uvodnik introduction uvodnik introduction

and hidden. Every signage in the public The Gredelj zone might just as well de- space in a way creates choreography of our velop into a creative cluster, a place of thick Dan D 2013: D–Day 2013: Design movements, behavior and orientation, de- concentration of intertwined creative indus- fining the points of our interceptions and di- tries and interdisciplinary collaborations. At rections of our trajectories. Every add and the same time we have seen many examples visual sign in a space, regardless whether it all over Europe where such a space might dizajn i grad and the City is commercial or not, does not only drasti- enrich the entire city bringing life to the in- cally change the image of the city in which dustrial heritage threatened with devasta- we live but also alters our mental maps cre- tion or commercialization. D–Day 2013 re- Tekst Marko Golub Text Marko Golub ating new associative contexts related to flects about these themes but also rethinks spaces, ideas, values, living environments. design activity in that context — how does it Otkad je 2010. godine po prvi put održan u njegov utjecaj na svakodnevicu, čak i ako se Ever since it was held for the first time in 2010 Many of those activities take place on differ- It forces us to think, discuss, it provokes and correspond with the idea of public and urban, prostorima napuštenog industrijskog kom- ponekad čini diskretnim i skrivenim. Svaki at the facilities belonging to the abandoned ent instances, i.e. in the framework of dif- inspires, or irritates and manipulates. Each which social and individual interaction does pleksa Stare klaonice u Zagrebu, Dan D je oblik signalizacije u javnom prostoru kore- industrial complex called The Old Slaugh- ferent projects organized by institutions, of- product that we let in the world influences it create? How much does it contribute to our izrastao u dizajnersku manifestaciju koja ografira naše kretanje, ponašanje i orijent- terhouse in Zagreb, the D–Day has outgrown fices, university departments, galleries and our behavior and our relationship with the community’s quality of life? How does de- okuplja najbolje mlade kreativne snage iz aciju, definira točke naših susreta i smjerove into a design manifestation that gathers the associations but it is the role of the D–Day immediate environment. Each form of com- sign map a city? Hrvatske i susjednih zemalja. Međunarod- svakodnevnih putanja. Svako oglašavan- best young and creative forces from Croatia to make the network for their interrelated munication that we create and impose to the nom karakteru manifestacije pridonosi redo- je i vizualni znak u prostoru, bez obzira and its neighboring countries. The interna- connections even stronger and the need for public space influences our understanding of vito sudjelovanje dizajnerskih inicijativa iz je li njegov kontekst komercijalan ili ne, tional character of the manifestation is fur- them more visible aiming to permanently es- community as a concept as well as its inner drugih gradova regije, u kojima paralelno niču drastično mijenja ne samo sliku grada u ko- ther strengthened by regular participation of tablish their significance in the wider context. dynamics. City and public space have always slični utjecajni festivali dizajna. Dan D tako jem živimo, nego i naše vlastite mentalne design initiatives from other cities from the Hand in hand with the central three-day been in the focus of our discussions on the je postao prostor umrežavanja mladih diza- mape, te stvara nove asocijativne sklopove region where similarly influential design festi- activity at the Gredelj industrial zone, the responsibility that design and designers have jnera i dizajnerica, ali i ravnopravan akter pro- vezane uz prostor, ideje, vrijednosti, život- vals are emerging simultaneously. The D–Day 2013 D–Day plans to move to the city center towards society. pulzivne mreže regionalnih aktivnosti u pod- no okruženje. Tjera nas na razmišljanje, na thus became a special networking place for in order to underline some existing projects ručju dizajna i kreativnih industrija općenito. diskusiju, provocira i inspirira, ili pak ljuti young designers but also an equally important or those projects that have a potential to grow Ovogodišnji festival središte svojih ak- i manipulira. Svaki produkt koji smo pusti- stakeholder in the creation of a propulsive net- within the urban area. To be more precise, tivnosti seli na lokaciju bivše industrijske li u svijet utječe na naše ponašanje i odnos work of regional activities linked to design during its seven days the 2013 D–Day intends Mario Stipetić Zadar LW X VM Vedrana Mastela, Selma Štrkljević Mravak / Zagreb, Split zone TŽV Gredelj i ima za cilj na mikro raz- prema neposrednom okruženju. Svaki oblik and creative industries in general. to activate some abandoned spaces in the city IDWork.org je web aplikacija za IDWork.org is a web application for Dvije dizajnerice, dva grada. Nakit Two designers, two cities. Jewelry ini rekreirati čitav sklop temeljnih aktivnos- komunikacije koji smo osmislili i postavili This year’s festival will relocate its activ- center in cooperation with artists, designers bookmark slika i videa na temu bookmarking images and videos i odjeća, Zagreb i Split. U kolekciji and clothes, Zagreb and Split. ti koje čine dizajnersku scenu — edukaci- u zajednički javni prostor utječe na razum- ities to an ex-industrial zone called Gredelj and associations that will use them as their dizajna i umjetnosti koja se može ko- about design and art that can be Connection vide se ideje iz prijašnjih The collection named Connection jske aktivnosti kroz kontinuiranu suradnju ijevanje pojma zajednice i njenu unutrašnju aiming to recreate on a micro-level a series studios, working units, offices, stages or plac- ristiti isključivo uz pozivnicu (private used exclusively with a private in- radova modne dizajnerice Maste- shows ideas from Mastela’s previ- s fakultetima; medijacijske kroz niz pre- dinamiku. Grad i javni prostor oduvijek su of basic activities making so-called design es for gathering and exchanging knowledge invite). IDWork za spremanje dizajn i vite. IDWork for bookmarking art le — tonovi i destrukcija materijala ous works– colors and destruction davanja i gostujućih izložbi; reprezentaci- u fokusu onoga o čemu razmišljamo kada scene: educational activities, through a con- and information. At the same time, this year’s art inspiracije trenutno koristi 3000 and design inspirations is present- koja se uklopila u prepoznatljiv of material- that correspond with registriranih korisnika — dizajnera, ly being used by 3000 registered izričaj dizajnerice nakita Štrkljević Štrkljević Mravak’s recogniza- jske kroz zajedničke nastupe mladih auto- govorimo o odgovornosti dizajna i dizajnera tinuous cooperation with the faculties; me- festival throws light on several activities ilustratora i umjetnika. users — designers, illustrators and Mravak. Kroz vizualnu reprezent- ble jewelry design. The visual ra; zagovaračke kroz posredovanje dijaloga s prema društvu. diation activities, through a series of lec- around the city that need increased visibility artists. aciju rada predstavlja se interakcija presentation of their work aims to gospodarstvenicima, obrtnicima i državnim Zona Gredelj mogući je budući gradski tures and guest exhibitions; representation and stronger connection between the stake- čovjeka, odjeće, nakita i samog present the interaction between institucijama; kohezivne kroz inauguriranje kreativni klaster, mjesto guste koncentraci- activities, through joint ‘fair’ appearances holders themselves but also a dialogue with okruženja u kojem se nalazi. people, clothes, jewelry and their environment. suradničkih platformi i eksperimentalne, kroz je međusobno umreženih kreativnih indus- of young authors; lobbing activities, through the broader community on whose everyday infrastrukturno i konceptualno podupiranje trija i interdisciplinarne suradnje. Istodobno, an intermediary dialogue with business en- life they can by all means influence and with praksi onkraj dizajnerskog mainstreama te takav bi prostor, po uzoru na mnoge druge tities, trades and state institutions; cohesion which they need to integrate more intensively. na rubovima disciplina. Mnoge od spome- europske primjere, oplemenio život cijeloga activities, through the inauguration of coop- Design practice is present in all segments Hana Tintor Zagreb Laura Mrkša i Toni Šljaka Zagreb Ivan Levak Zagreb nutih aktivnosti događaju se i drugdje, prim- grada i ponovno ga udahnuo industrijskoj eration platforms and, finally, experimental of the public and urban life and no matter jerice u okviru djelovanja institucija, ureda, baštini kojoj inače prijeti ili propadanje ili activities, through the infrastructural and which form of design one practices, it has Ambijent s četiri rasvjetna tijela Papirnata dizajnerska instalacija. studija, galerija i udruga, no upravo Dan D komercijalizacija. Dan D 2013 reflektira sve conceptual support for practices on the very an enormous influence on people’s every- ‘Hanin zid’ je mala zbirka ilustracija i neutralnim sjedećim elemen- Parazitska, multifunkcionalna forma ih umrežava, njihove veze čini čvršćima, po- ove teme, ali i u takvom kontekstu promišlja edge of design mainstreams and disciplines. day lives even if it is sometimes discrete nastala u trenucima odmora od tima tvori ugodnu atmosferu za u interijeru i eksterijeru, namijenje- obaveza u zadnjih godinu dana. druženje i zadržavanje posjetitelja na oživljavanju kutova i signalizaciji. trebu za njima vidljivijom, a njihov smisao u i samu dizajnersku aktivnost općenito — na na štandu. širem kontekstu postojanijim. koji način dizajn djeluje prema ideji javnog Hana’s Wall is a small collection of A designer’s paper installation. Osim ključnog trodnevnog događanja u i urbanog, kakve društvene i individualne illustrations created when the author Ambience with four lamps and neu- A parasite, multifunctional form in Zoni Gredelj, Dan D 2013. seli u sam centar interakcije stvara? Koliko doprinosi kvaliteti took a break from her obligations in tral sitting elements creates a very interior and exterior intended for grada s ciljem ukazivanja na već postojeće sa- života zajednice? Kako dizajn mapira grad? the past year. pleasant atmosphere for socializing wayfinding and making corners and keeping visitors at the stand. livelier. držaje ili pak one koji imaju potencijal zaživ- jeti u urbanom prostoru. Konkretno, Dan D tijekom proširenih sedam dana trajanja ak- tivira neke od napuštenih prostora u centru Impressum Dan D 2013 grada, potiče dizajnerske urede da otvore IZDAVAČ / PUBLISHED BY PRIJEVOD / TRANSLATION PROGRAMSKI DIREKTORI / PROGRAM SURADNICA NA PRODUKCIJI / PRODUC- vrata publici, te baca svjetlo na niz drugih ak- HDD — Hrvatsko dizajnersko društvo / Mirna Herman / Language Lab, DIRECTORS Ivana Borovnjak (glavna TION ASSOCIATE Monika Galić tivnosti širom grada koje trebaju jaču vidljiv- Croatian Designers Association I. Borovnjak, M. Golub, B. Krištofić programska direktorica / chief program PR Ivan Dorotić ost i snažniju povezanost samih aktera, ali i UREDNIŠTVO / EDITORIAL BOARD MARKETING Vera Bolanča / Pepermint director), Marko Golub, Igor Kuduz, GRAFIČKI DIZAJN / GRAPHIC DESIGN dijalog sa širom zajednicom, na čiju svakod- Marko Golub (glavni i izvršni urednik / DIZAJN I PRIJELOM / DESIGN AND LAYOUT Nikola Radeljković Dora Bilandžić, Lana Grahek, Barbara nevicu itekako mogu utjecati i s kojom se tre- chief executive editor), Ivana Borovnjak, Dora Bilandžić, Lana Grahek DIREKTOR PRODUKCIJE / PRODUCTION Majnarić, Karla Paliska baju jače integrirati. Bojan Krištofić (Mentor: Hrvoje Živčić) DIRECTOR Boris Kovaček / Pepermint PRODUKT DIZAJN / PRODUCT DESIGN Dizajn kao praksa prisutan je u svim seg- TEKSTOVI / TEXT AUTHORS TISAK / PRINT Tiskara Zagreb KOORDINATORI PROGRAMA / PROGRAM CO- Tvrtko Bojić, Ana Rimac mentima javnog i urbanog života, i bez obzira Ivana Borovnjak, Marko Golub, PAPIR / PAPER Europapier Adria ORDINATORS Mirjana Jakušić, Bojan Krištofić MENTORI / MENTORS Igor Kuduz, Nikola kojim se vidom dizajna bavimo, izniman je Bojan Krištofić, Dinka Pavelić naklada / edition 3000 MARKETING Vera Bolanča / Pepermint Radeljković, Hrvoje Živčić

2 d-news, službene novine dana d d-news, official d-day newspaper 3 dizajniranje dana d designing d–day dizajniranje dana d designing d–day

veličini. Signalistika tako u ovom slučaju ima potencijala pa smo se zaputili u pogon nema za ulogu samo navoditi i informirati kako bismo ga izradili. Nakon izrade prob- posjetitelje, već (možda i više) davati dojam nog modela, bile su potrebne sitne preinake. da je taj prostor ‘osvojen’, da se u njemu nešto Zaposlenici u Boxu sugerirali su nam na koji odvija i da to što se odvija nije buvljak već način ojačati konstrukciju, te smo tako dobili artikuliran programski koncept vidljiv u svim još čvršći i kompaktniji element s kojim smo aspektima festivala. bili u potpunosti zadovoljni. Finalni element rezultat je intervencije na plaštu klasične kar- Kakva su vaša iskustva rada u direktnoj tonske kutije, tom intervencijom postigli smo komunikaciji s industrijskim pogonom ukrutu pa je naša ‘kutija’, osim za elemente kao što je ovaj Box Ambalaže? Što mislite postava, bila pogodna za sjedenje i odmaran- da mladi dizajner može naučiti iz takvog je. Tako smo jednim elementom i njegovim iskustva? međusobnim kombinacijama riješili kom- Komunikacija je kroz sve faze projekta bila pletnu opremu za festival. prisutna, a otvorenost i spremnost ekipe iz Box Ambalaže nam je olakšala posao. U U kojoj je mjeri materijal utjecao na diza- ovakvim projektima mladi dizajner ima priv- jnersko rješenje, i s druge strane, u ko- ilegiju proći kroz sve faze proizvodnje te u po- liko je samo dizajnersko razmišljanje gonu na licu mjesta vidjeti kako stvari uistinu bilo usmjereno tome da produbi, proširi funkcioniraju. i pronađe nove načine korištenja i rada s Ono što nam se posebno svidjelo je flek- tim materijalom? sibilnost i mogućnost isprobavanja i pri- Svaki materijal, pa tako i karton posjeduje As we have already mentioned, our approach of different types of cardboard. At one point lagođavanja zamišljenih modela u pogonu. neke zakonitosti i pravila tretiranja. Mi smo to signage has been developed in communi- during the workshop, we designed a piece Od velike koristi je suradnja s ljudima koji paralelno razvijali dva potpuno drugačija cation with the exhibition team and that’s that seemed to have potential, so we went Dizajniranje Designing D–Day su svakodnevno u dodiru s tim materijalom pristupa, jedan strogo geometrijski i jedan where the broken polygonal shapes come to the plant in order to produce it. After cre- i procesom, naravno ‘na terenu’ se uvijek na- razigrani, opušteni. Oba ta pristupa, iako from. Their size, sculptural attributes and ating a test model minor modifications were jviše nauči. Zanimljivo je bilo gledati kako se potpuno različita bila su logična s obzirom na emphasised geometry have been defined by needed. The Box employees suggested ways taj element sa skice odjednom nalazi u pogo- mogućnosti materijala od kojega bi se izvodi- the desire to achieve contrast with the space of strengthening the structure, so we got a Dana D nu i proizvodi u velikoj seriji. li. Na kraju smo se ipak odlučili za kubuse jer itself and that the signage elements don’t stronger and more compact element we su oni osim većih mogućnosti za ‘gradnju’ u disappear in its size. So signage in this case were satisfied with. The final element was Tekst Marko Golub Text Marko Golub Kako je izgledala suradnja sa zaposlenici- prostoru bili i povoljniji u proizvodnji (tek doesn’t only play the role of giving directions the result of treating the cover of a classic ma i radnicima tvornice? U kojoj mjeri su nešto skuplji od obične kutije). Taj kriterij and informing visitors, but also (if not more cardboard box, achieving firmness so that Dan D ne samo da je sadržajno i programski orijentiran na mlade dizajnere i njihovu vidljivost, With its content and program, D–Day is not only oriented to young designers and their visi- njihova znanja, savjeti i upute bile korisne ekonomičnosti je bio vrlo važan, budući da se so) to give the impression that the space has our ‘box’, apart from making up elements of već ih od samih početaka involvira kao dio tima koji stvara sam festival. Vizualni identitet fes- bility, but it tends to involve them very early on as a part of the team in charge of the Festival. za samo oblikovanje i izvedbu elemenata radi o velikom festivalu i potrebno je bilo pre- been ‘conquered’, that there is something the exhibition, was also suitable for sitting tivala i elementi postava kojima se opremaju izložbe i drugi sadržaji rezultat su mentoriranih Festival’s visual identity and exhibition elements as well as some other elements are all a postava Dana D? ko 2000 takvih modula. Kad smo bili zado- happening in it and that it’s not a flea market and resting. So we managed to provide com- radionica kroz koje su se formirala dva izuzetna tima mladih dizajnera. Ovogodišnji Dan D result of mentored workshops that established two extraordinary designer teams. This year’s Na samom početku radionice, koju je organ- voljni i kada smo se svi usuglasili da naš ele- but rather an articulated programme concept plete equipment for the festival using only je, u više svojih prepoznatljivih aspekata, na mnoge načine i njihovo djelo. D–Day is in many of its recognizable aspects their work as well. iziralo Hrvatsko dizajnersko društvo, ekipa ment ima sve karakteristike koje smo prižel- visible in all aspects of the festival. one element in its various combinations. Box Ambalaže održala nam je uvodno preda- jkivali (bio je prilagođen serijskoj proizvodnji, Vizualni identitet / Visual identity To what extent have you worked with the The visual identity was not created in re- vanje, kako bismo se upoznali s materijalom lagan, stabilan, izdržljiv, vizualno zanimljiv, What is your experience of working in di- To what extent did the material itself in- Dora Bilandžić, Lana Grahek, Barbara Majnarić, Karla Paliska production team and incorporated their sponse to the theme ‘Design and the City’, te su nas upoznali s mogućnostima svoga ali nenametljiv) krenuli smo u proizvodnju. rect communication with a production fluence the design, and how much was the Mentori / mentors Igor Kuduz, Hrvoje Živčić ideas in designing visual identity for this but it is directly conditioned by the festival pogona. Od Box-a smo dobili materijale plant? What do you think a young design- design focused on how to further develop, year’s D–Day? In other words, can the venue. Gredelj space is huge and visually ‘za igranje’ i vidjeli šarolike mogućnosti ra- *Materijale i podršku za radionice i produkciju pružila er can learn from an experience like this? expand and find new ways of using and Produkt dizajn / Product design Tvrtko Bojić, Ana Rimac visual identity partly be seen as a graph- very specific (especially its colours) and we zličitih kartona. U nekoj fazi radionice doš- nam je tvrtka Box Ambalaža There was communication during all phases working with this material? Mentor Nikola Radeljković ical extension of functional objects sug- tried to think of how to ‘tame’ it, i.e. to come li smo do objekta za koji nam se učinilo da of the project, and Box Ambalaža team’s ap- Every material, including cardboard, follows gested by the other team? up with something that would stand out, be proachability and willingness has made our some principles and rules of treatment. We U kojoj ste mjeri, dizajnirajući vizualni Sam logotip i drugi elementi dinamični Both aspects of identity (spatial and visual) visible, and yet meaningful. The conclusion job easier. Projects like this one enable the were simultaneously developing two com- identitet ovogodišnjeg Dana D, bili u do- su i varijabilni, ali u svakoj transformaciji are based on the same ideas. From the initial was that visual language must not literally young designer to go through all stages of pro- pletely different approaches, one strictly sluhu s produktaškim timom i njihovim zadržavaju jasan i prepoznatljiv identitet. workshop in February, we tried to be constant- follow the crumbling aspect of Gredelj or try duction and see how things really work on site. geometric, and a playful, relaxed one. Both smjerom razmišljanja? Drugim riječima, Iz čega je proizašla ta ideja o variranju, ly in communication and be informed of what to evoke nostalgia by means of some cliché We especially liked the flexibility and the of these approaches, although completely može li se vizualni identitet vidjeti jednim mutacijama, dekonstrukciji, pa i savijan- the other team was doing. The visual identity ‘industrial’ visuals, but rather the opposite — possibility of testing and adapting the de- different, were a logical choice considering dijelom i kao grafička ekstenzija funkcion- ju u tri dimenzije u slučaju plakata? is directly based on and uses exhibition ele- to achieve contrast to that space. signed models in the plant. Cooperation the possibilities of the material they would alnih objekata koje je drugi tim predložio? ‘Lomljenje’ logotipa je izravno proizašlo iz ments — broken polygonal shapes. The logo with people who are in daily contact with the be produced from. In the end we decided Oba aspekta identiteta (prostori i vizualni) ideje o signalistici koja je projektirana na and its variations launched in the promotional The logo itself and other elements are dy- material and the process has been of great to go with cubes, since they are cheaper to temeljena su na istim idejama. Od početne način da je definiran sistem slaganja, ali ne materials are only a simplified2D representa- namic and variable, but they retain their benefit, as you always learn best ‘on site’. It produce (only slightly more expensive than radionice u veljači trudili smo se stalno biti u u detalje svaki lom ili pak finalni oblik. Tako tion of what the festival visitors will have the distinct and recognizable identity in each was interesting to watch how the element a regular box), and provide greater oppor- komunikaciji i znati što drugi tim radi. Vizu- su uz improvizaciju i intuiciju završne forme opportunity to see in Gredelj. The combina- transformation. What gave you the idea of goes from its design to the plant’s assembly tunities for ‘building’. This criterion of af- alni identitet se izravno naslanja na elemente uvijek različite, čime se razbija standardna tion of visual identity and the exhibition dis- variation, mutation, deconstruction, even line production. fordability was very important, since this postava, izlomljene poligonalne forme, te ih uniformiranost signalizacije. U logotipu je ta play is most obvious in the festival signage, three-dimensional bending in posters? was a large festival and over 2000 of these i koristi. Logotip i njegove varijacije koje su ista ideja prevedena u grafičku formu — po- where the transformation of the basic mod- ‘Breaking’ the logo was directly derived from What did cooperation with employees modules were required. Once we were all krenule u opticaj kroz promotivne materijale jedini oblik nam je manje bitan, dokle god je ules of exhibition elements creates signage the idea of signage that has been designed to and factory workers look like? To what satisfied and agreed on our element having samo su pojednostavljeni 2D prikaz onoga što dio zadanog sistema. Možemo napomenuti elements the visuals are projected on. This is have a defined assembly system, but not in extent did their knowledge, advice and all the characteristics that we wanted (it was će posjetitelji festivala imati priliku vidjeti u i da takav vizual čak i neovisno o konceptu- how logo logic becomes 3D. every break or final form in detail. Thus, with instructions benefit the very design and suitable for assembly line production, light- Gredelju. Spoj vizualnog identiteta i posta- alnoj pozadini poziva na varijacije i mutacije improvisation and intuition the final forms performance of the elements on the ex- weight, stable, resistant, visually interesting va najočitiji je u signalistici festivala gdje se jer nema posebnog razloga zašto bi baš jedan are always different, breaking the standard hibition D–Day? but unobtrusive) we went into production. transformacijom osnovnih modula postava način lomljenja bio bitniji od drugoga. Savi- uniformity of signage. The logo carries the At the beginning of the workshop, organized dobivaju elementi za signalistiku na koje se janje plakata je došlo kao bastardni oblik te same idea in its graphic form — a particular by the Croatian Designers Association, Box *The material and overall support for the workshops and apliciraju plošni vizuali. Na taj način logika ideje, odnosno kao spoj pojednostavljene form is less important to us, as long as it is Ambalaža team gave us an induction lecture, production was supplied courtesy of the Box Ambalaža company. logotipa prelazi u 3d. grafičke reprezentacije lomljenja, te stvar- part of the default system. We should note in order to familiarize ourselves with the ma- nog savijanja u prostoru. S obzirom na tre- that such a visual, regardless of the concep- terial, and they introduced us to the possibil- Korespondira li, i na koje načine, novi vi- nutnu poziciju plakata kao medija te njegovu tual background, calls for variations and mu- ities of their plant. Box provided materials zualni identitet s ovogodišnjom temom fetišizaciju, svaki odmak od uobičajene plo- tations because there is no reason why one ‘to play with’ and see the many possibilities festivala i prostornim kontekstom u ko- šne forme plakata nam se činio pozitivnim. particular break would be more important jem se održava? than another. Vizualni identitet nije nastao kao odgovor na Na koji je način riješena signalistika na Bending posters came as a hybrid form of temu ‘dizajn i grad’ ali je izravno uvjetovan Danu D? Prema skicama koje smo vidjeli the idea, or as a combination of a simplified Barbara Radelja Zagreb Marina Mijatović Zagreb prostorom gdje se festival održava. Prostor ona ima i skulpturalnu dimenziju i gotovo graphic representation of breakage and real Kolekcija The Truth Will Set You The Truth Will Set You Free is a col- Ideja za projekt Urban Typography The idea for Urban Typography Gredelja je ogroman i vizualno (posebno da izgleda kao serija instalacija u prosto- bending in space. Given the current position of Free se sastoji od pet modela koji lection of five models presenting proizašla je iz nekonvencionalnog project emerged from a noncon- koloristički) vrlo specifičan te smo od poč- ru Gredelja? the poster as a medium and its fetishisation, any prikazuju najmračnija ljudska stanja. the darkest states of human mind. proučavanja korištenja tipografi- ventional study of various uses etka razmišljali kako ga ‘ukrotiti’, odnosno Kako smo već napomenuli, način na koji smo detachment from the usual two-dimensional Deformacije odjeće povezane su s Deformed clothes are connected je. Projekt će rezultirati nizom of typography. The project will što je to što će u njemu dovoljno iskočiti, biti pristupili signalizaciji je proizašao iz komu- form of posters seemed to be a positive one. psihološkim problemima pojedin- with an individual’s psychological tipografija izvedenih od svima result in a series of typographic uočljivo, a i dalje smisleno. Zaključak je bio nikacije s timom za postav i od tuda dolaze ca. Kolekcija je sugerira otvaranje problems. The collection suggests dostupnih materijala, poput konca, faces made of various available pojedinca nošenjem odjeće koja that a person can open to the world papira, izolacijske trake itd. prema materials such as thread, paper, in- da vizualni jezik ne smije doslovno pratiti izlomljeni poligonalni oblici. Njihova veliči- How was the D–Day signage designed? Ac- govori o problemu, priznanje slabos- by wearing particular clothes jednostavnim modulima. Tipografija sulation type and similar in simple derutnost Gredelja niti pokušavati prizivati na, skulpturalnost te izražena geometrija Does the new visual identity correspond cording to the sketches we’ve seen, apart ti i traženje pomoći. O kolekciji je representing the problem, admit takvog tipa ne ovisi o digitalnim modules. This kind of typography nostalgiju klišejiziranim ‘industrijskim’ vi- definirani su ponovno u želji da se postigne with the theme of this year’s festival and from signage it has a sculptural dimension snimljen video koji opisuje različita his or her weakness and seek help. sredstvima, a aplicira se na urbane does not depend on digital media zualima, već upravo suprotno — da se treba kontrast sa samim prostorom te da se el- the physical context in which it is held, and almost looks like a series of installa- stanja uma. The video about the collection objekte sa svrhom informiranja. and can be applied on urban pro- describes various states of mind. jects for informative purposes. postići kontrast naspram tog prostora. ementi signalizacije ne izgube u njegovoj and in what way? tions inside Gredelj?

