Catalog BIO19 (PDF file, 10Mb)
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Catalog BIO19 (PDF file, 10Mb)
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4
CIP - Kataložni zapis o publikaciji<br />
Narodna in univerzitetna knjižnica, Ljubljana<br />
745/749(100)”20”(064)<br />
658.512.2(100)”20”(064)<br />
BIENALE industrijskega oblikovanja (19 ; 2004 ; Ljubljana)<br />
Katalog razstave = Exhibition catalogue / 19. bienale<br />
industrijskega oblikovanja = 19th Biennial of Industrial Design,<br />
Ljubljana, 15. 9.-15. 10. 2004 ; [urednika Cvetka Požar, Matija<br />
Murko ; besedila Anton Rop ... [et al.] ; prevodi Irena Benedik,<br />
Barbara Strnad in Amidas ; fotografije razstavljalci]. - Ljubljana<br />
: Gospodarska zbornica Slovenije, 2004<br />
ISBN 961-6226-69-X<br />
1. Požar, Cvetka<br />
215197952<br />
5
19. BIENALE INDUSTRIJSKEGA OBLIKOVANJA<br />
19 th BIENNIAL OF INDUSTRIAL DESIGN<br />
Ljubljana, 15. 9. _ 15. 10. 2004<br />
Arhitekturni muzej Ljubljana, Grad Fužine / Architectural Museum Ljubljana, the Fužine Castle<br />
Pot na Fužine 2, 1000 Ljubljana<br />
www.bio.si<br />
KATALOG RAZSTAVE<br />
EXHIBITION CATALOGUE<br />
Založila / Published by<br />
Gospodarska zbornica Slovenije / Chamber of Commerce and Industry of Slovenia<br />
Izdal / Edited by<br />
Arhitekturni muzej Ljubljana, Sekretariat BIO<br />
Za izdajatelja / For Editor<br />
Dr. Peter KreËiË<br />
Sekretarka BIO / BIO Secretary General<br />
©pela ©ubic<br />
Strokovna tajnica / Secretary<br />
Barbara Strnad<br />
Urednika kataloga / <strong>Catalog</strong>ue Editors<br />
Cvetka Požar, Matija Murko<br />
Besedila / Texts<br />
Anton Rop, Franjo Bobinac, Stane Bernik, ©pela ©ubic<br />
Prevodi / Translations<br />
Irena Benedik, Barbara Strnad in / and Amidas d.o.o., Ljubljana<br />
Celostna grafi Ëna podoba BIO 19 / BIO 19 th Visual Identity<br />
Arsenal d.o.o., Ljubljana: Jani BavËer<br />
Oblikovanje kataloga / <strong>Catalog</strong>ue Layout<br />
Arsenal d.o.o., Ljubljana: AD Jani BavËer, D Grega Vovk<br />
Fotografi je / Photos<br />
Razstavljalci / Exhibitors<br />
Priprava tiska / Printing Preparation<br />
Arsenal d.o.o, Ljubljana<br />
Tisk / Printed by<br />
Tiskarna SimšiË, Ljubljana<br />
©tevilo izvodov / Number of Copies<br />
1000<br />
Ljubljana, september 2004 / September 2004<br />
Za tiskovne napake odgovarja izdajatelj, za resniËnost podatkov o razstavkih pa razstavljalci. / The publisher is responsible for the printing errors and the<br />
exhibitors for the correct data on exhibits.<br />
Nekateri podatki, ki so nam jih posredovali prijavitelji, zlasti o izdelovalcih oziroma naroËnikih, so nepopolni. Kar smo mogli, smo popravili oziroma dopolnili,<br />
za druge pomanjkljivosti se opraviËujemo. / Some data obtained from exhibitors about producers and clients are incomplete. We apologise for other<br />
imperfections.<br />
Postavitev razstave / Exhibition Layout<br />
Maja TasiË Demšar<br />
Sodelavci / Assistants<br />
Saška Pušnar, Iztok Sotlar<br />
TehniËna podpora / Techical Support<br />
Samo Gorjup GR IŽENIRING d.o.o, Ljubljana<br />
Koordinacija spremljevalnih prireditev in njihove predstavitve v katalogu / Accompanying events coordination and their presentation in the catalogue<br />
Anja Zorko<br />
Odnosi z javnostmi / Public Relations<br />
Anja Zorko<br />
Zlato medaljo je oblikoval Jože Brumen ob BIO 1 leta 1964, podstavek zanjo pa Vladimir Pezdirc leta 1998 / BIO gold medal was designed<br />
by Jože Brumen at BIO 1 in 1964, medal holder was designed by Vladimir Pezdirc, 1998.<br />
6
KAZALO<br />
CONTENTS<br />
Pokrovitelji, zahvale / Sponsors, Acknowledgments<br />
Anton Rop, Naložba v uspeh / Investment in Success<br />
Franjo Bobinac, Dobro oblikovanje v vse pore æivljenja / Good Design in Everyday Life<br />
Stane Bernik, BIO v prerezu πtiridesetih let / BIO Across Forty Years<br />
©pela ©ubic, Design, dizajn, oblikovanje / Design, “dizajn” or “oblikovanje”<br />
Prireditveni odbor, Izvršilni odbor / BIO Organizing Committee, BIO Executive Board<br />
»lani mednarodne žirije, Izbor razstavkov so opravili / Members of the International Jury, Selection of Exhibits was performed by<br />
Oblikovalci, sodelavci in mentorji / Designers, Cooperators and Tutors<br />
Proizvajalci, tiskarji, naroËniki in šole / Producers, Printers, Clients and Schools<br />
Iz pravilnika BIO / From BIO 19 Regulations<br />
A Proizvodi / Products<br />
B Informacijski funkcionalni sistemi, celostne podobe / Information Functional Systems, Corporate Identity Programmes<br />
C Oblikovalske zasnove / Design Projects<br />
Spremljevalne prireditve / Accompanying Events<br />
8<br />
9<br />
10<br />
11, 13<br />
16<br />
18<br />
19<br />
20<br />
22<br />
24, 25<br />
27<br />
107<br />
137<br />
183<br />
7
GLAVNI POKROVITELJI BIO<br />
BIO GENERAL SPONSORS<br />
Gorenje d.d., Velenje<br />
Riko d.o.o., Ljubljana<br />
Trimo d.d., Trebnje<br />
Glavni medijski pokrovitelj / General Media Sponsor<br />
RTV SLOVENIJA<br />
Glavni medijski partner / General Media Partner<br />
GV revije d.o.o., Ljubljana<br />
Medijski partner / Media Partner<br />
Arhiteks d.o.o., Brežice, Založništvo revije Oris<br />
Pokrovitelji / Sponsors<br />
Revoz d.d., Novo mesto<br />
Alpina d.d., Æiri<br />
Arsenal d.o.o., Ljubljana<br />
Catering Vivo d.o.o., pod blagovno znamko Maestro catering, Ljubljana<br />
Tam - Tam d.o.o., Ljubljana<br />
Ptujska klet - Vinarstvo d.o.o., Ptuj<br />
Pomurske mlekarne d.d., Murska Sobota<br />
Žito d.d., Ljubljana<br />
Evrosad d.o.o., Krško<br />
Ljubljanske mlekarne d.d., Ljubljana<br />
Srednja šola za gostinstvo in turizem, Ljubljana<br />
Papirnica VevËe d.o.o., Ljubljana<br />
Zahvaljujemo se Ministrstvu za gospodarstvo, Ministrstvu za kulturo, Ministrstvu za šolstvo, znanost in šport, Gospodarski zbornici Slovenije,<br />
Veleposlaništvu ©vedske v Ljubljani in švedskemu Zunanjemu ministrstvu in Mestu Ljubljana, da so nam omogoËili izvedbo BIO 19. / We are grateful to the<br />
Ministry of the Economy, Ministry of Culture, Ministry of Education, Science and Sport, the Chamber of Commerce and Industry of Slovenia, the Ambassy of<br />
Sweden and the Swedish Ministry of Foreign Affairs and the Ljubljana City for having enabled the realization of BIO 19.<br />
8
NALOŽBA V USPEH<br />
Slovenija je uspešno izvedla tranzicijo in vkljuËitev v Evropsko unijo. Ob zmanjševanju zaostanka na gospodarskem podroËju je uspela ohraniti osnovna<br />
socialna in okoljska ravnovesja ter kakovost življenja. Sedaj prihajamo v drugo obdobje, obdobje globalne ekonomije in polnopravnega Ëlanstva v Evropski<br />
uniji, ko bo potrebno še naprej združevati razvojne ambicije z naËelom trajnosti. Te cilje je mogoËe doseËi le s spodbujanjem konkurenËnosti, prilagodljivosti<br />
in inovativnosti celotne družbe. Temeljni razvojni cilj Slovenije je zato v desetih letih preseËi povpreËno raven razvitosti Evropske unije in se prebiti v krog<br />
najuspešnejših evropskih držav.<br />
PrepriËan sem, da v Sloveniji obstoji konsenz, med politiko, gospodarstvom in civilno družbo, da hoËemo postati ena najuspešnejših držav Evropske unije,<br />
ki bo svojo rast gradila predvsem na inovativnosti, izdelkih in storitvah z veËjo dodano vrednostjo, ob hkratnem razvijanju konkurenËnega poslovnega okolja<br />
in skladnega regionalnega razvoja.<br />
Podatki o trenutni konkurenËnosti, kažejo na velika izboljšanja v zadnjih nekaj letih, vendar kljub tem pozitivnim premikom še vedno ugotavljamo, da je<br />
povpreËna dodana vrednost slovenskega gospodarstva nižja od najuspešnejših evropskih držav. Prav tako je sorazmerno nizek delež visoko tehnološke<br />
industrije v strukturi gospodarstva.<br />
Po drugi strani je Slovenija izjemno uspešna na podroËju srednje tehnološko zahtevnih tehnologij. Na tem podroËju je na globalnem trgu prisotna tudi<br />
najveËja konkurenca, ki je pripeljala zahteve po kakovosti in tehnološki izpopolnjenost izdelkov do tako visoke stopnje, da je postalo industrijsko oblikovanje<br />
izdelka eno izmed kljuËnih konkurenËnih orodij podjetij.<br />
Naložba v industrijsko oblikovanje pomeni za podjetje ustvarjanje nove vrednosti, prav tako kot tudi nove tehnologije in znanja, ki jih podjetja vgradijo v svoje<br />
proizvode. Povezani predstavljajo konkurenËno prednost izdelka, ki se potrdi na trgu s strani kupcev. Industrijsko oblikovanje tako združuje uporabnost<br />
proizvoda (ergonomija, funkcionalnost ter uporabniku prijazen izdelek) in estetiko (upoštevanje tržnih trendov, primernih proporcev, itd. ). Ustrezno oblikovan<br />
izdelek zadovoljuje želje in potrebe uporabnika in podjetja, ker se podjetju veËa prepoznavnost in ugled, hkrati pa mu pomaga ustvarjati nove trge in<br />
prispeva k rasti prometa in dodane vrednosti. Oblikovalski proces se priËne takoj na zaËetku razvoja novih izdelkov, že v stopnji predhodne analize novega<br />
izdelka, proces pa se zakljuËi, ko je izdelek predstavljen konËnemu kupcu. Dobro oblikovan izdelek je tako lahko le rezultat kompleksnega procesa razvoja<br />
ideje in njenega prilagajanja zahtevam trga, ki ga izvajajo skupaj inženirji, tržniki, menedžerji in oblikovalci.<br />
V Sloveniji se zavedanje podjetij prav zaradi vedno ostrejše konkurence o pomenu industrijskega oblikovanja dviguje. K temu je v zadnjih desetletjih veliko<br />
pripomogel Bienale industrijskega oblikovanja. So pa potenciali, ki jih ima Slovenija ne tem podroËju še premalo izkorišËeni, kar predstavlja izziv in hkrati<br />
priložnost za veËjo uveljavitev industrijske oblikovalske stroke.<br />
Anton Rop, predsednik vlade<br />
INVESTMENT IN SUCCESS<br />
Slovenia has successfully completed the transition and joined the European Union. Even as we worked to narrow the economic gap, we managed to<br />
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<br />
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<br />
sustainable development. We can only achieve these objectives by stimulating competitiveness, adaptability and an innovative spirit throughout our society.<br />
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<br />
of most successful European countries.<br />
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<br />
European countries by basing its growth on innovation and development of products and services with higher added value, while increasing economic<br />
competitiveness and balanced regional development.<br />
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<br />
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<br />
sector represents only a small part of our economy.<br />
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<br />
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<br />
competitive tools that a company controls.<br />
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<br />
into their products. Taken together, this results in a product with the competitive advantage that a customer appreciates. Industrial design thus integrates<br />
product utility (ergonomics, functionality and user friendliness), and aesthetics (considerations of market trends, ideal proportions, etc.). A suitably designed<br />
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<br />
new markets, stimulates business and contributes to the growth of added value. The design process starts at an early stage of product development with<br />
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<br />
process where engineers, marketers, managers and designers work hand in hand from concept development to satisfying the needs of the market.<br />
Because of increasing competition, companies in Slovenia are becoming ever more conscious of the importance of industrial design. In the last decades,<br />
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<br />
area. This is a challenge, as well as an opportunity, to further promote industrial design as a professional field.<br />
Anton Rop, Prime Minister<br />
9
DOBRO OBLIKOVANJE V VSE PORE ŽIVLJENJA<br />
Ljubljanski Bienale industrijskega oblikovanja je prireditev, ki že od prve polovice šestdesetih let opozarja na pomen te svojevrstne gospodarske in kulturne<br />
discipline. Od leta 1972 deluje pod okriljem Arhitekturnega muzeja Ljubljana in letos že devetnajstiË prikazuje najboljše, kar premorejo najbolj razvite države<br />
sveta na podroËju industrijskega oblikovanja, daje spodbude in koristne informacije domaËemu gospodarstvu ter se zaradi visoko postavljenih meril in<br />
nepristranosti pri podeljevanju nagrad in priznanj uvršËa med najuglednejše prireditve te vrste v Evropi in svetu.<br />
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,<br />
ampak sodi s svojo estetiko in inovativnostjo med uvajalce novosti, so razlogi, ki so me vodili, da sem letos prevzel mesto predsednika prireditvenega odbora<br />
BIO.<br />
V tako mednarodno ugledni prireditvi vidim namreË neizkorišËen potencial za prepoznavnost države Slovenije in promocijo njenih raznovrstnih segmentov,<br />
ki so združeni v podroËju industrijskega oblikovanja. BIO je izvrstna priložnost, da slovensko gospodarstvo, še posebej pa industrija z izdelki za množiËno<br />
porabo, v tesnem sodelovanju z Ministrstvom za gospodarstvo, Ministrstvom za šolstvo, znanost in šport ter tradicionalno z Ministrstvom za kulturo,<br />
Mestno obËino Ljubljana in Gospodarsko zbornico Slovenije zavzame do tega podroËja bistveno bolj dejavno razmerje. In z veseljem lahko reËem, da nam<br />
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<br />
prizadevanja ustvarjalcev, da bi presegli okvire pretežno kulturno obravnavane prireditve in je osnovno poslanstvo te razstave dobrega oblikovanja poseglo<br />
tudi na podroËje vzgoje in kultiviranja našega bivalnega okolja.<br />
Hkrati pa smo s tem na vprašanje, s katerim se sooËa Slovenija danes, slediti toku ali aktivno soustvarjati mednarodno dogajanje, dali jasen odgovor. Naše<br />
gospodarstvo in država bosta uspešna le, Ëe bomo znali uspešno unovËiti našo drugaËnost, naše znanje, talent in ustvarjalnost. PrepriËani smo, da se boste<br />
ob ogledu razstave in listanju priËujoËega kataloga strinjali, da BIO 19 vse to združuje na najvišjem nivoju.<br />
Franjo Bobinac,<br />
predsednik prireditvenega odbora BIO 19<br />
GOOD DESIGN IN EVERYDAY LIFE<br />
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<br />
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<br />
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<br />
information to the domestic economy, and because of highly positioned criteria and impartiality in granting awards and honorary titles this venue ranks as<br />
one of the most prominent shows of this kind in Europe and in the world.<br />
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<br />
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<br />
of hosting the BIO as the Chairman of the Organizing Committee this year.<br />
In such internationally respectable event I see plenty of unemployed potential for the recognition of Slovenia, and for the promotion of its diverse segments,<br />
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<br />
close association with the Ministry of Economy, Ministry of Education, Science and Sports, and traditionally, with the Ministry of Culture, the City of Ljubljana,<br />
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<br />
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<br />
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<br />
products has reached also to the field of education and cultivation of our residential environment.<br />
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<br />
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<br />
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<br />
above at the fi nest level.<br />
Franjo Bobinac,<br />
President of the BIO 19 Organizing Committee<br />
10
BIO V PREREZU ©TIRIDESETIH LET<br />
Soditi o industrijskem oblikovanju in razmišljati o prehojeni poti pri njegovem uveljavljanju je danes kajpak nekaj povsem drugega kot pred štiridesetimi<br />
leti, ko so domaËi oblikovalski pionirji in navdušenci s pripravo prvega mednarodnega Bienala industrijskega oblikovanja (BIO) v Ljubljani zanj postavljali<br />
temelje in mu zakoliËili pot. Ta prizadevanja se še danes kažejo kot progresiven razvoj, ki ima svoj nazoren potek, podoben tako razvijajoËim se državam<br />
kot tistim gospodarsko vseobvladujoËim in prodornejšim, delujoËim v plodnih družbeno-kulturnih in proizvodno-tržnih razmerah, ter tudi tistim, ki so se<br />
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<br />
kaže zdaj kot priložnost zdaj kot grožnja. Gre za zapletene procese, ki so se proti koncu dramatiËnega preteklega stoletja iztekli v danes hkrati priznavano<br />
in napadano samoumevno funkcionalno matrico, skonstruirano prek sodelovanja in povezanosti, a tudi prek donosnosti nadležne osvajalnosti, vsiljivosti,<br />
odvisnosti, izsiljevanja in kajpak novodobnih (genocidnih) vojn. »e oblikovanje res daje konËno podobo Ëlovekovemu materialnemu snovanju, obËevanju in<br />
omiki nasploh, potem je bilo v preteklem izrazito vizualnem stoletju in je še zdaj na zaËetku novega stoletja zgovorno sporoËilo o teh vsebinah, prizadevanjih<br />
in dejanjih. Oblikovanje (skupaj s politiko, gospodarstvom, kulturo in drugimi družbenimi dejavniki) je bilo navzoËe povsod: pri vsesplošnem naprednem<br />
celostnem razvoju življenjskega okolja ter sistemskih in vsakdanjih izdelkov, ki ga uresniËujejo, a tudi pri njegovem ekološkem razkrajanju, izpopolnjevanju<br />
orožja in osvajalnih sredstev, vse do vesoljskih projektov in osvajanj. Z najdrznejšimi programi in tehnologijami se je razvojno plemenitilo in recikliralo v dvig<br />
kakovosti izdelkov in sredstev, ki upravljajo naše vsakdanje življenje.<br />
Oblikovalci, združeni v mednarodnih in nacionalnih strokovnih organizacijah, so skozi celotno preteklo stoletje delovali ustvarjalno in razvojno in se kritiËno<br />
opredeljevali do svoje vloge in pomena v družbi. IzhodišËa so bila postavljena že stoletje prej in modernizirana v zaËetku dvajsetega (Deutscher Werkbund,<br />
Dia, Bauhaus …). V drugi polovici stoletja, ko se je oblikovanje kot sodobna ustvarjalna stroka dodobra vpelo v nacionalne razvojne programe (Britanci<br />
so že leta 1944 ustanovili Svet za oblikovanje - Council of Industrial Design - z nalogo, da med obnovo po koncu druge svetovne vojne pospeši razvoj<br />
oblikovanja; kmalu je v Londonu nastal tudi prvi »design center« kot zgled pospeševalne ustanove za oblikovanje), je bil mednarodni strokovni dialog,<br />
dejavno vzpostavljen že pred vojno, koristen in nujen. Z delovanjem l. 1953 v Parizu ustanovljene mednarodne strokovne organizacije ICSID (International<br />
Council of Societies of Industrial Designers - Mednarodni svet združenj industrijskih oblikovalcev) in l. 1963 v Londonu ustanovljenega sveta ICOGRADA<br />
(International Council of Graphic Design Associations - Mednarodni svet združenj grafiËnih oblikovalcev) ter številnih nacionalnih oblikovalskih organizacij,<br />
ustanov in podjetij se je mednarodni strokovni diskurz izjemno intenziviral. Poglobile so se veËplastne razprave o družbenem pomenu in vlogi oblikovalske<br />
stroke, ustvarila in dopolnjevala se je obËa definicija sodobnega oblikovanja in angažirano se je razpravljalo o filozofiji stroke ter novih teoretiËnih<br />
konceptualnih modelih, s katerimi so veËpomensko problematizirali proizvajalno, marketinško, ergonomsko in okoljsko problematiko. S tem so tudi izraziteje<br />
poudarili etiko stroke, se pravi njeno družbeno odgovornost, in skozi to optiko rekonstruirali družbeni razvoj modernistiËnega oblikovanja.<br />
Slovenija in njeni oblikovalci so se v okviru takratne Jugoslavije in njenega »samoupravnega socializma po meri Ëloveka« kljub netipiËnosti v primerjavi z<br />
zahodnimi družbenopolitiËnimi vzorci in praksami ter kljub težavam in nerazumevanju dejavno vkljuËevali v oblikovalske tokove v svetu. V mednarodnem<br />
okviru so nastopali celo kot pobudniki dogajanja na najvišji ravni, o Ëemer ob zgodnji ustanovitvi Bienala industrijskega oblikovanja v Ljubljani priËa tudi<br />
leta 1966 na Bledu organiziran uspešen in odmeven kongres Icograde (nastopili so P. Bratinga, J. Müller-Brockman, M. Katzumie, B. Fuller, N. Shapiro,<br />
E. Ravnikar, V. Richter idr.). Ëetrt stoletja kasneje, že v Sloveniji, pravzaprav na zaËetku njenega samostojnega življenja, pa še uspešen kongres ICSID<br />
(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<br />
romantiËno), da se ta mednarodna oblikovalska razstava dogaja »na stiËišËu« evropskih kultur. Našo zlasti v šestdesetih letih zelo izraženo obËutljivost za<br />
razumevanje novih dogajanj v svetu arhitekture in oblikovanja zgodovinsko pojasnjuje odpiranje obeh strok k širšim življenjskim in prostorskim problemom,<br />
torej h kompleksnemu pojmovanju arhitekture, oblikovanja in urbanizma, do katerega je prišlo pod vplivom vsestranskega ustvarjalca in pedagoga Edvarda<br />
Ravnikarja in njegovih mladih zavzetih sodelavcev. O teh premikih govorijo že v zaËetku petdesetih let reformiran študij arhitekture, ustanovitev Društva<br />
arhitektov Slovenije in Društva likovnih umetnikov uporabne umetnosti Slovenije; leta 1951 zaËne izhajati revija Arhitekt, ki pokrije vse »uporabne« likovne<br />
discipline, na samem zaËetku šestdesetih žal samo kratkotrajno zaživi oblikovalski študij (»smer B«) na ljubljanski arhitekturi, ki priskrbi najbolj zagrete<br />
nosilce nadaljnjega razvoja industrijskega in grafiËnega oblikovanja. Ob pojavljajoËi se strokovni publicistiki, odmevnih domaËih in tujih arhitekturnih ter<br />
oblikovalskih razstavah v petdesetih in zgodnjih šestdesetih letih, ki so prebujajoËo se potrošniško javnost pripravljale na podvige in dosežke domaËih<br />
oblikovalcev, se moramo sklicevati tudi na druge oblikovalske izobraževalne akcije in neposredne delovne povezave z industrijo, ki so priËale o navezanosti<br />
in poznavanju mednarodnih, zlasti skandinavskih oblikovalskih izkušenj. To je pripomoglo tudi k uveljavitvi aktualne mednarodne oblikovalske govorice<br />
in prav tako tudi standardov oblikovalske kakovosti, ki so kmalu vsaj v Sloveniji in nekaterih drugih jugoslovanskih središËih, kjer se je osredotoËala<br />
oblikovalska dejavnost, postavili nesporna merila kritiËnega vrednotenja. Da so se stvari, Ëeprav nismo poznali trga zahodnega tipa, premaknile naprej,<br />
je opozorila na primer leta 1969 v reviji Sinteza objavljena predstavitev enodružinske hiše v Sloveniji, kjer smo z znaËilnim izborom uresniËenih arhitektur<br />
opozorili tudi na stanovanjsko opremo. Za tisti Ëas sicer lahko ugotavljamo, da so želje po dobro oblikovanih izdelkih presegale ponudbo na domaËem trgu,<br />
kamor so taki izdelki prihajali iz tovarn in delavnic oblikovalsko naprednejših proizvajalcev, Ëemur lahko kontinuirano sledimo že od razstave Stanovanje za<br />
naše razmere (1956). Vendar je bilo v opremi izbranih hiš kar precej uvoženega, v tistih Ëasih izjemno priljubljenega italijanskega oziroma predvsem iz Italije<br />
pripeljanega mednarodnega pohištvenega dizajna, kar je zgovorno potrjevalo željo kupcev po kakovostnem oblikovanju. Ob tem o opiranju na sodobne<br />
mednarodne oblikovalske izkušnje pri nas ne bi govoril, saj so bile pri marsikaterem proizvajalcu, ne samo v pohištveni industriji, oËitno in prepoznano<br />
dejstvo.<br />
Opis razmer, ki se dotikajo tudi srede šestdesetih let, ko se je sicer presenetljivo, a ne povsem nenadejano, pojavila ljubljanska bienalna razstava<br />
industrijskega oblikovanja - BIO, bežno pojasnjuje vzgibe za njeno spoËetje. Predsednik organizacijskega komiteja, arhitekt Marjan Tepina, v Ëasu<br />
ustanovitve predsednik mestnega sveta Ljubljane, je, potem ko je poudaril »izrazito humanistiËno« razsežnost oblikovanja, v uvodu prvega kataloga zapisal:<br />
»Vsi, ki smo kakorkoli prispevali k temu, da smo lahko 9. oktobra 1964 v Ljubljani odprli prvo razstavo Bienala industrijskega oblikovanja, doslej najveËjo<br />
in prvo periodiËno razstavo te vrste v Jugoslaviji, smo zato prepriËani, da smo opravili dobro in koristno delo za razvoj in napredek naše proizvodnje,<br />
za veËje zadovoljstvo našega delovnega Ëloveka.« Je pa Marijan Gnamuš, prvi sekretar organizacijskega komiteja, v svojem prispevku povzel takratna<br />
pojmovanja o oblikovanju v našem prostoru, ki so dokaj skladna z aktualnimi razmišljanji v mednarodnem oblikovalskem svetu, kot jih je povzela na<br />
primer pri nas dostikrat citirana definicija oblikovanja Tomasa Maldonada, sprejeta v istem Ëasu na seminarju ICSID v Bruggesu! Ko govori o temeljnih<br />
vsebinskih izhodišËih programa BIO, Gnamuš izpostavi »prizadevanja za dvig kvalitete industrijskega oblikovanja in vseh podroËij, ki so povezana z njim«.<br />
To utemelji z besedami: »Mišljen je predvsem razvoj in vpliv, ki ga prinaša industrijsko oblikovanje kot metoda dela v vse faze proizvodnje, v ekonomiËnost,<br />
v strukturalno in funkcionalno bistvo proizvodnje ter v celotno »likovno spremljavo« izdelkov v fazi transporta in prodaje … vse do njegove vkljuËitve v<br />
uporabo. SistematiËno razvijanje industrijskega oblikovanja lahko postopoma zagotovi: veËjo gospodarnost, veËjo vrednost proizvodnje, veËje možnosti<br />
izvoza na zahtevna tržišËa, razvoj lastnega kreativnega dela iz izraza ter veËjo uporabo kvalitetnejših dobrin.« BIO se je od samega zaËetka odprl svetu.<br />
Dobil je podporo takrat vodilnih oblikovalcev, teoretikov in kritikov. V mednarodnem posvetovalnem svetu sreËamo imena S. Bernadotte, M. Black, W.<br />
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.<br />
Huldt, T. Maldonado, P. Reilly, J. Solovjev, K. Schwancer, G. Valle … Na domaËi sceni so ga s Ëlanstvom v Ëastnem in organizacijskem komiteju podprli<br />
številni politiki, gospodarstveniki ter seveda vodilna slovenska in jugoslovanska imena iz oblikovalske, arhitekturne in kritiške stroke. Videti je bilo, da je<br />
nastal s soglasjem vseh domaËih oblikovalskih privržencev, a je zaradi nezadostne družbene podpore vnema kmalu upadla in vse je postalo odvisno<br />
od angažiranih in k oblikovanju profesionalno usmerjenih posameznikov. Kljub vsemu pa je mogoËe reËi, da je bil bienale sicer zamišljen predvsem kot<br />
ustanova za uveljavljanje industrijskega oblikovanja ter njegove dejavne in odgovorne vloge v domaËem in jugoslovanskem prostoru. V njem se je Slovenija<br />
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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,<br />
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<br />
samega zaËetka stremeli k uveljavljanju bienala na mednarodni oblikovalski sceni, kar je dejansko najbolj prispevalo k utrjevanju doma težko pridobljenih<br />
pozicij za oblikovanje. S tem je BIO ambiciozno napovedal svojo vrisanost na svetovni oblikovalski zemljevid in se tam ne glede na oscilacije družbene skrbi<br />
(ponavadi nezadostne in simboliËne) vztrajno in sorazmerno odmevno uveljavljal vse do zdajšnje jubilejne razstavne prireditve. Trdoživost slovenskega<br />
bienala potrjuje tudi Byarsova Enciklopedija oblikovanja (The Design Encyclopedia) iz leta 1994, kjer je bil predstavljen kot edina mednarodna specifi Ëna<br />
periodiËna prireditev industrijskega oblikovanja. BržËas je šlo za samozavest, s katero smo dokazovali, da zmoremo in da je naše avtentiËno prepoznavno<br />
mesto vsekakor v tem širšem evropskem prostoru, kar lahko ob oblikovanju trdimo tudi za takratni arhitekturni nazor in snovanje ter kulturne ustvarjalne<br />
težnje nasploh. To je bilo kajpak v nasprotju z oblastniško ideologijo, je pa vsekakor prepriËljivo odsevalo neprikrito duhovno pripadnost k mednarodnemu<br />
svobodomiselnemu prostoru.<br />
Zlasti dinamiËna šestdeseta leta so to izpriËevala tudi z drugimi dejanji. V svetu se je že dodobra uveljavil ljubljanski mednarodni grafi Ëni bienale<br />
