Catalog BIO19 (PDF file, 10Mb)

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Catalog BIO19 (PDF file, 10Mb)

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CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana

745/749(100)”20”(064)

658.512.2(100)”20”(064)

BIENALE industrijskega oblikovanja (19 ; 2004 ; Ljubljana)

Katalog razstave = Exhibition catalogue / 19. bienale

industrijskega oblikovanja = 19th Biennial of Industrial Design,

Ljubljana, 15. 9.-15. 10. 2004 ; [urednika Cvetka Požar, Matija

Murko ; besedila Anton Rop ... [et al.] ; prevodi Irena Benedik,

Barbara Strnad in Amidas ; fotografije razstavljalci]. - Ljubljana

: Gospodarska zbornica Slovenije, 2004

ISBN 961-6226-69-X

1. Požar, Cvetka

215197952

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19. BIENALE INDUSTRIJSKEGA OBLIKOVANJA

19 th BIENNIAL OF INDUSTRIAL DESIGN

Ljubljana, 15. 9. _ 15. 10. 2004

Arhitekturni muzej Ljubljana, Grad Fužine / Architectural Museum Ljubljana, the Fužine Castle

Pot na Fužine 2, 1000 Ljubljana

www.bio.si

KATALOG RAZSTAVE

EXHIBITION CATALOGUE

Založila / Published by

Gospodarska zbornica Slovenije / Chamber of Commerce and Industry of Slovenia

Izdal / Edited by

Arhitekturni muzej Ljubljana, Sekretariat BIO

Za izdajatelja / For Editor

Dr. Peter KreËiË

Sekretarka BIO / BIO Secretary General

©pela ©ubic

Strokovna tajnica / Secretary

Barbara Strnad

Urednika kataloga / Catalogue Editors

Cvetka Požar, Matija Murko

Besedila / Texts

Anton Rop, Franjo Bobinac, Stane Bernik, ©pela ©ubic

Prevodi / Translations

Irena Benedik, Barbara Strnad in / and Amidas d.o.o., Ljubljana

Celostna grafi Ëna podoba BIO 19 / BIO 19 th Visual Identity

Arsenal d.o.o., Ljubljana: Jani BavËer

Oblikovanje kataloga / Catalogue Layout

Arsenal d.o.o., Ljubljana: AD Jani BavËer, D Grega Vovk

Fotografi je / Photos

Razstavljalci / Exhibitors

Priprava tiska / Printing Preparation

Arsenal d.o.o, Ljubljana

Tisk / Printed by

Tiskarna SimšiË, Ljubljana

©tevilo izvodov / Number of Copies

1000

Ljubljana, september 2004 / September 2004

Za tiskovne napake odgovarja izdajatelj, za resniËnost podatkov o razstavkih pa razstavljalci. / The publisher is responsible for the printing errors and the

exhibitors for the correct data on exhibits.

Nekateri podatki, ki so nam jih posredovali prijavitelji, zlasti o izdelovalcih oziroma naroËnikih, so nepopolni. Kar smo mogli, smo popravili oziroma dopolnili,

za druge pomanjkljivosti se opraviËujemo. / Some data obtained from exhibitors about producers and clients are incomplete. We apologise for other

imperfections.

Postavitev razstave / Exhibition Layout

Maja TasiË Demšar

Sodelavci / Assistants

Saška Pušnar, Iztok Sotlar

TehniËna podpora / Techical Support

Samo Gorjup GR IŽENIRING d.o.o, Ljubljana

Koordinacija spremljevalnih prireditev in njihove predstavitve v katalogu / Accompanying events coordination and their presentation in the catalogue

Anja Zorko

Odnosi z javnostmi / Public Relations

Anja Zorko

Zlato medaljo je oblikoval Jože Brumen ob BIO 1 leta 1964, podstavek zanjo pa Vladimir Pezdirc leta 1998 / BIO gold medal was designed

by Jože Brumen at BIO 1 in 1964, medal holder was designed by Vladimir Pezdirc, 1998.

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KAZALO

CONTENTS

Pokrovitelji, zahvale / Sponsors, Acknowledgments

Anton Rop, Naložba v uspeh / Investment in Success

Franjo Bobinac, Dobro oblikovanje v vse pore æivljenja / Good Design in Everyday Life

Stane Bernik, BIO v prerezu πtiridesetih let / BIO Across Forty Years

©pela ©ubic, Design, dizajn, oblikovanje / Design, “dizajn” or “oblikovanje”

Prireditveni odbor, Izvršilni odbor / BIO Organizing Committee, BIO Executive Board

»lani mednarodne žirije, Izbor razstavkov so opravili / Members of the International Jury, Selection of Exhibits was performed by

Oblikovalci, sodelavci in mentorji / Designers, Cooperators and Tutors

Proizvajalci, tiskarji, naroËniki in šole / Producers, Printers, Clients and Schools

Iz pravilnika BIO / From BIO 19 Regulations

A Proizvodi / Products

B Informacijski funkcionalni sistemi, celostne podobe / Information Functional Systems, Corporate Identity Programmes

C Oblikovalske zasnove / Design Projects

Spremljevalne prireditve / Accompanying Events

8

9

10

11, 13

16

18

19

20

22

24, 25

27

107

137

183

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GLAVNI POKROVITELJI BIO

BIO GENERAL SPONSORS

Gorenje d.d., Velenje

Riko d.o.o., Ljubljana

Trimo d.d., Trebnje

Glavni medijski pokrovitelj / General Media Sponsor

RTV SLOVENIJA

Glavni medijski partner / General Media Partner

GV revije d.o.o., Ljubljana

Medijski partner / Media Partner

Arhiteks d.o.o., Brežice, Založništvo revije Oris

Pokrovitelji / Sponsors

Revoz d.d., Novo mesto

Alpina d.d., Æiri

Arsenal d.o.o., Ljubljana

Catering Vivo d.o.o., pod blagovno znamko Maestro catering, Ljubljana

Tam - Tam d.o.o., Ljubljana

Ptujska klet - Vinarstvo d.o.o., Ptuj

Pomurske mlekarne d.d., Murska Sobota

Žito d.d., Ljubljana

Evrosad d.o.o., Krško

Ljubljanske mlekarne d.d., Ljubljana

Srednja šola za gostinstvo in turizem, Ljubljana

Papirnica VevËe d.o.o., Ljubljana

Zahvaljujemo se Ministrstvu za gospodarstvo, Ministrstvu za kulturo, Ministrstvu za šolstvo, znanost in šport, Gospodarski zbornici Slovenije,

Veleposlaništvu ©vedske v Ljubljani in švedskemu Zunanjemu ministrstvu in Mestu Ljubljana, da so nam omogoËili izvedbo BIO 19. / We are grateful to the

Ministry of the Economy, Ministry of Culture, Ministry of Education, Science and Sport, the Chamber of Commerce and Industry of Slovenia, the Ambassy of

Sweden and the Swedish Ministry of Foreign Affairs and the Ljubljana City for having enabled the realization of BIO 19.

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NALOŽBA V USPEH

Slovenija je uspešno izvedla tranzicijo in vkljuËitev v Evropsko unijo. Ob zmanjševanju zaostanka na gospodarskem podroËju je uspela ohraniti osnovna

socialna in okoljska ravnovesja ter kakovost življenja. Sedaj prihajamo v drugo obdobje, obdobje globalne ekonomije in polnopravnega Ëlanstva v Evropski

uniji, ko bo potrebno še naprej združevati razvojne ambicije z naËelom trajnosti. Te cilje je mogoËe doseËi le s spodbujanjem konkurenËnosti, prilagodljivosti

in inovativnosti celotne družbe. Temeljni razvojni cilj Slovenije je zato v desetih letih preseËi povpreËno raven razvitosti Evropske unije in se prebiti v krog

najuspešnejših evropskih držav.

PrepriËan sem, da v Sloveniji obstoji konsenz, med politiko, gospodarstvom in civilno družbo, da hoËemo postati ena najuspešnejših držav Evropske unije,

ki bo svojo rast gradila predvsem na inovativnosti, izdelkih in storitvah z veËjo dodano vrednostjo, ob hkratnem razvijanju konkurenËnega poslovnega okolja

in skladnega regionalnega razvoja.

Podatki o trenutni konkurenËnosti, kažejo na velika izboljšanja v zadnjih nekaj letih, vendar kljub tem pozitivnim premikom še vedno ugotavljamo, da je

povpreËna dodana vrednost slovenskega gospodarstva nižja od najuspešnejših evropskih držav. Prav tako je sorazmerno nizek delež visoko tehnološke

industrije v strukturi gospodarstva.

Po drugi strani je Slovenija izjemno uspešna na podroËju srednje tehnološko zahtevnih tehnologij. Na tem podroËju je na globalnem trgu prisotna tudi

najveËja konkurenca, ki je pripeljala zahteve po kakovosti in tehnološki izpopolnjenost izdelkov do tako visoke stopnje, da je postalo industrijsko oblikovanje

izdelka eno izmed kljuËnih konkurenËnih orodij podjetij.

Naložba v industrijsko oblikovanje pomeni za podjetje ustvarjanje nove vrednosti, prav tako kot tudi nove tehnologije in znanja, ki jih podjetja vgradijo v svoje

proizvode. Povezani predstavljajo konkurenËno prednost izdelka, ki se potrdi na trgu s strani kupcev. Industrijsko oblikovanje tako združuje uporabnost

proizvoda (ergonomija, funkcionalnost ter uporabniku prijazen izdelek) in estetiko (upoštevanje tržnih trendov, primernih proporcev, itd. ). Ustrezno oblikovan

izdelek zadovoljuje želje in potrebe uporabnika in podjetja, ker se podjetju veËa prepoznavnost in ugled, hkrati pa mu pomaga ustvarjati nove trge in

prispeva k rasti prometa in dodane vrednosti. Oblikovalski proces se priËne takoj na zaËetku razvoja novih izdelkov, že v stopnji predhodne analize novega

izdelka, proces pa se zakljuËi, ko je izdelek predstavljen konËnemu kupcu. Dobro oblikovan izdelek je tako lahko le rezultat kompleksnega procesa razvoja

ideje in njenega prilagajanja zahtevam trga, ki ga izvajajo skupaj inženirji, tržniki, menedžerji in oblikovalci.

V Sloveniji se zavedanje podjetij prav zaradi vedno ostrejše konkurence o pomenu industrijskega oblikovanja dviguje. K temu je v zadnjih desetletjih veliko

pripomogel Bienale industrijskega oblikovanja. So pa potenciali, ki jih ima Slovenija ne tem podroËju še premalo izkorišËeni, kar predstavlja izziv in hkrati

priložnost za veËjo uveljavitev industrijske oblikovalske stroke.

Anton Rop, predsednik vlade

INVESTMENT IN SUCCESS

Slovenia has successfully completed the transition and joined the European Union. Even as we worked to narrow the economic gap, we managed to

preserve a basic social and environmental balance, and maintain our essential quality of life. As we enter the second phase, a period characterized by our

role in the global economy as a full member of the European Union, we need to continue to combine our ambitions for economic growth and our belief in

sustainable development. We can only achieve these objectives by stimulating competitiveness, adaptability and an innovative spirit throughout our society.

Thus, the fundamental objective of Slovenia over the next ten years is to exceed the average level of development in the European Union and join the circle

of most successful European countries.

I am convinced that a consensus exists among all aspects of society - civil, political and economic- for Slovenia to become one of the most successful

European countries by basing its growth on innovation and development of products and services with higher added value, while increasing economic

competitiveness and balanced regional development.

Even though the current level of competitiveness represents a great improvement over the last few years, we are still aware that the average level of added

value of products and services in the Slovenian economy is still lower than in the most successful European countries. We also recognise that the high tech

sector represents only a small part of our economy.

On the other hand, Slovenia is extremely successful in the area of mid level technology. However, competition is most intense in this particular area of the

global market. As a result the demand for quality and technologically sophisticated products is so high that industrial design has become one of the essential

competitive tools that a company controls.

A company’s investment in industrial design thus creates new value in the same way that a company uses and integrates new technologies and know-how

into their products. Taken together, this results in a product with the competitive advantage that a customer appreciates. Industrial design thus integrates

product utility (ergonomics, functionality and user friendliness), and aesthetics (considerations of market trends, ideal proportions, etc.). A suitably designed

product satisfi es the needs of both the customer and company. It adds to the company’s recognition factor and reputation and, at the same time, helps open

new markets, stimulates business and contributes to the growth of added value. The design process starts at an early stage of product development with

preliminary analysis and is completed when the product is presented to the buyer. Therefore, a well designed product can only be the result of a complex

process where engineers, marketers, managers and designers work hand in hand from concept development to satisfying the needs of the market.

Because of increasing competition, companies in Slovenia are becoming ever more conscious of the importance of industrial design. In the last decades,

the Biennial of Industrial Design has contributed greatly to the growth of this awareness. However, Slovenia has not yet fully realized its potentials in this

area. This is a challenge, as well as an opportunity, to further promote industrial design as a professional field.

Anton Rop, Prime Minister

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DOBRO OBLIKOVANJE V VSE PORE ŽIVLJENJA

Ljubljanski Bienale industrijskega oblikovanja je prireditev, ki že od prve polovice šestdesetih let opozarja na pomen te svojevrstne gospodarske in kulturne

discipline. Od leta 1972 deluje pod okriljem Arhitekturnega muzeja Ljubljana in letos že devetnajstiË prikazuje najboljše, kar premorejo najbolj razvite države

sveta na podroËju industrijskega oblikovanja, daje spodbude in koristne informacije domaËemu gospodarstvu ter se zaradi visoko postavljenih meril in

nepristranosti pri podeljevanju nagrad in priznanj uvršËa med najuglednejše prireditve te vrste v Evropi in svetu.

Vse to, hkrati pa tudi dejstvo, da je Gorenje, ki ga vodim, oblikovalsko usmerjeno podjetje in na podroËju oblikovanja že nekaj let ne velja le za sledilca,

ampak sodi s svojo estetiko in inovativnostjo med uvajalce novosti, so razlogi, ki so me vodili, da sem letos prevzel mesto predsednika prireditvenega odbora

BIO.

V tako mednarodno ugledni prireditvi vidim namreË neizkorišËen potencial za prepoznavnost države Slovenije in promocijo njenih raznovrstnih segmentov,

ki so združeni v podroËju industrijskega oblikovanja. BIO je izvrstna priložnost, da slovensko gospodarstvo, še posebej pa industrija z izdelki za množiËno

porabo, v tesnem sodelovanju z Ministrstvom za gospodarstvo, Ministrstvom za šolstvo, znanost in šport ter tradicionalno z Ministrstvom za kulturo,

Mestno obËino Ljubljana in Gospodarsko zbornico Slovenije zavzame do tega podroËja bistveno bolj dejavno razmerje. In z veseljem lahko reËem, da nam

je v jubilejnem, štiridesetem letu uspelo vzbuditi zanimanje tudi pri slovenski vladi, ki je vzela BIO 19 pod svoje okrilje. S tem smo uresniËili dolgoletna

prizadevanja ustvarjalcev, da bi presegli okvire pretežno kulturno obravnavane prireditve in je osnovno poslanstvo te razstave dobrega oblikovanja poseglo

tudi na podroËje vzgoje in kultiviranja našega bivalnega okolja.

Hkrati pa smo s tem na vprašanje, s katerim se sooËa Slovenija danes, slediti toku ali aktivno soustvarjati mednarodno dogajanje, dali jasen odgovor. Naše

gospodarstvo in država bosta uspešna le, Ëe bomo znali uspešno unovËiti našo drugaËnost, naše znanje, talent in ustvarjalnost. PrepriËani smo, da se boste

ob ogledu razstave in listanju priËujoËega kataloga strinjali, da BIO 19 vse to združuje na najvišjem nivoju.

Franjo Bobinac,

predsednik prireditvenega odbora BIO 19

GOOD DESIGN IN EVERYDAY LIFE

The Ljubljana Biennial of Industrial Design is an event that has been attracting attention of public to this unique economic and cultural discipline ever since

the early sixties of the last century. Since 1972 it has been hosted by the Architectural Museum of Ljubljana, and this year it has been trying for the 19 th time

to show what the most developed countries in the world have to show in the field of industrial design. It also attempts to provide motivation and give useful

information to the domestic economy, and because of highly positioned criteria and impartiality in granting awards and honorary titles this venue ranks as

one of the most prominent shows of this kind in Europe and in the world.

All the above - apart from the fact that Gorenje which I am the President and CEO of, is a design oriented company which for the last several years has not

been a mere follower, but with its esthetics and innovation figures as a trend setter in industrial design - are the reasons which led me to accept the function

of hosting the BIO as the Chairman of the Organizing Committee this year.

In such internationally respectable event I see plenty of unemployed potential for the recognition of Slovenia, and for the promotion of its diverse segments,

united under the umbrella of industrial design. BIO is a perfect opportunity for the Slovenian economy, especially the industry of products for general use, in

close association with the Ministry of Economy, Ministry of Education, Science and Sports, and traditionally, with the Ministry of Culture, the City of Ljubljana,

and the Slovenian Chamber of Commerce to take a much more aggressive attitude towards this field. And I am pleased to say that in this jubilant 40 th

year we succeeded to arouse interest of the Slovenian Government which took the BIO 19 under its patronage. With this we have realized the long lasting

endeavors of creators to supersede the limits of what appears to be mostly cultural event, and prove that the basic mission of this exposition of well-designed

products has reached also to the field of education and cultivation of our residential environment.

At the same time we provided clear answer to the question that Slovenia has been facing recently, that is whether to follow the mainstream or take active

part in the co-creation of international happenings. Our economy and our country can be successful only if we are able to cash the chips of our diversity, our

expertise, talent, and creativity. We are confident that after seeing the exposition and shuffling through this catalog you will agree that BIO 19 unifi es all the

above at the fi nest level.

Franjo Bobinac,

President of the BIO 19 Organizing Committee

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BIO V PREREZU ©TIRIDESETIH LET

Soditi o industrijskem oblikovanju in razmišljati o prehojeni poti pri njegovem uveljavljanju je danes kajpak nekaj povsem drugega kot pred štiridesetimi

leti, ko so domaËi oblikovalski pionirji in navdušenci s pripravo prvega mednarodnega Bienala industrijskega oblikovanja (BIO) v Ljubljani zanj postavljali

temelje in mu zakoliËili pot. Ta prizadevanja se še danes kažejo kot progresiven razvoj, ki ima svoj nazoren potek, podoben tako razvijajoËim se državam

kot tistim gospodarsko vseobvladujoËim in prodornejšim, delujoËim v plodnih družbeno-kulturnih in proizvodno-tržnih razmerah, ter tudi tistim, ki so se

morale temu procesu prikljuËevati, kakor so vedele in znale, Ëe so želele zavestno in kritiËno sodelovati v vse nasilnejši in vse obsežnejši globalizaciji, ki se

kaže zdaj kot priložnost zdaj kot grožnja. Gre za zapletene procese, ki so se proti koncu dramatiËnega preteklega stoletja iztekli v danes hkrati priznavano

in napadano samoumevno funkcionalno matrico, skonstruirano prek sodelovanja in povezanosti, a tudi prek donosnosti nadležne osvajalnosti, vsiljivosti,

odvisnosti, izsiljevanja in kajpak novodobnih (genocidnih) vojn. »e oblikovanje res daje konËno podobo Ëlovekovemu materialnemu snovanju, obËevanju in

omiki nasploh, potem je bilo v preteklem izrazito vizualnem stoletju in je še zdaj na zaËetku novega stoletja zgovorno sporoËilo o teh vsebinah, prizadevanjih

in dejanjih. Oblikovanje (skupaj s politiko, gospodarstvom, kulturo in drugimi družbenimi dejavniki) je bilo navzoËe povsod: pri vsesplošnem naprednem

celostnem razvoju življenjskega okolja ter sistemskih in vsakdanjih izdelkov, ki ga uresniËujejo, a tudi pri njegovem ekološkem razkrajanju, izpopolnjevanju

orožja in osvajalnih sredstev, vse do vesoljskih projektov in osvajanj. Z najdrznejšimi programi in tehnologijami se je razvojno plemenitilo in recikliralo v dvig

kakovosti izdelkov in sredstev, ki upravljajo naše vsakdanje življenje.

Oblikovalci, združeni v mednarodnih in nacionalnih strokovnih organizacijah, so skozi celotno preteklo stoletje delovali ustvarjalno in razvojno in se kritiËno

opredeljevali do svoje vloge in pomena v družbi. IzhodišËa so bila postavljena že stoletje prej in modernizirana v zaËetku dvajsetega (Deutscher Werkbund,

Dia, Bauhaus …). V drugi polovici stoletja, ko se je oblikovanje kot sodobna ustvarjalna stroka dodobra vpelo v nacionalne razvojne programe (Britanci

so že leta 1944 ustanovili Svet za oblikovanje - Council of Industrial Design - z nalogo, da med obnovo po koncu druge svetovne vojne pospeši razvoj

oblikovanja; kmalu je v Londonu nastal tudi prvi »design center« kot zgled pospeševalne ustanove za oblikovanje), je bil mednarodni strokovni dialog,

dejavno vzpostavljen že pred vojno, koristen in nujen. Z delovanjem l. 1953 v Parizu ustanovljene mednarodne strokovne organizacije ICSID (International

Council of Societies of Industrial Designers - Mednarodni svet združenj industrijskih oblikovalcev) in l. 1963 v Londonu ustanovljenega sveta ICOGRADA

(International Council of Graphic Design Associations - Mednarodni svet združenj grafiËnih oblikovalcev) ter številnih nacionalnih oblikovalskih organizacij,

ustanov in podjetij se je mednarodni strokovni diskurz izjemno intenziviral. Poglobile so se veËplastne razprave o družbenem pomenu in vlogi oblikovalske

stroke, ustvarila in dopolnjevala se je obËa definicija sodobnega oblikovanja in angažirano se je razpravljalo o filozofiji stroke ter novih teoretiËnih

konceptualnih modelih, s katerimi so veËpomensko problematizirali proizvajalno, marketinško, ergonomsko in okoljsko problematiko. S tem so tudi izraziteje

poudarili etiko stroke, se pravi njeno družbeno odgovornost, in skozi to optiko rekonstruirali družbeni razvoj modernistiËnega oblikovanja.

Slovenija in njeni oblikovalci so se v okviru takratne Jugoslavije in njenega »samoupravnega socializma po meri Ëloveka« kljub netipiËnosti v primerjavi z

zahodnimi družbenopolitiËnimi vzorci in praksami ter kljub težavam in nerazumevanju dejavno vkljuËevali v oblikovalske tokove v svetu. V mednarodnem

okviru so nastopali celo kot pobudniki dogajanja na najvišji ravni, o Ëemer ob zgodnji ustanovitvi Bienala industrijskega oblikovanja v Ljubljani priËa tudi

leta 1966 na Bledu organiziran uspešen in odmeven kongres Icograde (nastopili so P. Bratinga, J. Müller-Brockman, M. Katzumie, B. Fuller, N. Shapiro,

E. Ravnikar, V. Richter idr.). Ëetrt stoletja kasneje, že v Sloveniji, pravzaprav na zaËetku njenega samostojnega življenja, pa še uspešen kongres ICSID

(1992) s pomenljivo temo Na križišËu, ki smo jo svetu napovedali pravzaprav že leta 1968 ob BIO 3; poudarili smo (danes to zveni nemara nekoliko

romantiËno), da se ta mednarodna oblikovalska razstava dogaja »na stiËišËu« evropskih kultur. Našo zlasti v šestdesetih letih zelo izraženo obËutljivost za

razumevanje novih dogajanj v svetu arhitekture in oblikovanja zgodovinsko pojasnjuje odpiranje obeh strok k širšim življenjskim in prostorskim problemom,

torej h kompleksnemu pojmovanju arhitekture, oblikovanja in urbanizma, do katerega je prišlo pod vplivom vsestranskega ustvarjalca in pedagoga Edvarda

Ravnikarja in njegovih mladih zavzetih sodelavcev. O teh premikih govorijo že v zaËetku petdesetih let reformiran študij arhitekture, ustanovitev Društva

arhitektov Slovenije in Društva likovnih umetnikov uporabne umetnosti Slovenije; leta 1951 zaËne izhajati revija Arhitekt, ki pokrije vse »uporabne« likovne

discipline, na samem zaËetku šestdesetih žal samo kratkotrajno zaživi oblikovalski študij (»smer B«) na ljubljanski arhitekturi, ki priskrbi najbolj zagrete

nosilce nadaljnjega razvoja industrijskega in grafiËnega oblikovanja. Ob pojavljajoËi se strokovni publicistiki, odmevnih domaËih in tujih arhitekturnih ter

oblikovalskih razstavah v petdesetih in zgodnjih šestdesetih letih, ki so prebujajoËo se potrošniško javnost pripravljale na podvige in dosežke domaËih

oblikovalcev, se moramo sklicevati tudi na druge oblikovalske izobraževalne akcije in neposredne delovne povezave z industrijo, ki so priËale o navezanosti

in poznavanju mednarodnih, zlasti skandinavskih oblikovalskih izkušenj. To je pripomoglo tudi k uveljavitvi aktualne mednarodne oblikovalske govorice

in prav tako tudi standardov oblikovalske kakovosti, ki so kmalu vsaj v Sloveniji in nekaterih drugih jugoslovanskih središËih, kjer se je osredotoËala

oblikovalska dejavnost, postavili nesporna merila kritiËnega vrednotenja. Da so se stvari, Ëeprav nismo poznali trga zahodnega tipa, premaknile naprej,

je opozorila na primer leta 1969 v reviji Sinteza objavljena predstavitev enodružinske hiše v Sloveniji, kjer smo z znaËilnim izborom uresniËenih arhitektur

opozorili tudi na stanovanjsko opremo. Za tisti Ëas sicer lahko ugotavljamo, da so želje po dobro oblikovanih izdelkih presegale ponudbo na domaËem trgu,

kamor so taki izdelki prihajali iz tovarn in delavnic oblikovalsko naprednejših proizvajalcev, Ëemur lahko kontinuirano sledimo že od razstave Stanovanje za

naše razmere (1956). Vendar je bilo v opremi izbranih hiš kar precej uvoženega, v tistih Ëasih izjemno priljubljenega italijanskega oziroma predvsem iz Italije

pripeljanega mednarodnega pohištvenega dizajna, kar je zgovorno potrjevalo željo kupcev po kakovostnem oblikovanju. Ob tem o opiranju na sodobne

mednarodne oblikovalske izkušnje pri nas ne bi govoril, saj so bile pri marsikaterem proizvajalcu, ne samo v pohištveni industriji, oËitno in prepoznano

dejstvo.

Opis razmer, ki se dotikajo tudi srede šestdesetih let, ko se je sicer presenetljivo, a ne povsem nenadejano, pojavila ljubljanska bienalna razstava

industrijskega oblikovanja - BIO, bežno pojasnjuje vzgibe za njeno spoËetje. Predsednik organizacijskega komiteja, arhitekt Marjan Tepina, v Ëasu

ustanovitve predsednik mestnega sveta Ljubljane, je, potem ko je poudaril »izrazito humanistiËno« razsežnost oblikovanja, v uvodu prvega kataloga zapisal:

»Vsi, ki smo kakorkoli prispevali k temu, da smo lahko 9. oktobra 1964 v Ljubljani odprli prvo razstavo Bienala industrijskega oblikovanja, doslej najveËjo

in prvo periodiËno razstavo te vrste v Jugoslaviji, smo zato prepriËani, da smo opravili dobro in koristno delo za razvoj in napredek naše proizvodnje,

za veËje zadovoljstvo našega delovnega Ëloveka.« Je pa Marijan Gnamuš, prvi sekretar organizacijskega komiteja, v svojem prispevku povzel takratna

pojmovanja o oblikovanju v našem prostoru, ki so dokaj skladna z aktualnimi razmišljanji v mednarodnem oblikovalskem svetu, kot jih je povzela na

primer pri nas dostikrat citirana definicija oblikovanja Tomasa Maldonada, sprejeta v istem Ëasu na seminarju ICSID v Bruggesu! Ko govori o temeljnih

vsebinskih izhodišËih programa BIO, Gnamuš izpostavi »prizadevanja za dvig kvalitete industrijskega oblikovanja in vseh podroËij, ki so povezana z njim«.

To utemelji z besedami: »Mišljen je predvsem razvoj in vpliv, ki ga prinaša industrijsko oblikovanje kot metoda dela v vse faze proizvodnje, v ekonomiËnost,

v strukturalno in funkcionalno bistvo proizvodnje ter v celotno »likovno spremljavo« izdelkov v fazi transporta in prodaje … vse do njegove vkljuËitve v

uporabo. SistematiËno razvijanje industrijskega oblikovanja lahko postopoma zagotovi: veËjo gospodarnost, veËjo vrednost proizvodnje, veËje možnosti

izvoza na zahtevna tržišËa, razvoj lastnega kreativnega dela iz izraza ter veËjo uporabo kvalitetnejših dobrin.« BIO se je od samega zaËetka odprl svetu.