4 d-news, službene novine dana d d-news, official d-day newspaper 5 stvaranje grada creating a city stvaranje grada creating a city Stvaranje grada Creating a city Ideja kreativnog grada — grada post-industrije, kulturne i The idea of a creative city — from post-industrialism kreativne industrije towards creative cultural industry

tekst Dinka Pavelić text Dinka Pavelić

Je li moguće zamisliti grad baziran na ideji Jadran filma, Animafesta, Animavizije. Ne Is it possible to imagine a city founded on ZKK — Zagreb Creative Cluster stvaralaštva? Po nekim teoretičarima, kao treba objašnjavati što je to ekonomski po- the idea of creativity? According to some The City of Zagreb and the Zagreb Holding, npr. Richardu Floridi, ne samo da je mo- tencijal kreativnih industrija. Treba mu samo theoreticians, for example, Richard Flori- based on the so-called ZagrebPlan — The guće, nego je i ekonomski poželjno. Radi se dati šansu da usmjeri svoju novu kreativnu da, it is not only possible, it is economically Strategy for the Development of the City of o pretpostavci je da će tzv ‘kreativna klasa’ energiju prema stvaranju za treći milenij. U desirable. The presumption is that so-called Zagreb, initiated a project whose objective biti pokretač povećanja prihoda/profita i konkurenciji gradova koji se diče kulturnom ‘creative class’ could initiate increased profits is to develop new cultural infrastructure rasta lokalnih pa tako i nacionalnih BDP-a. proizvodnjom kao osnovnim identitetom te and growth of local and national GDPs. This — Zagreb Creative Cluster — at the former Ovaj koncept star preko desetljeća deriviran glavnim izvorom prihoda treba ponovo osvo- more than a decade old concept derives from TŽV Gredelj factory, central location of Za- je iz socio-ekonomskih opservacija na bazi jiti centralno mjesto, mjesto koje mu pripada. the socio-economic observations of Ameri- greb’s abandoned industry. Protagonists američkih gradova koji su doživljavali postin- can cities undergoing post-industrial trans- of creative industries (people involved in dustrijsku preobrazbu, prihvaćen je u Europi ZKK — Zagrebački kreativni klaster formation. It has been accepted throughout publishing, architecture, design, music and kao dio javnih politika. Gradovi se natječu u Grad Zagreb i Zagrebački holding temeljem Europe as a part of implementing public pol- discography, performance arts, media, film tome koji će pružiti bolje uvjete života i rada ZagrebPlana — Strategije razvoja Grada Za- icies. Cities are competing in offering better and video, interactive software, multimedia, pripadnicima kreativne klase. Takvi grado- greba pokrenuli su projekt izgradnje nove working and living conditions for those who fashion, advertising, creative crafts) should vi, prema Floridi, bazirani su na 3T — talentu, kulturne infrastrukture Zagrebački kreativni belong to the creative class. According to all gather under the same umbrella compris- toleranciji i tehnologiji. Prijateljski su nastro- klaster, na mjestu bivše tvornice vlakova i Florida, such cities are founded in 3Ts — tal- ing some 9000 m2. The project led by the jeni prema visokoindividualiziranom načinu vagona TŽV Gredelj — centralnoj lokaciji ent, tolerance and technology. They are open Ministry of Regional Development and Eu- O lokaciji i grad baziran isključivo na trgovini, usluga- to connecting the area south of the railway of a city orientated exclusively to tertiary sec- života kreativne klase koja se ne drži radnog zagrebačke napuštene industrije. Pod zajed- to highly individualized life-styles of those ropean Funds receives all technical support Zona obuhvata za novu urbanizaciju pros- ma, i ‘znanju’ bez dodira s opipljivom proiz- tracks to north-east, east and west as well as tor neglecting various skills. Zagreb needs to vremena od 9 do 5, klasičnih radnih prostora, ničkim krovom trebali bi se naći protagonisti belonging to the creative class with flexible in the framework of the programme named tire se na ukupno 22 ha u neposrednoj blizini vodnjom. Kriza nas podsjeća na sve opasnos- relocating the service track which cuts across find its balance and preserve its material pro- niti klasičnih domova. Ekonomski je doka- kreativnih industrija (izdavaštva, arhitekture, working hours different from the classical Creating preconditions for sustainable support Glavnog kolodvora, od čega 13 ha potpada ti ideje isključivo tercijarnog grada i zaborava the location splitting it in half. The master duction through industry and crafts. Those zano da su takvi gradovi prosperitetniji, dok dizajna, glazbe i diskografije, izvedbenih um- working arrangement from 9 am until 5 pm, to the development of economic competitive- pod zaštićeni industrijski krajolik Strojarnice vještina. Zagreb mora naći svoju ravnotežu i plan that makes part of the so-called ‘city traits have always been its essence making drugi stagniraju. jetnosti, medija, filma i videa, interaktivnog classic working spaces, or classic homes. It ness and further development of technological državne željeznice u Zagrebu. Najzanimljivi- zadržati odnos do materijalne proizvodnje, project’ presupposes a public tender for the Zagreb the most important industrial and softvera, multimedije, mode, oglašivanja, has been economically proved that such infrastructure in Northwest Croatia for the ji objekti su radionica za opremu kola sa svo- što preko preko industrije, što preko obrta. entire area. cultural center of this part of Europe. Zagreb sa svojim kulturnim kreativnih obrta) na ukupno 9000 m2. Pro- cities have more prosperity whereas others preparation of projects that can be funded jih cca 8500 m2, koja je najstariji i najvredniji Jer to je ono što ga čini onim što je dugo čini- i stvaralačkim potencijalom jekt od Ministarstva regionalnog razvoja i stagnate. from the European funds. Thus, the creative objekt na lokaciji, a datira s kraja 19. stoljeća lo njegovu bit — najznačajnijim proizvodnim i In terms of its program Cultural industries are founded in professions that vapi za novom vrstom infra- europskih fondova dobiva tehničku pomoć cluster could become the initiator of change i pojedinačno je zaštićeno kulturno dobro, kulturnim središtem ovog dijela Europe. orientation, Gredelj, as a massively reproduce cultural values (for example music, film) and thus create the effects of propaganda (Adorno, strukture koja će poduprijeti u okviru programa Stvaranje preduvjeta za With its cultural and crea- and development of the entire location and te tesarnica koja je nešto kasnije sagrađena location, should take over 2006). They combine recreation, production and com- rad kreativaca. održivu podršku razvoju konkurentnosti tive potentials, Zagreb longs improve tourist and economic attractiveness i pod nešto nižim je stupnjem zaštite. Ur- Kulturne industrije temelje se na djelatnostima ko- central city functions with mercialization of a particular content that is in its nature gospodarstva i za daljnji razvoj tehnološke for a new type of infrastru- of the City of Zagreb. bana regeneracija cijelog područja morat jima se kulturne vrijednosti (npr. glazba, film) masovno all characteristics attached impalpable and belongs to the sphere of culture. That reproduciraju i time ostvaruju propagandne učinke (Ador- Zagreb se mora prisjetiti svoje još filmske, infrastrukture u Sjeverozapadnoj Hrvatskoj cture that would support cre- će riješiti odnos prema sjevernoj granici — to an integral city neighbor- content is usually protected under copyright laws and it no 2006). Kombiniraju kreaciju, proizvodnju i komerci- can form a product or service (UNESCO 2006.). diskografske, grafičke, drvne, modne, ar- s ciljem pripreme projekta za europske fond- ative projects. About the location pruzi, prema novim zahtjevima pojačanog jalizaciju sadržaja koji je po prirodi neopipljiv, a pripada hood — from public to housing, hitektonske i ine kreativne proizvodnje: sve ove. Za očekivati je da će kreativni klaster biti Total area open for the new urbanization integriranog prometa na tzv. ‘transferiumu’ području kulture. Sadržaj se obično štiti autorskim pravi- business, trade, cultural and Creative industries imply a wide scope of activities, što treba je obnoviti industrijsko sjećanje te inicijator promjene i razvoja čitave lokacije, Zagreb needs to reconsider its film, dis- covers about 22 ha close to the Main Railway Glavnog kolodvora, prema prometnom pov- ma i može se oblikovati kao proizvod ili usluga (UNESCO educational functions. including cultural industry, and they are founded in 2006.). okupiti i mlade i iskusne stvaraoce za novo, te da će povećati turističku i gospodarsku cography, graphics, wood industry, fashion, Station, where 13 ha belong to the protected ezivanju područja južno od pruge u smjeru knowledge and skills and capacity to turn knowledge tzv ‘postindustrijsko’ doba. Gradu Jugotona, atraktivnost Grada Zagreba architecture and other types of creative industrial landscape of the State Railways sjever jug i istok zapad, te prema izmještanju What used to be Gredelj is one the city’s most into new ideas that can inspire innovation and concrete Kreativne industrije podrazumijevaju širi rang ak- change (for example, with using new technologies). production, and the only thing Zagreb has Machinery in Zagreb. The most interesting servisnog kolosijeka koji funkcionalno presi- tivnosti koji uključuje kulturne industrije, a temelji se important neuralgic points and the resolu- They are defined as the industries rooted in individual to do is to refresh its memory of past indus- facilities are: the workshop for equipping jeca lokaciju na dva dijela. Generalnim pla- na znanju i vještinama, kapacitetu pretvaranja znanja u tion of this problem could bring about an creativity, skills and talent with a potential to make tries and gather both young and experienced carts with total surface of some 8500 m2, nom, unutar režima tzv ‘gradskog projekta’ nova znanja i ideje koje utječu na inovativnost i konkret- entire set of completely new relations within profits and create new jobs through the use and support nu primjenu (npr. putem novih tehnologija). Tako se one authors for a new, so-called, post-industrial which is the oldest and the most valuable fa- predviđen je javni natječaj za cijeli obuhvat. the city. of intellectual property (Creative Industries Mapping definiraju kao one industrije čije porijeklo ima utemel- Document 2001). age. Zagreb is the city of Jugoton, Jadran cility at the location dating back to the end jenje u individualnoj kreativnosti, vještinama i talentu, The question remains: is it possible to cre- th film, Animafest, Animavizija. One should of the 19 century and protected as cultural Programski, od lokacije se a imaju potencijal za stvaranje profita i otvaranje novih ate a post-industrial city? A city whose pro- Taken from the document Zagreb as a cultural product not go into too many details explaining the heritage, and carpentry workshop under a očekuje da preuzme central- radnih mjesta kroz stvaranje i korištenje intelektualnog duction is ‘delegated’ and displaced to far- (Action plan for enhancing development of cultural/cre- vlasništva (Creative Industries Mapping Document 2001). economic potential of creative industries. It lower degree of protection and constructed ne gradske funkcije, sa svim away locations and a city based exclusively ative industries in the City of Zagreb) — IMO 2012 for the City Office for Strategic Planning and Development should be given a chance to redirect its newly somewhat later. Urban regeneration of the obilježjima kompleksnosti Iz dokumenta Zagreb kao kulturni proizvod (Akcijski in trade, services and knowledge not coming found energy towards creativity for the third entire area presupposes a solution for the cijele gradske četvrti — od plan poticanja razvoja kulturnih / kreativnih industrija u in touch with palpable production. The crisis millennium. In competition with the cities factory’s northern end limited by railway javnih prostora do stambe- Gradu Zagrebu) — IMO 2012 za Gradski ured za strategi- reminds us of all dangers linked to the idea proud of their cultural production as their tracks in line with transportation require- nih, poslovnih, trgovačkih, jsko planiranje i razvoj grada basic identity and source of income, Zagreb ments resulting from the integrated traffic kulturnih, i edukacijskih needs to regain its central place, a place it or so-called transferium towards the Main namjena. TMNT Marko Gamser, Miloš Opačić, Aleksander Nušić, rightfully deserves. Railway Station, traffic requirements related Nemanja Obradović / Beograd U mjerilu grada, ovo je jedna od najvažnijih Što je to Šahtban? Šahtban je novi What is Šahtban? Šahtban is a new i najneuralgičnijih točaka, čije bi rasplitanje sistem transporta u Beogradu. S ob- transportation system in Belgrade. dovelo do sasvim novih odnosa u gradu. zirom da Beograd, grad od 2 milijuna Since Belgrade, as a city with 2 Pitanje ostaje otvoreno: koliko je postin- stanovnika nema metro, mi smo million inhabitants, does not have dustrijski grad stvarno moguć? Grad sa ‘dele- rešili da mu ga podarimo. metro, we have decided to give it giranom’ proizvodnjom u dalekim krajevima a try.

Valentina Sunek Zagreb Đorđe Đukanović Beograd

Kao pojedinci gradimo okolinu As individuals, we are construct- Serija grafika Pozdrav iz Beograda Greetings from Belgrade is a series osobnim stavovima i unutarnjim ing our environment with our nam na jednostavan i diskretan of graphics using a language that vibracijama. Osobna vibracija beliefs and inner vibrations. Per- način šalje ironične pozdrave iz is simple and discrete yet filled u sustavu svakodnevice bitan je sonal vibrations in our everyday Beograda. Scene sa grafika nisu with irony. Scenes on the graphics gradbeni dio kako harmonije tako i lives make an important part of specifične samo za Beograd, one are not specific only for Belgrade, disharmonije. Sve smetnje trebale bi both harmony and disharmony. All su tipične za sve velike gradove but rather typical for all cities biti otklonjene rješenjem do kojeg obstacles should be removed by širom svijeta. Ove razglednice ne around the globe. These postcards smo došli analizom problema, što solutions we realized after analyz- predstavljaju najljepše dojmove o do not present the most beautiful neizbježno uključuje postavljanje ing he problem which implies our gradu koje želite poslati prijateljima, impressions about the city that you pravog pitanja. Koncept izlaganja je ability to ask the right questions. već duhovitu opomenu i skretanje want to send to your friends but a potaknuti na promišljanje o najjed- The exhibition intends to provoke pažnje građanima na negativne witty reminder and warning about nostavnijim sveprisutnim stvarima thinking about the simplest omni- pojave u njihovom okruženju. various negative trends in their koje često zanemarujemo. present things we often neglect. environment.

6 d-news, službene novine dana d d-news, official d-day newspaper 7 INTERVJU S markom de kruijkom interview with mark de kruijk INTERVJU S markom de kruijkom interview with mark de kruijk Westergasfabriek Westergasfabriek kao prostor as place of sinergije synergy