(ustanovljen 1952), 1962 smo zaËeli prirejati odmevne mednarodne kiparske simpozije Forma viva, 1963 sta se združili reviji Arhitekt in Likovna revija<br />
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<br />
napovedano v katalogu. Mimogrede povejmo, da je Sinteza oblikovanje in njegovo kompleksno razvejanost obravnavala kot enakovredno likovno disciplino<br />
(to je izhajalo že iz Ravnikarjevega programskega uvodnika) ter z angažiranjem najboljših grafiËnih oblikovalcev tudi s svojo grafiËno podobo sporoËala<br />
prizadevanje za visoko oblikovalsko kakovost. Isto smo si prizadevali doseËi s kakovostnimi celostnimi grafiËnimi podobami sleherne prireditve BIO. Prav<br />
tako je treba poudariti, da Sinteza kritiško ni spregledala nobenega bienala, publicistiËno je sodelovala pri njegovi uveljavitvi doma in v svetu. Prav zato<br />
upraviËeno trdimo, da je ob dokumentarno in slikovno bogatih razstavnih katalogih Sinteza vse do leta 1994, ko je izšla zadnja številka, vsekakor njegov<br />
verodostojen dokument.<br />
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<br />
požrtvovalno in profesionalno to manifestacijo ohranjali pri življenju, saj je družba in gospodarstvo, ki mu je bienale vselej držal zrcalo oblikovalske<br />
uspešnosti in inertnosti, nikoli nista dovolj podprla. Ëetudi je publicistiËna vzburjenost vsaj ob organizaciji bienala vsako drugo leto poskušala z<br />
intenzivnejšim pisanjem in seznanjanjem javnosti doseËi vtis, da ni tako, dejstva govorijo drugaËe (kot se je pomenljivo zapisalo v naslovu »Bio i prošao«<br />
nad Ëlankom, ki je duhovito razglabljal o eni od razstav).<br />
»e bi pisali kroniko bienala industrijskega oblikovanja, bi dobili slikovito pripoved, ki bi zajela precejšnji del zgodovine sodobnega slovenskega<br />
oblikovanja, saj so bili vsi dejavniki njegovega razvoja tako ali drugaËe medsebojno prežeti. Pri tem je treba zlasti poudariti vlogo bienala kot promotorja<br />
njegove razvitosti in ustvarjalne doreËenosti ter kritiËnega merila njegove kakovosti in uspešnosti. Vse to se je dogajalo v mednarodnem kontekstu,<br />
torej verodostojno in razmeroma celovito. S strokovnimi posveti in drugimi vzporednimi prireditvami je BIO spodbujal razvoj in poglobitev industrijskega<br />
oblikovanja ter oblikovanja vidnih sporoËil, ki jih je v svoje programe vkljuËeval v njihovi kompleksno zastavljeni izraznosti celostnih podob in sistemsko<br />
koordiniranih pristopov. Marsikateri domaËi in tuji oblikovalec in proizvajalec si je želel uspeha na tem bienalu. Seznami nagrajencev, med katerimi že<br />
od prve manifestacije sreËujemo številna vodilna svetovna in domaËa oblikovalska imena in podjetja, potrjujejo zgodovinsko vlogo bienala. Udeležbo<br />
je omogoËal le predhodni izbor, bodisi nacionalnih oblikovalskih strokovnih organizacij in ustanov ali nacionalnih žirij, kar je dosledno veljalo tudi za<br />
jugoslovansko in zdaj slovensko gradivo. Biti izbran za udeležbo na razstavi BIO je bilo že odmevno priznanje! Mednarodne žirije so tako ocenjevale<br />
najboljše med izbranimi izdelki in oblikovalskimi zasnovami, ki so bile zaradi idejne in programske osvežitve sËasoma vpeljane kot posebna kategorija.<br />
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<br />
tedanje vodilne može mesta Ljubljane in slovenske gospodarske zbornice o nujnosti ohranitve prireditve in njeni neprecenljivi vrednosti za naš kulturni<br />
in gospodarski prostor. Prizadevanja za preživetje bienala so takrat prešla na nekaj mlajših umetnostnih zgodovinarjev, kritiško in raziskovalno zagretih<br />
za oblikovanje in arhitekturo, ki so z angažiranimi oblikovalci prireditev usmerili v prihodnost. V to epizodo iz sedemdesetih let sodi tudi poskus, da bi<br />
izmenjalno prirejali domaËe in mednarodne oblikovalske razstave (BIO 4, 6 in 8 so bili jugoslovanski). Miha Košak, predsednik prireditvenega odbora in<br />
predsednik skupšËine mesta Ljubljane, je leta 1971 v promotivno posebno skrbno zasnovanem katalogu zapisal: »»etrti bienale industrijskega oblikovanja je<br />
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<br />
prispevajo k njenemu namenu: razširjanju spoznanja, da postaja industrijsko oblikovanje Ëedalje bolj jasno izražena potreba sodobnega porabnika, s tem pa<br />
po logiki marketinga tudi same industrije.«<br />
Konceptualno je bil BIO zamišljen predvsem kot primerjalno mednarodno »tekmovanje« industrijskega oblikovanja, zato so ob drugi razstavi prireditelji v<br />
pravilniku postavili pregledno in tipološko utemeljeno prezentacijsko sistematiko razstavnega gradiva, ki je bila primeren okvir za tako kompleksno zastavljeno<br />
vrednotenje. Z manjšimi spremembami in dopolnitvami, tudi po kasnejših razmišljanjih in napetih razpravah o vsebinski prenovi razstave, so se izhodišËa<br />
tega ustroja ohranila še danes, kar potrjuje njegovo pragmatiËnost in utemeljenost. Uporabniško je bil vzporedno ovrednoten tudi v nekaterih podiplomskih<br />
študijah, narejenih na Oddelku za oblikovanje Akademije za likovno umetnost v Ljubljani. V strukturnem pogledu, ki je BIO vselej predstavljal kot postavitveno<br />
sklenjen razstavni vizualni organizem, smo pri vpeljevanju vidnih sporoËil poudarjali predvsem vlogo sistemskega in vizualno koordiniranega oblikovanja.<br />
Vrednotili smo zlasti zasnovno dognanost celostnih (grafiËnih) podob. To je bilo nujno, saj smo leta 1973 v Mariboru spodbudili nastanek Bienala grafi Ënega<br />
oblikovanja (BIGO) kot sorodne razstave, ki naj bi sistematiËno pokrila podroËje grafiËnega oblikovanja. Vendar je bila že po prvi prireditvi ta zamisel<br />
pozabljena, pobudo pa so prevzeli v Zagrebu z ZGRAF-om ‘75 (ZagrebaËka izložba grafiËkog dizajna), ki ga poskušajo še danes vzdrževati kot mednarodno<br />
razstavo. Kot nadaljevalec teh pobud v slovenskem prostoru se je letos pojavil Bienale vidnih sporoËil Slovenije, ki ga je priredila Fundacija Brumen.<br />
Kompetentne žirije so v dvajsetih letih dodelile priznanja številnim uglednim in perspektivnim tujim in domaËim oblikovalcem (na to je ob jubilejnem desetem<br />
bienalu opozorila tudi revija Sinteza z objavljeno zbrano dokumentacijo). Veliko tujih proizvajalcev, ki so prejeli oblikovalska priznanja za svoje izdelke ali sploh<br />
sodelovali v selekcijah BIO, je to dejstvo uporabljalo kot uspešen gradnik svoje marketinške strategije, neposredno predvsem v promocijske namene, tako<br />
v oglaševanju kot v lastnih razvojnih predstavitvah. Veliko nagrajenih izdelkov, tudi nekaj slovenskih, je pristalo v oblikovalskih zbirkah uglednih muzejskih<br />
ustanov, na primer v Muzeju moderne umetnosti v New Yorku, ali pa so bili v kritiških zgodovinskih pregledih svetovne in domaËe oblikovalske ustvarjalnosti<br />
ob koncu stoletja predstavljeni kot ikone stoletnega oblikovalskega razvoja. Izredna selektivnost ter resno in odgovorno ocenjevanje mednarodnih žirij nas<br />
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<br />
zgodovinska razstava Slovenska likovna umetnost 1945-1978 z moËnim oblikovalskim oddelkom, dodobra vrasli v naš prostor kot oblikovalske stalnice. Zato<br />
lahko trdimo, da so prireditve BIO še danes ohranile svojo izvirno vlogo, saj si vztrajno prizadevajo uveljavljati visoka, mednarodno preverjena oblikovalska<br />
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<br />
toËki. Zastavlja se namreË vprašanje, kako zagotoviti kar se da kakovostne izbore aktualnega oblikovanja v okviru nacionalnih selekcij, kar je seveda povezano<br />
z delom in možnostmi strokovnih ustanov in organizacij držav udeleženk, s katerimi prireditelji sodelujejo!<br />
Pri tem prav gotovo ni mogoËe sprejemati kompromisov, ki bi šli na rovaš kakovostnih smotrov bienala. Obstajajo kajpak tudi drugaËne organizacijske oblike,<br />
programsko prožnejše in bolj odprte do oblikovalcev in izdelovalcev. Ena od takšnih možnosti je, da bi selekcije opravljali kustosi, se pravi dobri poznavalci<br />
kakovostne oblikovalske produkcije, tuji ali domaËi! Vendar bi za uresniËitev takih zamisli morali pridobiti veË sredstev, veË državne podpore in smotrnega<br />
sodelovanja zainteresiranega gospodarstva, ki bi moralo takšne manifestacije zajeti v svoje razvojne strategije in naËrte vstopanja na mednarodne trge.<br />
Toda bati se je, da za takšne sodobne naËine ni dovolj podopore ravno pri teh dejavnikih, kar dokazuje tudi prisloviËna materialna negotovost bienala.<br />
Da je mogoËe pripravljati kakovostno visoko zastavljene razstave in se držati utemeljenih kritiških meril ob ustvarjalni uspešnosti uveljavljenih slovenskih<br />
oblikovalcev oËitno dokazuje tudi že dvajsetletno uspešno izobraževalno delovanje oblikovalskega oddelka na Akademiji za likovno umetnost in vkljuËenost<br />
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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<br />
diplomantov in priznanja, ki so jih prejeli za svoje oblikovalske izdelke in zamisli. In ne pozabimo, na Slovenskem se pojavlja Ëedalje veË najrazliËnejših<br />
(višjih in visokih) oblikovalskih šol, ki skupaj s številnimi neizobraženimi samooklicanimi oblikovalci (gre za skomercializirano oblikovanje »designa«!)<br />
na videz sicer razpirajo oblikovalsko fronto, kar smo si vedno želeli. Toda prav razstave BIO, ki so ob svojem siceršnjem poslanstvu hkrati tudi eden<br />
katalizatorjev tega razvoja, nas s svojo aktualno sporoËilnostjo o najboljših mednarodnih dosežkih in njihovih kritiËnih odsevih morajo postaviti na realna tla<br />
in pri vrednotenju oblikovalskega vsakdana razgnati meglice, ki jih ustvarjajo udejanjene populistiËne iluzije, da smo vsi oblikovalci.<br />
Stane Bernik<br />
BIO ACROSS FORTY YEARS<br />
Judging industrial design and thinking about the path it has followed in becoming established is today of course something quite different from forty<br />
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<br />
Biennial of Industrial Design (BIO) in Ljubljana. Those efforts still stand today as a progressive development, with its own clear progress, similar both<br />
to the developing countries and to those that are economically omnipotent and more thrusting, operating in fruitful socio-cultural and market-production<br />
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<br />
in the increasingly aggressive and more extensive globalisation, which appears at one moment as an opportunity and the next as a threat. These are<br />
complicated processes which towards the end of the dramatic past century unwound into what is today at the same time a recognised and attacked,<br />
self-evident functional matrix, constructed through cooperation and cohesion, but also through the harassing, acquisitive profit motive, intrusiveness,<br />
dependence, extortion and of course modern-era (genocidal) wars. If design does indeed provide the final image for human material creation, relations<br />
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<br />
about all this substance, efforts and actions. Design (together with politics, economics, culture and other social factors) was present everywhere: in the<br />
universal progressive overall development of the living environment and systemic and everyday products that make it real, and also in decomposition, in the<br />
perfection of weapons and means of conquering, and right up to projects and conquests in space. Through extremely bold programmes and technologies,<br />
design enriched itself developmentally and recycled itself to raise the quality of products and means that manage our everyday lives.<br />
Throughout the previous century, brought together in international and national professional organisations, designers worked creatively and<br />
developmentally, and were able to set out their position objectively regarding their role and significance in society. The principles were already established<br />
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,<br />
when design as a modern creative profession was incorporated into national development programmes (in 1944 the British had already founded the<br />
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”<br />
also soon emerged in London, as the model of a design promotion institution), international professional dialogue, actually already established before the<br />
war, was useful and essential. Through the activities of ICSID (International Council of Societies of Industrial Designers), the international professional<br />
organisation set up in Paris in 1953, ICOGRADA (International Council of Graphic Design Associations) set up in London in 1963 and numerous national<br />
design organisations, institutions and companies, international professional discourse became extremely intensive. Multifaceted discussion of the social<br />
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<br />
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,<br />
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<br />
responsibility, and through this angle of vision the social development of modernist design was reconstructed.<br />
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<br />
world, despite its atypical nature compared to the Western socio-political patterns and practices, and despite difficulties and lack of understanding. In the<br />
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<br />
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.<br />
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<br />
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<br />
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<br />
“at the meeting point” of European cultures. Our strongly expressed sensitivity to understanding new development in the world of architecture and design,<br />
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<br />
conceptualisation of architecture, design and urban planning, something that took place under the influence of the universally accomplished creator and<br />
teacher Edvard Ravnikar and his young, enthusiastic associates. These shifts are illustrated by the reformed study of architecture at the beginning of the<br />
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<br />
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<br />
study (“curriculum B”) at Ljubljana’s Architecture Faculty, which produces the most fired-up standard bearers for the further development of industrial and<br />
graphic design. Alongside emerging professional journalism, significant domestic and foreign architectural and design exhibitions in the fi fties and early<br />
sixties, which prepared the burgeoning consumer circles for the exploits and achievements of local designers, we should also cite other actions in design<br />
education and direct working links with industry, which testified to the links and familiarity with international, especially Scandinavian, design experiences.<br />
This also contributed to the establishing of a current international design idiom, and equally of design quality standards, which at least in Slovenia and<br />
certain other Yugoslav centres where design activities were concentrated, soon established undisputed criteria of critical appraisal. The fact that things had<br />
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<br />
presentation of single family houses in Slovenia, where the typical selection of architectural designs that had been carried out served also to draw attention<br />
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<br />
products arrived from the factories and workshops of the more progressive manufacturers, which we may trace consistently right from the 1956 exhibition<br />
Stanovanje za naše razmere (Apartment for our circumstances). Yet in the furnishing of the selected houses there was much that was imported, at that<br />
time the extremely popular Italian or international furniture design brought in primarily from Italy, which was telling confirmation of the desire of buyers for<br />
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<br />
furniture industry, this was an obvious and recognised fact.<br />
A description of the circumstances that relate to the mid-sixties, when there was the surprising, but not altogether unexpected, appearance of the Ljubljana<br />
biennial exhibition of industrial design, the BIO, offers a cursory explanation of the impulses that gave rise to it. After stressing the “expressly humanist”<br />
dimension of design, the president of the organising committee, architect Marjan Tepina, and at the time of its founding the president of Ljubljana city<br />
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<br />
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<br />
and useful work for the development and advancement of our production, and for the greater satisfaction of our working man”. Meanwhile Marijan Gnamuš,<br />
fi rst secretary of the organising committee, summarised in his contribution the contemporary conceptualisations of design in Slovenia, which largely accord<br />
with the current thinking in the international design world, as was summarised for example in Tomas Maldonado’s definition of design, which is frequently<br />
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<br />
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<br />
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<br />
economies made, the structural and functional essence of production and into the entire ‘artistic accompaniment’ to products in the phase of transport and<br />
sale … right up to their actual use. The systematic development of industrial design can gradually ensure: greater economies, greater value of production,<br />
greater possibilities for export to demanding markets, the development of our own creative work from expression and greater use of higher quality assets.”<br />
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<br />
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.<br />
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<br />
and more. On the local scene, through membership in the honorary and organising committee it enjoyed the support of numerous politicians, business<br />
leaders and of course the leading Slovenian and Yugoslav names from the design, architecture and critical professions. It had clearly emerged with the<br />
approval of all the local supporters of design, yet owing to insufficient public (state) support the enthusiasm soon waned and everything became dependent<br />
on committed individuals orientated professionally towards design. Nevertheless it can be said that the biennial was conceived primarily as an institution<br />
for establishing industrial design and its active and responsible role in the domestic and Yugoslav arena. In this, Slovenia had already earned prestige for<br />
itself through the quality and design of its industrial products for broad consumption (“goods from Slovenia!”), which came for example from Iskra, Stol, Elan,<br />
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<br />
organisers were focused on establishing the biennial on the international design scene, which in fact contributed most to the affirmation of the hard-won<br />
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<br />
concern (usually inadequate and merely token) it persistently and with significant acknowledgement established its position right up to the present jubilee<br />
exhibition event. The tenacity of the Slovenian biennial is also confirmed by Byars’ Design Encyclopedia of 1994, which presents it as the only international<br />
specifi c periodic event for industrial design. This probably involved a self-confidence, with which we demonstrated that we were capable and that our<br />
authentic and recognisable place was of course in this wider European space, which alongside design we may also confirm for contemporary architectural<br />
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<br />
radiated a convincing and unconcealed spiritual affiliation to the international arena of free thinking.<br />
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<br />
well established in the world, and in 1962 we started holding the well-received international sculpture symposium Forma viva, and 1963 saw the merging<br />
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<br />
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<br />
design and its complex ramifications as an artistic discipline of equal value (this derived from Ravnikar’s programme introduction), and by engaging the<br />
best graphic designers it also communicated its efforts towards high design quality through its graphic image. We strove to achieve the same thing through<br />
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<br />
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<br />
documentary and pictorially rich exhibition catalogues, right up until 1994, when the final issue of Sinteza was produced, it represented in every way a<br />
credible documentation of the biennial.<br />
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<br />
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<br />
success and inertia, never gave it sufficient support. Although the journalistic excitement, at least when the biennial was being held every other year,<br />
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<br />
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<br />
above an article that expanded humorously on one of the exhibitions).<br />
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<br />
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<br />
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<br />
place in an international context, in other words credibly and quite comprehensively. With its expert consultations and other parallel events, BIO fostered<br />
the development and enhancement of industrial design and the design of visual messages, which it incorporated into its programmes in all the complexity of<br />
the exposed expressiveness of their corporate image and systemically coordinated approaches. Many domestic and foreign designers and manufacturers<br />
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<br />
design names and companies, confirm the historic role of the biennial. Participation was only possible through prior selection, be it by national professional<br />
design organisations and institutions or national juries, something that was consistently applied for the Yugoslav and now the Slovenian material. To be<br />
selected for participation in the BIO exhibition was in itself major recognition! The international juries therefore evaluated the best of the selected products<br />
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<br />
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<br />
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<br />
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<br />
enthusiastic at the prospect of criticism and research of design and architecture, and who along with committed designers directed the event towards the<br />
future. This episode in the seventies also touches upon an attempt to organise alternate domestic and international design exhibitions (BIO 4, 6 and 8<br />
were Yugoslav). Miha Košak, president of the organising committee and president of the Ljubljana city assembly, wrote in the 1971 catalogue that was<br />
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<br />
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<br />
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.”<br />
Conceptually BIO was set out primarily as a comparative international industrial design “competition”, so at the second exhibition the organisers established<br />
in the rules a clear and typologically supported presentational systemisation of the exhibited material, and this provided an appropriate framework for an<br />
evaluation process that had been set up with such complexity. With minor changes and additions, including after later consideration and heated debates<br />
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<br />
well-founded quality. From a utilitarian point of view it was also subjected to parallel evaluation in certain postgraduate studies conducted at the Design<br />
Department of the Ljubljana Academy of Fine Arts. In the structural aspect, which BIO always presented as a visual exhibition organism in a complete<br />
installation, in setting out the visual messages we emphasised primarily the role of systemic and visually coordinated design. We evaluated in particular<br />
the completeness in design terms of corporate (graphic) images. This was essential, since in 1973 in Maribor we encouraged the creation of the Biennial<br />
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<br />
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<br />
as an international exhibition. As a continuation of these efforts in Slovenia, this year saw the appearance of the Slovenian Biennial of Visual Messages,<br />
organised by the Brumen Foundation.<br />
In twenty years the competent juries awarded numerous distinguished and promising foreign and domestic designers (on the jubilee tenth biennial this was<br />
also pointed out by the magazine Sinteza, with the publication of collected documentation). Many foreign manufacturers, which had received design awards<br />
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<br />
part directly for promotional purposes, both in advertisements and in their own development presentations. Many awarded products, including some from<br />
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<br />
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.<br />
The exceptional selectiveness and the serious and responsible evaluation by the international juries serve to convince us that the high criteria, planned in<br />
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<br />
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<br />
to this day their original role, since they persistently strive to establish high, internationally verified design criteria and through the selected products from<br />
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<br />
of the biennial. Indeed the question arises, how might we ensure the highest possible quality selection of current design within the framework of national<br />
selections, which is of course linked to the work and possibilities of professional institutions and organisations in the participant countries with which the<br />
organisers cooperate! Here it is certainly not possible to accept compromises that would cost us the high-quality objectives of the biennial. Of course<br />
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<br />
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<br />
ideas we would need to acquire greater funds, greater state support and reasonable cooperation from interested sections of the commercial sector, which<br />
should incorporate such events into their development strategies and plans for operating on the international markets. We may well fear, however, that such<br />
modern methods lack sufficient support precisely in these factors, something borne out by the proverbial material insecurity of the biennial.<br />
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<br />
creative success of established Slovenian designers, is clearly demonstrated by the twenty years of successful academic functioning of the Design<br />
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<br />
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.<br />
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<br />
with numerous non-educated self-proclaimed designers (involving the commercialised idea of “design”!) are by all appearances opening up the veritable<br />
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<br />
the catalysts for this development, and which through their current importance as communicators of the best international achievements and their critical<br />