Dobil je podporo takrat vodilnih oblikovalcev, teoretikov in kritikov. V mednarodnem posvetovalnem svetu sreËamo imena S. Bernadotte, M. Black, W.

Crouwel, C. Eams, T. Ferraris, W.D. de Mayo, P. Reilly, H. Vienot, M. Zanuso, M. Kelm, P. Vago idr. V prvih žirijah so sodelovali G. Dorfl es, K. Gestner, Å.

Huldt, T. Maldonado, P. Reilly, J. Solovjev, K. Schwancer, G. Valle … Na domaËi sceni so ga s Ëlanstvom v Ëastnem in organizacijskem komiteju podprli

številni politiki, gospodarstveniki ter seveda vodilna slovenska in jugoslovanska imena iz oblikovalske, arhitekturne in kritiške stroke. Videti je bilo, da je

nastal s soglasjem vseh domaËih oblikovalskih privržencev, a je zaradi nezadostne družbene podpore vnema kmalu upadla in vse je postalo odvisno

od angažiranih in k oblikovanju profesionalno usmerjenih posameznikov. Kljub vsemu pa je mogoËe reËi, da je bil bienale sicer zamišljen predvsem kot

ustanova za uveljavljanje industrijskega oblikovanja ter njegove dejavne in odgovorne vloge v domaËem in jugoslovanskem prostoru. V njem se je Slovenija

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že prestižno uveljavila s kakovostjo in oblikovanjem svojih industrijskih izdelkov za široko uporabo (»roba iz Slovenije«!), ki so prihajali npr. iz Iskre, Stola,

Elana, Toka, Eala (M. Turk), Ëe omenim le nekatere na BIO 1 nagrajene proizvajalce. A veË kot oËitno je bilo tudi spoznanje, da so njegovi prireditelji od

samega zaËetka stremeli k uveljavljanju bienala na mednarodni oblikovalski sceni, kar je dejansko najbolj prispevalo k utrjevanju doma težko pridobljenih

pozicij za oblikovanje. S tem je BIO ambiciozno napovedal svojo vrisanost na svetovni oblikovalski zemljevid in se tam ne glede na oscilacije družbene skrbi

(ponavadi nezadostne in simboliËne) vztrajno in sorazmerno odmevno uveljavljal vse do zdajšnje jubilejne razstavne prireditve. Trdoživost slovenskega

bienala potrjuje tudi Byarsova Enciklopedija oblikovanja (The Design Encyclopedia) iz leta 1994, kjer je bil predstavljen kot edina mednarodna specifi Ëna

periodiËna prireditev industrijskega oblikovanja. BržËas je šlo za samozavest, s katero smo dokazovali, da zmoremo in da je naše avtentiËno prepoznavno

mesto vsekakor v tem širšem evropskem prostoru, kar lahko ob oblikovanju trdimo tudi za takratni arhitekturni nazor in snovanje ter kulturne ustvarjalne

težnje nasploh. To je bilo kajpak v nasprotju z oblastniško ideologijo, je pa vsekakor prepriËljivo odsevalo neprikrito duhovno pripadnost k mednarodnemu

svobodomiselnemu prostoru.

Zlasti dinamiËna šestdeseta leta so to izpriËevala tudi z drugimi dejanji. V svetu se je že dodobra uveljavil ljubljanski mednarodni grafi Ëni bienale

(ustanovljen 1952), 1962 smo zaËeli prirejati odmevne mednarodne kiparske simpozije Forma viva, 1963 sta se združili reviji Arhitekt in Likovna revija

v revijo za likovno kulturo Sinteza, ki je prviË izšla leto kasneje in se v tridesetih letih izhajanja uveljavila kot »vez s svetom«, kot je bilo že ob BIO 2

napovedano v katalogu. Mimogrede povejmo, da je Sinteza oblikovanje in njegovo kompleksno razvejanost obravnavala kot enakovredno likovno disciplino

(to je izhajalo že iz Ravnikarjevega programskega uvodnika) ter z angažiranjem najboljših grafiËnih oblikovalcev tudi s svojo grafiËno podobo sporoËala

prizadevanje za visoko oblikovalsko kakovost. Isto smo si prizadevali doseËi s kakovostnimi celostnimi grafiËnimi podobami sleherne prireditve BIO. Prav

tako je treba poudariti, da Sinteza kritiško ni spregledala nobenega bienala, publicistiËno je sodelovala pri njegovi uveljavitvi doma in v svetu. Prav zato

upraviËeno trdimo, da je ob dokumentarno in slikovno bogatih razstavnih katalogih Sinteza vse do leta 1994, ko je izšla zadnja številka, vsekakor njegov

verodostojen dokument.

Upam, da se bo v bližnji prihodnosti našel kdo, ki se bo kritiËno lotil bienala in objektivno ovrednotil njegovo vlogo in tudi prispevke akterjev, ki so

požrtvovalno in profesionalno to manifestacijo ohranjali pri življenju, saj je družba in gospodarstvo, ki mu je bienale vselej držal zrcalo oblikovalske

uspešnosti in inertnosti, nikoli nista dovolj podprla. Ëetudi je publicistiËna vzburjenost vsaj ob organizaciji bienala vsako drugo leto poskušala z

intenzivnejšim pisanjem in seznanjanjem javnosti doseËi vtis, da ni tako, dejstva govorijo drugaËe (kot se je pomenljivo zapisalo v naslovu »Bio i prošao«

nad Ëlankom, ki je duhovito razglabljal o eni od razstav).

»e bi pisali kroniko bienala industrijskega oblikovanja, bi dobili slikovito pripoved, ki bi zajela precejšnji del zgodovine sodobnega slovenskega

oblikovanja, saj so bili vsi dejavniki njegovega razvoja tako ali drugaËe medsebojno prežeti. Pri tem je treba zlasti poudariti vlogo bienala kot promotorja

njegove razvitosti in ustvarjalne doreËenosti ter kritiËnega merila njegove kakovosti in uspešnosti. Vse to se je dogajalo v mednarodnem kontekstu,

torej verodostojno in razmeroma celovito. S strokovnimi posveti in drugimi vzporednimi prireditvami je BIO spodbujal razvoj in poglobitev industrijskega

oblikovanja ter oblikovanja vidnih sporoËil, ki jih je v svoje programe vkljuËeval v njihovi kompleksno zastavljeni izraznosti celostnih podob in sistemsko

koordiniranih pristopov. Marsikateri domaËi in tuji oblikovalec in proizvajalec si je želel uspeha na tem bienalu. Seznami nagrajencev, med katerimi že

od prve manifestacije sreËujemo številna vodilna svetovna in domaËa oblikovalska imena in podjetja, potrjujejo zgodovinsko vlogo bienala. Udeležbo

je omogoËal le predhodni izbor, bodisi nacionalnih oblikovalskih strokovnih organizacij in ustanov ali nacionalnih žirij, kar je dosledno veljalo tudi za

jugoslovansko in zdaj slovensko gradivo. Biti izbran za udeležbo na razstavi BIO je bilo že odmevno priznanje! Mednarodne žirije so tako ocenjevale

najboljše med izbranimi izdelki in oblikovalskimi zasnovami, ki so bile zaradi idejne in programske osvežitve sËasoma vpeljane kot posebna kategorija.

Omenimo še, da nam je po tretjem bienalu, ko je že kazalo, da je razstava pred svojim koncem in da so jo njeni ustanovitelji zapustili, uspelo prepriËati

tedanje vodilne može mesta Ljubljane in slovenske gospodarske zbornice o nujnosti ohranitve prireditve in njeni neprecenljivi vrednosti za naš kulturni

in gospodarski prostor. Prizadevanja za preživetje bienala so takrat prešla na nekaj mlajših umetnostnih zgodovinarjev, kritiško in raziskovalno zagretih

za oblikovanje in arhitekturo, ki so z angažiranimi oblikovalci prireditev usmerili v prihodnost. V to epizodo iz sedemdesetih let sodi tudi poskus, da bi

izmenjalno prirejali domaËe in mednarodne oblikovalske razstave (BIO 4, 6 in 8 so bili jugoslovanski). Miha Košak, predsednik prireditvenega odbora in

predsednik skupšËine mesta Ljubljane, je leta 1971 v promotivno posebno skrbno zasnovanem katalogu zapisal: »»etrti bienale industrijskega oblikovanja je

obenem tudi prvi jugoslovanski BIO - nova oblika prireditve, ki je še vedno dovolj mlada, da je dovzetna za vse spremembe in izboljšave, ki lahko kakorkoli

prispevajo k njenemu namenu: razširjanju spoznanja, da postaja industrijsko oblikovanje Ëedalje bolj jasno izražena potreba sodobnega porabnika, s tem pa

po logiki marketinga tudi same industrije.«

Konceptualno je bil BIO zamišljen predvsem kot primerjalno mednarodno »tekmovanje« industrijskega oblikovanja, zato so ob drugi razstavi prireditelji v

pravilniku postavili pregledno in tipološko utemeljeno prezentacijsko sistematiko razstavnega gradiva, ki je bila primeren okvir za tako kompleksno zastavljeno

vrednotenje. Z manjšimi spremembami in dopolnitvami, tudi po kasnejših razmišljanjih in napetih razpravah o vsebinski prenovi razstave, so se izhodišËa

tega ustroja ohranila še danes, kar potrjuje njegovo pragmatiËnost in utemeljenost. Uporabniško je bil vzporedno ovrednoten tudi v nekaterih podiplomskih

študijah, narejenih na Oddelku za oblikovanje Akademije za likovno umetnost v Ljubljani. V strukturnem pogledu, ki je BIO vselej predstavljal kot postavitveno

sklenjen razstavni vizualni organizem, smo pri vpeljevanju vidnih sporoËil poudarjali predvsem vlogo sistemskega in vizualno koordiniranega oblikovanja.

Vrednotili smo zlasti zasnovno dognanost celostnih (grafiËnih) podob. To je bilo nujno, saj smo leta 1973 v Mariboru spodbudili nastanek Bienala grafi Ënega

oblikovanja (BIGO) kot sorodne razstave, ki naj bi sistematiËno pokrila podroËje grafiËnega oblikovanja. Vendar je bila že po prvi prireditvi ta zamisel

pozabljena, pobudo pa so prevzeli v Zagrebu z ZGRAF-om ‘75 (ZagrebaËka izložba grafiËkog dizajna), ki ga poskušajo še danes vzdrževati kot mednarodno

razstavo. Kot nadaljevalec teh pobud v slovenskem prostoru se je letos pojavil Bienale vidnih sporoËil Slovenije, ki ga je priredila Fundacija Brumen.

Kompetentne žirije so v dvajsetih letih dodelile priznanja številnim uglednim in perspektivnim tujim in domaËim oblikovalcem (na to je ob jubilejnem desetem

bienalu opozorila tudi revija Sinteza z objavljeno zbrano dokumentacijo). Veliko tujih proizvajalcev, ki so prejeli oblikovalska priznanja za svoje izdelke ali sploh

sodelovali v selekcijah BIO, je to dejstvo uporabljalo kot uspešen gradnik svoje marketinške strategije, neposredno predvsem v promocijske namene, tako

v oglaševanju kot v lastnih razvojnih predstavitvah. Veliko nagrajenih izdelkov, tudi nekaj slovenskih, je pristalo v oblikovalskih zbirkah uglednih muzejskih

ustanov, na primer v Muzeju moderne umetnosti v New Yorku, ali pa so bili v kritiških zgodovinskih pregledih svetovne in domaËe oblikovalske ustvarjalnosti

ob koncu stoletja predstavljeni kot ikone stoletnega oblikovalskega razvoja. Izredna selektivnost ter resno in odgovorno ocenjevanje mednarodnih žirij nas

prepriËata, da so se visoki kriteriji, zasnovani pri nas že v šestdesetih letih, tudi zaradi bienalov industrijskega oblikovanja in razstav, kot je bila na primer

zgodovinska razstava Slovenska likovna umetnost 1945-1978 z moËnim oblikovalskim oddelkom, dodobra vrasli v naš prostor kot oblikovalske stalnice. Zato

lahko trdimo, da so prireditve BIO še danes ohranile svojo izvirno vlogo, saj si vztrajno prizadevajo uveljavljati visoka, mednarodno preverjena oblikovalska

merila in z izbranimi izdelki iz sveta odsevati njegovo aktualno kvalitativno podobo. Zdi se, da je za nadaljnji razvoj bienala pomembna zaostritev ravno na tej

toËki. Zastavlja se namreË vprašanje, kako zagotoviti kar se da kakovostne izbore aktualnega oblikovanja v okviru nacionalnih selekcij, kar je seveda povezano

z delom in možnostmi strokovnih ustanov in organizacij držav udeleženk, s katerimi prireditelji sodelujejo!

Pri tem prav gotovo ni mogoËe sprejemati kompromisov, ki bi šli na rovaš kakovostnih smotrov bienala. Obstajajo kajpak tudi drugaËne organizacijske oblike,

programsko prožnejše in bolj odprte do oblikovalcev in izdelovalcev. Ena od takšnih možnosti je, da bi selekcije opravljali kustosi, se pravi dobri poznavalci

kakovostne oblikovalske produkcije, tuji ali domaËi! Vendar bi za uresniËitev takih zamisli morali pridobiti veË sredstev, veË državne podpore in smotrnega

sodelovanja zainteresiranega gospodarstva, ki bi moralo takšne manifestacije zajeti v svoje razvojne strategije in naËrte vstopanja na mednarodne trge.

Toda bati se je, da za takšne sodobne naËine ni dovolj podopore ravno pri teh dejavnikih, kar dokazuje tudi prisloviËna materialna negotovost bienala.

Da je mogoËe pripravljati kakovostno visoko zastavljene razstave in se držati utemeljenih kritiških meril ob ustvarjalni uspešnosti uveljavljenih slovenskih

oblikovalcev oËitno dokazuje tudi že dvajsetletno uspešno izobraževalno delovanje oblikovalskega oddelka na Akademiji za likovno umetnost in vkljuËenost

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njegovih diplomantov v oblikovalske procese, kar se je potrdilo tudi na nekaj zadnjih razstavah BIO. O tem nas prepriËuje prepoznavna udeležba

diplomantov in priznanja, ki so jih prejeli za svoje oblikovalske izdelke in zamisli. In ne pozabimo, na Slovenskem se pojavlja Ëedalje veË najrazliËnejših

(višjih in visokih) oblikovalskih šol, ki skupaj s številnimi neizobraženimi samooklicanimi oblikovalci (gre za skomercializirano oblikovanje »designa«!)

na videz sicer razpirajo oblikovalsko fronto, kar smo si vedno želeli. Toda prav razstave BIO, ki so ob svojem siceršnjem poslanstvu hkrati tudi eden

katalizatorjev tega razvoja, nas s svojo aktualno sporoËilnostjo o najboljših mednarodnih dosežkih in njihovih kritiËnih odsevih morajo postaviti na realna tla

in pri vrednotenju oblikovalskega vsakdana razgnati meglice, ki jih ustvarjajo udejanjene populistiËne iluzije, da smo vsi oblikovalci.

Stane Bernik

BIO ACROSS FORTY YEARS

Judging industrial design and thinking about the path it has followed in becoming established is today of course something quite different from forty

years ago, when local design pioneers and enthusiasts set up the foundations for it and mapped out its path with the organisation of the fi rst international

Biennial of Industrial Design (BIO) in Ljubljana. Those efforts still stand today as a progressive development, with its own clear progress, similar both

to the developing countries and to those that are economically omnipotent and more thrusting, operating in fruitful socio-cultural and market-production

conditions, and also to those that have had to join this process as they knew how and were able, if they wished consciously and critically to participate

in the increasingly aggressive and more extensive globalisation, which appears at one moment as an opportunity and the next as a threat. These are

complicated processes which towards the end of the dramatic past century unwound into what is today at the same time a recognised and attacked,

self-evident functional matrix, constructed through cooperation and cohesion, but also through the harassing, acquisitive profit motive, intrusiveness,

dependence, extortion and of course modern-era (genocidal) wars. If design does indeed provide the final image for human material creation, relations

and culture in general, then it was in the previous outstandingly visual century and is still now at the beginning of the new century an eloquent message

about all this substance, efforts and actions. Design (together with politics, economics, culture and other social factors) was present everywhere: in the

universal progressive overall development of the living environment and systemic and everyday products that make it real, and also in decomposition, in the

perfection of weapons and means of conquering, and right up to projects and conquests in space. Through extremely bold programmes and technologies,

design enriched itself developmentally and recycled itself to raise the quality of products and means that manage our everyday lives.

Throughout the previous century, brought together in international and national professional organisations, designers worked creatively and

developmentally, and were able to set out their position objectively regarding their role and significance in society. The principles were already established

a century previously, and modernised at the beginning of the 20 th (Deutscher Werkbund, Dia, Bauhaus and so forth). In the second half of the century,

when design as a modern creative profession was incorporated into national development programmes (in 1944 the British had already founded the

Council of Industrial Design, with the task of promoting the development of design during reconstruction work after the war; and the fi rst “design centre”

also soon emerged in London, as the model of a design promotion institution), international professional dialogue, actually already established before the

war, was useful and essential. Through the activities of ICSID (International Council of Societies of Industrial Designers), the international professional

organisation set up in Paris in 1953, ICOGRADA (International Council of Graphic Design Associations) set up in London in 1963 and numerous national

design organisations, institutions and companies, international professional discourse became extremely intensive. Multifaceted discussion of the social

signifi cance and role of the design profession was enhanced, a general definition of modern design was created and fleshed out, and there was committed

debate on the philosophy of the profession and on the new theoretical and conceptual models applied in analysing the range of signifi cance in production,

marketing, ergonomic and environmental issues. In this way a more explicit emphasis was given to the ethics of the profession, in other words its social

responsibility, and through this angle of vision the social development of modernist design was reconstructed.

Slovenia and its designers, as part of the then Yugoslavia and its “self-management socialism on a human scale”, actively joined the design currents in the

world, despite its atypical nature compared to the Western socio-political patterns and practices, and despite difficulties and lack of understanding. In the

international context they even appeared as initiators of events at the highest level, which was evidenced not just by the early founding of the Biennial of

Industrial Design in Ljubljana but also by the successful and significant ICOGRADA congress held in 1966 in Bled (with the participation of P. Bratinga, J.

Müller-Brockman, M. Katzumie, B. Fuller, N. Shapiro, E. Ravnikar, V. Richter and others). A quarter of a century later, in what was now just Slovenia - in

fact at the beginning of its independent life - came the successful ICSID congress (1992) with its significant theme of At the Crossroads, which in fact we

announced to the world back in 1968 at BIO 3; we stressed (today it does sound a little romantic) that this international design exhibition was taking place

“at the meeting point” of European cultures. Our strongly expressed sensitivity to understanding new development in the world of architecture and design,

especially in the sixties, is explained historically by the opening up of both professions to broader living and spatial issues, in other words to a complex

conceptualisation of architecture, design and urban planning, something that took place under the influence of the universally accomplished creator and

teacher Edvard Ravnikar and his young, enthusiastic associates. These shifts are illustrated by the reformed study of architecture at the beginning of the

fi fties, the founding of the Society of Architects of Slovenia and the Society of Fine Artists of Applied Art of Slovenia; 1951 sees the start of publication

of the magazine Arhitekt, which covers all “applied” art disciplines, and at the very beginning of the sixties, sadly for just a short time, we see design

study (“curriculum B”) at Ljubljana’s Architecture Faculty, which produces the most fired-up standard bearers for the further development of industrial and

graphic design. Alongside emerging professional journalism, significant domestic and foreign architectural and design exhibitions in the fi fties and early

sixties, which prepared the burgeoning consumer circles for the exploits and achievements of local designers, we should also cite other actions in design

education and direct working links with industry, which testified to the links and familiarity with international, especially Scandinavian, design experiences.

This also contributed to the establishing of a current international design idiom, and equally of design quality standards, which at least in Slovenia and

certain other Yugoslav centres where design activities were concentrated, soon established undisputed criteria of critical appraisal. The fact that things had

moved ahead, although we had no market of the Western type, was indicated for example in a 1969 edition of the magazine Sinteza, which published a

presentation of single family houses in Slovenia, where the typical selection of architectural designs that had been carried out served also to draw attention

to the interior furnishings. For that period we may state that the desires for well-designed products exceeded supply on the domestic market, on which such

products arrived from the factories and workshops of the more progressive manufacturers, which we may trace consistently right from the 1956 exhibition

Stanovanje za naše razmere (Apartment for our circumstances). Yet in the furnishing of the selected houses there was much that was imported, at that

time the extremely popular Italian or international furniture design brought in primarily from Italy, which was telling confirmation of the desire of buyers for

quality design. Here I would not dwell on the reliance on modern international design experiences in Slovenia, since for many manufacturers, not just in the

furniture industry, this was an obvious and recognised fact.

A description of the circumstances that relate to the mid-sixties, when there was the surprising, but not altogether unexpected, appearance of the Ljubljana

biennial exhibition of industrial design, the BIO, offers a cursory explanation of the impulses that gave rise to it. After stressing the “expressly humanist”

dimension of design, the president of the organising committee, architect Marjan Tepina, and at the time of its founding the president of Ljubljana city

council, wrote in the introduction to the first catalogue: “All of us who contributed in any way to the opening of the first Biennial of Industrial Design exhibition

13


in Ljubljana on 9 October 1964, thus far the biggest and first periodical exhibition of its kind in Yugoslavia, are therefore convinced that we have done good

and useful work for the development and advancement of our production, and for the greater satisfaction of our working man”. Meanwhile Marijan Gnamuš,

fi rst secretary of the organising committee, summarised in his contribution the contemporary conceptualisations of design in Slovenia, which largely accord

with the current thinking in the international design world, as was summarised for example in Tomas Maldonado’s definition of design, which is frequently

quoted here, and which was adopted at the same time at the ICSID seminar in Bruges! When he speaks of the fundamental substantive principles of the

BIO programme, Gnamuš highlights the “efforts to raise the quality of industrial design and of all fields that are related to it”. He backs this up with the

words: “it is conceived primarily as the development and influence brought by industrial design as a method of work into all phases of production, into the

economies made, the structural and functional essence of production and into the entire ‘artistic accompaniment’ to products in the phase of transport and

sale … right up to their actual use. The systematic development of industrial design can gradually ensure: greater economies, greater value of production,

greater possibilities for export to demanding markets, the development of our own creative work from expression and greater use of higher quality assets.”

From the very beginning, BIO opened up to the world. It received the support of the then leading designers, theorists and critics. In the international advisory

council we encounter the names S. Bernadotte, M. Black, W. Crouwel, C. Eams, T. Ferraris, W.D. de Mayo, P. Reilly, H. Vienot, M. Zanuso, M. Kelm, P.

Vago and others. The first juries involved the participation of G. Dorfles, K. Gestner, Å. Huldt, T. Maldonado, P. Reilly, J. Solovjev, K. Schwancer, G. Valle

and more. On the local scene, through membership in the honorary and organising committee it enjoyed the support of numerous politicians, business

leaders and of course the leading Slovenian and Yugoslav names from the design, architecture and critical professions. It had clearly emerged with the

approval of all the local supporters of design, yet owing to insufficient public (state) support the enthusiasm soon waned and everything became dependent

on committed individuals orientated professionally towards design. Nevertheless it can be said that the biennial was conceived primarily as an institution

for establishing industrial design and its active and responsible role in the domestic and Yugoslav arena. In this, Slovenia had already earned prestige for

itself through the quality and design of its industrial products for broad consumption (“goods from Slovenia!”), which came for example from Iskra, Stol, Elan,

Tok, and Eal (M. Turk), to name just some of the manufacturers awarded at BIO 1. Yet more than obvious, too, was the awareness that from the outset its

organisers were focused on establishing the biennial on the international design scene, which in fact contributed most to the affirmation of the hard-won

position of design at home. In this way, BIO ambitiously heralded its placement on the world design map, and there, irrespective of the oscillation of social

concern (usually inadequate and merely token) it persistently and with significant acknowledgement established its position right up to the present jubilee

exhibition event. The tenacity of the Slovenian biennial is also confirmed by Byars’ Design Encyclopedia of 1994, which presents it as the only international

specifi c periodic event for industrial design. This probably involved a self-confidence, with which we demonstrated that we were capable and that our

authentic and recognisable place was of course in this wider European space, which alongside design we may also confirm for contemporary architectural

principles and designing, and for cultural and creative trends in general. This was of course counter to the ideology of the authorities, yet it nevertheless

radiated a convincing and unconcealed spiritual affiliation to the international arena of free thinking.

The dynamic sixties in particular bore witness to all this in other actions, too. The Ljubljana internationl graphics biennial (started in 1952) was already fairly

well established in the world, and in 1962 we started holding the well-received international sculpture symposium Forma viva, and 1963 saw the merging

of the magazines Arhitekt and Likovna revija (Art Magazine) into the art culture magazine Sinteza, which first came out a year later and in 30 years of

publication became established as a “link with the world”, as was declared in the catalogue of BIO 2. We should mention in passing that Sinteza treated

design and its complex ramifications as an artistic discipline of equal value (this derived from Ravnikar’s programme introduction), and by engaging the

best graphic designers it also communicated its efforts towards high design quality through its graphic image. We strove to achieve the same thing through

a high quality corporate image for every BIO event. Equally, it should be emphasised that Sinteza paid critical attention to every single biennial, and its

journalism served in helping to establish it both at home and around the world. Precisely for this reason we may assert with justification that alongside the

documentary and pictorially rich exhibition catalogues, right up until 1994, when the final issue of Sinteza was produced, it represented in every way a

credible documentation of the biennial.

I hope that in the near future someone will emerge to deal critically with the biennial and to evaluate objectively its role and also the contributions of those

key players that unstintingly and professionally kept this event alive, since society and the economy, to which the biennial always held up a mirror of design

success and inertia, never gave it sufficient support. Although the journalistic excitement, at least when the biennial was being held every other year,

attempted through more intensive writing and familiarisation of the public to achieve the impression that this was not so, the facts speak otherwise (as was

noted signifi cantly in the headline “Bio i prošao” [trans. lit. “It was and it passed”; the abbreviation bio also means “it was” in Serbo-Croatian] that was set

above an article that expanded humorously on one of the exhibitions).

If we were to write a chronicle of the biennial of industrial design, we would obtain a colourful tale that would encompass a major portion of the history of

modern Slovenian design, since all the factors of its development had in one way or another permeated each other. Here we should stress in particular the

role of the biennial as a promoter of its developmental level and creative maturity, as well as of the critical criteria of its quality and success. All this took

place in an international context, in other words credibly and quite comprehensively. With its expert consultations and other parallel events, BIO fostered

the development and enhancement of industrial design and the design of visual messages, which it incorporated into its programmes in all the complexity of

the exposed expressiveness of their corporate image and systemically coordinated approaches. Many domestic and foreign designers and manufacturers

sought success at this biennial. The list of prize-winners, among whom from the very first event we may encounter numerous leading world and domestic

design names and companies, confirm the historic role of the biennial. Participation was only possible through prior selection, be it by national professional

design organisations and institutions or national juries, something that was consistently applied for the Yugoslav and now the Slovenian material. To be

selected for participation in the BIO exhibition was in itself major recognition! The international juries therefore evaluated the best of the selected products

and designs, which in order to add a freshness of concept and programme were at times set out as a special category. We may also note that after the

third biennial, when it already appeared that the exhibition was facing its end and that its founders had abandoned it, we succeeded in convincing the then

leading fi gures in the city of Ljubljana and the Slovenian Chamber of Commerce of the urgent need to preserve the event and its invaluable signifi cance

for our cultural and economic environment. The efforts to ensure the biennial’s survival were then taken up by some younger art historians, who were

enthusiastic at the prospect of criticism and research of design and architecture, and who along with committed designers directed the event towards the

future. This episode in the seventies also touches upon an attempt to organise alternate domestic and international design exhibitions (BIO 4, 6 and 8

were Yugoslav). Miha Košak, president of the organising committee and president of the Ljubljana city assembly, wrote in the 1971 catalogue that was

planned most carefully to be promotional: “The fourth biennial of industrial design is at the same time the first Yugoslav BIO - a new form of event, which is

still suffi ciently young to be open to all changes and improvements that might in any way contribute to its purpose: spreading the awareness that industrial

design is becoming an increasingly clearly expressed need of the modern consumer, and in this way, according to the logic of marketing, of industry itself.”

