skupin na Hrvaškem. V vzhodni in zahodni Slavoniji je bil zato vzpostavljen projekt, redna radijska oddaja, posvečena manjšinskim skupinam. Ta publikacija predstavlja projekt in ponuja pregled zakonodaje, ki zagotavlja pravice manjšinskim skupinam. Zasnovana je bila v obliki miniaturnega radijskega sprejemnika in ilustrirana s simboli, povezanimi z radiem in radijskimi postajami.

Research conducted in 2009 clearly showed a problem of discrimination against minority groups in Croatia. As a result a project consisting of a regular radio show dedicated to minority groups was established in both East and West Slavonia. This publication introduces the project and provides an overview of legislation designed to ensure the rights of minority groups. The publication was designed in the form of a miniature radio receiver and illustrated using symbols associated with radio and radio stations.


Globalizacija/Globalisation Družbeno lokalno/Social Local

Čisto in nečisto: živeti skupaj z Romi – scenarij s prtom in krožniki/ Pure and Impure: living together with Roma tablecloth and plates scenario Oblikovalka/Designer Daniela Dossi, Eindhoven, Nizozemska/ The Netherlands Mentor/Tutor Jan Boelen, Design Academy Eindhoven, Nizozemska/ The Netherlands 2011

Romske skupnosti v Evropi so pogosto zaznamovane s segregacijo in težavnimi družbenimi odnosi med Romi in Neromi. Dejavniki te segregacije so jezik, brezposelnost, nizka izobrazba, izolacija in drugi. Obenem pa obstaja nenapisano romsko pravilo, ki vse razvršča kot čisto in nečisto in se nanaša najprej na telo (nad/pod pasom), nato pa se razširi še na obnašanje, odnose, dom in predmete. Namen projekta je preoblikovati romsko pravilo čistosti iz izključevalnega v vključevalno orodje, izhodišče za vključevalni scenarij skupnega življenja, ki bi se realiziral kot stanovanjska skupnost. Gre za namerno skupnost, sestavljeno iz zasebnih domov in dopolnjeno z večjimi skupnimi objekti,

Roma communities in Europe are often characterised by segregation and difficult social relationships between Roma and non-Roma. Determinants of this segregation include language, unemployment, poor education, isolation and more. Also there is the unwritten Roma code that classifies everything as pure and impure, addressed first to the body (above/below the waistline), and extending further to behaviour, relationships, home and objects. This project aims at transforming the Roma purity code from an exclusive into an inclusive tool, a starting point for an inclusive scenario in living together, realised as a co-housing community. This is an intentional community comprised of private homes supplemented


92 ≤ 93 ∏

ki navadno vključujejo veliko kuhinjo in jedilnico, kjer se prebivalci lahko skupaj prehranjujejo. Zato je oblikovalka ustvarila prt, kajti miza je objekt, ki poganja in lajša številne odnose in naloge – skupno prehranjevanje, igranje, pogovarjanje in delo. Miza je po romskem pravilu čista (saj jo uporabljajo zgornji deli telesa), stoli pa so nečisti. Kadar ima romska družina neromskega gosta, mu tradicionalno da poseben stol, krožnik in jedilni pribor, saj ni podvržen romskemu pravilu čistosti. Prt in krožniki torej pomenijo srce tega stanovanjskega scenarija, odražajo romsko pravilo čistosti, pa vendar služijo povezovanju in razvijanju odnosov.

by extensive common facilities that usually include a large kitchen and dining room where residents can eat together. For this the designer has created a tablecloth, since the table is an object that plays and facilitates many relations and functions – eating, playing, talking and working, together. The table is considered pure in the Roma purity code (used by pure upper body), the chairs impure. Traditionally when a Roma family has a non-Roma guest they give him a specific chair, plate and tableware, because he doesn’t follow the Roma purity code. Therefore, a tablecloth and plates constitute the heart of this co-housing scenario, reflecting the Roma purity code yet serving to bond and enable relations.


Globalizacija/Globalisation Družbeno lokalno/Social Local

Projekt urbane prenove Ring (T)Rail/ The Ring (T)Rail urban renewal project Oblikovanje/Design Anagram Architects, New Delhi, Indija/India Naročnik/Client National Association of Street Vendors of India, New Delhi, Indija/India 2010

Projekt Ring (T)Rail želi zavzeti področje premalo izkoriščenega železniškega koridorja in ustvariti urbani prostor »na človeški pogon«. Predlaga vzpostavitev varnega okoliša za pešce in kolesarje, polnega živahnih urbanih aktivnosti, ki v vse bolj avtocentričnem mestu pospešeno izgubljajo svoje legitimno mesto. Projekt želi uzakoniti poulično prodajo in druge neformalne panožne dejavnosti znotraj območja ter potrditi njihov dragoceni prispevek k mestnemu gospodarstvu in kulturi. Neformalne panožne zadruge in njihove člane še dodatno krepi z »informacijskim oblakom«, do katerega je mogoče dostopati z osnovnimi mobilnimi in spletnimi tehnologijami. Ljudje lahko s poceni tehnologijo in družabnimi mediji ocenjujejo, označujejo in izmenjujejo informacije, koristi pa ima-

The Ring (T)Rail Project reclaims a portion of the underutilised New Delhi rail corridor as a “human-powered” urban space. It proposes creating a safe pedestrian and bicycle precinct, alive with urban activities rapidly losing their legitimate place in an increasingly auto-centric city. The project also seeks to legitimise street-vending and other informal sector activities within the zone, recognizing their valuable contribution to the city economy and culture. The informal sector cooperatives and their members are further empowered through an “information cloud” accessed through basic mobile and web technologies. Through cheap technology and social media, people can rate, tag and exchange information while the benefits accrue to all stakeholders. The project seeks to


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jo od tega vsi. Projekt si prizadeva razširiti naše sodelovanje z mestom. Ring je 32 kilometrov dolga linija, ki jo prečkajo arterijske ceste, linije podzemne železnice in hiter tranzit v kratkih intervalih. Sprememba v varen nemotoriziran tranzitni koridor bi zagotovila varno intermodalno povezavo, povezovalni koridor z ničelno konfliktnostjo in ničelnimi izpusti. Indijska mesta so bila vedno polna živahnega uličnega življenja, vendar ta vključevalni del svojega značaja izgubljajo zaradi motoriziranih vozil. Ta projekt skuša omiliti to izgubo na okoljsko, finančno in socialno trajnosten način.

enhance engagement with the city. The Ring is a 32km long ambit traversed by arterial roads, metro lines and rapid transit at short intervals. Conversion into a safe non-motorised transit corridor would provide safe inter-modal connectivity, a zeroconflict, zero-emissions connecting corridor. Indian cities have always been about vibrant street-life, but are losing that inclusive part of their character to motor vehicles. This project attempts to mitigate this loss in an environmentally, financially and socially sustainable way.


Globalizacija/Globalisation Družbeno lokalno/Social Local

Kolekcija preoblečenih vaz Matka/ Matka – Vases of skin collection Oblikovanje/Design Studio Pepe Heykoop, Amsterdam, Nizozemska/ The Netherlands Proizvajalec/Producer Tiny Miracles Foundation in/ and Pepe Heykoop (naročnik/ client), Mumbai, Indija/India 2012

Vaza Matka je drugi izdelek, ki prihaja iz delavnice Pepeja Heykoopa, postavljene v slumu v Mumbaju. S skupnostjo je začel sodelovati leta 2010, ko so deprivilegirane matere začele sestavljati usnjene senčnike za svetila, »Leather Lampshades«, ki jih zdaj prodajajo po vsem svetu. Matka je tradicionalna posoda, ki jo zaradi pomanjkanja vode iz pip v slumih uporabljajo za zbiranje vode. Pepe je povabil skupnost, naj zamenja uporabljene, potolčene matke za nove, nato pa je fante (stare nad 18 let), ki so pustili šolo, naučil spremeniti posode v vaze. Iz ostankov usnja, ki jih ustvarja pohištvena industrija, je oblikoval nove prevleke za posode. Vzorci na vazi so naključni, saj je vsak odpadni kos drugačne oblike. Prevleka pokrije posodo in jo spre-

Matka Vase is the second product to come out of Pepe Heykoop’s workshop located in a Mumbai slum. In 2010, he began collaboration with the community when underprivileged mothers began assembling “Leather Lampshades” now sold around the world. A matka is the traditional vessel used to store and transport water due to the lack of tap water in slums. Pepe invited the community to come and exchange their used, dented matkas for new ones, and taught 18+ dropout boys to turn the matka into a vase. Inspired by the 25 to 30% leather waste created by the furniture industry, he designed the new matka skin to make use of the scrap. Matka patterns are random as every waste piece is a different shape, covering the matka and turning


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meni v vazo, vsaki pa je dodana zgodba o nekdanjem lastniku in izdelovalcu. Del dobička od prodaje vaz gre za pošiljanje lokalnih otrok v šolo.

it into a vase, each of which comes with a story about its former owner and its maker. Part of the profits from the vases is used to send local children to school.


Digitalizacija/Digitalisation


Obdelava podatkov/Data Processing


Digitalizacija/Digitalisation Obdelava podatkov/Data Processing

VersuS, spletna in mobilna aplikacija za realnočasno planetarno urbano zaznavanje/ VersuS, real-time planetary urban sensing web and mobile application Oblikovanje/Design, proizvajalec/producer Art is Open Source, Rim/Rome, Italija/Italy Soavtorica/Co-author Oriana Persico 2011

Možnost, da v realnem času poslušamo in razumemo javne digitalne pogovore, ki jih ustvarjajo ljudje v vsakdanjem življenju, odpira scenarije za radikalne inovacije na področju urbanističnega načrtovanja in oblikovanja politik v urbanih kontekstih. VersuS v realnem času vizualizira to novo urbano geografijo, ki je ne sestavljajo ulice in stavbe, marveč ideje in želje ljudi, ter se spušča v temeljna vprašanja, kot so mobilnost, okolje, raznolikost, priložnosti, stanovanjska problematika in podobno. Dostopen je v devetindvajsetih jezikih, in sicer kot urbani zaslon širokega formata ali kot obče dostopna mobilna aplikacija.

The possibility of listening and understanding public digital conversations generated by people during their daily lives opens up scenarios which suggest radical innovations for urban planning, policy making, and to both relate and collaborate in urban contexts. VersuS visualizes, in real-time, this new urban geography, built not of streets and buildings, but of the ideas and desires of human beings, engaging fundamental issues like mobility, environment, diversity, opportunity, housing, and similar. The design is accessible as a large-scale urban screen or as a widely available mobile application; and is processed in 29 languages.


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Ploščice Landscape Marble/ Landscape Marble tables Oblikovalec/Designer Ramilson Santiago, Belo Horizonte, Minas Gerais, Brazilija/Brazil 2012

Projekt Landscape Marble, Krajinski marmor, preoblikuje satelitske podobe Googlovega zemljevida »Google Maps« v marmorirane odtise, ki se lahko nanesejo na več predmetov. Oblikovalec je v tej prvi izdaji razvil majhne ploščice različnih dimenzij. Vsaka ploščica je nekaj posebnega, narejena je iz odtisa določenega področja, denimo Irana, Afganistana, Patagonije, Bolivije, Afrike. Ploščice so narejene iz potiskanih najlonskih plošč in lesenih okvirjev. Vsaka natisnjena slika ima geografsko ime, merilo in značilnosti, kot nekakšno geografsko žigosanje. Projekt vsebuje deset majhnih ploščic, ki so razstavljene kot vrsta atlasa.

The "Landscape Marble" project transforms satellite images of "Google Maps" into marble prints applied to several objects. In this first edition, small tables of varying dimensions were developed. Each table is unique, made from a unique place, like Iran, Afghanistan, Patagonia, Bolivia, Africa. All tables are made with printed nylon plates and wooden frames. Each printed image contains its geographical name, scale, and specificities, as a kind of geographical stamping. The project is conceived with ten small tables, displayed as a kind of atlas.


Digitalizacija/Digitalisation Obdelava podatkov/Data Processing

InfObjekti za 3D-vizualizacijo podatkov/ InfObjects 3D information visualisation Oblikovalec/Designer Johannes Tsopanides, Shapes in Play, Berlin, Nemčija/Germany 2010

InfObjekti so oblikovalski projekt, ki uporablja generativne procese za določanje ekvivalenta CO2, energijske vsebine in cene obrokov ter njihovih sestavin. Podatki se parametrično preoblikujejo v metaforične oblike: ozonske luknje ponazarjajo CO2, rast korenin ponazarja energijo, višja ali nižja raven znotraj objekta pa ceno. Cilj projekta, ki združuje različne oblikovalske discipline z uporabo kodiranja, ekologije in izobraževanja, je dvig zavesti o kompleksni in vseprisotni temi vsakdanjega življenja – produkciji in porabi hrane.

InfObjects is a design concept that uses generative processes to make tangible the CO2 equivalent, energy content and price of whole meals and their ingredients. Parametrically the data is transformed into metaphorical shapes: the CO2 is illustrated by ozone holes, energy with the growth of roots, and the price by higher or lower levels within the object. The aim of the project, which brings together different design disciplines using coding, ecology and education, is to raise awareness of a complex yet omnipresent issue in daily life – the production and consumption of food.


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Stop-motion animacija Recycle/ Recycle Stop Motion animation Oblikovalka/Designer Kirsten Young-Clark, Pariz/Paris, Francija/France Mentorica/Tutor Chloe Briggs, Ecole Parsons, Pariz/Paris, Francija/France 2011

Ob iskanju načinov povezovanja moderne tehnologije in trajnosti se je oblikovalka odločila razkriti, kako lahko recikliramo in preoblikujemo nekaj tako preprostega in staromodnega, kot je časopis. Stop-motion ni visokotehnološki pristop k animaciji; oblikovalka je ugotovila, da za izdelavo takšnega videa ne potrebujemo izkušenj iz fotografije, animacije, filma ali oblikovanja. Namesto tega se je naučila, kako narediti stop-motion animacijo na spletu. Najpomembnejši so bili zamisel, strast, čas in energija, ki so to zamisel oživili. Oblikovalka obenem upa, da je kakovost dela tudi odraz njene strasti in želje po negovanju trajnosti.

Looking to connect modern technology and sustainability the designer chose to reveal the many ways something as simple and old fashioned as newspaper can be recycled and transformed. Stop motion is not a high-tech approach to animation, and the designer discovered one need not have experience in photography, animation, film or design to create a video like this. Instead she learned how to make stop motion animation online. Most important were the idea, together with the passion and the time and energy that made the idea come to life. Ultimately the designer hopes the quality of the work is a reflection of her own passion and the desire to further sustainability.


Digitalizacija/Digitalisation Obdelava podatkov/Data Processing

Varni na internetu/ Safe On The Internet Oblikovanje/Design Kofein design, d. o. o., Ljubljana, Slovenija/Slovenia Soavtorja/Co-authors Rdeči Oblak in/and Studio Tibor, Ljubljana, Slovenija/ Slovenia Naročnik/Client Arnes, Ljubljana, Slovenija/Slovenia 2011

»Varni na internetu« je dolgoročni nacionalni projekt, ki obravnava varnost na internetu, namenjen pa je tako širši javnosti kot majhnim in srednjim podjetjem. Cilj je seznaniti ljudi z varno uporabo interneta, dvigniti zavest o nevarnostih interneta in ponuditi podporo žrtvam spletnih goljufij. Koncept temelji na minimalnem in funkcionalnem oblikovanju, neposredni in jedrnati vsebini ter izjemni spletni uporabnosti, s tem pa želi zagotoviti pametno in preprosto podporo po vsej državi. Oblikovanje sestoji iz logotipa, slogana, spletne strani, tiskanega oglasa, pasic, televizijskih in radijskih oglasov, varnostnega vodnika in različnih promocijskih materialov.

Safe On The Internet is a national longterm project addressing safety on the Internet, and is aimed at both the wider public and SMEs. The objective is to inform people about safe usage of the Internet, to raise awareness of threats on the Internet, and to offer support to victims of fraud. The concept is based on minimal and functional design, direct and concise content, and exceptional web usability in order to provide smart and easy support nationwide. The design consists of a logotype, slogan, website, a printed ad, banners, TV and radio ads, a safety guide and various promotional materials.