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<br />
populist illusion that we are all designers.<br />
Stane Bernik<br />
15
DESIGN, DIZAJN, OBLIKOVANJE<br />
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<br />
razprave v krogu enako prepriËanih prav niË ne napredujejo. Praviloma vedno manjkajo vabljeni sogovorniki s podroËja gospodarstva in politiËnih institucij.<br />
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<br />
na vse višjih ravneh. Samo v zadnjih dveh letih se je na razliËnih prireditvah predstavilo kar nekaj vodij uspešnih podjetij in primerjalno prikazalo uspešnost<br />
podjetja pred vkljuËitvijo oblikovanja v proces proizvodnje in po njem. Kot sogovorniki so ob njih nastopali oblikovalci. Gre za velik napredek od Ëasov, ko<br />
so na podobne prireditve direktorji pošiljali tiste zaposlene, ki naj bi se na oblikovanje paË najbolje spoznali, o uËinkih oblikovanja na rezultate poslovanja<br />
podjetja pa se niso spraševali. Da prizadevanja niso bila zaman, kaže tudi porast poizvedovanja manjših podjetij po oblikovalcih. Pri Informacijsko<br />
dokumentacijskem centru za oblikovanje pri Gospodarski zbornici (IDCO), na Sekretariatu BIO in prek osebnih stikov se uspešno vzpostavljajo nova<br />
sodelovanja. NateËaji in delavnice potekajo tudi na pobudo podjetij, ne le zaradi zagretih oblikovalcev ali študentov.<br />
Za priznanje stroke v Sloveniji na državni ravni je bil verjetno najpomembnejši letošnji dan državnosti. Predsednik slovenske vlade je v londonskem Muzeju<br />
oblikovanja (Design Museum) pripravil sprejem za britanske diplomate in gospodarstvenike. Slovenija se je s pomoËjo IDCO predstavila v svetovnem<br />
oblikovalskem središËu s projekcijo dobro oblikovanih izdelkov uspešnih slovenskih podjetij. Razlog za praznovanje!<br />
Velike in pozitivne spremembe zaznavamo tudi organizatorji BIO. Navdušeni smo nad veËjo podporo gospodarstva. Letošnjo prireditev je (med drugimi)<br />
fi nanËno podprlo tudi Ministrstvo za gospodarstvo. Predvsem pa smo prijetno preseneËeni nad uËinkovitostjo novega prireditvenega odbora BIO. Osebna<br />
angažiranost vodij uspešnih podjetij, njihovo razumevanje problematike stroke in samoumevnost vkljuËevanja oblikovanja v proizvodne procese je velik<br />
napredek za oblikovalsko stroko. S tem se hkrati oblikovanje prepoznava mnogo bolj kot doslej kot povezovalno podroËje kulture in gospodarstva.<br />
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<br />
prepustili vsebinski izvedbi dogodka. Želimo spremeniti paradigmo, ko se znatno veË truda vlaga v finanËno konstrukcijo projekta kot v koncept razstave.<br />
Kritikam na raËun okostenelosti BIO so sicer sledile debate o morebitnih alternativah, a odloËilnega zagona v tej smeri ni bilo. Konkretni dolgovi preteklih let<br />
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,<br />
slediti že dobro uteËenemu konceptu - vsaj še to pot!<br />
Ob tem ostajamo zvesti naËelu - ostati nevtralni ocenjevalci stroke, Ëeprav v družbi moËnih, velikih podjetij. Sprememba politiËnega sistema v devetdesetih<br />
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<br />
sodi tudi oblikovanje.<br />
In še o terminologiji. V teh za slovensko oblikovanje - tako se zdi - prelomnih Ëasih, moramo vedeti, da je uveljavitev têrmina »oblikovanje«, enakovrednega<br />
angleški besedi »design«, odvisna od nas, ki se s to dejavnostjo na kakršenkoli naËin ukvarjamo. Izraz oblikovanje uporabljamo od prvega BIO pred<br />
štiridesetimi leti in tako kot angleška beseda »design« ne pomeni zgolj dodajanja zunanje oblike predmetu. Razumevanje dejavnosti in njeno poimenovanje<br />
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<br />
z oblikovanjem dizajna ne podcenjujemo.<br />
©pela ©ubic, sekretarka BIO<br />
DESIGN, “DIZAJN” OR “OBLIKOVANJE”<br />
Slovene designers agree that in the past the professional seminars and round tables they held were only opportunities for getting together, and that<br />
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.<br />
But things are gradually improving. What really matters is that problems concerning design are now being discussed in wider circles and argued at top<br />
levels. In the past two years, we have seen quite a few managers from successful companies participating at various public events, emphasising their<br />
companies’ successes after the introduction of design into the production process. Designers now usually stand next to the managers, a great step<br />
forward. In the past, managers used to send employees most familiar with design to such events, but never concerned themselves with how design affected<br />
their business performance. The growth in the demand for designers in smaller companies proves our efforts have not been in vain. The IDCO (Design<br />
Information and Documentation Centre) at the Slovenian Chamber of Commerce and the BIO (Biennial of Industrial Design) established new cooperative<br />
ventures, in addition to numerous individual personal contacts. Companies now encourage public competitions and design workshops, not just avid<br />
designers and students.<br />
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<br />
Prime Minister held a reception for British diplomats and businessmen at the London Design Museum. Slovenia, supported by the IDCO, was able to<br />
present well designed products from our finest companies at the very centre of design world. Indeed a great cause for celebration!<br />
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<br />
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<br />
organising committee has been. Personal efforts of the managers from several successful companies, their understanding of the problems of the design<br />
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<br />
design becomes recognised more than ever as a link between the culture and the economic sphere.<br />
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<br />
increasingly concerned about the content of the event. We wish to change the paradigm: investing considerably more effort into the concept of the exhibition<br />
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<br />
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<br />
means, sticking with the tried and true course of action - once again!<br />
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.<br />
The changes in the political system in the nineties are characterised by powerful new, that is to say, transformed businesses. These companies, after more<br />
than ten years, have become well aware of the importance and power of market forces, design being one of these.<br />
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<br />
“oblikovanje” 1 is entirely our responsibility. The word “oblikovanje”, an equivalent for English “design” has been used by Slovene designers since the fi rst<br />
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<br />
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<br />
dictionaries and manuals. In any case, we think that the term “oblikovanje” does not devalue the word “dizajn” 2 .<br />
©pela ©ubic, BIO Secretary General<br />
1<br />
Slovene translation of the word design.<br />
2<br />
Slovene phonetic writing of the word design, a possible alternative to the word “oblikovanje”<br />
17
PRIREDITVENI ODBOR BIO<br />
BIO ORGANIZING COMMITTEE<br />
Franjo Bobinac<br />
predsednik prireditvenega odbora BIO<br />
President of the BIO Organizing Committee<br />
©pela ©ubic<br />
sekretarka BIO<br />
BIO Secretary General<br />
Jani BavËer<br />
Tatjana Fink<br />
Marjan Kocjan<br />
Maja Kržišnik<br />
Bernard KuËej<br />
Robert Mulej<br />
Matija Murko<br />
Vladimir Pezdirc<br />
Slavko Slak<br />
Janez Smerdelj<br />
Janez ©krabec<br />
IZVR©ILNI ODBOR BIO<br />
BIO EXECUTIVE BOARD<br />
Jani BavËer<br />
Marjan Kocjan<br />
Maja Kržišnik<br />
Bernard KuËej<br />
Matija Murko<br />
Vladimir Pezdirc<br />
Janez Smerdelj<br />
BIO deluje pod okriljem ICSID in je njegov Ëlan / BIO is endorsed by ICSID and is its member<br />
BIO deluje pod okriljem BEDA in je njegov Ëlan / BIO is endorsed by BEDA and is its member<br />
Pod okriljem ICOGRADA / Endorsed by ICOGRADA<br />
18
»LANI MEDNARODNE ŽIRIJE<br />
MEMBERS OF THE INTERNATIONAL JURY<br />
Aldo Cibic<br />
Italija / Italy<br />
Robin Edman<br />
©vedska / Sweden<br />
Czeslawa Frejlich<br />
Poljska / Poland<br />
Stephen Hitchins (BEDA)<br />
Velika Britanija / United Kingdom<br />
Ruth Klotzel (ICOGRADA)<br />
Brazilija / Brasil<br />
IZBOR RAZSTAVKOV SO OPRAVILI<br />
SELECTION OF EXHIBITS WAS PERFORMED BY<br />
Avstrija / Austria<br />
Design Austria, DA<br />
Belgija / Belgium<br />
Vlaams Instituut voor het Zelfstandig Ondernemen, VIZO<br />
»eška / The Czech Republic<br />
Design centrum »eské republiky, DC<br />
Finska / Finland<br />
Sekretariat BIO<br />
Hrvaška / Croatia<br />
Hrvatsko dizajnersko društvo, HDD<br />
Hrvatsko udruženje likovnih umjetnika primijenjenih umjetnosti, ULUPUH<br />
Italija / Italy<br />
Associazione per il Disegno Industriale, ADI<br />
Madžarska / Hungary<br />
Magyar Formatervezési Tanács<br />
NemËija / Germany<br />
Sekretariat BIO<br />
Romunija / Romania<br />
Sekretariat BIO<br />
Slovaška / Slovakia<br />
Slovenské centrum dizajnu, SDC<br />
Slovenija / Slovenia<br />
Izbirna komisija: Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar<br />
ZDA / USA<br />
Sekretariat BIO<br />
19
OBLIKOVALCI, SODELAVCI IN MENTORJI<br />
DESIGNERS, COOPERATORS AND TUTORS<br />
AVSTRIJA / AUSTRIA<br />
Ballendat, Martin 31<br />
Bergner, Georg 76<br />
Breuer-Bono, Martin 79<br />
Brückner, Katharina Maria 139, 140<br />
Buchegger, Denoth, Feichtner, Linz 110<br />
Design a Storz GmbH, Zell am See 28, 29<br />
Federal department of graphic design, Strasshof 109<br />
GP - gregerpauschitz, Wien 30<br />
guggenbichlerdesign ..., Wien 31, 83<br />
Györvari, Robert 76<br />
Huber, Daniel 29, 110<br />
Kim Heu, Eva 105<br />
Klamminger, Herbert 140<br />
Lippitsch, Susanne 94, 139<br />
Moritsch, Stefan 140<br />
Neuwirth, Bernhard 71<br />
Nikoljski, Sergej 77<br />
Pfl eger, Claudia 140<br />
Prause, Philipp 94, 138<br />
Produktdesign BKM, Wien 139, 140<br />
Reidinger, Roland A. 109<br />
Scheiber Design GmbH, Kufstein 30, 81<br />
Schluder, Michael 77<br />
Spirit Design, Wien 29, 110<br />
Storz, Achim 28, 29<br />
Tarmann, Kornelius 108, 109<br />
Thaler Design GmbH, Velden 29<br />
Urcan, Catalin 30, 81<br />
Urleb, Alfred 104<br />
Valentinitsch Design, Wien 81, 83, 97<br />
Wien Nord Pilz Werbeagentur GmbH, Wien 108<br />
WIGL-Design 104<br />
BELGIJA / BELGIUM<br />
Aerts, Leo 78<br />
Benzon, Ian Tomas 33<br />
Cautereels, Victor 33<br />
Daenen, Bob 33<br />
Erik Herlow Design group 33<br />
Gheel, Inge Van 34, 35, 141<br />
Heiberg, Jakob 33<br />
Lust, Xavier 98<br />
Pars pro toto, Gent 35<br />
Salima, Thakker 32<br />
Schöning, Stefan 32<br />
Spillermaeckers, Bart 91<br />
Szyf, Maxime 141<br />
Tupperware Europe, Africa & Middle East Design<br />
group 33<br />
Weyers & Borms, Tielrode 34, 141<br />
Wynants, Dirk 34, 98<br />
Zijst, Jan-Willem van 35<br />
»E©KA / THE CZECH REPUBLIC<br />
Appl, Alexius 91<br />
Applová, Dominika 85<br />
Blata, Pavel 99<br />
Fronek, Michal 36<br />
Hanuš, Stanislav 99<br />
Huff, Leif 85<br />
Imrich, Martin 99<br />
Kroutil, Jiří 85<br />
LaπtoviËka, Jiří 37<br />
NemeËek, Jan 36<br />
Plesl, Rony 37<br />
Rosický, Jan 36<br />
Siebert, Jan 85<br />
Turek, Jan 85<br />
Václavek, Petr 36<br />
Žák, Vratislav 98, 99<br />
FINSKA / FINLAND<br />
Häberli, Alfredo 38<br />
Sipilā, Tanja 38<br />
HRVA©KA / CROATIA<br />
Babaja, Iva 124<br />
BaniÊ, Ana 143<br />
Bey, Jurgen (Nizozemska / The Netherlands) 144<br />
BiliÊ, Dora 123, 124<br />
Bujan, Dubravko 114<br />
Definicija, Zagreb 121<br />
DoliÊ, Antonio 121, 122<br />
FabijaniÊ, Damir 113<br />
Fabrio, Ivana 144<br />
Futura DDB, Zagreb 121<br />
GaliÊ, Ana 117, 118<br />
Golik, Gordana 115, 144<br />
GrancariÊ, Krešimir 116<br />
GrgiÊ, Hrvoje 116<br />
KapetanoviÊ, Tvrtko 142<br />
KapetanoviÊ, Zlatko 143<br />
Koržinek, Marko 117<br />
KovaË, Aleksander 31<br />
KovaË, Krunoslav 39, 71<br />
KuhariÊ, Luka 117, 118<br />
Lipovac, Marko 111<br />
LjubiËiÊ, Boris 119, 120<br />
LukaË, Jelena 142<br />
MarjanoviÊ, Jadranko 113<br />
Matoš, Bojan 117, 118<br />
Müller, Tina 123, 124<br />
OrešiÊ, Mladen 142<br />
OršiÊ, Dag 113<br />
Penava Dogan, Zrinka 123<br />
Pervan, Ivo 119<br />
Pohl, Martin 39<br />
RadoviÊ, Romina 39, 71<br />
Rocco i partner d.o.o., Zagreb 116<br />
Rocco, Sanja 116<br />
Sensus Design Factory Zagreb 113, 114<br />
StanišljeviÊ, Igor 115<br />
Studio International, Zagreb 119, 120<br />
©poljar, Kristina 113, 114<br />
©poljar, Nedjeljko 113, 114<br />
©unk, Davor 121<br />
VaršiÊ, Mario 94<br />
VlainiÊ, Lada 112<br />
VlainiÊ, Tomislav 111, 112<br />
VuËiÊ, Ivana 113<br />
Zorica, Željko 124<br />
Žiljak VujiÊ, Jana 111<br />
ITALIJA / ITALY<br />
Agneletti Ruzza Design, Rieti 92<br />
Arduini, Gianni 95<br />
Barbieri, Raul 40, 41<br />
Barbieri, Roberto 51<br />
Bianchetti, Fabrizio 92<br />
DNA srl, Trento 42<br />
Electrolux Zanussi Industrial Design Center<br />
Europe, Porcia (PN) 48, 49<br />
Farina, Eugenio 146, 147<br />
Favaretto & Partners, Padova 72<br />
Favaretto, Brigato,<br />
Cappelin c/o Favaretto & Partners, Padova 72<br />
Favaretto, Paolo 42<br />
For Use, Wien 50<br />
Galeazzi, Giuliano 43, 44, 45<br />
Granese design studio, Salerno 46, 145<br />
Granese, Diego 46, 145<br />
Guerriero, Alessandro 147<br />
HB Group, Milano 95<br />
Iliprandi associati, Milano 125<br />
Inzaghi, Enzo 73<br />
Lago, Daniele 46, 47<br />
Lovegrove, Ross 50<br />
Marangone, Marco 145<br />
Minuti, Furio 73, 105<br />
Modica, Andrea 47, 147<br />
Orteschi, Alessandro 146<br />
Palomba, Ludovica 50<br />
Palomba, Roberto 50<br />
Pamio, Roberto 78<br />
Peter Solomon Design, Milano 100<br />
Pezzetta, Roberto 48, 49<br />
Pilenghi, Monica 100<br />
Pininfarina Extra srl, Cambiano (TO) 73, 84<br />
Revoldini, Giorgio 86<br />
Robson, Mark 49<br />
Rorato, Alessandro 146<br />
Sartorato, Rossella 146<br />
Spinelli, Marco 105<br />
Studio Lorenzo Bonfanti 100<br />
Studio X, London 50<br />
Trenti, Luigi 104<br />
Vigo, Nanda 49<br />
MADŽARSKA / HUNGARY<br />
Bálas, Benedek 126<br />
Horváth, Krisztina 149<br />
Hosszú, Gergely 149<br />
Hurton, Tamás 150<br />
Kapitány, Róbert 148<br />
Kurucz, Orsolya 149<br />
Stunya, János 148<br />
Szilágyi, Csaba G. 150<br />
Varga, Buda 125<br />
NEM»IJA / GERMANY<br />
Röntgen, Heinz 52, 53, 54, 55, 56<br />
ROMUNIJA / ROMANIA<br />
Ostaficiuc, Diana 57<br />
SLOVA©KA / SLOVAKIA<br />
Beláň, Dušan 101<br />
Chlpek, Peter 155<br />
»obej, Ivan 57<br />
ĎurËová, Marcela 157<br />
Eisner, Tomáš 156<br />
Gabzdil, Tomáš 154<br />
Gavenda, Ivan 86<br />
HašËák, Gabriel 156<br />
Igriciová, Viera 153<br />
Illo, Patrik 57<br />
Karpitová, Lucia 151<br />
KoËišová, Monika 157<br />
Lauko, Marian 155<br />
Olah, Peter 86<br />
Poliaková, Zdenka 152<br />
Prokopová, Jana 101<br />
Pussová, Erika 101<br />
Rostoka, Vladislav 126<br />
©icko, Ján 126<br />
©ucháň, Martin 101<br />
TimkoviËová, Alena 153<br />
Zahoránská, Katarína 154<br />
Zavadilová, Kamila 152<br />
Zavadilová, Klára 151<br />
20
SLOVENIJA / SLOVENIA<br />
Ambient d.o.o., Ljubljana 129, 176<br />
AmbrožiË, Vasja Andrej 162<br />
Antlej, Kaja 158<br />
ArliË, Peter 159, 160, 161<br />
ArliË, Urška 171<br />
Arula, Dalibor 158<br />
Asobi d.o.o., Ljubljana 58, 69, 87<br />
Avberšek, Kaja 158<br />
AWS Design, Wien 102<br />
Baraga, Ksenija 172<br />
Barle, ©tefan 158, 160<br />
Barnabas, Wetton (Danska / Denmark) 168<br />
BastašiË Merela, Marjana 159<br />
Bavcon, Tjaša 173<br />
BeBe com. d.o.o., Ljubljana 93, 127<br />
Bevc, Ernest 82, 87, 88<br />
BrandiËiÊ, Marijana 158<br />
Brandstätter, Maša 171, 172<br />
Brejc, Tomo 134<br />
Brezovšek, Nejc 158<br />
Carli, Jože 158, 161<br />
Cimolini, Mika 132<br />
Cugelj, David 173<br />
CvetkoviË, Jelena 172<br />
»erne, Silvija 61<br />
»rtaliË, Miha 158<br />
Demšar, Gašper 59, 74<br />
Design center Gorenje, Velenje 61, 62<br />
Dimic, Mateja ©. 158<br />
DragišiË, Lidija 60<br />
Dvornik, Borut 93<br />
Elan, Begunje 102<br />
Elastik, Ljubljana 132<br />
Erjavec, Aleš 158<br />
Eržen, Klemen 88<br />
FerËek, Jasmina 173<br />
FuËik, Oskar 62<br />
Gadžijev, Arijana 170<br />
Gerbec, Dolores 127, 128<br />
Gigodesign, Ljubljana 60, 102<br />
GrciË, Sanja 106<br />
Greblo, Alex 158, 174<br />
Hercog, Nina 158, 163<br />
Hohkravt, Uroš 158, 174<br />
Holcman, Peter 169<br />
Holobar, Anton<br />
Hrga, Iztok 106<br />
IN.DI.GO, Ljubljana 90, 93, 174<br />
Industrijsko oblikovanje Wilsonic d.o.o., Medvode<br />
65, 82, 182<br />
JagodiË, Jan 102, 103<br />
Jalovec, Ajda 158<br />
Janželj TomažiË, Mojca 127<br />
JelesijeviÊ, Nenad 128<br />
Jenko, Marija 170, 171, 172<br />
Jenko, Rok 61<br />
JovanoviË, Dušan 175<br />
Jug, Petra 158<br />
Kaljun, Jasmin 170<br />
Karstyum oy, Helsinki 175<br />
Kebel, Igor 132<br />
Kerin, Miha 129, 176<br />
KlanËar, Bojan 64, 93<br />
Klinar, Miha 60<br />
Klun, Robert 63<br />
KnapiË, Zlatka 176<br />
Kosovel, Ermin 181<br />
Kostanjšek, Lucija 164<br />
Košak, Grega 175<br />
Košak, Karin 175<br />
KošËak, Gorazd 158<br />
KovaËiË, Iztok 128<br />
Kraševec Podlunšek, Nives 62<br />
Krašovec, Tomi 62<br />
Kregar, Majda 129, 176<br />
Kristan, Karmen 63<br />
Kropej, Jernej 158, 165<br />
Kuhar, Rok 93<br />
Levstik, Jože 158<br />
Lina design d.o.o., Kamnik 68<br />
Lunder, Mitja 166<br />
MaËek, Miha 74<br />
Maechtig, Saša J. 158, 159, 160, 161<br />
MahniË, Sebastijan 158<br />
Marcen, Slavko 63<br />
MariniË, Ksenija 82<br />
MariniË, Sebastjan 161<br />
Markelj, Gregor 177<br />
MarkoviË, Katja 158<br />
Matek, Polona 64, 158, 163, 166<br />
MatijeviË, Petra 64<br />
MesariË, Janez 90, 93<br />
Mihovec, Nina 65, 82, 182<br />
Miklavc, Jure 102, 103, 131, 158, 166, 168, 182<br />
MiklavËiË, Lidija 167, 168<br />
MilkoviË Biloslav, Matija 158<br />
Monochrome arhitekti, Ljubljana 93<br />
Movera d.o.o., Ljubljana 88<br />
Mrvar, Katarina 164, 168<br />
MudriniË, Tanja 158<br />
Murovec, Karla 170<br />
NajdiË, Maja 62<br />
Nardoni, Barbara 93, 158, 174<br />
Oblak, Rok 158, 177<br />
OrlaË, Dejan 158, 178<br />
Pak, Tanja 66<br />
Pavlinec, Marko 158, 165<br />
Pezdirc, Vladimir 68, 162, 163, 164, 165<br />
Pirnat, Luka 169<br />
PogaËar, Vojko 169, 170<br />
PogaËnik, Tone 74<br />
Polik, Ivan 66, 70<br />
PotoËnik, Ivana 158, 160<br />
Premože, Gašper 158<br />
Primc, Robert 158<br />
PrinËiË, Barbara 169, 178, 179<br />
Pritržnik, Lidija 61, 62<br />
PuËnik, Alenka 170<br />
Puintile, Sima (Suomi / Finland) 177<br />
Quadrat design d.o.o., Ljubljana 68<br />
Ratajc, Maja 170<br />
Ravnikar, Martin 129<br />
Rebernjak, Tena 158<br />
Rehar, Igor 179<br />
Rosa, Igor 89<br />
Rus, Zmago 130<br />
Sadar, Almira 106, 171<br />
Sernec, Simon 134, 135<br />
Sešlar, Vera 171, 172<br />
Shveky, Gal (Iran / Iran) 168<br />
SimiÊ, Zagorka 130<br />
Skalar, Peter 131<br />
Slavec, Darko 172<br />
Smerdelj, Janez 158, 165, 166, 167, 178, 182<br />
Sovinc, Boris 158, 162<br />
StariË, Janez 80, 88, 89<br />
Stepan, Luka 180<br />
Stojanovski, Vasja 158<br />
Straže, Bojan 87, 88<br />
©apec, Andraž 158<br />
©koberne, Leja 158<br />
©krjanec, Nataša 158, 159<br />
©mit, Mojca 180<br />
©oštariË, Martin 158<br />
©pegelj, Andreja 181<br />
©tembergar, Neva 132, 133<br />
©tiftar, Karmen 67<br />
©urina, Darko 158<br />
©ušteršiË, Barbara 131<br />
©vraka, Zoran 158, 159<br />
TasiË Demšar, Maja 59, 74<br />
Tepeš-©olman, Ljiljana 67<br />
UršiË, Damjan 68<br />
Vida, Timea 158<br />
VidoviË, Edo 69<br />
VidoviË, Tea 69<br />
VodiËar, Iztok 79<br />
Vogelnik, Jalen 181<br />
Vrhunc, Metka 171, 172<br />
Zajc, Luka 158, 182<br />
ZupanËiË, Bori 134<br />
Žanko, Ivana 170<br />
Žargi, Nana 93, 158<br />
Žitnik, Marjan 96, 182<br />
©VICA / SWITZERLAND<br />
Meda, Alberto (Italija / Italy) 75<br />
ZDA / USA<br />
Chen, Fang 136<br />
21
PROIZVAJALCI, TISKARJI, NARO»NIKI IN ©OLE<br />
PRODUCERS, PRINTERS, CLIENTS AND SCHOOLS<br />
AVSTRIJA / AUSTRIA<br />
Acamp, Vorchdorf 30<br />
Adidas eyewear 110<br />
Barmherzige Schwestern, Wien 108<br />
Battenfeld Extrusiontechnik GmbH,<br />
Bad Oeynhausen, NemËija / Germany 81<br />
BBM Austria, Stadl-Paura 109<br />
City Air Terminal Betriebs GmbH,<br />
Wien-Flughafen 110<br />
Datacon GmbH, Radfeld 81<br />
Deželna vlada Spodnjeavstrijskega<br />
(NÖ-Landesregierung), St. Pölten 76<br />
Druckerei Bosmüller, Wien 110<br />
Druckereien Grasl, Gerin 108<br />
Ernst Schausberger & Co GmbH, Gunskirchen 94<br />
Eternit, Vöcklabruck 77<br />
Eva Kim Heu, Wien 105<br />
Fuka & Fischer, Wien 108<br />
Gallaher Austria Tabak Europe GmbH 109<br />
Glass & Co, Braunau 29<br />
Hagleitner Hygiene International GmbH,<br />
Zell am See 28<br />
IDM-Energiesysteme GmbH 30<br />
Insieme formintegriert, Leording 31, 83<br />
Jim + Jenny Toys, Graz 104<br />
Liechtenstein Museum, Wien 108<br />
Mayr Melnhof GmbH, Wien 94<br />
Nordsee GmbH, Wien 94<br />
Payer Intl. Technologies, Hitzendorf 29<br />
Ravak a.s., Příbram, »eška / The Czech Republic<br />
28, 29<br />
razne invalidske delavnice / workshops for<br />
disabled 31, 83<br />
Robert Györvari, Wien 76<br />
Salewa Sportgeräte GmbH, Aschheim 97<br />
SAX, Heinrich Sachs KG, Hirm 71<br />
Schorm GmbH & Co KG, St. Valentin 97<br />
Steinhauser - Digitale Medien, Wien 109<br />
Tonon & C. spa, Manzano, Italija / Italy 31<br />
Vintersteiger, Ried 83<br />
w3worx (for Cortal Consors Germany) Nürnberg,<br />
NemËija / Germany 94<br />
Watercryst GmbH, Kematen 30<br />
Wein & Co, Wien<br />
BELGIJA / BELGIUM<br />
Alinea, Geel 78<br />
Desalto-Oma srl, Cantu (CO), Italija / Italy 32<br />
Extremis, Gijverinkhove 34, 98<br />
IKEA, ©vedska / Sweden 34<br />
Jan-Willem van Zijst, Fenestra ateliers, Achel 35<br />
Lithos, Lovendegen 91<br />
Studio Geppetto, Budapest, Madžarska /<br />
Hungary 35<br />
Symo Broers, Brugge 35<br />
Thakker Salima, Antwerpen 32<br />
Tupperware Belgium N.V., Aalts 33<br />
Weyers & Borms, Tielrode 34<br />
»E©KA / THE CZECH REPUBLIC<br />
Blata s.r.o., Blansko 99<br />
Libera a.s. 36<br />
OEZ Letohrad a.s. 91<br />
Pavel Blata 36<br />
Petr Václavek 85<br />
Sev Litovel 85<br />
Siemens 68<br />
Thun - Karlovarský porcelán a.s. 37<br />
Vella s.r.o., Náchod 98, 99<br />
Železnobrodské sklo a.s. 37<br />
FINSKA / FINLAND<br />
Ittala 38<br />
Tonfisk Design oy, Helsinki 38<br />
HRVA©KA / CROATIA<br />
AKD, Zagreb 119, 120<br />
Antonio DoliÊ 122<br />
B.a.B.e., Zagreb 115<br />
Castor Multimedia d.o.o., Zagreb 113<br />
Chickie’s, Zagreb 122<br />
DDB, Zagreb 121<br />
Design Academy Eindhoven, Eindhoven,<br />
Nizozemska / The Netherlands 144<br />
DIN Novoselec, Novoselec 39<br />
Ericsson Nikola Tesla d.d., Zagreb 114<br />
FotoSoft d.o.o., Zagreb 111<br />
Fraktura, ZaprešiÊ 124<br />
Fundacija Ivana MeštroviÊa, Zagreb 119<br />
Galerija 01, Zagreb 116<br />
Grafotehna Zagreb, Zagreb 122<br />
GudaËki kvartet Rukner, Zagreb 116<br />
HDD, Zagreb 114<br />
HiT Art, Zagreb 123<br />
Hrvatska turistiËka zajednica, Zagreb 119<br />
Hrvatski oglasni zbor, Zagreb 112<br />
HUOT, Zagreb 117<br />
IN FINE d.o.o., Zagreb 117<br />
IzdavaËka kuÊa AGM, Zagreb 124<br />
Kazalište Komedija, Zagreb 11<br />
Kerschoffset, LuËko 114<br />
Klinika za djeËje bolesti Zagreb, Zagreb 121<br />
Kratis / Nova forma, Zagreb 116<br />
Kratis, Zagreb 113, 122, 123, 124<br />
Laboratorij Dr. DžaniÊ, Zagreb 94<br />
Mabacom, Zagreb 119<br />
Muzejski dokumentacioni centar, Zagreb 120<br />
MuziËka akademija, Zagreb 120<br />
Peugeot Hrvatska, Zagreb 121<br />
Poglavarstvo grada Osijeka, Osijek 112<br />
Printel, Zagreb 114, 115<br />
Pula film festival, Pula 115<br />
Putokaz 2000, Zagreb 117<br />
Rotary club, Zagreb 120<br />
Stereo studio, Zagreb 118<br />
Stolarija i salon kuhinja MesariÊ, Zagreb 39<br />
Studio International, Zagreb 120<br />
SveuËilište u Zagrebu, Arhitektonski fakultet,<br />
Studij dizajna, Zagreb / University of Zagreb,<br />
Faculty of Architecture, Study of Design, Zagreb<br />
142, 143<br />
Tiskara Gipa, Zagreb 117<br />
Tiskara Horvat, Bjelovar 116<br />
Tiskara KasaniÊ, Zagreb 118<br />
Tiskara StefanoviÊ, Zagreb 121<br />
Tiskara Zelina, Zagreb 124<br />
Tvin d.d., Virovitica 71<br />
ULUPUH, Zagreb 111, 123<br />
Vinoteka Bornstein, Zagreb 123<br />
Ženska infoteka, Zagreb 124<br />
ITALIJA / ITALY<br />
3M Visual Systems Division, Austin, Texas, ZDA<br />
/ USA 84<br />
Altra Design Ltd., London, Velika Britanija /<br />
United Kingdom 100<br />
Ares Line srl, Carrè 73<br />
Best spa, Fabriano (AN) 44<br />
Bolis poligrafiche, Bergamo 125<br />
D.I.W.S., Ozzero Milano 100<br />
Electrolux Home Products, Porzia (PN) 48, 49<br />
Estel Office, Tiene (VI) 72<br />
Estel spa, Tiene (VI) 42<br />
Franke spa, Peschiera del Garda (VR) 43, 45<br />
Fratelli Fantini s.p.a., Pella (NO) 92<br />
Ghidini Pietro Bosco s.p.a., Brozzo di Marcheno<br />
(BS) 92<br />
Glas Italia, Macherio (MI) 49<br />
Guialmi S.A., Águeda, Portugalska / Portugal 72<br />
IGuzzini Illuminazione srl., Recanati (MC) 78<br />
Lago srl, Giorgio in Bosco (PD) 46, 47<br />
L’arca edizioni, Milano 125<br />
Lumess AG, Allschesi, ©vica / Switzerland 47<br />
Max Fire, Villotta di Chions (PN) 73<br />
Mineralcenter, Abano Terme (PD) 105<br />
Murano Due, Salzano (VE) 42<br />
Pineider spa, Firenze 104<br />
Pyxis Design, Macerata (MC) 105<br />
Rehab Innovation srl, La Spezia 95<br />
Rexite spa, Cusago (MI) 40, 41<br />
Scuola Italiana Design, Padova 146, 147<br />
Sideros spa, San Felice sul Panaro (MO) 45<br />
SIM 2 Multimedia spa, Pordenone 86<br />
Steel Time, Villotta di Chions (PN) 48<br />
Studio Lorenzo Bonfanti, Vimercate (MI) 100<br />
Tapizados Frajumar S.L., Yecla-Murcia, ©panija<br />
/ Spain 46<br />
Trexom srl., Tavagnacco (UD) 73<br />
Vestel Beyaz Esya Sanayi Ve Ticaret A.S.,<br />
Manisa, TurËija / Turkey 43, 44<br />
Zanotta spa, Nova Milanese (MI) 49, 50, 51<br />
MADŽARSKA / HUNGARY<br />
Hungarian Academy of Fine Arts, Budapest 126<br />
Hungarian University of Craft and Design,<br />
Department of Product Design, Budapest 148,<br />
149, 150<br />
Sanoma Budapest Publishing Corp., Budapest 125<br />
NEM»IJA / GERMANY<br />
nya nordiska textiles gmbh, Dannenberg 52, 53,<br />
54, 55, 56<br />
ROMUNIJA / ROMANIA<br />
Mondial, Lugoj 57<br />
SLOVA©KA / SLOVAKIA<br />
Academy of Fine Arts and Design, Bratislava<br />
151, 152, 153, 154, 155<br />
Bibiana, Bratislava 126<br />
Brik a.s., Kremnica 57<br />
Faculty of Arts, Design, Košice 156, 157<br />
Gotive a.s., Bratislava 86<br />
Rona, Co Ltd., Lednické Rovne 57<br />
Theatre M.U.T., Praha 126<br />
Trek sport s.r.o., Most pri Bratislave 101<br />
SLOVENIJA / SLOVENIA<br />
2p d.o.o., Koper 90<br />
Aanima, Ljubljana 135<br />
AGB Lab d.o.o., Portorož 89<br />
Akademija za likovno umetnost, Oddelek za<br />
oblikovanje, Ljubljana / Academy of Fine Arts,<br />
Department of Design, Ljubljana 158, 159, 160,<br />
161, 162, 163, 164, 165, 166, 167, 168, 169, 178,<br />
182<br />
Alpina d.d., Žiri 102, 103<br />
Aluminij Montal d.d. Komen, Komen 93<br />
Bofex d.o.o., Ljubljana 127<br />
Bofex d.o.o., Merkur skupina, Ljubljana 93<br />
Cankarjeva založba, Ljubljana 131<br />
Casa Light up d.o.o., Ljubljana 67<br />
»okoladnica&bar Angel, Luc d.o.o., Ljubljana 132<br />
22
Danfoss Trata d.o.o., Ljubljana-©entvid 182<br />
Designskolen Kolding, Danmark / School for<br />
Design, Denmark 168<br />
Dravska tiskarna d.o.o., Maribor 132<br />
Droga Portorož d.d., Portorož 158<br />
Elan Bikes d.d., Ljubljana 177<br />
Elan d.d., Begunje 102<br />
Ergoles d.o.o., Ljubljana 74<br />
Fakulteta za strojništvo, smer Inženirsko<br />
oblikovanje, Maribor / Faculty for Mechanical<br />
Engineering, Course for Engineering Design,<br />
Maribor 169<br />
Gorenje d.d., Velenje 61, 62<br />
Gostol - Gopan d.o.o., Nova Gorica 82<br />