Conceptually BIO was set out primarily as a comparative international industrial design “competition”, so at the second exhibition the organisers established

in the rules a clear and typologically supported presentational systemisation of the exhibited material, and this provided an appropriate framework for an

evaluation process that had been set up with such complexity. With minor changes and additions, including after later consideration and heated debates

on the substantive reworking of the exhibition, the principles of this construction have been preserved to the present day, which confi rms its pragmatic and

well-founded quality. From a utilitarian point of view it was also subjected to parallel evaluation in certain postgraduate studies conducted at the Design

Department of the Ljubljana Academy of Fine Arts. In the structural aspect, which BIO always presented as a visual exhibition organism in a complete

installation, in setting out the visual messages we emphasised primarily the role of systemic and visually coordinated design. We evaluated in particular

the completeness in design terms of corporate (graphic) images. This was essential, since in 1973 in Maribor we encouraged the creation of the Biennial

of Graphic Design (BIGO) as a related exhibition which should systematically cover the area of graphic design. Yet after just the first event, this idea was

14


dropped, and the initiative was taken up in Zagreb by the ZGRAF’75 (ZagrebaËka izložba grafiËkog dizajna), which they are still trying today to maintain

as an international exhibition. As a continuation of these efforts in Slovenia, this year saw the appearance of the Slovenian Biennial of Visual Messages,

organised by the Brumen Foundation.

In twenty years the competent juries awarded numerous distinguished and promising foreign and domestic designers (on the jubilee tenth biennial this was

also pointed out by the magazine Sinteza, with the publication of collected documentation). Many foreign manufacturers, which had received design awards

for their products or had simply participated in the BIO selections, used this fact as a successful building block of their marketing strategy, for the most

part directly for promotional purposes, both in advertisements and in their own development presentations. Many awarded products, including some from

Slovenia, ended up in the design collections of distinguished museum institutions, such as the Museum of Modern Art in New York, or in critical historical

reviews of world and domestic design creativity at the end of the century where they were presented as icons of a hundred years of design development.

The exceptional selectiveness and the serious and responsible evaluation by the international juries serve to convince us that the high criteria, planned in

Slovenia back in the sixties, in part for the industrial design biennials and exhibitions such as the historical exhibition of Slovenian fine art 1945-1978, with

its strong design section, have taken root very well in Slovenia as constant fixtures of design. We may therefore assert that the BIO events have maintained

to this day their original role, since they persistently strive to establish high, internationally verified design criteria and through the selected products from

around the world to refl ect its current qualitative image. It seems that a tightening up precisely on this point will be important for the future development

of the biennial. Indeed the question arises, how might we ensure the highest possible quality selection of current design within the framework of national

selections, which is of course linked to the work and possibilities of professional institutions and organisations in the participant countries with which the

organisers cooperate! Here it is certainly not possible to accept compromises that would cost us the high-quality objectives of the biennial. Of course

other types of organisational form exist, and these are more flexible in programme and more open to designers and producers. One such possibility is that

selections could be made by curators, in other words those who are very familiar with high-quality design production, foreign or domestic! Yet to fulfi l such

ideas we would need to acquire greater funds, greater state support and reasonable cooperation from interested sections of the commercial sector, which

should incorporate such events into their development strategies and plans for operating on the international markets. We may well fear, however, that such

modern methods lack sufficient support precisely in these factors, something borne out by the proverbial material insecurity of the biennial.

The fact that it is possible to organise exhibitions that pursue high standards of quality and to adhere to the well-founded critical criteria, alongside the

creative success of established Slovenian designers, is clearly demonstrated by the twenty years of successful academic functioning of the Design

Department at the Academy of Fine Arts, and the inclusion of its graduates in design processes, something confirmed also at some of the recent BIO

exhibitions. We may be convinced of this by the notable participation of graduates and the awards they have received for their design products and ideas.

And let us not forget, in Slovenia there are appearing increasing numbers of the most diverse (2-year and 4-year tertiary) design schools, which together

with numerous non-educated self-proclaimed designers (involving the commercialised idea of “design”!) are by all appearances opening up the veritable

design front that we have always desired. But it is in fact the BIO exhibitions, which alongside their established mission have at the same time been one of

the catalysts for this development, and which through their current importance as communicators of the best international achievements and their critical

reception must bring us back to solid ground, and in evaluating the quotidian of the design world disperse the fog that is generated by the established

populist illusion that we are all designers.

Stane Bernik

15


DESIGN, DIZAJN, OBLIKOVANJE

Po letih predavanj in okroglih miz na temo oblikovanja slovenska oblikovalska stroka ugotavlja, da se na teh prireditvah sreËujejo le drug z drugim in da

razprave v krogu enako prepriËanih prav niË ne napredujejo. Praviloma vedno manjkajo vabljeni sogovorniki s podroËja gospodarstva in politiËnih institucij.

Polagoma pa je vendarle opaziti nekatere spremembe na bolje. Zelo pomembno je, da se je zaËelo o problematiki oblikovanja govoriti v vse širših krogih in

na vse višjih ravneh. Samo v zadnjih dveh letih se je na razliËnih prireditvah predstavilo kar nekaj vodij uspešnih podjetij in primerjalno prikazalo uspešnost

podjetja pred vkljuËitvijo oblikovanja v proces proizvodnje in po njem. Kot sogovorniki so ob njih nastopali oblikovalci. Gre za velik napredek od Ëasov, ko

so na podobne prireditve direktorji pošiljali tiste zaposlene, ki naj bi se na oblikovanje paË najbolje spoznali, o uËinkih oblikovanja na rezultate poslovanja

podjetja pa se niso spraševali. Da prizadevanja niso bila zaman, kaže tudi porast poizvedovanja manjših podjetij po oblikovalcih. Pri Informacijsko

dokumentacijskem centru za oblikovanje pri Gospodarski zbornici (IDCO), na Sekretariatu BIO in prek osebnih stikov se uspešno vzpostavljajo nova

sodelovanja. NateËaji in delavnice potekajo tudi na pobudo podjetij, ne le zaradi zagretih oblikovalcev ali študentov.

Za priznanje stroke v Sloveniji na državni ravni je bil verjetno najpomembnejši letošnji dan državnosti. Predsednik slovenske vlade je v londonskem Muzeju

oblikovanja (Design Museum) pripravil sprejem za britanske diplomate in gospodarstvenike. Slovenija se je s pomoËjo IDCO predstavila v svetovnem

oblikovalskem središËu s projekcijo dobro oblikovanih izdelkov uspešnih slovenskih podjetij. Razlog za praznovanje!

Velike in pozitivne spremembe zaznavamo tudi organizatorji BIO. Navdušeni smo nad veËjo podporo gospodarstva. Letošnjo prireditev je (med drugimi)

fi nanËno podprlo tudi Ministrstvo za gospodarstvo. Predvsem pa smo prijetno preseneËeni nad uËinkovitostjo novega prireditvenega odbora BIO. Osebna

angažiranost vodij uspešnih podjetij, njihovo razumevanje problematike stroke in samoumevnost vkljuËevanja oblikovanja v proizvodne procese je velik

napredek za oblikovalsko stroko. S tem se hkrati oblikovanje prepoznava mnogo bolj kot doslej kot povezovalno podroËje kulture in gospodarstva.

Upati je, da se ob tako velikih premikih v mišljenju ne bo veË treba tresti v negotovosti za obstoj bienala in da se bomo organizatorji lahko mnogo bolj vneto

prepustili vsebinski izvedbi dogodka. Želimo spremeniti paradigmo, ko se znatno veË truda vlaga v finanËno konstrukcijo projekta kot v koncept razstave.

Kritikam na raËun okostenelosti BIO so sicer sledile debate o morebitnih alternativah, a odloËilnega zagona v tej smeri ni bilo. Konkretni dolgovi preteklih let

so nas preveË hromili. »e prireditev do zadnjega trenutka visi na nitki finanËne negotovosti, je potrebno narediti naËrt, ki zahteva najmanj tveganja. To pa je,

slediti že dobro uteËenemu konceptu - vsaj še to pot!

Ob tem ostajamo zvesti naËelu - ostati nevtralni ocenjevalci stroke, Ëeprav v družbi moËnih, velikih podjetij. Sprememba politiËnega sistema v devetdesetih

letih je zaznamovana z moËjo novih oziroma prenovljenih podjetij. Ta so se po veË kot desetletju dodobra zavedla pomena in moËi orodij tržišËa, med katere

sodi tudi oblikovanje.

In še o terminologiji. V teh za slovensko oblikovanje - tako se zdi - prelomnih Ëasih, moramo vedeti, da je uveljavitev têrmina »oblikovanje«, enakovrednega

angleški besedi »design«, odvisna od nas, ki se s to dejavnostjo na kakršenkoli naËin ukvarjamo. Izraz oblikovanje uporabljamo od prvega BIO pred

štiridesetimi leti in tako kot angleška beseda »design« ne pomeni zgolj dodajanja zunanje oblike predmetu. Razumevanje dejavnosti in njeno poimenovanje

z oblikovanjem je odvisno od stroke, ne od jezikoslovcev. Ti bodo razlago poiskali pri stroki in jo prenesli v svoje slovarje in priroËnike. Vsekakor menimo, da

z oblikovanjem dizajna ne podcenjujemo.

©pela ©ubic, sekretarka BIO

DESIGN, “DIZAJN” OR “OBLIKOVANJE”

Slovene designers agree that in the past the professional seminars and round tables they held were only opportunities for getting together, and that

discussions among like minded people most likely didn’t lead to progress. As a rule, members from the economic sector and policy makers rarely attended.

But things are gradually improving. What really matters is that problems concerning design are now being discussed in wider circles and argued at top

levels. In the past two years, we have seen quite a few managers from successful companies participating at various public events, emphasising their

companies’ successes after the introduction of design into the production process. Designers now usually stand next to the managers, a great step

forward. In the past, managers used to send employees most familiar with design to such events, but never concerned themselves with how design affected

their business performance. The growth in the demand for designers in smaller companies proves our efforts have not been in vain. The IDCO (Design

Information and Documentation Centre) at the Slovenian Chamber of Commerce and the BIO (Biennial of Industrial Design) established new cooperative

ventures, in addition to numerous individual personal contacts. Companies now encourage public competitions and design workshops, not just avid

designers and students.

This year’s Independence Day celebration was the most important recognition of the importance of design at the state level. For the occasion, the Slovene

Prime Minister held a reception for British diplomats and businessmen at the London Design Museum. Slovenia, supported by the IDCO, was able to

present well designed products from our finest companies at the very centre of design world. Indeed a great cause for celebration!

We, the organisers of Biennial of Industrial Design, also recognise major positive changes. We are thrilled with the greater support we now receive from the

economic sector. The Ministry of Commerce is one of this year’s biennial financial supporters. We are especially surprised by how effective the new BIO

organising committee has been. Personal efforts of the managers from several successful companies, their understanding of the problems of the design

fi eld, and their obvious commitment to design as part of the production process, all account for enormous progress in the field of design. Because of this, the

design becomes recognised more than ever as a link between the culture and the economic sphere.

We hope that these major changes in attitude will no longer make us uncertain about the future of the biennial, and that we, as organisers, can become

increasingly concerned about the content of the event. We wish to change the paradigm: investing considerably more effort into the concept of the exhibition

rather than the fi nancing of the project. Criticisms of the Biennial as being too rigid led to debates about possible alternatives, but no decisive momentum

for another option emerged. Our past debts paralyse us. With financing uncertain until the last moment, the most risk adverse plan is necessary. And that

means, sticking with the tried and true course of action - once again!

At the same time, we remain faithful to our guiding principle - to remain neutral judges of design - even in the midst of large and powerful business interests.

The changes in the political system in the nineties are characterised by powerful new, that is to say, transformed businesses. These companies, after more

than ten years, have become well aware of the importance and power of market forces, design being one of these.

16


Finally, a comment on terminology. Now, at what seems to be the turning point in Slovene design, we should be aware that the widely accepted term

“oblikovanje” 1 is entirely our responsibility. The word “oblikovanje”, an equivalent for English “design” has been used by Slovene designers since the fi rst

BIO 40 years ago, and as in English does not just mean adding exterior form to an object. Understanding what the term “oblikovanje” means, depends on

the professionals working in this area, and not linguists. Designers should be the ones who define the term, and then linguists can enter the word into their

dictionaries and manuals. In any case, we think that the term “oblikovanje” does not devalue the word “dizajn” 2 .

©pela ©ubic, BIO Secretary General

1

Slovene translation of the word design.

2

Slovene phonetic writing of the word design, a possible alternative to the word “oblikovanje”

17


PRIREDITVENI ODBOR BIO

BIO ORGANIZING COMMITTEE

Franjo Bobinac

predsednik prireditvenega odbora BIO

President of the BIO Organizing Committee

©pela ©ubic

sekretarka BIO

BIO Secretary General

Jani BavËer

Tatjana Fink

Marjan Kocjan

Maja Kržišnik

Bernard KuËej

Robert Mulej

Matija Murko

Vladimir Pezdirc

Slavko Slak

Janez Smerdelj

Janez ©krabec

IZVR©ILNI ODBOR BIO

BIO EXECUTIVE BOARD

Jani BavËer

Marjan Kocjan

Maja Kržišnik

Bernard KuËej

Matija Murko

Vladimir Pezdirc

Janez Smerdelj

BIO deluje pod okriljem ICSID in je njegov Ëlan / BIO is endorsed by ICSID and is its member

BIO deluje pod okriljem BEDA in je njegov Ëlan / BIO is endorsed by BEDA and is its member

Pod okriljem ICOGRADA / Endorsed by ICOGRADA

18


»LANI MEDNARODNE ŽIRIJE

MEMBERS OF THE INTERNATIONAL JURY

Aldo Cibic

Italija / Italy

Robin Edman

©vedska / Sweden

Czeslawa Frejlich

Poljska / Poland

Stephen Hitchins (BEDA)

Velika Britanija / United Kingdom

Ruth Klotzel (ICOGRADA)