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Brošura z zbirko vzorcev in navodil Fast Pattern/ Fast Pattern, booklet with collection of patterns and instructions Oblikovalka/Designer Ana Bertoncelj, Ljubljana, Slovenija/Slovenia Proizvajalec/Producer, naročnik/client Arahne, d. o. o., Ljubljana, Slovenija/Slovenia 2011

Brošura Fast Pattern je zbirka devetdesetih vzorcev z brezšivnimi, ponavljajočimi se elementi, ki so predstavljeni skupaj z navodili. Vzorci izstopajo zaradi hitrosti, s katero so nastali, ne da bi ta vplivala na njihovo kompleksnost ali pestrost. Naročnik – slovensko podjetje za programsko opremo Arahne – je naročil brošuro, da bi na sejmih promoviral svojo programsko opremo, z zahtevo, da predstavi njeno preprostost in sposobnost hitrega ustvarjanja vzorcev. Vsi vzorci so bili ustvarjeni v manj kot desetih korakih, vendar pa proces ne vodi v monotono proizvodnjo, saj ustvarja dinamične in statične vzorce, goste in redke, ploske in globinske.

Fast Pattern is a collection of 90 seamlessly repeated patterns, presented in a booklet with instructions. The patterns stand out owing to the rapidity with which they were created, without affecting their complexity or variety. As client, Slovenian software company Arahne commissioned the booklet to promote their software at fairs, requiring they (re)present the simplicity of the software and its ability to create patterns rapidly. All patterns were created in less than 10 steps; however the process does not result in monotonous production, but instead in creating patterns from dynamic to static, dense to sparse, flat to spatial.


Digitalizacija/Digitalisation Obdelava podatkov/Data Processing

Sistem pametnega bankovca Trail$/ Trail$ smart banknote system Oblikovalec/Designer Nitipak Samsen, London, Združeno kraljestvo/ United Kingdom Naročnik/Client Future of Money Design Competition 2011, Consult Hyperion, Surrey, Združeno kraljestvo (sponzor/sponsor) 2011

Ste se kdaj vprašali, od kod je prišel denar v vašem žepu? Kdo je bil prejšnji »lastnik«? In kdo še pred tem? Trail$ si zamišlja razvoj novega denarnega plačilnega sistema, posebej zasnovanega za zamenjavo zlahka ponaredljivih papirnatih bankovcev iz 20. stoletja. Pametni bankovci imajo na površini berljivo zgodovino lastništva, ki je namenjena tudi preprečevanju pranja denarja. Sistem je kljub nekaterim uspehom pokazal pomanjkljivosti pri vrednosti posameznih bankovcev, kar je nazadnje pripeljalo do kolapsa glavnega junaka oziroma glavnih junakov zgodbe. Zgodba je povedana iz perspektive javnega uslužbenca, ki je postal podjetnik, profesionalec, ki dela v finančni industriji in razlaga svoje osebne izkušnje z novim »pametnim«

Ever wonder where the money in your pocket came from? Who was the previous “owner”? And who before that? Trail$ imagines the development of a new monetary payment system, a system specifically designed to replace easily forged 20th century paper banknotes. Smart banknotes incorporate a readable history of ownership on the note itself, designed in part to prevent money laundering. Despite certain successes the system displayed shortcomings regarding the value of each note, eventually leading to the demise of the stories’ main protagonist(s). The story is told from the perspective of a civil servant turned entrepreneur, a professional working within the financial industry, who explains his personal experiences


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sistemom bankovcev in njegovimi posledicami, hkrati pa se dotika vpraĹĄanj varnosti in zasebnosti, financ in usode.

of the new 'smart' banknote system and its resultant implications, touching on issues of security and intimacy, on the financial and the fanatical.


Protireakcije/Counter Reactions


Digitalizacija/Digitalisation Protireakcije/Counter Reactions

Vsakodnevna poezija: igrače za kontemplacijo/ Daily Poetry: Toys for contemplation Oblikovalka/Designer Ingrid Hulskamp, Amsterdam, Nizozemska/ The Netherlands 2012

V tej naši zahtevni digitalni dobi smo soočeni z neštetimi izbirami in obveznostmi – celo prosti čas je postal obveznost. Današnja priljubljenost tečajev joge in sprostitve je kazalec naše potrebe po institucionalizirani sprostitvi in kontemplaciji. Toda kontemplacija mora biti vesel, poetičen trenutek, samoumevni del našega vsakdanjega življenja. Oblikovalka je z mislijo na intuitivno izvajanje vsakodnevne kontemplacije razvila vrsto kontemplativnih igrač za odrasle. Ti luksuzni predmeti, narejeni iz ročno pihanega stekla, obujajo spomine na nekdanje otroške igre. Da bi igrače pritegnile pozornost in ustvarile poetični trenutek v času, ponujajo tri različne senzorične izkušnje: taktilno izkušnjo s pomočjo ročno pihanega stekla, lesa, z medenino prevleče-

In this our demanding digital era we are challenged with endless choices and commitments – even free time has become an obligation. The popularity of yoga and relaxation classes today is evidence of our need for institutionalised relaxation and reflection. But contemplation should be a joyful, poetic moment that is naturally integrated in daily life. With a view to exercising daily contemplation in an intuitive way, the designer has developed a series of contemplative toys for adults. These luxurious objects, made from hand-blown glass, elicit memories of the abandon of childhood play. In order for the toys to attract attention and create a poetic moment in time, three different sensory experiences entice: a tactile experience using hand-


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nega zlata in tekstilij; vizualno izkušnjo s pomočjo barvnih pigmentov, ki se spreminjajo, ko se uporabnik začne igrati s predmetom; in zvočno izkušnjo, izzvano z gibanjem vode in steklenih krogel.

blown glass, wood, brass-plated gold and textiles; a visual experience using coloured pigments that change as the user begins to play with the object; and a sonic experience evoked out of the movement of water and glass balls.


Digitalizacija/Digitalisation Protireakcije/Counter Reactions

Okoljska grafika $1/Minute/ $1/Minute environmental graphic Oblikovalka/Designer Ana Llorente, ALT Design, Los Angeles, Kalifornija/ California, ZDA/USA Koncept/Concept Ana Llorente in/and Davey Whitcraft Produkcija/Production Natalie Zlamalova 2011

$1/Minute je vsakoletni poletni festival, ki poteka na različnih prizoriščih v Los Angelesu in na Akademiji Strangeways, v oblikovalskem studiu in galeriji v Kitajski četrti. Ustanovitelja studia in organizatorja Ana Llorente in Davey Whitcraft sta bila nezadovoljna z izoliranim ustvarjanjem doma, obenem pa sta bila prepričana, da tudi drugi ustvarjalci čutijo željo po sodelovanju. $1/Minute jim omogoča, da svoje delo vključijo v javnost, naredijo ves proces bolj povezovalen in manj zaseben ter ustvarjalce z različnih področij povabijo k oblikovanju, ustvarjanju – na kraju samem, za 1 dolar na minuto. Označevalni sistem za drugo fazo dogodka je raziskoval, kako delati s cenovno dostopnimi, zlahka dosegljivimi materiali. S pomočjo starih barvnih grafikonov Pantone, fluorescentnih

$1/Minute is an annual summer event held at various venues throughout Los Angeles and at Strangeways Academy, a Chinatown design studio and gallery. Studio founders and organizers Ana Llorente and Davey Whitcraft were frustrated by the isolation of working from home offices, thinking other creatives shared a desire to collaborate. $1/Minute allows creatives to engage their practices with the public, to make the process more collaborative and less private, to invite creatives from various fields to design, make, create – on the spot, for $1 a minute. The signage system for the second stage of the event explored ways of making things with affordable, readily available materials. Using old Pantone colour charts, fluorescent papers, an Ep-


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listov, tiskalnika Epson in barvnega traku je bil ustvarjen igriv, pa vendar funkcionalen, prožen sistem za izdelavo izložbenih oznak, notranje grafike in tiskovin; spletna stran pa objavlja storitve in druge podatke o dogajanju.

son printer and coloured tape a playful yet functional, flexible system was created to produce window signage, interior graphics, and printed matter; and a website posts services and schedule information.


Digitalizacija/Digitalisation Protireakcije/Counter Reactions

Predmeti in oblikovanje tekstilij Rope Drawings/ Rope Drawings, objects and textile design Oblikovanje/Design Diane Steverlynck in/and sodelavci/workmates, Bruselj/Brussels, Belgija/ Belgium Objekti/Objects Diane Steverlynck, Maude Vande Veire in/and Chevalier-Masson Naročnica/Client Vallerie Traan gallery, Antwerpen, Belgija/Belgium 2012

Serija Rope Drawings se začne s preprosto linijo in iz tega osnovnega načela razvije številne možnosti. Linije postanejo spoji, zidne in talne strukture ter predmeti, ki jih lahko znova in znova na novo opredeljujemo. Posameznih delov ne držijo skupaj ne žeblji ne vijaki ne lepilo; potrebujemo le močno zvito vrv. Serija se vrača k združevanju umetnosti, tekstilij in oblikovanja in se ne zadovolji z že znanim in ustvarjenim. Obrtno izdelane stavbne elemente iz jesenovine in edinstven niz pletenih vrvi sestavimo na harmoničen, igriv način, lahko pa preoblikujemo tudi same predmete.

Rope Drawings starts with a simple line and out of this primary principle numerous possibilities evolve. Lines become tissue, wall and floor structure, and objects, to be redefined, continuously. No nails, screws or glue are used to hold the pieces together; only a tightly wrapped cord is required. Rope Drawings returns to what unites art, textile and design; and doesn’t settle for what is already known and produced. Handcrafted ash wood building elements and a unique set of woven ropes are combined in a pure, playful way, and allow the possibility to redesign the objects oneself.


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3-minutna čajna zgodbica/ 3-minute tea story Oblikovanje/Design Sara Badovinac in/and Peter Zabret, Prapesa, Ljubljana, Slovenija/Slovenia 2012

Ko pripravljamo čaj, damo čajno vrečko v vrelo vodo, kjer se namaka (uporabnik pa čaka) približno tri minute, dokler ni čaj pripravljen. Zamisel čajne zgodbice je, da ta čas preživimo koristno, zabavno in simpatično – z branjem zgodbice v obliki majhne knjižice, pritrjene na (drugi) konec čajne nitke. Približno tri minute traja, da preberemo vso zgodbo. Medtem čajna vrečka sprosti okus, lahko jo izvlečemo in uživamo v zasluženem čaju.

When making tea, the teabag is placed in boiled water, where it steeps (and the user waits) for some three minutes until it is ready. The idea of a tea story is to make that time useful, fun and engaging – by reading the attached story in the form of a small book attached to the (other) end of the tea string. It takes some three minutes to read the whole story. In the meantime, the teabag has released the tea flavour, so it can be pulled out and the well-deserved tea enjoyed.


Digitalizacija/Digitalisation Protireakcije/Counter Reactions

Projekt Čakalnica/ Waiting Room Project Oblikovalke/Designers Katja Burger, Tjaša Bavcon, Jasmina Ferček, Studio Oloop, Ljubljana, Slovenija/Slovenia 2012

Pred kratkim je skupina Oloop z umetniškimi projekti, akcijami in delavnicami raziskovala učinke (lažjega) ročnega dela na ljudi. Nekateri so ugotovili, da je lahko pomirjujoče, celo sproščujoče. Obenem pa se številnim ljudem čakanje zdi nekaj stresnega, nadležnega in dolgočasnega. Projekt Čakalnica je namenjen temu, da bi ljudje, ki morajo čakati, preživljali čas kakovostno. Iz zidu preprosto odstranite tekstilni objekt in naredite na njem nekaj vezilskega. Delo je preprosto in ne zahteva predznanja, primerno pa je za otroke in odrasle. Ko je čakanja konec, vrnete tekstilni objekt na zid, kjer postane del dekoracije prostora (čakalnice); ali pa ga preprosto predate naslednji osebi. Projekt Čakalnica poudarja tudi pomen naših rok in taktilnih

Recently the Oloop group has been exploring – through artistic projects, actions and workshops – the effects of (light) manual work on people, finding it can be calming, even relaxing. Similarly, many people find waiting stressful, annoying and boring. The Waiting Room Project is designed to allow people to spend their waiting time in a quality way. Simply detach the textile object from the wall and do some needle work on it. The work is simple and requires no prior knowledge and is suitable for children and adults. Once waiting is over, put the textile object back on the wall, where it becomes part of the decoration of the space (waiting room); or just pass it on to the next person. The Waiting Room Project


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izkušenj. Gre za intimno, a obenem skupno izkušnjo, hkrati pa kaže, kako uporabiti stare (tradicionalne) metode, da bi preživljali čas na nov način, se sprostili in ponovno našli stik s seboj.

also emphasises the importance of our hands and tactile experience. It’s both intimate and a sharing experience; and shows how to use old (traditional) ways to find new ways of spending time, relaxing and getting (back) in touch with ourselves.


Digitalizacija/Digitalisation Protireakcije/Counter Reactions

Kuhinjska naprava R2B2/ R2B2 Kitchen appliance Oblikovalec/Designer Christoph Thetard Mentor/Tutor Gerrit Baptist, Bauhaus-University Weimar, Nemčija/Germany 2010

Naprava R2B2 združuje več gospodinjskih pripomočkov, ki se jih poganja (ročno ali fizično) s kolesom. Shranjeno energijo lahko uporabimo za pogon aparatov, tako da jih priključimo v posebno vtičnico. Napravo sestavljajo palični mešalnik, mlinček za kavo in mešalnik za hrano, ki so nameščeni na leseno enoto z mehanizmom na nožni pogon. Rezultat: ni porabe elektrike, ni obremenitve virov, neodvisnost od električnega omrežja in izjemno nizek pogonski zvok. Vsi aparati se lahko pospravijo v predal ob strani enote. Transportno in prodajno embalažo pa je mogoče uporabiti kot podstavek za gospodinjske pripomočke, ki se jih lahko prodaja ločeno.

R2B2 is a set of kitchen machines powered by (manually, physically) rotating a flywheel. The stored energy can be utilised by connecting the machines using special plugs. The appliance includes a hand blender, coffee grinder and food processor that fit onto a wooden unit containing a pedal-powered drive mechanism. As a result there is no electrical waste, no load on resources, independence from the power grid, and extremely low operational noise. The appliances can all be stored in a pull-out cabinet on one side of the unit. And transport and sales packaging can be used to hold the appliances, all of which are sold separately.


Nazaj k obrti/Back to Crafts


Digitalizacija/Digitalisation Nazaj k obrti/Back to Crafts

Čevlji Popravi si sam/ Repair It Yourself shoes Oblikovalka/Designer Eugenia Morpurgo, Benetke/Venice, Italija/Italy Mentorji/Tutors Jan Boelen, Dick van Hoff, Thomas Lomee, Aldo Bakker, Evelien Bracke, Gijs Bakker, Design Academy Eindhoven, Eindhoven, Nizozemska/ The Netherlands 2011

Čevlji Popravi si sam so zasnovani z zamenljivim vložkom med podplatom in zgornjim delom, zaradi česar je postopek popravila, glede na material, iz katerega je narejena posamezna komponenta, preprostejši. Proizvodni proces je bolj odprt, zgornji del lahko izdelamo z uporabo nizke tehnologije, podplat je lahko industrijsko izdelan in za sestavljanje ne potrebujemo strojev. Čevlje dobimo skupaj s kompletom za popravilo, ki ga lahko uporabimo tudi za popravilo drugih stvari v hiši. Projekt vrača orodje za popravilo in znanje nazaj v roke potrošnika.

Repair It Yourself shoes are designed with a reversible connection between the sole and the upper, allowing the repair process to be more transparent in relation to the material from which the individual component is made. The production process is more open, the upper can be manufactured using low-tech, the sole can be industrially manufactured and there is no need for assembly machinery. The shoes come with a repair kit, which can also be used to repair other things in the house. And the project puts the repair tools and knowledge back in the hands of the consumer.


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Serija pletenih posod Trade Union/ Trade Union woven vessel series Oblikovalka/Designer Rachel Griffin, Earnest Studio, Rotterdam, Nizozemska/ The Netherlands 2010

Serija Trade Union uporablja na škrobu zasnovan plastični solanil kot vez med industrijsko proizvodnjo in obrtjo. Industrijsko izdelana, a naravno razgradljiva plastika je mehansko ekstrudirana v preproste profile. Ti se nato uporabijo – z naslanjanjem na tradicionalne metode – za obrtno izdelavo družine pletenih posod. Ponovni izlet v tradicijo, a ob uporabi industrijsko izdelanega »naravnega« materiala, kaže na spoj industrijske kemije in tradicionalnega znanja, ki omogoča prožnejši sistem proizvodnje in oblikovanja. Pri projektu sta s svojimi veščinami in strokovnim znanjem sodelovala tudi podjetje Meldon Plastics in nizozemska izdelovalka košar Esmé Hofman.

Trade Union uses the starch-based plastic Solanyl as a link between industrial production and handicraft. The plastic – which is industrially produced but naturally biodegradable – is mechanically extruded into simple profiles. These profiles are then used to craft a family of woven vessels using traditional methods. Revisiting tradition using an industrially produced "natural" material suggests a marriage of industrial chemistry and traditional knowledge that allows for a more flexible system of production and design. Meldon Plastics and Dutch basket maker Esmé Hofman acted as collaborators, bringing their skills and expertise to the project.