Intervju s Markom de Kruijkom Interview with Mark de Kruijk

Tekst: Marko Golub Text: Marko Golub

Mark de Kruijk je direktor privatne tvrtke Westergasfabriek u Amsterdamu. Westergasfabriek, Mark de Kruijk (born 1965.) is director of the private owned company Westergasfabriek Am- Zbog svega toga izgleda da smo jako ovisni znači da obje strane znaju koju dodanu vri- The title of my lecture is ‘Redevelopment is a nekadašnja gradska plinara izgrađena 1883., danas je amsterdamsko kulturno žarište, s preko sterdam. Nowadays Westergasfabriek (built as a gas factory in 1883.) is the cultural hotspot o odlukama koje donose vlasti, no i oni sa jednost dobivaju kroz tu suradnju. never ending story’. So, we have to reinvent 15 000 m2 zgrada i 14 hektara vanjskog terena uključujući i park. Park služi rekreativnim in Amsterdam, with 15.000 square meters in the buildings and 14 hectares of outfield. The svoje strane jako dobro znaju da je to što radi- ourselves again and again. What is hot today aktivnostima, ali je i mjesto na kojem se održavaju velika događanja na otvorenom. On i park is used for recreation but also for large scale outdoor events. He and his team are re- mo važno za lokalnu zajednicu i sam grad. U kojoj se mjeri programski sadržaji West- can be old fashioned tomorrow. So we are al- njegov tim odgovorni su za izbor korisnika / ‘stanara’ kompleksa i politiku održavanja eve- sponsible for the selection of tenants, acquisition policy of events (250 a year), the brand Godišnje nas posjeti oko pet milijuna ljudi ergasfabrieka referiraju na sam industri- ways looking for new initiatives. nata (oko 250 godišnje), sam brend Westergasfabrieka i svakodnevni rad u tijesnoj suradnji Westergasfabriek, and the day by day operation in close relation with the local government. te nam zbog toga ostavljaju puno slobode. jski kompleks kao dio baštine? Koliko je s lokalnom vlašću. Prethodno je radio kao direktor projekta Amsterdam Topstad za Gradsko In his former job he worked as director for the City Council Program Amsterdam Topstad. Konačno, lokalna vlast vodi računa o cijelom važno osvijestiti publiku o povijesnom A part of our buildings we vijeće. Glavni cilj projekta bio je vratiti Amsterdam među ‘top 5’ gradova u svijetu. Odgovarao Main goal was to bring back Amsterdam back in the international Top 5. He was responsible tom području u smislu brige za sigurnost i kontekstu? rent out permanently. We are je za budžet od 50 milijuna Eura i radio s timom od 20 ljudi u bliskoj suradnji sa sveučilištima, for budget of Euro 50 mio., and worked with a team of about 20 people, in close relation with održavanje parka. Ne bavimo se toliko poviješću Westergas- very critical in the selecti- bankama, međunarodnim organizacijama i kulturnim sektorom. universities, banks, international organizations and cultural sector. fabrieka kao bivše plinare, jer ne želimo biti on of our tenants. We curate Koje su trenutne ambicije i ciljevi West- muzej. Jedino što želimo podcrtati je da tu what kind of business we want Recite nam o vašem profesionalnom is- Od prvog dana glavni fokus bio je pretvoriti of the former business as a gas factory. Start- ergasfabrieka. Ovisi li projekt o konti- postoji povijest dulja od 130 godina jer smo to have on our terrain. kustvu prije nego što ste postali direkto- prostor u kreativnu točku za brojne različite ing from day one the main focus was to make nuiranom razvoju da bi ostao održiv, te na smješteni blizu jednog od prvih kanala koji rom Westerhausfabriek? skupine: ljude koji žive u susjedstvu, stano- it a creative spot for all kinds of different koje načine i u kojim smjerovima? povezuju Amsterdam i Haarlem. Također, A couple of years ago we decided to use parts Nakon studija iz područja masovnih komu- vnike Amsterdama, ali isto tako i turiste te groups: people living next door, the inhab- Naziv mog predavanja je ‘Prenamjena je prvi vlak u Nizozemskoj kretao je upravo s of our buildings for daily two talk shows We do not want to be a museum. The only nikacija i ekonomije radio sam najprije kao poslovne ljude iz zemlje i inozemstva. itants of Amsterdam, but also national and beskrajna priča’. To znači da se moramo stal- ove točke. Jednom godišnje, tijekom Dana which are broadcasted live on national tel- thing we underline that we have a history of istraživač i konzultant na različitim komerci- international business people and tourists. no iznova preispitivati, jer ono što je danas u nizozemske baštine, otvoreni smo za svu evision. And we also decided to invest in a about 130 years and even longer. We are situ- jalnim projektima, a desetak godina kasnije Ključ uspjeha našeg pristupa modi, sutra više nije te stalno moramo biti u publiku besplatno. theatre. At that time we had a movie theatre ated near one of the first connecting channels počeo sam raditi i za državu, u početku za je stalno eksperimentiranje. The key of success is our potrazi za novim inicijativama. already. And recently we made a deal with the between Amsterdam and Haarlem. And also Ministarstvo kulture, a zatim u tijesnoj su- philosophy that you have to Na koji način Westergasfabriek, osim što North Sea Jazz Festival to have a permanent the first train in the Netherlands was running radnji s Gradonačelnikom Amsterdama te Dakle, ako smo sigurni oko toga što ne želimo keep it edgy. Dio naših prostora trajno je otvoren za profitne i neprofitne sadržaje, Jazz club on our terrain. And of course we from our spot. And yearly, during the nation- u Gradskom vijeću za ekonomiju i kulturu. raditi, i dalje nam ostaje puno mogućnosti, iznajmljujemo, ali vrlo smo zadržava svoju kvalitetu ‘javnog prosto- also have a lot of possibilities concerning the al heritage days, we have ‘open house’. 2010. godine pozvan sam da budem direktor poput plesnih događanja, klasične glazbe, ro- This means space for experiment. If you know strogi u odabiru korisnika ra’, odnosno takvog koji je otvoren prema events which take place. With more than 250 Westergasfabriek. lanja, predstavljanja proizvoda, konferencija for sure what you don’t want, you still have a te pažljivo ‘kuriramo’ po- zajednici? different events a year, we have the possibili- How does Westergasfabriek, besides being i tako dalje. Osim toga, uzeli smo si dosta lot of possibilities, like dance events, classical slovne sadržaje kojima dajemo Dijelom samim tim što surađujemo s lokalnim ty to create something new and special again open to businesses, profit and non-profit Koje su bile glavne ideje oko oživljavan- vremena. Trebalo nam je sedam godina da music, roller skating, product presentations, prostor. vlastima. Kao što sam ranije spomenuo, ovaj and again. My role as director is to be aware of events, keep its quality as essentially ‘pub- ja Westergasfabriek u kontekstu općeg pronađemo odgovarajuću trgovinsku bilancu. conferences, etcetera. Besides that we took položaj znači da moramo biti jako svjesni ut- what kind of brand we are and what we want lic space’ which is open to the community? promišljanja revitalizacije industrijske Ako treba sve sažeti u par riječi, onda se radi our time. It took about 7 years before we had a Prije nekoliko godina odlučili smo iskoristiti jecaja našeg poslovanja na zajednicu. No to to be. And of course we also have new plans, Partly in the way we work together with the baštine, te koje su bile ključne okolnosti o sljedećem: fleksibilnost i strpljivost. favourable balance of trade. So, to summarize dio prostora za dva dnevna talk-showa koji je također i nešto o čemu se svakodnevno like starting a hotel on our terrain. And we local government. As mentioned earlier, koje su omogućile da se zamisao realizira? the key factors into a few words: be flexible se emitiraju na nacionalnoj televiziji. Istovre- razgovara. Naravno, susjedstvo je zadovolj- have the ambition to use completely renew- their position means that we have to be very 2000. godine, kad su vlasnici Westergas- Zanimljivo je da se Westergasfabriek ne Can you tell us about professional back- and take time. meno, investirali smo i u kazalište, a u tom no našim djelovanjem. Ljudi dolaze u park, able energy. We want to be a real green spot. aware of the impact of our business on the fabrieka započeli ovaj projekt, bio je to oz- oslanja na financiranje iz javnog budže- ground before becoming the director of trenutku već smo imali organizirano i kino. gdje izletuju ili se jednostavno opuštaju, a community. But it is also part of our daily biljan skok u nepoznato. Da, imali su puno ta, ali se ipak u svom funkcioniranju do- the Westergasfabriek? It’s interesting that the Westergasfabriek Nedavno smo s North Sea Jazz Festivalom mogu ići i u kino, kazalište, na performanse, In what ways does the Westergasfabriek discussion. Of course the neighbourhood iskustva u razvoju različitih projekata, ali brim dijelom temelji na tijesnoj suradnji After my study of Mass Communication and does not rely at all on public funding, but dogovorili osnivanje stalnog jazz kluba. S više u restorane itd. U tom smislu, stanovnici ne- communicate and work with cultural in- has a lot of joy because of our existence. revitalizacija stare tvornice novim sadržaji- s lokalnim vlastima. Koje su glavne karak- Economics I worked on commercial basis as still one of the keys to its existence is close od 250 različitih događanja tijekom godine, posrednog susjedstva zadovoljni su onim stitutions and other initiatives from out- People can come to the park and picnic or ma i namjenom za njih je bila nešto sasvim teristike te suradnje — što jedni dobivate a researcher and consultant. After a period collaboration with the local government. imamo mogućnost stalno stvarati nešto novo. što nudimo te su nam dali ocjenu 8.5 prema side its borders? How much is it linked just relax. They can go to the cinema, the- novo. Vidjeli su to kao svojevrstan čin odgov- od drugih? of about 10 years I started to work for the What are the main characteristics of this Moja uloga kao direktora je voditi računa o nedavnom istraživanju, što je zaista pohval- and networked with the cultural and cre- atre, performances, restaurants etcetera. So ornosti prema gradu. Naime, stare zgrade, Westergasfabriek se nalazi u blizini stam- government, first as a civil servant on behalf collaboration — basically what does one našem brendu i tome što želimo biti i kako se no. Događaju nam se i greške, najčešće zbog ative scene in general? in that sense, people living around are really izgrađene 1883., bile su u jako lošem stanju benog područja, što znači da moramo biti of the Minister of Culture and afterwards in get from the other and vice-versa? želimo predstaviti. Imamo još novih planova, neizbježne buke, ali na svaku pritužbu odmah To be honest, my main focus is Amsterdam enthusiastic about The Westergasfabriek. pa su ih uspjeli kupiti po vrlo niskoj cijeni, svjesni utjecaja našeg poslovanja na ljude close cooperation with the Mayor of Amster- The Westergasfabriek is very close to a resi- želimo pokrenuti hotel na našem terenu, a reagiramo, čak i usred noći. Shvaćamo naše and the Netherlands. Although we have a lot They gave an 8.5 as a report mark in a recent no morali su obećati lokalnim vlastima da koji žive u našem susjedstvu. U tom smislu dam and the Alderman of Economic Affairs dential area. So we have to be very aware of imamo želju i preusmjeriti se u potpunosti susjede vrlo ozbiljno! of experience, we have to keep in mind that survey, which is a real compliment. Of course će ih obnoviti i oživjeti cijeli kompleks kao postoje određena ograničenja koja utječu na and Culture. In 2010 I was asked to join The the impact of our business for people living na energetsku održivost. Želimo biti doista we have to run a business. It is very honoura- we make failures: incidentally there is too kreativno i kulturno žarište. Nekoliko godi- programe u različitim dijelovima kompleksa. Westergasfabriek. around. So we have some restrictions in the zelena zona. Može li se reći da građani Amsterdama ble to be asked to give advice abroad. But we much noise. But if there are complaints, we na kasnije, s investicijom od oko 30 milijuna Za velika događanja koja uključuju glasnu way we program our buildings. For big events doživljavaju vaš prostor kao vlastiti, bez have to keep our focus on The Westergasfab- act immediately, even during the night. We eura, obnova je bila završena, a u među- muziku moramo pitati za dozvole. No, iako What were the main ideas with the West- (like dance and house music) we still have to Na koje načine Westergasfabriek komu- obzira na činjenicu da je u privatnom riek itself. We are part of different interna- take ‘our neighbours’ very serious! vremenu su jako puno truda u to uložile i to predstavlja ograničenje, s druge je strane i ergasfabriek in the context of revitalizing ask for permission. But although it is a kind of nicira i radi s kulturnim institucijama i vlasništvu? tional forums, like the European network of lokalne vlasti. Bilo je potrebno sanirati i jedna vrsta suočavanja sa stvarnošću. Također, industrial heritage, and what were the key restriction, at the other hand it is a form of a drugim inicijativama koje djeluju izvan Da, mnogi nisu ni svjesni da je riječ o privat- roundhouses, so in that sense there is a kind Can you say that the citizens of Amster- očistiti površinu od oko 14 hektara, jer je ci- budući da nismo vlasnici okolnog terena, mo- factors that made this happen? natural check and balance. And because we kompleksa? Koliko je vaša inicijativa pove- nom vlasništvu. of collaboration. dam perceive this space as their own de- jelo to područje bilo jako zagađeno još u vre- ramo se dogovarati s vlastima kad želimo or- When the owners of The Westergasfabriek don’t own the outfield, we have to deal with zana s kulturnom i kreativnom scenom On national level we work together with spite the fact that it’s privately owned? menu kad je na tom mjestu djelovala plinara. ganizirati događanja izvan samog kompleksa. started this project in 2000 it was a kind of the local government to get permission for općenito? Na koji je način moguće uključiti se u ak- different cultural institutions. Very impor- Yes, a lot if people even don’t know it is pri- deep dive. They had a lot of experience in events that take place outside. Da budem iskren, moj glavni fokus su Am- tivnosti Westergasfabrieka — kao komerci- tant in the way we work together is that both vate property. the development of new projects. But re-use So it sounds like we are very dependent sterdam i Nizozemska. Iako imamo mnogo jalna inicijativa, ili kao umjetnik? Postoje parties understand each position and focus. of an existing old factory was completely of the decisions the local government ma- iskustva, moramo voditi računa o tome da li inherentna pravila i iznimke? We have to get money out of cooperation. A How does one take part in Westergasfab- new for them. They did it as a kind of re- kes. But, they also know that what we do is vodimo posao. Čast nam je biti pozvanima Kao što sam ranije rekao, mi smo komerci- lot of cultural institutions are used to be sub- riek activities — as a business, as an indi- sponsibility for the city. The old buildings very important for the neighbourhood and da savjetujemo nekog u inozemstvu, ali is- jalni subjekt i moramo znati što svi ti umjet- sidized. So, it is very important that from the vidual, as an artist? Are there inherent (built in 1883) were in very bad condition. for the city. Yearly about 5 million people tovremeno moramo brinuti i za sam prostor nici, pojedinci i poslovne inicijative donose beginning we make our position clear: col- rules and exceptions? The price they paid was only one guilder come to visit The Westergasfabriek. So for Westergasfabrieka. Sudjelujemo u različitim sa sobom. Ponekad nudimo prostor gotovo laboration means that both parties know As said before, we are a commercial party. (less than half a Euro). But they had to prom- that reason they give us a lot of freedom in međunarodnim forumima, poput European bez naknade, ali u tom slučaju dogovaramo what the surplus value is for themselves and So, we have to know what artists, individu- ise the local government to rebuild and to our day by day business. And besides that, network of roundhouses, te smo u tom smislu se oko toga što dobivamo zauzvrat. Prim- for the other. als, business people bring in. Sometimes we restore the whole complex and to make it a the local government takes care of the cijelo vrijeme povezani nekim suradnjama. jerice, to može biti ‘besplatan’ publicitet. Za offer our space for almost nothing. But in creative and cultural hotspot. whole area, like safety, and maintenance Na nacionalnoj razini, radimo s različitim kul- Westergasfabriek vrlo je važno da razumi- How much of the Westergasfabriek pro- that case we made deals about what we get After several years and after a total invest- of the park. turnim institucijama. U tome je vrlo važno da jemo logiku dodatne vrijednosti. Možemo gramme content directly refer to the for- in return. For instance: (free) publicity. For ment of about 30 million Euros the restora- sve strane razumiju pozicije i interese drugih, reći kako je glavno pravilo da postoji sinergi- mer industrial complex as heritage? How The Westergasfabriek it is very important tion was finished. In the meantime also the What are the current ambitions and new jer nam se suradnja mora isplatiti. Mnoge ja između poslovnih subjekata, pojedinaca, important is it for you to keep the audi- that we understand the additional value. You local government did a great effort. They goals with the Westergasfabriek, does it kulturne institucije naviknute su na državno umjetnika i nas. ence aware of the historical context? can say the rule has to be that there is syner- cleaned the whole spot of 14 hectares. The need constant development to stay sus- subvencioniranje, tako da od samog počet- We are not really focused on the history of gy between the business parties, individuals, whole terrain was heavily polluted because tainable, and in what ways and directions? ka želimo raščistiti naša polazišta: suradnja The Westergasfabriek as a former gas factory. artists and The Westergasfabriek.

8 d-news, službene novine dana d d-news, official d-day newspaper 9 INTERVJU S TOMOM FLEMINGOM interview with TOM FLEMING INTERVJU S TOMOM FLEMINGOM interview with TOM FLEMING Umrežavanje je Networking is vezivno tkivo the ‘oil and kreativne glue’ of the ekonomije creative economy

Intervju s Tomom Flemingom Interview with Tom Fleming

TEKST Marko Golub TExT Marko Golub

Tom Fleming, direktor Tom Fleming Creative Consultancy, je britanski konzultant i znan- Dr Tom Fleming, as director of Tom Fleming Creative Consultancy, is a consultant and aca- Guimarães — Europska prijestolnica kulture 2012. / Guimarães — European Capital of Culture 2012 stvenik koji se bavi istraživanjem i podupiranjem sektora kulturnih i kreativnih industrija, demic specialising in research and support for the cultural and Creative Industries sector at kao i općenitim pitanjima kulture i kreativnosti u gradovima i regijama. Vodio je brojne is- all levels, plus on broader issues of culture and creativity for cities and regions. He has led a oblika i iskustava. Gradovi poput Londona Mladi talenti često napuštaju svoje gradove traživačke i strateške programe za regionalne razvojne agencije i državna tijela u nizu zemalja. range of research and strategy programmes on behalf of regional development agencies and konstantno se mijenjaju, pokretani različito- u potrazi za globalnom povezanošću. Jak U fokusu njegovog pristupa je odnos između kreativnosti i gospodarskog razvoja, gdje je high profile national bodies, as well as undertaken significant international work. Central stima, novom glazbom, dizajnom, i u njima globalno povezani klaster omogućuje talen- kreativnost promatrana kao pokretač rasta u nizu sektora te utječe na sposobnost gradova i to his approach is the relationship between creativity and economic development, where se spajaju različiti kulturalni utjecaji. Činjeni- tiranim ljudima da ostaju i vraćaju se svojim regija da privuku visoko stručne i kulturno aktivne građane. creativity can drive the growth of a range of sectors and enhance the prospects for specific ca da smo sami bazirani u Istočnom Londonu sredinama, kao i da izraze svoju kreativnost Electric Works, Četvrt kulturnih industrija u Sheffieldu / Electric Works, Sheffield Cultural Industries Quarter places to attract highly skilled and culturally active citizens. pomaže nam da bolje razumijemo načine na i pokrenu poslovanje. Zato je za aktivnost lo- Ono što zovemo kreativnim industrijama koje raznolikost utječe na kreativne prakse te kalnih kreativnih klastera važno uspostaviti How does the strategic development of talent to stay/return and express their crea- sastoji se od brojnih aktivnosti, od kojih What we call Creative Industries compris- tourism and can attract inward investment nam omogućava da izravno radimo s talenti- globalne veze. Primjerice, u posredovanju creative industry relate to local cultural tivity and build businesses. This is why it is su neke u osnovi neprofitne, dok su dru- es all sorts of activities, some of which are and play a role in talent retention/attraction. ma različitih kulturnih zaleđa. među poslovnim subjektima, kulturnom identity, or the specific things that a place important for local creative cluster activities ge komercijalne i poslovno orijentirane. essentially non-profit while some are busi- programiranju i razmjeni znanja. Također je is ‘good at’? How and what does it build to make global connections — e.g. in business Jedne su javno subvencionirane, druge su ness oriented, some are government-sub- So overall, an arts ecology U kakvom su odnosu strateški razvoj kre- važno učiniti kreativni klaster privlačnim na- from it? to business brokerage, cultural programming u potpunosti neovisne, iako ponekad sve sidized, while others are completely inde- is part of an overall creati- ativnih industrija i lokalni kulturni iden- dolazećim, čak i ‘privremenim’ kreativnim It has to build from the local identities and and knowledge exchange. It is also important djeluju u istom području i mediju. Ove ra- pendent, sometimes even in the same field ve economy, with real inter- titet, odnosno specifični potencijali nekog talentima — on mora biti mjesto za rad, igru the existing assets and challenges of a place. to make the local cluster attractive to incom- zlike postaju još očitijima kad uzmemo u or the same medium. These differences dependence between the more mjesta? Na koje se načine taj razvoj osla- i povezivanje. You can’t just import creative industries into ing or even temporary creative talent — to be obzir različite kontekste (zemlje, čak i gra- are of course even more complex within traditionally subsidized or nja na njih? a city or build from nothing. Every city needs the place to go to work, play and connect. dove). Što je, dakle, to što čini kreativne different contexts. So, what is it that makes artist-led and the commercial Potrebno je graditi na lokalnim identitetima U predavanjima ističete kako razvoj krea- to connect existing assets — the cultural iden- industrije toliko jakim ekonomskim fak- creative industries such a strong economic creative industries. te već postojećim prednostima i izazovima tivnih industrija treba ići odozdo, iz samog tities, organisations infrastructure and of In your lecture you’ve stated that these de- torom u cjelini, te na koji način sva ova ra- force today as a whole, and how do these samog mjesta. Ne možete tek tako uvesti kre- sektora. Što to u osnovi znači? course the talent; and then build a strategy velopments should work from bottom-up, zličita područja, infrastrukture i konteks- different fields/infrustructures/contexts How does cultural diversity within a city ativne industrije u grad, niti možete graditi ni To znači da nam moramo graditi na posto- from this starting point. This is what we did not the other way around. What does this ti nadopunjuju jedni druge? complement each other? or region influence creativity and de- iz čega. Svaki grad treba u sebi povezati sve jećim kreativnim resursima i talentima, te in Manchester in the 1990s and subsequent- essentially mean? Kreativne industrije općenito uspostavljaju The creative industries overall deliver a range velopment potential? As I understand, svoje različite potencijale — kulturne identi- da moramo prepustiti samom kreativnom ly in many cities: work from what you have, This means we need to work from our exist- širok raspon vrijednosti za ekonomski, društ- of values to the economic, social and cultural this is exactly what you’ve emphasised tete, organizacijsku infrastrukturu i naravno sektoru kontrolu nad procesom. Previše je combine the assets, and generate a distinc- ing assets, to mobilise existing talent, and veni i kulturni život gradova. Primjerice, um- life of cities. For example, arts and cultural many times, even starting from a certain talent — te iz te početne točke izgraditi strate- top-down inicijativa u kojima se razvija infra- tive narrative which in turn becomes attrac- to give the sector ownership of the process. jetnost i kulturne aktivnosti ključne su za bla- activities are critical for well-being, distinc- self-referential point of view since your giju. Upravo to smo napravili u Manchesteru struktura koju sam sektor koji želimo podu- tive to talent from elsewhere. There are too many top down initiatives gostanje, profiliranost i općenito živost neke tiveness, confidence and overall vibrancy. consultancy is based in East End London. 1990-ih, a zatim i u mnogim drugim gradovi- prijeti uopće ne prepoznaje kao svoju. where infrastructure is developed or where sredine. Također, one nude sadržaj i odgaja- They also provide the content and nurture ma. Dakle, radite s tim što imate, kombiniraj- What do you see as common misconcep- networking activities are staged which are ju talente za više komercijalno orijentirane the talent for the more commercial creative Cultural diversity can give te sve prednosti koje imate i stvorite autenti- Možete li ukratko objasniti vašu projek- tions in strategic development of creative not recognised by the sector they are seeking kreativne industrije. Sve više umjetničkih i industries. We are also seeing more and a real advantage to cities čan narativ koji će onda postati privlačan za tnu metodologiju? Kakve vrste istraživa- industries sector? to support. kulturnih organizacija danas funkcionira u more arts an cultural organisations operat- seeking to grow their creati- talente iz drugih sredina. nja radite kao tvrtka, s kim sve surađuje- There are many. Perhaps the main miscon- obliku kreativnog poduzetništva — izgradnje ing as creative businesses — building brands ve economy. te, itd? ception is that there is a toolkit or easy ap- Can you briefly explain your project meth- brendova i komercijalizacije postojećih po- and commercialising assets as a way of de- Što vidite kao glavne zablude u strateš- Mi smo vodeća konzultantska tvrtka u po- proach to sector development, where models odology as a consultancy? What kind of tencijala u smjeru razvoja održivog poslova- konzultantska tvrtka bazirana upravo u veloping sustainable business models which First of all, cities which make the most of kom razvoju kreativnih industrija? dručju kreativne ekonomije, kulturnog pla- from other cities can be replicated. Every city research do you do, what kind of connec- nja koje nije ovisno o javnom subvencionira- Istočnom Londonu. aren’t entirely dependent on public subsidy. their diversity tend to be tolerant, open, con- Ima ih puno. Vjerojatno glavna zabluda je ta niranja i umjetnosti, a radimo u više od 40 needs to develop its own approach — learning tions do you make etc? nju. Kreativno poduzetništvo donosi izravnu Creative businesses are providers of direct fident and at ease with themselves. This kind da postoje gotova rješenja za razvoj pojedinih zemalja. Naš posao je maksimizirati krea- from but not importing other approaches. A We are a leading creative economy, cultural i neizravnu vrijednost gospodarstvu, stvara Kulturna raznolikost daje and indirect value to the economy. They pro- of civil society is more likely to foster creative sektora, odnosno da se modeli iz drugih gra- tivni potencijal mjesta — povezati partnere further misconception is that the creative in- planning and arts consultancy working in radna mjesta i doprinosi BDP-u, a posebno stvarnu prednost gradovima vide jobs and contribute to the GDP — with a activity. Secondly, there is real ‘diversity ad- dova mogu replicirati. Za svaki grad mora se i dovesti investitore. Radimo s gradovima, dustries will generate lots of jobs and grow over 40 countries internationally. We work značajan učinak ima u gradovima. No mož- koji žele razvijati svoje disproportionately significant impact in cit- vantage’ to different cultures collaborating razviti drugi pristup, učeći, ali ne primjenju- regijama i vladama, ali i s institucijama lots of businesses. While this is the case in to maximise the creative potential of plac- da najvažnije, ono doprinosi dodatnu vrijed- kreativne ekonomije. ies. But perhaps more significantly, they pro- to create new cultural forms and experiences. jući slijepo već postojeće pristupe. Dodatna poput univerziteta i umjetničkih centara. many cities, for most cities, the sector can es — connecting partners, building appetite, nost — primjerice, kreativne usluge i dizajn vide value-added — e.g. creative services and Cities like London are constantly changing, zabluda je da će kreativne industrije stvoriti Pronalazimo prilike za rast i razvoj, dajemo play a critical value-adding role and genuine- committing investors. We consult with cities, poboljšavaju konkurentnost drugih industri- Prije svega, gradovi koji će najviše iskoristiti design improve the competitiveness of other driven by diversity, with new music, design, mnogo radnih mjesta i novih tvrtki. Iako to podršku u smislu planiranja, zagovaranja i ly benefit competitiveness and resilience; but regions and governments, as well as with in- ja, dizajn povećava sposobnost inovacije u sek- tu raznolikost su upravo oni koji teže biti tole- industries; design enhances the innovation fashion an outcome of different cultural i jest slučaj u mnogim gradovima, za veći- analize provedivosti projekata, te oblikuje- it is unlikely to be a major sector in its own stitutions (e.g. universities and arts centres) torima proizvodnje i usluga, itd. Osim toga, rantni, otvoreni, sigurni i spokojni. Ovakav capacity of the manufacturing or services influences coalescing. Being based in East nu njih kreativni sektor igra ključnu ulogu mo učinkovite strategije i politike za sektor. right. In other words, we need to be a little to identify growth and development oppor- bavi se proizvodima bremenitima značenjem, oblik civilnog društva ima veću vjerojatnost sector etc. Plus they deal with ‘meaning lad- London helps us to better understand the podizanja vrijednosti te uistinu podiže kon- Među našim klijentima su i UNESCO, Svjet- more realistic and context-specific. A final tunities, provide feasibility, planning and ad- u smislu da stvara nove identitete i značenja odnjegovati kreativnu aktivnost. Drugo, st- en’ goods and services — which means they way diversity influences creative practice kurentnost, ali teško da može predstavljati ska banka, Europska komisija i mnoge vlade i example of a misconception is that making vocacy support, and to design effective strat- nekog mjesta, a samim tim utječe na sektore varna prednost raznolikosti je i u suradnji raz- create new identities and senses of place — and it also enables us to work directly with glavni sektor sam za sebe. Drugim riječima, općine. Najčešće započinjemo s dijagnozom money out of creativity compromises artistic egy and policy for the sector. Clients include poput turizma i regionalnog ulaganje te igra ličitih kultura u stvaranju novih kulturnih which in turn impact upon sectors such as talent from different cultural backgrounds. moramo biti malo više realistični i kontek- stanja i konzultiranjem samog kreativnog integrity and undermines excellence. This is UNESCO, The World Bank, European Com- bitnu ulogu u privlačenju talenata. stualno specifični. Konačni primjer zablude sektora i ključnih partnera kako bismo na- a lazy assumption. mission, and multiple governments and mu- je predrasuda da zarađivanje od kreativnosti pravili detaljnu analizu u smislu mapiranja, nicipalities. We often start from a diagnostic Dakle, umjetničko okruženje kompromitira umjetnički integritet i potko- poslovnog planiranja, opcija za investicije How do creative industries, and conse- process and consult with the sector and key općenito je dio kreativne pava izvrsnost. To je površna prosudba. i regulacije. Nakon toga slijede konkretne quently creative clusters, influence the partners toward establishing detailed analy- ekonomije, uz stvarnu međuo- strateške preporuke. Ovu metodologiju pri- global-local relationship and the flow of sis (e.g. mapping, business planning, options visnost između tradicionalno Na koji način kreativne industrije, a onda mijenili smo u brojnim strategijama razvoja young artists and businesses on an inter- for investment and regulation), which is then subvencioniranih umjetničkih i kreativni klasteri, utječu na odnos lokal- kreativnih ekonomija za gradove, studijama national level? followed by concrete strategic recommen- industrija i komercijalnih no-globalno i protok mladih kreativaca na provedivosti za kreativne klastere, kao i za The Creative Industries is at once locally dations. Examples where we have followed kreativnih industrija. internacionalnoj razini? niz nacionalnih inicijativa poput Strategije embedded on local talent and resources, this course include a series of city creative Kreativne industrije ugrađuju se lokalno kreativne ekonomije Vijetnama, Strategije liable to cluster, inspired by local cultures; economy masterplans, creative cluster feasi- Kako kulturna raznolikost u gradovi- među postojeće talente i resurse (koji već kreativnih klastera Libanona i Nacrta strate- and globally connected (often digitalised, bility studies and plans, and a set of national ma i regijama utječe na kreativnost i po- teže okupljanju u klastere i inspirirani su gije kreativne ekonomije za Nordijsko vijeće inspired by other cultures, and increasingly initiatives such as a Creative Economy Strat- tencijale razvoja? Koliko razumijem, up- lokalnim kulturama) te su globalno pove- ministara. collaborative). Young talent often leaves a egy for Vietnam, a Creative Cluster Strategy ravo to često naglašavate, često čak s zane (najčešće digitalno, inspirirane su dru- city in search of global connections. A strong for Lebanon, and a Creative Economy Green autoreferencijalnog gledišta jer je vaša Kulturni klaster Tabačka Kulturfabrik, Košice, Slovačka / Kulturni klaster Tabačka Kulturfabrik, Košice, Slovačka gim kulturama i sve više su kolaborativne). globally connected creative cluster enables Paper for the Nordic Council of Ministers.