Brazilija / Brasil

IZBOR RAZSTAVKOV SO OPRAVILI

SELECTION OF EXHIBITS WAS PERFORMED BY

Avstrija / Austria

Design Austria, DA

Belgija / Belgium

Vlaams Instituut voor het Zelfstandig Ondernemen, VIZO

»eška / The Czech Republic

Design centrum »eské republiky, DC

Finska / Finland

Sekretariat BIO

Hrvaška / Croatia

Hrvatsko dizajnersko društvo, HDD

Hrvatsko udruženje likovnih umjetnika primijenjenih umjetnosti, ULUPUH

Italija / Italy

Associazione per il Disegno Industriale, ADI

Madžarska / Hungary

Magyar Formatervezési Tanács

NemËija / Germany

Sekretariat BIO

Romunija / Romania

Sekretariat BIO

Slovaška / Slovakia

Slovenské centrum dizajnu, SDC

Slovenija / Slovenia

Izbirna komisija: Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar

ZDA / USA

Sekretariat BIO

19


OBLIKOVALCI, SODELAVCI IN MENTORJI

DESIGNERS, COOPERATORS AND TUTORS

AVSTRIJA / AUSTRIA

Ballendat, Martin 31

Bergner, Georg 76

Breuer-Bono, Martin 79

Brückner, Katharina Maria 139, 140

Buchegger, Denoth, Feichtner, Linz 110

Design a Storz GmbH, Zell am See 28, 29

Federal department of graphic design, Strasshof 109

GP - gregerpauschitz, Wien 30

guggenbichlerdesign ..., Wien 31, 83

Györvari, Robert 76

Huber, Daniel 29, 110

Kim Heu, Eva 105

Klamminger, Herbert 140

Lippitsch, Susanne 94, 139

Moritsch, Stefan 140

Neuwirth, Bernhard 71

Nikoljski, Sergej 77

Pfl eger, Claudia 140

Prause, Philipp 94, 138

Produktdesign BKM, Wien 139, 140

Reidinger, Roland A. 109

Scheiber Design GmbH, Kufstein 30, 81

Schluder, Michael 77

Spirit Design, Wien 29, 110

Storz, Achim 28, 29

Tarmann, Kornelius 108, 109

Thaler Design GmbH, Velden 29

Urcan, Catalin 30, 81

Urleb, Alfred 104

Valentinitsch Design, Wien 81, 83, 97

Wien Nord Pilz Werbeagentur GmbH, Wien 108

WIGL-Design 104

BELGIJA / BELGIUM

Aerts, Leo 78

Benzon, Ian Tomas 33

Cautereels, Victor 33

Daenen, Bob 33

Erik Herlow Design group 33

Gheel, Inge Van 34, 35, 141

Heiberg, Jakob 33

Lust, Xavier 98

Pars pro toto, Gent 35

Salima, Thakker 32

Schöning, Stefan 32

Spillermaeckers, Bart 91

Szyf, Maxime 141

Tupperware Europe, Africa & Middle East Design

group 33

Weyers & Borms, Tielrode 34, 141

Wynants, Dirk 34, 98

Zijst, Jan-Willem van 35

»E©KA / THE CZECH REPUBLIC

Appl, Alexius 91

Applová, Dominika 85

Blata, Pavel 99

Fronek, Michal 36

Hanuš, Stanislav 99

Huff, Leif 85

Imrich, Martin 99

Kroutil, Jiří 85

LaπtoviËka, Jiří 37

NemeËek, Jan 36

Plesl, Rony 37

Rosický, Jan 36

Siebert, Jan 85

Turek, Jan 85

Václavek, Petr 36

Žák, Vratislav 98, 99

FINSKA / FINLAND

Häberli, Alfredo 38

Sipilā, Tanja 38

HRVA©KA / CROATIA

Babaja, Iva 124

BaniÊ, Ana 143

Bey, Jurgen (Nizozemska / The Netherlands) 144

BiliÊ, Dora 123, 124

Bujan, Dubravko 114

Definicija, Zagreb 121

DoliÊ, Antonio 121, 122

FabijaniÊ, Damir 113

Fabrio, Ivana 144

Futura DDB, Zagreb 121

GaliÊ, Ana 117, 118

Golik, Gordana 115, 144

GrancariÊ, Krešimir 116

GrgiÊ, Hrvoje 116

KapetanoviÊ, Tvrtko 142

KapetanoviÊ, Zlatko 143

Koržinek, Marko 117

KovaË, Aleksander 31

KovaË, Krunoslav 39, 71

KuhariÊ, Luka 117, 118

Lipovac, Marko 111

LjubiËiÊ, Boris 119, 120

LukaË, Jelena 142

MarjanoviÊ, Jadranko 113

Matoš, Bojan 117, 118

Müller, Tina 123, 124

OrešiÊ, Mladen 142

OršiÊ, Dag 113

Penava Dogan, Zrinka 123

Pervan, Ivo 119

Pohl, Martin 39

RadoviÊ, Romina 39, 71

Rocco i partner d.o.o., Zagreb 116

Rocco, Sanja 116

Sensus Design Factory Zagreb 113, 114

StanišljeviÊ, Igor 115

Studio International, Zagreb 119, 120

©poljar, Kristina 113, 114

©poljar, Nedjeljko 113, 114

©unk, Davor 121

VaršiÊ, Mario 94

VlainiÊ, Lada 112

VlainiÊ, Tomislav 111, 112

VuËiÊ, Ivana 113

Zorica, Željko 124

Žiljak VujiÊ, Jana 111

ITALIJA / ITALY

Agneletti Ruzza Design, Rieti 92

Arduini, Gianni 95

Barbieri, Raul 40, 41

Barbieri, Roberto 51

Bianchetti, Fabrizio 92

DNA srl, Trento 42

Electrolux Zanussi Industrial Design Center

Europe, Porcia (PN) 48, 49

Farina, Eugenio 146, 147

Favaretto & Partners, Padova 72

Favaretto, Brigato,

Cappelin c/o Favaretto & Partners, Padova 72

Favaretto, Paolo 42

For Use, Wien 50

Galeazzi, Giuliano 43, 44, 45

Granese design studio, Salerno 46, 145

Granese, Diego 46, 145

Guerriero, Alessandro 147

HB Group, Milano 95

Iliprandi associati, Milano 125

Inzaghi, Enzo 73

Lago, Daniele 46, 47

Lovegrove, Ross 50

Marangone, Marco 145

Minuti, Furio 73, 105

Modica, Andrea 47, 147

Orteschi, Alessandro 146

Palomba, Ludovica 50

Palomba, Roberto 50

Pamio, Roberto 78

Peter Solomon Design, Milano 100

Pezzetta, Roberto 48, 49

Pilenghi, Monica 100

Pininfarina Extra srl, Cambiano (TO) 73, 84

Revoldini, Giorgio 86

Robson, Mark 49

Rorato, Alessandro 146

Sartorato, Rossella 146

Spinelli, Marco 105

Studio Lorenzo Bonfanti 100

Studio X, London 50

Trenti, Luigi 104

Vigo, Nanda 49

MADŽARSKA / HUNGARY

Bálas, Benedek 126

Horváth, Krisztina 149

Hosszú, Gergely 149

Hurton, Tamás 150

Kapitány, Róbert 148

Kurucz, Orsolya 149

Stunya, János 148

Szilágyi, Csaba G. 150

Varga, Buda 125

NEM»IJA / GERMANY

Röntgen, Heinz 52, 53, 54, 55, 56

ROMUNIJA / ROMANIA

Ostaficiuc, Diana 57

SLOVA©KA / SLOVAKIA

Beláň, Dušan 101

Chlpek, Peter 155

»obej, Ivan 57

ĎurËová, Marcela 157

Eisner, Tomáš 156

Gabzdil, Tomáš 154

Gavenda, Ivan 86

HašËák, Gabriel 156

Igriciová, Viera 153

Illo, Patrik 57

Karpitová, Lucia 151

KoËišová, Monika 157

Lauko, Marian 155

Olah, Peter 86

Poliaková, Zdenka 152

Prokopová, Jana 101

Pussová, Erika 101

Rostoka, Vladislav 126

©icko, Ján 126

©ucháň, Martin 101

TimkoviËová, Alena 153

Zahoránská, Katarína 154

Zavadilová, Kamila 152

Zavadilová, Klára 151

20


SLOVENIJA / SLOVENIA

Ambient d.o.o., Ljubljana 129, 176

AmbrožiË, Vasja Andrej 162

Antlej, Kaja 158

ArliË, Peter 159, 160, 161

ArliË, Urška 171

Arula, Dalibor 158

Asobi d.o.o., Ljubljana 58, 69, 87

Avberšek, Kaja 158

AWS Design, Wien 102

Baraga, Ksenija 172

Barle, ©tefan 158, 160

Barnabas, Wetton (Danska / Denmark) 168

BastašiË Merela, Marjana 159

Bavcon, Tjaša 173

BeBe com. d.o.o., Ljubljana 93, 127

Bevc, Ernest 82, 87, 88

BrandiËiÊ, Marijana 158

Brandstätter, Maša 171, 172

Brejc, Tomo 134

Brezovšek, Nejc 158

Carli, Jože 158, 161

Cimolini, Mika 132

Cugelj, David 173

CvetkoviË, Jelena 172

»erne, Silvija 61

»rtaliË, Miha 158

Demšar, Gašper 59, 74

Design center Gorenje, Velenje 61, 62

Dimic, Mateja ©. 158

DragišiË, Lidija 60

Dvornik, Borut 93

Elan, Begunje 102

Elastik, Ljubljana 132

Erjavec, Aleš 158

Eržen, Klemen 88

FerËek, Jasmina 173

FuËik, Oskar 62

Gadžijev, Arijana 170

Gerbec, Dolores 127, 128

Gigodesign, Ljubljana 60, 102

GrciË, Sanja 106

Greblo, Alex 158, 174

Hercog, Nina 158, 163

Hohkravt, Uroš 158, 174

Holcman, Peter 169

Holobar, Anton

Hrga, Iztok 106

IN.DI.GO, Ljubljana 90, 93, 174

Industrijsko oblikovanje Wilsonic d.o.o., Medvode

65, 82, 182

JagodiË, Jan 102, 103

Jalovec, Ajda 158

Janželj TomažiË, Mojca 127

JelesijeviÊ, Nenad 128

Jenko, Marija 170, 171, 172

Jenko, Rok 61

JovanoviË, Dušan 175

Jug, Petra 158

Kaljun, Jasmin 170

Karstyum oy, Helsinki 175

Kebel, Igor 132

Kerin, Miha 129, 176

KlanËar, Bojan 64, 93

Klinar, Miha 60

Klun, Robert 63

KnapiË, Zlatka 176

Kosovel, Ermin 181

Kostanjšek, Lucija 164

Košak, Grega 175

Košak, Karin 175

KošËak, Gorazd 158

KovaËiË, Iztok 128

Kraševec Podlunšek, Nives 62

Krašovec, Tomi 62

Kregar, Majda 129, 176

Kristan, Karmen 63

Kropej, Jernej 158, 165

Kuhar, Rok 93

Levstik, Jože 158

Lina design d.o.o., Kamnik 68

Lunder, Mitja 166

MaËek, Miha 74

Maechtig, Saša J. 158, 159, 160, 161

MahniË, Sebastijan 158

Marcen, Slavko 63

MariniË, Ksenija 82

MariniË, Sebastjan 161

Markelj, Gregor 177

MarkoviË, Katja 158

Matek, Polona 64, 158, 163, 166

MatijeviË, Petra 64

MesariË, Janez 90, 93

Mihovec, Nina 65, 82, 182

Miklavc, Jure 102, 103, 131, 158, 166, 168, 182

MiklavËiË, Lidija 167, 168

MilkoviË Biloslav, Matija 158

Monochrome arhitekti, Ljubljana 93

Movera d.o.o., Ljubljana 88

Mrvar, Katarina 164, 168

MudriniË, Tanja 158

Murovec, Karla 170

NajdiË, Maja 62

Nardoni, Barbara 93, 158, 174

Oblak, Rok 158, 177

OrlaË, Dejan 158, 178

Pak, Tanja 66

Pavlinec, Marko 158, 165

Pezdirc, Vladimir 68, 162, 163, 164, 165

Pirnat, Luka 169

PogaËar, Vojko 169, 170

PogaËnik, Tone 74

Polik, Ivan 66, 70

PotoËnik, Ivana 158, 160

Premože, Gašper 158

Primc, Robert 158

PrinËiË, Barbara 169, 178, 179

Pritržnik, Lidija 61, 62

PuËnik, Alenka 170

Puintile, Sima (Suomi / Finland) 177

Quadrat design d.o.o., Ljubljana 68

Ratajc, Maja 170

Ravnikar, Martin 129

Rebernjak, Tena 158

Rehar, Igor 179

Rosa, Igor 89

Rus, Zmago 130

Sadar, Almira 106, 171

Sernec, Simon 134, 135

Sešlar, Vera 171, 172

Shveky, Gal (Iran / Iran) 168

SimiÊ, Zagorka 130

Skalar, Peter 131

Slavec, Darko 172

Smerdelj, Janez 158, 165, 166, 167, 178, 182

Sovinc, Boris 158, 162

StariË, Janez 80, 88, 89

Stepan, Luka 180

Stojanovski, Vasja 158

Straže, Bojan 87, 88

©apec, Andraž 158

©koberne, Leja 158

©krjanec, Nataša 158, 159

©mit, Mojca 180

©oštariË, Martin 158

©pegelj, Andreja 181

©tembergar, Neva 132, 133

©tiftar, Karmen 67

©urina, Darko 158

©ušteršiË, Barbara 131

©vraka, Zoran 158, 159

TasiË Demšar, Maja 59, 74

Tepeš-©olman, Ljiljana 67

UršiË, Damjan 68

Vida, Timea 158

VidoviË, Edo 69

VidoviË, Tea 69

VodiËar, Iztok 79

Vogelnik, Jalen 181

Vrhunc, Metka 171, 172

Zajc, Luka 158, 182

ZupanËiË, Bori 134

Žanko, Ivana 170

Žargi, Nana 93, 158

Žitnik, Marjan 96, 182

©VICA / SWITZERLAND

Meda, Alberto (Italija / Italy) 75

ZDA / USA

Chen, Fang 136

21


PROIZVAJALCI, TISKARJI, NARO»NIKI IN ©OLE

PRODUCERS, PRINTERS, CLIENTS AND SCHOOLS

AVSTRIJA / AUSTRIA

Acamp, Vorchdorf 30

Adidas eyewear 110

Barmherzige Schwestern, Wien 108

Battenfeld Extrusiontechnik GmbH,

Bad Oeynhausen, NemËija / Germany 81

BBM Austria, Stadl-Paura 109

City Air Terminal Betriebs GmbH,

Wien-Flughafen 110

Datacon GmbH, Radfeld 81

Deželna vlada Spodnjeavstrijskega

(NÖ-Landesregierung), St. Pölten 76

Druckerei Bosmüller, Wien 110

Druckereien Grasl, Gerin 108

Ernst Schausberger & Co GmbH, Gunskirchen 94

Eternit, Vöcklabruck 77

Eva Kim Heu, Wien 105

Fuka & Fischer, Wien 108

Gallaher Austria Tabak Europe GmbH 109

Glass & Co, Braunau 29

Hagleitner Hygiene International GmbH,

Zell am See 28

IDM-Energiesysteme GmbH 30

Insieme formintegriert, Leording 31, 83

Jim + Jenny Toys, Graz 104

Liechtenstein Museum, Wien 108

Mayr Melnhof GmbH, Wien 94

Nordsee GmbH, Wien 94

Payer Intl. Technologies, Hitzendorf 29

Ravak a.s., Příbram, »eška / The Czech Republic

28, 29

razne invalidske delavnice / workshops for

disabled 31, 83

Robert Györvari, Wien 76

Salewa Sportgeräte GmbH, Aschheim 97

SAX, Heinrich Sachs KG, Hirm 71

Schorm GmbH & Co KG, St. Valentin 97

Steinhauser - Digitale Medien, Wien 109

Tonon & C. spa, Manzano, Italija / Italy 31

Vintersteiger, Ried 83

w3worx (for Cortal Consors Germany) Nürnberg,

NemËija / Germany 94

Watercryst GmbH, Kematen 30

Wein & Co, Wien

BELGIJA / BELGIUM

Alinea, Geel 78

Desalto-Oma srl, Cantu (CO), Italija / Italy 32

Extremis, Gijverinkhove 34, 98

IKEA, ©vedska / Sweden 34

Jan-Willem van Zijst, Fenestra ateliers, Achel 35

Lithos, Lovendegen 91

Studio Geppetto, Budapest, Madžarska /

Hungary 35

Symo Broers, Brugge 35

Thakker Salima, Antwerpen 32

Tupperware Belgium N.V., Aalts 33

Weyers & Borms, Tielrode 34

»E©KA / THE CZECH REPUBLIC

Blata s.r.o., Blansko 99

Libera a.s. 36

OEZ Letohrad a.s. 91

Pavel Blata 36

Petr Václavek 85

Sev Litovel 85

Siemens 68

Thun - Karlovarský porcelán a.s. 37

Vella s.r.o., Náchod 98, 99

Železnobrodské sklo a.s. 37

FINSKA / FINLAND

Ittala 38

Tonfisk Design oy, Helsinki 38

HRVA©KA / CROATIA

AKD, Zagreb 119, 120

Antonio DoliÊ 122

B.a.B.e., Zagreb 115

Castor Multimedia d.o.o., Zagreb 113

Chickie’s, Zagreb 122

DDB, Zagreb 121

Design Academy Eindhoven, Eindhoven,

Nizozemska / The Netherlands 144

DIN Novoselec, Novoselec 39

Ericsson Nikola Tesla d.d., Zagreb 114

FotoSoft d.o.o., Zagreb 111

Fraktura, ZaprešiÊ 124

Fundacija Ivana MeštroviÊa, Zagreb 119

Galerija 01, Zagreb 116

Grafotehna Zagreb, Zagreb 122

GudaËki kvartet Rukner, Zagreb 116

HDD, Zagreb 114

HiT Art, Zagreb 123

Hrvatska turistiËka zajednica, Zagreb 119

Hrvatski oglasni zbor, Zagreb 112

HUOT, Zagreb 117

IN FINE d.o.o., Zagreb 117

IzdavaËka kuÊa AGM, Zagreb 124

Kazalište Komedija, Zagreb 11

Kerschoffset, LuËko 114

Klinika za djeËje bolesti Zagreb, Zagreb 121

Kratis / Nova forma, Zagreb 116

Kratis, Zagreb 113, 122, 123, 124

Laboratorij Dr. DžaniÊ, Zagreb 94

Mabacom, Zagreb 119

Muzejski dokumentacioni centar, Zagreb 120

MuziËka akademija, Zagreb 120

Peugeot Hrvatska, Zagreb 121

Poglavarstvo grada Osijeka, Osijek 112

Printel, Zagreb 114, 115

Pula film festival, Pula 115

Putokaz 2000, Zagreb 117

Rotary club, Zagreb 120

Stereo studio, Zagreb 118

Stolarija i salon kuhinja MesariÊ, Zagreb 39

Studio International, Zagreb 120

SveuËilište u Zagrebu, Arhitektonski fakultet,

Studij dizajna, Zagreb / University of Zagreb,

Faculty of Architecture, Study of Design, Zagreb

142, 143

Tiskara Gipa, Zagreb 117

Tiskara Horvat, Bjelovar 116

Tiskara KasaniÊ, Zagreb 118

Tiskara StefanoviÊ, Zagreb 121

Tiskara Zelina, Zagreb 124

Tvin d.d., Virovitica 71

ULUPUH, Zagreb 111, 123

Vinoteka Bornstein, Zagreb 123

Ženska infoteka, Zagreb 124

ITALIJA / ITALY

3M Visual Systems Division, Austin, Texas, ZDA

/ USA 84

Altra Design Ltd., London, Velika Britanija /

United Kingdom 100

Ares Line srl, Carrè 73

Best spa, Fabriano (AN) 44

Bolis poligrafiche, Bergamo 125

D.I.W.S., Ozzero Milano 100

Electrolux Home Products, Porzia (PN) 48, 49

Estel Office, Tiene (VI) 72

Estel spa, Tiene (VI) 42

Franke spa, Peschiera del Garda (VR) 43, 45

Fratelli Fantini s.p.a., Pella (NO) 92

Ghidini Pietro Bosco s.p.a., Brozzo di Marcheno

(BS) 92

Glas Italia, Macherio (MI) 49

Guialmi S.A., Águeda, Portugalska / Portugal 72

IGuzzini Illuminazione srl., Recanati (MC) 78

Lago srl, Giorgio in Bosco (PD) 46, 47

L’arca edizioni, Milano 125

Lumess AG, Allschesi, ©vica / Switzerland 47

Max Fire, Villotta di Chions (PN) 73

Mineralcenter, Abano Terme (PD) 105

Murano Due, Salzano (VE) 42

Pineider spa, Firenze 104

Pyxis Design, Macerata (MC) 105

Rehab Innovation srl, La Spezia 95

Rexite spa, Cusago (MI) 40, 41

Scuola Italiana Design, Padova 146, 147

Sideros spa, San Felice sul Panaro (MO) 45

SIM 2 Multimedia spa, Pordenone 86

Steel Time, Villotta di Chions (PN) 48

Studio Lorenzo Bonfanti, Vimercate (MI) 100

Tapizados Frajumar S.L., Yecla-Murcia, ©panija

/ Spain 46

Trexom srl., Tavagnacco (UD) 73

Vestel Beyaz Esya Sanayi Ve Ticaret A.S.,

Manisa, TurËija / Turkey 43, 44

Zanotta spa, Nova Milanese (MI) 49, 50, 51

MADŽARSKA / HUNGARY

Hungarian Academy of Fine Arts, Budapest 126

Hungarian University of Craft and Design,

Department of Product Design, Budapest 148,

149, 150

Sanoma Budapest Publishing Corp., Budapest 125

NEM»IJA / GERMANY

nya nordiska textiles gmbh, Dannenberg 52, 53,

54, 55, 56

ROMUNIJA / ROMANIA

Mondial, Lugoj 57

SLOVA©KA / SLOVAKIA

Academy of Fine Arts and Design, Bratislava

151, 152, 153, 154, 155

Bibiana, Bratislava 126

Brik a.s., Kremnica 57

Faculty of Arts, Design, Košice 156, 157

Gotive a.s., Bratislava 86

Rona, Co Ltd., Lednické Rovne 57

Theatre M.U.T., Praha 126

Trek sport s.r.o., Most pri Bratislave 101

SLOVENIJA / SLOVENIA

2p d.o.o., Koper 90

Aanima, Ljubljana 135

AGB Lab d.o.o., Portorož 89

Akademija za likovno umetnost, Oddelek za

oblikovanje, Ljubljana / Academy of Fine Arts,

Department of Design, Ljubljana 158, 159, 160,

161, 162, 163, 164, 165, 166, 167, 168, 169, 178,

182

Alpina d.d., Žiri 102, 103

Aluminij Montal d.d. Komen, Komen 93

Bofex d.o.o., Ljubljana 127

Bofex d.o.o., Merkur skupina, Ljubljana 93

Cankarjeva založba, Ljubljana 131

Casa Light up d.o.o., Ljubljana 67

»okoladnica&bar Angel, Luc d.o.o., Ljubljana 132

22


Danfoss Trata d.o.o., Ljubljana-©entvid 182

Designskolen Kolding, Danmark / School for

Design, Denmark 168

Dravska tiskarna d.o.o., Maribor 132

Droga Portorož d.d., Portorož 158

Elan Bikes d.d., Ljubljana 177

Elan d.d., Begunje 102

Ergoles d.o.o., Ljubljana 74

Fakulteta za strojništvo, smer Inženirsko

oblikovanje, Maribor / Faculty for Mechanical

Engineering, Course for Engineering Design,

Maribor 169

Gorenje d.d., Velenje 61, 62

Gostol - Gopan d.o.o., Nova Gorica 82

Grafi ka SoËa, Nova Gorica 127

Hidria-Preles d.o.o., Kranj 82

Intra Lighting d.o.o., Miren 60, 64, 69

Iskraemeco d.d., Kranj 65

Janez Urh, Bled 131

Kamnarska industrija Trento, Italija 158

Karel Klun s.p., Ljubljana 63

KLI Logatec d.d., Logatec 59

KUD Primož Trubar, Loka 134

Lineair international d.o.o., Ljubljana 79

Liv plastika d.o.o., Postojna 65

LJ studio d.o.o., Ljubljana 106

Logina d.o.o., Ljubljana 87

LPKF Laser & elektronika d.o.o., Kranj 82

Ma-tisk d.o.o., Maribor 128

Meblo Jogi d.o.o., Kromberk, Nova Gorica 173

Medicop d.o.o., Murska Sobota 96, 182

Mizarstvo BolËiË, Kozina 69

Mizarstvo Hribar, Motnik 132

Mizarstvo Urbanija, Marko Urbanija s.p.,

Ljubljana 60

Moderna galerija, Ljubljana 130

MOL, Mestna uprava, Odd. za gospodarjenje

z zemljišËi, Ljubljana 129

Mura d.d., Murska Sobota 172

Nambé, Sante Fe, New Mexico, ZDA / USA 70

Naravoslovno tehniška fakulteta, Oddelek za

tekstilstvo, Ljubljana / Faculty of Natural Sciences

and Engineering, Textile Department, Ljubljana

170, 171, 172

Nautilus d.o.o., Grosuplje 129

Optotek d.o.o., Ljubljana 179

Paloma, Tovarna lepenke Ceršak d.d., Ceršak

132, 133

Park, Založba Goga, Novo mesto 128

Peter PleËnik s.p., Ljubljana 64

Pletilstvo Pislak, Ljubljana-»rnuËe 172

Pošta Slovenije, Maribor 130

Rosenthal USA Ltd. 66

RS, Ministrstvo za delo, družino in socialne

zadeve, Ljubljana 129

Sanja GrciË, Iztok Hrga, Ljubljana 106

Seidel Elektronik GmbH, Deutschlandberg,

Avstrija / Austria 88

Sila inženiring d.o.o., Ljubljana 87

SNG Nova Gorica, Nova Gorica 127, 128

Steklarna Hrastnik - Vitrum d.d., Hrastnik 63

Steklarna Rogaška d.d., Rogaška Slatina 66, 70,

159, 160, 161

Steklarska nova Rogaška Slatina d.o.o., Rogaška

Slatina 59, 66, 67

Steklarstvo Rojs, Domžale 129

Svilanit d.d., Kamnik 63

SŽ Oprema Ravne d.o.o., Ravne na Koroškem 170

TEM »atež d.d., Velika Loka 93

Tipro d.o.o., Grosuplje 87

Tiskarna Delo d.d., Ljubljana 130

Tiskarna Hren, Ljubljana 128

Tiskarna Kurir, Ljubljana 130

Tiskarna Ljubljana d.d., Ljubljana 130

Tiskarna Ma-tisk, Maribor 130

Tiskarna Medium d.o.o., Žirovnica 131

Tiskarstvo Opara, Novo mesto 128

TOM tovarna opreme d.d., Mokronog 58, 68

Tovarna pohištva Trbovlje d.d., Trbovlje 74

Ultra d.o.o., Zagorje ob Savi 80, 88, 89

Umetniško programski svet RadeËe, RadeËe

134, 135

University of Art and Design, Helsinki, Suomi /

Finland 177

Vacutech d.o.o., Ljubljana 96

Valkarton d.d., Logatec 133

Vinkotisk, RadeËe 134, 135

WWF Finland 177

Založba Aristej d.o.o., Maribor 128

©VICA / SWITZERLAND

Vitra International AG, Birsfelden 75

ZDA / USA

Illinois State University, Normal 136

23


IZ PRAVILNIKA BIO19

Organizacija razstave

Devetnajsti bienale industrijskega oblikovanja - BIO 19 - bo primerjalna razstava dobro oblikovanih slovenskih in tujih industrijskih izdelkov.

Razstavo neposredno prireja Sekretariat BIO, ki deluje v okviru Arhitekturnega muzeja Ljubljana. Bienale prirejamo v sodelovanju z Društvom oblikovalcev

Slovenije - DOS. O vseh bistvenih elementih razstave, razen ocenjevanja, odloËa Prireditveni odbor, sestavljen iz predstavnikov Mestne obËine Ljubljana,

Gospodarske zbornice Slovenije in Ministrstva za kulturo. Prireditveni odbor imenuje Izvršilni odbor in, Ëe je potrebno, tudi strokovna telesa za posamezna

podroËja.

Program razstave

Razstava si postavlja za cilj predstavitev aktualnih tokov v sodobnem industrijskem oblikovanju. Prireditelj prosi razstavljalce, da pri izboru gradiva

upoštevajo zlasti tiste dosežke oblikovanja, ki išËejo odgovore na probleme današnjega življenja. Posebno zaželeni so izdelki, ki so zaradi svoje odliËne

kakovosti prejeli domaËe ali mednarodno priznanje za oblikovanje.

Razstavljeni bodo predmeti, ki niso bili v proizvodnji pred 1. januarjem 2002 in niso bili razstavljeni na BIO 18. Predmeti, ki zaradi velikosti ali drugih vzrokov

ne morejo biti razstavljeni, so lahko prikazani tudi drugaËe, vendar jih žirija ni dolžna upoštevati pri ocenjevanju.

O vsakem eksponatu bodo na voljo vsi poslovni podatki, navedeni v prijavnem vprašalniku.

»as in kraj razstave

15. september _ 15. oktober 2004, Ljubljana, Slovenija

SKUPINE RAZSTAVNEGA GRADIVA

A. Proizvodi

Izdelki, ki so v redni proizvodnji ali je v izdelavi vsaj 0-serija.

1. Dom

2. Delovno mesto

3. Javni prostori

4. Transport

5. Industrija, proizvodnja, obrt

6. Kmetijstvo, vrtiËkarstvo

7. Fotografske in druge optiËne naprave

8. TV, radio, raËunalništvo, elektronske komunikacije

9. UliËna oprema, obcestje

10. Arhitekturni elementi in sklopi

11. Ovojnina, tehnološko oblikovne rešitve in sistemi

12. Medicina in rehabilitacija, skrb za prizadete

13. ©port, prosti Ëas

14. Igranje, izobraževanje

15. Nakit, oblaËila, galanterija

16. Drugo

B. Informacijski funkcionalni sistemi, celostne podobe

Vizualne komunikacije in industrijski proizvodi, ki kažejo enotnost oblikovanja posamezne organizacije - hišni stil, orientacijski sistemi, funkcijski znakovni

sistemi, produktna grafika, informacijska grafika, oblikovanje za elektronske medije in film itd.

Sklopi prikazov morajo vsebovati vsaj tri vizualne elemente, iz katerih je razvidna sistemska rešitev.

C. Oblikovalske zasnove

Prototipi, oblikovalske ideje, oblikovalski programi, študentska dela ipd.

Spremljevalne prireditve

Specializirane programske in druge razstave ter prireditve v dogovoru s prirediteljem.

Sodelovanje

Izdelke oz. projekte za razstavo bodo izbrale nacionalne strokovne ustanove, organizacije ali izbirne komisije posameznih držav. Kjer izbora za sodelovanje

na razstavi ne more pripraviti usposobljena ustanova, se Sekretariat BIO lahko dogovori s poznavalcem, ki opravi izbor ali k sodelovanju povabi posamezne

proizvajalce, oz. oblikovalce. Izvršilni odbor BIO lahko tudi sam neposredno povabi k sodelovanju razstavljalce z izdelki, za katere sodi, da bi še posebno

pripomogli h kakovosti prireditve.

Izvršilni odbor BIO lahko izloËi prijavljena dela, ki so v nasprotju s programom razstave ali drugaËe ne ustrezajo pravilniku.

Izbor prijavljenih slovenskih eksponatov bo opravila izbirna komisija v sestavi: Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar.

Izbirna komisija lahko na razstavo po svoji presoji povabi in uvrsti tudi izdelke oblikovalcev in proizvajalcev, ki se sami niso prijavili.

Pošiljanje eksponatov

NaËin pošiljanja je prepušËen razstavljalcem. Razstavljalcem zunaj EU priporoËamo karnet ATA. Prireditelj bo razstavljalce obvestil o naslovu in roku za

dostavo, ki bo vezan na obdobje postavljanja razstave. Razstavljalci prevzamejo dela po koncu razstave, Ëe se s prirediteljem ne dogovorijo drugaËe.

Razstavljenih eksponatov prireditelj ne vraËa pred koncem razstave. Stroške transporta v obe smeri, ovojnine, zavarovanja za transport in za Ëas razstave

nosijo razstavljalci.

Mednarodna žirija

Stephen Hitchins (BEDA), Velika Britanija

Ruth Klotzel (ICOGRADA), Brazilija

Robin Edman (ICSID), ©vedska

Czeslawa Frejlich, Poljska

Aldo Cibic, Italija

Priznanja

Mednarodna žirija bo pregledala razstavno gradivo in podelila zlate medalje, Ëastne pohvale in priznanja za dobro zasnovo. tevilo priznanj ni omejeno.

Mednarodna oblikovalska združenja ICSID, BEDA in ICOGRADA bodo podelila svoje Ëastne nagrade.

Mednarodna žirija lahko z razstave izloËi eksponate, ki niso v skladu s programom razstave ali so na izrazito nizki oblikovalski ravni.

Prireditveni odbor BIO

Predsednik: Franjo Bobinac

BIO strokovno podpirajo: ICSID, ICOGRADA, BEDA

24


FROM BIO 19 REGULATIONS

Organization of the Exhibition

The Nineteenths Biennial of Industrial Design - BIO 19 will be a comparative exhibition of well designed Slovenian and foreign industrial products.

The practical organization is undertaken by the BIO Secretariat under the auspices of the Architectural Museum of Ljubljana in co-operation with Designers’

Society of Slovenia - DOS. The BIO Organizing Committee composed of representatives from the Ljubljana Town Community, the Slovenian Chamber of

Commerce and the Ministry of Culture decides on all essential elements of the exhibition, except judging. The BIO Organizing Committee nominates the

Executive Committee and if necessary also the panels of experts in individual fields.

Programme of the Exhibition

The aim of the exhibition is presenting current movements in contemporary industrial design. The organizer requests exhibitors to decide on the exhibits

which would effi ciently correspond to the problems of everyday life. Most desired are the products which were due to their exceptional quality, nationally or

internationally awarded or recognized.

Products not in production prior to January 1, 2002 and not exhibited at BIO 18 can be displayed. Products that due to a large size or other reasons can not

be exhibited may be presented in a different way, but the jury is not bound to take them into consideration at judging.

All commercial data given in the application forms of the exhibits will be available.

Date and Place of the Exhibition

September 15 th _ October 15 th 2004, Ljubljana, Slovenia

CATEGORIES OF MATERIAL FOR THE EXHIBITION

A. Products

Accepted will be products in regular production, or at least those having 0-series in production.

1. Home

2. Working place

3. Public places

4. Transport

5. Industry, production, craft

6. Agriculture, horticulture

7. Photographic and other optical devices

8. TV, audio, video, computers, electronic communication

9. Street furniture and community equipment

10. Architectural elements and systems

11. Packaging - technological design solutions and systems

12. Medical and rehabilitation equipment and aids for disabled

13. Sport and leisure

14. Toys and education aids

15. Jewellery, garments and fancy goods

16. Miscellaneous

B. Information functional systems, corporate identity programmes

Visual communications and products which show the uniformity of design of individual company or the style of a house, signing systems, functional sign

systems, products signing, information graphics, design for electronic media, film, etc.

Visual communications should be composed of three elements at least giving an evident system solution.

C. Design projects

Prototypes, design ideas, design programmes, students’ works, etc.

Accompanying events

Specialized programme exhibitions and performances in agreement with the organizer.

Participation

Products or projects for the exhibition will be selected by national professional institutions, organizations or by a selection commission in each individual

country. In countries where the selection of articles can not be made by a professional institution the BIO Secretariat can authorize an expert to make the

selection. The Executive Committee may invite directly exhibitors or producers to participate with objects which might especially contribute to the high quality

of the exhibition. The BIO Executive Committee may exclude the registered works that are not in accordance with the exhibition programme or otherwise not

correspond to regulations.

The selection of applied works will be performed by Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar.

The Selection Commission may decide upon inviting and exhibiting products of designers or producers who did not apply themselves.

Way of Sending

Exhibitors are free to choose the way of shipping. However we recommend the ATA Carnet to non EU exhibitors. The organizer will inform exhibitors on

place and date of goods’ delivery related to the term of the exhibition setting. After the exhibition the exhibits should be collected by participants if not

agreed otherwise.

The organizer will not return exhibits before the closure of the exhibition. The transport costs in both ways, packaging, the insurance for the transport and

duration of the exhibition are covered by the exhibitors.

International Jury

Stephen Hitchins (BEDA), United Kingdom

Ruth Klotzel (ICOGRADA), Brasil

Robin Edman (ICSID), Sweden

Czeslawa Frejlich, Poland

Aldo Cibic, Italy

Awards

The international jury will examine the exhibits and bestow gold medals, honourable mentions, and good project awards. Awards’ number is unlimited.

The international designers’ associations ICSID, BEDA, and ICOGRADA will bestow their honourable awards.

The International Jury may exclude from the exhibition exhibits which are not in accordance with the exhibition programme or those on a very low design

level.

BIO Organizing Committee

President: Franjo Bobinac

BIO is endorsed by ICSID, ICOGRADA, BEDA

25


A

PROIZVODI

PRODUCTS

27


A1 - DOM / HOME

AVSTRIJA /

AUSTRIA

1.

Higienski sistem za

ËišËenje stranišËne

školjke LUNA

click&clean / LUNA

click&clean toilet basin

cleaning system

D Design a Storz

GmbH (Achim Storz),

Zell am See

P Hagleitner Hygiene

International GmbH,

Zell am See

2002

2.

Kopalna kad Lovestory

/ Lovestory bath-tub

D Design a Storz

GmbH (Achim Storz),

Zell am See

P Ravak a.s., Příbram,

»eška / The Czech

Republic

2002

1.

2.

28


DOM / HOME - A1

3.

Osvežilnik zraka

LUNA airFRESH /

LUNA airFRESH

D Design a Storz

GmbH (Achim Storz),

Zell am See

P Hagleitner Hygiene

International GmbH,

Zell am See

2002

4.

Brivnik Payer

Flamingo / Payer

Flamingo shaver

D Spirit Design, Wien:

Daniel Huber

P Payer Intl.

Technologies,

Hitzendorf

2004

3

5.

Odpiralnik steklenic

Corkee / Corkee bottle

opener

D Thaler Design

GmbH, Velden

P Glass & Co,

Braunau

2004

4.

5.

29


A1 - DOM / HOME

6.

Toplotna Ërpalka

IDM-Terra / IDM-Terra

thermal pump

D Scheiber Design

GmbH, Kufstein:

Catalin Urcan

P IDM-

Energiesysteme

GmbH, Matrei

2003

7.

Brezkemijski Ëistilnik

vode Poseidon /

Poseidon chemical

free water cleaner

D Scheiber Design

GmbH, Kufstein:

Catalin Urcan

P Watercryst GmbH,

Kematen

2004

8.

Vrtna gugalnica Star /

Star garden swing

D GP - gregerpauschitz,

Wien

P Acamp, Vorchdorf

2004

6.

7.

8.

30


DOM / HOME - A1

9.

NaslanjaË Shells

nature / Shells nature

easy chair

D Martin Ballendat

P Tonon & C. spa,

Manzano, Italija / Italy

2004

10.

Solnica in popernica s

keramiËnim kozarcem

Stick together / Stick

together salt and

pepper set in ceramic

cup

D guggenbichlerdesign

..., Wien

P razne invalidske

delavnice / workshops

for disabled

N/C insieme

formintegriert,

Leording

2004

9. 10.

11.

Pladenj za sadje

Lucky fruits / Lucky

fruits tray

D guggenbichlerdesign

..., Wien

P razne invalidske

delavnice / workshops

for disabled

N/C insieme

formintegriert,

Leording

2004

11.

31


A1 - DOM / HOME

BELGIJA / BELGIUM

1.

Namizna objekta /

Table objects

D Thakker Salima

P Thakker Salima,

Antwerpen

2002

2.

Obeπalnik Crown /

Crown cloth stand

D Stefan Schöning

P Desalto-Oma srl,

Cantu (CO), Italija /

Italy

2003−2004

1.

2.

32


DOM / HOME - A1

3.

©katla za malico AT’ /

AT’ lunch box

D Victor Cautereels

P Tupperware Belgium

N.V., Aalts

2003

4.

Servirni posodi za sir

z nadzorom kondenza

CheeSmart TM /

Condenscontrol

CheeSmart TM servers

D Victor Cautereels

P Tupperware Belgium

N.V., Aalts

2003−2004

3.

5.

Shranjevalniki za živila

Space Makers / Space

Makers dry food

storage containers

D Bob Daenen

(Tupperware Europe,

Africa & Middle East

Design group); Jakob

Heiberg + Ian Tomas

Benzon (Erik Herlow

Design group)

P Tupperware Belgium

N.V., Aalts

2003−2004

4.

5.

33


A1 - DOM / HOME

6.

Miza Arthur / Arthur

table

D Dirk Wynants

P Extremis,

Gijveringhove

2004

7.

Sedež Ërni bik / Black

Bullsit

D Weyers & Borms

P Weyers & Borms,

Tielrode

2002

8.

SveËnik-vaza Tiara /

Tiara candlestick-vase

D Inge Van Gheel

P IKEA, ©vedska /

Sweden

2003

6.

7. 8.

34


DOM / HOME - A1

9.

StojeËa svetilka B-Mek

/ B-Mek standard lamp

D Inge Van Gheel

P Studio Geppetto,

Budapest, Madžarska

/ Hungary

2003

10.

Sklede Plaza Europa:

Tulips 2002 / Plaza

Europa: Tulips 2002

bowls

D Jan-Willem van Zijst

P Jan -Willem van

Zijst, Fenestra ateliers,

Achel

2002

11.

SonËnik L’Ombrero /

L’Ombrero sunshade

D Pars pro toto, Gent

P Symo Broers,

Brugge

2003

9.

10.

11.

35


A1 - DOM / HOME

»E©KA / THE CZECH

REPUBLIC

1.

Vazi Twinwall /

Twinwall vases

D Michal Fronek, Jan

NemeËek, Jan Rosicky

P Libera a.s.

2002

2.

Vaza / Vase

D Petr Václavek

P Petr Václavek

2001

1.

2.

36


DOM / HOME - A1

3.

Set za kavo in Ëaj

Vella/ Vella coffe and

tea set

D Jiří LaπtoviËka

P Thun - Karlovarský

porcelán a.s.

2003

4.

Set ornamentalno

brušenega stekla /

Set of ornamental cut

glass

D Rony Plesl

P Železnobrodské sklo

a.s.

2003

3.

4.

37


A1 - DOM / HOME

FINSKA / FINLAND

1.

Porcelan Origo Pink /

Origo Pink china

D Alfredo Häberli

P Ittala

2004

2.

Servirnik za mleko

in sladkor Newton /

Newton milk and sugar

serving set

D Tanja Sipilā

P Tonfi sk Design oy,

Helsinki

2002

1.

2.

38


DOM / HOME - A1

HRVA©KA /

CROATIA

1.

Pohištvo Goodwood /

Goodwood furniture

D Romina RadoviÊ,

Krunoslav KovaË

P DIN Novoselec,

Novoselec

2003

2.

Kuhinja M1 / M1

kitchen

D Martin Pohl

P Stolarija i salon

kuhinja MesariÊ,

Zagreb

2002

3.

Kuhinja M2 / M2

kitchen

D Martin Pohl

P Stolarija i salon

kuhinja MesariÊ,

Zagreb

2002

1.

2.

3.

39


A1 - DOM / HOME

ITALIJA / ITALY

1.

Posoda Nox Magnum

/ Nox Magnum

container

D Raul Barbieri

P Rexite spa, Cusago

(MI)

2004

2.

Sedež Olivia / Olivia

seat

D Raul Barbieri

P Rexite spa, Cusago

(MI)

2004

1.

2.

40


DOM / HOME - A1

3.

Sedež Welcome /

Welcome stool

D Raul Barbieri

P Rexite spa, Cusago

(MI)

2004

4.