Digitalizacija/Digitalisation Nazaj k obrti/Back to Crafts

Stol K1/ K1 chair Oblikovanje/Design Studiolav, Grčija/Greece 2011

Stol K1 je del tekočega projekta Kafeneon* studia Studiolav, poskus, da bi znova našli ikonske, pa vendar banalne oblike in jih vrnili v sodobne predstavitve nove dobe. Studio s stolom K1 združuje staro in novo s pomočjo vrste materialov in vizualnih referenc za izdelavo sodobnega kosa pohištva, ki odraža različne vidike grške kulture in dediščine. Stol izziva materialno percepcijo z uporabo mehkega materiala, kot je surova merino volna, s katero pa ustvari trdno strukturo sedala. Struktura je okrepljena s pomočjo tradicionalnih tkalskih metod, ki so značilne za izdelavo stolov, pletenih iz vrbovih vej. Volna je ročno zvita in obdelana z nanotehnologijo, zato je odporna proti vodi in madežem.

The K1 Chair is part of Studiolav’s ongoing project Kafeneon*, an attempt to re-invent iconic yet banal designs and render them into contemporary projections in a new era. With K1 the studio merges the old and the new using a series of materials and visual references to produce a contemporary piece of furniture that reflects different aspects of Greek culture and heritage. The chair challenges material perception by using a soft material like raw merino wool to create a solid structure as the seating-base. The structure is reinforced using traditional weaving methods typical in the manufacture of wicker chairs. The wool has been hand-twisted and treated using nanotechnology to be waterproof and stain resistant.

*Kafeneon: lokalna kavarna, kjer se grški moški tradicionalno srečujejo, pozdravljajo, družijo in pogovarjajo o politiki.

**kafeneon: local café, where Greek men traditionally meet, greet, socialise, and talk politics.


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Steklena predelna stena/ Partition glass wall Oblikovalka/Designer Patricija Vrbnjak, Ljubljana, Slovenija/Slovenia Mentorica/Tutor Tanja Pak, Akademija za likovno umetnost in oblikovanje/Academy of Fine Arts and Design, Ljubljana, Slovenija/Slovenia 2010

Med procesom eksperimentiranja je oblikovalka razvila tehniko, pri kateri ji je za oblikovanje sodobne predelne stene iz stekla uspelo uporabiti pletilske tehnike (za pletenje košar). Krivljenje steklenih palic in slamic je pokazalo, da je material idealen za ustvarjanje stene, saj simulirana steklena tekstura pletene košare precej spominja na vrbove veje. Osnovni cilj je bil najti ravnovesje med estetiko in funkcionalnostjo, obenem pa ohraniti izvorno folklorno tradicijo pletenja košar.

During a process of experimentation, the designer developed a technique that managed to integrate (basket) weaving techniques into the design of a modern partition wall made of glass. The bending of the glass stick and straw revealed that the material was ideal for creating the wall, as the simulated glass texture of a woven basket well resembled willow branches. A key aim was to balance the aesthetic with the functional while maintaining the original folkloric tradition of basket weaving.


Digitalizacija/Digitalisation Nazaj k obrti/Back to Crafts

Pručke Terra/ Terra stools Oblikovalka/Designer, proizvajalka/producer Adital Ela, Tel Aviv, Izrael/Israel 2012

Pručke Terra, ki jih navdihujejo starodavne tehnike, so resnično ekološki izdelki, ki se lahko proizvajajo kjerkoli, zlahka, z uporabo lokalne zemlje in poljedelskih ostankov. Ta projekt združuje – skladno z usmeritvijo k staro-novi prihodnosti 100-odstotno organskih in 100-odstotno lokalnih proizvodov – starodavne tehnike s sodobnimi proizvodnimi metodami. Pručke so izdelane iz mešanice zemlje in slame, z edinstvenim procesom kompresije, razvitim med dolgotrajnim študijem materialov in starodavnih metod gradnje. Oblikovalka je vse materiale zbrala iz gradbenih in poljedelskih ostankov ter naravnega okolja.

Inspired by indigenous techniques, Terra stools are truly organic products that can be produced everywhere, easily, using local earth and agricultural residue. Towards an old-new future of 100% organic in making 100% local products, the design-project combines ancient techniques with contemporary production methods. The stools are made from a mix of earth and straw in a unique compression process developed during a long-term study of materials and ancient building methods. All materials were gathered by the designer from construction and agricultural waste and from the natural environment.


GrafiÄ?no oblikovanje/Graphic


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Tridimenzionalne površinske strukture Surface Narratives/ Surface Narratives 3D surface structure Oblikovanje/Designer Birgit Severin, Eindhoven, Nizozemska/The Netherlands Mentor/Tutor Dries Vanbruggen, Design Academy Eindhoven, Nizozemska/The Netherlands 2011

Na naravne materiale zlahka vplivajo različni elementi, zato pogosto zahtevajo zaščitno obdelavo z barvo. Čas in uporaba puščata znamenja ter materialnim površinam dajeta zgodbe in kompleksnost. Nasprotno pa so materiali za digitalni tisk na splošno inertni, uniformni in ne zahtevajo dodatne obdelave. Ta projekt se ukvarja z možnostjo ustvarjanja površine, primerne za tisk, ki se z uporabo obrabi, kar sproži drugačen odnos do predmetov, ki so del našega vsakdanjega življenja. Namesto da kopiramo obstoječe materialne površine, se zdi primernejša tekstura, ki se ujema z materialnostjo in kakovostjo proizvodnega procesa. Ključna ideja je ustvariti geometrijski vzorec, ki se sčasoma spremeni v drugega. Nekateri deli prvotnega vzorca so manj nepopustljivi, postopno

Natural materials are easily affected by the elements, and often require a protective finish of paint. Time and use leave their marks, introducing narratives and complexity to material surfaces. In contrast, materials for digital printing are generally inert, uniform and do not require a finish. This project makes use of the potential to create a printable surface that wears with usage, eliciting a different way of relating to objects that inhabit our everyday lives. Rather than copying existing material surfaces, a texture that corresponds specifically to the materiality and quality of the production process seemed more appropriate. The key idea was to create a geometrical pattern that would change into another over time. Here some parts of the initial pattern are fixed less rigor-


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se razpustijo in razkrijejo nove geometrije. Trajnejši vzorci so manj izpostavljeni in zdijo se nejasni za bolj izpostavljenimi (šibkejšimi) elementi. Ko se šibkejši elementi razpustijo, pustijo sledi, ki so še vedno nejasne, trajni vzorec pa preide v ospredje. Ta površinska »obdelava« je primerna za katerikoli vsakdanji predmet, ki ga lahko tiskamo, denimo za vazo ali kos pohištva.

ously, gradually breaking off to reveal new geometries. More permanent patterns protrude less and seem fainter behind the more protruding (weaker) elements. As the weaker elements break off, they leave traces that are fainter still and the permanent pattern moves to the foreground. This surface “finish” can be designed in/ on to any printable everyday object, like a vase or a piece of furniture.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Časopisne ilustracije za Dnevnikov Objektiv/ Newspaper illustrations, for Dnevnik's Objektiv Oblikovalec/Designer Tomato Košir, Kranj, Slovenija/Slovenia Naročnik/Client Dnevnik, d. d., Ljubljana, Slovenija/Slovenia 2011–2012

Oblikovalčeve ilustracije za prilogo Objektiv časopisa Dnevnik so ostri in duhoviti osebni komentarji o različnih pomembnih temah v današnji Sloveniji. Teme so večinoma politične, dodelijo pa jih uredniki. »SS kravate« obravnava sovražni govor, ki ga je na volitvah premagana politična stranka uporabila za opis podpornikov zmagovalne stranke; označila jih je kot nove državljane – priseljence, oblečene v trenirke. »Evropska prestolnica kul†ure« prikazuje mariborski dogodek, ki je bil na splošno kritiziran kot beden neuspeh. Ilustracija o razpustitvi Ministrstva za kulturo Republike Slovenije pušča logotip ministrstva nespremenjen, razen preoblikovane druge vejice v nazivu. In »Krvosesi in dentalni turizem – Zobje za ceno avtomobila« obravnava drage zobne storitve v Sloveniji in hkratni porast dentalnega turizma.

The designer’s illustrations for Dnevnik’s Objectiv newspaper supplement are sharp and witty personal commentaries on various, relevant topics in today’s Slovenia. The topics are mainly political and assigned by the editors. “SS necktie” addresses hate speech that a recently defeated party used to describe the winning party’s supporters that labelled them new citizens – immigrants dressed in tracksuits. “European Capital of Cul†ure” illustrates the Maribor-centred event widely criticised as a miserable failure. An illustration on the dissolving of the Ministry of Culture Republic of Slovenia leaves the ministry’s logotype unchanged except for the elimination of the title’s second comma. And “Bloodsuckers and dental tourism - teeth for the price of a car”, addresses expensive dental work in Slovenia and coincident emerging dental tourism.


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Brošura Image, Univerza za uporabne umetnosti Dunaj/ Image brochure, University for Applied Arts Vienna Oblikovanje/Design Bauer – Konzept & Gestaltung, Dunaj/Vienna, Avstrija/Austria Naročnik/Client Univerza za uporabne umetnosti Dunaj/University for Applied Arts Vienna, Avstrija/Austria 2011

Vizualno bogata brošura Image vsebuje izboljšano in izostreno predstavitev najpomembnejše avstrijske ustanove za umetnost in oblikovanje, Univerze za uporabne umetnosti. Ovitek brošure izraža interdisciplinarni sloves univerze, saj spaja organsko valujoče ključne besede različnih šolskih oddelkov. Ta ilustrativna komponenta služi za strukturiranje brošure, saj ločuje posamezna poglavja. Brošura je tiskana na dveh različnih vrstah papirja in omogoča preprosto orientacijo skozi kompleksno vsebino.

A visually-driven image brochure presents the enhanced and sharpened profile of Austria’s most important institution for art and design, the University for Applied Arts. The cover of the brochure conveys the university’s trans­ disciplinary reputation by merging organically streaming keywords of the school’s various departments. This illustrative component serves to structure the brochure, working to separate its different chapters. Printed on two different kinds of paper, the brochure facilitates easy orientation over and through the body of complex content.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Plakat Goethejeva Teorija barv/ Goethe's Theory of Colours poster Oblikovalka/Designer Anna Farkas, Anagraphic, Budimpešta/Budapest, Madžarska/Hungary 2010

Ta plakat je bil zasnovan za natečaj z naslovom »Goetheorie«, ki je obeležil obletnico objave Goethejeve Teorije barv. Na plakatu so v spiralo postavljene besede iz knjige v izvirniku (v nemščini), barve pa so označene z njihovimi lastnimi odtenki. Na dnu plakata so statistični podatki (število besed, črk idr.) in tortni grafikon barv, kolikor jih je v spirali. Namen dela je prikazati Goethejevo uporabo barv in razvijati ideje o vizualizaciji podatkov.

This poster was designed for a competition entitled “Goetheorie” to mark the anniversary of the publication of Goethe's Theory of Colours. The poster contains every word of the book in the original (German) in a spiral which emphasizes the (written) colours by representing them, physically, with the corresponding colours. At the bottom of the poster are statistics (number of words, characters, etc.) and a pie chart of the colours as mentioned. The aim of the work is to illustrate Goethe's use of colour and build on the idea of data visualization.


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Pop-up knjiga: Miklós Radnóti – Koledar/ Miklós Radnóti: Calendar pop-up poetry book Oblikovalka/Designer Éva Somogyi, Szentlőrinc, Madžarska/Hungary 2011

To tridimenzionalno/pop-up pesniško knjigo je navdihnil Miklós Radnóti, madžarski pesnik iz 20. stoletja, oziroma njegov lirski cikel Koledar, ki govori o gibanju in spremembah, ki potekajo v naravi. Dvanajst razgrnjenih prostorskih pop-up kompozicij prinaša ilustracije in interpretacije pesmi. Majhne papirnate stvaritve, pa tudi same pesmi, odražajo atmosfero in ciklično naravo letnih časov na jasen, toda liričen način. Oblikovalka zavestno ne uporabi barv, marveč naključno svetlobo, sence in kontraste, s tem pa ustvari mehko harmonijo »barv«. Pop-up knjige so priljubljene – tako za otroke kot za odrasle.

This 3D pop-up poetry book was inspired by the 20th century Hungarian poet Miklós Radnóti’s lyrical cycle entitled “Calendar”, about the changes and movements that take place in nature. The 12 unfolding, spatial pop-up compositions are both illustrations and interpretations of the poems. The small paper creations reflect the atmosphere and cyclical nature of the seasons in a clear yet lyrical fashion – as the poems themselves do. The designer consciously used no colours but incident light, shadow and contrast in order to create a smooth harmony of “colours”. Popup is pop – for children and adults alike.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Taktilna grafika: portret cesarice Elizabete Habsburške/ The portrait Empress Elisabeth of Habsburg, tactile graphic Oblikovalka/Designer Tjaša Krivec, Domžale, Slovenija/Slovenia Proizvajalec/Producer Grec, d. o. o., Ljubljana, Slovenija/Slovenia Naročnik/Client Pokrajinski muzej Celje/ Regional Museum Celje, Celje, Slovenija/Slovenia Mentorica/Tutor Tadeja Muck, Naravoslovnotehniška fakulteta/Faculty of Natural Sciences and Engineering, Ljubljana, Slovenija/Slovenia 2012

Slepi in slabovidni so pogosto prikrajšani za celovito kulturno izkušnjo, saj številne kulturne ustanove niso prilagojene njihovim posebnim potrebam in zahtevam. Pri spreminjanju dvodimenzionalne slike v tridimenzionalno je treba ustvariti reliefno, taktilno podobo. Kot del stalne razstave kulturne in umetnostnozgodovinske zbirke celjskega pokrajinskega muzeja sta razstavljena portret cesarice Elizabete Habsburške (1837–1898), ki ga je ustvaril Georg Martin Ignaz Raab, in njegova reliefna reprezentacija. V Sloveniji se za ustvarjanje reliefnih podob navadno uporabljajo tri metode: mikrokapsuliranje papirja, termoform in braillova pisava. Tukaj je reliefna podoba izdelana z uporabo posebne UV reliefne tiskarske tehnologije, kjer brizgalni tiskalnik tiska poseben lak,

The blind and partially sighted are often deprived of full cultural experiences because many cultural institutions have not adapted to their particular and challenging needs. When adapting a 2D painting to 3D, a tactile graphic must be created. The portrait of Empress Elisabeth of Habsburg (1837–1898), by Georg Martin Ignaz Raab, and its tactile representation are exhibited in the permanent Exhibition of Cultural and Art Historical Collection in the Celje Regional Museum. Three methods are commonly used in Slovenia to create relief images: microcapsule paper graphics, thermoform, and braille graphics. Here a tactile graphic has been made using special UV relief printing technology, where an inkjet printer prints special varnish that creates one of many thick lay-


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ki na podlagi ustvari številne goste plasti, te pa natančno reproducirajo oblike in gladke linije, ki so prijetne za dotik, pa tudi lepega videza. Slepe in slabovidne osebe so skozi ves delovni proces pomagale z informacijami in izbiro tekstur, muzejski strokovnjaki pa so zagotovili ohranitev zgodovinsko pomembnih podatkov.

ers on substrate, capable of reproducing accurate shapes and smooth lines that are comfortable to touch, but also nice to look at. Throughout the working process blind and partially sighted individuals helped include the right information and choose textures, and museum experts ensured historically important data was preserved.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Navigacija z bojami v parku Biesbosch/ Navigating in the Biesbosch buoys Oblikovalka/Designer, proizvajalka/producer Sabrina Koning-Woud, SKW Vormgeving, Baambrugge, Nizozemska/The Netherlands 2010

Če boste čolnarili v nizozemskem nacionalnem parku Biesbosch, boste dobili zemljevid plovnih poti, ki označuje, kam lahko plovejo različna plovila (kanuji, motorni in električni čolni). Ker pa poti niso začrtane, se izletniki lahko izgubijo. Zato zdaj v Biesboschu plavajo iz vrbovih vej spletene boje, ki označujejo plovne poti. Boje so označene na zemljevidu in delujejo kot smerokazi na vodi. Služijo kot navigacijski pripomočki, oživljajo tradicionalno obrt pletenja vrbovih vej in pomenijo vez s preteklostjo.

If you go out boating in Holland’s Biesbosch national park you’ll receive a map of the waterways that indicates where various types of watercraft (canoes, motorboats and electric boats) are allowed to go. But as the routes are not signed, boaters run a high risk of getting lost. Now floating in the Biesbosch are buoys woven from willow branches designed to mark the boating routes. The buoys are marked on the map and act as pointers on the water. This way the buoys serve as navigation aids, revitalise the traditional craft of willow weaving and act as a link with the past.