Grafi ka SoËa, Nova Gorica 127<br />
Hidria-Preles d.o.o., Kranj 82<br />
Intra Lighting d.o.o., Miren 60, 64, 69<br />
Iskraemeco d.d., Kranj 65<br />
Janez Urh, Bled 131<br />
Kamnarska industrija Trento, Italija 158<br />
Karel Klun s.p., Ljubljana 63<br />
KLI Logatec d.d., Logatec 59<br />
KUD Primož Trubar, Loka 134<br />
Lineair international d.o.o., Ljubljana 79<br />
Liv plastika d.o.o., Postojna 65<br />
LJ studio d.o.o., Ljubljana 106<br />
Logina d.o.o., Ljubljana 87<br />
LPKF Laser & elektronika d.o.o., Kranj 82<br />
Ma-tisk d.o.o., Maribor 128<br />
Meblo Jogi d.o.o., Kromberk, Nova Gorica 173<br />
Medicop d.o.o., Murska Sobota 96, 182<br />
Mizarstvo BolËiË, Kozina 69<br />
Mizarstvo Hribar, Motnik 132<br />
Mizarstvo Urbanija, Marko Urbanija s.p.,<br />
Ljubljana 60<br />
Moderna galerija, Ljubljana 130<br />
MOL, Mestna uprava, Odd. za gospodarjenje<br />
z zemljišËi, Ljubljana 129<br />
Mura d.d., Murska Sobota 172<br />
Nambé, Sante Fe, New Mexico, ZDA / USA 70<br />
Naravoslovno tehniška fakulteta, Oddelek za<br />
tekstilstvo, Ljubljana / Faculty of Natural Sciences<br />
and Engineering, Textile Department, Ljubljana<br />
170, 171, 172<br />
Nautilus d.o.o., Grosuplje 129<br />
Optotek d.o.o., Ljubljana 179<br />
Paloma, Tovarna lepenke Ceršak d.d., Ceršak<br />
132, 133<br />
Park, Založba Goga, Novo mesto 128<br />
Peter PleËnik s.p., Ljubljana 64<br />
Pletilstvo Pislak, Ljubljana-»rnuËe 172<br />
Pošta Slovenije, Maribor 130<br />
Rosenthal USA Ltd. 66<br />
RS, Ministrstvo za delo, družino in socialne<br />
zadeve, Ljubljana 129<br />
Sanja GrciË, Iztok Hrga, Ljubljana 106<br />
Seidel Elektronik GmbH, Deutschlandberg,<br />
Avstrija / Austria 88<br />
Sila inženiring d.o.o., Ljubljana 87<br />
SNG Nova Gorica, Nova Gorica 127, 128<br />
Steklarna Hrastnik - Vitrum d.d., Hrastnik 63<br />
Steklarna Rogaška d.d., Rogaška Slatina 66, 70,<br />
159, 160, 161<br />
Steklarska nova Rogaška Slatina d.o.o., Rogaška<br />
Slatina 59, 66, 67<br />
Steklarstvo Rojs, Domžale 129<br />
Svilanit d.d., Kamnik 63<br />
SŽ Oprema Ravne d.o.o., Ravne na Koroškem 170<br />
TEM »atež d.d., Velika Loka 93<br />
Tipro d.o.o., Grosuplje 87<br />
Tiskarna Delo d.d., Ljubljana 130<br />
Tiskarna Hren, Ljubljana 128<br />
Tiskarna Kurir, Ljubljana 130<br />
Tiskarna Ljubljana d.d., Ljubljana 130<br />
Tiskarna Ma-tisk, Maribor 130<br />
Tiskarna Medium d.o.o., Žirovnica 131<br />
Tiskarstvo Opara, Novo mesto 128<br />
TOM tovarna opreme d.d., Mokronog 58, 68<br />
Tovarna pohištva Trbovlje d.d., Trbovlje 74<br />
Ultra d.o.o., Zagorje ob Savi 80, 88, 89<br />
Umetniško programski svet RadeËe, RadeËe<br />
134, 135<br />
University of Art and Design, Helsinki, Suomi /<br />
Finland 177<br />
Vacutech d.o.o., Ljubljana 96<br />
Valkarton d.d., Logatec 133<br />
Vinkotisk, RadeËe 134, 135<br />
WWF Finland 177<br />
Založba Aristej d.o.o., Maribor 128<br />
©VICA / SWITZERLAND<br />
Vitra International AG, Birsfelden 75<br />
ZDA / USA<br />
Illinois State University, Normal 136<br />
23
IZ PRAVILNIKA <strong>BIO19</strong><br />
Organizacija razstave<br />
Devetnajsti bienale industrijskega oblikovanja - BIO 19 - bo primerjalna razstava dobro oblikovanih slovenskih in tujih industrijskih izdelkov.<br />
Razstavo neposredno prireja Sekretariat BIO, ki deluje v okviru Arhitekturnega muzeja Ljubljana. Bienale prirejamo v sodelovanju z Društvom oblikovalcev<br />
Slovenije - DOS. O vseh bistvenih elementih razstave, razen ocenjevanja, odloËa Prireditveni odbor, sestavljen iz predstavnikov Mestne obËine Ljubljana,<br />
Gospodarske zbornice Slovenije in Ministrstva za kulturo. Prireditveni odbor imenuje Izvršilni odbor in, Ëe je potrebno, tudi strokovna telesa za posamezna<br />
podroËja.<br />
Program razstave<br />
Razstava si postavlja za cilj predstavitev aktualnih tokov v sodobnem industrijskem oblikovanju. Prireditelj prosi razstavljalce, da pri izboru gradiva<br />
upoštevajo zlasti tiste dosežke oblikovanja, ki išËejo odgovore na probleme današnjega življenja. Posebno zaželeni so izdelki, ki so zaradi svoje odliËne<br />
kakovosti prejeli domaËe ali mednarodno priznanje za oblikovanje.<br />
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<br />
ne morejo biti razstavljeni, so lahko prikazani tudi drugaËe, vendar jih žirija ni dolžna upoštevati pri ocenjevanju.<br />
O vsakem eksponatu bodo na voljo vsi poslovni podatki, navedeni v prijavnem vprašalniku.<br />
»as in kraj razstave<br />
15. september _ 15. oktober 2004, Ljubljana, Slovenija<br />
SKUPINE RAZSTAVNEGA GRADIVA<br />
A. Proizvodi<br />
Izdelki, ki so v redni proizvodnji ali je v izdelavi vsaj 0-serija.<br />
1. Dom<br />
2. Delovno mesto<br />
3. Javni prostori<br />
4. Transport<br />
5. Industrija, proizvodnja, obrt<br />
6. Kmetijstvo, vrtiËkarstvo<br />
7. Fotografske in druge optiËne naprave<br />
8. TV, radio, raËunalništvo, elektronske komunikacije<br />
9. UliËna oprema, obcestje<br />
10. Arhitekturni elementi in sklopi<br />
11. Ovojnina, tehnološko oblikovne rešitve in sistemi<br />
12. Medicina in rehabilitacija, skrb za prizadete<br />
13. ©port, prosti Ëas<br />
14. Igranje, izobraževanje<br />
15. Nakit, oblaËila, galanterija<br />
16. Drugo<br />
B. Informacijski funkcionalni sistemi, celostne podobe<br />
Vizualne komunikacije in industrijski proizvodi, ki kažejo enotnost oblikovanja posamezne organizacije - hišni stil, orientacijski sistemi, funkcijski znakovni<br />
sistemi, produktna grafika, informacijska grafika, oblikovanje za elektronske medije in film itd.<br />
Sklopi prikazov morajo vsebovati vsaj tri vizualne elemente, iz katerih je razvidna sistemska rešitev.<br />
C. Oblikovalske zasnove<br />
Prototipi, oblikovalske ideje, oblikovalski programi, študentska dela ipd.<br />
Spremljevalne prireditve<br />
Specializirane programske in druge razstave ter prireditve v dogovoru s prirediteljem.<br />
Sodelovanje<br />
Izdelke oz. projekte za razstavo bodo izbrale nacionalne strokovne ustanove, organizacije ali izbirne komisije posameznih držav. Kjer izbora za sodelovanje<br />
na razstavi ne more pripraviti usposobljena ustanova, se Sekretariat BIO lahko dogovori s poznavalcem, ki opravi izbor ali k sodelovanju povabi posamezne<br />
proizvajalce, oz. oblikovalce. Izvršilni odbor BIO lahko tudi sam neposredno povabi k sodelovanju razstavljalce z izdelki, za katere sodi, da bi še posebno<br />
pripomogli h kakovosti prireditve.<br />
Izvršilni odbor BIO lahko izloËi prijavljena dela, ki so v nasprotju s programom razstave ali drugaËe ne ustrezajo pravilniku.<br />
Izbor prijavljenih slovenskih eksponatov bo opravila izbirna komisija v sestavi: Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar.<br />
Izbirna komisija lahko na razstavo po svoji presoji povabi in uvrsti tudi izdelke oblikovalcev in proizvajalcev, ki se sami niso prijavili.<br />
Pošiljanje eksponatov<br />
NaËin pošiljanja je prepušËen razstavljalcem. Razstavljalcem zunaj EU priporoËamo karnet ATA. Prireditelj bo razstavljalce obvestil o naslovu in roku za<br />
dostavo, ki bo vezan na obdobje postavljanja razstave. Razstavljalci prevzamejo dela po koncu razstave, Ëe se s prirediteljem ne dogovorijo drugaËe.<br />
Razstavljenih eksponatov prireditelj ne vraËa pred koncem razstave. Stroške transporta v obe smeri, ovojnine, zavarovanja za transport in za Ëas razstave<br />
nosijo razstavljalci.<br />
Mednarodna žirija<br />
Stephen Hitchins (BEDA), Velika Britanija<br />
Ruth Klotzel (ICOGRADA), Brazilija<br />
Robin Edman (ICSID), ©vedska<br />
Czeslawa Frejlich, Poljska<br />
Aldo Cibic, Italija<br />
Priznanja<br />
Mednarodna žirija bo pregledala razstavno gradivo in podelila zlate medalje, Ëastne pohvale in priznanja za dobro zasnovo. tevilo priznanj ni omejeno.<br />
Mednarodna oblikovalska združenja ICSID, BEDA in ICOGRADA bodo podelila svoje Ëastne nagrade.<br />
Mednarodna žirija lahko z razstave izloËi eksponate, ki niso v skladu s programom razstave ali so na izrazito nizki oblikovalski ravni.<br />
Prireditveni odbor BIO<br />
Predsednik: Franjo Bobinac<br />
BIO strokovno podpirajo: ICSID, ICOGRADA, BEDA<br />
24
FROM BIO 19 REGULATIONS<br />
Organization of the Exhibition<br />
The Nineteenths Biennial of Industrial Design - BIO 19 will be a comparative exhibition of well designed Slovenian and foreign industrial products.<br />
The practical organization is undertaken by the BIO Secretariat under the auspices of the Architectural Museum of Ljubljana in co-operation with Designers’<br />
Society of Slovenia - DOS. The BIO Organizing Committee composed of representatives from the Ljubljana Town Community, the Slovenian Chamber of<br />
Commerce and the Ministry of Culture decides on all essential elements of the exhibition, except judging. The BIO Organizing Committee nominates the<br />
Executive Committee and if necessary also the panels of experts in individual fields.<br />
Programme of the Exhibition<br />
The aim of the exhibition is presenting current movements in contemporary industrial design. The organizer requests exhibitors to decide on the exhibits<br />
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<br />
internationally awarded or recognized.<br />
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<br />
be exhibited may be presented in a different way, but the jury is not bound to take them into consideration at judging.<br />
All commercial data given in the application forms of the exhibits will be available.<br />
Date and Place of the Exhibition<br />
September 15 th _ October 15 th 2004, Ljubljana, Slovenia<br />
CATEGORIES OF MATERIAL FOR THE EXHIBITION<br />
A. Products<br />
Accepted will be products in regular production, or at least those having 0-series in production.<br />
1. Home<br />
2. Working place<br />
3. Public places<br />
4. Transport<br />
5. Industry, production, craft<br />
6. Agriculture, horticulture<br />
7. Photographic and other optical devices<br />
8. TV, audio, video, computers, electronic communication<br />
9. Street furniture and community equipment<br />
10. Architectural elements and systems<br />
11. Packaging - technological design solutions and systems<br />
12. Medical and rehabilitation equipment and aids for disabled<br />
13. Sport and leisure<br />
14. Toys and education aids<br />
15. Jewellery, garments and fancy goods<br />
16. Miscellaneous<br />
B. Information functional systems, corporate identity programmes<br />
Visual communications and products which show the uniformity of design of individual company or the style of a house, signing systems, functional sign<br />
systems, products signing, information graphics, design for electronic media, film, etc.<br />
Visual communications should be composed of three elements at least giving an evident system solution.<br />
C. Design projects<br />
Prototypes, design ideas, design programmes, students’ works, etc.<br />
Accompanying events<br />
Specialized programme exhibitions and performances in agreement with the organizer.<br />
Participation<br />
Products or projects for the exhibition will be selected by national professional institutions, organizations or by a selection commission in each individual<br />
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<br />
selection. The Executive Committee may invite directly exhibitors or producers to participate with objects which might especially contribute to the high quality<br />
of the exhibition. The BIO Executive Committee may exclude the registered works that are not in accordance with the exhibition programme or otherwise not<br />
correspond to regulations.<br />
The selection of applied works will be performed by Lenka Bajželj, Bojan KlanËar, Igor Rosa, Almira Sadar, Peter Skalar.<br />
The Selection Commission may decide upon inviting and exhibiting products of designers or producers who did not apply themselves.<br />
Way of Sending<br />
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<br />
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<br />
agreed otherwise.<br />
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<br />
duration of the exhibition are covered by the exhibitors.<br />
International Jury<br />
Stephen Hitchins (BEDA), United Kingdom<br />
Ruth Klotzel (ICOGRADA), Brasil<br />
Robin Edman (ICSID), Sweden<br />
Czeslawa Frejlich, Poland<br />
Aldo Cibic, Italy<br />
Awards<br />
The international jury will examine the exhibits and bestow gold medals, honourable mentions, and good project awards. Awards’ number is unlimited.<br />
The international designers’ associations ICSID, BEDA, and ICOGRADA will bestow their honourable awards.<br />
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<br />
level.<br />
BIO Organizing Committee<br />
President: Franjo Bobinac<br />
BIO is endorsed by ICSID, ICOGRADA, BEDA<br />
25
A<br />
PROIZVODI<br />
PRODUCTS<br />
27
A1 - DOM / HOME<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Higienski sistem za<br />
ËišËenje stranišËne<br />
školjke LUNA<br />
click&clean / LUNA<br />
click&clean toilet basin<br />
cleaning system<br />
D Design a Storz<br />
GmbH (Achim Storz),<br />
Zell am See<br />
P Hagleitner Hygiene<br />
International GmbH,<br />
Zell am See<br />
2002<br />
2.<br />
Kopalna kad Lovestory<br />
/ Lovestory bath-tub<br />
D Design a Storz<br />
GmbH (Achim Storz),<br />
Zell am See<br />
P Ravak a.s., Příbram,<br />
»eška / The Czech<br />
Republic<br />
2002<br />
1.<br />
2.<br />
28
DOM / HOME - A1<br />
3.<br />
Osvežilnik zraka<br />
LUNA airFRESH /<br />
LUNA airFRESH<br />
D Design a Storz<br />
GmbH (Achim Storz),<br />
Zell am See<br />
P Hagleitner Hygiene<br />
International GmbH,<br />
Zell am See<br />
2002<br />
4.<br />
Brivnik Payer<br />
Flamingo / Payer<br />
Flamingo shaver<br />
D Spirit Design, Wien:<br />
Daniel Huber<br />
P Payer Intl.<br />
Technologies,<br />
Hitzendorf<br />
2004<br />
3<br />
5.<br />
Odpiralnik steklenic<br />
Corkee / Corkee bottle<br />
opener<br />
D Thaler Design<br />
GmbH, Velden<br />
P Glass & Co,<br />
Braunau<br />
2004<br />
4.<br />
5.<br />
29
A1 - DOM / HOME<br />
6.<br />
Toplotna Ërpalka<br />
IDM-Terra / IDM-Terra<br />
thermal pump<br />
D Scheiber Design<br />
GmbH, Kufstein:<br />
Catalin Urcan<br />
P IDM-<br />
Energiesysteme<br />
GmbH, Matrei<br />
2003<br />
7.<br />
Brezkemijski Ëistilnik<br />
vode Poseidon /<br />
Poseidon chemical<br />
free water cleaner<br />
D Scheiber Design<br />
GmbH, Kufstein:<br />
Catalin Urcan<br />
P Watercryst GmbH,<br />
Kematen<br />
2004<br />
8.<br />
Vrtna gugalnica Star /<br />
Star garden swing<br />
D GP - gregerpauschitz,<br />
Wien<br />
P Acamp, Vorchdorf<br />
2004<br />
6.<br />
7.<br />
8.<br />
30
DOM / HOME - A1<br />
9.<br />
NaslanjaË Shells<br />
nature / Shells nature<br />
easy chair<br />
D Martin Ballendat<br />
P Tonon & C. spa,<br />
Manzano, Italija / Italy<br />
2004<br />
10.<br />
Solnica in popernica s<br />
keramiËnim kozarcem<br />
Stick together / Stick<br />
together salt and<br />
pepper set in ceramic<br />
cup<br />
D guggenbichlerdesign<br />
..., Wien<br />
P razne invalidske<br />
delavnice / workshops<br />
for disabled<br />
N/C insieme<br />
formintegriert,<br />
Leording<br />
2004<br />
9. 10.<br />
11.<br />
Pladenj za sadje<br />
Lucky fruits / Lucky<br />
fruits tray<br />
D guggenbichlerdesign<br />
..., Wien<br />
P razne invalidske<br />
delavnice / workshops<br />
for disabled<br />
N/C insieme<br />
formintegriert,<br />
Leording<br />
2004<br />
11.<br />
31
A1 - DOM / HOME<br />
BELGIJA / BELGIUM<br />
1.<br />
Namizna objekta /<br />
Table objects<br />
D Thakker Salima<br />
P Thakker Salima,<br />
Antwerpen<br />
2002<br />
2.<br />
Obeπalnik Crown /<br />
Crown cloth stand<br />
D Stefan Schöning<br />
P Desalto-Oma srl,<br />
Cantu (CO), Italija /<br />
Italy<br />
2003−2004<br />
1.<br />
2.<br />
32
DOM / HOME - A1<br />
3.<br />
©katla za malico AT’ /<br />
AT’ lunch box<br />
D Victor Cautereels<br />
P Tupperware Belgium<br />
N.V., Aalts<br />
2003<br />
4.<br />
Servirni posodi za sir<br />
z nadzorom kondenza<br />
CheeSmart TM /<br />
Condenscontrol<br />
CheeSmart TM servers<br />
D Victor Cautereels<br />
P Tupperware Belgium<br />
N.V., Aalts<br />
2003−2004<br />
3.<br />
5.<br />
Shranjevalniki za živila<br />
Space Makers / Space<br />
Makers dry food<br />
storage containers<br />
D Bob Daenen<br />
(Tupperware Europe,<br />
Africa & Middle East<br />
Design group); Jakob<br />
Heiberg + Ian Tomas<br />
Benzon (Erik Herlow<br />
Design group)<br />
P Tupperware Belgium<br />
N.V., Aalts<br />
2003−2004<br />
4.<br />
5.<br />
33
A1 - DOM / HOME<br />
6.<br />
Miza Arthur / Arthur<br />
table<br />
D Dirk Wynants<br />
P Extremis,<br />
Gijveringhove<br />
2004<br />
7.<br />
Sedež Ërni bik / Black<br />
Bullsit<br />
D Weyers & Borms<br />
P Weyers & Borms,<br />
Tielrode<br />
2002<br />
8.<br />
SveËnik-vaza Tiara /<br />
Tiara candlestick-vase<br />
D Inge Van Gheel<br />
P IKEA, ©vedska /<br />
Sweden<br />
2003<br />
6.<br />
7. 8.<br />
34
DOM / HOME - A1<br />
9.<br />
StojeËa svetilka B-Mek<br />
/ B-Mek standard lamp<br />
D Inge Van Gheel<br />
P Studio Geppetto,<br />
Budapest, Madžarska<br />
/ Hungary<br />
2003<br />
10.<br />
Sklede Plaza Europa:<br />
Tulips 2002 / Plaza<br />
Europa: Tulips 2002<br />
bowls<br />
D Jan-Willem van Zijst<br />
P Jan -Willem van<br />
Zijst, Fenestra ateliers,<br />
Achel<br />
2002<br />
11.<br />
SonËnik L’Ombrero /<br />
L’Ombrero sunshade<br />
D Pars pro toto, Gent<br />
P Symo Broers,<br />
Brugge<br />
2003<br />
9.<br />
10.<br />
11.<br />
35
A1 - DOM / HOME<br />
»E©KA / THE CZECH<br />
REPUBLIC<br />
1.<br />
Vazi Twinwall /<br />
Twinwall vases<br />
D Michal Fronek, Jan<br />
NemeËek, Jan Rosicky<br />
P Libera a.s.<br />
2002<br />
2.<br />
Vaza / Vase<br />
D Petr Václavek<br />
P Petr Václavek<br />
2001<br />
1.<br />
2.<br />
36
DOM / HOME - A1<br />
3.<br />
Set za kavo in Ëaj<br />
Vella/ Vella coffe and<br />
tea set<br />
D Jiří LaπtoviËka<br />
P Thun - Karlovarský<br />
porcelán a.s.<br />
2003<br />
4.<br />
Set ornamentalno<br />
brušenega stekla /<br />
Set of ornamental cut<br />
glass<br />
D Rony Plesl<br />
P Železnobrodské sklo<br />
a.s.<br />
2003<br />
3.<br />
4.<br />
37
A1 - DOM / HOME<br />
FINSKA / FINLAND<br />
1.<br />
Porcelan Origo Pink /<br />
Origo Pink china<br />
D Alfredo Häberli<br />
P Ittala<br />
2004<br />
2.<br />
Servirnik za mleko<br />
in sladkor Newton /<br />
Newton milk and sugar<br />
serving set<br />
D Tanja Sipilā<br />
P Tonfi sk Design oy,<br />
Helsinki<br />
2002<br />
1.<br />
2.<br />
38
DOM / HOME - A1<br />
HRVA©KA /<br />
CROATIA<br />
1.<br />
Pohištvo Goodwood /<br />
Goodwood furniture<br />
D Romina RadoviÊ,<br />
Krunoslav KovaË<br />
P DIN Novoselec,<br />
Novoselec<br />
2003<br />
2.<br />
Kuhinja M1 / M1<br />
kitchen<br />
D Martin Pohl<br />
P Stolarija i salon<br />
kuhinja MesariÊ,<br />
Zagreb<br />
2002<br />
3.<br />
Kuhinja M2 / M2<br />
kitchen<br />
D Martin Pohl<br />
P Stolarija i salon<br />
kuhinja MesariÊ,<br />
Zagreb<br />
2002<br />
1.<br />
2.<br />
3.<br />
39
A1 - DOM / HOME<br />
ITALIJA / ITALY<br />
1.<br />
Posoda Nox Magnum<br />
/ Nox Magnum<br />
container<br />
D Raul Barbieri<br />
P Rexite spa, Cusago<br />
(MI)<br />
2004<br />
2.<br />
Sedež Olivia / Olivia<br />
seat<br />
D Raul Barbieri<br />
P Rexite spa, Cusago<br />
(MI)<br />
2004<br />
1.<br />
2.<br />
40
DOM / HOME - A1<br />
3.<br />
Sedež Welcome /<br />
Welcome stool<br />
D Raul Barbieri<br />
P Rexite spa, Cusago<br />
(MI)<br />
2004<br />
4.<br />
Sedeži Well / Well<br />
stools<br />
D Raul Barbieri<br />
P Rexite spa, Cusago<br />
(MI)<br />
2003<br />
3.<br />
4.<br />
41
A1 - DOM / HOME<br />
5.<br />
Modularni garderobni<br />
sistem Planner /<br />
Planner modular<br />
wardrobe system<br />
D DNA srl, Trento<br />
P Estel spa, Tiene (VI)<br />
2003<br />
6.<br />
Stenska svetilka<br />
Beside P - Beside mini<br />
P / Beside P - Beside<br />
mini P wall lamp<br />
D Paolo Favaretto<br />
P Murano Due,<br />
Salzano (VE)<br />
2004<br />
5.<br />
6.<br />
42
DOM / HOME - A1<br />
7.<br />
Pralni stroj Luna<br />
/ Luna washingmachine<br />
D Giuliano Galeazzi<br />
P Vestel Beyaz Esya<br />
Sanayi Ve Ticaret<br />
A.S., Manisa, TurËija /<br />
Turkey<br />
2003<br />
8.<br />
Vgradna peËica<br />
Design / Design builtin<br />
domestic oven<br />
D Giuliano Galeazzi<br />
P Franke spa,<br />
Peschiera del Garda<br />
(VR)<br />
2003<br />
7.<br />
8.<br />
43
A1 - DOM / HOME<br />
9.<br />
Pralni stroj Solaris<br />
/ Solaris washingmachine<br />
D Giuliano Galeazzi<br />
P Vestel Beyaz Esya<br />
Sanayi Ve Ticaret<br />
A.S., Manisa, TurËija /<br />
Turkey<br />
2003<br />
10.<br />
Kuhinjska napa K9388<br />
/ K9388 kitchen hood<br />
D Giuliano Galeazzi<br />
P Best spa, Fabriano<br />
(AN)<br />
2003<br />
9.<br />
10.<br />
44
DOM / HOME - A1<br />
11.<br />
Vgradna peËica Axis<br />
/ Axis built-in kitchen<br />
oven<br />
D Giuliano Galeazzi<br />
P Franke spa,<br />
Peschiera del Garda<br />
(VR)<br />
2003<br />
12.<br />
Vgradna peËica<br />
Gallery / Gallery builtin<br />
kitchen oven<br />
D Giuliano Galeazzi<br />
P Franke spa,<br />
Peschiera del Garda<br />
(VR)<br />
2003<br />
11. 12.<br />
13.<br />
Kamin Foco 160 /<br />
Foco 160 chimney<br />
stove<br />
D Giuliano Galeazzi<br />
P Sideros spa, San<br />
Felice sul Panaro<br />
(MO)<br />
2003<br />
13.<br />
45
A1 - DOM / HOME<br />
14.<br />
PoËivalnik Onda /<br />
Onda relax chair<br />
D Granese design<br />
studio, Salerno: Diego<br />
Granese<br />
P Tapizados Frajumar<br />
S.L., Yecla-Murcia,<br />
©panija / Spain<br />
2003<br />
15.<br />
Postelja Soft Wood /<br />
Soft Wood bed<br />
D Daniele Lago<br />
P Lago srl, Giorgio in<br />
Bosco (PD)<br />
2004<br />
14.<br />
15.<br />
46
DOM / HOME - A1<br />
16.<br />
Pohiπtveni sistem<br />
36e8 / 36e8 furniture<br />
system<br />
D Daniele Lago<br />
P Lago srl, Giorgio in<br />
Bosco (PD)<br />
2004<br />
17.<br />
Svetilki Sfera / Sfera<br />
lamps<br />
D Andrea Modica<br />
P Lumess AG,<br />
Allschesi, ©vica /<br />
Switzerland<br />
2003<br />
16.<br />
17.<br />
47
A1 - DOM / HOME<br />
18.<br />
Kuhinjski elementi z<br />
vgradnimi napravami<br />
H-Boxes / H-Boxes<br />
kitchen units and builtin<br />
home appliances<br />
D Roberto Pezzetta<br />
& Electrolux Zanussi<br />
Industrial Design<br />
Center Europe, Porcia<br />
(PN)<br />
P Steel Time, Villotta<br />
di Chions (PN)<br />
2002<br />
19.<br />
ProstostojeËi pomivalni<br />
stroj Izzi / Izzi standalone<br />
dishwasher<br />
D Roberto Pezzetta<br />
& Electrolux Zanussi<br />
Industrial Design<br />
Center Europe, Porcia<br />
(PN)<br />
P Electrolux Home<br />
Products, Porzia (PN)<br />
2002<br />
18.<br />
19.<br />
48
DOM / HOME - A1<br />
20.<br />
Vgradni πtedilnik Full<br />
Alu / Full Alu built-in<br />
oven<br />
D Roberto Pezzetta<br />
& Electrolux Zanussi<br />
Industrial Design<br />
Center Europe, Porcia<br />
(PN)<br />
P Electrolux Home<br />
Products, Porzia (PN)<br />
2004<br />
21.<br />
Ogledalo Moon Light /<br />
Moon Light mirror<br />
D Nanda Vigo<br />
P Glas Italia, Macherio<br />
(MI)<br />
2003<br />
20.<br />
22.<br />
Sedež Fly / Fly seat<br />
D Mark Robson<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2002<br />
21.<br />
22.<br />
49
A1 - DOM / HOME<br />
23.<br />
PoËivalnik s<br />
prednožnikom Brasilia<br />
/ Brasilia lounge chair<br />
and pouf<br />
D Studio X, London:<br />
Ross Lovegrove<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2003<br />
23.<br />
24.<br />
Stol Otto / Otto stool<br />
D For Use, Wiena<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2002<br />
25.<br />
Zofa Zak / Zak sofa<br />
D Ludovica in / and<br />
Roberto Palomba<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2004<br />
24.<br />
25.<br />
50
DOM / HOME - A1<br />
26.<br />
Stol s priklopno mizico<br />
Isa / Isa chair with<br />
table<br />
D Roberto Barbieri<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2004<br />
27.<br />
KopiËni stol Zilli / Zilli<br />
stacking chair<br />
D Roberto Barbieri<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2002<br />
26.<br />
28.<br />
KopiËni stol z nasloni<br />
za roke Zilli / Zilli<br />
stacking chair with<br />
armrests<br />
D Roberto Barbieri<br />
P Zanotta spa, Nova<br />
Milanese (MI)<br />
2002<br />
27.<br />
28.<br />
51
A1 - DOM / HOME<br />
NEM»IJA /<br />
GERMANY<br />
1.<br />
Tkanina Aliseo / Aliseo<br />
textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2001<br />
2.<br />
Tkanina Cascadas /<br />
Cascadas textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2003<br />
1.<br />
2.<br />
52
DOM / HOME - A1<br />
3.<br />
Tkanina Colini / Colini<br />
textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2002<br />
4.<br />
Tkanina Crivello /<br />
Crivello textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2001<br />
3.<br />
4.<br />
53
A1 - DOM / HOME<br />
5.<br />
Tkanina Dovelli /<br />
Dovelli textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2002<br />
6.<br />
Tkanina Filofi la /<br />
Filofi la textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2001<br />
5.<br />
6.<br />
54
DOM / HOME - A1<br />
7.<br />
Tkanina Flash / Flash<br />
textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2003<br />
8.<br />
Tkanina Samurai /<br />
Samurai textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2001<br />
8.<br />
7.<br />
55
A1 - DOM / HOME<br />
9.<br />
Tkanina Tizziano /<br />
Tiziano textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2003<br />
10.<br />
Tkanina Veduta /<br />
Veduta textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2003<br />
11.<br />
Tkanina Yacos /<br />
Yacos textile<br />
D Heinz Röntgen<br />
P nya nordiska textiles<br />
gmbh, Dannenberg<br />
2001<br />
9.<br />
10.<br />
11.<br />
56
DOM / HOME - A1<br />
ROMUNIJA /<br />
ROMANIA<br />
1.<br />
Pladnji za πvedski bife<br />
/ Plates for Swedish<br />
buffet<br />
D Diana Ostafi ciuc<br />
P Mondial, Lugoj<br />
2003<br />
SLOVA©KA /<br />
SLOVAKIA<br />
1.<br />
Vaze / Vases<br />
D Patrik Illo<br />
P Rona, Co Ltd.,<br />
Lednické Rovne<br />
2004<br />
2.<br />
NaslonjaË Krab / Krab<br />
armchair<br />
D Ivan »obej<br />
P Brik a.s., Kremnica<br />
2004<br />
1.<br />
1.<br />
2.<br />
57
A1 - DOM / HOME<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Sedežna garnitura<br />
Model 01 / Model 01<br />
sitting set<br />
D Asobi d.o.o.,<br />
Ljubljana<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2004<br />
2.<br />
Sedežna garnitura<br />
Model 04 / Model 04<br />
sitting set<br />
D Asobi d.o.o.,<br />
Ljubljana<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2004<br />
1.<br />
3.<br />
Sedežna garnitura Life<br />
/ Life sitting set<br />
D Asobi d.o.o.,<br />
Ljubljana<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2004<br />
2.<br />
3.<br />
58
DOM / HOME - A1<br />
4.<br />
Namizno steklo,<br />
serija 2173 / Set 2173<br />
glassware<br />
D Marjana BastašiË<br />
Merela<br />
P Steklarska nova<br />
Rogaška Slatina<br />
d.o.o., Rogaška<br />
Slatina<br />
2003<br />
5.<br />
Jedilniško pohištvo<br />
Gama / Gama diningroom<br />
furniture<br />
D Gašper Demšar,<br />
Maja TasiË Demšar<br />
P KLI Logatec d.d.,<br />
Logatec<br />
2003<br />
4.<br />
5.<br />
59
A1 - DOM / HOME<br />
6.<br />
Mobilni sistem Box<br />
360 / Box 360 mobile<br />
system<br />
D Lidija DragišiË<br />
P Mizarstvo Urbanija,<br />
Marko Urbanija s.p.,<br />
Ljubljana<br />
2003<br />
7.<br />
Družina luËi Minus /<br />
Minus lights family<br />
D Gigodesign,<br />
Ljubljana: Miha Klinar<br />
P Intra Lighting d.o.o.,<br />
Miren<br />
2004<br />
6.<br />
7.<br />
60
DOM / HOME - A1<br />
8.<br />
Pralni stroj WA65205<br />
AL / WA 65205 AL<br />
washing machine<br />
D Design center<br />
Gorenje, Velenje: Rok<br />
Jenko in soavtorji /<br />
and co-authors: Lidija<br />