Sedeži Well / Well

stools

D Raul Barbieri

P Rexite spa, Cusago

(MI)

2003

3.

4.

41


A1 - DOM / HOME

5.

Modularni garderobni

sistem Planner /

Planner modular

wardrobe system

D DNA srl, Trento

P Estel spa, Tiene (VI)

2003

6.

Stenska svetilka

Beside P - Beside mini

P / Beside P - Beside

mini P wall lamp

D Paolo Favaretto

P Murano Due,

Salzano (VE)

2004

5.

6.

42


DOM / HOME - A1

7.

Pralni stroj Luna

/ Luna washingmachine

D Giuliano Galeazzi

P Vestel Beyaz Esya

Sanayi Ve Ticaret

A.S., Manisa, TurËija /

Turkey

2003

8.

Vgradna peËica

Design / Design builtin

domestic oven

D Giuliano Galeazzi

P Franke spa,

Peschiera del Garda

(VR)

2003

7.

8.

43


A1 - DOM / HOME

9.

Pralni stroj Solaris

/ Solaris washingmachine

D Giuliano Galeazzi

P Vestel Beyaz Esya

Sanayi Ve Ticaret

A.S., Manisa, TurËija /

Turkey

2003

10.

Kuhinjska napa K9388

/ K9388 kitchen hood

D Giuliano Galeazzi

P Best spa, Fabriano

(AN)

2003

9.

10.

44


DOM / HOME - A1

11.

Vgradna peËica Axis

/ Axis built-in kitchen

oven

D Giuliano Galeazzi

P Franke spa,

Peschiera del Garda

(VR)

2003

12.

Vgradna peËica

Gallery / Gallery builtin

kitchen oven

D Giuliano Galeazzi

P Franke spa,

Peschiera del Garda

(VR)

2003

11. 12.

13.

Kamin Foco 160 /

Foco 160 chimney

stove

D Giuliano Galeazzi

P Sideros spa, San

Felice sul Panaro

(MO)

2003

13.

45


A1 - DOM / HOME

14.

PoËivalnik Onda /

Onda relax chair

D Granese design

studio, Salerno: Diego

Granese

P Tapizados Frajumar

S.L., Yecla-Murcia,

©panija / Spain

2003

15.

Postelja Soft Wood /

Soft Wood bed

D Daniele Lago

P Lago srl, Giorgio in

Bosco (PD)

2004

14.

15.

46


DOM / HOME - A1

16.

Pohiπtveni sistem

36e8 / 36e8 furniture

system

D Daniele Lago

P Lago srl, Giorgio in

Bosco (PD)

2004

17.

Svetilki Sfera / Sfera

lamps

D Andrea Modica

P Lumess AG,

Allschesi, ©vica /

Switzerland

2003

16.

17.

47


A1 - DOM / HOME

18.

Kuhinjski elementi z

vgradnimi napravami

H-Boxes / H-Boxes

kitchen units and builtin

home appliances

D Roberto Pezzetta

& Electrolux Zanussi

Industrial Design

Center Europe, Porcia

(PN)

P Steel Time, Villotta

di Chions (PN)

2002

19.

ProstostojeËi pomivalni

stroj Izzi / Izzi standalone

dishwasher

D Roberto Pezzetta

& Electrolux Zanussi

Industrial Design

Center Europe, Porcia

(PN)

P Electrolux Home

Products, Porzia (PN)

2002

18.

19.

48


DOM / HOME - A1

20.

Vgradni πtedilnik Full

Alu / Full Alu built-in

oven

D Roberto Pezzetta

& Electrolux Zanussi

Industrial Design

Center Europe, Porcia

(PN)

P Electrolux Home

Products, Porzia (PN)

2004

21.

Ogledalo Moon Light /

Moon Light mirror

D Nanda Vigo

P Glas Italia, Macherio

(MI)

2003

20.

22.

Sedež Fly / Fly seat

D Mark Robson

P Zanotta spa, Nova

Milanese (MI)

2002

21.

22.

49


A1 - DOM / HOME

23.

PoËivalnik s

prednožnikom Brasilia

/ Brasilia lounge chair

and pouf

D Studio X, London:

Ross Lovegrove

P Zanotta spa, Nova

Milanese (MI)

2003

23.

24.

Stol Otto / Otto stool

D For Use, Wiena

P Zanotta spa, Nova

Milanese (MI)

2002

25.

Zofa Zak / Zak sofa

D Ludovica in / and

Roberto Palomba

P Zanotta spa, Nova

Milanese (MI)

2004

24.

25.

50


DOM / HOME - A1

26.

Stol s priklopno mizico

Isa / Isa chair with

table

D Roberto Barbieri

P Zanotta spa, Nova

Milanese (MI)

2004

27.

KopiËni stol Zilli / Zilli

stacking chair

D Roberto Barbieri

P Zanotta spa, Nova

Milanese (MI)

2002

26.

28.

KopiËni stol z nasloni

za roke Zilli / Zilli

stacking chair with

armrests

D Roberto Barbieri

P Zanotta spa, Nova

Milanese (MI)

2002

27.

28.

51


A1 - DOM / HOME

NEM»IJA /

GERMANY

1.

Tkanina Aliseo / Aliseo

textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2001

2.

Tkanina Cascadas /

Cascadas textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2003

1.

2.

52


DOM / HOME - A1

3.

Tkanina Colini / Colini

textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2002

4.

Tkanina Crivello /

Crivello textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2001

3.

4.

53


A1 - DOM / HOME

5.

Tkanina Dovelli /

Dovelli textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2002

6.

Tkanina Filofi la /

Filofi la textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2001

5.

6.

54


DOM / HOME - A1

7.

Tkanina Flash / Flash

textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2003

8.

Tkanina Samurai /

Samurai textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2001

8.

7.

55


A1 - DOM / HOME

9.

Tkanina Tizziano /

Tiziano textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2003

10.

Tkanina Veduta /

Veduta textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2003

11.

Tkanina Yacos /

Yacos textile

D Heinz Röntgen

P nya nordiska textiles

gmbh, Dannenberg

2001

9.

10.

11.

56


DOM / HOME - A1

ROMUNIJA /

ROMANIA

1.

Pladnji za πvedski bife

/ Plates for Swedish

buffet

D Diana Ostafi ciuc

P Mondial, Lugoj

2003

SLOVA©KA /

SLOVAKIA

1.

Vaze / Vases

D Patrik Illo

P Rona, Co Ltd.,

Lednické Rovne

2004

2.

NaslonjaË Krab / Krab

armchair

D Ivan »obej

P Brik a.s., Kremnica

2004

1.

1.

2.

57


A1 - DOM / HOME

SLOVENIJA /

SLOVENIA

1.

Sedežna garnitura

Model 01 / Model 01

sitting set

D Asobi d.o.o.,

Ljubljana

P TOM tovarna

opreme d.d.,

Mokronog

2004

2.

Sedežna garnitura

Model 04 / Model 04

sitting set

D Asobi d.o.o.,

Ljubljana

P TOM tovarna

opreme d.d.,

Mokronog

2004

1.

3.

Sedežna garnitura Life

/ Life sitting set

D Asobi d.o.o.,

Ljubljana

P TOM tovarna

opreme d.d.,

Mokronog

2004

2.

3.

58


DOM / HOME - A1

4.

Namizno steklo,

serija 2173 / Set 2173

glassware

D Marjana BastašiË

Merela

P Steklarska nova

Rogaška Slatina

d.o.o., Rogaška

Slatina

2003

5.

Jedilniško pohištvo

Gama / Gama diningroom

furniture

D Gašper Demšar,

Maja TasiË Demšar

P KLI Logatec d.d.,

Logatec

2003

4.

5.

59


A1 - DOM / HOME

6.

Mobilni sistem Box

360 / Box 360 mobile

system

D Lidija DragišiË

P Mizarstvo Urbanija,

Marko Urbanija s.p.,

Ljubljana

2003

7.

Družina luËi Minus /

Minus lights family

D Gigodesign,

Ljubljana: Miha Klinar

P Intra Lighting d.o.o.,

Miren

2004

6.

7.

60


DOM / HOME - A1

8.

Pralni stroj WA65205

AL / WA 65205 AL

washing machine

D Design center

Gorenje, Velenje: Rok

Jenko in soavtorji /

and co-authors: Lidija

Pritrænik, Silvija »erne

P Gorenje d.d.,

Velenje

2004

9.

Sušilnik D 6525 AL / D

6525 AL dryer

D Design center

Gorenje, Velenje: Rok

Jenko

P Gorenje d.d.,

Velenje

2004

8.

9.

61


A1 - DOM / HOME

10.

Vgradna peËica Alux B

9000 AL / Alux B 9000

AL built-in oven

D Design center

Gorenje, Velenje:

Oskar FuËik

P Gorenje d.d.,

Velenje

2002

11.

Hladilnik z

zamrzovalnikom

HZOKS 3866 P BF

/ HZOKS 3866 P BF

refrigirator with freezer

D Design center

Gorenje, Velenje:

Lidija Pritržnik s

sodelavci / with coauthors:

Maja NajdiË,

Tomi Krašovec, Nives

Kraševec Podlunšek

P Gorenje d.d.,

Velenje

2004

10.

11.

62


DOM / HOME - A1

12.

Sedežno pohištvo

Puzzle K08 / Puzzle

K08 compoundable

furniture

D Robert Klun

P Karel Klun s.p.,

Ljubljana

2003

13.

12.

13.

BrisaËi RN Ocean /

RN Ocean towels

D Karmen Kristan

P Svilanit d.d., Kamnik

2004

14.

Namizno steklo

Impilabile / Impilabile

table glassware

D Slavko Marcen

P Steklarna Hrastnik -

Vitrum d.d., Hrastnik

2003

14.

63


DOM / HOME - A1

17.

Sesalnik Tempo

/ Tempo vacuum

cleaner

D Industrijsko

oblikovanje Wilsonic

d.o.o., Medvode: Nina

Mihovec

P Liv plastika d.o.o.,

Postojna

2003

18.

ElektriËni števec

MT171 / MT 171

electricity meter

D Industrijsko

oblikovanje Wilsonic

d.o.o., Medvode: Nina

Mihovec

P Iskraemeco d.d.,

Kranj

2003

17.

18.

65


A1 - DOM / HOME

19.

Vaze Kaplje / Kaplje

vases

D Tanja Pak

P Steklarska nova

Rogaška Slatina

d.o.o., Rogaška

Slatina

2003

20.

Stekleni krožniki /

Glass plates

D Tanja Pak

P Steklarska nova

Rogaška Slatina

d.o.o., Rogaška

Slatina

2003

21.

Kozarci Triangle /

Triangle glasses

D Ivan Polik

P Steklarna Rogaška

d.d., Rogaška Slatina

N/C Rosenthal USA

Ltd.

2003

19.

20.

21.

66


DOM / HOME - A1

22.

Svetilke iz mavca

LuËka / LuËka plaster

lamps

D Karmen ©tiftar

P Casa Light up d.o.o.,

Ljubljana

2003

23.

Kozarci in dekanter

2192 / 2192 glasses

nad decanter

D Ljiljana Tepeš-

©olman

P Steklarna nova

Rogaška slatina d.o.o.,

Rogaška Slatina

2003

22.

23.

67


A1 - DOM / HOME

24.

Oblazinjeno pohištvo

Flip / Flip upholstered

furniture

D Lina design d.o.o.,

Kamnik: Damjan UršiË

P TOM tovarna

opreme d.d.,

Mokronog

2003

25.

Zofa Simple / Simple

sofa

D Lina design d.o.o.,

Kamnik: Damjan UršiË

P TOM tovarna

opreme d.d.,

Mokronog

2003

26.

Zofa Mars / Mars sofa

D Quadrat design

d.o.o., Ljubljana:

Vladimir Pezdirc

P TOM tovarna

opreme d.d.,

Mokronog

2003

24.

25.

26.

68


DOM / HOME - A1

27.

Pohištvo Monogram /

Monogram furniture

D Tea in Edo VidoviË

P Mizarstvo BolËiË,

Kozina

2003

28.

ViseËa svetilka GWIG

/ GWIG pending lamp

D Asobi d.o.o.,

Ljubljana

P Intra Lighting d.o.o.,

Miren

2004

27.

28.

69


A1 - DOM / HOME

29.

Kozarci in dekanter

steklo Tilt / Tilt glasses

and decanter

D Ivan Polik

P Steklarna Rogaπka

d.d., Rogaπka Slatina

N/C Nambé, Sante

Fe, New Mexico, ZDA

/ USA

29.

70


DELOVNO MESTO / WORKING PLACE - A2

AVSTRIJA /

AUSTRIA

1.

Spenjalnik Alphaline

339 / Alphaline 339

stapler

D Bernhard Neuwirth

P SAX, Heinrich

Sachs KG, Hirm

2004

HRVA©KA /

CROATIA

1.

Pisarniπko pohiπtvo

Alfa / Alfa offi ce

furniture

D Romina RadoviÊ,

Krunoslav KovaË

P Tvin d.d., Virovitica

2002

1.

1.

71


A2 - DELOVNO MESTO / WORKING PLACE

ITALIJA / ITALY

1.

Pisarniški stol Uniqa /

Uniqa offi ce chair

D Favaretto, Brigato,

Cappelin c/o Favaretto

& Partners, Padova

P Estel Offi ce, Tiene

(VI)

2003

2.

Pohištveni sistem

Layer / Layer furniture

system

D Favaretto &

Partners, Padova

P Guialmi S.A.,

Águeda, Portugalska /

Portugal

2004

1.

2.

72


DELOVNO MESTO / WORKING PLACE - A2

3.

OdzraËevalnik Attiva /

Attiva hood

D Enzo Inzaghi

P Max Fire, Villotta di

Chions (PN)

2004

4.

Terminal EOS / EOS

terminal

D Furio Minuti

P Trexom srl.,

Tavagnacco (UD)

2003

5.

Pisarniški stol Xten ® /

Xten ® offi ce chair

D Pininfarina Extra srl,

Cambiano (TO)

P Ares Line srl, Carrè

2004

3.

4.

5.

73


A2 - DELOVNO MESTO / WORKING PLACE

SLOVENIJA /

SLOVENIA

1.

Delovno mesto ATRP /

ATRP working place

D Maja TasiË Demšar,

Gašper Demšar, Miha

MaËek

P Tovarna pohištva

Trbovlje d.d., Trbovlje

2004

2.

Pisarniški stol Epico /

Epico offi ce chair

D Tone PogaËnik

P Ergoles d.o.o.,

Ljubljana

2004

1.

2.

74


DELOVNO MESTO / WORKING PLACE - A2

©VICA /

SWITZERLAND

1.

Stola Meda Pro in

Meda Slim / Meda Pro

and Meda Slim chairs

D Alberto Meda (Italija

/ Italy)

P Vitra International

AG, Birsfelden

2004

1.

75


A3 - JAVNI PROSTORI / PUBLIC PLACES

AVSTRIJA /

AUSTRIA

1.

Miza s klopjo Rutöd /

Rutöd table and bench

D Robert Györvari

P Robert Györvari,

Wien

2004

2.

Steklenica in kozarec

za vodo The Fountain

/ The Fountain

waterglass and carafe

D Georg Bergner

P Deželna vlada

Spodnjeavstrijskega

(NÖ-Landesregierung),

St. Pölten

2003

1.

2.

76


JAVNI PROSTORI / PUBLIC PLACES - A3

3.

Sedežni elementi

Skunit 1 - 5 / Skunit 1

- 5 sitting sets

D Michael Schluder,

Sergej Nikoljski

P Eternit, Vöcklabruck

2004

4.

Nadkrita sedežna

skupina Secession /

Secession sheltered

sitting unit

D Michael Schluder,

Sergej Nikoljski

N/C Wein & Co, Wien

2004

3.

4.

77


A3 - JAVNI PROSTORI / PUBLIC PLACES

BELGIJA / BELGIUM

1.

Razstavna

vitrinaVisibile / Visibile

showcase

D Leo Aerts

P Alinea, Geel

2002

ITALIJA / ITALY

1.

Svetilka Cup 110 /

Cup 110 lamp

D Roberto Pamio

P IGuzzini

Illuminazione srl.,

Recanati (MC)

2004

1.

1.

78


JAVNI PROSTORI / PUBLIC PLACES - A3

SLOVENIJA /

SLOVENIA

1.

VeËnamenski

samopostrežni

avtomat Vendmarket

/ Vendmarket

multipurpose vending

machine

D Iztok VodiËar

P Lineair international

d.o.o., Ljubljana

2004

1.

79


A3 - TRANSPORT / TRANSPORT

SLOVENIJA /

SLOVENIA

1.

Talktrack mobilna

enota za GPS sledenje

vozil / Talktrack Mobile

GPS unit for vehicle

tracking

D Janez StariË

P Ultra d.o.o., Zagorje

ob Savi

2002

1.

80


INDUSTRIJA, PROIZVODNJA, OBRT / INDUSTRY, PRODUCTION, CRAFT - A5

AVSTRIJA /

AUSTRIA

1.

Platforma stroja za

proizvodnjo fl ip-chipov

8800 FC Quantum

/ 8800 FC Quantum

Platform - machine for

fl ip-chip production

D Scheiber Design

GmbH, Kufstein:

Catalin Urcan

P Datacon GmbH,

Radfeld

2003

1.

2.

Stiskalniπka linija za

plastiko miniBEX /

miniBEX extrusionline

for plastic

D Valentinitsch

Design, Wien

P Battenfeld

Extrusiontechnik

GmbH, Bad

Oeynhausen, NemËija

/ Germany

2003

2.

81


A5 - INDUSTRIJA, PROIZVODNJA, OBRT / INDUSTRY, PRODUCTION, CRAFT

SLOVENIJA /

SLOVENIA

1.

RoËni krožni žagi W

5855, Iskra-Ero KZ55

/ Skillsaws W 5855,

Iskra-Ero KZ55

D Ernest Bevc

P Hidria-Perles d.o.o.,

Kranj

2004

2.

Stroj za deljenje testa

Mark / Mark dough

divider

D Ksenija MariniË

P Gostol - Gopan

d.o.o., Nova Gorica

2004

1.

3.

RoËni polagalni sistem

za profesionalno

SMD izdelavo

tiskanih vezij LPKF

ProtoPlace / LPKF

ProtoPlace manual

Pick&Place system

for professional SMD

assembling of PCB

D Industrijsko

oblikovanje Wilsonic

d.o.o., Medvode: Nina

Mihovec

P LPKF Laser &

elektronika d.o.o.,

Kranj

2003

2.

3.

82


KMETIJSTVO, VRTI»KARSTVO / AGRICULTURE, HORTICULTURE - A6

AVSTRIJA /

AUSTRIA

1.

Kombajn Delta / Delta

combine harvester

D Valentinitsch

Design, Wien

P Vintersteiger, Ried

2004

1.

2.

PtiËja krmilnica Bird

Land / Bird Land

feeder

D guggenbichlerdesign...,

Wien

P razne invalidske

delavnice / workshops

for disabled

N/C insieme

formintegriert,

Leording

2004

2.

83


A7 - FOTOGRAFSKE IN DRUGE OPTI»NE NAPRAVE

/ PHOTOGRAPHIC AND OTHER OPTICAL DEVICES

ITALIJA / ITALY

1.

Video projektor Bravo

S10 / Bravo S10

video-projector

D Pininfarina Extra srl,

Cambiano (TO)

P 3M Visual Systems

Division, Austin,

Texas, ZDA / USA

2003

1.

84


TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8

/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION

»E©KA / THE CZECH

REPUBLIC

1.

Mobilni telefoni Xelibri

/ Xelibri mobile phones

D Dominika Applová,

Jan Siebert, Leif Huff

P Siemens

2004

2.

Gramofon RPM9 /

RPM9 Gramophone

D Jan Turek, Jiří

Kroutil

P Sev Litovel

2004

1.

2.

85


A8 - TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE

/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION

ITALIJA / ITALY

1.

Televizorja Grand

Cinema RTX 45” in

RTX 55” / RTX 45”

and RTX 55” Grand

Cinema TV sets

D Giorgio Revoldini

P SIM 2 Multimedia

spa, Pordenone

2002

SLOVA©KA /

SLOVAKIA

1.

BrezžiËni komunikator

Gotive H41 / Gotive

H41 wireless

communicator

D Peter Olah, Ivan

Gavenda

P Gotive a.s.,

Bratislava

2002

1.

1.

86


TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8

/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION

SLOVENIJA /

SLOVENIA

1.

1.

Elektronska knjižica

vozila EKV (Ëitalnik

pametne kartice in

zaslon) / EKV vehicle

electronic booklet

(smart card reader and

display)

D Ernest Bevc, Bojan

Straže

P Logina d.o.o.,

Ljubljana; Sila

inženiring d.o.o.,

Ljubljana

2003

2.

Tipkovnica za IBM

blagajne Tipro KB 50

/ Tipro KB 50 keybord

for IBM pay desk

D Asobi d.o.o.,

Ljubljana

P Tipro d.o.o.,

Grosuplje

2004

2.

87


A8 - TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE

/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION

3.

Sistem za upravljanje

z voznimi parki

TalkTrack / TalkTrack

for rolling stock

controlling

D Ernest Bevc; Bojan

Straže - Movera d.o.o.,

Ljubljana

P Ultra d.o.o., Zagorje

ob Savi; Seidel

Elektronik GmbH,

Deutschlandberg,

Avstrija / Austria

2002

4.

Prenosni M-Pay POS

terminal za plaËevanje

z mobilnim telefonom

/ M-Pay Mobile POS

terminal

D Janez StariË, sodel.

/ assist. Klemen Eržen

P Ultra d.o.o., Zagorje

ob Savi

2002

3.

4.

88


TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8

/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION

5.

TV meter TUM-5 /

TUM-5 TV meter

D Igor Rosa

P AGB Lab d.o.o.,

Portorož

2003

6.

ATG - naprava

za merjenje

nivoja in stanja

naftnih derivatov

v podzemnih

rezervoarjih / ATG

indoor underground

tank fuel oil level

gauge

D Janez StariË

P Ultra d.o.o., Zagorje

ob Savi

2004

5.

7.

Wireless ATG -

naprava za brezžiËno

merjenje nivoja

in stanja naftnih

derivatov v podzemnih

rezervoarjih /

Wireless ATG outdoor

underground tank fuel

oil level gauge

D Janez StariË

P Ultra d.o.o., Zagorje

ob Savi

2004

6.

7.

89


A9 - ULI»NA OPREMA, OBCESTJE

/ STREET FURNITURE AND COMMUNITY EQUIPMENT

SLOVENIJA /

SLOVENIA

1.

Podstavki za

namestitev zabojnikov

za odpadke / Socle for

garbage containers

D Janez MesariË;

IN.DI.GO, Ljubljana

P 2p d.o.o., Koper

2004

1.

90


ARHITEKTURNI ELEMENTI IN SKLOPI - A10

/ ARCHITECTURAL ELEMENTS AND SYSTEMS

BELGIJA / BELGIUM

1.

Jeklena elektriËna

stikala Lithos /

Lithos stainless steel

switches

D Bart Spillermaeckers

P Lithos, Lovendegen

2003

»E©KA / THE CZECH

REPUBLIC

1.

1.

Serija odklopnih

varovalk / Fuse

series disconnecting

switches

D Alexius Appl

P OEZ Letohrad a.s.

2001

1.

91


A10 - ARHITEKTURNI ELEMENTI IN SKLOPI

/ ARCHITECTURAL ELEMENTS AND SYSTEMS

ITALIJA / ITALY

1.

Kljuka Leonardo /

Leonardo handle

D Fabrizio Bianchetti

P Ghidini Pietro Bosco

s.p.a., Brozzo di

Marcheno (BS)

2003

2.

Armature Plano /

Plano taps

D Agneletti Ruzza

Design, Rieti

P Fratelli Fantini

s.p.a., Pella (NO)

2003

1.

2.

92


ARHITEKTURNI ELEMENTI IN SKLOPI - A10

/ ARCHITECTURAL ELEMENTS AND SYSTEMS

SLOVENIJA /

SLOVENIA

1.

Družina stikal Modul /

Modul switches set

D Borut Dvornik, Bojan

KlanËar

P TEM »atež d.d.,

Velika Loka

2003

1.

2.

Notranja vrata in

predelne stene / Inside

doors and paravans

D IN.DI.GO, Ljubljana:

Barbara Nardoni,

Nana Žargi, soavtor

/ co-author Janez

MesariË; Rok Kuhar;

Monochrome arhitekti,

Ljubljana

P Aluminij Montal d.d.

Komen, Komen

2004

3.

Informacijski pult /

Infodesk

D BeBe com. d.o.o.,

Ljubljana: Rok Kuhar

N/C Bofex d.o.o.,

Merkur skupina,

Ljubljana

2002

2.

3.

93


A11 - OVOJNINA, TEHNOLO©KO OBLIKOVNE RE©ITVE IN SISTEMI

/ PACKAGING - TECHNOLOGICAL DESIGN SOLUTIONS AND SYSTEMS

AVSTRIJA /

AUSTRIA

1.

Ovojnica za CD Disc

Lev / Disc Lev CD

envelope

D Philipp Prause

P Ernst Schausberger

& Co GmbH,

Gunskirchen

N/C w3worx (for Cortal

Consors Germany)

Nürnberg, NemËija /

Germany

2003 / 2004

2.

Odnesna πkatla za

Nordsee Sharky /

Sharky Nordsee takeaway

packaging

D Susanne Lippitsch

P Mayr Melnhof

GmbH, Wien

N/C Nordsee GmbH,

Wien

2004

1.

HRVA©KA /

CROATIA

1.

Ovojnina Hygieia

intima / Hygieia intima

packaging

D Mario VaršiÊ

P Laboratorij Dr.

DžaniÊ, Zagreb

2002

2.

1.

94


MEDICINA IN REHABILITACIJA, SKRB ZA PRIZADETE - A12

/ MEDICAL AND REHABILITATION EQUIPMENT AND AIDS FOR DISABLED

ITALIJA / ITALY

1.

Zidni sedež za pod

prho Profi lo / Profi lo

wal-mounted shower

chair

D HB Group, Milano:

Gianni Arduini

P Rehab Innovation

srl, La Spezia

2004

1.

2.

Po višini in širini

nastavljiv sedež za v

kopalno kad Profi lo

/ Profi lo suspended

bath seat adjustable in

height and width

D HB Group, Milano:

Gianni Arduini

P Rehab Innovation

srl, La Spezia

2004

2.

95


A12 - MEDICINA IN REHABILITACIJA, SKRB ZA PRIZADETE

/ MEDICAL AND REHABILITATION EQUIPMENT AND AIDS FOR DISABLED

SLOVENIJA /

SLOVENIA

1.

Vakuumski aspirator /

Vacuum aspirator

D Marjan Žitnik

P Vacutech d.o.o.,

Ljubljana

2002

2.

Bolniški parapetni

kanal / Medical

parapet bar

D Marjan Žitnik

P Medicop d.o.o.,

Murska Sobota

2002

1.

2.

96


©PORT, PROSTI »AS / SPORT AND LEISURE - A13

AVSTRIJA /

AUSTRIA

1.

SmuËarska vez

Silvretta Pure /

Silvretta Pure skibinding

D Martin Breuer-Bono

P Salewa Sportgeräte

GmbH, Aschheim

2003

2.

Kozarec za enkratno

uporabo Open Air /

Open Air throw-away

glass

D Valentinitsch

Design, Wien

P Schorm GmbH & Co

KG, St. Valentin

2004

1.

2.

97


A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE

BELGIJA / BELGIUM

1.

Miza s sedežema

v enem PicNik /

PicNik table-sitting

combination

D Dirk Wynants &

Xavier Lust

P Extremis,

Gijverinkhove

2002

»E©KA / THE CZECH

REPUBLIC

1.

Novi zimski šport Kluski

/ Klu-ski, a new

winter sport

D Vratislav Žák

P Vella s.r.o., Náchod

2000

1.

1.

98


©PORT, PROSTI »AS / SPORT AND LEISURE - A13

2.

Mini motorno kolo

Origami-Blata /

Origami-Blata mini

motorbike

D Stanislav Hanuš,

Pavel Blata

P Blata s.r.o., Blansko

2003

3.

Teleskopska

kolesarska tlaËilka /

Telescopic bicycle

pump

D Martin Imrich,

Vrastislav Žák

P Vella s.r.o., Náchod

2003

2.

3.

99


A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE

ITALIJA / ITALY

1.

Podstavki za žogice

za golf Fancy / Fancy

Tees

D Studio Lorenzo

Bonfanti

P Studio Lorenzo

Bonfanti, Vimercate

(MI)

2002

2.

Kolesarska Ëelada

Yuma / Yuma cycling

helmet

D Monica Pilenghi

P D.I.W.S., Ozzero

Milano

2004

3.