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Promocijska knjižica Arktični dnevnik/ Arctic Diary promotional booklet Oblikovalec/Designer Vanja Cuculić, Studio Cuculić, Zagreb, Hrvaška/Croatia Proizvajalec/Producer Stega tisak, Zagreb, Hrvaška/Croatia Naročnik/Client Igepa Plana, Zagreb, Hrvaška/Croatia 2010

Arktični dnevnik je promocijska kampanja za »Arktični papir« podjetja Igepa Plana. Oblikovalec je – kot odziv na ime papirja in okoljsko komponento, ki jo proizvajalec papirja poudarja – ustvaril knjižico s preprostimi ilustracijami, ki jim sledi privlačna zgodba, napisana (avtor je Dubravko Mihanović) posebej za projekt, Dnevnik arktičnega zajca, ki se sooča s posledicami globalnega segrevanja.

Arctic Diary is a promotional mailing of “Arctic Paper” for Igepa Plana. In response to the name of the paper and the environmental component stressed by the paper producer, the designer has made a booklet with simple illustrations, followed by an engaging story written (by Dubravko Mihanović) especially for the the project – Diary of an Arctic Rabbit, which is dealing with the consequences of global warming.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Video predstavitev Telo, zamejeno z valovanjem barv/ The Body Bounded by the Waving of Colours, video presentation Oblikovalka/Designer Marita Narobe, Koper, Slovenija/Slovenia Mentorica/Tutor Marjetka Godler, Naravoslovnotehniška fakulteta/Faculty of Natural Sciences and Engineering, Ljubljana, Slovenija/Slovenia 2011

Cilj projekta je bil povezati različne tehnične veščine, ki se jih je oblikovalka naučila v času študija, in jih predstaviti v kratkem videu. Pri njegovem ustvarjanju je tako uporabila veščine oblikovanja, krojenja, tiskanja s posebnimi termokromnimi pigmenti, fotografiranja, snemanja in izdelave videa. Namen videa je preučiti reakcije termokromnih pigmentov pri visokih temperaturah, pokazati, kako odtisi na oblačilih spreminjajo barvo, ter vse to zaobjeti v podvodnem videu.

The aim of the project was to integrate different technical skills the designer developed during her studies and to present them in a short video. Designing, tailoring, printing with special thermochromic pigments, photography, recording and video production were some of the skills used to make the video. The purpose of the video is to examine the reactions of thermochromatic pigments at high temperatures, to show how prints on clothes change colour, and to capture all of this in an underwater video.


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Knjiga Once Upon a Time: We Dreamt of a Future Ecological Sensuous School/ Once Upon a Time: We Dreamt of a Future Ecological Sensuous School book Oblikovalka/Designer Semini Pabodha Samarasinghe, Kandy, Šrilanka/Sri Lanka Proizvajalec/Producer Semini in/and Ninehearts printers, Kandy, Šrilanka/Sri Lanka 2012

Ta edinstveni model čutilne ekološke šole prihodnosti vabi gledalca, da si zamišlja šolo, toda ne kot surovo stavbo, temveč kot prostor – kot čutilno mrežo ali kokon, s čutom za vonj, otip in okus; kjer izdelamo jabolčni sok od semena do pridelka ter jabolčno kopel, ki uporablja nevtralno energijo. Gre za ustvarjanje prostora za izobraževanje, ki združuje socialne, ekonomske, okoljske in estetske dobrobiti, kjer sta prostor in njegova vsebina odvisna drug od drugega, vsak sistem je odvisen od drugega. Junaki iz pripovedi počasi opisujejo ta prostor in navdihujejo gledalca, da tudi sam oblikuje drugačne prostore.

This unique design for a sensuous ecological school of the future invites the viewer to imagine a school not as a crude building but as a place – as a sensuous web or cocoon, with a sense for smell, touch and taste; of making apple juice from seed to harvest, creating an apple bathing spot that harnesses neutral energy. It’s about creating a place for education that combines social, economic, environmental and aesthetic benefits, where the place and all inputs depend on one another, every system on another. The characters narrate this place slowly, inspiring the viewer to design yet another place.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Digitalno potiskane tekstilije Naturally/ Naturally digital textile prints Oblikovanje/Design Dorte Agergaard, Rungsted, Danska/Denmark Proizvajalec/Producer Gitte Bendixen, Ikast, Danska/Denmark 2011

Ideja za ta koncept – za prevleke za vzglavnike – je bila uporabiti podobe iz naše realnosti in jih digitalno natisniti na tekstil. Oblikovalka se je – kot odgovor na to, čemur pravi vzorec onesnaženja – odločila uporabiti digitalne podobe, sestavljene iz fotografij sveta narave, in jih digitalno tiskati na tekstil, s tem pa je ustvarila kolekcijo vzglavnikov, imenovano Naturally (Naravno). Kavč je zanjo zgolj okvir za blazine in ljudje bi se morali počutiti povabljene, da sedejo nanje. Njeno delo je spoj moderne tehnologije in tradicionalnega izdelka, ne da bi izdatno porabljala material, vodo, energijo in barvila, kot je to običajno pri konvencionalnem barvnem tiskanju. Rezultat je nekakšna visokotehnološko tradicionalna prevleka za blazino.

The idea for this concept – for the pillow covers – was to use images from our reality, digitally printed onto textiles. In response to what she calls pattern pollution, the designer decided to use digital images comprised of photographs of the natural world, combined with digital printing onto textiles, to create the pillow collection – Naturally. For her, the sofa is merely a frame for the pillows, and people should feel welcome to come sit on them. In the end, her work is a mix of modern technology and traditional product, without the considerable waste of material, water, power and dyes typical of conventional dye printing. The result is something of a high-tech traditional pillow cover.


144 ≤ 145 ∏

Razstava Pri Cuculiću/ Exhibition – At Cuculić’s Place Oblikovanje/Design Šesnić & Turković, Zagreb, Hrvaška/Croatia Ilustrator/Illustrator Tomislav Tomić Proizvajalec/Producer Signumgrafika, Zagreb, Hrvaška/Croatia Naročnik/Client Muzej moderne in sodobne umetnosti/Museum of Modern and Contemporary Art, Reka/Rijeka, Hrvaška/Croatia 2010

Razstava grafičnega oblikovalca Vanje Cuculića je zasnovana kot parafraza njegovega doma. Njegovo delo je postavljeno v klasične stanovanjske prostore, eksponati so tako dostopnejši javnosti, obenem pa poudarjajo vseprisotnost oblikovanja v vsakdanjem življenju. Prevladujejo plakati in oglasi, osnovni motiv oblikovalčevega profila pa sestavljajo ilustracije. Na plakatih je profil predstavljen z nizom predalov, ki gledalca vabijo, da »pokuka« vanje. Profili ilustracij v oglasih in katalogu predstavljajo glavna oblikovalčeva zanimanja: plakate, vinske etikete, knjige, identitete in turistične kraje.

Graphic designer Vanja Cuculić’s exhibition has been conceived as a paraphrase of his home. His work has been incorporated into classic apartment spaces to make the exhibits more accessible to the audience, and to accentuate the ubiquity of design in everyday life. Posters and ads dominate, with the principal motif the designer’s profile, comprised of illustrations. In the posters, the profile is represented by a set of drawers inviting the viewer to “peek” into them. In both the ads and in the catalogue, illustration profiles represent the designer’s chief interests: posters, wine labels, books, identities and tourist destinations.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Črkovna vrsta Swell/ Swell: A Typeface Oblikovalca/Designers YuJune Park in/and Caspar Lam, Synoptic Office, New York, ZDA/USA 2010

Cilj projekta Črkovna vrsta Swell je bil dvojen: ustvariti povsem odprto digitalno tipografijo in narediti instalacijo črkovne vrste s črnim trakom. V tej pisavi je višina črk določena s tem, kako pogosto se uporabljajo v angleškem jeziku. Projekt poudarja arhitekturo besed ter mapira ritmične oseke in plime jezika. Instalacija s trakom raziskuje različne reprezentacije digitalnega in analognega. Oblike črk imajo vizualne lastnosti, ki spominjajo na zaslon in napredne digitalne programe za modeliranje. Digitalno postane fizično, ko te črke položimo na vsakdanji material – črn trak. V nasprotju s sodobnimi digitalnimi pisavami, kot je Times New Roman (ki so bolj ali manj izomorfni prevodi historičnih tipografij iz svinca), pisava Swell uporablja digitalno tehnologijo in tridimen-

The aim of the Swell typeface project was twofold: to create a completely digital open typeface; and to make an installation of the typeface in black tape. In this typeface, the height of the letterforms is determined by how often the letter is used in English. It highlights the architecture of words and maps the rhythmic ebb and flow of language. The tape installation explores the different representations of the digital and analogue. The letterforms possess visual qualities reminiscent of the screen and advanced digital modelling programs. And the digital is mapped onto the physical by rendering the forms in an everyday material—black tape. Unlike contemporary digital typefaces such as Times New Roman (which are roughly one-to-one translations of historic type-


146 ≤ 147 ∏

zionalno modeliranje, da ponovno preuči obliko črke in razširi njene meje. Črke so oblikovane individualno, abeceda pa je zasnovana na pogostosti besed, kot jo določa Računalniški laboratorij Univerze v Cambridgeu – kar je skorajda enako pogostosti besed, kot jo določajo stari linotipski stroji. Oblikovalca sta izbrala šest enot, od najbolj do najmanj pogosto uporabljenih črk, ustvarila sta virtualno višinsko razliko za triindvajset enot in tako raziskala idejo o jezikovnih pokrajinah – vizualizirala sta jezik in dinamičen pretok govorjene angleščine.

faces cast in lead), "Swell" utilizes digital technology and 3D modelling to question the form of type and expand its boundaries. The letters are modelled individually and the alphabet based on word frequency as defined by the University of Cambridge Computer Laboratory – which is almost identical to word frequency as defined by old linotype machines. The designers wanted a total variable of 6 units from the most to least often used letters, producing a virtual height difference of .23 units; and to explore the idea of language landscapes – to visualise language and the dynamic flow of spoken English.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Celostna grafična podoba in črkovna družina Štajn/ Štajn visual identity and type family Oblikovalec/Designer Anže Veršnik, Grafikarna, d. o. o., Ljubljana, Slovenija/Slovenia Soavtor/Co-author Jure Kožuh Naročnik/Client Zavod Štajn, Kamnik, Slovenija/Slovenia 2011

Celostno grafično podobo Štajn definira po meri oblikovana slabserifna črkovna družina Štajn. Črkovno družino sestavlja sedem različnih črkovnih rezov s pripadajočo kurzivo, vsebuje pa vse lastnosti, ki omogočajo visoko stopnjo berljivosti in razumljivosti. Beseda »Štajn« v logotipih zavoda in njegovih enot vizualno interpretira načelo arhitekturne razporeditve nosilnosti. Edina barva grafične podobe je črna, zaradi česar je dosežen maksimalni kontrast, obenem pa so stroški tiska manjši. Sekundarni vizualni elementi so sestavljeni iz arhitekturnih šrafur.

The Štajn visual identity is based on the custom designed slab serif Štajn type family. The type consists of seven weight variations with corresponding italics and includes all the features that provide for a high level of readability and legibility. The word "Štajn” in the institute’s logotypes and its units visually interprets the principle of architectural layout of load. The only colour used in the identity is black, with the aim of achieving maximum contrast and reducing printing costs. Secondary visual elements consist of architectural hatchings.


148 ≤ 149 ∏

Izgubljeni v gozdu, Sodobno finsko steklo 2005–2010*/ Lost in Forest, Finnish Glass Art 2005–2010** Oblikovalca/Designers Vid Zabel, Mojca Gabrič, Ljubljana, Slovenija/Slovenia Naročnik/Client Narodni muzej Slovenije/ National Museum of Slovenia, Ljubljana, Slovenija/Slovenia 2011

Glavni izziv postavitve razstave je bila razdelitev velikega atrijskega prostora na manjše prostore ali okolja, v katerih se obiskovalec lahko osredotoči na posamezne eksponate. Rešitev tega problema je izšla iz razstavne teme, iz tisočev finskih jezer in prostranih brezovih gozdov, ki omogočajo neskončne rešitve. Robovi brezovega gozda so oblikovali majhne jase razstavnega prostora. Povsod so bili uporabljeni naravni, reciklirani materiali, denimo kartonske cevi in konopljine vrvi, ki so tako uvedli nov razstavni element, ki usmerja in napeljuje obiskovalce, da krožijo po razstavi. Razstavni motiv je bil uporabljen tudi pri grafičnem oblikovanju letakov, plakatov in vabil, ki tako skupaj tvorijo celostno podobo. *postavitev in konceptualna zasnova razstave **graphic design and concept, for the exhibition

The main challenge in setting up the exhibition lies in the division of the huge atrium space – forming smaller spaces or environments in which the visitor can concentrate on the individual exhibits. The solution to this problem grows out of the exhibition theme, with Finland’s thousands of lakes and vast birch forests providing endless solutions. By defining the edge of the birch forest small exhibition space clearings are formed. Natural, recyclable materials like cardboard tubes and hemp rope are used throughout, introducing a new exhibition element that guides and induces visitors to repeat their cycle through the exhibition. The exhibition motif is also used for the graphic design of the leaflets, posters and invitations, connecting everything into a complete whole.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Celostna podoba Creme de la Crema/ Creme de la Crema visual identity Oblikovalka/Designer Saskia Wierinck, Barlock.be, Gent, Belgija/Belgium Naročnika/Clients Cynthia Jacobs in/and Michael van de Moortel, Creme de la Crema, Roeselare, Belgija/Belgium 2011

Creme de la Crema je celostna podoba za galerijo, trgovino in kavni laboratorij. Vizualna podoba služi vsem tem različnim dejavnostim in vključuje tudi ime dobro znane belgijske oblikovalke Cynthie Jacobs (da jo stranke lahko še vedno najdejo). Celostna podoba je narejena s prepoznavnimi, toda fleksibilnimi elementi, tako da jo stranka lahko uporablja na različne načine, kot nalepke, ki se lahko uporabijo na embalaži za čaj in kavo, pa tudi na darilnih škatlah galerije. In oblike spominjajo na diamante in čajne krožničke.

Creme de la Crema is a visual identity for a gallery, shop and coffee lab. The design serves all these different activities and also incorporates the name of wellknown Belgian designer Cynthia Jacobs (so clientele can still find her). The visual identity is designed with recognisable but flexible elements, so the client can use it in different ways, like stickers that can be used on packaging for tea and coffee, as well as on the gallery’s gift boxes. And the forms are suggestive of diamonds and tea saucers.


150 ≤ 151 ∏

Tipografski sistem Balkan/ Balkan type system Oblikovalca/Designers Nikola Đurek (Typonine) in/ and Marija Juza (Babushke), Zagreb, Hrvaška/Croatia Proizvajalec/Producer Typonine, Zabok, Hrvaška/ Croatia 2012

Balkan je nov tipografski sistem, sestavljen tako iz latinice kot cirilice, katere uporaba označuje nekatere države nekdanje Jugoslavije. Tipografski sistem Balkan je vrsta pisave, ki dekodira latinico in cirilico; ju demistificira, depolitizira in pomiri v dobrobit izobraževanja, strpnosti in predvsem komunikacije. Čeprav je Balkan »pisava« v običajnem pomenu besede, zna tudi prevajati hrvaško latinico v srbsko cirilico in obratno. O tem tipografskem sistemu torej lahko razmišljamo kot o izobraževalni programski opremi, zmožni pomirjanja ločenih pisav.

Balkan is a new typeface system that consists of both Latin and Cyrillic scripts, use of which typifies some of the countries of the former Yugoslavia. The Balkan typeface system is a series of fonts that decodes Latin and Cyrillic; it demystifies, depoliticises, and reconciles them for the sake of education, tolerance and, above all, communication. Though Balkan is a “font” in the usual sense, it is also capable of translating Croatian Latin into Serbian Cyrillic and vice versa. One could therefore think of it as educational software capable of reconciling discrete scripts.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Knjiga Poklada/ Poklada book Oblikovalec/Designer Gergely Böhm, Madžarska/Hungary 2010

Ta posebna knjiga predstavlja zbirko starih mask busó, od katerih so bile najstarejše narejene pred več kot sto leti. Karneval Busójárás v Mohácsu na Madžarskem je ena najpomembnejših folklornih prireditev v državi in je na seznamu Unescove svetovne dediščine. V tej knjigi so zbrane in predstavljene maske, značilne za to prireditev, sama knjiga pa uteleša inovativen pristop k doživljanju te dolgotrajne tradicije: skozi izrezane luknje, ki tečejo skozi vso knjigo, lahko bralci izkusijo, kako bi bilo, če bi tudi sami nosili masko busó.