10 d-news, službene novine dana d d-news, official d-day newspaper 11 INTERVJU S JANOM BOELENOM interview with JAN BOELEN INTERVJU S JANOM BOELENOM interview with JAN BOELEN

seems to be a strong interest in how design We are also working with the Victoria and can be used to reveal the underlying intelli- Albert Museum in London to curate part of Nove definicije New Definitions gence and originality of non-designers and an upcoming show, The Future: A History. Fi- non-design, in order to gain insight for the nally, for the Z33 space itself, we are planning ‘official’ design field. a project on scarcity. dizajna of Design Some of your statements in regards to de- You refer to design as a rather political sign sound rather utopian. Do you really discipline. What is political about design Intervju s Janom Boelenom Interview with Jan Boelen believe design can be a driving force in so- today, especially in regards to product de- cial change? Can you explain how? sign? And what is the most political pro- In one sense, the way we look at design could ject you curated? be considered utopian, in the sense that de- From one perspective, design can seem apo- sign has only thought about the everyday litical because it often favours method over Tekst Ivana Borovnjak Text Ivana Borovnjak life of ordinary people for a relatively short content. For example, in open-source pro- amount of time. Even today, from museums duction, the idea may be partially expressed Jan Boelen (1967.) je belgijski kritičar i kustos izložbi suvremene umjetnosti i dizajna. Studirao Jan Boelen (1967) is a Belgian critic and curator of contemporary art and design exhibitions. to academies to design events, we see much as the designer stepping back from the crea- je dizajn proizvoda na Media & Design Academy (KHLim) u Genku, Belgija. Osnivač je i He studied product design at the Media & Design Academie (KHLim) in Genk, Belgium. He more representation of everyday life than a tion of objects to the creation of frameworks, direktor Z33, House for Contemporary Art u Hasseltu. Predsjednik je Flemish committee is the founding director ofZ33, House for Contemporary Art in Hasselt, Belgium. He also Irma Földényi, moje dvije bivše studentice, Future: A History. Konačno, za sam prostor real integration and interaction with it. From leaving as many decisions as he or she de- for Architecture and Design, i kustos izložbi i projekata na Manifesti 9 (2012. u Limburgu). chairs the Flemish committee for Architecture and Design and is curator of exhibitions and istraživale su potencijale različitih gradova Z33 planiramo projekt o nestašici. my perspective as a curator, this distance can sires up to the consumer — what to make, Predavao je unutar odjela Man and Well Being na dodiplomskom studiju na Design Acad- projects for Manifesta 9 (2012, Limburg). After teaching in the Bachelors Department Man Europe. Jedna od ideja uključuje zapošljava- be useful—within limits—to explore the ide- how large it is, what colour it is, how much emy Eindhoven u Nizozemskoj, a od 2010. godine je voditelj odjela za Socijalni dizajn na and Well Being, Jan Boelen has been head of the Master Department Social Design at Design nje taksista u Beču na osnovu njihovih biv- Referirate se na dizajn kao poprilično poli- as that are not supported by the market or it should cost, what materials it should be diplomskom studiju na istoj akademiji. Academy Eindhoven (NL) since 2010. ših profesija, druga je npr. sistem razmjene tičku disciplinu. Što je politično u dizajnu by a strictly functional need. You might call made of. Digital manufacture allows the de- svježih namirnica na željezničkoj postaji u danas, posebice produkt dizajnu? U kojem this ‘utopian’, but it is a useful tool to create signer to be removed another step from the Što je socijalni dizajn i kako ga tumačiti Ljudi su u gradovima svakodnevno okruže- What is social design, specifically in the Genku. Zanimljivost ovakvog pristupa di- od vaših projekata je to najevidentnije? debate and discussion. process; literally, his or her hands may never unutar akademskog konteksta? ni predmetima, mehaničkim i elektroničkim context of the academia? zajnu je činjenica da se ostvaruje kroz poti- S jedne strane, dizajn se može činiti apoli- From another point of view, design is sim- touch the object. This can appear to be a neu- Iz moje perspektive, ‘socijalni dizajn’ ne sistemima, arhitekturom, prometom itd. Iz From my perspective, there is no such thing canje lokalnih stanovnika na razmišljanje o tičnim jer često favorizira metodu umjesto ply one facet—both a manifestation and an tral position, but of course it is not. In fact, postoji u smislu samodostatne discipline. U perspektive dizajna, mnoge od nabrojanih as ‘social design’ in terms of a self-contained nekonvencionalnim pristupima rješavanja sadržaja. apparatus—of the way society organises and it may be even more political than making akademskom kontekstu (ali i u kontekstu stvari su vrlo bazične i funkcionalne, te se field. What is important in the academic con- problema unutar vlastitog susjedstva. Čini Primjerice u open-source produkciji evi- expresses itself; therefore, it is not at all uto- individual objects by oneself, since the scope stvarnog svijeta) bitno je da studenti shvate zapravo tek kroz njihov međuodnos ostva- text (and no less in the real-world context) is se kako u posljednje vrijeme u dizajnu posto- dentno je da dizajner djelomično odstupa pian, and in fact very complex and unclear. of such auto-production will necessarily re- prisutnost frikcija, konfrontacija i međuod- ruju nove razine socijalnih interakcija. U that students realise the presence of frictions, ji snažan interes za implementaciju upravo od kreiranja objekta prema kreiranju siste- For example, the financial crisis has been main relatively small. When we talk about nosa unutar dizajna, te iskoriste tu energiju svom eseju ‘A City is Not a Tree’, Christop- confrontations, and connections in design— takvih inteligentnih i originalnih prijedloga ma, ostavljajući pritom odluke potrošaču: što an enormous driver of change, both positive open-source, we are describing a political u svojim istraživanjima. Ako koristimo riječ her Alexander uspoređuje organičke i plan- that they not only discover them but also find koji dolaze od strane ne-dizajnera. napraviti, koliko veliko, koje boje, po kojoj and negative, and of course the financial sys- attitude towards the democratic nature of socijalno, automatski se referiramo na umre- ske gradove u odnosu na specifične tipove a way to harness the energy of this friction for cijeni, od kojih materijala. Digitalna proi- tem is an object of human design. What is creation and the flattening of a certain man- žene perspektive, a zatim i s time povezanom objekata: semafore, pločnike, billboarde, the impact of their work. Neke od vaših izjava zvuče poprilično uto- zvodnja omogućava dizajneru da se odma- necessary, at Z33, when we look at such nar- ufacturing skill-set to include a larger portion sumnjom o istinitosti istih. Iz tog razloga, po- vrata, izloge isl. Prema njegovom uvjerenju, If we use the word ‘social’, we are automati- pijski. Mislite li zaista da dizajn može biti kne od jednog koraka u procesu u tzv. neu- ratives and speculations is the application of of the population. And after only a few years trebno je na osobnom nivou definirati pristup složeni odnosi između nađenih stvari koji ka- cally speaking of a multiplicity of viewpoints, pokretačka snaga društvene promjene? tralnu poziciju, koja je zapravo više politična a critical, doubtful mindset. of this mindset, we now have access to a file dizajnu, neovisno o tome govorimo li o ‘diza- rakteriziraju organičke gradove predstavljaju and therefore an associated doubt that any of Možete li objasniti kako? nego nekadašnja samoproizvodnja predmeta for a 3D-printed gun, even though it has been jneru’, korisniku, proizvođaču ili promatra- bolji model za život, negoli oni hijerarhijski them is entirely true or objective. Therefore, Način na koji razmišljamo o dizajnu može se koja nema toliko širok doseg. Kada govorimo The idea that design has many banned by the American government. ču. Ukoliko socijalni dizajn posjeduje neku ustrojeni distanciranim ljudskim odnosima everyone must have space to personally de- smatrati s jedne strane utopijskim. Čak i dan o open-source proizvodnji, onda opisujemo possibilities, even fictions, posebnu kvalitetu, to je onda činjenica da na koje nailazimo u planskim gradovima. Da- fine his or her own design approach, whether danas, od muzeja, preko akademije do dizaj- političke stavove prema demokratizaciji pro- also means that none of them Perhaps design’s most politi- dizajner od samog početka treba redefinirati nas dizajn u gradovima ne znači nužno mi- they are the ‘designer’, the user, the manu- nerskih događanja, suočeni smo s puno više izvodnje i poništavanju seta specifičnih vje- are constant or unilateral. cal effect in the near future procese koje želi koristiti, materijale koje želi jenjanje individualnih objekata. Kao primjer facturer, the observer, etc. If social design believed that the complex, overlapping, and reprezentacija, negoli stvarnom integraci- ština, u korist šire populacije. Nakon samo will be how we reshape our absorbirati i mijenjati, s kojim zajednicama uzet ću pariški model unificiranog jezika has a special quality, it is that the designer redundant relationships between things jom i interakcijom dizajna sa svakodnevnim nekoliko godina korištenja ove tehnologije, Z33 has become an important actor on the ideas about both democracy želi surađivati — i to sa sviješću da finalni pro- lijevanog željeznog mobilijarija: lampi, klu- must redefine his or her role from the be- found in organic cities created a better mod- životom. Iz moje perspektive kustosa, može sada već imamo pristup dokumentima za 3D European design and art scene. Can you and totalitarian control. By izvod možda uopće neće izgledati kao ‘diza- pa, balkona i ulaza u metro stanice Hectora ginning—must decide which processes they el of living than the hierarchical and distant biti korisno (unutar granica), istražiti ideje printanje oružja, iako zabranjenim od strane give us some insights into projects you are reducing a chair and a gun to jn’, te da će možda važnost ljudi dominirati Guimarda, iz 19. st. Naprotiv, suvremeni di- want to set in motion, which materials they relationships found in planned cities. Today, koje nisu uvjetovane tržišnim ili striktno američke vlade. currently working on? the same geometric computer nad važnošću predmeta. zajn može jednostavno mijenjati odnose iz- want to absorb and alter, which communities designing in the city does not necessarily funkcionalnim potrebama. Možete to zvati At the moment, we are working on several language, design has opened među već postojećih objekata (činiti to dobro, they want to interact with—and it may be that mean changing the individual objects, as in utopijskim, međutim, istovremeno je to je- Možda će najveći politički projects. Z33 is currently expanding, and we up a very complex debate abo- Ovogodišnja tema Dan D festivala je Di- naravno, nije uopće jednostavno i zahtjeva the result does not look like ‘design’ at all. the 19th-century model of Hector Guimard dan koristan alat za poticanje diskusije i kri- doseg dizajna u budućnosti are opening the future building to young de- ut how much freedom we want zajn i grad. Na koji način dizajn, posebno duboko razumijevanje grada i pažljivo pristu- Perhaps the importance of the object will be making a unified language for Paris through tičke debate. S druge strane, dizajn je samo biti kako formirati ide- signers in advance of the construction. Along to allow in society, and to socijalni dizajn utječe na život u gradu? panje implementaciji ideje). Daniela Dossi i overtaken by the importance of the human. beautiful cast-iron street lamps, benches, još jedan aspekt, istovremeno manifestacija i je, kako demokracije, tako with the building, we are also reorganising whom. balconies, and Métro gates. In contrast, con- aparatus, načina na koji se društvo organizira i totalitarističke kontrole. the structure of the institution in order to The topic of this year D–Day festival is temporary design can be ‘simply’ changing i izražava. U tom smislu dizajn ne možemo Svođenjem stolice i oružja change the operative time-scales of a con- In that theme, the most political project I Design and the City. We are particularly the relationships between the objects that zvati utopijskim, nego zapravo veoma kom- na isti jezik računalne ge- temporary cultural centre. We would like to have curated might be The Machine, where interested in ways in which design can in- are already there (of course, to do that suc- pleksnim i nejasnim. Primjerice financijska ometrije, dizajn je otvorio move away from a start-and-stop exhibition we explored these issues in the context of fluence our living in cities. How can social cessfully is not simple at all, and requires kriza je pokretač promjene, kako negativne kompleksnu raspravu na temu mode to a set of parallel agendas that run auto-production and automated production. design contribute to this topic? both an in-depth understanding of the city tako i pozitivne, a sam sistem funkcioniranja društvene slobode. simultaneously: the issues are never closed, If we look at how people live in cities, we see and a nuanced approach to implementing financija je predmet ljudskog dizajna. Ono and can be re-investigated and re-presented What are your predictions about design as that their lives are absolutely full of objects, ideas). Two of my former students, Daniela što je potrebno, kada istražujemo takve na- U kustoskom projektu The Machine, u kojem multiple times by different agents. In that a discipline in the future? mechanical and electronic systems, architec- Dossi and Irma Földényi, have explored this racije i spekulacije unutar Z33 su sumnja i istražujemo ovakve teme u kontekstu samo- line, we are planning another iteration of The The future holds two sides. On one hand, ture, traffic, interactions, etc. From a design potential in different cities in Europe, think- kritičko promišljanje. produkcije i automatizirane produkcije, mož- Machine, to be shown at the New Institute in the ‘discipline’ of design may be increasing- perspective, many of these things are quite ing about a way to hire taxi drivers in Vienna da je takav pristup najevidentniji od svih na Rotterdam. ly irrelevant. Design is less and less within basic and functional, and it is only in the re- based on the professions they had in their Ideja da dizajn ima mnogo kojima sam dosad radio. the province of the academy, the museum, lationships between them that further levels home countries, for example, or creating a mogućnosti, čak fikcija, ta- the ivory tower; it is more and more simply of social interaction are made possible. In his system of food exchange for a soup-maker kođer znači da niti jedna Kakve su vaše pretpostavke o budućnosti one more of the methods of expression that essay, ‘A City is Not a Tree’, Christopher Al- at a train station in Genk. What is even more od njih nije konstantna ili dizajna kao discipline? people can choose to mobilise, like writing exander compared organic cities to planned interesting about these design solutions is unilaterlarna. Budućnost ima dvije strane. S jedne stra- or film-making, using distributed technolo- cities with respect to these relationships, or that they were made by facilitating a group ne, moguće je da će dizajn kao disciplina gies, tools, means of production, etc. On the ‘sets’ of objects—a traffic light, a sidewalk, of locals to rethink their neighbourhood Galerija Z33 postala je bitan akter na eu- postati sve irelevantniji — samo jedna od other hand, but because of this, design itself a billboard, a door, a shop, and so on. He problems with unusual ideas. Recently, there ropskoj umjetničkoj i dizajnerskoj sceni. potencijalnih metoda izražavanja, kao pisa- is becoming much more important. The cur- Na kakvim projektima trenutno radite? nje ili snimanje filmova, pomoću dostupnih rent phase of industrial evolution is shifting Trenutno radimo na nekoliko projekata. Z33 tehnologija, alata i sredstava proizvodnje. S the traditional roles that makers, producers, raste, a u budućnosti planiramo otvaranje druge strane, baš zbog toga, dizajn postaje and consumers have had in society. This has DA Dominik i Adriana Adriana Pavelić, Dominik Vuković / Zagreb Grupa VIL*e Vlatka Blakšić, Ivona Vuletić and Lana Hudina / Zagreb zgrade za mlade dizajnere. Paralelno, reor- sve važniji. Kako trenutna idustrija evoluira, implications for the output of design as well: ganiziramo strukturu institucije na način da mijenja se tradicionalna uloga kreatora, pro- when the systems of hierarchy and power are Dizajneri i izlagači na Danu D D–Day designers and exhibitors Ljuljko — šamrlek/ljuljačka je Ljuljko — šamrlek/ swing is a nastoje komunicirati vrijednosti intend to communicate the values osmišljen kao multifunkcionalan multifunctional piece of children’s mijenjamo vremenske rasporede kulturnog izvođača i potrošača unutar društva, što no longer clear, neither are their representa- koje nosi profesija sama. U našem of this profession. In our case, namještaj za djecu — na njemu furniture. It can be used for swing- centra. Voljeli bismo se odmaknuti od mode- naravno ima svojevrsne implikacije na rezul- tions in material objects. If I must point to a slučaju to je kombinacija utopijskog, this is a combination of utopian, se sjedi i ljulja, a igra konopcem ing and sitting whereas its rope la izložbi koje imaju početak i kraj na model tate u dizajnu: ako hijerarhijski sistemi nema- specific aspect of design in the future, it is društveno angažiranog i tržišnog engaged and market-oriented odaje osobnost korisnika. Namještaj, can reveal the personality of every paralelnih rasporeda događanja: neke teme ju prijašnju moć i jasnoću, nemaju ga ni re- that the ethical implications of the field will razmišljanja. Na Danu D želimo approach. We want to introduce igračke i detalji dječje sobe prirodan user. Furniture, toys and details se nikad ne zatvore i mogu se reinterpretirati prezentacije u materijalnim objektima. Kada grow ever more significant. The designer of predstaviti sebe u sklopu malog ourselves at the D–Day as a team su kontekst za prezentaciju Ljuljka, found in children’s rooms present društveno angažiranog kritičkog of socially involved and critical a puno drvo i prirodna obojena špa- a natural context for presenting i reprezentirati nekoliko puta na različite na- bih morao indicirati specifičan aspekt dizajna frameworks and systems will become more obrta. Naša ideja zasniva se na ‘craft’. Our idea is based on the ga predstavljaju kontrast plošnim, Ljuljko, whereas hard wood con- čine. Unutar toga planiramo još jednu iteraci- budućnosti, to je činjenica da će etičke impli- like a doctor in terms of the responsibility želji da pokažemo svoje vještine wish to present our skills and cre- veselim, ali nenametljivim oblicima struction and natural rope contrast ju projekta The Machine, koji ćemo prikazati u kacije unutar područja postati sve značajnije. and dilemmas his or her choices will bring. i kreativnost u izradi jednog od ativity by making one of the most na panelima od kojih je izgrađen flat, cheerful yet unobtrusive New Instituteu u Rotterdamu. Također radi- Dizajneri sistema i okvira za sisteme postat najosnovnijih i najupotrebljavanijih popular objects, while making that štand. forms on the panels used for the predmeta, a da pritom taj isti pred- object a communication medium. construction of the stand. mo s Victoria and Albert Museum u Londo- će nešto kao liječnici u smislu odgovornosti i met bude medij komunikacije. nu na kuriranju dijela nadolazeće izložbe The dilema s obzirom na donesene odluke.

12 d-news, službene novine dana d d-news, official d-day newspaper 13 INTERVJU S Attilom Bujdosóm interview with Attila Bujdosó INTERVJU S Attilom Bujdosóm interview with Attila Bujdosó