Stol Altra-Ergo / Altra-

Ergo chair

D Peter Solomon

Design, Milano

P Altra Design Ltd.,

London, Velika

Britanija / United

Kingdom

2004

1.

3.

2.

100


©PORT, PROSTI »AS / SPORT AND LEISURE - A13

SLOVA©KA /

SLOVAKIA

1.

Posebno športno

oblaËilo Liquidice

/ Liquidice special

clothing for outdoor

sports

D Erika Pussová, Jana

Prokopová, Martin

©ucháň

P Trek sport s.r.o.,

Most pri Bratislave

2003

2.

Nahrbtnik Liquidator

/ Liquidator extreme

pack

D Dušan Beláň, Martin

©ucháň

P Trek sport s.r.o.,

Most pri Bratislave

2003

2.

1.

101


A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE

SLOVENIJA /

SLOVENIA

1.

SmuËi Fusion Pro SX

z vezmi / Fusion Pro

SX skiis and bindigs

D Elan, Begunje;

grafi ka smuËi / ski

graphic design:

Gigodesign, Ljubljana;

grafi ka vezi / binding

graphic design: AWS

Design, Wien

P Elan d.d., Begunje

2004

2.

SmuËarski tekaški

Ëevlji Alpina Sport /

Alpina Sport crosscountry

ski boots

D Jure Miklavc;

produktna grafi ka /

product graphic design

Jan JagodiË

P Alpina d.d., Žiri

2004

1.

2.

102


©PORT, PROSTI »AS / SPORT AND LEISURE - A13

3.

SmuËarski tekaški

Ëevlji Alpina Touring /

Alpina Touring crosscountry

ski boots

D Jure Miklavc;

produktna grafi ka /

product graphic design

Jan JagodiË

P Alpina d.d., Žiri

2004

4.

SmuËarski Ëevlji

Alpina Be3 / Alpina

Be3 dawnhill ski boots

D Jure Miklavc;

produktna grafi ka /

product graphic design

Jan JagodiË

P Alpina d.d., Žiri

2004

3.

4.

103


A14 - IGRANJE, IZOBRAÆEVANJE / TOYS AND EDUCATION AIDS

AVSTRIJA /

AUSTRIA

1.

IgraËe Jim + Jenny /

Jim + Jenny toys

D WIGL-Design

(Alfred Urleb)

P Jim + Jenny Toys,

Graz

2004

ITALIJA / ITALY

1.

Pisalo Jolly / Jolly pen

D Luigi Trenti

P Pineider spa,

Firenze

2003

1.

1.

104


NAKIT, OBLA»ILA, GALANTERIJA - A15

/ JEWELLERY, GARMENTS AND FANCY GOODS

AVSTRIJA /

AUSTRIA

1.

Klobuk-Ëepica Aiko /

Aiko hat-cap

D Eva Kim Heu

P Eva Kim Heu, Wien

2004

ITALIJA / ITALY

1.

Potovalni set Chatwin /

Chatwin traveller set

D Furio Minuti

P Pyxis Design,

Macerata (MC)

2003

2.

Prstan Evoluzione /

Evoluzione ring

D Marco Spinelli

P Mineralcenter,

Abano Terme (PD)

2003

1. 2.

1.

105


A15 - NAKIT, OBLA»ILA, GALANTERIJA

/ JEWELLERY, GARMENTS AND FANCY GOODS

SLOVENIJA /

SLOVENIA

1.

Kolekcije oblaËil: Last

Century, Prihodnost

v spominu, Folk /

Clothing collections:

Last Century,

Prihodnost v spominu,

Folk

D Sanja GrciË, Iztok

Hrga

P Sanja GrciË, Iztok

Hrga, Ljubljana

2001 _ 2003

2.

Kolekcija nakita

iz tekstila / Textile

jewellery collection

D Almira Sadar

P LJ studio d.o.o.,

Ljubljana

2004

1.

2.

106


B

INFORMACIJSKI

FUNKCIONALNI

SISTEMI,

CELOSTNE

PODOBE

INFORMATION

FUNCTIONAL

SYSTEMS,

CORPORATE

IDENTITY

PROGRAMMES

107


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

AVSTRIJA /

AUSTRIA

1.

Celostna

grafi Ëna podoba

Liechtensteinskega

muzeja / Liechtenstein

musem visual identity

D Wien Nord Pilz

Werbeagentur GmbH,

Wien

P Druckereien Grasl,

Gerin

N/C Liechtenstein

Museum, Wien

2004

2.

Klic / Call

D Kornelius Tarmann

P Fuka & Fischer,

Wien

N/C Barmherzige

Schwestern, Wien

2004

1.

2.

108


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

3.

Celostna grafi Ëna

podoba MIVA/BBM/

CHH / MIVA/BBM/

CHH visual identity

D Kornelius Tarmann

P Steinhauser -

Digitale Medien, Wien

N/C BBM Austria,

Stadl-Paura

2003

4.

Celostna grafi Ëna

podoba NIL / NIL

visual identity

D Roland A.

Reidinger, Federal

department of graphic

design, Strasshof

N/C Gallaher Austria

Tabak Europe GmbH

2003

3.

4.

109


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

5.

Mednarodna

kampanja podobe

Adidas eyewear

/ Adidas eyewear

international image

campaign

D Buchegger, Denoth,

Feichtner, Linz

N/C Adidas eyewear

2003

6.

Grafi Ëna oprema

letališkega vlaka CAT /

CAT City Airport Train

graphic design

D Spirit Design, Wien:

Daniel Huber

P Druckerei

Bosmüller, Wien

N/C City Air Terminal

Betriebs GmbH, Wien-

Flughafen

2003

5.

6.

110


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

HRVA©KA /

CROATIA

1.

Celostna grafi Ëna

podoba Jesus Christ

Superstar / Jesus

Christ Superstar visual

identity

D Jana Žiljak VujiÊ

P FotoSoft d.o.o.,

Zagreb

N/C Kazalište

Komedija, Zagreb

2002

2.

Plakat ZGRAF 9 /

ZGRAF 9 poster

D Tomislav VlainiÊ,

Marko Lipovac

N/C ULUPUH, Zagreb

2004

1.

2.

111


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

3.

Plakat OsjeËko ljeto

kulture / OsjeËko ljeto

kulture poster

D Lada VlainiÊ,

Tomislav VlainiÊ

N/C Poglavarstvo

grada Osijeka, Osijek

2004

4.

Plakata Festo 12 /

Festo 12 posters

D Lada VlainiÊ,

Tomislav VlainiÊ

N/C Hrvatski oglasni

zbor, Zagreb

2004

3.

4.

112


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

5.

Celostna grafi Ëna

podoba Castor

Multimedia / Castor

Multimedia visual

identity

D Sensus Design

Factory Zagreb:

Nedjeljko ©poljar,

Kristina ©poljar

P Kratis, Zagreb

N/C Castor Multimedia

d.o.o., Zagreb

2003

6.

Letno poroËilo 2002

Pliva / Pliva Annual

Report 2002

D Sensus Design

Factory Zagreb:

Nedjeljko ©poljar,

Jadranko MarjanoviÊ;

foto/photo: Dag OršiÊ,

Ivana VuËiÊ, Damir

FabijaniÊ

P Kratis, Zagreb

N/C Castor Multimedia

d.o.o., Zagreb

2003

5.

6.

113


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

7.

Celostna grafi Ëna

podoba 03-Croatian

Design Exhibition

(plakati) / 03-Croatian

Design Exhibition

visual identity

(posters)

D Sensus Design

Factory Zagreb:

Nedjeljko ©poljar,

sodel. / assist. Kristina

©poljar

P Printel, Zagreb

N/C HDD, Zagreb

2003

8.

Letno poroËilo 2003

Ericsson Nikola Tesla

d.d. / Ericsson Nikola

Tesla d.d. Annual

Report 2003

D Dubravko Bujan

P Kerschoffset, LuËko

N/C Ericsson Nikola

Tesla d.d., Zagreb

2004

7.

8.

114


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

9.

Celostna grafi Ëna

podoba 51. Pula fi lm

festival / 51. Pula fi lm

festival visual identity

D Igor StanišljeviÊ

N/C Pula fi lm festival,

Pula

2004

10.

Plakat in razglednica

Silent Witness Project

/ Silent Witness

Project poster and

postcard

D Gordana Golik

P Printel, Zagreb

N/C B.a.B.e., Zagreb

2003

9.

10.

115


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

11.

Celostna grafi Ëna

podoba Galerija 01

/ Galerija 01 visual

identity

D Rocco i partner

d.o.o., Zagreb: Sanja

Rocco

P Kratis / Nova forma,

Zagreb

N/C Galerija 01,

Zagreb

2003

12.

Celostna grafi Ëna

podoba koncertnega

ciklusa 4 godišnja

doba / Concert cyclus

4 godišnja doba visual

identity

D Rocco i partner,

Zagreb: Sanja Rocco,

sodel. / assist.

Krešimir GrancariÊ,

foto / photo Hrvoje

GrgiÊ

P Tiskara Horvat,

Bjelovar

N/C GudaËki kvartet

Rukner, Zagreb

2003

11.

12.

116


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

13.

Plakat za Kongres

Hrvatskog

udruženja ortopeda

i traumatologa /

Kongres Hrvatskog

udruženja ortopeda i

traumatologa poster

D Marko Koržinek

P Putokaz 2000,

Zagreb

N/C HUOT, Zagreb

2003

14.

Celostna grafi Ëna

podoba IN FINE / IN

FINE visual identity

D Ana GaliÊ, Luka

KuhariÊ, Bojan Matoš

P Tiskara Gipa,

Zagreb

N/C IN FINE d.o.o.,

Zagreb

2002

13.

14.

117


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

15.

Znaki / Signs

D Ana GaliÊ, Luka

KuhariÊ, Bojan Matoš

N/C razni naroËniki /

several clients

2002-2004

16.

Promocijsko gradivo

za Stereo studio

/ Stereo studio

promotional material

D Ana GaliÊ, Luka

KuhariÊ, Bojan Matoš

P Tiskara KasaniÊ,

Zagreb

N/C Stereo studio,

Zagreb

2002

15.

118

16.


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

17.

Celostna grafi Ëna

podoba Ivan

MeštroviÊ, hrvatski

kipar / Ivan MeštroviÊ,

hrvatski kipar visual

identity

D Studio International,

Zagreb: Boris LjubiËiÊ

P AKD, Zagreb

N/C Fundacija Ivana

MeštroviÊa, Zagreb

2002

18.

Celostna grafi Ëna

podoba Hrvatska

turistiËka zajednica

/ Hrvatska turistiËka

zajednica visual

identity

D Studio International,

Zagreb: Boris LjubiËiÊ,

foto / photo Ivo Pervan

P Mabacom, Zagreb

N/C Hrvatska turistiËka

zajednica, Zagreb

2003

17.

18.

119


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

19.

Celostna grafi Ëna

podoba Pogorelich

/ Pogorelich visual

identity

D Studio International,

Zagreb: Boris LjubiËiÊ

P AKD, Zagreb

N/C Rotary club,

MuziËka akademija,

Zagreb

2002

20.

Plakat Wellcome

to the museum -

Dobro došli u muzej

/ Wellcome to the

museum - Dobro došli

u muzej poster

D Studio International,

Zagreb: Boris LjubiËiÊ

P AKD, Zagreb

N/C Muzejski

dokumentacioni

centar, Studio

International, Zagreb

2002

19.

20.

120


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

21.

Celostna grafi Ëna

podoba World

Congress of Pediatric

Surgery / World

Congress of Pediatric

Surgery visual identity

D Defi nicija, Zagreb:

Davor ©unk

P Tiskara StefanoviÊ,

Zagreb

N/C Klinika za djeËje

bolesti Zagreb, Zagreb

2003

22.

Katalog Peugeot

607 / Peugeot 607

catalogue

D Futura DDB,

Zagreb: Antonio DoliÊ

P DDB, Zagreb

N/C Peugeot

Hrvatska, Zagreb

2003

21.

22.

121


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

23.

Logobook / Logobook

D Antonio DoliÊ

P Kratis, Zagreb

N/C Antonio DoliÊ

2003

24.

Celostna grafi Ëna

podoba Chickie‘s

/ Chickie‘s visual

identity

D Antonio DoliÊ

P Grafotehna Zagreb,

Zagreb

N/C Chickie‘s, Zagreb

2002

23.

24.

122


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

25.

Darilne škatle / Gift

box collection

D Zrinka Penava

Dogan

P HiT Art, Zagreb

N/C Vinoteka

Bornstein, Zagreb

2002

26.

Katalog Prototip /

Prototip catalogue

D Dora BiliÊ, Tina

Müller

P Kratis, Zagreb

N/C Galerija ULUPUH,

Zagreb

2004

25.

26.

123


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

27.

Knjiga Zagreb,

modernost i grad /

Zagreb, modernost i

grad book

D Željko Zorica, Dora

BiliÊ, Tina Müller

P Kratis, Zagreb

N/C IzdavaËka kuÊa

AGM, Zagreb

2003

28.

Knjiga O mojoj mami,

... / O mojoj mami, ...

book

D Dora BilliÊ, Tina

Müller

P Tiskara Zelina,

Zagreb

N/C Ženska infoteka,

Zagreb

2003

29.

Knjižne naslovnice /

Book covers

D Iva Babaja

P Kratis, Zagreb

N/C Fraktura, ZaprešiË

2003-2004

27.

28.

29.

124


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

ITALIJA / ITALY

1.

Celostna grafi Ëna

podoba revije l‘Arca /

L‘Arca magazin visual

identity

D Iliprandi associati,

Milano

P Bolis poligrafi che,

Bergamo

N/C L‘arca edizioni,

Milano

2003

MADŽARSKA /

HUNGARY

1.

Celostna grafi Ëna

podoba revije Atrium

/ Atrium magazine

visual identity

D Buda Varga

N/C Sanoma

Budapest Publishing

Corp., Budapest

2002 _ 2003

1.

1.

125


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

2.

Celostna grafi Ëna

podoba Državnih

konjskih dirk d.o.o. /

The national horse

racing ltd. visual

identity

D Benedek Bálas

N/C Hungarian

Academy of Fine Arts,

Budapest

2003

SLOVA©KA /

SLOVAKIA

1.

Celostna grafi Ëna

podoba Bienala

ilustracije Bratislava

2003 BIB 2003 / BIB

2003, Bratislava 2003,

Biennial of Illustrations

visual identity

D Vladislav Rostoka

N/C Bibiana,

Bratislava

2003

1.

2.

Attempts to her life,

interaktivna projekcija

/ Attempts to her

life, interactive data

projection

D Ján ©icko

N/C Theatre M.U.T.,

Praha

2002

1.

2.

126


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

SLOVENIJA /

SLOVENIA

1.

Celostna grafi Ëna

podoba MEJ NI FEST

/ MEJ NI FEST visual

identity

D Dolores Gerbec

P Grafi ka SoËa, Nova

Gorica

N/C SNG Nova

Gorica, Nova Gorica

2004

2.

Celostna podoba

BOF / BOF corporate

identity

D BeBe com. d.o.o.,

Ljubljana: Mojca

Janželj TomažiË

N/C Bofex d.o.o.,

Ljubljana

2002

1.

2.

127


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

3.

Gledališki plakati PDG

/ PDG theatre posters

D Dolores Gerbec

P Tiskarna Hren,

Ljubljana

N/C SNG Nova

Gorica, Nova Gorica

2000 _ 2004

4.

Naslovnice Ëasopisa

Park / Park newspaper

covers

D Iztok KovaËiË

P Tiskarstvo Opara,

Novo mesto

N/C Park, Založba

Goga, Novo mesto

2002 _ 2004

5.

Celostna grafi Ëna

podoba revije Dialogi

/ Dialogi magazine

visual identity

D Nenad JelesijeviÊ

P Ma-tisk d.o.o.,

Maribor

N/C Založba Aristej

d.o.o., Maribor

2004

3.

4.

5.

128


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

6.

Znaki za sanitarije,

Ljubljanski grad /

Ljubljana castle toilet

signs

D Ambient d.o.o.,

Ljubljana: Miha Kerin,

Martin Ravnikar

P Steklarstvo Rojs,

Domžale

N/C MOL, Mestna

uprava, Odd. za

gospodarjenje z

zemljišËi, Ljubljana

2003

7.

Spominska plošËa

v koncentracijskem

taborišËu Kampor,

Rab / Memorial plate

of Kampor-Rab

concentration camp

D Ambient d.o.o.,

Ljubljana: Majda

Kregar, Miha Kerin

P Nautilus d.o.o.,

Grosuplje

N/C RS, Ministrstvo

za delo, družino in

socialne zadeve,

Ljubljana

2003

6.

7.

129


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

8.

Celostna grafi Ëna

podoba razstave

Veno Pilon / Veno

Pilon exhibition visual

identity

D Zmago Rus

P Tiskarna Ljubljana

d.d., Ljubljana

N/C Moderna galerija,

Ljubljana

2002

9.

Poštne znamke, peËati

in ovojnice / Stamps,

seals and envelopes

D Zagorka SimiÊ

P Tiskarna Delo d.d.,

Ljubljana

N/C Pošta Slovenije,

Maribor

2003

8.

130

9.


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

10.

Knjižna zbirka

DedišËina / DedišËina

book collection

D Peter Skalar

P Tiskarna Kurir,

Ljubljana; Tiskarna

Ma-tisk, Maribor

N/C Cankarjeva

založba, Ljubljana

2003-2004

11.

Etikete in darilna

ovojnina za žgane

pijaËe Urhov‘c /

Urhov‘c labels and

wraping-paper for

spirits

D Barbara ©ušteršiË,

Jure Miklavc

P Tiskarna Medium

d.o.o., Žirovnica

N/C Janez Urh, Bled

2003

10.

11.

131


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

12.

Celostna podoba

»okoladnice&bara

Angel / Chocobar

Angel corporate

identity

D Elastik, Ljubljana:

Igor Kebel, Mika

Cimolini

P Mizarstvo Hribar,

Motnik

N/C »okoladnica&bar

Angel, Luc d.o.o.,

Ljubljana

2004

13.

Prospekti Cerle,

Marmor, White,

Eko / Cercle,

Marmor, White, Eko

promotional material

D Neva ©tembergar

P Dravska tiskarna

d.o.o., Maribor

N/C Paloma, Tovarna

lepenke Ceršak d.d.,

Ceršak

2004

12.

13.

132


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

14.

Program registratorjev

in map Cerle / Cercle

lever arch fi les and

folders set

D Neva ©tembergar

P Valkarton d.d.,

Logatec

N/C Paloma, Tovarna

lepenke Ceršak d.d.,

Ceršak

2003

15.

Program registratorjev

Marmor / Marmor lever

arch fi les set

D Neva ©tembergar

P Valkarton d.d.,

Logatec

N/C Paloma, Tovarna

lepenke Ceršak d.d.,

Ceršak

2003

14.

15.

16.

Program registratorjev

White / White lever

arch fi les set

D Neva ©tembergar

P Valkarton d.d.,

Logatec

N/C Paloma, Tovarna

lepenke Ceršak d.d.,

Ceršak

2003

17.

Program registratorjev

Eko / Eko lever arch

fi les set

D Neva ©tembergar

P Valkarton d.d.,

Logatec

N/C Paloma, Tovarna

lepenke Ceršak d.d.,

Ceršak

2003

16.

17.

133


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

18.

Serija plakatov RdeËi

in Ërni / Red and black

poster series

D Simon Sernec

P Vinkotisk, RadeËe

N/C KUD Primož

Trubar, Loka;

Umetniško programski

svet RadeËe, RadeËe

2002-2003

19.

Celostna grafi Ëna

podoba Kreart.05

/ Kreart.05 visual

identity

D Simon Sernec,

ilustr. / ill. Simon

Sernec, Bori ZupanËiË,

foto / photo Tomo

Brejc

P Vinkotisk, RadeËe

N/C KUD Primož

Trubar, Loka

2002

20.

Celostna grafi Ëna

podoba Kreart.06

/ Kreart.06 visual

identity

D Simon Sernec

P Vinkotisk, RadeËe

N/C KUD Primož

Trubar, Loka

2003

18.

19.

20.

134


INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

21.

Celostna grafi Ëna

podoba Klavirskega

veËera Tatjani 02

/ Piano recital for

Tatjana 02 visual

identity

D Simon Sernec

P Vinkotisk, RadeËe

N/C Umetniško

programski svet

RadeËe, RadeËe

2002

22.

Celostna grafi Ëna

podoba Klavirskega

veËera Tatjani 03

/ Piano recital for

Tatjana 03 visual

identity

D Simon Sernec

P Vinkotisk, RadeËe

N/C Umetniško

programski svet

RadeËe, RadeËe

2003

21.

23.

23.

Celostna grafi Ëna

podoba Mednarodne

jazz glasbene in

plesne akademije

/ International jazz

music and dance

academy visual

identity

D Simon Sernec

P Vinkotisk, RadeËe

N/C Aanima, Ljubljana

2003

22.

135


B - INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE

/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY

PROGRAMMES

ZDA / USA

1.

Serija plakatov: Hello,

I‘m Poster; Protect

yourself from H.I.V.

(AIDS); Fear-SARS;

Fear-MAN / Poster

collection: Hello,

I‘m Poster; Protect

yourself from H.I.V.

(AIDS); Fear-SARS;

Fear-MAN

D Fang Chen

P Illinois State

University, Normal

N/C Illinois State

University, Normal

2003

1.

136


C

OBLIKOVALSKE

ZASNOVE

DESIGN

PROJECTS

137


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

AVSTRIJA /

AUSTRIA

1.

©katla TwistBox /

TwistBox

D Philipp Prause

2.

Zobna šËetka s

pisalom Arthur Dent /

Arthur Dent toothbrush

pen

D Philipp Prause

1.

2.

138


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

3.

Odnesna škatla za

azijsko hrano Haiku /

Haiku Asia take-away

packaging

D Susanne Lippitsch

4.

Skrinja Chester /

Chester chest

D Produktdesign BKM,

Wien: Katharina Maria

Brückner

3.

4.

139


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

5.

Knjižno stojalo / Book

holder

D Produktdesign BKM,

Wien: Katharina Maria

Brückner, Herbert

Klamminger, Stefan

Moritsch

6.

ProËelje za vazo /

Vase fasade

D Produktdesign BKM,

Wien: Katharina Maria

Brückner, Herbert

Klamminger, Stefan

Moritsch

7.

Sedež Dent! / Dent!

stool

D Claudia Pfl eger

5.

6.

7.

140


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

BELGIJA / BELGIUM

1.

Rolka za dva The

Equilibrist / The

Equilibrist skate-board

for two

D Weyers & Borms,

Tielrode

2.

Oblazinjeno pohištvo /

Upholstered furniture

D Inge Van Gheel

1.

3.

Krsta za kremiranje in

žara Soul Ash Solace

/ Soul Ash Solace

cremation coffi n and

urn

D Maxime Szyf

3.

2.

141


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

HRVA©KA /

CROATIA

1.

Zavrnjena nateËajna

dela / Refused

competition works

D Marko Koržinek,

sod./ assist.

Aleksander KovaÊ

2.

Delovni prostori

OOred! / OOred!

working places

D Jelena LukaË

M/T Mladen OrešiÊ,

SveuËilište u Zagrebu,

Arhitektonski fakultet,

Studij dizajna,

Zagreb / University

of Zagreb, Faculty of

Architecture, Study of

Design, Zagreb

3.

Urbana

komunikacijska

naprava Ebooth

/ Ebooth urban

communication device

D Tvrtko KapetanoviÊ

M/T Mladen OrešiÊ,

SveuËilište u Zagrebu,

Arhitektonski

fakultet, Studij

dizajna / University

of Zagreb, Faculty of

Architecture, Study of

Design, Zagreb

1.

2.

3.

142


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

4.

Fotelj / Easy-chair

D Zlatko KapetanoviÊ,

Ana BaniÊ

5.

Miza Funtable /

Funtable

D Ana BaniÊ, Zlatko

KapetanoviÊ

6.

Bioluminescentna

svetilka /

Bioluminescent lamp

D Ana BaniÊ

M/T Zlatko

KapetanoviÊ,

SveuËilište u Zagrebu,

Arhitektonski

fakultet, Studij

dizajna / University

of Zagreb, Faculty of

Architecture, Study of

Design, Zagreb

4.

5.

6.

143


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

7.

Projekt vodne ure /

Waterclock project

D Ivana Fabrio

M/T Jurgen Bey,

Design Academy

Eindhoven,

Eindhoven,

Nizozemska / The

Netherlands

8.

Skodelica s

podstavkom Cube /

Cube cup and plate

D Gordana Golik

7.

8.

144


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

ITALIJA / ITALY

1.

Stojalo za nože

Leilama / Leilama

knife holder

D Marco Marangone

2.

PoËivalnik Ippocampo

/ Ippocampo chaiselongue

D Granese design

studio, Salerno: Diego

Granese

1.

2.

145


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

3.

Projekt Jeklo in stil,

knjižna polica Antitesi

/ Antitesi Steel

and style project

bookshelve

D Alessandro

Orteschi, Rossella

Sartorato

M/T Eugenio Farina,

Scuola Italiana

Design, Padova

4.

Projekt Jeklo in stil,

strgalo Tubi / Tubi

grater Steel and style

project

D Alessandro Rorato

M/T Eugenio Farina,

Scuola Italiana

Design, Padova

3.

4.

146


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

5.

Projekt Jeklo in stil,

stojalo za dežnike /

Umbrella stand Steel

and style project

D Alessandro

Guerriero

M/T Eugenio Farina,

Scuola Italiana

Design, Padova

6.

DinamiËni stol Poldina

/ Poldina dynamic

chair

D Andrea Modica

7.

Silikonska svetilka

Circolina / Circolina

silicon lamp

D Andrea Modica

5.

7.

6.

147


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

MADŽARSKA /

HUNGARY

1.

Igralo Limbo / Limbo

playtoy

D Róbert Kapitány

2.

Vozilo Mercedes

Ecomog / Mercedes

Ecomog vehicle

D János Stunya,

diplomsko delo

/ diploma work,

Hungarian University

of Craft and Design,

Department of Product

Design, Budapest

1.

2.

148


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

3.

Pisalno in risalno

orodje za slepe

Touchwriter /

Touchwriter, writing

and drawing tool for

the blind

D Krisztina Horváth,

Orsolya Kurucz,

Hungarian University

of Craft and Design,

Department of Product

Design, Budapest

4.

»istilnik za nos

Dynamic / Dynamic

Nose wash

D Gergely Hosszú,

Hungarian University

of Craft and Design,

Department of Product

Design, Budapest;

Braun GmbH

3.

4.

149


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

5.

Prenosni mini ink jet

tiskalnik / Portable

mini ink jet printer

D Tamás Hurton,

Hungarian University

of Craft and Design,

Department of Product

Design, Budapest

6.

Laserski geodetski

inštrument / Laser

leveling system

D Támas Hurton,

Hungarian University

of Craft and Design,

Department of Product

Design, Budapest

7.

©portni invalidski

voziËek Flexor / Flexor

active wheelchair

D Csaba G. Szilágyi

5.

6.

7.

150


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

SLOVA©KA /

SLOVAKIA

1.

Sušilnik za obleko

Wash-dry-go / Washdry-go

dehydrator for

clothes

D Lucia Karpitová,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

2.

Zaslon za pralni stroj

/ Washing mashine

paravan

D Klára Zavadilová,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

1.

2.

151


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

3.

Sesalnik za dva /

Vacuum cleaner for

two

D Kamila Zavadilová,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

4.

Sesalnik za zelo

zaposlene ljudi /

Vacuum cleaner for

very busy people

D Zdenka Poliaková,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

3.

4.

152


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

5.

Vlažilnik zraka / Air

damper

D Viera Igriciová,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

6.

Temperaturni indikator

kuhanja / Cooking

thermo indicator

D Alena TimkoviËová,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

5.

6.

153


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

7.

Svetilke / Lights

D Tomáš Gabzdil,

Academy of Fine

Arts and Design,

Department of Product

Design, Bratislava

8.

Sušilnik steklenic /

Bottle dryer

D Katarína

Zahoránská, Academy

of Fine Arts and

Design, Department

of Product Design,

Bratislava

7.

8.

154


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

9.

©portno kolo iz

karbona / Carbon

sportbike

D Peter Chlpek,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

10.

Moped / Moped

D Marian Lauko,

Academy of Fine

Arts and Design,

Department of

Industrial Design,

Bratislava

9.

10.

155


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

11.

Digitalno notno stojalo

/ Digital music stand

D Tomáš Eisner,

Faculty of Arts,

Design, Košice

12.

Medicinski inštrument

Breath / Breath

medical instrument

D Gabriel HašËák,

Faculty of Arts,

Design, Košice

11.

12.

156


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

13.

Tehtnica / Scale

D Monika KoËišová,

Faculty of Arts,

Design, Košice

14.

Nosilka za plastenke

/ PET bottles

conveyance

D Marcela ĎurËová,

Faculty of Arts,

Design, Košice

13.