This special book represents a collection of old Busó masks, the oldest of which were made more than 100 years ago. The Busójárás Carnival in Mohács, Hungary, is one of the country’s most important folklore events, and listed as UNESCO World Heritage. Masks typical of the event are assembled and represented in this book that takes an innovative approach to the experiencing of this long-running tradition: with cut-out holes employed throughout the book, readers can experience for themselves what it might be like to wear a Busó mask.


152 ≤ 153 ∏

Promocijska gradiva in set dopisnih tiskovin Upravljanje kakovosti / Quality management promotional materials and stationery Oblikovalec/Designer Želimir Boras, Zagreb, Hrvaška/Croatia Proizvajalec/Producer Cerovski Print Boutique, Zagreb, Hrvaška/Croatia Naročnik/Client Centar za kvalitetu Mostar, Mostar, BiH 2010

Oblikovanje promocijskega gradiva in seta dopisnih tiskovin za regionalno podjetje, specializirano za procese upravljanja kakovosti, kot osrednji komunikacijski element izkorišča izpostavljenost nezavarovanih materialov obrabi in trganju. Hrbtna stran vsakega materiala kaže, kaj se zgodi z izdelki ali storitvami, kjer se nad standardi kakovosti ne bdi. Nezavarovane strani poslovnih vizitk ali majice se bodo kmalu obrabile, pisemske glave in ovojnice pa bodo dajale vtis, kot da so že bile uporabljene. Izdelek vključuje aktivno vizualno in taktilno izkušnjo.

The design consists of promotional materials and stationery for a regional company specialised in quality management processes exploiting the tendency of unprotected materials to wear and tear as the central communication element. The reverse side of each material relates what happens to products or services without certain quality standards being observed. The unprotected sides of the business card and T-shirt will soon become worn out, or as in the case of the letterhead and envelope, already look like they have been used before, incorporating both an active visual and tactile experience.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Serija plakatov International System Measures on Paper/ International System Measures on Paper series of posters Oblikovalec/Designer Edgar Ospina, Madrid, Španija/Spain 2011

Ta serija plakatov ima format A0 (mednarodni format), na katerem dodatni formati od A1 do A6 po velikosti razvrščajo evropske države, ki ne obstajajo več ali pa so bile preoblikovane. Oblikovalec s pomočjo formatov papirja ironično komentira spremembe državnih meja kot posledice političnih dogovorov (podpisanih na papirju), ki so v 20. stoletju prizadeli na milijone ljudi. Kajti četudi so spremembe izvedene in izražene kot posledice vojn in/ali političnih pogajanj, pogosto ne pomenijo družbenega ali kulturnega uspeha. Serijo sestavlja približno 30 držav ali regij z vsega sveta.

This series of posters assumes the A0 (international paper) format, on which subsequent A1-A6 size divisions map European countries that no longer exist or have been re-configured. Using the paper’s dimensions, the designer comments, ironically, on the changing of national borders as the result of political agreements (signed on paper), that have affected millions of people over the course of the 20th century. For though changes are effected and expressed as the result of wars and/or political negotiation they are not often translated in terms of social or cultural success. The series is comprised of some 30 countries or regions from around the world.


154 ≤ 155 ∏

Prehodne sledi/ Transitory traces Oblikovalka/Designer Amelia Desnoyes, Eindhoven, Nizozemska/The Netherlands Mentorica/Tutor Louise Schouwenberg, Design Academy of Eindhoven, Eindhoven, Nizozemska/ The Netherlands 2010

Projekt Prehodne sledi se ukvarja s transportom in raziskuje njegovo vrednost s sledenjem procesu distribucije. Transport je v industrijskem sistemu ključnega pomena, saj omogoča proizvodnjo in porabo blaga v svetovnem obsegu. Vendar mora biti blago v tranzitu zaščiteno, embalaža pa naj bi ga ohranila in pustila nedotaknjenega. Kot odgovor na to nedotakljivo stopnjo je oblikovalka ustvarila sistem, kjer je embalaža orodje, ki pušča sledi na samem predmetu. Vzorci, ki jih ustvarja ravnanje z embalažo, pomenijo vizualno reprezentacijo energije in gibanja, ki poteka v fazi tranzita.

Transitory traces is about transportation and explores the value of it by tracing the distribution process. Transportation is key in the industrial scheme, allowing production and consumption of goods on a global scale. But goods have to be protected in transit and package design is meant to conserve them, leave them untouched. In reaction to this untouchable stage the designer has created a system in which the packaging is a tool that leaves traces on the object inside. The patterns created by the handling of the packaging constitute a visual representation of the energy and movement used in this transitory moment.


Digitalizacija/Digitalisation Grafično oblikovanje/Graphic

Plakati za predstavljanje tipografske raznolikosti/ Visualising Typographic Diversity posters Oblikovalka/Designer Karin von Ompteda, London, Združeno kraljestvo/ United Kingdom Proizvajalec/Producer Digital Print Studio, London, Združeno kraljestvo/ United Kingdom Naročnik/Client Social Sciences and Humanities Research Council, Ottawa, Kanada/Canada Mentor/Tutor Jeff Willis, Royal College of Art, London, Združeno kraljestvo/ United Kingdom 2011

Ti plakati raziskujejo variacije oblik črke pri nekaterih v svetu najbolj priljubljenih pisavah. Predstavitve so bile narejene s prekrivanjem glifov »običajnih« pisav in uravnavanjem motnosti – temen odtenek tako ponazarja stopnjo skladnosti posameznih črk. Področja temnega odtenka so bila izmerjena z uporabo znanstvenega slikovnega programa, vsaka črka pa je predstavljena od visoke do nizke skladnosti. To delo uteleša sodobne oblikovalske pristope, vključno s podatkovno vizualizacijo, interdisciplinarnostjo in akademskimi raziskavami. Rezultat je edinstvena analiza tipografije.

These posters explore variation in letterform across some of the world’s most popular text fonts. These visualisations were created by overlaying glyph outlines of “regular” fonts and adjusting opacity – as such, darkness represents the degree of correspondence across designs. Areas of darkness were quantified using a scientific imaging program, and each letter is presented in order of high to low correspondence. This work embodies current design approaches including data visualisation, interdisciplinarity, and academic research. The result is a unique analysis of typography.


Proizvodi/Products


Proizvodi/Products

Risarska svetilka/ Drawing Lamp Oblikovalec/Designer Thomas Feichtner Proizvajalec/Producer, naročnik/client J. & L. Lobmeyr, Avstrija/Austria 2010–2011

Risarska svetilka je povsem preprosta luč, zreducirana na osnovne poteze, vključno s kablom in svetilom. Razsvetljuje lahko celotno površino mize, lahko pa svetlobo usmerimo naravnost tja, kjer je to na papirju potrebno. Svetloba ni usmerjena prek kompleksnega mehanskega sistema ali s prilagajanjem reflektorja, temveč preprosto s postavitvijo celotne svetilke v vodoravni položaj. Njena konstrukcija omogoča postavitev na mizo pod dvema različnima kotoma. Kabel teče skozi cev do svetila, do končnega cilja, vir svetlobe pa omogoča LED-tehnologija. LED-dioda za zgoščanje oddajane svetlobe ne potrebuje reflektorja, zato jo je bilo mogoče preprosto postaviti v cev.

The Drawing Lamp is a consistently simple lamp reduced to the basics, including cable and illuminant. On the one hand it lights the entire desk surface; on the other hand light can be directed precisely where it is needed on the paper. The light is not focused via a complex mechanical system or by adjusting a reflector but simply by putting the entire lamp into a horizontal position. Construction allows placing it on the desk at two different angles. The cable running through the tube to the illuminant – the destination and source of light – is made possible by LED technology. LEDs do not require a reflector to concentrate the emitted light, so the LED could simply be placed in the tube.


160 ≤ 161 ∏

Lestev Led Zeppelin/ Led Zeppelin ladder Oblikovalec/Designer, proizvajalec/producer Arthur Analts, Riga, Latvija/Latvia Mentor/Tutor Ivars Drulle, Riga School of Arts and Design, Riga, Latvija/Latvia, in/and Central Saint Martin's School of Art and Design, London, Združeno kraljestvo/ United Kingdom 2011

Lestev Led Zeppelin lahko uporabimo v treh različnih položajih: preprosto naslonjeno na steno ali pa pod kotom 45° ali 25° naslonjeno v kot prostora, in pri nobenem naklonu med plezanjem ne pademo. Posebni vrezi na koncu klinov so namenjeni obešanju oblačil ali odlaganju predmetov, kar reši težave z neskončnimi izleti gor in dol po lestvi. Izdelava je hitra, preprosta in skorajda brez odvečnega materiala. Iz 8-milimetrske aluminijaste pločevine so narejeni posebej oblikovani detajli (nekateri z vtisnjenimi logotipi), ki zvarjeni služijo za dodatno varnost. Guma na obeh koncih preprečuje, da bi lestev zdrsnila. In ko ni v uporabi, je videti dobro, lahko jo uporabljate kot obešalnik, zato je ne skrivajte v skladišče.

The Led Zeppelin ladder can be used in three different positions: propped straight against the wall, at a 45° angle against a room corner or at 25° against a corner – and all provide fall-proof climbing. Special cuts at the end of the ladder steps are for hanging cloths or putting tools, eliminating endless trips up and down for things. Manufacture is fast and easy, with almost no material loss. Specially designed details (some engraved with logotypes) are cut from an 8 mm aluminium sheet, and welded for extra safety. Rubber at both ends prevents the ladder from slipping. And it looks good when not in use – and can be used as a hanger – so shouldn’t be hidden in storage.


Proizvodi/Products

Stol Up/ Up-Chair Oblikovalec/Designer Martin Ballendat, Simbach, Nemčija/Germany Proizvajalec/Producer, naročnik/client Tonon spa, Manzano, Italija/Italy 2012

Stol Up je čustveno izjemno nabit izdelek. Sedež se kot spirala izvija od znotraj navzven in spet nazaj, s čimer zagotavlja udoben položaj, ustvarjen z inovativnim postopkom izdelave lupine. Material, imenovan freeform, je napredna, integralna enobarvna pena, katere molekularna struktura je izredno stabilna in deloma samonosna. V obodu lupine je kovinski vložek, ki omogoča več prožnosti in udobja, pa tudi stol je lažji. Lupina je na voljo v desetih svežih barvah, kovinska osnova je matirana ali v barvi poliranega kroma.

The Up-Chair is an extremely emotionallycharged product. The seat emerges like a spiral from the inside out and back again, producing the desired comfort position, also achieved through the innovative manufacturing process of the shell. The material, called freeform, is an advanced integral solid-coloured foam whose molecular structure is highly stable and partly self-supporting. A metal insert is only necessary in the circumference of the shell allowing more flexibility and more comfort as well as making the chair lighter. The shell is available in 10 fresh colours, the metal base in either matt or polished chrome finish.


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Svetilka Nissyoku/ Nissyoku lamp Oblikovalec/Designer Peter Toronyi, Budimpešta/ Budapest, Madžarska/Hungary Mentor/Tutor Balazs Püspök, Moholy-Nagy University of Art And Design, Budimpešta/Budapest, Madžarska/Hungary Naročnik/Client Koizumi Lighting Technology Corporation, Osaka, Japonska/Japan 2010

Svetloba v japonski kulturi pomeni življenje. Svetloba oživlja oblike. Zato je svetilka oblikovana tako, da njena svetloba določa značaj, obstoj in pomen predmeta. Navdih zanjo so bili sončni mrki, kjer so naravni kontrasti svetlobe in senc najjasnejši. LED-svetilo Nissyoku je razpoloženjska svetilka, ki je ne uporabljamo vsak dan, ko pa jo prižgemo, najdemo in ustvarimo atmosfero, ki se sklada z našim razpoloženjem. Lečaste plošče na obeh straneh se premikajo v različne smeri, na svetilko pa so pritrjene z magneti. Moč in smer svetlobe uravnavamo s preprostim obračanjem svetilke.

In Japanese culture, light means life, and brings forms alive. Accordingly, the lamp is designed such that its light determines the object’s character, existence and meaning. Inspiration was taken from solar eclipses, where nature’s own contrasts of light and shadow are seen at its clearest. The Nissyoku LED lamp is a mood lamp, one we don’t use every day, but when we switch it on, we create and find an atmosphere that suits or matches our mood. The len-form panels found on both sides move in multiple directions, the panels are fixed to the lamp using magnets, and the strength and direction of the light is simply adjusted by turning the lamp.


Proizvodi/Products

Svetilka Eyen/Carbon/ Eyen/Carbon Light Oblikovalec/Designer Janez Mesarič, Asobi, d. o. o., Ljubljana, Slovenija/Slovenia Proizvajalec/Producer, naročnik/client Intra lighting, d. o. o., Miren, Slovenija/Slovenia 2011

To tehnologijo omogočajo peresno lahki deli iz karbonskih vlaken. Svetilka deluje izjemno dobro: zaradi najsodobnejših LED-svetil žarnica z zgolj 6W zagotavlja presenetljivo količino svetlobe. Štiri LEDžarnice dajejo skupaj 1940 lumnov; 12 LED-žarnic ustvarja skupaj 5820 lumnov. Svetilko Eyen/Carbon dobimo kot standardni izdelek v različicah s štirimi, šestimi ali dvanajstimi LED-žarnicami. Zaradi modularne zasnove in strukture so mogoče številne oblikovalske sheme.

Feather-light carbon fibre body parts combine to make this technology possible. The light also performs exceptionally well: using the latest in LED bulbs, a mere 6W bulb provides a surprising amount of light. Four LED lamps put out a combined 1940 lumens; similarly 12 LED lamps produce a total of 5820 lumens. The Eyen/Carbon Light comes in 4, 6 and 12 LED versions as a standard product. Owing to its modular design and structure numerous other design schemes are possible.


164 ≤ 165 ∏

Spolni pripomočki za ženske Whoop-de-doo/ Whoop-de-doo sex toys for women Oblikovalka/Designer Anna Marešová, Praga/Prague, Češka republika/Czech Republic Mentor/Tutor Alexius Appl, Fakulteta za umetnost in oblikovanje/ Faculty of Art and Design, Usti nad Labem, Češka republika/ Czech Republic 2011

Cilj projekta Whoop-de-doo je bil oblikovati idealni spolni pripomoček za ženske, obenem pa raziskati tematiko v drugačni luči. Tudi k tako kompleksni tematiki lahko pristopimo s sproščenostjo, s katero se otresemo predsodkov preteklih stoletij. Komplet Whoop-de-doo vključuje dve vibracijski jajci, vaginalne kroglice in klasični vibrator. Vse komponente so izdelane iz medicinskega silikona, zaradi induktivnega polnjenja pa ti spolni pripomočki še dodatno izpolnjujejo vse higienske, funkcionalne in estetske zahteve. Rezultat ni le sam izdelek, temveč celostna predstavitev, ki je sestavni del izdelka oziroma projekta.

The aim of the Whoop-de-doo project was to design the ideal sex toy for women and in the process, explore the issue in a different light. Even a topic as complex as this can be approached with an ease that brushes aside the prejudices of past centuries. The Whoop-de-doo set includes two vibrating eggs, venus balls and a classic vibrator. All components are made of medical silicone, and inductive charging further helps these sex toys meet all hygienic, functional and aesthetic requirements. The result is not only the product itself but the overall presentation that is integral to the product-project.


Proizvodi/Products

Svetilka Grasshopper/ Grasshopper lamp Oblikovalec/Designer Feodor Mayow, Lahti, Finska/Finland Mentor/Tutor Ilkka Salonen, Lahti Institute of Design, Lahti, Finska/ Finland 2011

Svetilka Grasshopper je lahko namizno svetilo, ki omogoča fleksibilno razsvetljavo za vsako delovno okolje. Lahko jo uporabljamo kot močan reflektor za natančno delo, lahko pa jo preprosto potegnemo navzgor in tako zagotovimo širšo svetlobo. Ključ k obliki svetilke sta minimalizem – ni navojev, značilnih za običajne delovne svetilke – in izjemna prilagodljivost. Glavni del drsi in se brez truda obrača znotraj sredinske cevi, s čimer dosežemo želeni kot in moč osvetlitve. Izdelava je stroškovno ugodna, zaradi zmogljive LED-žarnice pa je svetilka ekološko trajnostna.

The Grasshopper is a lightweight table lamp that provides flexible lighting for any workspace. It can be used as an intense spotlight for detailed work, and then easily pulled up to provide for a more general light. Key to the lamp’s design-scheme is its minimalist design – no levers typical of conventional work lamps – and its unique adjustability. The main body slides and revolves effortlessly inside the middle shaft to achieve the desired angle and intensity of lighting. Manufacture is cost-effective, and the powerful LED light source makes it ecologically sustainable.