ili FabLab Budapest, a rade za neke multi- svjetonazora. Pri tome su i posve umreženi! scratch. Young and talented people are mo- nacionalne kompanije, npr. Motorolu i Frog Trče naokolo sa svojim laptopima, koriste sve tivated and willing to invest their energies Moj odnos prema My relation to Design. Također, predaju na School of the digitalne alate koji su im pri ruci, organiziraju into projects that shape our culture. They are Art Institute u Chicagu i na Sveučilištu za i kreiraju suvremenu kulturnu ponudu u Bu- fresh and open-minded. Oh, yes, and they umjetnost i dizajn ‘Moholy-Nagy’. dimpešti. Zar to nije sjajno? are networked! They run around with their Iako se posljednjih godina u KIBU-u radilo laptops, use all the digital tools at hand to do, Internetu više the Internet is na zaista mnogo projekata, shvatili smo kako Nadalje, voljeli bismo čuti nešto više o tre- organize and create contemporary culture in najveća vrijednost laboratorija leži upravo u nutnoj političkoj i ekonomskoj situaciji u Budapest. Isn’t it great?! njegovom osoblju, tj. u ljudima. U tom smi- Mađarskoj. Kao i Hrvatska, i Mađarska je od puke more than just slu, upravo je edukativni aspekt laboratorija je već neko vrijeme ugrožena prijetnjom On this note, we would like to hear just a najprominentniji. Osnivanje KIBU-a spon- rastućih radikalnih desničarskih politika little bit more about current political and zorirala je tvrtka Magyar Telekom, koja je i (ili smo barem tako čuli i pročitali). Mogu economical situation in Hungary. Simi- ovisnosti an addiction dan-danas najodgovornija za financiranje li ‘kreativne industrije’, odnosno organi- larly (or so we hear these days), Croatia is udruge. Ipak, u zadnje vrijeme javlja se ra- zacije, učiniti nešto da to spriječe? Čine li also endangered with threat of growing stuća potreba za stvaranjem prihoda, pa smo bilo što da se odupru tim pojavama? Leži li radical right-wing politics. Can ‘creative umjesto samoiniciranih projekata prisiljeni odgovor u trenutačnom povezivanju i su- industries’, or organizations, do anything Intervju s Attilom Bujdosóm Interview with Attila Bujdosó više nego prije raditi na naručenima. Tako- radnji između naših udruga i inicijativa? to stop this? Are they doing anything to đer, tijekom prošle godine pokrenuli smo Vjerujem kako je ovih dana javno mijenje o oppose it? Does the answer lay in the im- početni program tzv. ‘inkubacije’, koji svim djelovanju političkih elita vrlo, vrlo negativ- mediate linking of our respectful organi- zainteresiranima nudi inicijalno financira- no. Doduše, moja najveća briga nije oko toga zations and initiatives? nje njihovih projekata u samom začetku, te što oni rade, već kako to čine. Možete me pro- I think that the general public opinion about TEKST Bojan Krištofić TExT Bojan Krištofić ih ubrzano razvija intenzivnim razdobljem zvati ‘proces geekom’, no uvjeren sam kako the political elite is very negative nowa- inkubacije, koje traje 26 tjedana. mnogo problema proizlazi iz samog načina i days. My biggest concern is not about what Attila Bujdosó (r. 1981.) je arhitekt, istraživač, socijalni poduzetnik i broker u kulturi, koji Attila Bujdosó (born 1981) is an architect, researcher, social entrepreneur and cultural bro- Kitchen Budapest s vremenom je zauzela metodologije rada izvršne vlasti. Na primjer, they are doing but how they are doing it. živi i radi u Budimpešti (Mađarska). Od 2008. godine radi kao istraživač, a kasnije i kao ker, who lives and works in Budapest (Hungary). He has worked at Kitchen Budapest new čvrstu poziciju na kulturnoj mapi Mađarske, vlada namješta tzv. javne rasprave umjesto You might call me a process geek but I am senior-nadglednik različitih projekata u Kitchen Budapest, laboratoriju za istraživanja novih media research lab since 2008, as researcher and lately as senior research supervisor. He is kreirajući na tucete eksperimentalnih, vrlo da se upusti u doista smislene i konstruktivne convinced that many of problems arise from medija. Kustos je i suurednik knjige Subjective Atlas of Hungary, objavljene 2011. Također je curator and co-editor of the book Subjective Atlas of Hungary, published in 2011. He is also često otkačenih i zaigranih, multidisciplinar- razgovore. Oni uopće ne pokušavaju shvatiti how the government works. The government član međunarodne kustoske platforme KÉK — Hungarian Contemporary Architecture Centre, a curatorial board member of KÉK — Hungarian Contemporary Architecture Centre, and as nih projekata i radova. Uvjeren sam kako to kritike i kontra-argumente koji su imanen- fakes public discussion instead of getting a kao savjetnik uključen je i u projekt UrbanIxD. an advisor he also collaborates in UrbanIxD project. zaista pruža izrazitu vrijednost našem ‘po- tni svakoj istinskoj političkoj debati. Sigurno into a meaningful and constructive conver- četničkom’ programu, te nam pomaže da ih neće prihvatiti ni usvojiti, čak ni na nekoj sation. The government doesn’t even try Budapest 2008. godine. Tamo sam pokre- Tell us something about your education joined Kitchen Budapest in 2008. I did sev- dođemo do širih krugova kreativnih ljudi i minimalnoj razini. Dakako, to vodi do kon- to understand criticism and counter-argu- nuo nekoliko projekata koji su se očešali o to and development, and your everyday eral projects tackling this issue. potencijalnih investitora. troverznih i upitnih odluka. ments which are natural to political debates. područje. practice nowadays. What are your main Kitchen Budapest has built up a strong They are not trying to incorporate them, not points of interest? In what creative fields You are part of a rather large team that Dakle, kako bi sveukupno ocijenio ulogu Nadam se da ćemo mi, lju- cultural reputation in the past years by cre- to the least extent. This of course usually Član si relativno velikog tima koji je po- are you most actively engaged? has founded Kitchen Budapest NGO and KIBU-a na kulturnoj sceni Budimpešte i di koji rade u kreativnijim ating dozens of experimental, often crazy or comes down to controversial and debatable krenuo nevladinu udrugu Kitchen Buda- I grew up in Budapest and studied architec- has been running it ever since, with some cijele Mađarske? Kako planirate razvija- područjima, pokazati kvali- playful, cross-disciplinary projects. I think decisions. pest, i koji ju vodi sve do danas, uz neke ture at Budapest University of Technology changes in the personnel. On NGO’s web, ti udrugu u bliskoj budućnosti, naravno, tetne primjere praksi koje this really adds value to our startup program promjene u ljudstvu. Na vašim web stra- and Economics. After graduation I worked ‘Kibu’ is described as a ‘lab’ which helps u kontekstu ove duge i naoko beskrajne podrazumijevaju uključivanje and also helps us to reach wider circles of I hope that we, people wor- nicama, ‘KIBU’ je opisan kao ‘laboratorij’ as an architect for ONL [Oosterhuis_Lénárd], good ideas ‘grow’ into a strong potential ekonomske i političke krize? I Mađarska demokratskog višeglasja u ko- creative people and potential entrepreneurs. king in creative fields, will koji pomaže dobrim idejama ‘da rastu’, uz a Dutch architecture firm who just opened for further intellectual and innovative re- i Hrvatska su njome podjednako teško laboracijske projekte, i kako show good examples and pra- snažan potencijal za buduća intelektual- their branch office in Budapest. I got deeply search and/or prototypes for actual pro- pogođene. će se to podrazumijevati samo How would you describe Kibu’s position ctices of how to incorpo- na, inovativna istraživanja, sve do prototi- involved in design process of the CET Buda- duction in the future. Also, it seems that Mnogo toga se promijenilo od 2007. Budim- po sebi. in Budapest’s (and for that matter, Hun- rate multivocality into in Reci nam nešto o svojem obrazovanju i pova za konkretnu proizvodnju. Također, pest. It was an ambitious project of trans- you have developed very sophisticated pešta danas ima veoma jaku kulturnu sce- gary’s) general cultural landscape? How collaborative processes by profesionalnom razvoju, kao i o tvojoj sva- čini se da ste razvili vrlo sofisticiranu teh- forming old warehouses, located right next to technological infrastructure, which is nu. Osjećam se vrlo inspiriranim samo dok Fokus mog aktualnog istraživanja je na su- do you plan to develop the NGO in the near default. kodnevnoj kreativnoj praksi. Koja su glav- nološku infrastrukturu za jednu nevladi- the river Danube, and extending them into a quite a success for a NGO (in Croatia it is promatram koliko se ‘uradi-sam’ inicijativa vremenim ‘formatima’ proizvodnje i distri- future, in context of this long, and liter- na područja tvoga interesa? Kojim si po- nu udrugu. Reci nam nešto više o tome. large cultural and commercial complex. The rather unimaginable). Please, can you pokrene od godine do godine. K tome, sve se bucije znanja, čime pokušavam definirati ally non-ending economical and political The focus of my current research is about dručjima danas najaktivnije zaokupljen? Da, Kitchen Budapest, ili KIBU, kako mi zo- building is now finished, but due to heavy dis- elaborate these topics and tell us more to zbiva usprkos, ili, bolje rečeno, potpuno upravo kolaboracijske prakse i radne meto- crisis? As Croatia, it has affected Hunga- contemporary ‘formats’ in knowledge pro- Odrastao sam u Budimpešti i studirao arhi- vemo udrugu, pokrenuta je 2007. godine. Ja putes between the city council and the private about Kibu’s mission and vision, too. nezavisno od prevladavajuće, vrlo stresne dologije u timovima. Svi ti ‘formati’ implici- ry deeply. duction and distribution, defining collabo- tekturu na Sveučilištu za tehnologiju i eko- sam se, zapravo, priključio tek godinu dana investor, it still has not opened. I hope it will Yes, Kitchen Budapest, or KIBU as we call političke klime. Povjerenje javnosti prema raju jednostavne setove pravila koji pomažu I think a lot has changed since 2007. Buda- rative practices and working methodologies. nomske znanosti. Nakon što sam diplomirao, kasnije, ali sada sam jedan od onih koji u open soon. CET Budapest is a great landmark it, started in 2007. I only joined a year later političkim elitama ponovno je na jako, jako u vođenju i organiziranju udjela mnogo ljudi pest has a very active cultural scene. I feel These formats all imply a simple set of rules radio sam kao arhitekt za ONL [Oosterhuis_ udruzi djeluju najduže. Tijekom posljednjih building with an outstanding location as it is but I am now one of those who have been niskoj razini. Bilo je krajnje nisko oko 2006, u zajedničkom radu i odlučivanju, tako da so empowered just by looking at how many that help guiding and organizing the contri- Lénárd], nizozemski arhitektonski biro koji šest godina, kroz KIBU je prošlo više od sto- directly on riverside — which is, sadly, quite a around for the longest time. KIBU has worked i to se ponovno događa od prošle godine. sve to poprimi jasnu strukturu i oblik, te bude grass-root initiatives take off from year to bution of the many, so that it takes a clear je upravo tada otvorio svoju podružnicu u Bu- tinu ljudi, što je prilično mnogo. To znači da unique feature in Budapest, and a significant with more than 100 people in the past 6 Nadam se kako će ‘mentalno stanje’ stanov- smisleno i vrijedno. Uvidio sam kako neki od year. And all this happens despite of, or bet- shape and becomes meaningful and valua- dimpešti. Bio sam sustavno uključen u pro- smo osvježili cjelokupni tim gotovo svake contribution to the cityscape. years — which is quite a lot. It means that we ništva popratiti neminovni, mada sasvim tih ‘formata’ mogu biti vrlo lako usvojeni u ter say independent from, the very stressful ble. I realized that some of these formats can ces dizajniranja na projektu CET Budapest, godine. Mislim da je većina ljudi itekako While I was always obsessed with con- have refreshed the team almost every year. polagani izlazak iz krize, te da će građani sasvim različitim kontekstima. Ako pri tome political climate. The public trust towards be replicated very easily by adoption. And if a bila je riječ o ambicioznoj transformaciji profitirala u multidisciplinarnom i eksperi- temporary architecture, my main point of I think most of the people benefited from ubuduće zahtijevati mnogo više od vodećih možemo koristiti postojeće ‘formate’ ili iz- the political elite is at a very low level — again. we can use existing or invent new formats starih skladišta, smještenih na obali rijeke mentalnom okruženju koje im je KIBU pružio. interest has slowly shifted towards the dig- the cross-disciplinary and experimental en- političkih igrača. Mađarski narod je općenito misliti nove, i to tako da se oni šire ne samo It was very low around 2006 and is very low that spread not only internationally but do- Dunava, s ciljem da se unaprijede i prošire u Svakako je jasan i pozitivan znak to što su ital world. It was during my studies when I vironment KIBU offered. I think it is clearly vrlo pesimističan. Međutim, kad se pogleda međunarodno, nego i regionalno, odnosno again since last year. I hope that soon, as mestically, among different disciplines and veliki kompleks za kulturnu i komercijalnu ljudi koji su se pridružili KIBU-u kasnije na- started to recognize that my relation to the a positive sign that people who joined KIBU živahna kulturna scena Budimpešte, nema lokalno, među različitim disciplinama i ra- we slowly find our way to step out from the diverse cultures, than we can use this as a proizvodnju. Zgrada je danas dovršena, ali stavili svoj razvojni put radeći u vrlo širokom Internet is more than just an addiction. Slow- but moved on later are now working in a ama baš nikakvog razloga za takvo gledanje znovrsnim kulturama, tada to možemo ko- economical crisis, the ‘mental state’ of the strategy to enhance discourse and collabo- zbog žestokih prepirki između gradskog vi- spektru područja, kako geografski, tako i ly I got more and more interested in how the very broad spectrum, both geographically na stvari! ristiti kao strategiju unapređenja diskursa i general public will follow, and also be more ration on the societal level. jeća i privatnog investitora, još nije otvorena. profesionalno. Nekadašnji KIBU istraživači new digital dimension is affecting our every- and professionally. Former KIBU researchers Neki ljudi okupljaju se kako bi pjevali na djelovanja na širem društvenom nivou. demanding towards the political actors. Nadam se da će uskoro biti. CET Budapest ve- i rezidencijalni umjetnici nastavili su svoje day life and how it keeps increasingly shape and resident artists went on to study at MIT improviziranim nastupima zborova. Drugi su Hungarian people are generally very pessi- Finally, what has motivated you to accept lika je i značajna građevina na izvanrednoj lo- studije na ustanovama kao što su, primjeri- our future. Media Lab or RCA in London. They did kick- pretvorili jednu bivšu školsku zgradu u Bu- Napokon, što te potaklo da prihvatiš po- mistic. But if you look at the lively cultural a proposal to lecture on D–Day festival? kaciji, tik uz obalu rijeke — što je, nažalost, u ce, MIT Media Lab ili RCA u Londonu. Uradili I studied architecture hence I was trained ass projects like ReOnion installation for dimu u centar za performans umjetnosti, u ziv da predaješ na Danu D? Što očekuješ scene in Budapest, there is nothing to feel What do you expect to see? Budimpešti više izuzetak nego pravilo — i vrlo su neke genijalne projekte poput ReOnion first to deal with space that is built. Later on Burning Man festival or Based on Pig, which kojem danas borave mnoge nezavisne kaza- vidjeti i doživjeti? pessimistic about! I am member of UrbanIxD network, a Euro- važan doprinos urbanom pejzažu u cjelini. instalacije na festivalu Burning Man ili pak I started to look at how physical and digital, is an ongoing design research about food lišne grupe. Treći, pak, održavaju komunal- Član sam mreže UrbanIxD, projekta koji se Some people gather to sing at improvisa- pean project focusing on the design aspects Premda sam oduvijek bio opsjednut su- Based on Pig, tekuću istraživačku inicijativu offline and online, urban and social spaces and culture. They founded companies like ne vrtove u različitim dijelovima grada. Neki na europskoj razini usredotočuje na dizajner- tional choir performances. Others turned a of human interactions in the contemporary vremenom arhitekturom, središte moga in- o ulozi dizajna u razvoju prehrambene kul- meet, overlap and interact. This phenome- Prezi.com or FabLab Budapest. They work pokreću neformalne restorane, organiziraju ske aspekte ljudske interakcije u suvreme- former school building in Buda into a perfor- networked city. I am interested in learning teresa polako se pomaklo prema svijetu di- ture. Osnovali su tvrtke kao što su Prezi.com na was of my core interest and that’s why I for Motorola or Frog Design. They teach at dinamične male festivale, objavljuju fanzi- nim umreženim gradovima. Želim naučiti mance art centre, inhabited by many inde- about the Croatian cultural scene of today. gitalnih medija. Tijekom studiranja shvatio School of the Art Institute of Chicago or Mo- ne — i to sve praktički ni iz čega! Mladi i ta- što više o aktualnoj hrvatskoj kulturnoj sceni. pendent theatre groups. Other people main- I am also really curious to see Zagreb as the sam da je moj odnos prema Internetu više holy-Nagy University of Art and Design. lentirani ljudi itekako su motivirani i voljni Također, vrlo sam znatiželjan oko putovanja tain community gardens in several parts of first and last time I visited Zagreb was in od puke ovisnosti. Postupno me sve više i While KIBU developed many projects uložiti svu svoju energiju u projekte koji obli- u Zagreb, jer sam ga posljednji put posjetio the city. Others start restaurants, organize 1987(!). više zanimalo kako nova digitalna dimen- throughout the years, we realized that the kuju našu kulturu. Svježi su i vrlo otvorenog daleke 1987. godine (!). pop-up festivals, publish fanzines — all from zija života utječe na našu svakodnevnicu, te biggest impact the lab made was on its peo- kako kontinuirano (i sve više) oblikuje našu ple. In that sense, the educational aspect of budućnost. the lab is the most prominent. Kitchen Bu- Vedran Klemens Zagreb Luka Vucić Zagreb Kako sam studirao arhitekturu, izvorno dapest was founded and is still mainly spon- sam bio izvježban da se bavim izgrađenim, sored by Magyar Telekom. In the past few Serija samoiniciranih ilustracija A series of self-initiated illustra- Krajem 2011. godine stvorio sam Brko is an illustrated character materijalnim prostorom. Kasnije sam počeo years there is an increasing demand to cre- izloženih u formi plakata formata B1. tions in a form of B1 posters. The ilustrativan lik zvan Brko. Brko je created by the end of 2011. Brko is promatrati kako se materijalno i digitalno, of- ate revenue which means we work more on Tematski ilustracije reinterpretiraju illustrations are reinterpretations klasični antijunak u kontekstu kapi- a classical anti-hero in the context likove iz pop kulture i smještaju ih of pop icons setting them outside talističkog društva. Kroz njegov lik of capitalist society. His character fline i online fenomeni, urbani i društveni pro- external commissions. We also started our izvan svog uobičajenog konteksta. of their usual context. uspio sam se izraziti na sarkastičan is the author’s way to sarcastically stori susreću, preklapaju i stupaju u interakci- startup incubation program in 2012 which i ironičan način o sistemu koji nas and ironically talk about the system ju. Ovaj fenomen je u samom temelju mojih offers pre-seed funding for startups and ac- svakodnevno guta i proždire. devouring us on everyday basis. istraživanja, i upravo sam se sa željom da se celerates them with an intensive incubation tome posvetim pridružio udruženju Kitchen period of 26 weeks.

14 d-news, službene novine dana d d-news, official d-day newspaper 15 INTERVJU S BERTOM TEUNISSENOM interview with BERT TEUNISSEN INTERVJU S BERTOM TEUNISSENOM interview with BERT TEUNISSEN

The interesting thing is that after all we do a public space is, we will have to find out I not differ from each other that much. This guess. We did specifically tell them that it Portreti Portraits of is what I was expecting to find when I first might happen. decided to look into the entire continent. That is also why at first I never wanted these In your opinion, observing simple life, images to be shown per country or out of what are the downsides of urban develop- Europe koju Europe that the the context of the whole story. When you ment and consequently the ways design mix them all up, one has difficulty trying to is polluting our environment. It seems tell one country from another. I also wanted that everything went down when people je budućnost future forgot to show the public how much we are alike, started to overdesign their environment, despite the differences in culture, language or stopped designing it in response to na- and religion. The biggest differences are be- ture. Is there, in your opinion, a possibility zaboravila tween people in the north and the south; in and even sense in going back? How do you the south people are much more relaxed and envision living spaces of the future? laid back while in the north they are more I do think that there is a certain sense in Intervju s Bertom Teunissenom Interview with Bert Teunissen wary and maybe even suspicious — except of going back if we look at the protests against course the ones that let me photograph them. companies like Monsanto or the interest in organizations like ‘Slow Food’. Interest in the What was your experience travelling origin of food that we buy in the supermarket through Croatia? Did you develop friend- nowadays indicates that there is a growing Tekst Ivana Borovnjak Text Ivana Borovnjak ship with people you photographed and sense of knowing more about it. The funny how do they feel about exposing their pri- thing is that we only need to ask our parents Fotograf i vizualni umjetnik Bert Teunissen živi i radi u Huizenu u Nizozemskoj. Njegov rad Photographer and visual artist Bert Teunissen lives and works in Huizen, the Netherlands. vate lives in a public space of the museum? to find out — they still know. The next gener- predstavljen je na brojnim samostalnim izložbama u Nizozemskoj, Danskoj i Sjedinjenim His work was shown in many solo exhibitions in the Netherlands, Denmark and USA, and Well, real friendship almost never occurs ation will need different sources to find -an državama, kao i na grupnim širom svijeta. 1997. godine započeo je s fotografiranjem interijera in group exhibitions all over the world. In 1997 he started photographing interiors and their during my work, except of course with the swers to these questions. So the downsides i stanovnika starih kuća u Europi, što je rezultiralo serijom Domestic Landscapes. Monografija inhabitants of old houses in Europe, which resulted in the Domestic Landscapes series. A book translators I work with. One never meets an- of urban development are the loss of knowl- posvećena toj fotografskoj seriji objavljena je u New Yorku i u Njemačkoj 2007, a godinu dana on the series, Domestic Landscapes — A Portrait of Europeans at Home, was published in New yone for more than an hour. I did experience edge and, more important, the loss of tastes kasnije ovjenčana je dvjema prestižnim nagradama — PDN Annual Photography Award i Prix York and Germany in 2007., which recieved two prestigious awards the following year — PDN’s great hospitality though. What the relation- and diversity. de la Photographie Paris. Upravo ovaj Teunissenov ciklus trenutno je predstavljen na izložbi Annual Photography Award and the Prix de la Photographie Paris. This series is currently ship towards exposing their private lives in u Etnografskom muzeju u Zagrebu. shown on Teunissen’s solo exhibition at the Ethnographic Museum in Zagreb.

Ovogodišnji festival Dan D obrađuje te- djece, dok ih danas malenim kombijima sku- People have moved away to big cities or Željka Zrnić Zagreb matiku dizajna i grada te njihovu me- pljaju u radijusima od po 50 km da bi napunili abroad and the few individuals left behind Stolci i stolovi inspirirani su cjev- Chairs and tables are inspired by đuovisnost. Kroz seriju fotografijaDo - jednu zgradu. are the only ones who live the life they astim konstrukcijama namještaja iz pipe constructions from the 1950’s. maći krajolici, čiji ćete dio prikazati u learned from their ancestors. They still know sredine 20. stoljeća. Ideja je sakriti The idea is to hide all unnecessary Etnografskom muzeju u Zagrebu tije- Vaše fotografije posebnim tretmanom pri- how to live off the land, while their children nepotrebne detalje i fizičke spojeve details and physical connections kom lipnja, prikupljate priče o ljudima rodnog svjetla na izuzetan način opisuju are not aware of their skills anymore. While poput vijaka, matica i sl. Krajevi such as screws, valves and similar. i domaćinstvima ruralnih dijelova Euro- životne uvjete ljudi daleko od tehnologije each village used to have at least one or more metalne konstrukcije položeni su The ends of the metal construc- unutar MDF okrugle ploče i skriveni tion are placed inside a MDF round pe. Možete li iz vlastitog iskustva zaklju- i gradova. Sadrži li vaš rad, osim izuzetne schools full of children, nowadays little vans lakom u pripadajućoj boji. Metalne plate and covered with lacquer in čiti kako se kroz globalizaciju i rapidnu estetske kvalitete, i neku vrstu kritike da- are collecting children in a 50 km radius to fill noge neprimjetno izlaze iz MDF corresponding color. Even though urbanizaciju mijenjao odnos čovjeka i našnjeg društva? just one school in the entire area. ploče, iako se radi o dva različita two different materials were used, prostora u odnosu na načine života koje materijala. the metal legs unseeingly come out of the MDF plate. dokumentirate? Jedini razlog iz kojeg uglav- Your photographs are very interesting in Riječ je o izuzetno zanimljivoj tematici. Već nom fotografiram u tim područ- their treatment of natural life, which is u vrlo ranoj fazi ovog projekta primijetio jima je činjenica da tamo only possible in those parts of country- sam da globalizacija snažno utječe na ru- pronalazim što tražim: nase- side that are somewhat submerged from ralni krajolik Europe. ljene kuće građene u skladu s technology and urban development. One veoma sličnu kvalitetu i atmosferu, goto- priliku upoznati na dulje od jednog sata. U Radi on/a Hana Ciliga, Iva Ćurković, Petra Blažinčić, Marita Bonačić i Morana Starčević / Zagreb arhitektonskim konceptom koji cannot help to think though that there is vo do mjere da je lokacije lako zamijeniti. Hrvatskoj sam iskusio izuzetnu gostoljubi- Nekad plodna oranica europ- podupire atmosfersko svjetlo. a critique of today’s society in your work, Na koje razlike nailazite u Istočnoj Europi vost. Odnos prema izlaganju privatnih života Projekt nastao u okviru diplomskog The project was developed as skog kontinenta sada leži apart from its aesthetic value. Could you u odnosu na zemlje zapada? u javnom prostoru ćemo, čini mi se, tek ot- rada autorice Hane Cilige, a uz Hana Ciliga’s graduate design with neobrađena. Dakle, bilo kakva kritika današnjeg društva comment on that? Zanimljivo je da se naposlijetku ipak ne ra- kriti. Tijekom rada smo im ujedno i najavili sudjelovanje Ive Ćurković, Petre the participation of Iva Ćurković, dolazi tek posredno. Naravno da sam kritičan This year the D–Day festival deals with zlikujemo mnogo jedni od drugih. Na neki tu mogućnost. Blažinčić, Marite Bonačić i Morane Petra Blažinčić, Marita Bonačić Većina ljudi migrirala je u gradove ili u ino- prema današnjem društvu, ali to nije razlog the theme of Design and the City, the in- The only reason I mainly način sam to i očekivao kada sam odlučio Starčević potpisan je pod kolek- and Morana Starčević and signed tivnim pseudonimom Radi on/a, te under the collective pseudonym zemstvo, te danas tek nekolicina pojedinaca zašto fotografiram spomenute krajolike. teraction between the two and how one photograph in those areas is istražiti čitav kontinent. To je ujedno i razlog Kroz promatranje jednostavnog načina ži- bi se u budućnosti realizirao u obliku Radi on/a (He/She Works), only to zna kako živjeti od zemlje slijedeći znanje can influence the other. Through your se- the fact I can find what I’m zašto od samog početka nikad ne izlažem vota, koji su nedostatci urbanog napretka i eko-socijalne djelatnosti. Ekološki get realized in the future as a sort of svojih predaka, za razliku od mlađe genera- Vaš cilj je, kako sami kažete, dokumenti- ries of photographs Domestic Landscapes, looking for: inhabited hou- fotografije pojedine zemlje van konteksta posljedično načina na koje dizajn zagađuje aspekt projekta odnosi se na isko- environmental and social activism. cije koja više ne posjeduje takav set vještina. rati ovakav tip života u svim Europskim which you will be also showing at the Eth- ses that were built according čitave priče. Kada ih pomiješate, gotovo je okoliš? Čini se kako je sve krenulo naopako rištavanje odbačenih i potencijalno The environmental aspects of the U prošlosti je svako selo imalo školu punu zemljama. Velika većina fotografija ima nographic Museum in Zagreb, you seem to the architectural concept nemoguće utvrditi razlike među zemljama. u momentu kada su ljudi počeli predizajni- odbačenih predmeta, a socijalni project are primarily concerned with na doprinos društvu u obliku javne the use of abandoned or potentially to be collecting private stories about peo- that allows atmospheric light Također, publici na taj način želim ukazati na rati svoj okoliš, ili drugačije rečeno, prestali radionice zasnovane na sustavu abandoned objects whereas social ple and houses in rural areas all around conditions. činjenicu o sličnosti zemalja, unatoč njiho- dizajnirati u skladu s prirodom. Ima li smisla dijeljenja prostora/alata/ideja. aspects are focused on the social the Europe. From your own experience vim kulturološkim, lingvističkim i vjerskim vratiti se počelima? Kako zamišljate životni Ovakav tip inicijative pružio bi za- impact in the form of a public how did the human relationship with So any critique on today’s society is circum- razlikama. Najuočljivija je razlika između prostor budućnosti? jednici potrebne uvjete za popravke workshop based on sharing work predmeta, a produkt dizajnerima uz spaces, tools and ideas. This type space change with the globalization and stantial. Of course I am critical about today’s ljudi sa sjevera i juga; na jugu su ljudi mno- Mislim da povratak u prošlost na određen mjesto promocije i uvjete za izradu of initiative could provide condi- rapid urbanization, in comparison to the society but that is not why I have photo- go opušteniji, a na sjeveru oprezni i sumnji- način ima smisla, ako primjerice sagledamo prototipova. tions for the community to fix the ways of living you are documenting? graphed in those areas in the first place. čavi — osim naravno onih koji dozvole da ih prosvjede protiv kompanije Monsanto ili objects in question whereas product This is a very interesting topic indeed. I no- fotografiram. zanimanje za organizacije kao što su Slow designers would get a place for their ticed already at a very early stage of my pro- You said that your goal is to document liv- Food. Interes za hranu koju danas kupujemo promotion and development of prototypes. ject that globalization has great impact on ing in all the European countries. A lot of Kakvo je vaše iskustvo putovanja Hrvat- u supermarketima indicira da postoji rastuća the countryside of Europe. your photos have that similar staged qual- skom? Jeste li sklopili prijateljstva s ljudi- potreba za znanjem o njezinu podrijetlu. Naj- ity and atmosphere — almost to the point ma koje ste fotografirali i koji je općenito bizarnije je ipak to što naši roditelji još uvijek While the countryside used that one could mistake some places for njihov odnos prema izlaganju privatnih raspolažu takvim informacijama — dovoljno Dora Bilandžić Zagreb to be the greenhouse for the other places. What are the differences života u javnom prostoru muzeja? ih je pitati. Naredna generacija morat će tražiti Časopis Hrelle ironično dekodira Hrelle magazine’s intention is to entire European continent in that you come across in Eastern Europe Gotovo nikad tijekom rada ne ostvarujem druge izvore istih informacija. Loša posljedica konzumerističke vizuale spektakla, ironically decode the consumerist the past, nowadays it lies in comparison to those countries of the prijateljstva, osim naravno s prevoditeljima urbanizacije stoga je gubitak takvog tipa zna- a njegovo oblikovanje parafraza visual spectacles. Its form para- fallow. West? s kojima radim. Zapravo nikad nikog nemam nja, i još važnije, gubitak ukusa i različitosti. je modnih časopisa poput Elle, phrases fashion magazines like Cosmopolitan, Grazia, Gloria In, itd. Elle, Cosmopolitan, Grazia, Gloria Samom svojom temom časopis je In and similar. The very subject of Jasmin Osivčić Sarajevo Nikola Kalevski Zagreb Martina Štrkalj Zadar i svojevrstan manifest stila života the magazine represents a kind of određene subkulture mladih koji manifest for the life-style inherent žive u Zagrebu te ispituje kako to a particular young subculture Ideja proizvoda bazirana je na akti- The idea behind this product is Projekt je rezultat istraživanja PVC-a. This project is a result of exploring Koncept izlaganja prilagođen je Concept of the exhibition is adapted oni percipiraju poznati zagrebački in Zagreb questioning how the viranju svih čula. Zanimljiva forma based on activating all senses. An PVC se deformira zagrijavanjem na the possibilities of PVC materials. temi ovogodišnjeg Dana D — Dizajn to the topic of this year’s D–Day, De- buvljak Hrelić i ljude koji tamo rade, young people perceive the Hrelić i ugodno ambijentalno (difuzno) interesting form and pleasant (dif- različitim temperaturama. Forme If exposed to different tempera- i grad. Sam izložbeni prostor čini os- sign and City. The exhibition space te na širem planu, kakav je njihov fleemarket and the people work- svjetlo privlači osjet vida, tekstura fused) light attract vision; texture do kojih sam došao rezultat su tures, PVC materials deform. The likani pješački prelaz (’zebra’) na koji is made of a painted zebra crossing odnos spram društvenih normi koje ing there. On the other hand, it konopca u interakciji sa svjetlom of the rope interacting with light igranja s materijalom. Obzirom da je resulting forms are the product se postavlja nekoliko pari izložbenih with several model pairs of shoes. nam se svakodnevno nameću. explores their relation with social daje joj taktilne kvalitete, a zagrija- provides tactile qualities and heat materijal vodootporan, izvrstan je za of that process. PVC is especially modela obuće. norms imposed on us every day. vanjem lampe dolazi do isparavanja from the lamp results in vaporiza- izradu vaza za cvijeće. suitable for the production of prethodno pripremljenih eteričnih tion of etheric scents. flower vases due to its water-proof mirisa. characteristics.