14.

157


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

SLOVENIJA /

SLOVENIA

1.

Urbana kamnita

oprema - The Pietra

Design Competition

/ Urban stone design

- The Pietra Design

Competition

D Dalibor Arula,

Kaja Antlej, ©tefan

Barle, Marijana

BrandiËiÊ, Jože

Carli, Miha »rtaliË,

Mateja ©. Dimic, Ajda

Jalovec, Petra Jug,

Sebastijan MahniË,

Katja MarkoviË,

Ivana PotoËnik, Leja

©koberne, Nataša

©krjanec, Darko

©urina, Zoran ©vraka;

N/C Kamnarska

industrija Trento, Italija

M/T Saša J. Maechtig,

Nana Žargi, Barbara

Nardoni, Akademija

za likovno umetnost,

Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

2.

Skodelica za kavo

Barkafe - oblikovalski

nateËaj, Portorož /

Barkafe coffee cup -

design competition

D Kaja Avberšek,

Matija MilkoviË

Biloslav, Nejc

Brezovšek, Aleš

Erjavec, Alex Greblo,

Nina Hercog, Uroš

Hohkravt, Gorazd

KošËak, Jernej Kropej,

Jože Levstik, Polona

Matek, Tanja MudriniË,

Rok Oblak, Dejan

OrlaË, Marko Pavlinec,

Gašper Premože,

Robert Primc, Tena

Rebernjak, Andraž

©apec, Martin

©oštariË, Boris Sovinc,

Vasja Stojanovski,

Timea Vida, Luka Zajc

N/C Droga Portorož

d.d., Portorož

M/T Janez Smerdelj,

Jure Miklavc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

1.

2.

158


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

3.

SveËnik Volcano /

Volcano candle holder

D Zoran ©vraka

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

4.

Pladnji Tea-fun / Teafun

salvers

D Nataša ©krjanec

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

3.

4.

159


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

5.

Kozarci in dekanter

Dotik / Dotik glasses

and decanter

D Ivana PotoËnik

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

6.

Kozarci Prstan /

Prstan glasses

D ©tefan Barle

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

5.

6.

160


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

7.

7.

SveËnik in posode

Bubble / Bubble

candlestick and

bowles

D Jože Carli

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

8.

Steklena posoda Oval

/ Oval glassware

D Sebastjan MariniË

P Steklarna Rogaška

d.d., Rogaška Slatina

M/T Saša J.

Maechtig, Peter ArliË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

8.

161


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

9.

Sestavljivo

priložnostno

ležišËe Vikend /

Vikend occasional

compoundable bed

D Vasja Andrej

AmbrožiË

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

10.

SveËnik Srebrno jadro

/ Srebrno jadro candle

holder

D Boris Sovinc

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

9.

10.

162


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

11.

Spominek za mesto

Ljubljana Urška in

povodni mož / Urška in

povodni mož Ljubljana

souvenir

D Polona Matek

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

11.

12.

Urbani stolËek Red

Hot Gummi Bubbles

/ Red Hot Gummi

Bubbles urban seat

D Nina Hercog

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

12.

163


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

13.

Urbana talna oprema

/ Urban pavement

fi xtured

D Katarina Mrvar

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

14.

VeËnamenski kiosk /

Multipurpose kiosk

D Lucija Kostanjšek

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

13.

14.

164


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

15.

Smetnjak Mr. Bin / Mr.

Bin dustbin

D Jernej Kropej

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

15.

16.

Pisarna Web Offi ce /

Web Offi ce

D Jernej Kropej

M/T Vladimir Pezdirc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

16.

17.

Lopata za sneg / Snow

shovel

D Marko Pavlinec

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

17.

165


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

18.

Zložljiva postelja

Sailing Bed / Sailing

Bed folding bed

D Polona Matek

M/T Janez Smerdelj,

Jure Miklavc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

19.

Potovalno kolo /

Travelling bike

D Mitja Lunder

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

18.

19.

166


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

20.

Otroško pohištvo od

0 do 6 let / Furniture

for children from 0 to

6 years

D Lidija MiklavËiË

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

21.

20.

21.

Sedež za jadralno

padalstvo Alpin 1212

/ Alpin 1212 seat for

paragliding

D Lidija MiklavËiË

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

22.

Sedež za jadralno

padalstvo z

nahrbtnikom in airbagom

Swinx 3000 /

Swinx 3000 seat with

rucksack and air-bag

for paragliding

D Lidija MiklavËiË

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

22.

167


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

23.

Svetilka Lambox /

Lambox light

D Lidija MiklavËiË, Gal

Shveky, Iran / Iran

M/T Wetton Barnabas,

Designskolen Kolding,

Danmark / School for

Design, Denmark

24.

Plastenka za mleko s

Planote / Plastic bottle

for milk from Planota

D Katarina Mrvar

M/T Jure Miklavc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

23.

24.

168


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

25.

Shranjevalnik za kljuËe

/ Keys keeper

D Luka Pirnat

M/T Barbara PrinËiË,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

26.

Kuhinjske in

kopalniške armature /

Taps for kitchen and

bathroom

D Peter Holcman

M/T Vojko PogaËar,

Fakulteta za

strojništvo, smer

Inženirsko oblikovanje,

Maribor / Faculty

for Mechanical

Engineering, Course

for Engineering

Design, Maribor

25.

26.

169


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

27.

Pnevmatska udarna

kladiva / Pneumatic

hammers

D Vojko PogaËar,

vodja projekta / project

manager; Jasmin

Kaljun, Alenka PuËnik

P SŽ Oprema Ravne

d.o.o., Ravne na

Koroškem

28.

Dve in pol dimenziji

/ Two and a half

dimensions

D Arijana Gadžijev,

Karla Murovec, Maja

Ratajc, Ivana Žanko

M/T Marija Jenko,

Naravoslovno

tehniška fakulteta,

Oddelek za tekstilstvo,

Ljubljana / Faculty of

Natural Sciences and

Engineering, Textile

Department, Ljubljana

27.

28.

170


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

29.

Žakarske tkanine na

temo Koža / Koža -

jacquard textile

D Urška ArliË

M/T Vera Sešlar,

Metka Vrhunc,

Naravoslovno

tehniška fakulteta,

Oddelek za tekstilstvo,

Ljubljana / Faculty of

Natural Sciences and

Engineering, Textile

Department, Ljubljana

30.

Usnjena torba /

Leather bag

D Maša Brandstätter

M/T Almira Sadar,

Marija Jenko,

Naravoslovno

tehniška fakulteta,

Oddelek za tekstilstvo,

Ljubljana / Faculty of

Natural Sciences and

Engineering, Textile

Department, Ljubljana

29.

30.

171


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

31.

Kolekcija oblaËil

Pozunanjena

notranjost /

Pozunanjena

notranjost clothes

collection

D Maša Brandstätter

M/T Metka Vrhunc,

Vera Sešlar,

Naravoslovno

tehniška fakulteta,

Oddelek za tekstilstvo,

Ljubljana / Faculty of

Natural Sciences and

Engineering, Textile

Department, Ljubljana

32.

Prstan / Ring

D Jelena CvetkoviË

M/T Marija Jenko,

Darko Slavec,

Naravoslovno

tehniška fakulteta,

Oddelek za tekstilstvo,

Ljubljana / Faculty of

Natural Sciences and

Engineering, Textile

Department, Ljubljana

31.

33.

©ali / Scarfs

D Ksenija Baraga

P Pletilstvo Pislak,

Ljubljana-»rnuËe

N/C Mura d.d., Murska

Sobota

32.

33.

172


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

34.

Postelja Multifunky /

Multifunky bed

D David Cugelj

35.

VeËuporaben objekt

Kvadrat / Kvadrat

multi-purpose object

D Jasmina FerËek,

Tjaša Bavcon

P Meblo Jogi d.o.o.,

Kromberk, Nova

Gorica

34.

35.

173


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

36.

PoËivalnik Choral /

Choral easy-chair

D Alex Greblo

37.

»ajni fi lter / Tea fi lter

bag

D Uroš Hohkravt

38.

Shranjevalne enote

Plus / Plus storing

units

D IN.DI.GO.,

Ljubljana: Barbara

Nardoni

36.

37.

38.

174


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

39.

Simboli Republike

Slovenije / The

Republic of Slovenia

symbols

D Karstyum oy,

Helsinki, Suomi

/ Finland: Dušan

JovanoviË

40.

Simboli Republike

Slovenije / The

Republic of Slovenia

symbols

D Karin Košak, Grega

Košak

39.

40.

175


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

41.

StojeËa svetilka /

Standard lamp

D Ambient d.o.o,

Ljubljana: Miha Kerin,

Majda Kregar

42.

Dekorativni tekstil

Prostor, poezija, odtisi

/ Space, Poetry, Prints

decorative textile

D Zlatka KnapiË

41.

42.

176


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

43.

Rent-e-bike / Rente-bike

D Gregor Markelj

N/C, P Elan Bikes d.d.,

Ljubljana

44.

Kuhalnik Mdula /

Mdula coocker

D Rok Oblak

M/T Sima Puintile,

University of Art and

Design, Helsinki,

Suomi / Finland

N/C WWF Finland

43.

44.

177


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

45.

Poštni nabiralnik / Post

box

D Dejan OrlaË

M/T Janez Smerdelj,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

46.

Otroški umivalnik

Daisy / Daisy washbasin

for children

D Barbara PrinËiË

45.

44.

178


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

47.

Prenosna svetilka

za veterinarsko

oftalmologijo / Portable

light for veterinary

ophtalmology

D Barbara PrinËiË

N/C Optotek d.o.o.,

Ljubljana

48.

Izdelki UZV / UZV

products

D Igor Rehar

47.

48.

179


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

49.

Miza T1 / T1 table

D Luka Stepan

50.

Namizno steklo

Kissing / Kissing

glassware

D Mojca ©mit

49.

50.

180


OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C

51.

Talne blazine Suko /

Suko fl oor cushions

D Andreja ©pegelj

52.

Motorni Ëoln / Motorboat

D Jalen Vogelnik,

Ermin Kosovel

51.

52.

181


C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS

53.

SmuËi, oblikovalski

nateËaj Elan /

Skiis Elan design

competition

D Luka Zajc

M/T Janez Smerdelj,

Jure Miklavc,

Akademija za likovno

umetnost, Oddelek za

oblikovanje, Ljubljana /

Academy of Fine Arts,

Department of Design,

Ljubljana

53.

54.

Reanimacijski voziËek

/ Reanimation trolley

D Marjan Žitnik

P Medicop d.o.o.,

Murska Sobota

54.

55.

Suho mokri sesalnik

/ Dry-wet vacuum

cleaner

D Marjan Žitnik

56.

TlaËni, pretoËni in

temperaturni krmilniki

in elektromotorni

pogoni z ventili

Danfoss / Pressure,

fl ow and temperature

controllers and

electromotor actuators

with volves Danfoss

D Industrijsko

oblikovanje Wilsonic

d.o.o., Medvode: Nina

Mihovec

P Danfoss Trata d.o.o.,

Ljubljana-©entvid

55.

56.

182


SPREMLJEVALNE

PRIREDITVE

ACCOMPANYING

EVENTS

183


ARNE JACOBSEN 1902 _ 1971: razstava ob stoletnici rojstva

ARNE JACOBSEN 1902 _ 1971: A Centenary Exhibition

Galerija Arhitekturnega Muzeja Ljubljana / The Architectural Museum

Gallery Ljubljana, Grad Fužine / The Fužine Castle

Pot na Fužine 2, 1000 Ljubljana

15. junij _ 2. julij 2004 / June 15 _ July 2, 2004

Pripravil / Organized by Arhitekturni muzej Ljubljana / Architectural Museum

Ljubljana

Razstava se posveËa šestim velikim arhitekturnim projektom tega velikega

danskega arhitekta in oblikovalca, ki so vtisnjeni v mozaik njegove

oblikovalske klasike, najbolj povezane prav s temi arhitekturami. Nekateri

oblikovani predmeti, ki so tu predstavljeni, so utonili v pozabo, toda

veËina jih je, s prekinitvami ali brez, preživela na tržišËu in so še vedno v

proizvodnji. Ti izdelki so postali ikone sodobnega oblikovanja.

Na razstavi je predstavljenih šest arhitekturnih del: Bellevuejski okoliš

(1932 _ 1937), šola v Munkegardu (1957), mestna hiša v Rodovreju (1956),

SAS Hotel Royal (1960), kolegij svete Katarine (VB) (1964) in Danska

narodna banka (1971 _ 1978).

Genialni duh Arneja Jacobsena je moËno vplival na razvoj danskega

oblikovanja in arhitekture že za njegovega življenja, se pravi veË kot

petdeset let prejšnjega stoletja in še dolgo po njegovi smrti. Njegove sledi

je najti povsod okrog nas tako v arhitekturi, s katero se sreËujemo na ulicah

in v predmetih, ki jih uporabljamo vsak dan in v njih uživamo. Jacobsen je

neprestano delal, pri tem pa ni nikoli odstopal od visokih meril kakovosti

ustvarjenega, kar je eden od razlogov za njegovo produktivnost. Z relativno

majhno naËrtovalsko skupino se mu je posreËilo napraviti vse od velikih

kompleksnih zgradb do drobnih predmetov. Prizadeval si je za dosledno

izvedbo vseh podrobnosti arhitekturnih projektov. Od samega zaËetka je

imel svoje zamisli pogostoma zelo odloËno zastavljene, a kljub temu odprte

vse dotlej, dokler niso njegovi sodelavci izrisali še zadnjega detajla na

naËrtih.

Razstavo je pripravil Danski center za oblikovanje za Danski sekretariat za

mednarodne kulturne stike v sodelovanju z Danskim centrom za arhitekturo.

Pri snovanju koncepta razstave sta sodelovala poznavalca Jacobsenovega

dela Carsten Thau in Kjeld Vindum.

The exhibition focuses on six major projects of the Danish architect and

designer Arne Jacobsen. These projects are embedded in a mosaic of

his design classics associated with those buildings. Some of the design

objects on display have slipped into oblivion, but most have survived in the

marketplace, with or without interruption, and are still in production. These

are the products that have become design icons.

The exhibition presents six architectural works: the Bellevue area (1932 _ 1937),

the Munkegard School (1957), the Rodovre Town Hall (1956), the SAS

Royal Hotel (1960), St. Catherine’s College (UK) (1964) and the Danish

National Bank (1971 _ 1978).

Arne Jacobsen’s genius strongly influenced the development of Danish

design and architecture for more than fifty years of the past century

– during his lifetime, and long after his death. The traces are all around

us today: from the architecture we pass by in the street, to the objects we

use and enjoy every day. Jacobsen worked almost constantly and despite

his high productivity he never compromised the quality of his work. With

a relatively small team of designers, Jacobsen mastered the span of

products from large, complex buildings to the tiniest objects. He strove for

consistency in all the details in a building project. From the very beginning

of each project his ideas were often strongly set up yet remained open until

his associates sketched out every last detail of a plan.

The Danish Design Centre produces the exhibition for the Danish

Secretariat for International Cultural Relations, with the collaboration of the

Danish Centre for Architecture. The Jacobsen experts Carsten Thau and

Kjeld Vindum have been involved in the creation of the exhibition concept.

184


OBLIKOVALCA CHARLES IN RAY EAMES

DESIGNERS CHARLES AND RAY EAMES

Galerija Kresija / The Kresija Gallery

Stritarjeva ulica 6, 1000 Ljubljana

13. september _ 2. oktober 2004 / September 13 _ October 2, 2004

Pripravil / Organized by Kubus Interier

Ameriška oblikovalca Charles Eames (1907 _ 1978) in Ray Eames (1912 _ 1988)

sta se ukvarjala z oblikovanjem kar se da pogumno, tvorno in razsežno.

Od zaËetka štiridesetih pa do konca sedemdesetih let dvajsetega stoletja sta

si z oblikovanjem in ustvarjanjem pohištva, igraË, stavb, filmov in razstav,

prizadevala izboljšati družbo - ne le funkcionalno, temveË tudi intelektualno

in kulturno. Njuno globoko prepriËanje, da lahko oblikovanje izdatno vpliva

na kakovost Ëloveških življenj, ostaja njuna najpomembnejša dedišËina.

Namen razstave je predstaviti njune rešitve in odgovore na izzive, ki sta

si jih pogosto postavljala kar sama: kako proizvesti dosegljivo, pa vendar

visoko kvalitetno pohištvo; kako graditi ekonomiËne, pa vendar dobro

oblikovane prostore za življenje in delo; kako pomagati ljudem, da bodo

spoznali lepoto v vsakodnevnih stvareh; kako narediti osnovna znanstvena

naËela razumljiva vsakomur.

Dejstvo, da sta uspela stvari oblikovati tako, da brezhibno služijo svojemu

namenu in hkrati izražajo eleganco, duhovitost in lepoto, ju uvršËa med

osrednje oblikovalske osebnosti dvajsetega stoletja.

Povod za razstavo je oživitev in ponovna proizvodnja znamenitega in

pogosto posnemanega plastiËnega naslanjaËa (Eames Plastic Armchair),

oblikovanega leta 1950.

Razstavo je Kubus Interier pripravil v sodelovanju z ustanovo Vitra Design

Museum iz NemËije, kjer hranijo velik del oblikovalske zapušËine zakoncev

Eames, ter podjetjem Vitra iz ©vice, ki je nosilec avtorskih pravic za

izdelavo njunega pohištva v Evropi.

Ula Vehovar Kenda

Opus of the American designers Charles Eames (1907 _ 1978) and Ray

Eames (1912 _ 1988) is characterised by creativity, courage and diversity.

From the early 40s until the end of the 70s, they designed and created

furniture, toys, buildings, movies and expositions, striving to use a design as

a tool to improve the society, not only from the functional point of view but

also from the intellectual and cultural ones. Their strong belief that design

is an important tool to change the quality of human lives remains their most

signifi cant heritage.

The purpose of the exposition is to point out their solutions and answers to

challenges often raised by themselves, like how to produce affordable, yet

high quality furniture; how to build economical, yet well designed dwellings

to live and work in; how to help people perceive beauty in everyday objects;

how to make scientifi c principles understandable to everyone.

The fact that they managed to design objects which impeccably serve their

purpose while shining elegance, ingenuity and beauty, have ensured them a

position among the central 20 th century designers.

The reason for the exposition is a newly introduced production of a famous

and often imitated Eames Plastic Chair, originally designed in 1950.

The exposition is prepared in collaboration with the German Vitra Design

Museum, the caretakers of a vast share of the Eames design heritage, and

the Vitra company from Switzerland, the owners of the copyrights of their

furniture manufacturing in Europe.

Ula Vehovar Kenda

185


RAZSTAVA IN PREDSTAVITEV KNJIGE »ZANOTTA DESIGN FOR

PASSION« ob 50 letnici podjetja Zanotta

EXPOSITION AND PROMOTION OF THE BOOK “ZANOTTA DESIGN

FOR PASSION” at Zanotta Company’s 50 th Anniversary

Orion Intertrade d.o.o.

Celovška 149b, 1000 Ljubljana

14. _ 19. september 2004 / September 14 _ 19, 2004

Pripravil / Organized by Orion Intertrade d.o.o.

Leta 1954 je Aurelio Zanotta ustanovil podjetje, ki je danes eno vodilnih

proizvajalcev vrhunsko oblikovanega pohištva. Visoka kakovost izdelkov in

sodelovanje z oblikovalci kot so A. Castiglioni, Enzo Mari, Andrea Branzi,

Ross Lovegrove, Roberto Barbieri, so dajali ritem razvoju Zanotte. Njihovi

proizvodi so razstavljeni v vseh pomembnih galerijah in muzejih sodobne

umetnosti, od Metropolitan muzeja v New Yorku, Centra George Pompidu

v Parizu do Vitrinega muzeja oblikovanja v Weilu. V sedemdesetih in

osemdesetih so sodelovali na Bienalu industrijskega oblikovanja v Ljubljani

in leta 1973, 1975, 1977, 1981 in 1998 prejeli priznanja za mizi Poker in

Marcuso, stol Cassia, fotelj Sacco in obešalnik Sciangai.

Letos praznuje Zanotta petdeset letnico in ob tem so izdali knjigo

»Zanotta design for passion«, ki jo je napisala Raffaella Poletti. Slovenska

predstavitev knjige bo na predveËer otvoritve BIO 19 v salonu Orion

Intertrade d.o.o. na Celovški 149b v Ljubljani. V okviru predstavitve bodo

razstavljeni nekateri najuspešnejši Zanottini proizvodi.

In 1954 Aurelio Zanotta founded a company, now one of the leading top

design furniture producers. High quality products and fruitful collaboration

with designers like A. Castiglioni, Enzo Mari, Andrea Branzi, Ross Lovegrove,

and Roberto Barbieri contributed to Zanotta’s successful development. Their

products found their place in every famous gallery and modern art museum,

from the Metropolitan Museum in New York, the Georges Pompidou Centre

in Paris to the Vitra Design Museum in Weil. In the 70s and the 80s they

participated in the Biennial of Industrial Design in Ljubljana and won in 1973,

1975, 1977, 1981 and 1999, several awards: for the Poker and Marcuso

tables, the Cassia chair, the Sacco armchair and the Sciangai clothes stand.

This year Zanotta company celebrates its 50 th anniversary and for the

occasion Raffaella Poletti’s published “Zanotta Design for Passion”. Its first

presentation in Slovenia will be in the Orion Intertrade showroom, Celovška

149b, in Ljubljana, the evening before the Biennial opening. Some of the

Zanotta’s masterpieces will be exposed.

186


FAST FORWARD DESIGNBOX, Avstrija

FAST FORWARD DESIGNBOX, Austria

Pred gradom Fužine / In front of the Fužine Castle

Pot na Fužine 2, 1000 Ljubljana

15. _ 19. september 2004 / September 15 _ 19, 2004

Pripravil / Organized by Design Austria, Avstrijska oblikovalska Fundacija

in πtajerska agencija za promocijo gospodarstva, Avstrija / Austrian Design

Foundation and the Styrian Business Promotion Agency, Austria

Fast Forward Designbox je potujoËa razstava in dogodek industrijskega

oblikovanja, ki prikazuje razvoj izdelkov. Predstavlja najboljše primere

oblikovanja na Koroškem in v sosednjih deželah in kaže podjetjem, kako

dobro oblikovanje lahko poveËa njihovo vrednost, da ostanejo konkurenËna na

mednarodnih tržišËih. Bolj kot promocija avstrijskega oblikovanja je pomembna

kot uËinkovita akcija za dviganje splošne zavesti o oblikovanju. Ni zanemarljivo,

da se rožnati kontejner z elektronsko vsebino pojavlja na dobro obiskanih

toËkah kot so sejmi in pomembnejša predstavitvena stiËišËa. V Fast Forward

Designbox je z oblikovanimi izdelki iz Gorenja vkljuËena tudi Slovenija.

Fast Forward Designbox is a travelling exposition, an industrial design public

event presenting a particular product development. It is a demonstration

of the best design practices in Carinthia and in the neighbouring countries,

trying to make companies aware of how a good design can enhance their

recognition and consequently their competitive advantage in the international

markets. It is far more important as an efficient action to raise general

awareness of design than as a promotion of the Austrian design. It is to

mention that a pink container, storing electronic devices, is usually situated

at well frequented spots, such as fairs or other significant exhibition points.

Slovenia participates in the Fast Forward Design box project with the

products manufactured by Gorenje company.

187


FACE TO FACE, Genova 2001

Galerija ART.SI / The ART.SI Gallery

Židovska 5, 1000 Ljubljana

16. september _ 15. oktober 2004 / September 16 _ October 15, 2004

Pripravil / Organized by ART.SI

Serija raËunalniških »printov« razliËnih dimenzij je nastala kot posledica

spremljanja internetnih strani anti-globalistiËnih organizacij med pripravo in

potekom demonstracij ob sestanku G-8 v Genovi. V grafiËno-oblikovalskem

studiu Armanda/Geisler na Dunaju, so se osredotoËili na dve osnovni

ikonografski veji: na portrete demonstrantov, udeležencev manifestacij in

na zemljevide mest z vrisanimi predeli prepovedi gibanja. Oboji so nastajali

sproti ob spremembah med gibanjem množic in bili v realnem Ëasu poslani

na medmrežje.

Grafi Ëno-oblikovalski izdelki prenašajo uliËno dogajanje in atmosfero

dogodkov v galerijski prostor. Cilj »urbanih portretov« ni produkcija

politiËnih plakatov, Ëeprav se temu soznaËju ne moremo odreËi, temveË gre

predvsem za zvestobo grafiËnemu izrazoslovju. ZaËetna in zakljuËna toËka

tega projekta sta skriti v orodju, v programski opremi, ki omogoËa obdelavo

in pošiljanje slik.

A series of various dimensions computer prints is a result of browsing the

anti-globalist homepages at the time when they were organizing and

eventually carried out demonstrations during the Genoa G-8 Summit. The

graphic design studio Armanda/Geisler from Vienna focused on two basic

iconography lines: portraits of protesters in demonstrations and maps with

the marked no-go areas. The snapshots were taken concurrently in the

middle of the crowds moving dynamically and transmitted to the Internet in

real-time.

Graphic design products thus transfer the street actions and the atmosphere

to the gallery. These “urban portraits” do not aim to serve as political

campaign posters _ although in a way they might be, but the emphasis is

particularly placed on the authentic graphic expression. The initial and the

fi nal point of the project are hidden in tools and computer software which

enable the material editing and transfer of shots.

188


RAZSTAVA AVDIO IN VIZUALNIH EKSPONATOV MUZEJSKE ZBIRKE

RTV SLOVENIJA

EXHIBITION OF THE AUDIO AND VISUAL MUSEUM COLLECTION OF

THE RTV SLOVENIA

Merkur, BTC City, Ljubljana

16. september _ 15. oktober 2004 / September 16 _ October 15, 2004

Pripravil / Organized by RTV Slovenija

Muzejska zbirka RTV Slovenija je bila ustanovljena leta 1983 z željo, da bi

v kar najbolj neokrnjeni obliki ohranili številne tehniËne predmete, ki jih je

zaradi hitrega tehnološkega razvoja »povozil« Ëas, a so jih generacije številnih

radijskih in televizijskih ustvarjalcev uporabljale pri svojem delu.

VeË kot 200 izvirnih eksponatov Muzejske zbirke RTV Slovenija priËa o

dolgoletnem delu na nacionalnem radiu in televiziji in predstavlja neprecenljivo

tehniËno kulturno dedišËino. V muzejski zbirki so shranjeni številni mikrofoni,

snemalne naprave, radijski in televizijski sprejemniki, kamere, mešalne mize in

drugi tehniËni predmeti iz razliËnih obdobij radia in televizije.

Sabrina PovšiË ©timec

The Museum collection of the national radio and television company (RTV

Slovenija) was founded in 1983. Its aim is to preserve as intact as possible

a range of obsolete technical objects once used by numerous radio and TV

technicians.

The museum collection of more than 200 original exhibits witnesses the history

of the national radio and television company and presents an invaluable

technical culture heritage. The collection encompass a wide range of items like

microphones, cameras, radio and television receivers, mixing panels and other

technical objects from different periods.

Sabrina PovšiË ©timec

189


ALPINA. Oblikovanje 1969 _ 2004

ALPINA. Design 1969 _ 2004

Galerija Doma gospodarstva / The »Dom gospodarstva« Gallery

DimiËeva 13, 1000 Ljubljana

17. september _ 15. oktober 2004 / September 17 _ October 15, 2004

Pripravili / Organized by Sekretariat BIO, Alpina in IDCO pri GZS / BIO

Secretariat, Alpina and IDCO at GZS

Oblikovalec, tržni strokovnjak in konstruktor zasnujejo skupaj idejni koncept

smuËarskega Ëevlja. Po oblikovalËevi skici in trodimenzionalnem modelu

modelarji odlijejo poskusne odlitke iz silikona, ki ga digitalizirajo in na podlagi

tega izdelajo model za orodje. Podoben postopek zahteva razvoj tekaškega

Ëevlja, le da vkljuËuje še model iz mehkih materialov, delo modelirjev. V Alpini

oblikovalec ni zgolj stilist temveË osnoven enakopraven Ëlan razvojnega tima.

Povod za Alpinino razstavo smuËarskih Ëevljev in Ëevljev za tek na smuËeh je

zlata medalja BIO 18 za Ëevelj Alpina Racing CL oblikovalcev Jureta Miklavca

in Jana JagodiËa. Z vkljuËevanjem industrijskih in grafi Ënih oblikovalcev v

proizvodni proces se Alpina lahko prišteva med podjetja, ki se zavedajo

pomembnosti oblikovanja.

Vsebina razstave temelji na izboru smuËarskih Ëevljev in Ëevljev za tek na

smuËeh, ki so pomembno zaznamovali razvoj do nagrajenega para; vkljuËeni

pa bodo tudi najnovejši modeli.