166 ≤ 167 ∏

Kavna miza Porthos/ Porthos coffee table Oblikovalke/Designers Mia Bogovac, Maša Milovac, Dora Đurkesac, Zagreb, Hrvaška/Croatia Proizvajalec/Producer Valent Bedenic, Stolarija Bedenic, Donja Zelina, Hrvaška/Croatia 2011

Zamisel za to posebno kavno mizico je izšla iz premišljevanja o (kavnih) mizicah in njihovi funkciji, o tem, kako se razlikujejo in kako razmišljamo o njihovi zgornji, funkcionalni površini. Porthos je nenavadna mizica za dnevni prostor, v celoti narejena iz ločenih plošč v obliki pladnjev, ki se prilegajo drug na drugega. Ko je sestavljena, opravlja svojo osnovno (mizno) funkcijo. Ko pa je razstavljena, lahko vsak ločeni del uporabimo kot pladenj ali prostor za shranjevanje. Dejanje prenašanja hrane in pijače z enega mesta na drugo je navdihnilo oblikovalke, da so ustvarile nov, izviren predmet. Miza je izdelana iz javorja, je postopno tonirana in na voljo v različnih barvah.

The idea for this special coffee table came out of re-consideration of (coffee) tables and their function, how they differ and the way we think about their upper, functional surface. Porthos is an unusual living room table made entirely out of separate trays that fit one into another. When assembled, it performs its primary (table) function. Apart and separate, each part can be used as a serving tray or a storage space. Here the act of transferring food and drink from one place to another inspired the designers to create a new, original object. The table is made out of maple, is gradually toned, and available in different colours.


Proizvodi/Products

Kolekcija The Era, spirit of knitwear/ The Era, spirit of knitwear collection Oblikovalka/Designer Dana Kleinert, Dana Kleinert Design, s.r.o., Bratislava, Slovaška republika/Slovak Republic Proizvajalec/Producer Cenra, s.r.o., Nitra, Slovaška republika/Slovak Republic 2012

To je era raziskovanja korenin in njihovega preobračanja v ponosno prihodnost, era preprostih krojev s sproščenimi aranžmaji, ki uporabljajo najkakovostnejšo prejo, ki združuje čisto merino volno z vodoodpornim ali bombažnim tkanjem za kakovostno izdelavo pletenin. Stari vzorci iz preteklosti so spremenjeni v nov način oblikovanja. Oblikovalka Dana Kleinert ustvarja večnamenska, reverzibilna in lokalno izdelana modna oblačila, katerih proizvodni proces začne prav na začetku – pri sami preji – in kjer ob iskanju inovativnih in odgovornih rešitev ustvari posebne vzorce, teksture, barve in kroje.

This is The Era of exploring roots by turning them into a proud future, an era of simple cuts with flexible arrangements using the highest quality yarns combining pure merino wools with waterproof or cotton weaves for quality knitwear production. Old patterns from the past are turned into a new way of designing. The designer Dana Kleinert creates multipurpose, reversible and locally produced fashion design, where the manufacturing process starts right from the beginning – from the yarn itself, creating their own patterns, textures, colours and cuts in the search for innovative and responsible solutions.


168 ≤ 169 ∏

Prenosne električne termo posode za hrano MyLunch/ MyLunch portable powered food thermos Oblikovalec/Designer Uroš Bajt, Ljubljana, Slovenija/Slovenia Naročnik/Client Electrolux design centre, Stockholm, Švedska/Sweden (svetovni natečaj Electrolux Design Lab 2011/Electrolux Design Lab 2011 global design competition) Mentorji/Tutors Janez Smerdelj, Jure Miklavc, Davorin Horvat, Akademija za likovno umetnost in oblikovanje/Academy of Fine Arts and Design, Ljubljana, Slovenija/Slovenia 2011

MyLunch je pripomoček za ljudi, ki imajo radi zdravo hrano na delovnem mestu ali v šoli. Kosilo, spravljeno v posodi MyLunch, ohranja (glavne) jedi tople, hladne jedi (solate, sladice) pa hladi. Komplet vsebuje tudi jedilni pribor, ki je prikladno položen pod pokrov. MyLunch lahko priključimo na USB-vhod računalnika ali v električno omrežje. Hrana ohranja temperaturo na poti na delo ali v šolo s pomočjo toplotne izolacije. Pokrov, jedilni pribor in skodelice lahko operemo v pomivalnem stroju.

MyLunch is a device for people who prefer healthy food at work or school. The MyLunch unit keeps warm (main) meals warm on one side, and cold dishes (salads, desserts) cold on the other. The kit also features a set of cutlery that sits neatly beneath the cover. MyLunch can be connected to a USB port of a computer or connected to an AC mains. And food maintains its temperature on the way to work or school by means of thermal insulation. Cover, cutlery and cups can all be washed in the dishwasher.


Proizvodi/Products

Stol Wood Couture/ Wood Couture chair Oblikovalka/Designer Gabriela Chicherio, Product Design, Zürich/Zurich, Švica/Switzerland 2012

Bi lahko tekstilne tehnike prenesli na druge materiale? Kako bi bil videti sešit kos pohištva? Tekstilije – tkane ali pletene, niansirane ali obarvane, zložene ali sešite – očarajo s svojo pestrostjo in neskončnimi možnostmi. Obljubljajo udobje in toplino, so mehke in gladke in spominjajo nas na učenje ročnih del in modne revije. Wood Couture je eksperimentalni pohištveni projekt, pri katerem je površina sedeža narejena iz sešitega furnirja. Obravnava furnirja kot tkanine, njegovo upogibanje in šivanje, je nekaj povsem novega in omogoča nove formalne in tehnične podrobnosti. To je točka, kjer se začenja zanimivo soočenje med lesenim materialom, spretnostmi šivanja in pričakovanji glede materiala.

Could textile techniques be transferred to other materials? What would a sewn piece of furniture look like? Woven or knitted, tanned or coloured, folded or sewn, textiles enchant with their variety and endless possibilities. They promise comfort and warmth, are soft and smooth, and remind us of handwork lessons and fashion shows. Wood Couture is an experimental furniture project, where the seating surface is made out of sewn plywood. Treating plywood like a fabric by bending and sewing it is entirely new and gives rise to new formal and technical details. This is the point at which an interesting conversation between the wooden material, the needlework details and expectations related to material begins.


170 ≤ 171 ∏

Pisarniško pohištvo March Ladies/ March Ladies office furniture Oblikovalec/Designer Primož Jeza, Ljubljana, Slovenija/Slovenia Proizvajalec/Producer, naročnik/client Gašper Debevec, s. p., Notranje Gorice, Slovenija/Slovenia 2012

Hibridna delovna platforma, kjer se vzdolž osi, ki jo sestavljajo ravna površina, obok in prestol, razpirajo strasti, tovarištvo in vodenje. Enota je razdeljena na prostor za srečevanje, salonski prostor in delovni prostor. Prostor za srečevanje ima osebno namizno okrasno točko za vazo, rastlino ali lončnico za barvitost in eleganco. Zaobljena zofa ponuja majhen, udoben prostor za pogovore. Delovni prostor je opremljen s pop-up ogledalom za ličenje in integrirano električno platformo, vse skupaj pa sestavlja večnamensko kustomizirano enoto pisarniškega pohištva za moderne poslovne ženske.

A hybrid working platform where passion, companionship and leadership unfold along an axis composed of a flat surface, an arch and a throne. The unit is divided into a meeting area, a lounge area and a workspace. The meeting area features a personal centrepiece for a vase, plant or potted flowers for colour and flair. The curved settee lounge provides a small, comfortable space for talk. And the working space is equipped with a pop-up makeup mirror and an integrated electrical power platform, all intended to serve as a multifunctional custom office furniture unit for modern businesswomen.


Proizvodi/Products

Pohištvo Concrete Textile/ Concrete Textile furniture Oblikovalka/Designer, proizvajalka/producer Doreen Westphal Studio, Eindhoven, Nizozemska/ The Netherlands 2012

Oblikovalka Doreen Westphal je bila sprva šivilja, kar jo je spodbudilo, da je pri svojem delu začela uporabljati betonsko tkanino: najprej izdela ogrodje pohištvenega kosa iz pene in ga nato zavije v svojo novo betonsko tkanino. Enega od kosov lahko uporabimo kot nizko kavno mizico, manjšo različico pa kot stol ali stransko mizico. Ti votli kosi so le navidezno lahki in krhki, dejansko pa so zelo robustni. Notranje površine so iz vzorčastega belega cementa, zunanja tekstura pa je groba, surova in sive barve. Pri pretvorbi betona v tekstil je oblikovalka sodelovala z nemškim podjetjem za beton G.tecz, ki je ugotovilo, kako zvijati tanke, 3-milimetrske liste betona, ona sama pa je izumila postopek, kako polagati plasti betonske tkanine različnih tekstur, da bo izdelek močnejši.

Designer Doreen Westphal was originally a tailor by trade, which prompted her to apply concrete fabric to a structure, making the core of the furniture piece out of foam, then wrapping it with her new concrete fabric. One of the pieces can be used as a low coffee table while the smaller version can be used as a chair or side table. These hollow pieces appear deceptively airy and fine, but are in fact highly robust. The inside surfaces feature patterned white cement while the outside texture is rough, raw and grey-coloured. In order to convert concrete into a fabric textile, the designer collaborated with German concrete company, G.tecz, who came up with a way to roll thin, 3mm sheets of concrete. Westphal devised a process to layer the concrete using differently textured concrete fabrics to make the product stronger.


172 ≤ 173 ∏

Kolekcija zunanjega pohištva My Concrete Garden/ My Concrete Garden outdoor furniture collection Oblikovalka/Designer Tina Rugelj, Ljubljana, Slovenija/Slovenia 2012

Kolekcija izraža željo po oblikovanju filigranskega pohištva z estetskimi lastnostmi vlaknocementa. Ob tem predstavlja tudi drugo plat betona – s še posebej alternativnega zornega kota. Kolekcija spreminja hladen, trd material v elegantne oblike in tanke predmete, v močne in trpežne strukture, s čimer tradicionalno grobemu in preprostemu materialu daje poetično razsežnost. Je trpežna, preprosta za vzdrževanje, odporna proti vremenskim vplivom in zelo primerna za uporabo na prostem.

The collection expresses the aim of designing filigree furniture with the aesthetic qualities of fibre cement. It also serves to reveal another side of concrete, from a particularly alternative point of view. The collection transforms a cold, hard material into elegant shapes and thin objects, into strong and enduring structures; and lends a poetic dimension to a traditionally rough and unsophisticated material. It’s also durable, low maintenance, weather-resistant and well suited to outdoor use.


Proizvodi/Products

Solarna svetilka in mobilni polnilnik Bright/ Bright solar lamp and mobile charger Oblikovanje/Design K8 Industridesign, Oslo, Norveška/Norway Soavtorja/Co-authors Erik Lanuza, Rolf Blom 2011

Dandanes na svetu 1,4 milijarde ljudi živi brez elektrike, uporabljajo pa drage, strupene in nevarne kerozinske svetilke. Solarna svetilka in mobilni polnilnik Bright sta narejena za pomoč tem ljudem. Zaradi edinstvene zasnove gre za najpopolnejši, večnamenski gospodinjski in malopodjetniški izdelek na trgu. Lahko je odlična svetilka za branje, stropna luč, žaromet in polnilnik za mobitel. Svetilka je narejena iz treh osnovnih delov: svetlobne enote (z baterijskim predelom), sončne celice in razprševalnika svetlobe. Sončna celica ima trimetrski kabel, zato jo lahko postavimo ven, medtem ko sta svetilka ali telefon varna v hiši, koči ali šotoru.

Today 1.4 billion people live without electricity, using expensive, toxic and dangerous kerosene lamps instead. The Bright Solar Lamp and Mobile Charger are designed to help these people. The unique design makes it the most complete and multifunctional household and small business product in the market. It makes an excellent reading lamp, ceiling lamp, flashlight and mobile phone charger. The lamp is made of three main parts: light unit (with battery compartment), solar panel unit and light diffuser. The solar unit hides a 3-metre cable, so the panel can be placed outside while the lamp or phone stays safe inside a house, hut or tent.


177 ≤ 177 ∏

Biografije, prireditveni odbor/ Biographies, Organising Committee


Kustosinji razstave BIO 23/ BIO 23 Exhibition Curators

Margriet Vollenberg in/and Margo Konings, Organisation in Design, fotografija/Photo by Lisa Klappe

Margo Konings in Margriet Vollenberg sta ustanoviteljici in direktorici studia Organisation in Design. Margriet Vollenberg je diplomirala na Akademiji za oblikovanje v Eindhovnu leta 2000. Kariero je zaÄ?ela v Milanu kot oblikovalka za podjetje Pellini in Mario Christino Hamel ter kot vodja projektov za FuoriSalone v Ä?asu prireditve Salone del Mobile.

Margo Konings and Margriet Vollenberg are the founders and directors of the studio Organisation in Design. Vollenberg graduated from the Design Academy in Eindhoven in 2000. She began her career in Milan as a designer for Pellini and Maria Christina Hamel, and as a project manager at the Fuorisalone during the Salone Internazionale del Mobile. In 2005


178 ≤ 179 ∏

Leta 2005 se je vrnila na Nizozemsko, odprla Studio Margriet Vollenberg in delala za Studio Jurgen Bey (zdaj Studio Makkink & Bey). Margo Konings je diplomirala na Akademiji za oblikovanje v Eindhovnu leta 2006. Delati je začela kot svobodna oblikovalka/vodja projektov pod imenom J'aime la folie in pri WATdesignu ter Maartenu Baptistu kot vodja pisarne. Bila je sokustosinja razstave No Windmills, Cheese or Tulips v Tokiu.

she returned to the Netherlands, where she started Studio Margriet Vollenberg and also worked at Studio Jurgen Bey (now Studio Makkink & Bey). Konings graduated from the Design Academy in Eindhoven in 2006. She began working as a freelance designer and project manager under the name “J’aime la folie” and also worked at WATdesign and Maarten Baptist as an office manager. She was a co-curator of the exhibition No Windmills, Cheese or Tulips in Tokyo in 2007.

Ob koncu leta 2007 sta se Margo in Margriet odločili združiti moči in skupaj sta postali strokovnjakinji za organizacijo vseh vidikov oblikovanja, od koder tudi izhaja ime podjetja Organisation in Design, ustanovljenega leta 2009. Studio Organisation in Design je dejaven predvsem na področjih odnosov z javnostmi, vodenja projektov in intermediacije.

In late 2007, Konings and Vollenberg decided to join forces and together began specialising in the organisation of all aspects of design – hence the name (since 2009) Organisation in Design. Organisation in Design is primarily involved in three areas of the design profession: public relations, project management and intermediation.

Odnosi z javnostmi: Organisation in Design je agencija za odnose z javnostmi za različne oblikovalce in oblikovalske studie: Atelier Ted Noten, Maarten Baas, Kiki van Eijk, Studio Makkink & Bey in Joost van Bleiswijk. Poleg tega tudi projektno vodi odnose z javnostmi za mednarodne muzeje in oblikovalske dogodke.

Public relations: Organisation in Design is the public relations agency for a number of designers and studios, including Atelier Ted Noten, Maarten Baas, Kiki van Eijk, Studio Makkink & Bey and Joost van Bleiswijk. They also do project-based public relations for international museums and design events.

Vodenje projektov: Kot vodji projektov upravljata projekte ter sta vključeni v različne kuratorske in svetovalne dejavnosti, ki spremljajo oblikovalske razstave. Med pomembnejšimi projekti so: razstava Maartena Baasa ob nagradi Designer of the Year Award na dogodku Design Miami, razstava Glasstress 2011 (spremljevalni dogodek 54. mednarodnega bienala v Benetkah), razstava Catalysis for Life: New Language in Dutch Art and Design v MOT, muzeju umetnosti v Tokiu, postavitev stalnih razstavnih salonov Moooi, Linteloo in Modular v Milanu, samostojna razstava Maartena Baasa v Gallerii Rossana Orlandi v Milanu itd. Poleg tega je Organisation in Design ustanovitelj in kurator razstave Ventura Lambrate, spremljevalne razstave v času prireditve Salone del Mobile v Milanu, in Ventura Berlin 2011, vključene v Qubique v Berlinu. Intermediacija: Organisation in Design vzpostavlja povezave za oblikovalce in stranke, kot so Nodus, Skitsch, Hermes, Cappellini, Cassina, Swarovski, Louis Vuitton in Zuiderzeemuseum.