16 d-news, službene novine dana d d-news, official d-day newspaper 17 INTERVJU S GIOVANNIJEM INNELLOM interview with GIOVANNI INNELLA INTERVJU S GIOVANNIJEM INNELLOM interview with GIOVANNI INNELLA

has lead them to voraciously publish Press It still sometimes seems that we are de- Releases coming directly from the designers, ceived into thinking that we can be proac- Simbioza produkt Symbiosis of along with descriptive reports from design tive in doing the so-called ‘social design’... events. The media’s satiation has amplified In 1930 Corradino D’Ascanio was designing the reach of the designers and garnered a Piaggio aircrafts for WWII. Twenty years later larger audience. Designers don’t only use Corradino D’Ascanio designed Vespa Piag- dizajna i product design their presence in media and events for self gio. It’s not that WWII ended because he got promotion. Someone else benefits of their tired of war airplanes and started designing media reach as well. A couple of years ago scooters. The opposite is true. What I want to masovnih medija and mass media Tom Dixon’s show in Milan was sponsored say is that design is always the consequence by Blackberry who wanted to launch its new of bigger changes in our societies. In that tablet. Hella Jongerius in 2010 presented at sense design is social by definition, as it in- Intervju s Giovannijem Innellom Interview with Giovanni Innella Design Miami a table sponsored by banking terprets and delivers according to the context group HSBC. Designers from European and it is conceived in. Asian countries presenting in Milan, often carry with them the logos and names of Design certainly plays a their governments... In many ways, credit- role in enabling the chan- Tekst Ivana Borovnjak Text Ivana Borovnjak ing is where the current design economies ge, but if one wants to think lays. Formulas like supported by, powered that designers represent the Giovanni Innella je dizajner i doktorand na Northumbria University. Pisana i vizualna is- Giovanni Innella is a designer and PhD candidate at Northumbria University. His research by, in collaboration with, as well as awards main force shaping the wor- traživanja koja provodi od vremena diplomskog studija na Design Academy Eindhoven investigates the way the growing presence of design in the media — and the media in de- Ne mislim da je dizajn stva- Čini se da dizajneri danas svoj rad pone- connected to commercial entities, they all ld shouldn’t refer to social (2008) bave se ekspandirajućom prisutnošću dizajna u medijima — i medija u dizajnu — te sign — has impacted the design profession and the design industry as a whole. This topic also ralačka sila po sebi, nego kad opravdavaju skrivajući se pod krin- denote an exchange, a trade, which we still design, but rather socialist utjecajima koje ovaj fenomen ima na dizajnersku praksu i industriju u cjelini. Magistarski represents his direction for articulating a design critique expressed in both written and visual prije posrednička, koja soci- kom ‘autorstva’. Koji je vaš odnos prema need to fully understand. It is wrong to think design. rad pod nazivom ‘Dizajn i njegov dvojnik’ izlagan je između ostalog u Droog Gallery u Am- form. Giovanni started his research in the area of design critique while studying at the IM mas- jalne, političke i tehnološke toj vrsti stereotipa i kojim bismo se meto- that this is not part of the real world. Design sterdamu, the National Architecture Institute of Maastricht i Fuorisalone u Milanu. ter of the Design Academy Eindhoven, where he graduated in 2008. His thesis project ‘Design promjene čini evidentnijima. dama trebali okrenuti u edukaciji dizajne- still designs for the real world, but does that How about the rising class of designers and its Double’ has then been exhibited at the Droog Gallery in Amsterdam, the National ra za budućnost? in a different way. authors? Is there a validity in that stere- novinara na sajmu povećao se za 4 puta. Po- Architecture Institute of Maastricht and the Fuorisalone of Milan, amongst other venues. Znači li to da smo na neki način zavedeni Uvjeren sam da su dizajneri autori. Njiho- otype or are designers just trying to justi- pularna web stranica Designboom.com ne- mišlju kako tzv. socijalni dizajn može ne- ve interpretacije socijalne, ekonomske i How do you then define the role of design- fy their work by slipping into that mode? davno je izvijestila da mjesečno ima više od Your research is oriented towards ana- supporting the never-ending trend para- što promijeniti… tehnološke realnosti trebaju biti osobne i ers in forming today’s physical realm, and What would in your opinion be a credible 4 milijuna čitatelja. Jedan on njihovih kon- lyzing the rising presence of design in the digm? Do you think that designing for the Godine 1930 Corradino D’Ascanio je tijekom subjektivne. Takva varijabilnost pogleda i consequently their role in forming the method of teaching design for the future? kurenata, Dezeen.com, udvostručio je broj media. Who is a celebrity designer? real world is the matter of past? Drugog svjetslog rata dizajnirao zrakoplove mišljenja predstavlja bogatstvo dizajnerske public space, if at all? I am convinced that designers are authors. posjetitelja stranica sa 6 milijuna u 2008. na A designer these days is a professional that The attention given to design in mediat- Piaggio, a dvadeset godina kasnijeVespu. zajednice i društva generalno. Akademije za Certainly designers play a role in shaping Their interpretations of the social, econom- 12 milijuna u 2009. Godini. Ovakve brojke succeeded in bypassing the conventional ed contexts has grown considerably in Nije istina da je Drugi svjetski rat završio jer dizajn su jedina mjesta na kojima je moguće the physical realm, just like politicians, ic or technological realm should be personal reflektiraju popularnost i posljedično, moć industrial production-distribution process the last 10 to 15 years. The number of vis- je Corradino D’Ascanio bio umoran od rat- prakticirati istinski kritički diskurs. Nazva- citizens, engineers and lawyers. I think and subjective. Such variety of views and dizajna. Medijski apetit za novim sadržajima in order to reach an audience, preferring the itors of the Furniture Fair in Milan dou- nih zrakoplova i počeo projektiranje skute- ti nešto školskim projektom ne nosi prefiks that the interesting bit about the process opinions represents a wealth for the design doveo je do maničnog direktnog prenošenja use of media and festivals to distribute his bled between 1995 and 2010. The number ra — upravo suprotno. Želim reći da je dizajn manje vrijednosti, nego naprosto konteksta of shaping the physical realm is that we community and society in general. Design tiskovnih sadržaja i izvještaja s dizajnerskih work. A celebrity designer is someone that of registered journalists attending the fair uvijek posljedica veće društvene promjene. U za plodniji razvoj. Problem nastupa kada se don’t quite know who is responsible for schools are the only places, where a true događanja, što je dovelo do povećanja inte- does that very well. increased fourfold. The popular design web- tom smislu dizajn je socijalan po definiciji, s projekti s fakulteta automatski objavljuju u it. Often the process of forming the pub- critical discourse can be carried on. To call resa za dizajn generalno. Korist od svepri- site, Designboom.com recently reported that obzirom da interpretira i djeluje u društvenom medijima — tada prestaje konstruktivna ra- lic space is a complex and unpredictable something a ‘school project’ is not diminish- sutnosti dizajnera u medijima imaju i drugi. Tell us more about the economical and so- their monthly readers are more than 4 mil- kontekstu. sprava u korist medijske hvale. Takav razvoj combinations of elements and events ing its value, but rather putting it in a con- Prije nekoliko godina izložbu Toma Dixona cial circumstances that created this type lions. One of its competitors, Dezeen.com, događanja velik je gubitak za edukaciju. rather than a clear design. text where it can be developed and discussed u Milanu u potpunosti je sponzorirao Black- of environment. Are designers inevita- doubled its 6 million visitors in 2008 to over Dizajn igra ključnu ulogu u further. The problems come when school berry u svrhu promocije novog tableta. Hella bly caught in the vicious circle of neolib- 12 million in 2009. Such figures reflect the omogućavanju društvene pro- I don’t think design is a projects are released directly in the media. Jongerius je 2010. godine u Miamiu prezenti- eralism? Has design become a pseudo art/ popularity, and consequently the power of mjene, ali ako želimo vjero- driving force per-se, I That’s when the critical discussion stops in rala stol pod pokroviteljstvom bankovne gru- science only for personal promotion, thus design. The media’s appetite for new content vati kako su dizajneri ključ- rather think that design is favour of praising. Once a school project is pacije HSBC. Dizajneri iz europskih i azijskih na sila u formiranju svijeta, the agent that makes social, in the media, it becomes somehow untouch- zemalja koji se prezentiraju u Milanu često tada bismo se trebali refe- political, or technological able, which makes it a loss for the design Vaš rad i istraživanje usmjereni su na ana- nose logotipove i imena svojih vlada. Posto- rirati na ‘socijalistički’ changes more evident. school in the end. lizu sveprisutnosti dizajna i dizajnera u jeća dizajn ekonomija leži u kreditiranju. For- umjesto ‘socijalnog dizajna’. medijima. Tko je celebrity dizajner? mulacije kao što su podržano od, u suradnji s Dizajner je danas profesionalac koji uspije- i komercijalne nagrade su označitelji tržišne va zaobići konvencionalne industrijsko-pro- ekonomije. Pogrešno je misliti da dizajn nije izvodne procese ne bi li došao do publike, dio stvarnog svijeta. Dizajneri i dalje dizaj- koristeći pritom snagu medija i dizajnerskih niraju za stvarni svijet, ali na drugačiji način. Martina Zelenika Zagreb Roman Vlahović Miro Roman i Luka Vlahović / Singapur, Zagreb festivala za distribuciju vlastitog rada. Cele- Rođena na Dan planete Zemlje, 22. Born on 22 April 2011, the Earth Kroz projekt generativnog nakita The project is focused on gener- brity dizajner je netko tko to radi vrlo dobro. Kako onda definirati ulogu dizajnera u travnja 2011., Druid je registrirana Day, Druid is a registered fashion želimo pokazati mogućnosti koje ative jewelry as an intention to formiranju fizičke stvarnosti, i posljedič- i autorski zaštićena modna marka trade mark dedicated to endan- novi pogled na grad i društvo otvora- present the possibilities that a new Koje su socijalne i ekonomske okolnosti no njihovu ulogu u oblikovanju javnog posvećena ugroženim životinjskim gered species in order to call for ju dizajnu i promišljanju objekata. perception of city and society can dovele do takvog tipa rada? Je li dizajn prostora? vrstama, čime se apelira na oču- the preservation and care for our Ono što je nekad bilo dizajniranje open for design and reconsider- danas pseudo umjetnost/znanost za sa- Dizajneri igraju ulogu u oblikovanju fizičke vanje i brigu o prirodnom okolišu. natural environment. Targeted savršeno jedinstvenog objekta u ation of objects. What used to be Ciljno područje i skupina branda places are urban areas and their specifičnoj materijalnosti danas je designing of a perfect and unique mopromociju u skladu s trendovima i za- stvarnosti, baš kao i političari, građani, inže- Druid jesu urbane sredine i njihovi inhabitants who have gradu- projektiranje populacije objekata u object in a specific material con- konitostima neoliberalizma? Mislite li da njeri i pravnici. U procesu kreiranja fizičke stanovnici koji su postupno izgubili ally lost direct touch with their bilo kojoj materijalnosti. Umjesto text, today becomes designing a je dizajn za stvarni svijet stvar prošlosti? stvarnosti zanimljivo je to što ne znamo sa- izravan doticaj s njihovim izvornim original natural environment. The objekta projektira se algoritam. population of objects in any kind of Interes medija za dizajn rapidno je porastao svim sigurno tko je za nju odgovoran. Proces prirodnim okruženjem. Kolekcija se collection is made of women’s and Elitizam koji u sebi sadrži singularni materiality. Instead of objects, we sastoji od ženskih i muških odjevnih men’s clothing graphics (T-shirts objekt (zlatni prsten) zamjenjuje in- design algorithms. Elitism attribut- u posljednjih 10 do 15 godina. Broj posjeti- formiranja javnog prostora je često komplek- grafika (majica i košulja), hlača, and shirts), trousers, unisex bags, dividualni populizam generativnog. ed to a single object (a golden ring) telja Milanskog sajma se udvostručio u pe- san i sadrži niz nepredvidivih kombinacija unisex torbi, pamučnih ogrlica, cotton necklaces, scarves, hats, is replaced by individual populism riodu između 1995. i 2010. Broj registriranih elemenata i događanja. šalova, šešira, itd. Artikli su unikatni and similar. All pieces are unique found in all generative things. i izrađeni ručno. and handmade.

Lana Grahek Zagreb Vildana Lojo Sarajevo Guerrillke Sanja Štimac, Kim Istenič, Ajša Jeričević, Nika Zupančić, Flaster Vedran Židanik, Elvis Mehmedović / Zagreb Miha Toplišek / Rijeka, Ljubljana Projekt je nastao na Arhitektonskom The project was developed at the Projekt se temelji na tri koncep- Basis of the project are three concept Flaster je platforma za hiperlokalno Flaster is a platform for hyper-local fakultetu — Studiju dizajna, u sklopu Faculty of Architecture — School tualna dizajna različitih veličina. designs with different scales. Accent Lighting Guerrilla je festival svjetlosti Lighting Guerrilla is a light festival izvještavanje koja omogućava reporting. Citizens can use the kolegija Dizajn fonta i kaligrafije 2, of Design in the framework of the Naglasak je stavljen na interpolaciju of the exhibit is project of interpo- koji se jedanput godišnje odvija u taking place annually in Ljubljana; građanima da, pomoću mobilne mobile application to easily identify pod mentorstvom Damira Bralića syllabus for Typeface Design and vizualnih i arhitektonskih struktura lation of visual and architectural Ljubljani i bavi se dizajnom, umjet- it is focused on design, art and aplikacije, jednostavno identificiraju bottle-necks in the city or a street, i Nikole Đureka. Zamišljen je Calligraphy 2 under the mentor- u ambijent kanoniziranog kultur- structures into the ambience with nošću i instalacijama koje uključuju installations including the element bolna mjesta u gradu ili ulici, pred- propose a possible solution and in kao hommage Karelu Martensu, ship of Damir Bralić and Nikola ološkog sadržaja kao intervencijski canonised cultural contents as element svjetlosti. 2012. godine os- of light. Last year’s main topic was lože rješenje problema, te na svoj their own way ‘put a band-aid’ on nizozemskom dizajneru koji se Đurek. The idea was to make okvir za urbana sjećanja. Glavni intervention framework of the urban novna tema bila je gibanje. Prepreka movement. Various obstacles cre- način gradu ‘zalijepe flaster’. Što je their city. The more the band-aids u jednom dijelu svog rada bavi homage to Karel Martens, a Dutch elementi izložbe su modeli mogućih memories. Main exhibit elements u kretanju koju smo konstruirale, ated by invite passers-by to interact. više flastera na jednom mjestu, to je on a single spot, the more critical a estetizacijom i otiskivanjem indus- designer, who has dedicated a intervencija unutar urbanog tkiva are models of possible interventions prolaznike potiče na interakciju. Passers-by thus trigger the light kritičniji problem i hitnije njegovo problem that needs prompt resolu- trijskih formi. Ovaj princip stavljen part of his career to esthetics and materijalizirani kroz prozirni ma- within urban tissue materialised Prolaznici tako svojim kretanjem with their motions and city and river rješavanje. Informacije i prijed- tion. Information and solutions from je u kontekst lokacije TŽV Gredelj, iz prints of various industrial forms. terijal — pleksiglas. Sve tri lokacije with transparent material — Plexiglas. pokreću svjetlo, a vizure grada i views change without interfering lozi s aplikacije generiraju se na the application are generated on koje su prikupljeni željezni objekti This principle has been put in the unutar strukture grada Sarajeva su All three locations within the struc- rijeke značajno se mijenjaju, dok with the most important city spots. Flasterovom internetskom portalu, a the Flaster Internet portal. Flaster is razasuti po podu. Projekt se sastoji context of Zagreb’s TŽV Gredelj prikazane na karti. Na modelima i ture of city of Sarajevo are shown in pogledi na bitne točke grada i dalje Points without any content thus be- s obzirom na mogućnost komenti- also a platform for public discussion od info knjižice o Gredelju, te raz- from which various ferrous objects lokacijama će se prikazivati grafički the map. Along the models and site ostaju dostupni. Nekoć prijelazna came places of people’s interaction. ranja, Flaster postaje i platforma za because it provides users with the glednica s otisnutim formama. had been collected. The project prikazi, analiza lokaliteta, fotografi- locations, graphical presentations, točka bez sadržaja postala je tako javnu diskusiju. Posjetitelji će moći possibility to comment. Users sim- consists of an information booklet je i video materijali uz prijedloge location analysis, photography and mjesto interakcije ljudi, različitih preuzeti aplikaciju, te odmah početi ply have to download the application about Gredelj and postcards with intervencija. video elements with intervention ambijenata i druženja. s ‘liječenjem’ grada na licu mjesta. and start with healing their city on printed forms. proposals will be shown. the spot.