Pritrænik, Silvija »erne<br />
P Gorenje d.d.,<br />
Velenje<br />
2004<br />
9.<br />
Sušilnik D 6525 AL / D<br />
6525 AL dryer<br />
D Design center<br />
Gorenje, Velenje: Rok<br />
Jenko<br />
P Gorenje d.d.,<br />
Velenje<br />
2004<br />
8.<br />
9.<br />
61
A1 - DOM / HOME<br />
10.<br />
Vgradna peËica Alux B<br />
9000 AL / Alux B 9000<br />
AL built-in oven<br />
D Design center<br />
Gorenje, Velenje:<br />
Oskar FuËik<br />
P Gorenje d.d.,<br />
Velenje<br />
2002<br />
11.<br />
Hladilnik z<br />
zamrzovalnikom<br />
HZOKS 3866 P BF<br />
/ HZOKS 3866 P BF<br />
refrigirator with freezer<br />
D Design center<br />
Gorenje, Velenje:<br />
Lidija Pritržnik s<br />
sodelavci / with coauthors:<br />
Maja NajdiË,<br />
Tomi Krašovec, Nives<br />
Kraševec Podlunšek<br />
P Gorenje d.d.,<br />
Velenje<br />
2004<br />
10.<br />
11.<br />
62
DOM / HOME - A1<br />
12.<br />
Sedežno pohištvo<br />
Puzzle K08 / Puzzle<br />
K08 compoundable<br />
furniture<br />
D Robert Klun<br />
P Karel Klun s.p.,<br />
Ljubljana<br />
2003<br />
13.<br />
12.<br />
13.<br />
BrisaËi RN Ocean /<br />
RN Ocean towels<br />
D Karmen Kristan<br />
P Svilanit d.d., Kamnik<br />
2004<br />
14.<br />
Namizno steklo<br />
Impilabile / Impilabile<br />
table glassware<br />
D Slavko Marcen<br />
P Steklarna Hrastnik -<br />
Vitrum d.d., Hrastnik<br />
2003<br />
14.<br />
63
DOM / HOME - A1<br />
17.<br />
Sesalnik Tempo<br />
/ Tempo vacuum<br />
cleaner<br />
D Industrijsko<br />
oblikovanje Wilsonic<br />
d.o.o., Medvode: Nina<br />
Mihovec<br />
P Liv plastika d.o.o.,<br />
Postojna<br />
2003<br />
18.<br />
ElektriËni števec<br />
MT171 / MT 171<br />
electricity meter<br />
D Industrijsko<br />
oblikovanje Wilsonic<br />
d.o.o., Medvode: Nina<br />
Mihovec<br />
P Iskraemeco d.d.,<br />
Kranj<br />
2003<br />
17.<br />
18.<br />
65
A1 - DOM / HOME<br />
19.<br />
Vaze Kaplje / Kaplje<br />
vases<br />
D Tanja Pak<br />
P Steklarska nova<br />
Rogaška Slatina<br />
d.o.o., Rogaška<br />
Slatina<br />
2003<br />
20.<br />
Stekleni krožniki /<br />
Glass plates<br />
D Tanja Pak<br />
P Steklarska nova<br />
Rogaška Slatina<br />
d.o.o., Rogaška<br />
Slatina<br />
2003<br />
21.<br />
Kozarci Triangle /<br />
Triangle glasses<br />
D Ivan Polik<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
N/C Rosenthal USA<br />
Ltd.<br />
2003<br />
19.<br />
20.<br />
21.<br />
66
DOM / HOME - A1<br />
22.<br />
Svetilke iz mavca<br />
LuËka / LuËka plaster<br />
lamps<br />
D Karmen ©tiftar<br />
P Casa Light up d.o.o.,<br />
Ljubljana<br />
2003<br />
23.<br />
Kozarci in dekanter<br />
2192 / 2192 glasses<br />
nad decanter<br />
D Ljiljana Tepeš-<br />
©olman<br />
P Steklarna nova<br />
Rogaška slatina d.o.o.,<br />
Rogaška Slatina<br />
2003<br />
22.<br />
23.<br />
67
A1 - DOM / HOME<br />
24.<br />
Oblazinjeno pohištvo<br />
Flip / Flip upholstered<br />
furniture<br />
D Lina design d.o.o.,<br />
Kamnik: Damjan UršiË<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2003<br />
25.<br />
Zofa Simple / Simple<br />
sofa<br />
D Lina design d.o.o.,<br />
Kamnik: Damjan UršiË<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2003<br />
26.<br />
Zofa Mars / Mars sofa<br />
D Quadrat design<br />
d.o.o., Ljubljana:<br />
Vladimir Pezdirc<br />
P TOM tovarna<br />
opreme d.d.,<br />
Mokronog<br />
2003<br />
24.<br />
25.<br />
26.<br />
68
DOM / HOME - A1<br />
27.<br />
Pohištvo Monogram /<br />
Monogram furniture<br />
D Tea in Edo VidoviË<br />
P Mizarstvo BolËiË,<br />
Kozina<br />
2003<br />
28.<br />
ViseËa svetilka GWIG<br />
/ GWIG pending lamp<br />
D Asobi d.o.o.,<br />
Ljubljana<br />
P Intra Lighting d.o.o.,<br />
Miren<br />
2004<br />
27.<br />
28.<br />
69
A1 - DOM / HOME<br />
29.<br />
Kozarci in dekanter<br />
steklo Tilt / Tilt glasses<br />
and decanter<br />
D Ivan Polik<br />
P Steklarna Rogaπka<br />
d.d., Rogaπka Slatina<br />
N/C Nambé, Sante<br />
Fe, New Mexico, ZDA<br />
/ USA<br />
29.<br />
70
DELOVNO MESTO / WORKING PLACE - A2<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Spenjalnik Alphaline<br />
339 / Alphaline 339<br />
stapler<br />
D Bernhard Neuwirth<br />
P SAX, Heinrich<br />
Sachs KG, Hirm<br />
2004<br />
HRVA©KA /<br />
CROATIA<br />
1.<br />
Pisarniπko pohiπtvo<br />
Alfa / Alfa offi ce<br />
furniture<br />
D Romina RadoviÊ,<br />
Krunoslav KovaË<br />
P Tvin d.d., Virovitica<br />
2002<br />
1.<br />
1.<br />
71
A2 - DELOVNO MESTO / WORKING PLACE<br />
ITALIJA / ITALY<br />
1.<br />
Pisarniški stol Uniqa /<br />
Uniqa offi ce chair<br />
D Favaretto, Brigato,<br />
Cappelin c/o Favaretto<br />
& Partners, Padova<br />
P Estel Offi ce, Tiene<br />
(VI)<br />
2003<br />
2.<br />
Pohištveni sistem<br />
Layer / Layer furniture<br />
system<br />
D Favaretto &<br />
Partners, Padova<br />
P Guialmi S.A.,<br />
Águeda, Portugalska /<br />
Portugal<br />
2004<br />
1.<br />
2.<br />
72
DELOVNO MESTO / WORKING PLACE - A2<br />
3.<br />
OdzraËevalnik Attiva /<br />
Attiva hood<br />
D Enzo Inzaghi<br />
P Max Fire, Villotta di<br />
Chions (PN)<br />
2004<br />
4.<br />
Terminal EOS / EOS<br />
terminal<br />
D Furio Minuti<br />
P Trexom srl.,<br />
Tavagnacco (UD)<br />
2003<br />
5.<br />
Pisarniški stol Xten ® /<br />
Xten ® offi ce chair<br />
D Pininfarina Extra srl,<br />
Cambiano (TO)<br />
P Ares Line srl, Carrè<br />
2004<br />
3.<br />
4.<br />
5.<br />
73
A2 - DELOVNO MESTO / WORKING PLACE<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Delovno mesto ATRP /<br />
ATRP working place<br />
D Maja TasiË Demšar,<br />
Gašper Demšar, Miha<br />
MaËek<br />
P Tovarna pohištva<br />
Trbovlje d.d., Trbovlje<br />
2004<br />
2.<br />
Pisarniški stol Epico /<br />
Epico offi ce chair<br />
D Tone PogaËnik<br />
P Ergoles d.o.o.,<br />
Ljubljana<br />
2004<br />
1.<br />
2.<br />
74
DELOVNO MESTO / WORKING PLACE - A2<br />
©VICA /<br />
SWITZERLAND<br />
1.<br />
Stola Meda Pro in<br />
Meda Slim / Meda Pro<br />
and Meda Slim chairs<br />
D Alberto Meda (Italija<br />
/ Italy)<br />
P Vitra International<br />
AG, Birsfelden<br />
2004<br />
1.<br />
75
A3 - JAVNI PROSTORI / PUBLIC PLACES<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Miza s klopjo Rutöd /<br />
Rutöd table and bench<br />
D Robert Györvari<br />
P Robert Györvari,<br />
Wien<br />
2004<br />
2.<br />
Steklenica in kozarec<br />
za vodo The Fountain<br />
/ The Fountain<br />
waterglass and carafe<br />
D Georg Bergner<br />
P Deželna vlada<br />
Spodnjeavstrijskega<br />
(NÖ-Landesregierung),<br />
St. Pölten<br />
2003<br />
1.<br />
2.<br />
76
JAVNI PROSTORI / PUBLIC PLACES - A3<br />
3.<br />
Sedežni elementi<br />
Skunit 1 - 5 / Skunit 1<br />
- 5 sitting sets<br />
D Michael Schluder,<br />
Sergej Nikoljski<br />
P Eternit, Vöcklabruck<br />
2004<br />
4.<br />
Nadkrita sedežna<br />
skupina Secession /<br />
Secession sheltered<br />
sitting unit<br />
D Michael Schluder,<br />
Sergej Nikoljski<br />
N/C Wein & Co, Wien<br />
2004<br />
3.<br />
4.<br />
77
A3 - JAVNI PROSTORI / PUBLIC PLACES<br />
BELGIJA / BELGIUM<br />
1.<br />
Razstavna<br />
vitrinaVisibile / Visibile<br />
showcase<br />
D Leo Aerts<br />
P Alinea, Geel<br />
2002<br />
ITALIJA / ITALY<br />
1.<br />
Svetilka Cup 110 /<br />
Cup 110 lamp<br />
D Roberto Pamio<br />
P IGuzzini<br />
Illuminazione srl.,<br />
Recanati (MC)<br />
2004<br />
1.<br />
1.<br />
78
JAVNI PROSTORI / PUBLIC PLACES - A3<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
VeËnamenski<br />
samopostrežni<br />
avtomat Vendmarket<br />
/ Vendmarket<br />
multipurpose vending<br />
machine<br />
D Iztok VodiËar<br />
P Lineair international<br />
d.o.o., Ljubljana<br />
2004<br />
1.<br />
79
A3 - TRANSPORT / TRANSPORT<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Talktrack mobilna<br />
enota za GPS sledenje<br />
vozil / Talktrack Mobile<br />
GPS unit for vehicle<br />
tracking<br />
D Janez StariË<br />
P Ultra d.o.o., Zagorje<br />
ob Savi<br />
2002<br />
1.<br />
80
INDUSTRIJA, PROIZVODNJA, OBRT / INDUSTRY, PRODUCTION, CRAFT - A5<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Platforma stroja za<br />
proizvodnjo fl ip-chipov<br />
8800 FC Quantum<br />
/ 8800 FC Quantum<br />
Platform - machine for<br />
fl ip-chip production<br />
D Scheiber Design<br />
GmbH, Kufstein:<br />
Catalin Urcan<br />
P Datacon GmbH,<br />
Radfeld<br />
2003<br />
1.<br />
2.<br />
Stiskalniπka linija za<br />
plastiko miniBEX /<br />
miniBEX extrusionline<br />
for plastic<br />
D Valentinitsch<br />
Design, Wien<br />
P Battenfeld<br />
Extrusiontechnik<br />
GmbH, Bad<br />
Oeynhausen, NemËija<br />
/ Germany<br />
2003<br />
2.<br />
81
A5 - INDUSTRIJA, PROIZVODNJA, OBRT / INDUSTRY, PRODUCTION, CRAFT<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
RoËni krožni žagi W<br />
5855, Iskra-Ero KZ55<br />
/ Skillsaws W 5855,<br />
Iskra-Ero KZ55<br />
D Ernest Bevc<br />
P Hidria-Perles d.o.o.,<br />
Kranj<br />
2004<br />
2.<br />
Stroj za deljenje testa<br />
Mark / Mark dough<br />
divider<br />
D Ksenija MariniË<br />
P Gostol - Gopan<br />
d.o.o., Nova Gorica<br />
2004<br />
1.<br />
3.<br />
RoËni polagalni sistem<br />
za profesionalno<br />
SMD izdelavo<br />
tiskanih vezij LPKF<br />
ProtoPlace / LPKF<br />
ProtoPlace manual<br />
Pick&Place system<br />
for professional SMD<br />
assembling of PCB<br />
D Industrijsko<br />
oblikovanje Wilsonic<br />
d.o.o., Medvode: Nina<br />
Mihovec<br />
P LPKF Laser &<br />
elektronika d.o.o.,<br />
Kranj<br />
2003<br />
2.<br />
3.<br />
82
KMETIJSTVO, VRTI»KARSTVO / AGRICULTURE, HORTICULTURE - A6<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Kombajn Delta / Delta<br />
combine harvester<br />
D Valentinitsch<br />
Design, Wien<br />
P Vintersteiger, Ried<br />
2004<br />
1.<br />
2.<br />
PtiËja krmilnica Bird<br />
Land / Bird Land<br />
feeder<br />
D guggenbichlerdesign...,<br />
Wien<br />
P razne invalidske<br />
delavnice / workshops<br />
for disabled<br />
N/C insieme<br />
formintegriert,<br />
Leording<br />
2004<br />
2.<br />
83
A7 - FOTOGRAFSKE IN DRUGE OPTI»NE NAPRAVE<br />
/ PHOTOGRAPHIC AND OTHER OPTICAL DEVICES<br />
ITALIJA / ITALY<br />
1.<br />
Video projektor Bravo<br />
S10 / Bravo S10<br />
video-projector<br />
D Pininfarina Extra srl,<br />
Cambiano (TO)<br />
P 3M Visual Systems<br />
Division, Austin,<br />
Texas, ZDA / USA<br />
2003<br />
1.<br />
84
TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8<br />
/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION<br />
»E©KA / THE CZECH<br />
REPUBLIC<br />
1.<br />
Mobilni telefoni Xelibri<br />
/ Xelibri mobile phones<br />
D Dominika Applová,<br />
Jan Siebert, Leif Huff<br />
P Siemens<br />
2004<br />
2.<br />
Gramofon RPM9 /<br />
RPM9 Gramophone<br />
D Jan Turek, Jiří<br />
Kroutil<br />
P Sev Litovel<br />
2004<br />
1.<br />
2.<br />
85
A8 - TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE<br />
/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION<br />
ITALIJA / ITALY<br />
1.<br />
Televizorja Grand<br />
Cinema RTX 45” in<br />
RTX 55” / RTX 45”<br />
and RTX 55” Grand<br />
Cinema TV sets<br />
D Giorgio Revoldini<br />
P SIM 2 Multimedia<br />
spa, Pordenone<br />
2002<br />
SLOVA©KA /<br />
SLOVAKIA<br />
1.<br />
BrezžiËni komunikator<br />
Gotive H41 / Gotive<br />
H41 wireless<br />
communicator<br />
D Peter Olah, Ivan<br />
Gavenda<br />
P Gotive a.s.,<br />
Bratislava<br />
2002<br />
1.<br />
1.<br />
86
TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8<br />
/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
1.<br />
Elektronska knjižica<br />
vozila EKV (Ëitalnik<br />
pametne kartice in<br />
zaslon) / EKV vehicle<br />
electronic booklet<br />
(smart card reader and<br />
display)<br />
D Ernest Bevc, Bojan<br />
Straže<br />
P Logina d.o.o.,<br />
Ljubljana; Sila<br />
inženiring d.o.o.,<br />
Ljubljana<br />
2003<br />
2.<br />
Tipkovnica za IBM<br />
blagajne Tipro KB 50<br />
/ Tipro KB 50 keybord<br />
for IBM pay desk<br />
D Asobi d.o.o.,<br />
Ljubljana<br />
P Tipro d.o.o.,<br />
Grosuplje<br />
2004<br />
2.<br />
87
A8 - TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE<br />
/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION<br />
3.<br />
Sistem za upravljanje<br />
z voznimi parki<br />
TalkTrack / TalkTrack<br />
for rolling stock<br />
controlling<br />
D Ernest Bevc; Bojan<br />
Straže - Movera d.o.o.,<br />
Ljubljana<br />
P Ultra d.o.o., Zagorje<br />
ob Savi; Seidel<br />
Elektronik GmbH,<br />
Deutschlandberg,<br />
Avstrija / Austria<br />
2002<br />
4.<br />
Prenosni M-Pay POS<br />
terminal za plaËevanje<br />
z mobilnim telefonom<br />
/ M-Pay Mobile POS<br />
terminal<br />
D Janez StariË, sodel.<br />
/ assist. Klemen Eržen<br />
P Ultra d.o.o., Zagorje<br />
ob Savi<br />
2002<br />
3.<br />
4.<br />
88
TV, RADIO, RA»UNALNI©TVO, ELEKTRONSKE KOMUNIKACIJE - A8<br />
/ TV, AUDIO, VIDEO, COMPUTERS, ELECTRONIC COMMUNICATION<br />
5.<br />
TV meter TUM-5 /<br />
TUM-5 TV meter<br />
D Igor Rosa<br />
P AGB Lab d.o.o.,<br />
Portorož<br />
2003<br />
6.<br />
ATG - naprava<br />
za merjenje<br />
nivoja in stanja<br />
naftnih derivatov<br />
v podzemnih<br />
rezervoarjih / ATG<br />
indoor underground<br />
tank fuel oil level<br />
gauge<br />
D Janez StariË<br />
P Ultra d.o.o., Zagorje<br />
ob Savi<br />
2004<br />
5.<br />
7.<br />
Wireless ATG -<br />
naprava za brezžiËno<br />
merjenje nivoja<br />
in stanja naftnih<br />
derivatov v podzemnih<br />
rezervoarjih /<br />
Wireless ATG outdoor<br />
underground tank fuel<br />
oil level gauge<br />
D Janez StariË<br />
P Ultra d.o.o., Zagorje<br />
ob Savi<br />
2004<br />
6.<br />
7.<br />
89
A9 - ULI»NA OPREMA, OBCESTJE<br />
/ STREET FURNITURE AND COMMUNITY EQUIPMENT<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Podstavki za<br />
namestitev zabojnikov<br />
za odpadke / Socle for<br />
garbage containers<br />
D Janez MesariË;<br />
IN.DI.GO, Ljubljana<br />
P 2p d.o.o., Koper<br />
2004<br />
1.<br />
90
ARHITEKTURNI ELEMENTI IN SKLOPI - A10<br />
/ ARCHITECTURAL ELEMENTS AND SYSTEMS<br />
BELGIJA / BELGIUM<br />
1.<br />
Jeklena elektriËna<br />
stikala Lithos /<br />
Lithos stainless steel<br />
switches<br />
D Bart Spillermaeckers<br />
P Lithos, Lovendegen<br />
2003<br />
»E©KA / THE CZECH<br />
REPUBLIC<br />
1.<br />
1.<br />
Serija odklopnih<br />
varovalk / Fuse<br />
series disconnecting<br />
switches<br />
D Alexius Appl<br />
P OEZ Letohrad a.s.<br />
2001<br />
1.<br />
91
A10 - ARHITEKTURNI ELEMENTI IN SKLOPI<br />
/ ARCHITECTURAL ELEMENTS AND SYSTEMS<br />
ITALIJA / ITALY<br />
1.<br />
Kljuka Leonardo /<br />
Leonardo handle<br />
D Fabrizio Bianchetti<br />
P Ghidini Pietro Bosco<br />
s.p.a., Brozzo di<br />
Marcheno (BS)<br />
2003<br />
2.<br />
Armature Plano /<br />
Plano taps<br />
D Agneletti Ruzza<br />
Design, Rieti<br />
P Fratelli Fantini<br />
s.p.a., Pella (NO)<br />
2003<br />
1.<br />
2.<br />
92
ARHITEKTURNI ELEMENTI IN SKLOPI - A10<br />
/ ARCHITECTURAL ELEMENTS AND SYSTEMS<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Družina stikal Modul /<br />
Modul switches set<br />
D Borut Dvornik, Bojan<br />
KlanËar<br />
P TEM »atež d.d.,<br />
Velika Loka<br />
2003<br />
1.<br />
2.<br />
Notranja vrata in<br />
predelne stene / Inside<br />
doors and paravans<br />
D IN.DI.GO, Ljubljana:<br />
Barbara Nardoni,<br />
Nana Žargi, soavtor<br />
/ co-author Janez<br />
MesariË; Rok Kuhar;<br />
Monochrome arhitekti,<br />
Ljubljana<br />
P Aluminij Montal d.d.<br />
Komen, Komen<br />
2004<br />
3.<br />
Informacijski pult /<br />
Infodesk<br />
D BeBe com. d.o.o.,<br />
Ljubljana: Rok Kuhar<br />
N/C Bofex d.o.o.,<br />
Merkur skupina,<br />
Ljubljana<br />
2002<br />
2.<br />
3.<br />
93
A11 - OVOJNINA, TEHNOLO©KO OBLIKOVNE RE©ITVE IN SISTEMI<br />
/ PACKAGING - TECHNOLOGICAL DESIGN SOLUTIONS AND SYSTEMS<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Ovojnica za CD Disc<br />
Lev / Disc Lev CD<br />
envelope<br />
D Philipp Prause<br />
P Ernst Schausberger<br />
& Co GmbH,<br />
Gunskirchen<br />
N/C w3worx (for Cortal<br />
Consors Germany)<br />
Nürnberg, NemËija /<br />
Germany<br />
2003 / 2004<br />
2.<br />
Odnesna πkatla za<br />
Nordsee Sharky /<br />
Sharky Nordsee takeaway<br />
packaging<br />
D Susanne Lippitsch<br />
P Mayr Melnhof<br />
GmbH, Wien<br />
N/C Nordsee GmbH,<br />
Wien<br />
2004<br />
1.<br />
HRVA©KA /<br />
CROATIA<br />
1.<br />
Ovojnina Hygieia<br />
intima / Hygieia intima<br />
packaging<br />
D Mario VaršiÊ<br />
P Laboratorij Dr.<br />
DžaniÊ, Zagreb<br />
2002<br />
2.<br />
1.<br />
94
MEDICINA IN REHABILITACIJA, SKRB ZA PRIZADETE - A12<br />
/ MEDICAL AND REHABILITATION EQUIPMENT AND AIDS FOR DISABLED<br />
ITALIJA / ITALY<br />
1.<br />
Zidni sedež za pod<br />
prho Profi lo / Profi lo<br />
wal-mounted shower<br />
chair<br />
D HB Group, Milano:<br />
Gianni Arduini<br />
P Rehab Innovation<br />
srl, La Spezia<br />
2004<br />
1.<br />
2.<br />
Po višini in širini<br />
nastavljiv sedež za v<br />
kopalno kad Profi lo<br />
/ Profi lo suspended<br />
bath seat adjustable in<br />
height and width<br />
D HB Group, Milano:<br />
Gianni Arduini<br />
P Rehab Innovation<br />
srl, La Spezia<br />
2004<br />
2.<br />
95
A12 - MEDICINA IN REHABILITACIJA, SKRB ZA PRIZADETE<br />
/ MEDICAL AND REHABILITATION EQUIPMENT AND AIDS FOR DISABLED<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Vakuumski aspirator /<br />
Vacuum aspirator<br />
D Marjan Žitnik<br />
P Vacutech d.o.o.,<br />
Ljubljana<br />
2002<br />
2.<br />
Bolniški parapetni<br />
kanal / Medical<br />
parapet bar<br />
D Marjan Žitnik<br />
P Medicop d.o.o.,<br />
Murska Sobota<br />
2002<br />
1.<br />
2.<br />
96
©PORT, PROSTI »AS / SPORT AND LEISURE - A13<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
SmuËarska vez<br />
Silvretta Pure /<br />
Silvretta Pure skibinding<br />
D Martin Breuer-Bono<br />
P Salewa Sportgeräte<br />
GmbH, Aschheim<br />
2003<br />
2.<br />
Kozarec za enkratno<br />
uporabo Open Air /<br />
Open Air throw-away<br />
glass<br />
D Valentinitsch<br />
Design, Wien<br />
P Schorm GmbH & Co<br />
KG, St. Valentin<br />
2004<br />
1.<br />
2.<br />
97
A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE<br />
BELGIJA / BELGIUM<br />
1.<br />
Miza s sedežema<br />
v enem PicNik /<br />
PicNik table-sitting<br />
combination<br />
D Dirk Wynants &<br />
Xavier Lust<br />
P Extremis,<br />
Gijverinkhove<br />
2002<br />
»E©KA / THE CZECH<br />
REPUBLIC<br />
1.<br />
Novi zimski šport Kluski<br />
/ Klu-ski, a new<br />
winter sport<br />
D Vratislav Žák<br />
P Vella s.r.o., Náchod<br />
2000<br />
1.<br />
1.<br />
98
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2.<br />
Mini motorno kolo<br />
Origami-Blata /<br />
Origami-Blata mini<br />
motorbike<br />
D Stanislav Hanuš,<br />
Pavel Blata<br />
P Blata s.r.o., Blansko<br />
2003<br />
3.<br />
Teleskopska<br />
kolesarska tlaËilka /<br />
Telescopic bicycle<br />
pump<br />
D Martin Imrich,<br />
Vrastislav Žák<br />
P Vella s.r.o., Náchod<br />
2003<br />
2.<br />
3.<br />
99
A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE<br />
ITALIJA / ITALY<br />
1.<br />
Podstavki za žogice<br />
za golf Fancy / Fancy<br />
Tees<br />
D Studio Lorenzo<br />
Bonfanti<br />
P Studio Lorenzo<br />
Bonfanti, Vimercate<br />
(MI)<br />
2002<br />
2.<br />
Kolesarska Ëelada<br />
Yuma / Yuma cycling<br />
helmet<br />
D Monica Pilenghi<br />
P D.I.W.S., Ozzero<br />
Milano<br />
2004<br />
3.<br />
Stol Altra-Ergo / Altra-<br />
Ergo chair<br />
D Peter Solomon<br />
Design, Milano<br />
P Altra Design Ltd.,<br />
London, Velika<br />
Britanija / United<br />
Kingdom<br />
2004<br />
1.<br />
3.<br />
2.<br />
100
©PORT, PROSTI »AS / SPORT AND LEISURE - A13<br />
SLOVA©KA /<br />
SLOVAKIA<br />
1.<br />
Posebno športno<br />
oblaËilo Liquidice<br />
/ Liquidice special<br />
clothing for outdoor<br />
sports<br />
D Erika Pussová, Jana<br />
Prokopová, Martin<br />
©ucháň<br />
P Trek sport s.r.o.,<br />
Most pri Bratislave<br />
2003<br />
2.<br />
Nahrbtnik Liquidator<br />
/ Liquidator extreme<br />
pack<br />
D Dušan Beláň, Martin<br />
©ucháň<br />
P Trek sport s.r.o.,<br />
Most pri Bratislave<br />
2003<br />
2.<br />
1.<br />
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A13 - ©PORT, PROSTI »AS / SPORT AND LEISURE<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
SmuËi Fusion Pro SX<br />
z vezmi / Fusion Pro<br />
SX skiis and bindigs<br />
D Elan, Begunje;<br />
grafi ka smuËi / ski<br />
graphic design:<br />
Gigodesign, Ljubljana;<br />
grafi ka vezi / binding<br />
graphic design: AWS<br />
Design, Wien<br />
P Elan d.d., Begunje<br />
2004<br />
2.<br />
SmuËarski tekaški<br />
Ëevlji Alpina Sport /<br />
Alpina Sport crosscountry<br />
ski boots<br />
D Jure Miklavc;<br />
produktna grafi ka /<br />
product graphic design<br />
Jan JagodiË<br />
P Alpina d.d., Žiri<br />
2004<br />
1.<br />
2.<br />
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3.<br />
SmuËarski tekaški<br />
Ëevlji Alpina Touring /<br />
Alpina Touring crosscountry<br />
ski boots<br />
D Jure Miklavc;<br />
produktna grafi ka /<br />
product graphic design<br />
Jan JagodiË<br />
P Alpina d.d., Žiri<br />
2004<br />
4.<br />
SmuËarski Ëevlji<br />
Alpina Be3 / Alpina<br />
Be3 dawnhill ski boots<br />
D Jure Miklavc;<br />
produktna grafi ka /<br />
product graphic design<br />
Jan JagodiË<br />
P Alpina d.d., Žiri<br />
2004<br />
3.<br />
4.<br />
103
A14 - IGRANJE, IZOBRAÆEVANJE / TOYS AND EDUCATION AIDS<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
IgraËe Jim + Jenny /<br />
Jim + Jenny toys<br />
D WIGL-Design<br />
(Alfred Urleb)<br />
P Jim + Jenny Toys,<br />
Graz<br />
2004<br />
ITALIJA / ITALY<br />
1.<br />
Pisalo Jolly / Jolly pen<br />
D Luigi Trenti<br />
P Pineider spa,<br />
Firenze<br />
2003<br />
1.<br />
1.<br />
104
NAKIT, OBLA»ILA, GALANTERIJA - A15<br />
/ JEWELLERY, GARMENTS AND FANCY GOODS<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Klobuk-Ëepica Aiko /<br />
Aiko hat-cap<br />
D Eva Kim Heu<br />
P Eva Kim Heu, Wien<br />
2004<br />
ITALIJA / ITALY<br />
1.<br />
Potovalni set Chatwin /<br />
Chatwin traveller set<br />
D Furio Minuti<br />
P Pyxis Design,<br />
Macerata (MC)<br />
2003<br />
2.<br />
Prstan Evoluzione /<br />
Evoluzione ring<br />
D Marco Spinelli<br />
P Mineralcenter,<br />
Abano Terme (PD)<br />
2003<br />
1. 2.<br />
1.<br />
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A15 - NAKIT, OBLA»ILA, GALANTERIJA<br />
/ JEWELLERY, GARMENTS AND FANCY GOODS<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Kolekcije oblaËil: Last<br />
Century, Prihodnost<br />
v spominu, Folk /<br />
Clothing collections:<br />
Last Century,<br />
Prihodnost v spominu,<br />
Folk<br />
D Sanja GrciË, Iztok<br />
Hrga<br />
P Sanja GrciË, Iztok<br />
Hrga, Ljubljana<br />
2001 _ 2003<br />
2.<br />
Kolekcija nakita<br />
iz tekstila / Textile<br />
jewellery collection<br />
D Almira Sadar<br />
P LJ studio d.o.o.,<br />
Ljubljana<br />
2004<br />
1.<br />
2.<br />
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INFORMACIJSKI<br />
FUNKCIONALNI<br />
SISTEMI,<br />
CELOSTNE<br />
PODOBE<br />
INFORMATION<br />
FUNCTIONAL<br />
SYSTEMS,<br />
CORPORATE<br />
IDENTITY<br />
PROGRAMMES<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
Celostna<br />
grafi Ëna podoba<br />
Liechtensteinskega<br />
muzeja / Liechtenstein<br />
musem visual identity<br />
D Wien Nord Pilz<br />
Werbeagentur GmbH,<br />
Wien<br />
P Druckereien Grasl,<br />
Gerin<br />
N/C Liechtenstein<br />
Museum, Wien<br />
2004<br />
2.<br />
Klic / Call<br />
D Kornelius Tarmann<br />
P Fuka & Fischer,<br />
Wien<br />
N/C Barmherzige<br />
Schwestern, Wien<br />
2004<br />
1.<br />
2.<br />
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INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B<br />
/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
3.<br />
Celostna grafi Ëna<br />
podoba MIVA/BBM/<br />
CHH / MIVA/BBM/<br />
CHH visual identity<br />
D Kornelius Tarmann<br />
P Steinhauser -<br />
Digitale Medien, Wien<br />
N/C BBM Austria,<br />
Stadl-Paura<br />
2003<br />
4.<br />
Celostna grafi Ëna<br />
podoba NIL / NIL<br />
visual identity<br />
D Roland A.<br />
Reidinger, Federal<br />
department of graphic<br />
design, Strasshof<br />
N/C Gallaher Austria<br />
Tabak Europe GmbH<br />
2003<br />
3.<br />
4.<br />
109
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
5.<br />
Mednarodna<br />
kampanja podobe<br />
Adidas eyewear<br />
/ Adidas eyewear<br />
international image<br />
campaign<br />
D Buchegger, Denoth,<br />
Feichtner, Linz<br />
N/C Adidas eyewear<br />
2003<br />
6.<br />
Grafi Ëna oprema<br />
letališkega vlaka CAT /<br />
CAT City Airport Train<br />
graphic design<br />
D Spirit Design, Wien:<br />
Daniel Huber<br />
P Druckerei<br />
Bosmüller, Wien<br />
N/C City Air Terminal<br />
Betriebs GmbH, Wien-<br />
Flughafen<br />
2003<br />
5.<br />
6.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
HRVA©KA /<br />
CROATIA<br />
1.<br />
Celostna grafi Ëna<br />
podoba Jesus Christ<br />
Superstar / Jesus<br />
Christ Superstar visual<br />
identity<br />
D Jana Žiljak VujiÊ<br />
P FotoSoft d.o.o.,<br />
Zagreb<br />
N/C Kazalište<br />
Komedija, Zagreb<br />
2002<br />
2.<br />
Plakat ZGRAF 9 /<br />
ZGRAF 9 poster<br />
D Tomislav VlainiÊ,<br />
Marko Lipovac<br />
N/C ULUPUH, Zagreb<br />
2004<br />
1.<br />
2.<br />
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PROGRAMMES<br />
3.<br />
Plakat OsjeËko ljeto<br />
kulture / OsjeËko ljeto<br />
kulture poster<br />
D Lada VlainiÊ,<br />
Tomislav VlainiÊ<br />
N/C Poglavarstvo<br />
grada Osijeka, Osijek<br />
2004<br />
4.<br />
Plakata Festo 12 /<br />
Festo 12 posters<br />
D Lada VlainiÊ,<br />
Tomislav VlainiÊ<br />
N/C Hrvatski oglasni<br />
zbor, Zagreb<br />
2004<br />
3.<br />
4.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
5.<br />
Celostna grafi Ëna<br />
podoba Castor<br />
Multimedia / Castor<br />
Multimedia visual<br />
identity<br />
D Sensus Design<br />
Factory Zagreb:<br />
Nedjeljko ©poljar,<br />
Kristina ©poljar<br />
P Kratis, Zagreb<br />
N/C Castor Multimedia<br />
d.o.o., Zagreb<br />
2003<br />
6.<br />
Letno poroËilo 2002<br />
Pliva / Pliva Annual<br />
Report 2002<br />
D Sensus Design<br />
Factory Zagreb:<br />
Nedjeljko ©poljar,<br />
Jadranko MarjanoviÊ;<br />
foto/photo: Dag OršiÊ,<br />
Ivana VuËiÊ, Damir<br />
FabijaniÊ<br />
P Kratis, Zagreb<br />
N/C Castor Multimedia<br />
d.o.o., Zagreb<br />
2003<br />
5.<br />
6.<br />
113
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PROGRAMMES<br />
7.<br />
Celostna grafi Ëna<br />
podoba 03-Croatian<br />
Design Exhibition<br />
(plakati) / 03-Croatian<br />
Design Exhibition<br />
visual identity<br />
(posters)<br />
D Sensus Design<br />
Factory Zagreb:<br />
Nedjeljko ©poljar,<br />
sodel. / assist. Kristina<br />
©poljar<br />
P Printel, Zagreb<br />
N/C HDD, Zagreb<br />
2003<br />
8.<br />
Letno poroËilo 2003<br />
Ericsson Nikola Tesla<br />
d.d. / Ericsson Nikola<br />
Tesla d.d. Annual<br />
Report 2003<br />
D Dubravko Bujan<br />
P Kerschoffset, LuËko<br />
N/C Ericsson Nikola<br />
Tesla d.d., Zagreb<br />
2004<br />
7.<br />
8.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
9.<br />
Celostna grafi Ëna<br />
podoba 51. Pula fi lm<br />
festival / 51. Pula fi lm<br />
festival visual identity<br />
D Igor StanišljeviÊ<br />
N/C Pula fi lm festival,<br />
Pula<br />
2004<br />
10.<br />
Plakat in razglednica<br />
Silent Witness Project<br />
/ Silent Witness<br />
Project poster and<br />
postcard<br />
D Gordana Golik<br />
P Printel, Zagreb<br />
N/C B.a.B.e., Zagreb<br />
2003<br />
9.<br />
10.<br />
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PROGRAMMES<br />
11.<br />
Celostna grafi Ëna<br />
podoba Galerija 01<br />
/ Galerija 01 visual<br />
identity<br />
D Rocco i partner<br />
d.o.o., Zagreb: Sanja<br />
Rocco<br />
P Kratis / Nova forma,<br />