Project management: As project managers, they guide projects and assume various curatorial and advisory roles connected with design exhibitions. Previous achievements include their work with Maarten Baas’s Designer of the Year Award show at Design Miami; Glasstress 2011 (a collateral event of the 54th International Biennale of Venice); the exhibition Catalysis for Life: New Language in Dutch Art and Design at the Museum of Contemporary Art Tokyo (MOT); the realisation of the permanent showrooms of Moooi, Linteloo and Modular in Milan; and the solo exhibition by Maarten Baas at Galleria Rossana Orlandi in Milan. Organisation in Design is also the founder and curator of Ventura Lambrate, the offside show at the Salone del Mobile in Milan, and Ventura Berlin 2011, which is part of the Qubique trade show in Berlin. Intermediation: As an intermediator, Organisation in Design makes connections for designers with such companies as Nodus, Skitsch, Hermes, Cappellini, Cassina, Swarovski and Louis Vuitton, as well as for institutions like the Zuiderzee Museum.


Žirija BIO 23/ BIO 23 Jury

Giulio Cappellini je bil rojen v Milanu leta 1954 v družini s tradicijo izdelovanja pohištva. Poleg arhitekture je študiral poslovni menedžment in leta 1979 začel delati za družinsko podjetje. V zgodnjih osemdesetih letih 20. stoletja se je podjetje po več kot treh desetletjih in pod njegovim vodstvom preusmerilo k bolj svetovljanskemu pristopu k oblikovanju, uporabi materialov in izdelavi. Cappellinijev cilj je bil ustvarjati prepoznavne življenjske prostore s prepletanjem stilov, kultur in materialov. Kot arhitekt, umetniški vodja, predvsem pa iskalec talentov in odličnosti v mednarodnem oblikovanju je začel zaposlovati prej neznane ali vzpenjajoče se nadarjene oblikovalce z vsega sveta in z različnimi kulturnimi ozadji ter idejami. Tako smo spoznali dela Jasperja Morrisona, Toma Dixona, Marca Newsona, Marcela Wandersa, bratov Bouroullec in številnih drugih.

Giulio Cappellini was born into a family of furniture manufacturers in Milan. In addition to receiving a degree in architecture, he studied business management and began working for his family’s company in 1979. In the early 1980s, under his leadership, the company shifted its focus from its three-decade history of craft furniture to the creation of a more global approach to design, material use and manufacturing. Cappellini’s goal was to create outstanding living spaces through a mix of styles, cultures and materials. Not only an architect and art director, but above all a “talent scout” for international design excellence, he began to employ the talents of unknown and emerging designers from all over the world and with different backgrounds and ideas. As a result, the work of Jasper Morrison, Tom Dixon, Marc Newson, Marcel Wanders and the Bouroullec brothers, among others, was discovered and has become widely known.

Sven Jonke je študiral industrijsko oblikovanje na Akademiji uporabnih umetnosti na Dunaju in na Šoli za oblikovanje Fakultete za arhitekturo v Zagrebu. Skupaj s Christophom Katzlerjem in Nikolo Radeljkovićem je ustanovni član hrvaško-avstrijskega oblikovalskega kolektiva Numen/ For Use, ki deluje na področjih scenografije, industrijskega oblikovanja, oblikovanja prostora in konceptualne umetnosti. Zgodnje projekte skupine označujejo eksperimenti z brezosebnim oblikovanjem in radikalno formalno redukcijo, ki so globoko zakoreninjeni v tradiciji visokega modernizma in se večinoma uporabljajo pri različnih sinergijskih projektih totalnega oblikovanja na Hrvaškem. Numen/For Use se od leta 2004 intenzivno ukvarja s scenografijo. Kolektiv se od leta 2008 posveča oblikovanju objektov in konceptov brez vnaprej določene funkcije, posledica česar so bolj hibridna in eksperimentalna dela, kot sta serija Numen-Light in Tape Installation.

Sven Jonke studied industrial design at the Academy of Applied Arts in Vienna and the Faculty of Architecture, School of Design in Zagreb. With Christoph Katzler and Nikola Radeljković, he is a founding member of Numen/For Use, a Croatian-Austrian design collective working in the fields of scenography, industrial and spatial design and conceptual art. The group’s early works featured experiments in impersonal design and radical formal reduction – deeply rooted in the tradition of high modernism – mainly in connection with various synergetic total-design projects in Croatia. Since 2004, Numen/For Use has been intensely involved with scenography. In 2008, the collective turned its focus on configuring objects and concepts without any predefined function, which has led to more hybrid experimental works such as the Numen-Light series and Tape Installation.


180 ≤ 181 ∏

Sophie Lovell je pisateljica, urednica, kustosinja in svetovalka za področji arhitekture in oblikovanja. Odraščala je v Londonu, leta 1994 pa se je preselila v Berlin, od koder redno piše za revijo Wallpaper; od leta 2000 je tudi njena nemška urednica. Med letoma 2002 in 2004 je bila urednica za področji arhitekture in oblikovanja pri nagrajeni nemški reviji Qvest. Napisala in uredila je vrsto knjig. Na področju oblikovanja so to This Gun is for Hire: From Personal to Corporate Design Projects in On Air: The Visual Messages and Global language of MTV ter uspešnica Furnish: Furniture and Interior Design for the 21st Century, ki jih je objavila založba Die Gestalten, in Limited Edition: Prototypes, One-Offs and Design Art Furniture, objavljena pri založbi Birkhäuser. Leta 2011 je pri založbi Phaidon izšla njena najnovejša knjiga, monografija z naslovom Dieter Rams: As Little Design as Possible. Njena zadnja razstava Freak Show: Strategies for (Dis)Engagement in Design je gostovala v berlinski galeriji Helmrinderknecht. Sophie Lovell je pogosta gostja in govornica na oblikovalskih ter arhitekturnih simpozijih in razpravah strokovnih združenj ter članica številnih mednarodnih žirij.

Jimmy MacDonald se je rodil na Irskem, odraščal pa je v Južni Afriki. V London je prišel leta 1994 študirat oblikovanje interierja na Kingston University; svojega prvega poslovnega podviga se je lotil že kot študent. Leta 2002 je ustanovil 100% East, ki predstavlja oblikovalce iz vzhodnega Londona, leta 2006 pa je z Ianom Rudgeem, ustanoviteljem 100% Designa, vzpostavil festival Tent London. To je ena največjih, predvsem pa najprodornejših in najprogresivnejših prodajnih oblikovalskih razstav, ki potekajo v času London Design Festivala.

Sophie Lovell is a writer, editor, curator and consultant in the fields of architecture and design. Originally from London, she has lived in Berlin since 1994. She writes regularly for Wallpaper magazine in London and has been their Germany editor since 2000. From 2002 to 2004, she was also the architecture and design editor of the award-winning German magazine Qvest. Since then, she has written and edited a number of books in the field of design including: This Gun Is for Hire: From Personal to Corporate Design Projects, On Air: The Visual Messages and Global Language of MTV, Furnish: Furniture and Interior Design for the 21st Century (Gestalten) and Limited Edition: Prototypes, One-Offs and Design Art Furniture (Birkhäuser). Her latest book is the monograph Dieter Rams: As Little Design as Possible, published by Phaidon in 2011. Her most recent exhibition, Freak Show: Strategies for (Dis) Engagement in Design, was hosted by the Helmrinderknecht Gallery in Berlin. She is a frequent guest at symposia and think-tank events on design and architecture and has served on a number of international juries.

Jimmy MacDonald was born in Ireland and grew up in South Africa. He came to London in 1994 to study interior design at Kingston University, and began his first business venture while still a student. In 2002, he set up 100% East to showcase designers from East London and, in 2006, created the Tent London festival with Ian Rudge, who founded the trade exhibition company 100% Design. Tent London, one of the world’s largest design trade shows, is regarded as the most cutting-edge trade exhibition taking place during the London Design Festival.


Vasa J. Perović se je rodil leta 1965 v Beogradu, leta 1992 je diplomiral na beograjski Fakulteti za arhitekturo, leta 1994 pa magistriral na Berlage Institute of Architecture na Nizozemskem. Poučuje po vsem svetu in od leta 2009 predava arhitekturno oblikovanje na Fakulteti za arhitekturo Univerze v Ljubljani. Leta 1997 je z Matijo Bevkom ustanovil arhitekturni biro Bevk Perović arhitekti. Biro je doslej prejel že več strokovnih, mednarodnih in državnih nagrad, med drugimi Emerging Architects Special Mention, European Union Prize for Contemporary Architecture – Mies Van Der Rohe Award 2007 za stavbo Fakultete za matematiko v Ljubljani in Red Dot Design Award za oblikovanje svetila Slim. Biro Bevk Perović arhitekti deluje tudi na področju oblikovanja in kot svetovalec podjetja za svetila znamke Vertigo Bird. Delo biroja je bilo doslej predstavljeno v različnih publikacijah po vsem svetu.

Vasa J. Perović, originally from Belgrade, Serbia, graduated from Faculty of Architecture, University of Belgrade, in 1992, and received his master’s degree from the Berlage Institute of Architecture in the Netherlands in 1994. He lectures internationally, and since 2009 has been teaching architectural design at the Faculty of Architecture, University of Ljubljana. In 1997, he and Matija Bevk established the architectural firm Bevk Perović arhitekti. The firm has received a number of professional, national and international awards, including the Emerging Architects Special Mention, European Union Prize for Contemporary Architecture – Mies Van Der Rohe Award 2007 for their work on the Faculty of Mathematics building in Ljubljana. Bevk Perović arhitekti are also involved with product design and collaborate as consultants with the lighting company Vertigo Bird. Their work has been published globally in architectural magazines and other publications.


182 ≤ 183 ∏

Prireditveni odbor BIO 23/ BIO 23 Organising Committee

Prireditveni odbor BIO je častni in posvetovalni organ. Njegove naloge so potrditev finančnih okvirov aktualne razstave BIO ter pomoč in svetovanje organizatorju bienala pri mednarodni promociji, pridobivanju finančnih sredstev in uspešni izvedbi bienala.

The BIO Organising Committee is an honorary advisory body. Its tasks include confirmation of the exhibition budget and advising the Biennial’s organisers on matters of international promotion, fundraising and ultimately, successful realization of the Biennial.

Člani v mandatnem obdobju 2012–2016 so:

The members for the 2012–2016 mandated period are:

Janez Škrabec, direktor podjetja Riko, d. o. o., predsednik prireditvenega odbora BIO, mag. Tomaž Berločnik, predsednik uprave družbe Petrol, d. d., mag. Franjo Bobinac, predsednik uprave družbe Gorenje, d. d., Ivo Boscarol, ustanovitelj in generalni direktor podjetja Pipistrel, d. o. o., Matevž Čelik, direktor Muzeja za arhitekturo in oblikovanje,

Janez Škrabec, Director, Riko, d. o. o., Chairman of BIO Organising Committee Mag. Tomaž Berločnik, President of the management board, Petrol, d. d. Mag. Franjo Bobinac, President of the management board, Gorenje, d. d. Ivo Boscarol, Founder and General Manager, Pipistrel, d. o. o.

Karl Erjavec, minister za zunanje zadeve RS,

Matevž Čelik, Director, Museum of Architecture and Design

mag. Marko Filli, generalni direktor RTV Slovenija,

Karl Erjavec, Minister of Foreign Affairs RS

mag. Tatjana Fink, glavna direktorica podjetja Trimo, d. d.,

Mag. Tatjana Fink, General Manager, Trimo, d. d.

mag. Jurij Giacomelli, predsednik uprave družbe Delo, d. d.,

Mag. Jurij Giacomelli, President of the management board, Delo, d. d.

mag. Samo Hribar Milič, predsednik Gospodarske zbornice Slovenije,

Mag. Samo Hribar Milič, General Manager, Chamber of Commerce and Industry of Slovenia

Zoran Janković, župan Mestne občine Ljubljana,

Zoran Janković, Mayor, City of Ljubljana

Mag. Marko Filli, General Manager, RTV Slovenija

Marko Kolbl, direktor podjetja Europlakat, d. o. o.,

Marko Kolbl, Director, Europlakat, d. o. o.

Robert Klun, predsednik Upravnega odbora Društva oblikovalcev Slovenije,

Robert Klun, President of the management board of the Designers Society of Slovenia

Medeja Lončar, direktorica podjetja Siemens Slovenija, d. o. o.,

Medeja Lončar, Director, Siemens Slovenija, d. o. o.

mag. Vasa J. Perović, član žirije BIO 23 in docent na Fakulteti za arhitekturo UL,

Mag. Vasa J. Perović, Jury Member BIO 23, and Docent, Faculty of Architecture, University of Ljubljana

Janez Smerdelj, profesor na Akademiji za likovno umetnost in oblikovanje UL.

Janez Smerdelj, Professor, Academy of Fine Arts and Design, University of Ljubljana


Imensko kazalo oblikovalcev, soavtorjev, mentorjev, naročnikov, proizvajalcev, šol in držav/ Index of Designers, Co-authors, Tutors, Clients, Producers, Schools, and Countries

A

Bracke, Evelien  124

Feichtner, Thomas  160

Academy of Arts, Architecture and Design,

Briggs, Chloe  105

Ferček, Jasmina  118

Praga/Prague  82

Buljević, Andrija  90

Fiebig, Christian  52

Agergaard, Dorte  144

Bunjak, Ksenija  79

Finska/Finland  166

Akademija za likovno umetnost in oblikovanje,

Burger, Katja  118

Ljubljana  35, 78, 127, 169 Akrapovič, d. d., Ivančna Gorica  36

Flaquer, Barbara  88 Fox & Freeze, Stekene  69

C

Francija/France  105

ALT Design, Los Angeles, Kalifornija/California  114

Capolinea Design, Bassano del Grappa  72

Future of Money Design Competition 2011,

Ametlla + S.L., Palma de Mallorca  88

Capra, Irene  38

Consult Hyperion, Surrey  108

Anagram Architects, New Delhi  94

Cenra, s.r.o., Nitra  168

G

Anagraphic, Budimpešta/Budapest  136

Centar za kvalitetu Mostar, Mostar  153

Analts, Arthur  161

Central Saint Martin's School of Art and Design,

Gabrič, Mojca  149

Appl, Alexius  165

London  161

Gadžijev, Arijana  71

Arahne, d. o. o., Ljubljana  107

Cerovski Print Boutique, Zagreb  153

Gaković, Bratislav  79

Architectural Alchemy, Beograd/Belgrade  79

Chevalier-Masson  116

Gašper Debevec, s. p., Notranje Gorice  171

Arnes, Ljubljana  106

Chicherio, Gabriela  170

Gia Form Molds and Parts Ltd., Érd  37

Art is Open Source, Rim/Rome  102

Co & Co Communication,

Giffin, Jess  48

Art-leg, d. o. o., Žalec  36

Budimpešta/Budapest  37

Giordana, Denise  80

Asobi, d. o. o., Ljubljana  164

Colja, Matej  78

Godler, Marjetka  142

Atar, Shir  70

Correia, Monica  73

Golik, Goga  91

Atmosfera, Zagreb  75

Creme de la Crema, Roeselare  150

Grafikarna, d. o. o., Ljubljana  148

Avstrija/Austria  34, 53, 68, 135, 160

Cuculić, Vanja  141, 145

Grec, d. o. o., Ljubljana  138 Griffa, Cesare  80

B B.a.B.e., Zagreb  91

Č Češka republika/Czech Republic  82, 165

Groves, Alexander  58 Gsottbauer, Herbert  68

Babushke, Zagreb  151 Badovinac, Sara  117

Griffin, Rachel  125

D H

Bajt, Uroš  169

Dana Kleinert Design, s.r.o., Bratislava  168

Bakker, Aldo  124

Danska/Denmark  144

Hettler.Tüllmann, Berlin  62

Bakker, Gijs  124

Dasgupta, Sudipto  89

Heykoop, Pepe  96

Balen, Tuur van  26

Delević - Grbić, Milena  79

Hoff, Dick van  124

Ballendat, Martin  162

Design Academy Eindhoven,

Hofmann, Dieter  43

Baptist, Gerrit  120

Eindhoven  50, 52, 92, 124, 132

Horvat, Davorin  169

Bär, Claudia  34

Desnoyes, Amelia  155

Hrvaška/Croatia  75, 90, 91, 141, 145,

Barlock.be, Gent  150

Digital Print Studio, London  156

151, 153, 167

Bauer – Konzept & Gestaltung,

Dnevnik, d. d., Ljubljana  134

Hulskamp, Ingrid  112

Dunaj/Vienna  135

Doreen Westphal Studio, Eindhoven  172

Bauhaus-University Weimar  120

Dossi, Daniela  92

Bavcon, Tjaša  118

Drulle, Ivars  161

Indija/India  89, 94, 96

Bedenic, Valent  167 Beek, Bas van  42

I Igepa Plana, Zagreb  141

Đ

Intra lighting, d. o. o., Miren  164

Belgija/Belgium  44, 69, 116, 150

Đurek, Nikola  151

Italija/Italy  38, 72, 80, 102, 124, 162

Bendixen, Gitte  144

Đurkesac, Dora  167

IUAV, University of Venice, Benetke/Venice  38

Bertoncelj, Ana  107 Bisscheroux, Stijn  49

E J

Biyani, Rohit  89

Earnest Studio, Rotterdam  125

Blom, Rolf  174

Ecole Parsons, Pariz/Paris  105

J. & L. Lobmeyr  160

Bobič, Aleksandar  79

Ela, Adital  128

Jacobs, Cynthia  150

Boelen, Jan  50, 92, 124

Electrolux design centre, Stockholm  169

Jaiswal, Amit  89

Bogovac, Mia  167

Eyjolfsson, Gardar  50

Jakovljević, Leonora  38 Janssen, Nienke  60

Böhm, Gergely  152 Böhme, Max  43

F

Japonska/Japan  163

Boras, Želimir  153

Faculty of Art and Design, Usti nad Labem  165

Jeza, Primož  171

Borello, Federico  80

Farkas, Anna  136

Jones, Kieren  58


184 ≤ 185 ∏

Juza, Marija  151

Norveška/Norway  174

Studio Jo Meesters, Eindhoven  63

Nunes, Tiago  86

Studio Oloop, Ljubljana  118

K K8 Industridesign, Oslo  174

Studio Pepe Heykoop, Amsterdam  96

O

Kanada/Canada  46, 156

Ompteda, Karin von  156

Keržič, Borut  35

Ospina, Edgar  154

Kirn, Aleksandra  79

P

Studio Swine, London  58 Studio Tibor, Ljubljana  106 Studio za dizajn, Zagreb  90 Studiolav  126 Synoptic Office, New York  146