18 d-news, službene novine dana d d-news, official d-day newspaper 19 INTERVJU S nikolom bojićem interview with nikola bojić INTERVJU S nikolom bojićem interview with nikola bojić

Početkom 2008. u medijima se zahuktavala In that landscape, more than 70% covered by priča o Horvatinčićevom građevinskom pro- water, boats served as objects that made life Umjetnost u Art in public jektu na Cvjetnom trgu u Zagrebu. Također, possible in all its everyday activities and so- te se godine obilježavala i četrdeseta obljet- cial interactions. Floating topography made nica spomenute intervencije Crveni peristil. of old wooden boats was used to intervene Ocijenivši kako je trenutak pogodan, po- in the current awareness of the inhabitants. javnom prostoru space should krenuo sam medijsku intervenciju nazvanu We wanted to create a private space for fami- Stakleni Peristil, zasnovanu na fiktivnom ar- lies that had lost their homes and income be- hitektonskom projektu suvremenog trgovač- cause the land they used to inhabit had been trebala bi function as kog centra na četiri etaže, na mjestu kultnog taken away from them. Our trip to China, antičkog trga. Nacrti i simulacije projekta negotiations with the Chinese government, sa ‘službenim arhitektonskim elaboratom’ wondering around Chinese villages and funkcionirati ‘open source’ poslane su na adrese svih važnijih hrvatskih searching the Harvard archives made a great novina i internetskih portala. Ideja je bila ja- life and professional adventure and turned sna — isprovocirati diskusiju o javnom prosto- into a graduation project named Excavations: ru i modelima urbanog razvoja koji stavljaju The Sinking Gardens, 2012. (landscape intervention in XiXi garden, with Alan Waxman) the Sinking Gardens. In a form of a book, this poput ‘open code kulturne vrijednosti ispred spekulacija na work emerged under the mentorship of pro- tržištu nekretnina. Premda je većina medija omogućavali život, svakodnevne djelatnosti it was an art intervention, many citizens fessors Krzysztof Wodiczk and Sanford Kwin- istaknula da se radi o umjetničkoj interven- i socijalne interakcije. Plutajućom topografi- noticed only aggressive architectural visual- ter. Since one of them is artist and the other is source’ koda ciji, veliki je broj građana vidio samo agre- jom načinjenom od starih drvenih brodova že- izations and bombastic headlines. Reactions a theoretician who collaborated with Olafur sivne arhitektonske vizualizacije popraćene ljeli smo intervenirati u trenutno stanje svijesti were explosive. What has been meant as a Elieasson, Rem Koolhaas and Bruce Mao, my bombastičnim naslovima. Rekacije su bile stanovništva i oblikovati privatni prostor za very clear critique of unsustainable existing graduation project became a spatial concept. Intervju s Nikolom Bojićem Interview with Nikola Bojić žestoke. Ono što je trebala biti jasna kritika obitelji koje su ostale bez domova i bilo kakvih development policies, transformed into a I plan to give it some more time before I start neodrživosti postojećih razvojnih politika, primanja, jer im je oduzeta zemlja od koje su social experiment whose direction I could looking for publishers. pretvorilo se u društveni eksperiment na generacijama živjeli. Put u Kinu, pregovori s have not influenced. Information about the čiji tijek nisam mogao utjecati. Informacije kineskom vladom, lutanja po kineskim seli- project were published in all leading media Can you somehow predict development o projektu su objavili svi veći hrvatski medi- ma, te arhivsko istraživanje na Harvardu bili in Croatia and one of the candidates for the and growth of the most important Croa- Tekst Bojan Krištofić Text Bojan Krištofić ji, a jedan od kandidata za gradonačelnika su jedna velika životna i stručna pustolovina mayor’s office used it later on for his cam- tian cities? Do they have a chance to be- Splita kasnije ga je koristio u svrhu vlastite pretvorena u diplomski rad Excavations: The paign. During the working process related to come strong, locally oriented and inte- Nikola Bojić (r. 1986. u Splitu) na Filozofskom fakultetu u Zagrebu diplomirao je povijest Nikola Bojić (born in 1986 in Split) graduated in art history and information sciences from predizborne kampanje. Tijekom rada na tom Sinking Gardens. Formiran kao knjiga, rad je my self-initiated project I learnt a few impor- grated communities developed on the umjetnosti i informacijske znanosti, a nedavno je završio i postdiplomski magistarski studij the Faculty of Humanities and Social Sciences in Zagreb and recently finished postgraduate prvom samoiniciranom projektu naučio sam nastao pod mentorstvom profesora Krzyszto- tant lessons: foundations of participative political, eco- na sveučilištu Harvard , s fokusom na umjetnost i dizajn u javnom prostoru. Osim istraživačke master’s program at Harvard University focusing on art and design in public spaces. Apart nekoliko važnih lekcija: fa Wodiczka i Sanforda Kwintera. Kako je je- nomic and cultural activism? i dizajnerske prakse, Nikola je aktivan i kao predavač — kreativne industrije, gradovi budu- from research and design practice, Nikola is also active as a lecturer. His topics cover creative dan od njih umjetnik, a drugi teroretičar koji Public space is not a square My impulsive answer to the question would ćnosti, umjetnost i politike javnog prostora neke su od tema o kojima je govorio na brojnim industries, future cities, art and public space policies and Nikola spoke about them on various Javni prostor nije trg ili je surađivao s, primjerice, Olafurom Eliea- or a park where we have coffee be — yes. We do not need to go into too many međunarodnim konferencijama i festivalima. international conferences and festivals. park na kojem svi zajedno ssonom, Remom Koolhaasom i Bruce Maom, or beer together. Public spa- details concerning Zagreb’s creative dynam- pijemo kavu ili pivo. Javni moj diplomski rad umjesto tradicionalne ce is a moment when we are ics, especially not from the perspective of aspekte povijesti koji izravno utječu na To what extent did your graduate and at Peristil, and they are not at all impressed prostor je trenutak kada smo knjige pretvorio se u prostorni koncept kojem provoked to the level where this Festival. At the same time, Rijeka, in svakodnevnicu? postgraduate studies influence the topics by the scene that impresses tourists so much. isprovocirani do razine na planiram posvetiti još neko vrijeme prije nego a certain problem becomes ob- many aspects, has an even more conscious Da, baš tako. Na primjer, ja sam odrastao of your research and how did they form Instead of being recorded as a photograph, kojoj određeni problem posta- krenem u potragu za izdavačima. vious and that is the moment urban scene, at least in terms of abandoned u Splitu — ljudi koji žive u Splitu i svakod- your perception of art and science? for people living in Split Peristil represents je očit, i tada moramo dje- when we have to act, even if urban potentials. In Osijek the team around nevno piju kavu na Peristilu, nisu nimalo I was always interested in sociology and psy- something that makes part of urban con- lovati, pa makar to značilo Možete li nekako zamisliti ili predvidjeti it means speaking out loud. Lega-Lega manages to develop a very inter- impresionirani prizorom koji obara s nogu chology. I even considered studying sociolo- sciousness, not only as an image from history glasno reći što mislimo. rast i razvoj i najvažnijih hrvatskih grado- esting model for redefining city’s identity horde turista. Umjesto u pamćenje fotoa- gy but since I have never been good in math, but as the image of the present and future. I va? Imaju li šansu za preporod u snažne, Therefore, public space is not only physical whereas Split, despite all phenomena like parata, Peristil je ugrađen u urbanu svijest, instead of statistical calculations reflecting am referring to Peristil not only because it Dakle, javni prostor nije samo fizički, već i lokalno orijentirane i integrirane zajed- but also virtual, media, social, psychological Kerum and other nonsense, still possesses ne samo kao slika povijesti, već i kao slika some social processes, I decided to focus is where I come from, but also because the virtualni, medijski, socijalni, psihološki i po- nice, razvijane na temeljima participativ- and political often located in the urban tissue. the same energy that gave birth to bands sadašnjosti i budućnosti. Spominjem Pe- on culture. I always wanted to explore how story of that imperial square is a most inten- litički, a često je lociran baš u urbanom tkivu. nog političkog, gospodarskog i kulturnog Current demonstrations and protests in Tur- like the TBF. We should recall that famous ristil ne samo zato što sam iz Splita, nego to reconstruct complex social and political sive manifestation of ‘operational history’. Aktualne demonstracije i prosvjedi u Turskoj djelovanja? key are another proof of how complex pub- Split crnjak evolved into a very productive zbog toga što je priča o tom carskom trgu processes from the city history but from the In 1968 a group of local artists used brooms samo su još jedan dokaz složenosti i potenci- Moj impulzivni odgovor bio bi — da. O kre- lic spaces are and what potential they have. programme for studying visual communica- najintenzivnija manifestacija ‘operabilne perspective of its art, iconography, spatial to color Peristil in red, and it happen only jala javnog prostora. Druga važna lekcija bila ativnoj dinamici Zagreba ne treba puno go- Another important lesson was this: when art tions. An entirely new international under- povijesti’ o kojoj govorim. Godine 1968. ne- and visual communication in general… And a few months before the historical student je sljedeća: kad se umjetnost preseli iz galerije voriti, posebno ne iz pozicije ovog festivala. moves from galleries to urban areas, no one graduate programme in architecture is also koliko je splitskih umjetnika metlama obojilo that is how I ended up studying history of art protests in Paris. Green Peristil, an interven- u urbani prostor, participacija javnosti postaje Istovremeno, Rijeka u mnogim aspektima can avoid participation of the general public. evolving around the idea of the Mediterrane- Peristil u crveno, i to nekoliko mjeseci prije and museology in Zagreb. During my studies, tion from 1989, in its own way marked the neizbježna. Umjetničko djelo tada poprima ima još osvješteniju urbanu scenu, barem A work of art then takes up a kind of logic an environment. Unfortunately or not, from povijesnih pariških protesta. Zeleni Peristil, a large portion of history seemed scientifical- end of the ideal of brotherhood and unity, logiku ‘open source’ koda. Treća važna lek- što se tiče korištenja napuštenih urbanih similar to the ‘open source’ code. The third my experience I would say that it is hard to intervencija iz 1989, na svoj je način ozna- ly relevant but passive, without any contact which definitely fell apart two years later. cija koja iz ovog slijedi jest da je umjetnost u potencijala. important lesson resulting from all this is the accomplish something if we rely exclusively čila kraj ideala bratstva i jedinstva, koji se with the time and space in which we live. I Those are only some of the interventions that javnom prostoru neodvojiva od dizajnerskog U Osijeku Lega-Lega ekipa razvija jako fact that it is impossible to separate public on the support given by the local authorities. definitivno raspao tek dvije godine poslije. thought it would be far more interesting to took place at Peristil in the last century trans- procesa. Budući da je u tom slučaju otvoren interesantan model redefiniranja suvreme- space art and design. Remaining open to Politics tends to recognize and support only Ovo su samo neke od intervencija koje su se explore another kind of history, the active forming that photogenic monument into live i bez sigurnog ishoda, dizajn prerasta u so- nog identiteta grada, dok Split uz sve Keru- everyone and without a foreseeable outcome, what is useful for its purposes. And that ap- dogodile na splitskom Peristilu u posljednjih one, the one we are witnessing every day, urban tissue that is, according to Igor Grubić, cio-politički eksperiment, metodu istraživa- move i ine budalaštine i dalje posjeduje onu design thus evolves into a socio-political ex- plies to everything: from the smallest ‘urban Koliko je preddiplomski i diplomski studij stotinu godina, te su transformirale taj foto- the one which shapes our contemporary ‘like a magical mirror reflecting the state of nja i djelovanja u svijetu u kojem živimo. Te istu energiju iz koje je nastao TBF. Treba se periment, research method and a mode of patches’ before the local elections to devel- utjecao na teme kojima se bavite, i na koji genični spomenik u živo urbano tkivo koje identities, conflicts, but also social changes. social awareness’ (Igor Grubić, Black Peristil, tri lekcije poslužile su mi kao osnova s kojom prisjetiti da iz glasovitog ‘splitskog crnja- living. Those three lessons serve as the basis oping globally successful urban projects such je način oblikovao vaše poimanje umjet- riječima Igora Grubića ‘poput magičnog zr- And that is how my studies turned into re- 1988). Peristil is the manifestation of active sam krenuo na daljnje školovanje. ka’ proizlazi vrlo produktivan studij vizual- for my further studies. as New York’s High Line. nosti i znanosti? cala reflektira stanje društvene svijesti’ (Igor searching that kind of history — operational, and operational history I am interested in. nih kominikacija, te se razvija potpuno novi Zapravo su me oduvijek zanimale sociologija Grubić, Crni Peristil, 1988). Peristil je mani- performative... Projekt The Sinking Gardens realizirali međunarodni diplomski studij arhitekture The Sinking Gardens was realised in far- Design theory and practi- i psihologija. Razmišljao sam čak i o studiju festacija aktivne i operabilne povijesti koja In 2008 you initiated your own interven- ste u dalekoj Kini. Kako je došlo do tog koncipran oko ideje mediteranskog okoliša. away China. How did you come up with ce can actually change the sociologije, ali budući da mi matematika ni- me zanima. When you say ‘operative’ history you do tion at Peristil, and it was somewhat differ- projekta i gdje je sve predstavljen? Nažalost ili na sreću, poučen dosadašnjim the idea for the project and where was it way people use their ci- kad nije dobro išla, umjesto statističkih izra- not only refer to the present but also to ent that previous ones, functioning simulta- Otprilike prije godinu dana bio sam pozvan iskustvima, vjerujem da se bilo što teško presented? ties or live and shape their čuna koji odražavaju neke društvene procese, Godine 2008. i vi ste pokrenuli vlasti- some aspects of history that directly in- neously in the material and virtual reality... da dizajniram intervenciju u parku XiXi u može postići isključivo uz podršku lokalnih Almost a year ago, I was invited to design identities. skrenuo sam u kulturno polje. Zanimalo me tu intervenciju na Peristilu, ponešto fluence our everyday lives? In the beginning of 2008 the media started kineskom gradu Hangzhou. To je prvi mo- institucija. Politika svugdje prepozna i po- the intervention into the park called XiXi in kako se složeni socio-politički odnosi mogu drugačiju od dotadašnjih, istodobno Exactly. For example, I grew up in Split — covering the story Horvatinčić’s construction čvarni nacionalni park u Kini koji je redefini- drži isključivo ono što joj je korisno. Tako je Hangzhou, China. This was the first nation- However, a big part of that process has to re- konstruirati kroz povijest gradova, ali i kroz u materijalnoj i virtualnoj stvarnosti... people who live in Split every day have coffee site at Cvjetni square in Zagreb. The same rao urbani razvoj grada, ali i model razvoja sa svime: od najsitnijih ‘urbanih popravaka’ al park in China to redefine the city’s urban main independent. That is the only way for umjetnost, ikonografiju, prostorno-vizualnu year was also the 40th anniversary of the mnogih drugih kineskih gradova smještenih prije lokalnih izbora, sve do razvoja global- development, which reflected on the devel- innovating, removing limits, raising ques- komunikaciju općenito… I tako sam završio above-mentioned Red Peristil intervention. u sličnom krajoliku. Nedugo nakon poziva, no uspješnih urbanih projekata poput High opmental model for other Chinese cities lo- tions and creating the preconditions for the na studiju povijesti umjetnosti i muzeologije I thought that the timing was right and I start- počeo sam suradnju s kolegom Alanom Linea u New Yorku. cated in similar environments. Soon after re- local government and thus improving the u Zagrebu. Tijekom studija veliki dio povije- ed a media intervention called Glass Peristil, Waxmanom, antropologom i studentom ceiving the invitation, I started collaborating spaces we inhabit and share. sti činio se znanstveno relevantan, ali pasi- based on a fictional architectural project for krajobrazne arhitekture na istoj instituciji. Teorija i praksa dizajna mogu with Alan Waxman, who is an anthropologist van, često bez ikakvog dodira s vremenom the construction of a modern trade center Istraživanje u koje smo se zajedno upustili promijeniti način na koji studying landscape architecture at Harvard. i prostorom u kojima živimo. Jedna druga on four floors at the place of the cult antique ubrzo je otkrilo nevjerojatnu destrukciju ljudi koriste grad, proživ- The research we initiated soon discovered an povijest, ona aktivna, ona koju svakodnevno square. We sent blueprints and simulations sakrivenu u pozadini tog ‘razvojnog projek- ljavaju i konstruiraju vla- unbelievable destruction hidden behind the proživljavamo, kroz koju gradimo suvreme- of the project with the ‘official architect ta’ — više od 7000 kućanstava izbrisano je s stite identitete. No, veliki ‘developmental project’ — more than 7000 ne identitete, konflikte, ali društvene promje- elaboration’ to the addresses of all relevant lica zemlje kako bi se otvorio prostor novom dio tog procesa mora ostati households had been erased from the face ne, bila mi je puno zanimljivija. Tako je zagre- Croatian newspapers and internet portals. ‘pitoresknom krajoliku’ prilagođenom turi- nezavisan. of the earth in order to open space for the bački studij prerastao u proučavanje upravo My idea was clear — to provoke a discussion stima i novim kineskim društvenim elitama. new ‘picturesque landscape’ intended for takve povijesti — operabilne, performativne... about public space and models for urban de- Naš projekt stoga nije intervencija u park, Samo tako može inovirati, pomicati granice, tourists and newly established Chinese elite. velopment that place cultural values above već u memoriju jednog izbrisanog prostora. postavljati pitanja i uvjete lokalnoj vlasti, te Therefore, our project was not an interven- Kad kažete ‘operabilna’ povijest ne mi- speculations on the real estate markets. Al- U krajoliku čija je površina više od 70% pre- unaprijediti prostore u kojima živimo i koje tion in the park but rather a recollection of slite isključivo na sadašnjost, nego na though most media underlined the fact that krivena vodom, brodovi su bili objekti koji su međusobno dijelimo. memory on the park that had been destroyed.

20 d-news, službene novine dana d d-news, official d-day newspaper 21 INTERVJU S udrugom prostorož interview with prostorož INTERVJU S udrugom prostorož interview with prostorož

Uvijek se trudimo koristiti reciklirane i od- vrlo lijepa suradnja između lokalnih institu- analysis of what the people’s needs and wish- city space on physical and social level. All bačene materijale za instalacije koje radimo. cija i zajednica. U proslavi Dana susjedstva, es are, but that still didn’t make much impact actions and projects by ProstoRož are ori- Ponovno Re-appropriating Svi naši projekti teže biti niskobudžetni, a Prostorož se udružio s više od pedeset in- on animating the people. What we wanted to ented towards sustainability. We are always novac se obično troši na to da platimo rad, a stitucija i individualaca. Okupili smo ljude achieve was that people would start taking trying to use recycled or discarded materials ne materijal. koji će dobrovoljno organizirati kulturna, public spaces as if they belong to them. At the for our installations in public space. All our edukativna i društvena događanja, a čineći same time it would also increase their sense project aim to be really low budget... money prisvajanje Public Space Kako biste opisali svoju komunikaciju to htjeli smo ohrabriti kulturnu produkciju of belonging in their community. There- is usually spent on paying the work and not i suradnju s lokalnim institucijama i za- unutar četvrti Tabor, kao i stvoriti priliku fore we now try to involve them in different the material. jednicama? U kojoj mjeri Prostorož gradi za stanovnike da se međusobno druže. Sva kinds of events where they would feel good. javnog prostora svoje projekte na postojećoj socijalnoj i in- događanja bila su neprofitna. Imamo puno We encourage citizens to start taking over How would you describe your communi- stitucionalnoj infrastrukturi? novih ideja, poput čitanja poezije, kušanja the underused spaces or even to share their cation and collaboration with the local in- Mnogi naši projekti usredotočeni su na pod- sushija, radionica izrade predmeta od vune own properties in case they are underusing stitutions and communities? How much Intervju s udrugom Prostorož Interview with Prostorož ručje Tabora u Ljubljani, u kojem i mi živimo. i gline, sađenja cvijeća i tečaja golfa između them. Since all these uses are temporary, does Prostorož build from existing social Kulturne organizacije iz Tabora 2011. su se blokova zgrada. Nažalost, na sam dan bilo je we believe it is a win — win situation for the and institutional infrastructure? povezale u Društvo kulturne četvrti Tabor loše vrijeme pa smo odustali od većine doga- owner of the land, who for a certain reason Many of our projects are focused on the (KCT). Svrha Društva primarno je umrežava- đanja koja su se trebala odviti na otvorenom. cannot maintain the space as well as the user, neighborhood Tabor in Ljubljana, where nje i suradnja između pojedinaca i lokalnih Ipak, to je osnažilo veze u susjedstvu, tako da who gets the opportunity to use it at least for we also live. In 2011, the organizations from Tekst Marko Golub Text Marko Golub organizacija u području kulture, kao i uklju- se suradnja kroz aktivnosti u parku u Taboru a certain period. Tabor which are engaged in cultural activi- čivanje lokalnih stanovnika u aktivnosti i sa- i dalje nastavlja. ties connected into Society Cultural Quarter ProstoRož je kontinuirani projekt kultivacije javnog prostora s ciljem razvoja metoda oživl- ProstoRož is a continuous project of public space cultivation; its goal is developing a method držaje dostupne u toj četvrti. Tako je stvorena How does one measure the impact and, Tabor (KCT). The purpose of the Society is javanja degradiranih urbanih prostora kroz tijesnu suradnju s lokalnim stanovništvom. Pros- of reviving and arranging of the degraded urban spaces with tight cooperation with the local ultimately, success of your initiatives, primarily networking and cooperation be- torož istražuje, ispituje i otvara nove mogućnosti korištenja javnog prostora u skladu s potre- inhabitants. ProstoRož explores, examines and opens new possibilities of public space use in projects and public interventions, since tween individuals and local organizations in bama njegovih stanovnika i pokušava pokazati kako se ponekad minimalnim sredstvima i accordance with the needs of its inhabitants and tries to reveal how sometimes minimal means all of them try to draw attention to specif- the field of culture and the involvement of malim intervencijama žiteljima i posjetiocima grada mogu pružiti nova mjesta za izlaske, igru and small interventions are enough to present the city’s inhabitants and visitors with pleas- ic roles of public space and specific parts local people in activities and contents that ili rad na svježem zraku. Prostorož čine arhitektice Maša Cvetko, Ana Grk i Alenka Korenjak ant spaces for hanging out, playing or working in the open air. ProstoRož are: architects Maša of the city? are available in this district. It has created te članovi tima Zala Velkavrh i Marko Marovt. Cvetko, Ana Grk and Alenka Korenjak, with team members Zala Velkavrh and Marko Marovt. Our latest projects are contributing in a great some nice collaborations between local in- manner to permanent changes in certain stitutions and communities. In celebrating Kako se jezgra tima Prostorož prvi put postići da ljudi sami počnu shvaćati javni How did the core-team of Prostorož first question of culture but rather of our habits districts and streets of Ljubljana. The trans- Neighborhood Day, ProstoRož is joined by okupila i koje su bile glavne ideje koje su prostor kao nešto što im pripada. U isto vrije- get together and what were the main ideas or education, and that it is a very long pro- formation of the public place is based on more than fifty institutions and individuals. pokrenule ono što Prostorož danas jest i me, takva spoznaja bi kod njih pojačala osje- that put in motion what it is and does now? cess that could take one or two generations. bottom — up small and soft changes rather ProstoRož brought together individuals who radi? ćaj da pripadaju nekoj zajednici. Stoga smo In the very beginning it seemed to us that With our initial actions we wanted to show to than planning top — down. It is about build- will voluntarily organize cultural, education- U samom početku našeg rada činilo nam se pokušali uključiti ih u različite vrste događa- public space didn’t really exist in the con- the public that there are many more public ing the social network first and afterwards al and social events. In doing this, we wished kako javni prostor nije na pravi način posto- nja u kojima će se osjećati dobro i zadovolj- sciousness of the citizens. There were very areas in the city than we realize, we wanted refurbishing public spaces according to these to encourage cultural production within the jao u svijesti građana. Vrlo je malo parkova i no. Ohrabrujemo građane da počnu prisvaja- few parks and squares that could be used, to show some different ways of using these needs. Tabor quarter as well as create an opportu- trgova koji se zbilja mogu koristiti, jer je ve- ti neiskorištene prostore, te čak i da imovinu since most of them were neglected, and spaces and also to encourage the people to nity for the locals to socialize. All the events ćina njih zapostavljena, a budući da nitko o koju ne koriste dijele jedni s drugima. Budu- since they were neglected, nobody was us- use them and participate in them in their By involving citizens in were non-profit. There were many great njima ne brine, nitko ih ni ne koristi. Nitko se ći da je korištenje takvih prostora privremeno, ing them. Nobody put any effort to improve own way. We were trying to put the public the social life of the ne- ideas coming up, such as poetry recitals, su- nije potrudio poboljšati tu situaciju, a smatramo da je riječ o situaciji u kojoj svatko that situation. space in the mind of the community. ighborhood we are also edu- shi tasting, workshop on crafting with wool nešto dobiva — i vlasnik zemljišta koji iz ne- cating them about public or clay, planting flowers or participating in čak i danas je mnogim građa- kog razloga ne može održavati prostor, kao i Even now we have the citizens How important for you is the participa- space, about how to become golf lessons in-between blocks of flats. But nima važnije imati automobil korisnik koji dobiva priliku koristiti ga barem who prefer to have a car in tory aspect of your projects in urban pub- active and participate in unfortunately, there was bad weather on the parkiran pod prozorom nego na određeno vrijeme. front of their window instead lic space — in the sense of animating the re-appropriation of their own day D, so most events which were planned to park, stablo ili klupu. of a park, tree or a bench. community itself to take part? environment. happen outdoors had to be cancelled. Still, Kako mjeriti utjecaj i, u konačnici, uspjeh During all these years citizens were coming it has strengthened the neighborly ties, and U to vrijeme pitali smo se hoće li Slovenci vaših inicijativa, projekata i javnih inter- At that time we were asking ourselves if Slo- to us with their ideas, but still expecting us The projects try to change the perception so the collaboration continues through the uopće koristiti javni prostor, budući da on vencija, budući da sve one zapravo nastoje vene people would use public space, since it to make their ideas happen. That is why we of citizens in their relationship with public/ events in Tabor park. nije dio naše kulture. Međutim, na osnovu privući pažnju na specifične uloge javnog is not part of our culture. But then, on the decided to start involving them more directly iskustava iz drugih, razvijenijih gradova prostora i određene dijelove grada? basis of experiences from other more de- in the projects. First we were doing partici- shvatili smo kako to uopće nije pitanje kul- Naši najnoviji projekti u velikoj mjeri dopri- veloped cities, we realized that it is not the patory projects which were a kind of public ture nego naših navika i obrazovanja, te da je nose trajnim promjenama u određenim če- riječ o procesu koji bi mogao potrajati barem tvrtima i ulicama Ljubljane. Transformacija jednu ili dvije generacije. Kroz naše početne javnog prostora zasnovana je na promjena- akcije htjeli smo pokazati javnosti da u gradu ma ‘odozdo’ i na malim diskretnim interven- ima puno više javnih zona nego što na prvi cijama, a ne na planiranju ‘odozgora’. Riječ je pogled izgleda. Htjeli smo pokazati neke ponajprije o stvaranju društvene mreže, a tek drukčije načine korištenja tih prostora, ali i onda prilagođavanju javnih prostora prema ohrabriti građane da ih koriste i u njima su- potrebama tog društva. djeluju na vlastite načine. Dakle, željeli smo osvijestiti javni prostor u zajednici. Uključujući građane u druš- tveni život njihovih susjed- Koliko je za vas važan participatorni aspekt stava također ih i educiramo vaših projekata u urbanom javnom prosto- o javnom prostoru, o tome ru — u smislu animiranja same zajednice? kako da postanu aktivni i Kroz sve ove godine našeg djelovanja, gra- sudjeluju u ponovnom pri- đani nam dolaze sa svojim idejama, ali i da- svajanju njihovog vlastitog lje očekuju od nas da im mi te ideje realizi- okruženja. ramo. Upravo zato smo odlučili direktnije ih involvirati u projekte. Prvo smo radili parti- Projekti pokušavaju promijeniti percepciju cipatorne projekte koji su bili neka vrsta ana- građana u odnosu na javni gradski prostor na lize njihovih potreba i želja, ali to i dalje nije fizičkom i socijalnom planu. Sve akcije i pro- bilo dovoljno da ih se pokrene. Htjeli smo jekti Prostoroža orijentirani su na održivost.