©pela ©ubic

A designer, a marketing expert and a constructor team are up when

developing a conception of a ski boot. Based on the designers’ scheme

and a three-dimensional model, testing silicon casts are made, digitalised

and then tool moulds are made. A similar procedure is followed in crosscountry

ski boots development but with an additional soft material mould

added. In Alpina company a designer is not merely the one who shapes the

object, but is an equivalent development team member.

The reason for the exposition is the gold medal in BIO18 for the Alpina

Racing CL model designed by Jure Miklavc and Jan JagodiË. By integrating

the industrial and graphic designers into a production process , we can say

that Alpina is one of the design aware companies.

The exposition is based on a selection of ski boots and cross-country ski

boot models that significantly paved further development to the winning

model. The exposition will include the latest models as well.

©pela ©ubic

190


MAGIS: razstava italijanskega oblikovanja

MAGIS: The Italian Design Promotion

Salon Decor & Design / Decor & Design Showroom

Rive Gauche, Breg 12, 1000 Ljubljana

18. september _ 15. oktober 2004 / September 18 _ October 15, 2004

Pripravil / Organized by Decor & Design d.o.o.

Magis je statusni simbol tako za oblikovalce kot proizvodnjo že ves Ëas

odkar je italijansko oblikovanje vodilno v vseh revijah, salonih in razstavah

po svetu. Decor & Design bo predstavil klasiËne proizvode Magis ter novosti

prikazane na milanskem sejmu.

Magis je z nastopi na najbolj prestižnih razstavah v svetu promoviral izdelke

najboljših oblikovalcev kot so Enzo Mari, Stefano Giovannoni, Toshyjuki

Kita, Jasper Morrison, Richard Sapper in v zadnjem Ëasu še Karim Rashid,

Marc Newson in drugi, ki sodijo v sam vrh svetovnega oblikovanja. PeËat, ki

ga svojim proizvodom daje Magis je vedno inovativen, popoln in tako izrazit,

da ga ni mogoËe prezreti.

Decor & Design je Magis in njegovo usmeritev spoznal že davnega leta

1996 ter ga uvedel v svojo ponudbo. Od takrat pa do danes neprestano

spremlja in vzpodbuja oblikovalske napore ter goji prijateljske odnose z

ljudmi, ki vodijo Magis. Ta prijateljski odnos je Magis prepriËal, da tudi

majhno mesto kot je Ljubljana lahko uspešno postavi oblikovanje ob bok

predstavitvam v najbolj prestižnih prestolnicah.

Damjana Marion

Magis is a status symbol for designers as well as producers ever since the

Italian designers took over the leading role in the magazines, showrooms,

and design expositions all over the world. Decor&Design will be exposing

the traditional Magis products and novelties, displayed at the Milan fair.

Participating in the world most prestigious expositions, Magis was promoting

creations of the world top designers like Enzo Mari, Stefano Giovannoni,

Toshyjuki Kita, Jasper Morrison, Richard Sapper and most recently Karim

Rashid, Marc Newson and others. A characteristic feature of Magis

creations is that they are always innovative, perfect and distinctive, so they

cannot be ignored.

Decor & Design started to appreciate the Magis company and its visions

already in 1996 and included their products in its own offer. From then on,

Decor & Design has been faithfully following and supporting their design

efforts and has nurtured friendly relationship with the Magis management.

Thanks to personal relations, the Magis management became aware that

design achievements of such a small town like Ljubljana can match those of

the most prestigious capitals of the world.

Damjana Marion

191


SODOBNI NAKIT V SLOVENIJI: okrogla miza in pregledna razstava

SLOVENIAN MODERN JEWELLERY: round table and exhibition

Ministrstvo za kulturo / The Ministry of Culture

Maistrova 10, 1000 Ljubljana,

Avla Ministrstva za kulturo / The Hall at the Ministry of Culture

21. septembra 2004 ob 10.00 / September 21, 2004 at 10.00

Pripravilo / Organized by Društvo oblikovanja nakita Slovenije (DONS) s

pomoËjo Ministrstva za kulturo / The Jewellery Design Society supported by

the Ministry of Culture

Društvo oblikovanja nakita želi seznaniti strokovno in širšo javnost tako

s svojim delovanjem kot s problematiko sodobnega nakita. V zadnjih

letih se je oblikovanje nakita pri nas precej razširilo. Zanj je vse veË

zanimanja. V današnji poplavi podobnih izdelkov je unikatni, umetniški

nakit vse bolj iskan. Kaj nam Slovenija sploh nudi? Kje smo v primerjavi

z drugimi evropskimi državami? Se naše oblikovanje lahko primerja s

tujimi oblikovalskimi dosežki? Radi bi se povezali z drugimi podobnimi

oblikovalci in institucijami, tujimi galerijami in šolami itn.; kajti le tako se

bo odnos do oblikovanja lahko razvijal in izboljševal tudi pri nas, podobno

kot to poznajo v drugih zahodnoevropskih državah. Nastali nakit bo tako

predstavljal izpostavljeno vrednost, zavestno prisotno v našem razumevanju

oblikovanja, s katero se bo naša država lahko predstavljala tudi v svetu.

Dogodek se bo priËel z razstavo, na kateri se bo vsak Ëlan DONS

predstavil s svojim konceptom; razstava ni pregledna, ampak se ukvarja

z raziskovanjem položaja posameznika v družbi. Vsi razstavljalci se bodo

udeležili tudi okrogle mize, katere teme bodo: identiteta slovenskega nakita

ali prepoznavnost doma in v tujini; kako iz sedanjega stanja narediti korak

naprej, predvsem na podroËju izobraževanja, pridobivanja znanja in veËjega

razumevanja takšnega oblikovanja; kako do informacij iz tujine; primerjave

Slovenije s sosednjo Avstrijo (Peter Skubic) na tem podroËju; kako Velika

Britanija podpira svoje oblikovalce nakita.

Petra Bole

The Jewellery Design Society would like to inform the professionals and the

general public about their activities and problems related to modern jewellery

design. In the past few years we have observed an increased interest in

jewellery design with more and more people involved. As the supply of

similar jewellery flooded the markets, the demand for one-off handicraft

is growing. What about the Slovenian market? What is our position in

comparison with other European countries? Can our achievements be

compared to the foreign ones? We would like to find connections with

similar designers, institutes, galleries and schools, as this would be the

only way to see the attitude to jewellery design develop and improve in the

country, which is standard practice in other European countries. Jewellery

will thus become an object of value - consciously inherent in our design

comprehension - and would promote Slovenia in the outside world.

At the beginning of the exposition each DONS representative will present

his/her concept. This is not an overview exposition, but an exploration

of the individual’s position within the society. All the exponents will

participate in the round table to discuss the following: the identity of the

Slovenian jewellery and its recognition at home and abroad; how to make

a step forward especially in education, acquiring knowledge and better

understanding of the design; how to get information from abroad; Slovenia

in comparison with its neighbour Austria (Peter Skubic); how the United

Kingdom supports its jewellery designers.

Petra Bole

192


RAZSTAVA SLOVENSKIH OBLIKOVALCEV NAKITA

SLOVENIAN JEWELLERY DESIGNERS EXHIBITION

Zlatarstvo Jure Kodre / Kodre Jewellery,

Cankarjevo nabrežje 27, 1000 Ljubljana

23. september _ 5. oktober 2004 / September 23 _ October 5, 2004

Pripravilo / Organized by Zlatarstvo Kodre

Oblikovanje in Zlatarstvo Kodre sta tesno povezana že skoraj pol stoletja.

Z oblikovanjem je priËela Jelka Kodre, ki je dokonËala študij na dunajski

Akademiji za uporabno umetnost, srebrarska in zlatarska smer; kasneje se ji

je v delavnici pridružil sin Jure. Tradicijo oblikovanja nakita v svoji prodajalni

so pred tremi leti še popestrili, saj so ponudili prostor in sodelovanje

slovenskim oblikovalcem nakita. Osemnajst oblikovalcev, ki sodelujejo

na razstavi, se med seboj razlikujejo po ustvarjanju v razliËnih tehnikah in

materialih. Med njimi jih je veliko že uveljavljenih, nekaj pa se jih predstavlja

prviË. Predstavili se bodo: Tanja Zorn Grželj, Huberto ©iroka, Thomas

Sodja, Olga Košica, Radmila Gorjanc, Nataša Grandovec, Valentina

Avsec, Romi Bukovec, Petra Bole, Anda KlanËiË, Sandra KocjanËiË, Žare

OgnjenoviÊ, Christoph Steidl-Porenta, Doroteja Zupan, Jozef VršËaj, Mojca

Goltes, Jure Kodre in Jelka Kodre.

Maja Kodre

Design and goldsmith Zlatarstvo Kodre have been closely linked for almost

half a century. Jelka Kodre, who graduated from the Vienna Academy

of Applied Arts in gold and silver craftsmanship, started designing the

jewellery. Her son Jure subsequently followed her mother’s footsteps and

joined her business. Their tradition got fresh impulses when, three years

ago, they started to collaborate with other Slovenian jewellery designers

and gave them space at their disposal to work. Eighteen designers who

participate in the exhibition use different techniques and materials in

jewellery design. Some of them are already well known designers; others

are new in this trade. These are: Tanja Zorn Grželj, Huberto ©iroka, Thomas

Sodja, Olga Košica, Radmila Gorjanc, Nataša Grandovec, Valentina

Avsec, Romi Bukovec, Petra Bole, Anda KlanËiË, Sandra KocjanËiË, Žare

OgnjenoviÊ, Christoph Steidl-Porenta, Doroteja Zupan, Jozef VršËaj, Mojca

Goltes, Jure Kodre and Jelka Kodre.

Maja Kodre

193


MARJAN ŽITNIK, industrijski oblikovalec

MARJAN ŽITNIK, Industrial Designer

Okrogli stolp Loškega muzeja / The Round Tower of the Museum in ©kofja Loka,

Grajska pot 13, 4220 ©kofja Loka

30. september _ 30. oktober 2004 / September 30 _ October 30, 2004

Pripravil / Organized by Marjan Žitnik

Marjan Žitnik _ oblikovalec. Oblikovalec v pravem pomenu te besede. Je

predvsem tudi Ëlovek, ki je neizmerno predan svojemu delu, vanj verjame in

je do svojega dela popolnoma iskren. Z delom je usmerjen k boljšemu jutri,

k stvarem, ki bi jih ljudje razumeli, dobro uporabljali in jih enostavno imeli

radi.

Je pripadnik srednje generacije slovenskih oblikovalcev in je jasno zaËrtal

svojo pot in oblikoval svoj opus v okviru slovenskega oblikovalskega

prostora. Je klasiËni industrijski oblikovalec, grafiËni oblikovalec, inovator,

konceptualni oblikovalec ... Kljub težkim Ëasom za slovensko oblikovanje v

Ëasu preoblikovanja slovenskega prostora je z dialogom in strpnostjo uspel

prisluhniti najrazliËnejšim naroËnikom, s katerimi je skupaj z roko v roki

ustvaril neverjetno veliko število produktov, tistih tihih in tistih glasnejših.

Dobro poznavanje tehnologije in potreb naroËnika ter širok spekter

oblikovalskih tem se kažejo tudi v projektih, na katerih deluje danes: od

visoko tehnoloških predmetov v zdravstvu, kjer velikokrat pozabimo,

kako pomembna je tudi oblikovalËeva roka do vsakodnevnih uporabnih

predmetov, v katerih se spoËijemo, popijemo kavo iz lepo oblikovane

skodelice in na katere položimo dobro knjigo atraktivnega ovitka.

Marjan Žitnik _ oblikovalec, katerega zamisli so sprejete in izvedljive,

vsakodnevno uporabne, praktiËne in polne ustvarjalnega duha in silne

oblikovalske energije njegovih eksponatov.

Gašper Demšar

Marjan Žitnik is a designer in a true meaning of the word. Above all, he is a

man who is infinitely devoted to his work, he believes in it and is completely

honest with it. His work aspires to better future, to things people would

understand, use well and simply like.

He belongs to the mid-generation of the Slovenian designers. He has clearly

determined his route and designed his opus within the Slovenian design

milieu. He is a classical industrial designer, a graphic designer, an innovator,

and a conceptual designer. Despite hard time the Slovenian design had to

go through during the transformation period, a fruitful dialogue and tolerance

helped him to listen to various clients with whom he jointly created an

incredible number of products, the quieter ones and those more noisy ones.

Good command of technology, knowing what the needs of his clients are and

a vast range of design themes can be seen in the projects he is currently

working on: from highly technological objects in health care where we often

forget how significant a good design of everyday objects is and which can

soothe us, we can have coffee from a beautifully designed cup, or lay a

good book in an attractive jacket. Marjan Žitnik – a designer whose ideas

are accepted and manageable, useful in everyday life, practical and full of

creative spirit and strong design energy in his exhibits.

Gašper Demšar

194


PREDSTAVITEV PROJEKTA MONSART IN PREGLEDNA RAZSTAVA

KATALOGOV BIO

PRESENTATION OF THE MONSART PROJECT AND THE BIO

CATALOGUES EXHIBITION

Hotel Mons - hotel in kongresni center Ljubljana / The Hotel Mons - Hotel

and the Ljubljana Congress Centre

Pot za Brdom 55, 1000 Ljubljana

7. oktober 2004, od 9.00 do 12.00 / October 7, 2004, from 9.00 to 12.00

Pripravila / Organized by Hotel Mons in Sekretariat BIO / The Hotel Mons

and BIO Secretariat

Projekt MONSART se je rodil z idejo in željo po sodelovanju novega Hotela

Mons _ Hotela in kongresnega centra Ljubljana s Fakulteto za arhitekturo

v Ljubljani na podroËju grafiËne opreme hotelskih sob. V sklopu študentske

projektne delavnice je bilo pripravljenih sedem izvirnih kolekcij. Vsaka

soba je tako opremljena z unikatno avtorsko grafiko na temo prostora,

arhitekture in oblikovanja. Vse grafike so predstavljene tudi v katalogu, ki je

gostom na voljo na recepciji in v sobah. Glede na pozitivne odzive je sam

koncept in s tem tudi ime MONSART postal zanimiv za nadaljnje aktivnosti

kompleksa Mons, ki so in bodo povezane z umetnostjo, oblikovanjem in

arhitekturo. MONSART tako prerašËa v posebno dejavnost (program) v

okviru delovanja Hotela Mons - hotela in kongresnega centra Ljubljana, ki

se bo izražal skozi prireditve, predavanja, razstave in podobne aktivnosti.

Kot takšen v slovenski prostor vpeljuje novost in se konceptualno postavlja

ob bok podobnim projektom oblikovalskih hotelov v Evropi in svetu.

Razstav bo predstavila pregled katalogov Bienala industrijskega

oblikovanja, ki izhajajo ob razstavah BIO (z izjemo tretjega) že štirideset let

in so kvaliteten dokumentaren pregled oblikovalskih dosežkov, ki slovenska

dela umešËa v mednarodni kontekst.

S pregledno razstavo katalogov, ki jih Sekretariat BIO poklanja knjižnici

hotela Mons, želimo goste seznaniti s tradicijo zavesti o oblikovanju v

Sloveniji.

The MONSART Project was conceived with the aim and hope for a

cooperation of the new hotel Mons - Hotel and the Ljubljana Congress

Centre with the Faculty of Architecture in Ljubljana. The field of cooperation

are the graphics in the hotel rooms. Seven original collections were

prepared in the students’ project workshops. Every room is equipped with

a unique copyright graphics with a theme on the space, architecture and

design. All graphics are included in the catalogue available to all guests

at reception and in their rooms. Following a very positive response, the

concept itself, and consequently the name MONSART, have become

interesting for further activities of the Mons complex, all related to art,

design and architecture. MONSART is evolving into a special activity

(programme) within the activities of the hotel Mons and the Ljubljana

Congress Centre and will be reflected in the future events, lectures,

exhibitions and similar activities. As such, it introduces a novelty in

Slovenia and is conceptually equal to similar projects of design hotels in

Europe and in the world.

The exhibition will present a catalogue overview of the Biennial of industrial

design, regularly issued for the occasion of BIO exhibitions (with the

exception of the third one) already for 40 years and represent a quality

documentary overview of all achievements which place Slovenian products

in the international context.

With the overview exhibition of the catalogues which the BIO Secretariat

is giving to the Mons hotel library we wish to acquaint the guests with the

traditional Slovenian design awareness.

195


PREDAVANJE PROF. SA©E MAECHTIGA: Industrijsko oblikovanje -

kako do konkurenËnosti na mednarodnem tržišËu

PROFESSOR SA©A MAECHTIG’S PRESENTATION: Industrial Design-

How to Compete in the International Market

5. ©tudentska arena / 5th Student Forum

Gospodarsko razstavišËe / the Ljubljana Fair, Ljubljana

12. _ 14. oktober 2004 / October 12 _ 14, 2004

12. oktobra ob 13. uri v predavalnici Voda / October 12, at 13.00 in the

Voda lecture-room

Pripravila / Organized by Zveza ©KIS in / and ©OU Ljubljana

Izvajalec / Performer Mladinsko društvo Afna / Youth Society Afna

Saša J. Maechtig, priznan slovenski oblikovalec in arhitekt, profesor na

Akademiji za likovno umetnost vas bo skušal popeljati v skrivnostni svet

industrijskega oblikovanja. Doma in v šoli, pri športu, zabavi, delu, celo pri

poËitku smo v stiku z razliËnimi predmeti in pripomoËki. Ne glede na to, ali

jih uporabljamo ali zgolj opazujemo, so izdelani na industrijski naËin; od

najljubše ogrlice za v gledališËe, do predalnika, ki hrani vse naše skrivnosti.

Industrijsko oblikovanje je postalo del našega vsakdana, že nekaj Ëasa pa

se kaže nepogrešljivo tudi v poslovnem svetu, kjer nam ponuja vedno veË

možnosti in priložnosti, Ëe jih le znamo izkoristiti!

V predavanju boste izvedeli zakaj je industrijsko oblikovanje tako zelo

pomembno, kje vse ga uporabljamo in v kolikšni meri je razvito v Sloveniji.

Predstavljen bo potek ustvarjanja blagovne znamke ter vloga inovacij in

razvojno - raziskovalnih procesov v boju s konkurenco.

Predavanje bo del sklopa izobraževalnih dogodkov na letošnji ©tudentski

areni, ki bo svoja vrata odprla že petiË zapored in veË kot 24 000

obiskovalcem ponovno ponudila pestro dogajanje, z mnogimi zanimivimi

dogodki in številnimi znanimi gosti. Na prireditvi bo poleg mnogih

izobraževalnih dogodkov, ki jih pripravljamo v sodelovanju z domaËimi

in tujimi strokovnjaki, potekala tudi razstava, na kateri se bo predstavilo

veË kot 200 domaËih in tujih razstavljavcev. Celotni program razstave in

izobraževanja pa bo dodatno popestren s številnimi kulturnimi, športnimi in

zabavnimi dogodki. Vabljeni!

Valerija Prevolšek

Saša Maechtig, a renown Slovenian designer and architect, lecturer at the

Academy of Fine Arts, will guide you into the mystery world of industrial

design. We are in contact with various objects and utensils at home, at

school, in sports, in leisure, at work and even when resting. Whether

we use or just observe them, they remain industrial products, from our

favourite necklace we wear for the theatre, to a chest of drawers hiding all

our secrets. Industrial design has become part of our everyday life, and for

some time it has been indispensable in business world, offering us more

and more opportunities if only we know how to take them.

The talk will inform you about the significant importance of industrial design,

the possibilities for its use, and to what extent it is developed in Slovenia. It

will explain how a trademark develops and how innovations, development,

and research can impact the competition outcomes.

The talk will be part of the educational events at this year’s 5 th Student

Forum where more than 24000 visitors will be able to participate in various

interesting events and meet a number of well-known personalities. Apart

from various educational events, prepared in collaboration with Slovenian

and foreign experts, an exhibition will be organized, where more than 200

domestic and foreign authors will exhibit their works. And finally, to make it

more vivid, quite many parallel cultural and sports events and entertainment

will be organized. You are welcome!

Valerija Prevolšek

196


ARHITEKTURA - PRODUKT, KI POTREBUJE OBLIKOVANJE

ARCHITECTURE - BUILDINGS TO BE DESIGNED

Riko hiše d.o.o., LepovËe 23, 1310 Ribnica in ©krabËeva domaËija / Ribnica

and The ©krabec estate

HrovaËa 42, 1310 Ribnica

15. oktober 2004 ob 17.00 in 18.00 / October 15, 2004 at 17.00 and 18.00

Pripravil / Organized by Riko hiše d.o.o.

17.00

Hiša Riko - lesena konstrukcija v nenehnem oblikovanju

The Riko House - a Timbered Construction in Permanent Design

ogled proizvodnje Riko hiš / the visit of the Riko houses production

LepovËe 23, 1310 Ribnica

Lesene masivne bio hiše Riko se poleg naravnosti in varËnosti odlikujejo

tudi po svoji izvirnosti. Vsaka hiša Riko je namreË edinstveno domovanje,

prilagojeno individualnim željam, potrebam in individualnemu življenjskemu

stilu. Zasnovo Riko hiše v podjetju ustvarjajo v nenehnem dialogu med

arhitekti, oblikovalci prostora in naroËnikom hiše, saj želijo zadovoljiti

še tako zahtevne okuse in priËakovanja. Lesena konstrukcija Riko hiše

namreË omogoËa vse: od najbolj enostavnih do najbolj drznih arhitekturnih

rešitev. Da hiša Riko predstavlja uresniËitev mnogih kvalitet, dokazujejo tudi

pridobljena priznanja. Med njimi najbolj izstopata prvo mesto za Okoljski

izdelek leta 2002 ter Certifikat o evropskem patentu. Tudi to dokazuje, da je

hiša Riko izjemna priložnost za visoko stopnjo bivalne kulture. Strokovnjaki

iz podjetja Riko hiše bodo svojim gostom predstavili podjetje, jih seznanili

s postopkom nastajanja hiše, z uporabljenimi materiali ter z izbranimi, že

uresniËenimi projekti.

Ker je temeljno naËelo podjetja Riko hiše ustvariti življenjski prostor z

znaËajem, ki bo uresniËeval individualne želje in priËakovanja naroËnika,

spoštoval obstojeËo naravno in kulturno krajino ter upošteval vse možne

danosti, ki jih nudi les kot snov, pripravlja podjetje Riko v skednju ©krabËeve

domaËija tudi okroglo mizo na temo Hiša kot industrijski izdelek.

procese obËutila po obeh velikih vojnah. ModernistiËna estetika je

naravnost zahtevala vkljuËitev industrije v arhitekturo od prefabiciranih

prvin do obsežnih montažnih gradenj. Pa vendar se zdi, da se ne 19. ne

20. stoletje nista dokopala do idealne hiše kot industrijskega izdelka, ki bi

se izdelovala kot denimo avtomobil. Tako se tega pomembnega vprašanja

naËina Ëloveškega bivanja še vedno znova lotevajo oblikovalci in primerna

industrija. Zanimiv zgled industrijske hiše iz lepljenega lesa, ki obeta dober

razvoj, tako kaže v Sloveniji in svetu podjetje Riko hiše iz Ribnice. Okrogla

miza osvetljuje možnosti razvoja industrijskega stanovanja in posebej

industrijske individualne hiše v prihodnosti v luËi novih revolucionarnih

tehnologij in vse ostrejših okoljskih meril v razvitem svetu.

P. K.

The development of various industrial processes in the 19 th century

eventually led to the issue of a ready-made house. First in the USA where

demand for a dwelling mass production emerged as a consequence of the

accelerated industrial growth on the one hand, and colonization of the West

to occupy vast uninhabited territories on the other. Similar demand emerged

in Europe after both World Wars. Modernist aesthetics simply demanded

that the industry got involved in the architecture of prefabricated elements

to complex prefabricated constructions. However, it seems that neither the

19 th nor the 20 th century have brought any ideal solution – a ready-made

house production - similar to a car production. Over and over again the

designers and producers are trying to find the answer to this important way

of human living. The Riko house from Ribnica, an interesting example of

a ready-made house made of glued timber, promises further development

in the future in Slovenia as well as abroad. The round-table will focus

on industrial design development, particularly on prospects for industrial

production of individual houses, in the perspective of new revolutionary

technologies and ever more rigorous ecological standards in a developed

world.

P. K.

Polona Lovšin

Distinctive characteristics of the massive wooden bio houses Riko are

not only natural materials and being economical, but also being original.

Each Riko house is a unique dwelling adapted to individual wishes, needs

and personal lifestyle. The Riko house design is made in permanent coordination

between the architect, the designer and the future owner, as

the company strives to please their customers, even the most demanding

ones. The Riko timber construction enables a range of designs - from very

simple to the most challenging solutions. The genuine quality and efficiency

of the Riko house have won several awards, among them the first prize for

the “environmental product” in 2002 and the Certificate in European Patent.

This is also a proof that the Riko house provides an exceptionally high

level of residential culture. The Riko house company experts will introduce

their company to the guests and demonstrate the construction process

by using the construction materials and show them the examples of the

accomplished projects.

The Riko company’s basic principle is to create a dwelling which will fulfil

an individual’s needs end expectations, respect nature and the culture of

the country and consider all advantages of wood as a construction material.

On this occasion, the company will organize a round-table in the barn at the

©krabec estate with the topic “A House as an Industrial Product.”

Polona Lovšin

18.00

Okrogla miza: hiša kot industrijski izdelek

Round-table: A House as an Industrial Product

v skednju ©krabËeve domaËije / in the barn at the ©krabec estate

HrovaËa 42, 1310 Ribnica

Z razvojem vsakovrstnih industrijskih postopkov v 19. stoletju je bilo

naposled postavljeno tudi vprašanje industrijske hiše. Najprej seveda v

Združenih državah Amerike, kjer se je potreba po množiËnih stanovanjih

pojavila z izjemno industrijsko rastjo, po drugi strani pa zaradi potreb

širjenja na Zahod in naseljevanja praznega prostora. Evropa je podobne

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SLIKARSTVO PRE{ERNOVE DOBE

EXAT 51

50. BENE{KI BIENALE

ZBIRATELJSTVO

MIRKO BRATU{A

MIHA MALE{

ZORAN MU{I:

MARJAN POGA:NIK

MATTHEW BARNEY

ARS ELECTRONOCA 2002

IVO PRAN:I:

MAX BECKMANN

IRWIN

25. MEDNARODNI GRAFI:NI BIENALE

VLADIMIR MAKUC

ZORA STAN:I:

?IGA KARI?

IVAN PICELJ

YVONE NOUZILLE

MATJA? PO:IVAV{EK

BOJAN GORENEC

SIMON KAJTNA

intervjuji

GREGA KO{AK

VLADIMIR MAKUC

KOSTJA GATNIK

ZORAN KR?I{NIK

EVGEN BAV:AR

JOSIP COSTAPERARIA

JEAN NOUVEL

VLADIMIR {UBIC

LUIGI MORETTI

EDVARD RAVNIKAR

ARCHIGRAM

SAVIN SEVER

JOHN HEJDUK

OSCAR NIEMEYER

JONATHAN BARNBROOK

ARNE JACOBSEN

LAURENT SEROUSSI

18.BIO

ASOBI

PHILIPPE STARCK

TO{O DABAC

JEANLOUP SIEFF

MIO VESOVI:

MAN RAY

TOMA? LUNDER

BRASSAÏ

JANEZ KALI{NIK

HERBERT LIST

BELA CSIKOS SESIJA

IVAN POSAVAC

CHRIS MARKER

MATJA? KLOP:I:

3-MESE:NIK

O LIKOVNI UMETNOSTI,

ARHITEKTURI, OBLIKOVANJU

IN FOTOGRAFIJI

NAPRODAJ V VSEH BOLJ{IH KNJIGARNAH IN GALERIJAH.

ZA NARO:ILA IN\ALI BREZPLA:NE OGLEDNE IZVODE POKLI:ITE 01 421 01 23, PI{ITE art.si@lala.si

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power

under

control

fusion pro

technology

a new generation

of integrated

racing system

the

products

of

elan

Fusion Pro SX

Target Group:

Ultimate performaner

latest high-end

technology

Benefits:

Harmonized ski +

system flex,

dynamic edge to edge

grip, faster turning

Achievement:

Fusion Pro Technology

WWW.ELANSKIS.COM

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Odprem vrata. Izstopim iz sveta,

ki ga poznam.

Svetloba mi postane dom.

Pregrade postavim zato,

da zdruæujejo.

Vrata odpira in zapira le πe moË

moje domiπljije.

Diham prostor, æivim jutri.

209

Profili blagovne znamke Logo interior so avtorsko delo oblikovalskega tandema IN.DI.GO.

LOGO interior je zaπËitena blagovna znamka podjetja ALU Komen.

www.logointerior.com


210


Foto: FotoSpring

Posameznik lahko

naredi en korak,

450,000 jih lahko

spremeni svet.

www.siemens.si

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