Kleinert, Dana  168

Pak, Tanja  127

Kofein design, d. o. o., Ljubljana  106

Park, YuJune  140, 146

Koizumi Lighting Technology Corporation,

Persico, Oriana  102

Osaka  163

Pezdirc, Vladimir  78

Koning-Woud, Sabrina  140

Plesl, Rony  82

Šrilanka/Sri Lanka  143

Košir, Tomato  134

Pojerová, Kristýna  82

Švedska/Sweden  169

Kožuh, Jure  148

Pokrajinski muzej Celje/Regional Museum

Švica/Switzerland  170

Krikri/Kavalier glass a.s.  82

Celje, Celje  138

Krivec, Tjaša  138

Portugalska/Portugal  86

L Laarman, Joris  28

Š Šesnić & Turković, Zagreb  90, 145

T

Prapesa, Ljubljana  117

Tegelaar, Rick  47

Product Design, Zürich/Zurich  170

TerMeer, Jim  48

Püspök, Balazs  163

Thetard, Christoph  120 Tiny Miracles Foundation  96

Lahti Institute of Design, Lahti  166 Lam, Caspar  146

Q

Tomić, Tomislav  90, 145

Lanuza, Erik  174

Quinta, Rui  86

Tonon spa, Manzano  162 Toronyi, Peter  163

Lassandro, Vito Gionatan  46 Latvija/Latvia  161

R

Tsopanides, Johannes  104

Laurens, Erik de  64

Rdeči Oblak, Ljubljana  106

Tufegdžić, Srdjan  79

Lazović, Zoran  79

Riga School of Arts and Design, Riga  161

Typonine, Zabok  151

Leclair Bisson, Diane  46

Ristić, Milorad  79

Lima, Vinicius  74

Rojs, Irena  61

Llorente, Ana  114

Romunija/Romania  37

University for Applied Arts,

Lomee, Thomas  124

Royal College of Art, London  156

Dunaj/Vienna  135

Rugelj, Tina  173

Utrecht School of Arts, Utrecht  49

M Maincent, Thomas  44

S

U

V

Manno, Massimiliano  80

Salonen, Ilkka  166

Vailly, Thomas  50

Marešová, Anna  165

Salt Pharma Ltd., Jud. Brasov  37

Vallerie Traan gallery  116

Mayow, Feodor  166

Samarasinghe, Semini Pabodha  143

Vanbruggen, Dries  132

McRae, Lucy  29

Samsen, Nitipak  108

Vande Veire, Maud  116

Mesarič, Janez  164

Santiago, Ramilson  103

Verma, Kailash  89

Miklavc, Jure  35, 169

Schouwenberg, Louise  52, 155

Veršnik, Anže  148

Milovac, Maša  167

Schreuder, Lieske  49

Vidhya, V  89

Mischer’Traxler, Dunaj/Vienna  53

Schwabe, Stefan  27

Vidrih, Zmago  36

Moholy-Nagy University of Art and Design,

Semini and Ninehearts printers, Kandy  143

Vossel, James Van  69

Budimpešta/Budapest  163

Severin, Birgit  132

Vrbnjak, Patricija  127

Moortel, Michael van de  150

Shapes in Play, Berlin  104

Vrhunc, Metka  61

Morpurgo, Eugenia  124

Signumgrafika, Zagreb  145

Vrieze, Tom De  69

Muck, Tadeja  138

Silov, Bernarda  75

Murakami, Azusa  58

Silov, Davor  75

Museum of Modern and Contemporary Art,

SKW Vormgeving, Baambrugge  140

Whitcraft, Davey  114

Reka/Rijeka  145

Slovaška republika/Slovak Republic  168

Wiel, Jólan van der  42

Slovenija/Slovenia  35, 36, 61, 71, 78, 106, 107,

Wierinck, Saskia  150

117, 118, 127, 134, 138, 142, 148, 149, 164,

Willis, Jeff  156

N Naravoslovnotehniška fakulteta/

169, 171, 173

Faculty of Natural Sciences and

Smerdelj, Janez  169

Engineering, Ljubljana  61, 138, 142

Soares, Susana  32

Narobe, Marita  142

Social Sciences and Humanities Research

W

Y Young-Clark, Kirsten  105

Narodni muzej Slovenije/National Museum

Council, Ottawa  156

of Slovenia, Ljubljana  149

Sodomar, Lda, Sao Juliao do Tojal – Loures  86

Zabel, Vid  149

National Association of Street Vendors

Somogyi, Éva  137

Zabret, Peter  117

of India, New Delhi  94

Srishti School of Art Design and Technology,

Zavod Štajn, Kamnik  148

National Innovation Foundation,

Bangalore  89

Združeno kraljestvo/United Kingdom  58, 156

Ahmedabad  89

Stega tisak, Zagreb  141

Zlamalova, Natalie  114

Nemčija/Germany  27, 43, 52, 62, 104, 120,

Steverlynck, Diane  116

Zorić, Ivan  79

162

Stevović, Vladan  79

Zorić, Nemanja  79

Nizozemska/The Netherlands  28, 29, 47,

Stolarija Bedenic, Donja Zelina  167

49, 50, 52, 60, 132, 140, 155

Studio Cuculić, Zagreb  141

Norma International, d. o. o., Zagreb  91

Studio Giffin’Termeer, Chicago  48

Z

Ž Žunič, Rok  36


23. bienale oblikovanja | 27. 9.–11. 11. 2012 Muzej za arhitekturo in oblikovanje Ljubljana, Slovenija

23rd biennial of design | 27. 9.–11. 11. 2012 the Museum of Architecture and Design Ljubljana, Slovenia

Kustosinji razstave/Exhibition Curators

Izobraževalne dejavnosti/Educational Activities

Margo Konings, Margriet Vollenberg | Organisation in Design

Urša Kosmač Marc, Natalija Lapajne, Elizabeta Petruša Štrukelj

Direktor Bienala oblikovanja (BIO)/Director, Biennial of Design (BIO)

Oblikovanje razstave/Exhibition Design

Matevž Čelik

Joost van Bleiswijk TEHNIČNA IZVEDBA/TECHNICAL REALISATION

Vodja projekta BIO 23/Project Manager for BIO 23

Maja Šuštaršič

Aleš Bracovič, Andrej Petrovčič, Tanja Vergles

Vodja marketinga in spremljevalnega programa BIO 23/Head of Marketing and Project Manager for BIO 23 Accompanying Programme

Anja Zorko Koordinator projekta BIO 23/BIO 23 Project Coordinator

Nikola Pongrac Vodja stikov z javnostmi/Public Relations Manager

Pika Leban Asistentki vodje projekta BIO 23/Assistants to the Project Manager for BIO 23

Urška Purg, Marija Brklje Asistentki spremljevalnega programa BIO 23/ Assistants to the Project Manager for BIO 23 Accompanying Programme

Aleksandra Bobek, Ana Modic Programski sodelavci BIO 23/BIO 23 Programme Contributors

Maja Vardjan, Cvetka Požar, Polona Lovšin

Zlato medaljo BIO je za BIO 1 leta 1964 oblikoval Jože Brumen. Nagrado so oblikovali leta 2008 v studiu Gigodesign. The Gold Medal for BIO 1 in 1964 was designed by Jože Brumen. The award was designed by Gigodesign in 2008.

Posebna zahvala/Special thanks:

Nina Čavž, Marjana Dermelj, Urška Jurman, Nina Malovrh, Uršula Menih Dokl, Eva Metlikovič Mlinarič, Urška Ojstršek, Tina Pezdirc, Barbara Predan, Jerica Puterle, Aina Šmid, Meta Štular, Jana Urbas, Janez Zibler, Sonja Žižek Fuis


186 ≤ 187 ∏

Katalog izdal/Catalogue published by

Fotografije/Photos

Muzej za arhitekturo in oblikovanje The Museum of Architecture and Design Pot na Fužine 2, SI – 1000 Ljubljana, Slovenija T: +386 1 540 03 48 | F: +386 1 540 03 44 bio@mao.si | www.mao.si, www.bio.si

Z dovoljenjem razstavljavcev/Courtesy of the Exhibitors Tisk/Print

Collegium Graphicum, d. o. o., Ljubljana Število izvodov/Print Run

1000 Za izdajatelja/For Editor

Matevž Čelik

Ljubljana, september/September 2012

Urednica kataloga/Catalogue Managing Editor

Cvetka Požar Urejanje in lektoriranje angleških besedil/Editor, Copy Editor

Jeff Bickert Besedila/Texts

Matevž Čelik, Organisation in Design – Lisanne Fransen Lektoriranje slovenskih besedil/Slovene copy editor

Katja Paladin Prevajanje/Translations

Nataša Velikonja Celostna grafična podoba BIO 23/BIO 23 Visual Identity

Kabinet 01, Ljubljana oblikovanje kataloga/catalogue design

Kabinet 01, Ljubljana

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.05:62(100)"20"(083.824) BIENALE oblikovanja (23 ; 2012 ; Ljubljana) Razmerja v oblikovanju = Design relations / 23. bienale oblikovanja = 23rd Biennial of Design ; [besedila Matevž Čelik, Lisanne Fransen ; urednica kataloga Cvetka Požar ; prevajanje Nataša Velikonja ; fotografije razstavljavci]. - Ljubljana : Muzej za arhitekturo in oblikovanje = The Museum of Architecture and Design, 2012 ISBN 978-961-6669-21-4 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Požar, Cvetka 263116544


Zahvale/ Acknowledgments

Program MAO podpira/THE PROGRAMME OF THE MUSEUM IS SUPPORTED BY

Glavni pokrovitelji/Main sponsors

Glavni medijski pokrovitelji/Main media sponsors

Pokrovitelji/sponsors

Medijski pokrovitelji/media sponsors

Mednarodni medijski pokrovitelji/International media sponsors

Partnerji in podporniki/Partners and Supporters


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Lestenec AIS, oblikovanje Julija Zornik Strle za Svetila Strle & Steklarno Rogaška. STEKLARNA ROGAŠKA d.d., Ulica talcev 1, 3250 Rogaška Slatina

Ujeli smo jo. Samo za vas smo v kristalu ujeli svetlobo. In izdelali zgolj to, kar se mora videti. Objekt, ki srka vaš pogled ter si goreče želi igre z vašimi čuti. Kristalni lestenec je objekt z osebnostjo. In v kristalu ujeta svetloba je čista energija za vašo dušo in ambientalno ravnovesje med funkcionalnostjo in estetiko.

www.steklarna-rogaska.si


Vélam/Amiens

VélO2/Cergy-Pontoise

Gijón-Bici/Gijón

VéloCité/Besançon

CityCycle/Brisbane

Eco-bici/Cordoue

Cristolib/Créteil

Styr & Ställ/Göteborg

Bicikelj/Ljubljana

Vélocité/Mulhouse

VélOstan’lib/Nancy

Vel’oh!/Luxembourg

Villo!/Bruxelles

Dublinbikes/Dublin

Vélo’v/Lyon

Le vélo/Marseille

Bicloo/Nantes

Vélib’/Paris

Velcom/Plaine Commune

Cy’clic/Rouen

TusBic/Santander

Sevici/Séville

VélôToulouse/Toulouse

Cyclocity/To yama

Valenbisi/Valence

City Bike/Vienne

Naša kolesa vsak dan desetkrat obkrožijo svet

*

Po zaslugi sistema Cyclocity vse več mest svojim prebivalcem nudi storitev za lažjo mobilnost. Naš sistem samopostrežne izposoje koles je tako dostopen kar največjemu številu ljudi, saj se ponaša z ekskluzivnim elektronskim plačilnim sistemom, optimalno oblikovano mrežo postaj, nizkimi cenami in največjo mogočo mobilnostjo. Povečuje intermodalnost in se izvrstno vključuje v sistem javnega prevoza vsakega mesta in pomembno prispeva k varovanju okolja. S sistemom Cyclocity ostaja družba JCDecaux, vodilna družba v svetu na področju samopostrežne izposoje koles, zvesta svojim temeljnim vrednotam: inovativnosti, kakovosti, dizajnu in trajnostnemu razvoju. V Sloveniji je partner skupine JCDecaux podjetje Europlakat, ki je v Ljubljani uspešno izvedlo projekt BicikeLJ. Sistem se po enem letu obratovanja lahko pohvali z več kot 30.000 registriranimi uporabniki in več kot pol milijona izposoj, kar Ljubljano glede na število prebivalcev uvršča v sam evropski vrh. * pot okrog sveta = 44.250 km

www.bicikelj.si www.jcdecaux.com www.europlakat.si


I Z B O R

N A J B O L J Š I H

Pomlad arabskih narodov Pomlad arabskih Potovanje v narodov srce Evrope I Z B O R

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I Z

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Revija za sodoben življenjski slog Revija o oblikovanju, ki poskrbi za dobro počutje. Revija za sodobne bivalne prostore. 8 krat na leto, bivanje, arhitektura, mediji in mobilnost, v kioskih za 3 evre.

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Visoko gledišče Kako je lepo postalo tisto, kar nam ni všeč.

Koreograf in umetniški vodja Edward Clug na Mangartu širi poglede.


Design is easy. all you Do is stare at the screen until Drops of blooD form on your foreheaD. by RobeRt L. PeteRs

visual communications www.kabinet01.net, info@kabinet01.net


V srcu stare LjubLjane Vander Urbani Resort, prvi član skupine Design Hotels v Sloveniji

Foto: Miran Kambič

Vander utripa s srcem stare Ljubljane. Tukaj staro in novo sobivata v strastnem objemu. 16 vrhunsko opremljenih sob za fasadami starih mestnih hiš, sodobna kulinarika s pridihom tradicije, regionalne specialitete s ščepcem svetovljanskega navdiha. Romanca v dvoje, družabni dogodki ali poslovna srečanja, za vse in vsakogar se najde kotiček v Vandru. Dobrodošli.

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MESEC OBLIKOVANJA 2012 PROGRAM: DESIGN EXPO 18.–19. oktober, 10.00–17.00 Gospodarsko razstavišče, Ljubljana 

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Konferenca VKLJUČENO OBLIKOVANJE: SCENARIJI ZA PRIHODNOST IN FINSKA IZKUŠNJA 18. oktober, 10.00–16.00 Gospodarsko razstavišče, Ljubljana

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Konferenca PREHRANA IN ZDRAVJE: SCENARIJI PRIHODNOSTI ZDAJ 19. oktober, 10.00–16.00 Gospodarsko razstavišče, Ljubljana

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ODER 180° 18.–19. oktober, 10.00–16.00 Gospodarsko razstavišče, Ljubljana

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OBLIKOVALSKA OKUŠEVALNICA 18. oktober, 19.00 Gospodarsko razstavišče, Ljubljana

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RASTLINJAK MODE 19. oktober, 20.00 Gospodarsko razstavišče, Ljubljana Foto: arhiv NASA

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DIZAJN V MESTU 18. oktober – 18. november Različne lokacije v središču Ljubljane

Prijave: 01 431 22 22 / www.mesecoblikovanja.com

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18. oktober – 18. november www.mesecoblikovanja.com

Zavod Big +386 1 431 22 22 info@zavodbig.si www.zavodbig.com


9789616669214


23rd Biennial of Design: Design Relations