Zagreb<br />
N/C Galerija 01,<br />
Zagreb<br />
2003<br />
12.<br />
Celostna grafi Ëna<br />
podoba koncertnega<br />
ciklusa 4 godišnja<br />
doba / Concert cyclus<br />
4 godišnja doba visual<br />
identity<br />
D Rocco i partner,<br />
Zagreb: Sanja Rocco,<br />
sodel. / assist.<br />
Krešimir GrancariÊ,<br />
foto / photo Hrvoje<br />
GrgiÊ<br />
P Tiskara Horvat,<br />
Bjelovar<br />
N/C GudaËki kvartet<br />
Rukner, Zagreb<br />
2003<br />
11.<br />
12.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
13.<br />
Plakat za Kongres<br />
Hrvatskog<br />
udruženja ortopeda<br />
i traumatologa /<br />
Kongres Hrvatskog<br />
udruženja ortopeda i<br />
traumatologa poster<br />
D Marko Koržinek<br />
P Putokaz 2000,<br />
Zagreb<br />
N/C HUOT, Zagreb<br />
2003<br />
14.<br />
Celostna grafi Ëna<br />
podoba IN FINE / IN<br />
FINE visual identity<br />
D Ana GaliÊ, Luka<br />
KuhariÊ, Bojan Matoš<br />
P Tiskara Gipa,<br />
Zagreb<br />
N/C IN FINE d.o.o.,<br />
Zagreb<br />
2002<br />
13.<br />
14.<br />
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PROGRAMMES<br />
15.<br />
Znaki / Signs<br />
D Ana GaliÊ, Luka<br />
KuhariÊ, Bojan Matoš<br />
N/C razni naroËniki /<br />
several clients<br />
2002-2004<br />
16.<br />
Promocijsko gradivo<br />
za Stereo studio<br />
/ Stereo studio<br />
promotional material<br />
D Ana GaliÊ, Luka<br />
KuhariÊ, Bojan Matoš<br />
P Tiskara KasaniÊ,<br />
Zagreb<br />
N/C Stereo studio,<br />
Zagreb<br />
2002<br />
15.<br />
118<br />
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INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B<br />
/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
17.<br />
Celostna grafi Ëna<br />
podoba Ivan<br />
MeštroviÊ, hrvatski<br />
kipar / Ivan MeštroviÊ,<br />
hrvatski kipar visual<br />
identity<br />
D Studio International,<br />
Zagreb: Boris LjubiËiÊ<br />
P AKD, Zagreb<br />
N/C Fundacija Ivana<br />
MeštroviÊa, Zagreb<br />
2002<br />
18.<br />
Celostna grafi Ëna<br />
podoba Hrvatska<br />
turistiËka zajednica<br />
/ Hrvatska turistiËka<br />
zajednica visual<br />
identity<br />
D Studio International,<br />
Zagreb: Boris LjubiËiÊ,<br />
foto / photo Ivo Pervan<br />
P Mabacom, Zagreb<br />
N/C Hrvatska turistiËka<br />
zajednica, Zagreb<br />
2003<br />
17.<br />
18.<br />
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PROGRAMMES<br />
19.<br />
Celostna grafi Ëna<br />
podoba Pogorelich<br />
/ Pogorelich visual<br />
identity<br />
D Studio International,<br />
Zagreb: Boris LjubiËiÊ<br />
P AKD, Zagreb<br />
N/C Rotary club,<br />
MuziËka akademija,<br />
Zagreb<br />
2002<br />
20.<br />
Plakat Wellcome<br />
to the museum -<br />
Dobro došli u muzej<br />
/ Wellcome to the<br />
museum - Dobro došli<br />
u muzej poster<br />
D Studio International,<br />
Zagreb: Boris LjubiËiÊ<br />
P AKD, Zagreb<br />
N/C Muzejski<br />
dokumentacioni<br />
centar, Studio<br />
International, Zagreb<br />
2002<br />
19.<br />
20.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
21.<br />
Celostna grafi Ëna<br />
podoba World<br />
Congress of Pediatric<br />
Surgery / World<br />
Congress of Pediatric<br />
Surgery visual identity<br />
D Defi nicija, Zagreb:<br />
Davor ©unk<br />
P Tiskara StefanoviÊ,<br />
Zagreb<br />
N/C Klinika za djeËje<br />
bolesti Zagreb, Zagreb<br />
2003<br />
22.<br />
Katalog Peugeot<br />
607 / Peugeot 607<br />
catalogue<br />
D Futura DDB,<br />
Zagreb: Antonio DoliÊ<br />
P DDB, Zagreb<br />
N/C Peugeot<br />
Hrvatska, Zagreb<br />
2003<br />
21.<br />
22.<br />
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PROGRAMMES<br />
23.<br />
Logobook / Logobook<br />
D Antonio DoliÊ<br />
P Kratis, Zagreb<br />
N/C Antonio DoliÊ<br />
2003<br />
24.<br />
Celostna grafi Ëna<br />
podoba Chickie‘s<br />
/ Chickie‘s visual<br />
identity<br />
D Antonio DoliÊ<br />
P Grafotehna Zagreb,<br />
Zagreb<br />
N/C Chickie‘s, Zagreb<br />
2002<br />
23.<br />
24.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
25.<br />
Darilne škatle / Gift<br />
box collection<br />
D Zrinka Penava<br />
Dogan<br />
P HiT Art, Zagreb<br />
N/C Vinoteka<br />
Bornstein, Zagreb<br />
2002<br />
26.<br />
Katalog Prototip /<br />
Prototip catalogue<br />
D Dora BiliÊ, Tina<br />
Müller<br />
P Kratis, Zagreb<br />
N/C Galerija ULUPUH,<br />
Zagreb<br />
2004<br />
25.<br />
26.<br />
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PROGRAMMES<br />
27.<br />
Knjiga Zagreb,<br />
modernost i grad /<br />
Zagreb, modernost i<br />
grad book<br />
D Željko Zorica, Dora<br />
BiliÊ, Tina Müller<br />
P Kratis, Zagreb<br />
N/C IzdavaËka kuÊa<br />
AGM, Zagreb<br />
2003<br />
28.<br />
Knjiga O mojoj mami,<br />
... / O mojoj mami, ...<br />
book<br />
D Dora BilliÊ, Tina<br />
Müller<br />
P Tiskara Zelina,<br />
Zagreb<br />
N/C Ženska infoteka,<br />
Zagreb<br />
2003<br />
29.<br />
Knjižne naslovnice /<br />
Book covers<br />
D Iva Babaja<br />
P Kratis, Zagreb<br />
N/C Fraktura, ZaprešiË<br />
2003-2004<br />
27.<br />
28.<br />
29.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
ITALIJA / ITALY<br />
1.<br />
Celostna grafi Ëna<br />
podoba revije l‘Arca /<br />
L‘Arca magazin visual<br />
identity<br />
D Iliprandi associati,<br />
Milano<br />
P Bolis poligrafi che,<br />
Bergamo<br />
N/C L‘arca edizioni,<br />
Milano<br />
2003<br />
MADŽARSKA /<br />
HUNGARY<br />
1.<br />
Celostna grafi Ëna<br />
podoba revije Atrium<br />
/ Atrium magazine<br />
visual identity<br />
D Buda Varga<br />
N/C Sanoma<br />
Budapest Publishing<br />
Corp., Budapest<br />
2002 _ 2003<br />
1.<br />
1.<br />
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PROGRAMMES<br />
2.<br />
Celostna grafi Ëna<br />
podoba Državnih<br />
konjskih dirk d.o.o. /<br />
The national horse<br />
racing ltd. visual<br />
identity<br />
D Benedek Bálas<br />
N/C Hungarian<br />
Academy of Fine Arts,<br />
Budapest<br />
2003<br />
SLOVA©KA /<br />
SLOVAKIA<br />
1.<br />
Celostna grafi Ëna<br />
podoba Bienala<br />
ilustracije Bratislava<br />
2003 BIB 2003 / BIB<br />
2003, Bratislava 2003,<br />
Biennial of Illustrations<br />
visual identity<br />
D Vladislav Rostoka<br />
N/C Bibiana,<br />
Bratislava<br />
2003<br />
1.<br />
2.<br />
Attempts to her life,<br />
interaktivna projekcija<br />
/ Attempts to her<br />
life, interactive data<br />
projection<br />
D Ján ©icko<br />
N/C Theatre M.U.T.,<br />
Praha<br />
2002<br />
1.<br />
2.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Celostna grafi Ëna<br />
podoba MEJ NI FEST<br />
/ MEJ NI FEST visual<br />
identity<br />
D Dolores Gerbec<br />
P Grafi ka SoËa, Nova<br />
Gorica<br />
N/C SNG Nova<br />
Gorica, Nova Gorica<br />
2004<br />
2.<br />
Celostna podoba<br />
BOF / BOF corporate<br />
identity<br />
D BeBe com. d.o.o.,<br />
Ljubljana: Mojca<br />
Janželj TomažiË<br />
N/C Bofex d.o.o.,<br />
Ljubljana<br />
2002<br />
1.<br />
2.<br />
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PROGRAMMES<br />
3.<br />
Gledališki plakati PDG<br />
/ PDG theatre posters<br />
D Dolores Gerbec<br />
P Tiskarna Hren,<br />
Ljubljana<br />
N/C SNG Nova<br />
Gorica, Nova Gorica<br />
2000 _ 2004<br />
4.<br />
Naslovnice Ëasopisa<br />
Park / Park newspaper<br />
covers<br />
D Iztok KovaËiË<br />
P Tiskarstvo Opara,<br />
Novo mesto<br />
N/C Park, Založba<br />
Goga, Novo mesto<br />
2002 _ 2004<br />
5.<br />
Celostna grafi Ëna<br />
podoba revije Dialogi<br />
/ Dialogi magazine<br />
visual identity<br />
D Nenad JelesijeviÊ<br />
P Ma-tisk d.o.o.,<br />
Maribor<br />
N/C Založba Aristej<br />
d.o.o., Maribor<br />
2004<br />
3.<br />
4.<br />
5.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
6.<br />
Znaki za sanitarije,<br />
Ljubljanski grad /<br />
Ljubljana castle toilet<br />
signs<br />
D Ambient d.o.o.,<br />
Ljubljana: Miha Kerin,<br />
Martin Ravnikar<br />
P Steklarstvo Rojs,<br />
Domžale<br />
N/C MOL, Mestna<br />
uprava, Odd. za<br />
gospodarjenje z<br />
zemljišËi, Ljubljana<br />
2003<br />
7.<br />
Spominska plošËa<br />
v koncentracijskem<br />
taborišËu Kampor,<br />
Rab / Memorial plate<br />
of Kampor-Rab<br />
concentration camp<br />
D Ambient d.o.o.,<br />
Ljubljana: Majda<br />
Kregar, Miha Kerin<br />
P Nautilus d.o.o.,<br />
Grosuplje<br />
N/C RS, Ministrstvo<br />
za delo, družino in<br />
socialne zadeve,<br />
Ljubljana<br />
2003<br />
6.<br />
7.<br />
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PROGRAMMES<br />
8.<br />
Celostna grafi Ëna<br />
podoba razstave<br />
Veno Pilon / Veno<br />
Pilon exhibition visual<br />
identity<br />
D Zmago Rus<br />
P Tiskarna Ljubljana<br />
d.d., Ljubljana<br />
N/C Moderna galerija,<br />
Ljubljana<br />
2002<br />
9.<br />
Poštne znamke, peËati<br />
in ovojnice / Stamps,<br />
seals and envelopes<br />
D Zagorka SimiÊ<br />
P Tiskarna Delo d.d.,<br />
Ljubljana<br />
N/C Pošta Slovenije,<br />
Maribor<br />
2003<br />
8.<br />
130<br />
9.
INFORMACIJSKI FUNKCIONALNI SISTEMI, CELOSTNE PODOBE - B<br />
/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
10.<br />
Knjižna zbirka<br />
DedišËina / DedišËina<br />
book collection<br />
D Peter Skalar<br />
P Tiskarna Kurir,<br />
Ljubljana; Tiskarna<br />
Ma-tisk, Maribor<br />
N/C Cankarjeva<br />
založba, Ljubljana<br />
2003-2004<br />
11.<br />
Etikete in darilna<br />
ovojnina za žgane<br />
pijaËe Urhov‘c /<br />
Urhov‘c labels and<br />
wraping-paper for<br />
spirits<br />
D Barbara ©ušteršiË,<br />
Jure Miklavc<br />
P Tiskarna Medium<br />
d.o.o., Žirovnica<br />
N/C Janez Urh, Bled<br />
2003<br />
10.<br />
11.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
12.<br />
Celostna podoba<br />
»okoladnice&bara<br />
Angel / Chocobar<br />
Angel corporate<br />
identity<br />
D Elastik, Ljubljana:<br />
Igor Kebel, Mika<br />
Cimolini<br />
P Mizarstvo Hribar,<br />
Motnik<br />
N/C »okoladnica&bar<br />
Angel, Luc d.o.o.,<br />
Ljubljana<br />
2004<br />
13.<br />
Prospekti Cerle,<br />
Marmor, White,<br />
Eko / Cercle,<br />
Marmor, White, Eko<br />
promotional material<br />
D Neva ©tembergar<br />
P Dravska tiskarna<br />
d.o.o., Maribor<br />
N/C Paloma, Tovarna<br />
lepenke Ceršak d.d.,<br />
Ceršak<br />
2004<br />
12.<br />
13.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
14.<br />
Program registratorjev<br />
in map Cerle / Cercle<br />
lever arch fi les and<br />
folders set<br />
D Neva ©tembergar<br />
P Valkarton d.d.,<br />
Logatec<br />
N/C Paloma, Tovarna<br />
lepenke Ceršak d.d.,<br />
Ceršak<br />
2003<br />
15.<br />
Program registratorjev<br />
Marmor / Marmor lever<br />
arch fi les set<br />
D Neva ©tembergar<br />
P Valkarton d.d.,<br />
Logatec<br />
N/C Paloma, Tovarna<br />
lepenke Ceršak d.d.,<br />
Ceršak<br />
2003<br />
14.<br />
15.<br />
16.<br />
Program registratorjev<br />
White / White lever<br />
arch fi les set<br />
D Neva ©tembergar<br />
P Valkarton d.d.,<br />
Logatec<br />
N/C Paloma, Tovarna<br />
lepenke Ceršak d.d.,<br />
Ceršak<br />
2003<br />
17.<br />
Program registratorjev<br />
Eko / Eko lever arch<br />
fi les set<br />
D Neva ©tembergar<br />
P Valkarton d.d.,<br />
Logatec<br />
N/C Paloma, Tovarna<br />
lepenke Ceršak d.d.,<br />
Ceršak<br />
2003<br />
16.<br />
17.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
18.<br />
Serija plakatov RdeËi<br />
in Ërni / Red and black<br />
poster series<br />
D Simon Sernec<br />
P Vinkotisk, RadeËe<br />
N/C KUD Primož<br />
Trubar, Loka;<br />
Umetniško programski<br />
svet RadeËe, RadeËe<br />
2002-2003<br />
19.<br />
Celostna grafi Ëna<br />
podoba Kreart.05<br />
/ Kreart.05 visual<br />
identity<br />
D Simon Sernec,<br />
ilustr. / ill. Simon<br />
Sernec, Bori ZupanËiË,<br />
foto / photo Tomo<br />
Brejc<br />
P Vinkotisk, RadeËe<br />
N/C KUD Primož<br />
Trubar, Loka<br />
2002<br />
20.<br />
Celostna grafi Ëna<br />
podoba Kreart.06<br />
/ Kreart.06 visual<br />
identity<br />
D Simon Sernec<br />
P Vinkotisk, RadeËe<br />
N/C KUD Primož<br />
Trubar, Loka<br />
2003<br />
18.<br />
19.<br />
20.<br />
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
21.<br />
Celostna grafi Ëna<br />
podoba Klavirskega<br />
veËera Tatjani 02<br />
/ Piano recital for<br />
Tatjana 02 visual<br />
identity<br />
D Simon Sernec<br />
P Vinkotisk, RadeËe<br />
N/C Umetniško<br />
programski svet<br />
RadeËe, RadeËe<br />
2002<br />
22.<br />
Celostna grafi Ëna<br />
podoba Klavirskega<br />
veËera Tatjani 03<br />
/ Piano recital for<br />
Tatjana 03 visual<br />
identity<br />
D Simon Sernec<br />
P Vinkotisk, RadeËe<br />
N/C Umetniško<br />
programski svet<br />
RadeËe, RadeËe<br />
2003<br />
21.<br />
23.<br />
23.<br />
Celostna grafi Ëna<br />
podoba Mednarodne<br />
jazz glasbene in<br />
plesne akademije<br />
/ International jazz<br />
music and dance<br />
academy visual<br />
identity<br />
D Simon Sernec<br />
P Vinkotisk, RadeËe<br />
N/C Aanima, Ljubljana<br />
2003<br />
22.<br />
135
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/ INFORMATION FUNCTIONAL SYSTEMS, CORPORATE IDENTITY<br />
PROGRAMMES<br />
ZDA / USA<br />
1.<br />
Serija plakatov: Hello,<br />
I‘m Poster; Protect<br />
yourself from H.I.V.<br />
(AIDS); Fear-SARS;<br />
Fear-MAN / Poster<br />
collection: Hello,<br />
I‘m Poster; Protect<br />
yourself from H.I.V.<br />
(AIDS); Fear-SARS;<br />
Fear-MAN<br />
D Fang Chen<br />
P Illinois State<br />
University, Normal<br />
N/C Illinois State<br />
University, Normal<br />
2003<br />
1.<br />
136
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OBLIKOVALSKE<br />
ZASNOVE<br />
DESIGN<br />
PROJECTS<br />
137
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
AVSTRIJA /<br />
AUSTRIA<br />
1.<br />
©katla TwistBox /<br />
TwistBox<br />
D Philipp Prause<br />
2.<br />
Zobna šËetka s<br />
pisalom Arthur Dent /<br />
Arthur Dent toothbrush<br />
pen<br />
D Philipp Prause<br />
1.<br />
2.<br />
138
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
3.<br />
Odnesna škatla za<br />
azijsko hrano Haiku /<br />
Haiku Asia take-away<br />
packaging<br />
D Susanne Lippitsch<br />
4.<br />
Skrinja Chester /<br />
Chester chest<br />
D Produktdesign BKM,<br />
Wien: Katharina Maria<br />
Brückner<br />
3.<br />
4.<br />
139
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
5.<br />
Knjižno stojalo / Book<br />
holder<br />
D Produktdesign BKM,<br />
Wien: Katharina Maria<br />
Brückner, Herbert<br />
Klamminger, Stefan<br />
Moritsch<br />
6.<br />
ProËelje za vazo /<br />
Vase fasade<br />
D Produktdesign BKM,<br />
Wien: Katharina Maria<br />
Brückner, Herbert<br />
Klamminger, Stefan<br />
Moritsch<br />
7.<br />
Sedež Dent! / Dent!<br />
stool<br />
D Claudia Pfl eger<br />
5.<br />
6.<br />
7.<br />
140
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
BELGIJA / BELGIUM<br />
1.<br />
Rolka za dva The<br />
Equilibrist / The<br />
Equilibrist skate-board<br />
for two<br />
D Weyers & Borms,<br />
Tielrode<br />
2.<br />
Oblazinjeno pohištvo /<br />
Upholstered furniture<br />
D Inge Van Gheel<br />
1.<br />
3.<br />
Krsta za kremiranje in<br />
žara Soul Ash Solace<br />
/ Soul Ash Solace<br />
cremation coffi n and<br />
urn<br />
D Maxime Szyf<br />
3.<br />
2.<br />
141
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
HRVA©KA /<br />
CROATIA<br />
1.<br />
Zavrnjena nateËajna<br />
dela / Refused<br />
competition works<br />
D Marko Koržinek,<br />
sod./ assist.<br />
Aleksander KovaÊ<br />
2.<br />
Delovni prostori<br />
OOred! / OOred!<br />
working places<br />
D Jelena LukaË<br />
M/T Mladen OrešiÊ,<br />
SveuËilište u Zagrebu,<br />
Arhitektonski fakultet,<br />
Studij dizajna,<br />
Zagreb / University<br />
of Zagreb, Faculty of<br />
Architecture, Study of<br />
Design, Zagreb<br />
3.<br />
Urbana<br />
komunikacijska<br />
naprava Ebooth<br />
/ Ebooth urban<br />
communication device<br />
D Tvrtko KapetanoviÊ<br />
M/T Mladen OrešiÊ,<br />
SveuËilište u Zagrebu,<br />
Arhitektonski<br />
fakultet, Studij<br />
dizajna / University<br />
of Zagreb, Faculty of<br />
Architecture, Study of<br />
Design, Zagreb<br />
1.<br />
2.<br />
3.<br />
142
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
4.<br />
Fotelj / Easy-chair<br />
D Zlatko KapetanoviÊ,<br />
Ana BaniÊ<br />
5.<br />
Miza Funtable /<br />
Funtable<br />
D Ana BaniÊ, Zlatko<br />
KapetanoviÊ<br />
6.<br />
Bioluminescentna<br />
svetilka /<br />
Bioluminescent lamp<br />
D Ana BaniÊ<br />
M/T Zlatko<br />
KapetanoviÊ,<br />
SveuËilište u Zagrebu,<br />
Arhitektonski<br />
fakultet, Studij<br />
dizajna / University<br />
of Zagreb, Faculty of<br />
Architecture, Study of<br />
Design, Zagreb<br />
4.<br />
5.<br />
6.<br />
143
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
7.<br />
Projekt vodne ure /<br />
Waterclock project<br />
D Ivana Fabrio<br />
M/T Jurgen Bey,<br />
Design Academy<br />
Eindhoven,<br />
Eindhoven,<br />
Nizozemska / The<br />
Netherlands<br />
8.<br />
Skodelica s<br />
podstavkom Cube /<br />
Cube cup and plate<br />
D Gordana Golik<br />
7.<br />
8.<br />
144
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
ITALIJA / ITALY<br />
1.<br />
Stojalo za nože<br />
Leilama / Leilama<br />
knife holder<br />
D Marco Marangone<br />
2.<br />
PoËivalnik Ippocampo<br />
/ Ippocampo chaiselongue<br />
D Granese design<br />
studio, Salerno: Diego<br />
Granese<br />
1.<br />
2.<br />
145
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
3.<br />
Projekt Jeklo in stil,<br />
knjižna polica Antitesi<br />
/ Antitesi Steel<br />
and style project<br />
bookshelve<br />
D Alessandro<br />
Orteschi, Rossella<br />
Sartorato<br />
M/T Eugenio Farina,<br />
Scuola Italiana<br />
Design, Padova<br />
4.<br />
Projekt Jeklo in stil,<br />
strgalo Tubi / Tubi<br />
grater Steel and style<br />
project<br />
D Alessandro Rorato<br />
M/T Eugenio Farina,<br />
Scuola Italiana<br />
Design, Padova<br />
3.<br />
4.<br />
146
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
5.<br />
Projekt Jeklo in stil,<br />
stojalo za dežnike /<br />
Umbrella stand Steel<br />
and style project<br />
D Alessandro<br />
Guerriero<br />
M/T Eugenio Farina,<br />
Scuola Italiana<br />
Design, Padova<br />
6.<br />
DinamiËni stol Poldina<br />
/ Poldina dynamic<br />
chair<br />
D Andrea Modica<br />
7.<br />
Silikonska svetilka<br />
Circolina / Circolina<br />
silicon lamp<br />
D Andrea Modica<br />
5.<br />
7.<br />
6.<br />
147
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
MADŽARSKA /<br />
HUNGARY<br />
1.<br />
Igralo Limbo / Limbo<br />
playtoy<br />
D Róbert Kapitány<br />
2.<br />
Vozilo Mercedes<br />
Ecomog / Mercedes<br />
Ecomog vehicle<br />
D János Stunya,<br />
diplomsko delo<br />
/ diploma work,<br />
Hungarian University<br />
of Craft and Design,<br />
Department of Product<br />
Design, Budapest<br />
1.<br />
2.<br />
148
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
3.<br />
Pisalno in risalno<br />
orodje za slepe<br />
Touchwriter /<br />
Touchwriter, writing<br />
and drawing tool for<br />
the blind<br />
D Krisztina Horváth,<br />
Orsolya Kurucz,<br />
Hungarian University<br />
of Craft and Design,<br />
Department of Product<br />
Design, Budapest<br />
4.<br />
»istilnik za nos<br />
Dynamic / Dynamic<br />
Nose wash<br />
D Gergely Hosszú,<br />
Hungarian University<br />
of Craft and Design,<br />
Department of Product<br />
Design, Budapest;<br />
Braun GmbH<br />
3.<br />
4.<br />
149
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
5.<br />
Prenosni mini ink jet<br />
tiskalnik / Portable<br />
mini ink jet printer<br />
D Tamás Hurton,<br />
Hungarian University<br />
of Craft and Design,<br />
Department of Product<br />
Design, Budapest<br />
6.<br />
Laserski geodetski<br />
inštrument / Laser<br />
leveling system<br />
D Támas Hurton,<br />
Hungarian University<br />
of Craft and Design,<br />
Department of Product<br />
Design, Budapest<br />
7.<br />
©portni invalidski<br />
voziËek Flexor / Flexor<br />
active wheelchair<br />
D Csaba G. Szilágyi<br />
5.<br />
6.<br />
7.<br />
150
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
SLOVA©KA /<br />
SLOVAKIA<br />
1.<br />
Sušilnik za obleko<br />
Wash-dry-go / Washdry-go<br />
dehydrator for<br />
clothes<br />
D Lucia Karpitová,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
2.<br />
Zaslon za pralni stroj<br />
/ Washing mashine<br />
paravan<br />
D Klára Zavadilová,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
1.<br />
2.<br />
151
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
3.<br />
Sesalnik za dva /<br />
Vacuum cleaner for<br />
two<br />
D Kamila Zavadilová,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
4.<br />
Sesalnik za zelo<br />
zaposlene ljudi /<br />
Vacuum cleaner for<br />
very busy people<br />
D Zdenka Poliaková,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
3.<br />
4.<br />
152
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
5.<br />
Vlažilnik zraka / Air<br />
damper<br />
D Viera Igriciová,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
6.<br />
Temperaturni indikator<br />
kuhanja / Cooking<br />
thermo indicator<br />
D Alena TimkoviËová,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
5.<br />
6.<br />
153
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7.<br />
Svetilke / Lights<br />
D Tomáš Gabzdil,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of Product<br />
Design, Bratislava<br />
8.<br />
Sušilnik steklenic /<br />
Bottle dryer<br />
D Katarína<br />
Zahoránská, Academy<br />
of Fine Arts and<br />
Design, Department<br />
of Product Design,<br />
Bratislava<br />
7.<br />
8.<br />
154
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
9.<br />
©portno kolo iz<br />
karbona / Carbon<br />
sportbike<br />
D Peter Chlpek,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
10.<br />
Moped / Moped<br />
D Marian Lauko,<br />
Academy of Fine<br />
Arts and Design,<br />
Department of<br />
Industrial Design,<br />
Bratislava<br />
9.<br />
10.<br />
155
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11.<br />
Digitalno notno stojalo<br />
/ Digital music stand<br />
D Tomáš Eisner,<br />
Faculty of Arts,<br />
Design, Košice<br />
12.<br />
Medicinski inštrument<br />
Breath / Breath<br />
medical instrument<br />
D Gabriel HašËák,<br />
Faculty of Arts,<br />
Design, Košice<br />
11.<br />
12.<br />
156
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
13.<br />
Tehtnica / Scale<br />
D Monika KoËišová,<br />
Faculty of Arts,<br />
Design, Košice<br />
14.<br />
Nosilka za plastenke<br />
/ PET bottles<br />
conveyance<br />
D Marcela ĎurËová,<br />
Faculty of Arts,<br />
Design, Košice<br />
13.<br />
14.<br />
157
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
SLOVENIJA /<br />
SLOVENIA<br />
1.<br />
Urbana kamnita<br />
oprema - The Pietra<br />
Design Competition<br />
/ Urban stone design<br />
- The Pietra Design<br />
Competition<br />
D Dalibor Arula,<br />
Kaja Antlej, ©tefan<br />
Barle, Marijana<br />
BrandiËiÊ, Jože<br />
Carli, Miha »rtaliË,<br />
Mateja ©. Dimic, Ajda<br />
Jalovec, Petra Jug,<br />
Sebastijan MahniË,<br />
Katja MarkoviË,<br />
Ivana PotoËnik, Leja<br />
©koberne, Nataša<br />
©krjanec, Darko<br />
©urina, Zoran ©vraka;<br />
N/C Kamnarska<br />
industrija Trento, Italija<br />
M/T Saša J. Maechtig,<br />
Nana Žargi, Barbara<br />
Nardoni, Akademija<br />
za likovno umetnost,<br />
Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
2.<br />
Skodelica za kavo<br />
Barkafe - oblikovalski<br />
nateËaj, Portorož /<br />
Barkafe coffee cup -<br />
design competition<br />
D Kaja Avberšek,<br />
Matija MilkoviË<br />
Biloslav, Nejc<br />
Brezovšek, Aleš<br />
Erjavec, Alex Greblo,<br />
Nina Hercog, Uroš<br />
Hohkravt, Gorazd<br />
KošËak, Jernej Kropej,<br />
Jože Levstik, Polona<br />
Matek, Tanja MudriniË,<br />
Rok Oblak, Dejan<br />
OrlaË, Marko Pavlinec,<br />
Gašper Premože,<br />
Robert Primc, Tena<br />
Rebernjak, Andraž<br />
©apec, Martin<br />
©oštariË, Boris Sovinc,<br />
Vasja Stojanovski,<br />
Timea Vida, Luka Zajc<br />
N/C Droga Portorož<br />
d.d., Portorož<br />
M/T Janez Smerdelj,<br />
Jure Miklavc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
1.<br />
2.<br />
158
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
3.<br />
SveËnik Volcano /<br />
Volcano candle holder<br />
D Zoran ©vraka<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
4.<br />
Pladnji Tea-fun / Teafun<br />
salvers<br />
D Nataša ©krjanec<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
3.<br />
4.<br />
159
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
5.<br />
Kozarci in dekanter<br />
Dotik / Dotik glasses<br />
and decanter<br />
D Ivana PotoËnik<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
6.<br />
Kozarci Prstan /<br />
Prstan glasses<br />
D ©tefan Barle<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
5.<br />
6.<br />
160
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
7.<br />
7.<br />
SveËnik in posode<br />
Bubble / Bubble<br />
candlestick and<br />
bowles<br />
D Jože Carli<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
8.<br />
Steklena posoda Oval<br />
/ Oval glassware<br />
D Sebastjan MariniË<br />
P Steklarna Rogaška<br />
d.d., Rogaška Slatina<br />
M/T Saša J.<br />
Maechtig, Peter ArliË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
8.<br />
161
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
9.<br />
Sestavljivo<br />
priložnostno<br />
ležišËe Vikend /<br />
Vikend occasional<br />
compoundable bed<br />
D Vasja Andrej<br />
AmbrožiË<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
10.<br />
SveËnik Srebrno jadro<br />
/ Srebrno jadro candle<br />
holder<br />
D Boris Sovinc<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
9.<br />
10.<br />
162
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
11.<br />
Spominek za mesto<br />
Ljubljana Urška in<br />
povodni mož / Urška in<br />
povodni mož Ljubljana<br />
souvenir<br />
D Polona Matek<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
11.<br />
12.<br />
Urbani stolËek Red<br />
Hot Gummi Bubbles<br />
/ Red Hot Gummi<br />
Bubbles urban seat<br />
D Nina Hercog<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
12.<br />
163
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
13.<br />
Urbana talna oprema<br />
/ Urban pavement<br />
fi xtured<br />
D Katarina Mrvar<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
14.<br />
VeËnamenski kiosk /<br />
Multipurpose kiosk<br />
D Lucija Kostanjšek<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
13.<br />
14.<br />
164
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
15.<br />
Smetnjak Mr. Bin / Mr.<br />
Bin dustbin<br />
D Jernej Kropej<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
15.<br />
16.<br />
Pisarna Web Offi ce /<br />
Web Offi ce<br />
D Jernej Kropej<br />
M/T Vladimir Pezdirc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
16.<br />
17.<br />
Lopata za sneg / Snow<br />
shovel<br />
D Marko Pavlinec<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
17.<br />
165
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
18.<br />
Zložljiva postelja<br />
Sailing Bed / Sailing<br />
Bed folding bed<br />
D Polona Matek<br />
M/T Janez Smerdelj,<br />
Jure Miklavc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
19.<br />
Potovalno kolo /<br />
Travelling bike<br />
D Mitja Lunder<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
18.<br />
19.<br />
166
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
20.<br />
Otroško pohištvo od<br />
0 do 6 let / Furniture<br />
for children from 0 to<br />
6 years<br />
D Lidija MiklavËiË<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
21.<br />
20.<br />
21.<br />
Sedež za jadralno<br />
padalstvo Alpin 1212<br />
/ Alpin 1212 seat for<br />
paragliding<br />
D Lidija MiklavËiË<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
22.<br />
Sedež za jadralno<br />
padalstvo z<br />
nahrbtnikom in airbagom<br />
Swinx 3000 /<br />
Swinx 3000 seat with<br />
rucksack and air-bag<br />
for paragliding<br />
D Lidija MiklavËiË<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
22.<br />
167
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
23.<br />
Svetilka Lambox /<br />
Lambox light<br />
D Lidija MiklavËiË, Gal<br />
Shveky, Iran / Iran<br />
M/T Wetton Barnabas,<br />
Designskolen Kolding,<br />
Danmark / School for<br />
Design, Denmark<br />
24.<br />
Plastenka za mleko s<br />
Planote / Plastic bottle<br />
for milk from Planota<br />
D Katarina Mrvar<br />
M/T Jure Miklavc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
23.<br />
24.<br />
168
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
25.<br />
Shranjevalnik za kljuËe<br />
/ Keys keeper<br />
D Luka Pirnat<br />
M/T Barbara PrinËiË,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
26.<br />
Kuhinjske in<br />
kopalniške armature /<br />
Taps for kitchen and<br />
bathroom<br />
D Peter Holcman<br />
M/T Vojko PogaËar,<br />
Fakulteta za<br />
strojništvo, smer<br />
Inženirsko oblikovanje,<br />
Maribor / Faculty<br />
for Mechanical<br />
Engineering, Course<br />
for Engineering<br />
Design, Maribor<br />
25.<br />
26.<br />
169
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
27.<br />
Pnevmatska udarna<br />
kladiva / Pneumatic<br />
hammers<br />
D Vojko PogaËar,<br />
vodja projekta / project<br />
manager; Jasmin<br />
Kaljun, Alenka PuËnik<br />
P SŽ Oprema Ravne<br />
d.o.o., Ravne na<br />
Koroškem<br />
28.<br />
Dve in pol dimenziji<br />
/ Two and a half<br />
dimensions<br />
D Arijana Gadžijev,<br />
Karla Murovec, Maja<br />
Ratajc, Ivana Žanko<br />
M/T Marija Jenko,<br />
Naravoslovno<br />
tehniška fakulteta,<br />
Oddelek za tekstilstvo,<br />
Ljubljana / Faculty of<br />
Natural Sciences and<br />
Engineering, Textile<br />
Department, Ljubljana<br />
27.<br />
28.<br />
170
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
29.<br />
Žakarske tkanine na<br />
temo Koža / Koža -<br />
jacquard textile<br />
D Urška ArliË<br />
M/T Vera Sešlar,<br />
Metka Vrhunc,<br />
Naravoslovno<br />
tehniška fakulteta,<br />
Oddelek za tekstilstvo,<br />
Ljubljana / Faculty of<br />
Natural Sciences and<br />
Engineering, Textile<br />
Department, Ljubljana<br />
30.<br />
Usnjena torba /<br />
Leather bag<br />
D Maša Brandstätter<br />
M/T Almira Sadar,<br />
Marija Jenko,<br />
Naravoslovno<br />
tehniška fakulteta,<br />
Oddelek za tekstilstvo,<br />
Ljubljana / Faculty of<br />
Natural Sciences and<br />
Engineering, Textile<br />
Department, Ljubljana<br />
29.<br />
30.<br />
171
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
31.<br />
Kolekcija oblaËil<br />
Pozunanjena<br />
notranjost /<br />
Pozunanjena<br />
notranjost clothes<br />
collection<br />
D Maša Brandstätter<br />
M/T Metka Vrhunc,<br />
Vera Sešlar,<br />
Naravoslovno<br />
tehniška fakulteta,<br />
Oddelek za tekstilstvo,<br />
Ljubljana / Faculty of<br />
Natural Sciences and<br />
Engineering, Textile<br />
Department, Ljubljana<br />
32.<br />
Prstan / Ring<br />
D Jelena CvetkoviË<br />
M/T Marija Jenko,<br />
Darko Slavec,<br />
Naravoslovno<br />
tehniška fakulteta,<br />
Oddelek za tekstilstvo,<br />
Ljubljana / Faculty of<br />
Natural Sciences and<br />
Engineering, Textile<br />
Department, Ljubljana<br />
31.<br />
33.<br />
©ali / Scarfs<br />
D Ksenija Baraga<br />
P Pletilstvo Pislak,<br />
Ljubljana-»rnuËe<br />
N/C Mura d.d., Murska<br />
Sobota<br />
32.<br />
33.<br />
172
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
34.<br />
Postelja Multifunky /<br />
Multifunky bed<br />
D David Cugelj<br />
35.<br />
VeËuporaben objekt<br />
Kvadrat / Kvadrat<br />
multi-purpose object<br />
D Jasmina FerËek,<br />
Tjaša Bavcon<br />
P Meblo Jogi d.o.o.,<br />
Kromberk, Nova<br />
Gorica<br />
34.<br />
35.<br />
173
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
36.<br />
PoËivalnik Choral /<br />
Choral easy-chair<br />
D Alex Greblo<br />
37.<br />
»ajni fi lter / Tea fi lter<br />
bag<br />
D Uroš Hohkravt<br />
38.<br />
Shranjevalne enote<br />
Plus / Plus storing<br />
units<br />
D IN.DI.GO.,<br />
Ljubljana: Barbara<br />
Nardoni<br />
36.<br />
37.<br />
38.<br />
174
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
39.<br />
Simboli Republike<br />
Slovenije / The<br />
Republic of Slovenia<br />
symbols<br />
D Karstyum oy,<br />
Helsinki, Suomi<br />
/ Finland: Dušan<br />
JovanoviË<br />
40.<br />
Simboli Republike<br />
Slovenije / The<br />
Republic of Slovenia<br />
symbols<br />
D Karin Košak, Grega<br />
Košak<br />
39.<br />
40.<br />
175
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
41.<br />
StojeËa svetilka /<br />
Standard lamp<br />
D Ambient d.o.o,<br />
Ljubljana: Miha Kerin,<br />
Majda Kregar<br />
42.<br />
Dekorativni tekstil<br />
Prostor, poezija, odtisi<br />
/ Space, Poetry, Prints<br />
decorative textile<br />
D Zlatka KnapiË<br />
41.<br />
42.<br />
176
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
43.<br />
Rent-e-bike / Rente-bike<br />
D Gregor Markelj<br />
N/C, P Elan Bikes d.d.,<br />
Ljubljana<br />
44.<br />
Kuhalnik Mdula /<br />
Mdula coocker<br />
D Rok Oblak<br />
M/T Sima Puintile,<br />
University of Art and<br />
Design, Helsinki,<br />
Suomi / Finland<br />
N/C WWF Finland<br />
43.<br />
44.<br />
177
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
45.<br />
Poštni nabiralnik / Post<br />
box<br />
D Dejan OrlaË<br />
M/T Janez Smerdelj,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
46.<br />
Otroški umivalnik<br />
Daisy / Daisy washbasin<br />
for children<br />
D Barbara PrinËiË<br />
45.<br />
44.<br />
178
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
47.<br />
Prenosna svetilka<br />
za veterinarsko<br />
oftalmologijo / Portable<br />
light for veterinary<br />
ophtalmology<br />
D Barbara PrinËiË<br />
N/C Optotek d.o.o.,<br />
Ljubljana<br />
48.<br />
Izdelki UZV / UZV<br />
products<br />
D Igor Rehar<br />
47.<br />
48.<br />
179
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
49.<br />
Miza T1 / T1 table<br />
D Luka Stepan<br />
50.<br />
Namizno steklo<br />
Kissing / Kissing<br />
glassware<br />
D Mojca ©mit<br />
49.<br />
50.<br />
180
OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS - C<br />
51.<br />
Talne blazine Suko /<br />
Suko fl oor cushions<br />
D Andreja ©pegelj<br />
52.<br />
Motorni Ëoln / Motorboat<br />
D Jalen Vogelnik,<br />
Ermin Kosovel<br />
51.<br />
52.<br />
181
C - OBLIKOVALSKE ZASNOVE / DESIGN PROJECTS<br />
53.<br />
SmuËi, oblikovalski<br />
nateËaj Elan /<br />
Skiis Elan design<br />
competition<br />
D Luka Zajc<br />
M/T Janez Smerdelj,<br />
Jure Miklavc,<br />
Akademija za likovno<br />
umetnost, Oddelek za<br />
oblikovanje, Ljubljana /<br />
Academy of Fine Arts,<br />
Department of Design,<br />
Ljubljana<br />
53.<br />
54.<br />
Reanimacijski voziËek<br />
/ Reanimation trolley<br />
D Marjan Žitnik<br />
P Medicop d.o.o.,<br />
Murska Sobota<br />
54.<br />
55.<br />
Suho mokri sesalnik<br />
/ Dry-wet vacuum<br />
cleaner<br />
D Marjan Žitnik<br />
56.<br />
TlaËni, pretoËni in<br />
temperaturni krmilniki<br />
in elektromotorni<br />
pogoni z ventili<br />
Danfoss / Pressure,<br />
fl ow and temperature<br />
controllers and<br />
electromotor actuators<br />
with volves Danfoss<br />
D Industrijsko<br />
oblikovanje Wilsonic<br />
d.o.o., Medvode: Nina<br />
Mihovec<br />
P Danfoss Trata d.o.o.,<br />
Ljubljana-©entvid<br />
55.<br />
56.<br />
182
SPREMLJEVALNE<br />
PRIREDITVE<br />
ACCOMPANYING<br />
EVENTS<br />
183
ARNE JACOBSEN 1902 _ 1971: razstava ob stoletnici rojstva<br />
ARNE JACOBSEN 1902 _ 1971: A Centenary Exhibition<br />
Galerija Arhitekturnega Muzeja Ljubljana / The Architectural Museum<br />
Gallery Ljubljana, Grad Fužine / The Fužine Castle<br />
Pot na Fužine 2, 1000 Ljubljana<br />
15. junij _ 2. julij 2004 / June 15 _ July 2, 2004<br />
Pripravil / Organized by Arhitekturni muzej Ljubljana / Architectural Museum<br />
Ljubljana<br />
Razstava se posveËa šestim velikim arhitekturnim projektom tega velikega<br />
danskega arhitekta in oblikovalca, ki so vtisnjeni v mozaik njegove<br />
oblikovalske klasike, najbolj povezane prav s temi arhitekturami. Nekateri<br />
oblikovani predmeti, ki so tu predstavljeni, so utonili v pozabo, toda<br />
veËina jih je, s prekinitvami ali brez, preživela na tržišËu in so še vedno v<br />
proizvodnji. Ti izdelki so postali ikone sodobnega oblikovanja.<br />
Na razstavi je predstavljenih šest arhitekturnih del: Bellevuejski okoliš<br />
(1932 _ 1937), šola v Munkegardu (1957), mestna hiša v Rodovreju (1956),<br />
SAS Hotel Royal (1960), kolegij svete Katarine (VB) (1964) in Danska<br />
narodna banka (1971 _ 1978).<br />
Genialni duh Arneja Jacobsena je moËno vplival na razvoj danskega<br />
oblikovanja in arhitekture že za njegovega življenja, se pravi veË kot<br />
petdeset let prejšnjega stoletja in še dolgo po njegovi smrti. Njegove sledi<br />
je najti povsod okrog nas tako v arhitekturi, s katero se sreËujemo na ulicah<br />
in v predmetih, ki jih uporabljamo vsak dan in v njih uživamo. Jacobsen je<br />
neprestano delal, pri tem pa ni nikoli odstopal od visokih meril kakovosti<br />
ustvarjenega, kar je eden od razlogov za njegovo produktivnost. Z relativno<br />
majhno naËrtovalsko skupino se mu je posreËilo napraviti vse od velikih<br />
kompleksnih zgradb do drobnih predmetov. Prizadeval si je za dosledno<br />
izvedbo vseh podrobnosti arhitekturnih projektov. Od samega zaËetka je<br />
imel svoje zamisli pogostoma zelo odloËno zastavljene, a kljub temu odprte<br />
vse dotlej, dokler niso njegovi sodelavci izrisali še zadnjega detajla na<br />
naËrtih.<br />
Razstavo je pripravil Danski center za oblikovanje za Danski sekretariat za<br />
mednarodne kulturne stike v sodelovanju z Danskim centrom za arhitekturo.<br />
Pri snovanju koncepta razstave sta sodelovala poznavalca Jacobsenovega<br />
dela Carsten Thau in Kjeld Vindum.<br />
The exhibition focuses on six major projects of the Danish architect and<br />
designer Arne Jacobsen. These projects are embedded in a mosaic of<br />
his design classics associated with those buildings. Some of the design<br />
objects on display have slipped into oblivion, but most have survived in the<br />
marketplace, with or without interruption, and are still in production. These<br />
are the products that have become design icons.<br />
The exhibition presents six architectural works: the Bellevue area (1932 _ 1937),<br />
the Munkegard School (1957), the Rodovre Town Hall (1956), the SAS<br />
Royal Hotel (1960), St. Catherine’s College (UK) (1964) and the Danish<br />
National Bank (1971 _ 1978).<br />
Arne Jacobsen’s genius strongly influenced the development of Danish<br />
design and architecture for more than fifty years of the past century<br />
– during his lifetime, and long after his death. The traces are all around<br />
us today: from the architecture we pass by in the street, to the objects we<br />
use and enjoy every day. Jacobsen worked almost constantly and despite<br />
his high productivity he never compromised the quality of his work. With<br />
a relatively small team of designers, Jacobsen mastered the span of<br />
products from large, complex buildings to the tiniest objects. He strove for<br />
consistency in all the details in a building project. From the very beginning<br />
of each project his ideas were often strongly set up yet remained open until<br />
his associates sketched out every last detail of a plan.<br />
The Danish Design Centre produces the exhibition for the Danish<br />
Secretariat for International Cultural Relations, with the collaboration of the<br />
Danish Centre for Architecture. The Jacobsen experts Carsten Thau and<br />
Kjeld Vindum have been involved in the creation of the exhibition concept.<br />
184
OBLIKOVALCA CHARLES IN RAY EAMES<br />
DESIGNERS CHARLES AND RAY EAMES<br />
Galerija Kresija / The Kresija Gallery<br />
Stritarjeva ulica 6, 1000 Ljubljana<br />
13. september _ 2. oktober 2004 / September 13 _ October 2, 2004<br />
Pripravil / Organized by Kubus Interier<br />
Ameriška oblikovalca Charles Eames (1907 _ 1978) in Ray Eames (1912 _ 1988)<br />
sta se ukvarjala z oblikovanjem kar se da pogumno, tvorno in razsežno.<br />
Od zaËetka štiridesetih pa do konca sedemdesetih let dvajsetega stoletja sta<br />
si z oblikovanjem in ustvarjanjem pohištva, igraË, stavb, filmov in razstav,<br />
prizadevala izboljšati družbo - ne le funkcionalno, temveË tudi intelektualno<br />
in kulturno. Njuno globoko prepriËanje, da lahko oblikovanje izdatno vpliva<br />
na kakovost Ëloveških življenj, ostaja njuna najpomembnejša dedišËina.<br />
Namen razstave je predstaviti njune rešitve in odgovore na izzive, ki sta<br />
si jih pogosto postavljala kar sama: kako proizvesti dosegljivo, pa vendar<br />
visoko kvalitetno pohištvo; kako graditi ekonomiËne, pa vendar dobro<br />
oblikovane prostore za življenje in delo; kako pomagati ljudem, da bodo<br />
spoznali lepoto v vsakodnevnih stvareh; kako narediti osnovna znanstvena<br />
naËela razumljiva vsakomur.<br />
Dejstvo, da sta uspela stvari oblikovati tako, da brezhibno služijo svojemu<br />
namenu in hkrati izražajo eleganco, duhovitost in lepoto, ju uvršËa med<br />
osrednje oblikovalske osebnosti dvajsetega stoletja.<br />
Povod za razstavo je oživitev in ponovna proizvodnja znamenitega in<br />
pogosto posnemanega plastiËnega naslanjaËa (Eames Plastic Armchair),<br />
oblikovanega leta 1950.<br />
Razstavo je Kubus Interier pripravil v sodelovanju z ustanovo Vitra Design<br />
Museum iz NemËije, kjer hranijo velik del oblikovalske zapušËine zakoncev<br />
Eames, ter podjetjem Vitra iz ©vice, ki je nosilec avtorskih pravic za<br />
izdelavo njunega pohištva v Evropi.<br />
Ula Vehovar Kenda<br />
Opus of the American designers Charles Eames (1907 _ 1978) and Ray<br />
Eames (1912 _ 1988) is characterised by creativity, courage and diversity.<br />
From the early 40s until the end of the 70s, they designed and created<br />
furniture, toys, buildings, movies and expositions, striving to use a design as<br />
a tool to improve the society, not only from the functional point of view but<br />
also from the intellectual and cultural ones. Their strong belief that design<br />
is an important tool to change the quality of human lives remains their most<br />
signifi cant heritage.<br />
The purpose of the exposition is to point out their solutions and answers to<br />
challenges often raised by themselves, like how to produce affordable, yet<br />
high quality furniture; how to build economical, yet well designed dwellings<br />
to live and work in; how to help people perceive beauty in everyday objects;<br />
how to make scientifi c principles understandable to everyone.<br />
The fact that they managed to design objects which impeccably serve their<br />
purpose while shining elegance, ingenuity and beauty, have ensured them a<br />
position among the central 20 th century designers.<br />
The reason for the exposition is a newly introduced production of a famous<br />
and often imitated Eames Plastic Chair, originally designed in 1950.<br />
The exposition is prepared in collaboration with the German Vitra Design<br />
Museum, the caretakers of a vast share of the Eames design heritage, and<br />
the Vitra company from Switzerland, the owners of the copyrights of their<br />
furniture manufacturing in Europe.<br />
Ula Vehovar Kenda<br />
185
RAZSTAVA IN PREDSTAVITEV KNJIGE »ZANOTTA DESIGN FOR<br />
PASSION« ob 50 letnici podjetja Zanotta<br />
EXPOSITION AND PROMOTION OF THE BOOK “ZANOTTA DESIGN<br />
FOR PASSION” at Zanotta Company’s 50 th Anniversary<br />
Orion Intertrade d.o.o.<br />
Celovška 149b, 1000 Ljubljana<br />
14. _ 19. september 2004 / September 14 _ 19, 2004<br />
Pripravil / Organized by Orion Intertrade d.o.o.<br />
Leta 1954 je Aurelio Zanotta ustanovil podjetje, ki je danes eno vodilnih<br />
proizvajalcev vrhunsko oblikovanega pohištva. Visoka kakovost izdelkov in<br />
sodelovanje z oblikovalci kot so A. Castiglioni, Enzo Mari, Andrea Branzi,<br />
Ross Lovegrove, Roberto Barbieri, so dajali ritem razvoju Zanotte. Njihovi<br />
proizvodi so razstavljeni v vseh pomembnih galerijah in muzejih sodobne<br />
umetnosti, od Metropolitan muzeja v New Yorku, Centra George Pompidu<br />
v Parizu do Vitrinega muzeja oblikovanja v Weilu. V sedemdesetih in<br />
osemdesetih so sodelovali na Bienalu industrijskega oblikovanja v Ljubljani<br />
in leta 1973, 1975, 1977, 1981 in 1998 prejeli priznanja za mizi Poker in<br />
Marcuso, stol Cassia, fotelj Sacco in obešalnik Sciangai.<br />
Letos praznuje Zanotta petdeset letnico in ob tem so izdali knjigo<br />
»Zanotta design for passion«, ki jo je napisala Raffaella Poletti. Slovenska<br />
predstavitev knjige bo na predveËer otvoritve BIO 19 v salonu Orion<br />
Intertrade d.o.o. na Celovški 149b v Ljubljani. V okviru predstavitve bodo<br />
razstavljeni nekateri najuspešnejši Zanottini proizvodi.<br />
In 1954 Aurelio Zanotta founded a company, now one of the leading top<br />
design furniture producers. High quality products and fruitful collaboration<br />
with designers like A. Castiglioni, Enzo Mari, Andrea Branzi, Ross Lovegrove,<br />
and Roberto Barbieri contributed to Zanotta’s successful development. Their<br />
products found their place in every famous gallery and modern art museum,<br />
from the Metropolitan Museum in New York, the Georges Pompidou Centre<br />
in Paris to the Vitra Design Museum in Weil. In the 70s and the 80s they<br />
participated in the Biennial of Industrial Design in Ljubljana and won in 1973,<br />
1975, 1977, 1981 and 1999, several awards: for the Poker and Marcuso<br />
tables, the Cassia chair, the Sacco armchair and the Sciangai clothes stand.<br />
This year Zanotta company celebrates its 50 th anniversary and for the<br />
occasion Raffaella Poletti’s published “Zanotta Design for Passion”. Its first<br />
presentation in Slovenia will be in the Orion Intertrade showroom, Celovška<br />
149b, in Ljubljana, the evening before the Biennial opening. Some of the<br />
Zanotta’s masterpieces will be exposed.<br />
186
FAST FORWARD DESIGNBOX, Avstrija<br />
FAST FORWARD DESIGNBOX, Austria<br />
Pred gradom Fužine / In front of the Fužine Castle<br />
Pot na Fužine 2, 1000 Ljubljana<br />
15. _ 19. september 2004 / September 15 _ 19, 2004<br />
Pripravil / Organized by Design Austria, Avstrijska oblikovalska Fundacija<br />
in πtajerska agencija za promocijo gospodarstva, Avstrija / Austrian Design<br />
Foundation and the Styrian Business Promotion Agency, Austria<br />
Fast Forward Designbox je potujoËa razstava in dogodek industrijskega<br />
oblikovanja, ki prikazuje razvoj izdelkov. Predstavlja najboljše primere<br />
oblikovanja na Koroškem in v sosednjih deželah in kaže podjetjem, kako<br />
dobro oblikovanje lahko poveËa njihovo vrednost, da ostanejo konkurenËna na<br />
mednarodnih tržišËih. Bolj kot promocija avstrijskega oblikovanja je pomembna<br />
kot uËinkovita akcija za dviganje splošne zavesti o oblikovanju. Ni zanemarljivo,<br />
da se rožnati kontejner z elektronsko vsebino pojavlja na dobro obiskanih<br />
toËkah kot so sejmi in pomembnejša predstavitvena stiËišËa. V Fast Forward<br />
Designbox je z oblikovanimi izdelki iz Gorenja vkljuËena tudi Slovenija.<br />
Fast Forward Designbox is a travelling exposition, an industrial design public<br />
event presenting a particular product development. It is a demonstration<br />
of the best design practices in Carinthia and in the neighbouring countries,<br />
trying to make companies aware of how a good design can enhance their<br />
recognition and consequently their competitive advantage in the international<br />
markets. It is far more important as an efficient action to raise general<br />
awareness of design than as a promotion of the Austrian design. It is to<br />
mention that a pink container, storing electronic devices, is usually situated<br />
at well frequented spots, such as fairs or other significant exhibition points.<br />
Slovenia participates in the Fast Forward Design box project with the<br />
products manufactured by Gorenje company.<br />
187
FACE TO FACE, Genova 2001<br />
Galerija ART.SI / The ART.SI Gallery<br />
Židovska 5, 1000 Ljubljana<br />
16. september _ 15. oktober 2004 / September 16 _ October 15, 2004<br />
Pripravil / Organized by ART.SI<br />
Serija raËunalniških »printov« razliËnih dimenzij je nastala kot posledica<br />
spremljanja internetnih strani anti-globalistiËnih organizacij med pripravo in<br />
potekom demonstracij ob sestanku G-8 v Genovi. V grafiËno-oblikovalskem<br />
studiu Armanda/Geisler na Dunaju, so se osredotoËili na dve osnovni<br />
ikonografski veji: na portrete demonstrantov, udeležencev manifestacij in<br />
na zemljevide mest z vrisanimi predeli prepovedi gibanja. Oboji so nastajali<br />
sproti ob spremembah med gibanjem množic in bili v realnem Ëasu poslani<br />
na medmrežje.<br />
Grafi Ëno-oblikovalski izdelki prenašajo uliËno dogajanje in atmosfero<br />
dogodkov v galerijski prostor. Cilj »urbanih portretov« ni produkcija<br />
politiËnih plakatov, Ëeprav se temu soznaËju ne moremo odreËi, temveË gre<br />
predvsem za zvestobo grafiËnemu izrazoslovju. ZaËetna in zakljuËna toËka<br />
tega projekta sta skriti v orodju, v programski opremi, ki omogoËa obdelavo<br />
in pošiljanje slik.<br />
A series of various dimensions computer prints is a result of browsing the<br />
anti-globalist homepages at the time when they were organizing and<br />
eventually carried out demonstrations during the Genoa G-8 Summit. The<br />
graphic design studio Armanda/Geisler from Vienna focused on two basic<br />
iconography lines: portraits of protesters in demonstrations and maps with<br />
the marked no-go areas. The snapshots were taken concurrently in the<br />
middle of the crowds moving dynamically and transmitted to the Internet in<br />
real-time.<br />
Graphic design products thus transfer the street actions and the atmosphere<br />
to the gallery. These “urban portraits” do not aim to serve as political<br />
campaign posters _ although in a way they might be, but the emphasis is<br />
particularly placed on the authentic graphic expression. The initial and the<br />
fi nal point of the project are hidden in tools and computer software which<br />
enable the material editing and transfer of shots.<br />
188
RAZSTAVA AVDIO IN VIZUALNIH EKSPONATOV MUZEJSKE ZBIRKE<br />
RTV SLOVENIJA<br />
EXHIBITION OF THE AUDIO AND VISUAL MUSEUM COLLECTION OF<br />
THE RTV SLOVENIA<br />
Merkur, BTC City, Ljubljana<br />
16. september _ 15. oktober 2004 / September 16 _ October 15, 2004<br />
Pripravil / Organized by RTV Slovenija<br />
Muzejska zbirka RTV Slovenija je bila ustanovljena leta 1983 z željo, da bi<br />
v kar najbolj neokrnjeni obliki ohranili številne tehniËne predmete, ki jih je<br />
zaradi hitrega tehnološkega razvoja »povozil« Ëas, a so jih generacije številnih<br />
radijskih in televizijskih ustvarjalcev uporabljale pri svojem delu.<br />
VeË kot 200 izvirnih eksponatov Muzejske zbirke RTV Slovenija priËa o<br />
dolgoletnem delu na nacionalnem radiu in televiziji in predstavlja neprecenljivo<br />
tehniËno kulturno dedišËino. V muzejski zbirki so shranjeni številni mikrofoni,<br />
snemalne naprave, radijski in televizijski sprejemniki, kamere, mešalne mize in<br />
drugi tehniËni predmeti iz razliËnih obdobij radia in televizije.<br />
Sabrina PovšiË ©timec<br />
The Museum collection of the national radio and television company (RTV<br />
Slovenija) was founded in 1983. Its aim is to preserve as intact as possible<br />
a range of obsolete technical objects once used by numerous radio and TV<br />
technicians.<br />
The museum collection of more than 200 original exhibits witnesses the history<br />
of the national radio and television company and presents an invaluable<br />
technical culture heritage. The collection encompass a wide range of items like<br />
microphones, cameras, radio and television receivers, mixing panels and other<br />
technical objects from different periods.<br />
Sabrina PovšiË ©timec<br />
189
ALPINA. Oblikovanje 1969 _ 2004<br />
ALPINA. Design 1969 _ 2004<br />
Galerija Doma gospodarstva / The »Dom gospodarstva« Gallery<br />
DimiËeva 13, 1000 Ljubljana<br />
17. september _ 15. oktober 2004 / September 17 _ October 15, 2004<br />
Pripravili / Organized by Sekretariat BIO, Alpina in IDCO pri GZS / BIO<br />
Secretariat, Alpina and IDCO at GZS<br />
Oblikovalec, tržni strokovnjak in konstruktor zasnujejo skupaj idejni koncept<br />
smuËarskega Ëevlja. Po oblikovalËevi skici in trodimenzionalnem modelu<br />
modelarji odlijejo poskusne odlitke iz silikona, ki ga digitalizirajo in na podlagi<br />
tega izdelajo model za orodje. Podoben postopek zahteva razvoj tekaškega<br />
Ëevlja, le da vkljuËuje še model iz mehkih materialov, delo modelirjev. V Alpini<br />
oblikovalec ni zgolj stilist temveË osnoven enakopraven Ëlan razvojnega tima.<br />
Povod za Alpinino razstavo smuËarskih Ëevljev in Ëevljev za tek na smuËeh je<br />
zlata medalja BIO 18 za Ëevelj Alpina Racing CL oblikovalcev Jureta Miklavca<br />
in Jana JagodiËa. Z vkljuËevanjem industrijskih in grafi Ënih oblikovalcev v<br />
proizvodni proces se Alpina lahko prišteva med podjetja, ki se zavedajo<br />
pomembnosti oblikovanja.<br />
Vsebina razstave temelji na izboru smuËarskih Ëevljev in Ëevljev za tek na<br />
smuËeh, ki so pomembno zaznamovali razvoj do nagrajenega para; vkljuËeni<br />
pa bodo tudi najnovejši modeli.<br />
©pela ©ubic<br />
A designer, a marketing expert and a constructor team are up when<br />
developing a conception of a ski boot. Based on the designers’ scheme<br />
and a three-dimensional model, testing silicon casts are made, digitalised<br />
and then tool moulds are made. A similar procedure is followed in crosscountry<br />
ski boots development but with an additional soft material mould<br />
added. In Alpina company a designer is not merely the one who shapes the<br />
object, but is an equivalent development team member.<br />
The reason for the exposition is the gold medal in BIO18 for the Alpina<br />
Racing CL model designed by Jure Miklavc and Jan JagodiË. By integrating<br />
the industrial and graphic designers into a production process , we can say<br />
that Alpina is one of the design aware companies.<br />
The exposition is based on a selection of ski boots and cross-country ski<br />
boot models that significantly paved further development to the winning<br />
model. The exposition will include the latest models as well.<br />
©pela ©ubic<br />
190
MAGIS: razstava italijanskega oblikovanja<br />
MAGIS: The Italian Design Promotion<br />
Salon Decor & Design / Decor & Design Showroom<br />
Rive Gauche, Breg 12, 1000 Ljubljana<br />
18. september _ 15. oktober 2004 / September 18 _ October 15, 2004<br />
Pripravil / Organized by Decor & Design d.o.o.<br />
Magis je statusni simbol tako za oblikovalce kot proizvodnjo že ves Ëas<br />
odkar je italijansko oblikovanje vodilno v vseh revijah, salonih in razstavah<br />
po svetu. Decor & Design bo predstavil klasiËne proizvode Magis ter novosti<br />
prikazane na milanskem sejmu.<br />
Magis je z nastopi na najbolj prestižnih razstavah v svetu promoviral izdelke<br />
najboljših oblikovalcev kot so Enzo Mari, Stefano Giovannoni, Toshyjuki<br />
Kita, Jasper Morrison, Richard Sapper in v zadnjem Ëasu še Karim Rashid,<br />
Marc Newson in drugi, ki sodijo v sam vrh svetovnega oblikovanja. PeËat, ki<br />
ga svojim proizvodom daje Magis je vedno inovativen, popoln in tako izrazit,<br />
da ga ni mogoËe prezreti.<br />
Decor & Design je Magis in njegovo usmeritev spoznal že davnega leta<br />
1996 ter ga uvedel v svojo ponudbo. Od takrat pa do danes neprestano<br />
spremlja in vzpodbuja oblikovalske napore ter goji prijateljske odnose z<br />
ljudmi, ki vodijo Magis. Ta prijateljski odnos je Magis prepriËal, da tudi<br />
majhno mesto kot je Ljubljana lahko uspešno postavi oblikovanje ob bok<br />
predstavitvam v najbolj prestižnih prestolnicah.<br />
Damjana Marion<br />
Magis is a status symbol for designers as well as producers ever since the<br />
Italian designers took over the leading role in the magazines, showrooms,<br />
and design expositions all over the world. Decor&Design will be exposing<br />
the traditional Magis products and novelties, displayed at the Milan fair.<br />
Participating in the world most prestigious expositions, Magis was promoting<br />
creations of the world top designers like Enzo Mari, Stefano Giovannoni,<br />
Toshyjuki Kita, Jasper Morrison, Richard Sapper and most recently Karim<br />
Rashid, Marc Newson and others. A characteristic feature of Magis<br />
creations is that they are always innovative, perfect and distinctive, so they<br />
cannot be ignored.<br />
Decor & Design started to appreciate the Magis company and its visions<br />
already in 1996 and included their products in its own offer. From then on,<br />
Decor & Design has been faithfully following and supporting their design<br />
efforts and has nurtured friendly relationship with the Magis management.<br />
Thanks to personal relations, the Magis management became aware that<br />
design achievements of such a small town like Ljubljana can match those of<br />
the most prestigious capitals of the world.<br />
Damjana Marion<br />
191
SODOBNI NAKIT V SLOVENIJI: okrogla miza in pregledna razstava<br />
SLOVENIAN MODERN JEWELLERY: round table and exhibition<br />
Ministrstvo za kulturo / The Ministry of Culture<br />
Maistrova 10, 1000 Ljubljana,<br />
Avla Ministrstva za kulturo / The Hall at the Ministry of Culture<br />
21. septembra 2004 ob 10.00 / September 21, 2004 at 10.00<br />
Pripravilo / Organized by Društvo oblikovanja nakita Slovenije (DONS) s<br />
pomoËjo Ministrstva za kulturo / The Jewellery Design Society supported by<br />
the Ministry of Culture<br />
Društvo oblikovanja nakita želi seznaniti strokovno in širšo javnost tako<br />
s svojim delovanjem kot s problematiko sodobnega nakita. V zadnjih<br />
letih se je oblikovanje nakita pri nas precej razširilo. Zanj je vse veË<br />
zanimanja. V današnji poplavi podobnih izdelkov je unikatni, umetniški<br />
nakit vse bolj iskan. Kaj nam Slovenija sploh nudi? Kje smo v primerjavi<br />
z drugimi evropskimi državami? Se naše oblikovanje lahko primerja s<br />
tujimi oblikovalskimi dosežki? Radi bi se povezali z drugimi podobnimi<br />
oblikovalci in institucijami, tujimi galerijami in šolami itn.; kajti le tako se<br />
bo odnos do oblikovanja lahko razvijal in izboljševal tudi pri nas, podobno<br />
kot to poznajo v drugih zahodnoevropskih državah. Nastali nakit bo tako<br />
predstavljal izpostavljeno vrednost, zavestno prisotno v našem razumevanju<br />
oblikovanja, s katero se bo naša država lahko predstavljala tudi v svetu.<br />
Dogodek se bo priËel z razstavo, na kateri se bo vsak Ëlan DONS<br />
predstavil s svojim konceptom; razstava ni pregledna, ampak se ukvarja<br />
z raziskovanjem položaja posameznika v družbi. Vsi razstavljalci se bodo<br />
udeležili tudi okrogle mize, katere teme bodo: identiteta slovenskega nakita<br />
ali prepoznavnost doma in v tujini; kako iz sedanjega stanja narediti korak<br />
naprej, predvsem na podroËju izobraževanja, pridobivanja znanja in veËjega<br />
razumevanja takšnega oblikovanja; kako do informacij iz tujine; primerjave<br />
Slovenije s sosednjo Avstrijo (Peter Skubic) na tem podroËju; kako Velika<br />
Britanija podpira svoje oblikovalce nakita.<br />
Petra Bole<br />
The Jewellery Design Society would like to inform the professionals and the<br />
general public about their activities and problems related to modern jewellery<br />
design. In the past few years we have observed an increased interest in<br />
jewellery design with more and more people involved. As the supply of<br />
similar jewellery flooded the markets, the demand for one-off handicraft<br />
is growing. What about the Slovenian market? What is our position in<br />
comparison with other European countries? Can our achievements be<br />
compared to the foreign ones? We would like to find connections with<br />
similar designers, institutes, galleries and schools, as this would be the<br />
only way to see the attitude to jewellery design develop and improve in the<br />
country, which is standard practice in other European countries. Jewellery<br />
will thus become an object of value - consciously inherent in our design<br />
comprehension - and would promote Slovenia in the outside world.<br />
At the beginning of the exposition each DONS representative will present<br />
his/her concept. This is not an overview exposition, but an exploration<br />
of the individual’s position within the society. All the exponents will<br />
participate in the round table to discuss the following: the identity of the<br />
Slovenian jewellery and its recognition at home and abroad; how to make<br />
a step forward especially in education, acquiring knowledge and better<br />
understanding of the design; how to get information from abroad; Slovenia<br />
in comparison with its neighbour Austria (Peter Skubic); how the United<br />
Kingdom supports its jewellery designers.<br />
Petra Bole<br />
192
RAZSTAVA SLOVENSKIH OBLIKOVALCEV NAKITA<br />
SLOVENIAN JEWELLERY DESIGNERS EXHIBITION<br />
Zlatarstvo Jure Kodre / Kodre Jewellery,<br />
Cankarjevo nabrežje 27, 1000 Ljubljana<br />
23. september _ 5. oktober 2004 / September 23 _ October 5, 2004<br />
Pripravilo / Organized by Zlatarstvo Kodre<br />
Oblikovanje in Zlatarstvo Kodre sta tesno povezana že skoraj pol stoletja.<br />
Z oblikovanjem je priËela Jelka Kodre, ki je dokonËala študij na dunajski<br />
Akademiji za uporabno umetnost, srebrarska in zlatarska smer; kasneje se ji<br />
je v delavnici pridružil sin Jure. Tradicijo oblikovanja nakita v svoji prodajalni<br />
so pred tremi leti še popestrili, saj so ponudili prostor in sodelovanje<br />
slovenskim oblikovalcem nakita. Osemnajst oblikovalcev, ki sodelujejo<br />
na razstavi, se med seboj razlikujejo po ustvarjanju v razliËnih tehnikah in<br />
materialih. Med njimi jih je veliko že uveljavljenih, nekaj pa se jih predstavlja<br />
prviË. Predstavili se bodo: Tanja Zorn Grželj, Huberto ©iroka, Thomas<br />
Sodja, Olga Košica, Radmila Gorjanc, Nataša Grandovec, Valentina<br />
Avsec, Romi Bukovec, Petra Bole, Anda KlanËiË, Sandra KocjanËiË, Žare<br />
OgnjenoviÊ, Christoph Steidl-Porenta, Doroteja Zupan, Jozef VršËaj, Mojca<br />
Goltes, Jure Kodre in Jelka Kodre.<br />
Maja Kodre<br />
Design and goldsmith Zlatarstvo Kodre have been closely linked for almost<br />
half a century. Jelka Kodre, who graduated from the Vienna Academy<br />
of Applied Arts in gold and silver craftsmanship, started designing the<br />
jewellery. Her son Jure subsequently followed her mother’s footsteps and<br />
joined her business. Their tradition got fresh impulses when, three years<br />
ago, they started to collaborate with other Slovenian jewellery designers<br />
and gave them space at their disposal to work. Eighteen designers who<br />
participate in the exhibition use different techniques and materials in<br />
jewellery design. Some of them are already well known designers; others<br />
are new in this trade. These are: Tanja Zorn Grželj, Huberto ©iroka, Thomas<br />
Sodja, Olga Košica, Radmila Gorjanc, Nataša Grandovec, Valentina<br />
Avsec, Romi Bukovec, Petra Bole, Anda KlanËiË, Sandra KocjanËiË, Žare<br />
OgnjenoviÊ, Christoph Steidl-Porenta, Doroteja Zupan, Jozef VršËaj, Mojca<br />
Goltes, Jure Kodre and Jelka Kodre.<br />
Maja Kodre<br />
193
MARJAN ŽITNIK, industrijski oblikovalec<br />
MARJAN ŽITNIK, Industrial Designer<br />
Okrogli stolp Loškega muzeja / The Round Tower of the Museum in ©kofja Loka,<br />
Grajska pot 13, 4220 ©kofja Loka<br />
30. september _ 30. oktober 2004 / September 30 _ October 30, 2004<br />
Pripravil / Organized by Marjan Žitnik<br />
Marjan Žitnik _ oblikovalec. Oblikovalec v pravem pomenu te besede. Je<br />
predvsem tudi Ëlovek, ki je neizmerno predan svojemu delu, vanj verjame in<br />
je do svojega dela popolnoma iskren. Z delom je usmerjen k boljšemu jutri,<br />
k stvarem, ki bi jih ljudje razumeli, dobro uporabljali in jih enostavno imeli<br />
radi.<br />
Je pripadnik srednje generacije slovenskih oblikovalcev in je jasno zaËrtal<br />
svojo pot in oblikoval svoj opus v okviru slovenskega oblikovalskega<br />
prostora. Je klasiËni industrijski oblikovalec, grafiËni oblikovalec, inovator,<br />
konceptualni oblikovalec ... Kljub težkim Ëasom za slovensko oblikovanje v<br />
Ëasu preoblikovanja slovenskega prostora je z dialogom in strpnostjo uspel<br />
prisluhniti najrazliËnejšim naroËnikom, s katerimi je skupaj z roko v roki<br />
ustvaril neverjetno veliko število produktov, tistih tihih in tistih glasnejših.<br />
Dobro poznavanje tehnologije in potreb naroËnika ter širok spekter<br />
oblikovalskih tem se kažejo tudi v projektih, na katerih deluje danes: od<br />
visoko tehnoloških predmetov v zdravstvu, kjer velikokrat pozabimo,<br />
kako pomembna je tudi oblikovalËeva roka do vsakodnevnih uporabnih<br />
predmetov, v katerih se spoËijemo, popijemo kavo iz lepo oblikovane<br />
skodelice in na katere položimo dobro knjigo atraktivnega ovitka.<br />
Marjan Žitnik _ oblikovalec, katerega zamisli so sprejete in izvedljive,<br />
vsakodnevno uporabne, praktiËne in polne ustvarjalnega duha in silne<br />
oblikovalske energije njegovih eksponatov.<br />
Gašper Demšar<br />
Marjan Žitnik is a designer in a true meaning of the word. Above all, he is a<br />
man who is infinitely devoted to his work, he believes in it and is completely<br />
honest with it. His work aspires to better future, to things people would<br />
understand, use well and simply like.<br />
He belongs to the mid-generation of the Slovenian designers. He has clearly<br />
determined his route and designed his opus within the Slovenian design<br />
milieu. He is a classical industrial designer, a graphic designer, an innovator,<br />
and a conceptual designer. Despite hard time the Slovenian design had to<br />
go through during the transformation period, a fruitful dialogue and tolerance<br />
helped him to listen to various clients with whom he jointly created an<br />
incredible number of products, the quieter ones and those more noisy ones.<br />
Good command of technology, knowing what the needs of his clients are and<br />
a vast range of design themes can be seen in the projects he is currently<br />
working on: from highly technological objects in health care where we often<br />
forget how significant a good design of everyday objects is and which can<br />
soothe us, we can have coffee from a beautifully designed cup, or lay a<br />
good book in an attractive jacket. Marjan Žitnik – a designer whose ideas<br />
are accepted and manageable, useful in everyday life, practical and full of<br />
creative spirit and strong design energy in his exhibits.<br />
Gašper Demšar<br />
194
PREDSTAVITEV PROJEKTA MONSART IN PREGLEDNA RAZSTAVA<br />
KATALOGOV BIO<br />
PRESENTATION OF THE MONSART PROJECT AND THE BIO<br />
CATALOGUES EXHIBITION<br />
Hotel Mons - hotel in kongresni center Ljubljana / The Hotel Mons - Hotel<br />
and the Ljubljana Congress Centre<br />
Pot za Brdom 55, 1000 Ljubljana<br />
7. oktober 2004, od 9.00 do 12.00 / October 7, 2004, from 9.00 to 12.00<br />
Pripravila / Organized by Hotel Mons in Sekretariat BIO / The Hotel Mons<br />
and BIO Secretariat<br />
Projekt MONSART se je rodil z idejo in željo po sodelovanju novega Hotela<br />
Mons _ Hotela in kongresnega centra Ljubljana s Fakulteto za arhitekturo<br />
v Ljubljani na podroËju grafiËne opreme hotelskih sob. V sklopu študentske<br />
projektne delavnice je bilo pripravljenih sedem izvirnih kolekcij. Vsaka<br />
soba je tako opremljena z unikatno avtorsko grafiko na temo prostora,<br />
arhitekture in oblikovanja. Vse grafike so predstavljene tudi v katalogu, ki je<br />
gostom na voljo na recepciji in v sobah. Glede na pozitivne odzive je sam<br />
koncept in s tem tudi ime MONSART postal zanimiv za nadaljnje aktivnosti<br />
kompleksa Mons, ki so in bodo povezane z umetnostjo, oblikovanjem in<br />
arhitekturo. MONSART tako prerašËa v posebno dejavnost (program) v<br />
okviru delovanja Hotela Mons - hotela in kongresnega centra Ljubljana, ki<br />
se bo izražal skozi prireditve, predavanja, razstave in podobne aktivnosti.<br />
Kot takšen v slovenski prostor vpeljuje novost in se konceptualno postavlja<br />
ob bok podobnim projektom oblikovalskih hotelov v Evropi in svetu.<br />
Razstav bo predstavila pregled katalogov Bienala industrijskega<br />
oblikovanja, ki izhajajo ob razstavah BIO (z izjemo tretjega) že štirideset let<br />
in so kvaliteten dokumentaren pregled oblikovalskih dosežkov, ki slovenska<br />
dela umešËa v mednarodni kontekst.<br />
S pregledno razstavo katalogov, ki jih Sekretariat BIO poklanja knjižnici<br />
hotela Mons, želimo goste seznaniti s tradicijo zavesti o oblikovanju v<br />
Sloveniji.<br />
The MONSART Project was conceived with the aim and hope for a<br />
cooperation of the new hotel Mons - Hotel and the Ljubljana Congress<br />
Centre with the Faculty of Architecture in Ljubljana. The field of cooperation<br />
are the graphics in the hotel rooms. Seven original collections were<br />
prepared in the students’ project workshops. Every room is equipped with<br />
a unique copyright graphics with a theme on the space, architecture and<br />
design. All graphics are included in the catalogue available to all guests<br />
at reception and in their rooms. Following a very positive response, the<br />
concept itself, and consequently the name MONSART, have become<br />
interesting for further activities of the Mons complex, all related to art,<br />
design and architecture. MONSART is evolving into a special activity<br />
(programme) within the activities of the hotel Mons and the Ljubljana<br />
Congress Centre and will be reflected in the future events, lectures,<br />
exhibitions and similar activities. As such, it introduces a novelty in<br />
Slovenia and is conceptually equal to similar projects of design hotels in<br />
Europe and in the world.<br />
The exhibition will present a catalogue overview of the Biennial of industrial<br />
design, regularly issued for the occasion of BIO exhibitions (with the<br />
exception of the third one) already for 40 years and represent a quality<br />
documentary overview of all achievements which place Slovenian products<br />
in the international context.<br />
With the overview exhibition of the catalogues which the BIO Secretariat<br />
is giving to the Mons hotel library we wish to acquaint the guests with the<br />
traditional Slovenian design awareness.<br />
195
PREDAVANJE PROF. SA©E MAECHTIGA: Industrijsko oblikovanje -<br />
kako do konkurenËnosti na mednarodnem tržišËu<br />
PROFESSOR SA©A MAECHTIG’S PRESENTATION: Industrial Design-<br />
How to Compete in the International Market<br />
5. ©tudentska arena / 5th Student Forum<br />
Gospodarsko razstavišËe / the Ljubljana Fair, Ljubljana<br />
12. _ 14. oktober 2004 / October 12 _ 14, 2004<br />
12. oktobra ob 13. uri v predavalnici Voda / October 12, at 13.00 in the<br />
Voda lecture-room<br />
Pripravila / Organized by Zveza ©KIS in / and ©OU Ljubljana<br />
Izvajalec / Performer Mladinsko društvo Afna / Youth Society Afna<br />
Saša J. Maechtig, priznan slovenski oblikovalec in arhitekt, profesor na<br />
Akademiji za likovno umetnost vas bo skušal popeljati v skrivnostni svet<br />
industrijskega oblikovanja. Doma in v šoli, pri športu, zabavi, delu, celo pri<br />
poËitku smo v stiku z razliËnimi predmeti in pripomoËki. Ne glede na to, ali<br />
jih uporabljamo ali zgolj opazujemo, so izdelani na industrijski naËin; od<br />
najljubše ogrlice za v gledališËe, do predalnika, ki hrani vse naše skrivnosti.<br />
Industrijsko oblikovanje je postalo del našega vsakdana, že nekaj Ëasa pa<br />
se kaže nepogrešljivo tudi v poslovnem svetu, kjer nam ponuja vedno veË<br />
možnosti in priložnosti, Ëe jih le znamo izkoristiti!<br />
V predavanju boste izvedeli zakaj je industrijsko oblikovanje tako zelo<br />
pomembno, kje vse ga uporabljamo in v kolikšni meri je razvito v Sloveniji.<br />
Predstavljen bo potek ustvarjanja blagovne znamke ter vloga inovacij in<br />
razvojno - raziskovalnih procesov v boju s konkurenco.<br />
Predavanje bo del sklopa izobraževalnih dogodkov na letošnji ©tudentski<br />
areni, ki bo svoja vrata odprla že petiË zapored in veË kot 24 000<br />
obiskovalcem ponovno ponudila pestro dogajanje, z mnogimi zanimivimi<br />
dogodki in številnimi znanimi gosti. Na prireditvi bo poleg mnogih<br />
izobraževalnih dogodkov, ki jih pripravljamo v sodelovanju z domaËimi<br />
in tujimi strokovnjaki, potekala tudi razstava, na kateri se bo predstavilo<br />
veË kot 200 domaËih in tujih razstavljavcev. Celotni program razstave in<br />
izobraževanja pa bo dodatno popestren s številnimi kulturnimi, športnimi in<br />
zabavnimi dogodki. Vabljeni!<br />
Valerija Prevolšek<br />
Saša Maechtig, a renown Slovenian designer and architect, lecturer at the<br />
Academy of Fine Arts, will guide you into the mystery world of industrial<br />
design. We are in contact with various objects and utensils at home, at<br />
school, in sports, in leisure, at work and even when resting. Whether<br />
we use or just observe them, they remain industrial products, from our<br />
favourite necklace we wear for the theatre, to a chest of drawers hiding all<br />
our secrets. Industrial design has become part of our everyday life, and for<br />
some time it has been indispensable in business world, offering us more<br />
and more opportunities if only we know how to take them.<br />
The talk will inform you about the significant importance of industrial design,<br />
the possibilities for its use, and to what extent it is developed in Slovenia. It<br />
will explain how a trademark develops and how innovations, development,<br />
and research can impact the competition outcomes.<br />
The talk will be part of the educational events at this year’s 5 th Student<br />
Forum where more than 24000 visitors will be able to participate in various<br />
interesting events and meet a number of well-known personalities. Apart<br />
from various educational events, prepared in collaboration with Slovenian<br />
and foreign experts, an exhibition will be organized, where more than 200<br />
domestic and foreign authors will exhibit their works. And finally, to make it<br />
more vivid, quite many parallel cultural and sports events and entertainment<br />
will be organized. You are welcome!<br />
Valerija Prevolšek<br />
196
ARHITEKTURA - PRODUKT, KI POTREBUJE OBLIKOVANJE<br />
ARCHITECTURE - BUILDINGS TO BE DESIGNED<br />
Riko hiše d.o.o., LepovËe 23, 1310 Ribnica in ©krabËeva domaËija / Ribnica<br />
and The ©krabec estate<br />
HrovaËa 42, 1310 Ribnica<br />
15. oktober 2004 ob 17.00 in 18.00 / October 15, 2004 at 17.00 and 18.00<br />
Pripravil / Organized by Riko hiše d.o.o.<br />
17.00<br />
Hiša Riko - lesena konstrukcija v nenehnem oblikovanju<br />
The Riko House - a Timbered Construction in Permanent Design<br />
ogled proizvodnje Riko hiš / the visit of the Riko houses production<br />
LepovËe 23, 1310 Ribnica<br />
Lesene masivne bio hiše Riko se poleg naravnosti in varËnosti odlikujejo<br />
tudi po svoji izvirnosti. Vsaka hiša Riko je namreË edinstveno domovanje,<br />
prilagojeno individualnim željam, potrebam in individualnemu življenjskemu<br />
stilu. Zasnovo Riko hiše v podjetju ustvarjajo v nenehnem dialogu med<br />
arhitekti, oblikovalci prostora in naroËnikom hiše, saj želijo zadovoljiti<br />
še tako zahtevne okuse in priËakovanja. Lesena konstrukcija Riko hiše<br />
namreË omogoËa vse: od najbolj enostavnih do najbolj drznih arhitekturnih<br />
rešitev. Da hiša Riko predstavlja uresniËitev mnogih kvalitet, dokazujejo tudi<br />
pridobljena priznanja. Med njimi najbolj izstopata prvo mesto za Okoljski<br />
izdelek leta 2002 ter Certifikat o evropskem patentu. Tudi to dokazuje, da je<br />
hiša Riko izjemna priložnost za visoko stopnjo bivalne kulture. Strokovnjaki<br />
iz podjetja Riko hiše bodo svojim gostom predstavili podjetje, jih seznanili<br />
s postopkom nastajanja hiše, z uporabljenimi materiali ter z izbranimi, že<br />
uresniËenimi projekti.<br />
Ker je temeljno naËelo podjetja Riko hiše ustvariti življenjski prostor z<br />
znaËajem, ki bo uresniËeval individualne želje in priËakovanja naroËnika,<br />
spoštoval obstojeËo naravno in kulturno krajino ter upošteval vse možne<br />
danosti, ki jih nudi les kot snov, pripravlja podjetje Riko v skednju ©krabËeve<br />
domaËija tudi okroglo mizo na temo Hiša kot industrijski izdelek.<br />
procese obËutila po obeh velikih vojnah. ModernistiËna estetika je<br />
naravnost zahtevala vkljuËitev industrije v arhitekturo od prefabiciranih<br />
prvin do obsežnih montažnih gradenj. Pa vendar se zdi, da se ne 19. ne<br />
20. stoletje nista dokopala do idealne hiše kot industrijskega izdelka, ki bi<br />
se izdelovala kot denimo avtomobil. Tako se tega pomembnega vprašanja<br />
naËina Ëloveškega bivanja še vedno znova lotevajo oblikovalci in primerna<br />
industrija. Zanimiv zgled industrijske hiše iz lepljenega lesa, ki obeta dober<br />
razvoj, tako kaže v Sloveniji in svetu podjetje Riko hiše iz Ribnice. Okrogla<br />
miza osvetljuje možnosti razvoja industrijskega stanovanja in posebej<br />
industrijske individualne hiše v prihodnosti v luËi novih revolucionarnih<br />
tehnologij in vse ostrejših okoljskih meril v razvitem svetu.<br />
P. K.<br />
The development of various industrial processes in the 19 th century<br />
eventually led to the issue of a ready-made house. First in the USA where<br />
demand for a dwelling mass production emerged as a consequence of the<br />
accelerated industrial growth on the one hand, and colonization of the West<br />
to occupy vast uninhabited territories on the other. Similar demand emerged<br />
in Europe after both World Wars. Modernist aesthetics simply demanded<br />
that the industry got involved in the architecture of prefabricated elements<br />
to complex prefabricated constructions. However, it seems that neither the<br />
19 th nor the 20 th century have brought any ideal solution – a ready-made<br />
house production - similar to a car production. Over and over again the<br />
designers and producers are trying to find the answer to this important way<br />
of human living. The Riko house from Ribnica, an interesting example of<br />
a ready-made house made of glued timber, promises further development<br />
in the future in Slovenia as well as abroad. The round-table will focus<br />
on industrial design development, particularly on prospects for industrial<br />
production of individual houses, in the perspective of new revolutionary<br />
technologies and ever more rigorous ecological standards in a developed<br />
world.<br />
P. K.<br />
Polona Lovšin<br />
Distinctive characteristics of the massive wooden bio houses Riko are<br />
not only natural materials and being economical, but also being original.<br />
Each Riko house is a unique dwelling adapted to individual wishes, needs<br />
and personal lifestyle. The Riko house design is made in permanent coordination<br />
between the architect, the designer and the future owner, as<br />
the company strives to please their customers, even the most demanding<br />
ones. The Riko timber construction enables a range of designs - from very<br />
simple to the most challenging solutions. The genuine quality and efficiency<br />
of the Riko house have won several awards, among them the first prize for<br />
the “environmental product” in 2002 and the Certificate in European Patent.<br />
This is also a proof that the Riko house provides an exceptionally high<br />
level of residential culture. The Riko house company experts will introduce<br />
their company to the guests and demonstrate the construction process<br />
by using the construction materials and show them the examples of the<br />
accomplished projects.<br />
The Riko company’s basic principle is to create a dwelling which will fulfil<br />
an individual’s needs end expectations, respect nature and the culture of<br />
the country and consider all advantages of wood as a construction material.<br />
On this occasion, the company will organize a round-table in the barn at the<br />
©krabec estate with the topic “A House as an Industrial Product.”<br />
Polona Lovšin<br />
18.00<br />
Okrogla miza: hiša kot industrijski izdelek<br />
Round-table: A House as an Industrial Product<br />
v skednju ©krabËeve domaËije / in the barn at the ©krabec estate<br />
HrovaËa 42, 1310 Ribnica<br />
Z razvojem vsakovrstnih industrijskih postopkov v 19. stoletju je bilo<br />
naposled postavljeno tudi vprašanje industrijske hiše. Najprej seveda v<br />
Združenih državah Amerike, kjer se je potreba po množiËnih stanovanjih<br />
pojavila z izjemno industrijsko rastjo, po drugi strani pa zaradi potreb<br />
širjenja na Zahod in naseljevanja praznega prostora. Evropa je podobne<br />
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SLIKARSTVO PRE{ERNOVE DOBE<br />
EXAT 51<br />
50. BENE{KI BIENALE<br />
ZBIRATELJSTVO<br />
MIRKO BRATU{A<br />
MIHA MALE{<br />
ZORAN MU{I:<br />
MARJAN POGA:NIK<br />
MATTHEW BARNEY<br />
ARS ELECTRONOCA 2002<br />
IVO PRAN:I:<br />
MAX BECKMANN<br />
IRWIN<br />
25. MEDNARODNI GRAFI:NI BIENALE<br />
VLADIMIR MAKUC<br />
ZORA STAN:I:<br />
?IGA KARI?<br />
IVAN PICELJ<br />
YVONE NOUZILLE<br />
MATJA? PO:IVAV{EK<br />
BOJAN GORENEC<br />
SIMON KAJTNA<br />
intervjuji<br />
GREGA KO{AK<br />
VLADIMIR MAKUC<br />
KOSTJA GATNIK<br />
ZORAN KR?I{NIK<br />
EVGEN BAV:AR<br />
JOSIP COSTAPERARIA<br />
JEAN NOUVEL<br />
VLADIMIR {UBIC<br />
LUIGI MORETTI<br />
EDVARD RAVNIKAR<br />
ARCHIGRAM<br />
SAVIN SEVER<br />
JOHN HEJDUK<br />
OSCAR NIEMEYER<br />
JONATHAN BARNBROOK<br />
ARNE JACOBSEN<br />
LAURENT SEROUSSI<br />
18.BIO<br />
ASOBI<br />
PHILIPPE STARCK<br />
TO{O DABAC<br />
JEANLOUP SIEFF<br />
MIO VESOVI:<br />
MAN RAY<br />
TOMA? LUNDER<br />
BRASSAÏ<br />
JANEZ KALI{NIK<br />
HERBERT LIST<br />
BELA CSIKOS SESIJA<br />
IVAN POSAVAC<br />
CHRIS MARKER<br />
MATJA? KLOP:I:<br />
3-MESE:NIK<br />
O LIKOVNI UMETNOSTI,<br />
ARHITEKTURI, OBLIKOVANJU<br />
IN FOTOGRAFIJI<br />
NAPRODAJ V VSEH BOLJ{IH KNJIGARNAH IN GALERIJAH.<br />
ZA NARO:ILA IN\ALI BREZPLA:NE OGLEDNE IZVODE POKLI:ITE 01 421 01 23, PI{ITE art.si@lala.si<br />
205
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under<br />
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the<br />
products<br />
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elan<br />
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Target Group:<br />
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latest high-end<br />
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Achievement:<br />
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WWW.ELANSKIS.COM<br />
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Odprem vrata. Izstopim iz sveta,<br />
ki ga poznam.<br />
Svetloba mi postane dom.<br />
Pregrade postavim zato,<br />
da zdruæujejo.<br />
Vrata odpira in zapira le πe moË<br />
moje domiπljije.<br />
Diham prostor, æivim jutri.<br />
209<br />
Profili blagovne znamke Logo interior so avtorsko delo oblikovalskega tandema IN.DI.GO.<br />
LOGO interior je zaπËitena blagovna znamka podjetja ALU Komen.<br />
www.logointerior.com
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Foto: FotoSpring<br />
Posameznik lahko<br />
naredi en korak,<br />
450,000 jih lahko<br />
spremeni svet.<br />
www.siemens.si<br />
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