Irena Frantal Zagreb Rational International Bojan Opačak, Mario Mlakar, Elitsa Mateva / Zagreb Ana Sabolić Rijeka Vedran Erceg Zagreb i Martina Kontošić

Tijekom festivala ćemo izgraditi During the festival we will create a Ideja je proizašla iz likovne za- The idea emerged from visual Stol Op-Na rezultat je nastojanja da Desk Op-Na is a result of an inten- Projekt u fokusu ima kretanje, The project is focused on move- rastuću zgradu i sve to pratiti putem growing building and host it on our nimljivosti mapa javnog prijevoza attractiveness attributed to public se što kraćim proizvodnim postup- tion to create a good quality, func- knjigu i grad. Generički vodič kroz ment, a book and a city. A generic naše web stranice. Tu ćemo zgradu website. The same building will be (isprepletenost linija, znakova i sim- transportation maps (intertwined kom i ekonomičnom uporabom ma- tional and esthetically acceptable centar grada pretočen je u koncept guide through the city center is projicirati na naš štand. Posjetitelje projected onto the wall of our stand. bola) kao važnog segmenta urbanog lines and symbols) as important terijala stvori kvalitetan, funkcion- product by the economical use of koji vodi kroz prostor knjige kao transposed into a concept that ćemo fotografirati unutar prethodno As visitors come, they will be photo- života. Oduzimanjem slova i natpisa factors in everyday urban life. alan i estetski prihvatljiv proizvod. materials over a short period of time što raspored ulica vodi kroz gradski navigates the book’s interior just postavljenih prozorskih okna, a graphed inside predefined window s mapa, prema kojima je najlakše Erasing letters or inscriptions Jednostavna podkonstrukcija stola needed for its production. A very prostor. Kako nismo željeli naruša- like a street map one uses in order potom će te fotografije biti stavljene frames. The same images will be detektirati gradove, mapset postaje from the maps used to detect obložena je furnirom koji ju obavija simple sub-construction of the table vati kretanje gradom, tako nismo to get around a city. Our intention na web. Svaki posjetitelj će tako uploaded online. Every visitor will ‘suvenirom bez suvenirnosti’ — svoje- cities, results in a map-set that poput opne, stvarajući monolitni is furnished with veneer wrapping uključivali imena kafića, restorana, was to keep the movement intact postati stanar naše zgrade te će become a tennant of the building vrsna parodija ‘konkretnih’ suvenira is ‘a souvenir without souvenir- dojam i čineći predmet zagonetnim. it almost like a membrane, and thus dućana ili spomenika. Ni street art so we decided to skip the names moći stupiti u interakciju s drugim and will be able to interact with gradova (primjerice I<3NY majice). ness’ — or a kind of parody of ‘con- Unutrašnja strana — naličje ‘opne’ creating a monolith and mysterious nije neposredno atribuiran. Imena of café bars, restaurants, shops posjetiteljima online zgrade. Na taj other visitors of the online building. crete’ city souvenirs (for example, jarko žute boje čini promjenjivi di- impression. The inside of the table umjetnika skrivena su u jednom od and monuments. Street art has način će nastati vizualizacija mreže This will create a visualisation of the I<3NY T-shirts). namični koloristički akcent i otkriva or the other face of the membrane is kutaka knjige. not been directly attributed either. koju kolektiv ili zajednica mogu sort of network a collective or studio se u većoj ili manjoj mjeri, ovisno o bright yellow and this variable and The names of the artists are stvoriti putem svojih društvenih ili community might gather through kutu gledanja stola. dynamic color accent reveals itself hidden in one of the corners of poslovnih interakcija. social and business interaction. differently depending on the angle. the book.

22 d-news, službene novine dana d d-news, official d-day newspaper 23 INTERVJU S petrom černe oven i barbarom predan interview with petra černe oven and barbara predan INTERVJU S petrom černe oven i barbarom predan interview with petra černe oven and barbara predan

How are things going with design and even thinks of using a designer. Designers visual arts scene in Slovenia these days? are not regarded as potential partners and U potrazi za Searching for the Do designers and artists communicate are thus completely left out of the process with, for example, experts in human- of solving difficult situations. On the other istic and nature sciences, do they work hand, designers are not tackling these issues with such people on specific projects? Is because they either haven’t found their way pravim planinama right mountains there some kind of official government or into these areas or they’re simply too busy non-government strategy on a national in other fields. We want to interconnect de- level that proposes and coordinates this? signers, stakeholders and users. Practice is Intervju s Petrom Černe Oven i Barbarom Predan Interview with Petra Černe Oven and Barbara Predan Finally, is design viewed only as enter- showing us that only collaboration can yield tainment and/or industrial and business the best results. tool, or is there some space for articulated critical practice through design? Can you just describe in short cuts what P&B: This year we’ve prepared Recom- do you expect from the workshop you are tekst Bojan Krištofić tekst Bojan Krištofić mendations for Policy Planners. The latter be- going to lead on D–Day? Have you been gins with the following thought: ‘We have doing this kind of stuff before? What were Otkad je 1994. diplomirala, Petra Černe Oven primila je mnogo prestižnih nagrada struke za Since graduating from university (1994), Petra Černe Oven has received a number of pres- strategies and we have examples of good the results, how did the participants react svoj dizajnerski rad, dok je paralelno radila i kao teoretičarka, te predavačica. Objavljivala je tigious professional awards for her work as a designer, while she also works as a theoretician practices based on the use of design. And on themes and methods you worked with? članke i znanstvene radove u časopisima kao što su Eye, Emzin i drugi, te je inicirala i koordini- and lecturer. She has published articles in such magazines as Eye, Emzin and others, and now, importantly, there are for the first time Has brainstorming with other experts re- rala više različitih istraživačkih i izložbenih projekata. Među ostalim angažmanima, predaje has initiated and coordinated various research and exhibition projects. Among other duties, also some very tangible statistics weighing ally produced innovative ideas and con- na kolegijima razvoja i teorije dizajna na Odsjeku za vizualne komunikacije pri Akademiji za she teaches a course in the development and theory of design in the Department of Visual in on the side of design. Nevertheless, what cepts, and were these experts engaged in lijepe umjetnosti i dizajn u Ljubljani (Slovenija). Barbara Predan diplomirala je 1999. godine, Communications at the Academy of Fine Art and Design, Ljubljana. Barbara Predan gradu- we have in Slovenia is, to a large degree, only design process, too? a 2004. stekla magistarsko zvanje iz područja teorije i povijesti dizajna, također na potonjoj ated (in 1999) and received her master’s degree (in 2004) in the theory and development of P i B: Naše mišljenje je da informacijski dnevnih programa za stare i nemoćne ili ob- the first of these things: a lot of strategies. It P&B: The results of our work in both fields instituciji. Doktorsku disertaciju obranila je 2012. na Institutu za znanstvena istraživanja design at the same institution. In 2012, she received her doctoral degree from the Scientific dizajn i dizajn usluga trebaju biti integrira- likovanja špranci za plaćanje računa i reguli- is time to stop seeing the design profession are gathered in two books: Service and Infor- Slovenske akademije znanosti i umjetnosti i Sveučilištu Nova Gorica. Objavljivala je članke Research Centre of the Slovene Academy of Sciences and Arts and the University of Nova ni u svakodnevnu dizajnersku praksu. Kao ranja potrošačkih bakrota; ili pak problemom merely as part of the conversation: we need mation design (Pekinpah and MAO, 2010) and i znanstvene radove u časopisima poput Design Issues, Design Principles and Practices, Orisu i Gorica. She has published articles in such publications as Design Issues, Design Principles and što je Norman Potter napisao: ‘prije nego što pomaganja nervoznih putnika koji čekaju u to begin using design in a conscientious way Designing an Agenda, or, How to avoid Solving drugima. Autorica je i ko-autorica nekoliko knjiga i izložbi, tj. izložbenih koncepata. Kao gost Practices, Oris, and others. She is author and co-author of several books and exhibitions. razmislite kako ćete nešto učiniti, trebali bi zračnim lukama; ili pitanjem prenamjene in every segment of society.’ At the moment Problems That Aren’t (Pekinpah and RRA LUR, predavač od 2009. predaje o teoriji i razvoju dizajna na istom odsjeku kao i Petra Černe Oven. Since 2009, as a visiting lecturer, she has taught development and theory of design on the prepoznati što zapravo činite i zašto biste to napuštenih urbanih prostora — nikad se i ne there isn’t enough connection between the 2013). In our opinion (based on the results of Na samom početku, kao dio svoga kolegija osmislila je i seminar posvećen informacijskom same department as Petra Černe Oven. As part of the course, right from the start, she has trebali uraditi.’ Vjerujemo kako vam te disci- pomišlja da se pozove dizajnere. Dizajnere two, and designers are left out. The problem the aforementioned work), the collaboration dizajnu i dizajnu usluga. also conducted a seminar on service design. pline mogu pomoći u pronalaženju odgovora se ne doživljava kao potencijalne partnere, pa (here in Slovenia) is multi-layered: clients/ between stakeholders, designers, users and na oba pitanja. su u potpunosti izostavljeni iz procesa rješa- stakeholders do not recognize designers as other interested parties is pivotal for recog- Što vas je usmjerilo od specifične svakod- However, despite the importance of theory vanja složenih problema. S druge strane, ni experts specialized in dealing with every- nizing the right problems. To put it anoth- nevne dizajnerske prakse prema prouča- the two cannot be divided. One nurtures the Kakva je situacija na slovenskoj sceni di- dizajneri se ne dotiču ovih pitanja onoliko ko- day problems surrounding us. For example: er way: the issue is not climbing to the top vanju i istraživanju teorijskih koncepata, other. zajna i vizualnih umjetnosti ovih dana? liko bi trebali, jer ne znaju kako da to učine, ili when dealing with patient admission in a of the mountain but making sure we’re not kao i razvijanju vlastitih? Na koji način je Komuniciraju li dizajneri sa, na primjer, su prezaposleni na drugim poljima. Želimo trauma ward, easing rush-hour traffic jams, climbing the wrong mountain. We hope the to produbilo vaš praktični rad i potežete li How do you see the future of classic typog- stručnjacima humanističkih ili prirodnih snažnije povezati dizajnere, dioničare i ko- organizing daily programmes for the elderly, Zagreb workshop will help us determine the uopće jasnu granicu između tih područja? raphy in context of rapid evolution of digi- znanosti, rade li s njima na određenim pro- risnike. Praksa nam pokazuje kako se jedino devising bill forms and consumption break- right mountains. B: Kad se Petra vratila s Readinga (UK) tal and interactive media and tools? Do you jektima? Postoji li neka vrsta službene vla- kvalitetnom kolaboracijom postižu najbolji downs, helping disgruntled passengers wait- razgovarale smo o razlozima zbog kojih think that very idea of reading is about to dine ili nevladine strategije za regulaciju rezultati. ing at airports, or addressing the problem smo se udaljile od dizajnerske prakse kako change? How will it affect our everyday de- tog procesa, na državnoj razini? Promatra of vacant urban office space, etc. — nobody bi studirale i istraživale teoriju dizajna. sign, and indeed, living process in general? li se dizajn isključivo kao zabava i oruđe in- Možete li ukratko reći što očekujete od Iznenadile smo se kad smo shvatile da je P: We ought to take into account that ty- dustrije i biznisa, ili postoji neki prostor za radionice koju ćete voditi na Danu D? Je- jedan od glavnih motiva za nas obje bio in- pography has always been a very conserva- artikuliranu kritičku praksu kroz dizajn? ste li se već bavili nečim sličnim? Kakvi su tervju s grafičkim dizajnerom Rankom No- tive discipline, which is partly connected to P i B: Ove godine pripremili smo doku- bili rezultati i kako su sudionici reagirali vakom, objavljen ranih 90-ih godina. U tom the facts about reading. Our brains did not ment Preporuke za planiranje politike, koji na teme i metode s kojima ste radili? Je li Babit Ana Armano Linta i Ema Gerovac / Zagreb intervjuu (koliko se sjećam) Novak je rekao change much since the Guttenberg era, but počinje sljedećim mislima: ‘Strategiju zna- ‘brainstorming’ s drugim stručnjacima za- Projekt istražuje načine na koje The project intends to explore kako je problem dizajnerske profesije u tome now we are exposed to different types of read- mo, i poznajemo mnoge primjere kvalitetne ista omogućio inovativne ideje i koncepte? se tehnička priroda metala može different ways of incorporating the što ne posjeduje nikakvu stvarnu kritičnost, ing and that brings us different experiences. If prakse temeljene na uporabi dizajna. Danas P i B: Rezultati našeg rada u oba područja ukomponirati u nježnu prirodu nak- technical nature of metals into a pa ni teoriju, a posljedica toga je da se dizajn we analyse all major ‘shake-ups’ (as, for ex- se, što je posebno važno, po prvi put javljaju koja nas najviše zanimaju sabrani su u dvje- ita. Tako smo dobile spoj viđenoga i gentle nature of jewelry. This exper- ne može smatrati istinskom profesijom, nego ample, with post-modern and decostructiv- vrlo opipljive statistike koje idu u korist diza- ma knjigama: Service and Information de- novoga. Igra s bačenim materijalom iment results in a mixture of known samo pokretom. Htjele smo naprosto poprav- vremena, no danas smo izloženi vrlo ra- ist areas or experiments), I think they were jna. Unatoč tome, u Sloveniji je uglavnom sign (Pekinpah and MAO, 2010) i Designing kojeg obrtnici smatraju smećem ili and newly discovered. A simple play What has led you from specific everyday škartom rezultirala je jednostavnim, with discarded materials resulted in iti takvo stanje. zličitim tipovima čitanja koji nam pružaju design practice to study and explore theo- good for asking questions, but obviously they rasprostranjena tek prva od ovih pojava: an Agenda, or, How to avoid Solving Prob- unisex i nosivim komadima. simple, unisex and ready-to pieces P: Da, sjećam se da je to bio značajan različita iskustva. Ako ćemo analizirati sve retical concepts, as well as to develop your did not stay, because we cannot (yet) read car- strategija. Vrijeme je da se dizajnersku pro- lems That Aren’t (Pekinpah and RRA LUR, of jewelry. događaj. Kada sam 90-ih počela posjećivati važnije ‘potrese’ u ovom području (kao, na own? In what way has it enhanced your son-style daily newspapers, or use fuse-style fesiju prestane promatrati samo kao predmet 2013). Naše mišljenje (koje se temelji upra- strukovne konferencije, bila sam iznenađena primjer, post-moderne i dekonstruktivističke practical work and do you even draw ex- typefaces for a timetable. In my opinion there razgovora: moramo početi dizajn svjesno ko- vo na tim rezultatima) jest da je kolaboracija koliki je naglasak bio na teoriji i povijesti diza- eksperimente), zaključujem kako su bili sas- act border line between the two? are a few serious areas of development in ty- ristiti u svakom segmentu društva.’ između dioničara i klijenata, dizajnera, ko- jna, te njihovoj povezanosti s praktičnim pro- vim dobri za postavljanje pitanja, ali se očito B: When Petra returned from Reading pography: the multi-layered output, meaning U ovom trenutku ta dva subjekta sigurno risnika i svih ostalih zainteresiranih najbolja jektima (što je posebno vrijedilo za tipografiju, nisu održali; jer (još) zaista ne možemo či- (UK), we talked about the reasons as to why parallel publishing on paper and on-screen nisu adekvatno povezana i dizajneri su os- osnova za prepoznavanje pravih problema. Franka Spetić Zagreb koju se htjelo u potpunosti redefinirati kao dis- tati dnevne novine u Carsonovom stilu, ili we drifted away from design practice in order devices, that will bring totally new experi- tavljeni po strani. Ovdje u Sloveniji, problem Može se i ovako reći: pitanje nije možemo Serija stolnih lampi zaigranog i A series of desk lamps with playful ciplinu u digitalnom okruženju, zaboravljajući koristiti pisma a la Fuse u dizajnu rasporeda to study and explore design theory. To our ences in terms how and which contents are je višeslojan: klijenti i dioničari ne smatraju li se popeti na vrh planine, nego penjemo jednostavnog dizajna, nadahnutih and simple design, inspired by kako ima tradiciju dugu barem petsto godina). sati. Po mom mišljenju, tipografija se danas surprise, one of the main motivations (for the published where; type design will focus (even dizajnere stručnjacima osposobljenima za li se na pravu planinu. Nadamo se kako će izrekom ‘manje je više’. Dolaze u ‘more is less’ principle. Desk lamps račva na nekoliko ozbiljnih područja razvo- both of us) was an interview from the early more and more) on typeface for on-screen hvatanje ukoštac sa svakodnevnim prob- nam zagrebačka radionica pomoći da ih obliku flat pack ambalaže i korisnici come in the form of flat pack pack- Mislim da se mora sazreti ja: ‘output’ na više razina, u smislu paralel- 90s with graphic designer Ranko Novak. In reading and on fonts which cater for different lemima koji nas okružuju. Na primjer: kada prepoznamo. ih sami sastavljaju. aging and users have to assemble i proći kroz fazu bavlje- nog objavljivanja sadržaja na papiru i na el- it, Novak said (if memory serves me) that the writing systems; and thirdly, we see big de- se suočava s problemom primanja pacijena- them on their own. nja isključivo dizajnerskom ektroničkim ekranima — uređajima, što će problem of the design profession is that we velopment in researching, restoring and pre- ta na bolničke odjele ili rješavanja promet- praksom, kako bi se mogle nam donijeti posve nova iskustva kada je ri- don’t have any real criticism and theory. As a serving obsolete printing technologies (such nih čepova u gradskoj špici; organiziranja cijeniti nove perspektive ječ o tome kakav se sadržaj objavljuje i gdje; consequence, we cannot consider design as as letterpress), and other crafts connected to koje teorija može pružiti drugo, dizajn pisama fokusirat će se sve više a profession, but merely as a movement. We this (binding, papermaking, typepunching...). svakodnevnim dizajnerskim i više na pisma za elektroničko čitanje, kao i wanted to remedy the described situation. This I do not mean only as academic explo- aktivnostima. na fontove prilagodljive različitim sustavima P: Yes, I remember that as an important rations, but as a creative artistic solutions as pisanja; i treće, primjetan je veliki napredak event, too. When I started attending confer- well.. VIZK10 Nina Ivanović, Matko Buntić, Anta Bučević, Vitomira Martin- Klint Barbara Majnarić i Karla Paliska / Zagreb jak, Borna Aaron Grčević, Vanja Perković, Zrinka Horvat, Matea Doduše, usprkos važnosti teorije, ona se ne u istraživanju, održavanju i očuvanju danas ences in the 90s, I was surprised how much Brkić, Alma Šavar, Lovro Mioković, Lana Grahek, Paula Kasač, Koncept je rezultat susreta dviju The concept is a result of collabora- može odvojiti od prakse — jedna hrani drugu, gotovo antikne tiskarske tehnologije (poput stress was on the combination of theory and What is your personal definition of service Pavao Prgomet, Andrej Đukić, Mario Jekić / Zagreb studentica dizajna koje dijele tion between two design students i obrnuto. tiska izlivenim pismima) i ostalih popratnih history, plus their connection to practical pro- and information design? How broad this zajednički interes u mediju knjige. who share interest in books. The Izlaganje je koncipirano na način da Concept of the exhibition is to pres- Izložbeni prostor je mjesto dina- exhibition spot is a place of dynamic alata i vještina (uveza, izrade papira i dr.). jects. (That is especially true for typography, area actually is? Is it even correct to view se posjetitelje upozna s recentnim ent the posters designed for theatre mičnog susreta dva različita smjera interaction between two different Kako vidite budućnost klasične tipografije Ovo posljednje nije značajno samo u smislu because it wanted to be reinvented in the dig- it as a field apart, or is it so interfered with radovima studenata treće godine performances currently shown in propitivanja mogućnosti vizualne approaches used for questioning the u kontekstu ubrzane evolucije digitalnih i akademskih istraživanja, nego i živih, krea- ital world as a discipline and many people for- visual communications in general that it Studija dizajna. Riječ je o plakatima theatres in Zagreb by students stud- artikulacije teksta u virtualnom possibilities to visually articulate za predstave koje trenutno igraju ying at the Design School in Zagreb. interaktivnih medija i alata? Mislite li kako tivnih umjetničkih rješenja. get that it’s got at least 500 years of tradition.) can be understood as a leitmotif for graph- i stvarnom prostoru. Konačni cilj text in virtual and real space. The u zagrebačkim kazalištima. Našim The exhibition will try to introduce će se sama ideja čitanja promijeniti? Kako ic design as such? projekta je preplitanje i suodnos oba final objective of the project is to dijelom izložbe želimo promatrači- visitors to the work process and medija u kojima se tekst realizira, s intertwine and relate the two media će to utjecati na naše svakodnevno dizajni- Koja je vaša definicija informacijskog di- I think you have to mature, to P&B: In our opinion service and informa- ma približiti proces rada na takvim young designers and give them the namjerom novog iskustva čita- used for the embodiment of texts ranje, odnosno na naše živote općenito? zajna i dizajna usluga? Koliko je ovo po- go through the phase of being tion design has to be integrated into everyday zadacima, upoznati ih s nama, dati opportunity to choose, react and nja. Projekt je realiziran u formi with an intention to find new read- im mogućnost da biraju, reagiraju comment. Although posters were P: Mora se uzeti u obzir da je tipografija dručje zapravo široko? Je li uopće točno a practitioner only, in order design practice. Norman Potter wrote: ‘before prostorne instalacije uz korištenje ing experience. The project has been i komentiraju. Iako predstavljamo designed as a part of school curric- oduvijek bila veoma konzervativna disci- promatrati ga kao izdvojeno područje, ili to appreciate the perspectives considering how to do something, you should tehnologije augmented realitya. realized as a spatial installation radove s fakulteta, naglasak želimo ulum, we want to put an accent on with the use of augmented reality plina, što je djelomično povezano sa samim je toliko isprepleteno s vizualnim komuni- which theory can provide on find out what are you doing or what you should staviti na samu grupu mladih, per- the group of young and perspective technology. konceptom čitanja. Ljudski mozak nije se kacijama općenito da ga treba shvaćati kao your everyday practical acti- be doing.’ We believe service and information spektivnih dizajnera, te izlaganju designers this time acting as an pretjerano promijenio od Guttenbergovog lajtmotiv grafičkog dizajna kao takvog? vities as a designer. design can help you with both questions. pristupamo kao autonomna skupina. autonomous group.

24 d-news, službene novine dana d d-news, official d-day newspaper 25 Izložbe exhibitions

Young Balkan Designers SOLID ACTS — Design from Croatia Mikser, Beograd 8. 5. — 15. 6. 2013. / Centar za dizajn HGK / Center for Design HGK, Draškovićeva 45, Zagreb Dizajneri / designers Eternald / Marko The Young Balkan Designers selection is a Oljača, Hasan Zatrić, Luka Gordić/ (RS), Ines regional segment of the platform initiated by Bajić (RS), Kirče Stojoski (MK), Koralevics the Mikser organization in order to expose, Dizajneri / designers Nina Bačun, Ivana it was just five years ago. In fact, it was dur- Rita (HU), Kostantia Manthou (GR), Mat- develop and promote the creative potentials Borovnjak, Lidia Boševski, Roberta Bratović, ing the time of the economic crisis that the ic Veler (SLO), Naida Begović (BIH), Nikola of the Balkan region, with a particular view Svjetlana Despot, Filip Gordon Frank, Grupa key breakthrough of internationally notable Krivokapić (RS), Tsvetomir Pavlov (BU), Vo- on renewing multicultural cooperation. Born (Filip Despot, Tihana Taraba, Ivana Pavić), Tea projects occurred. They became, as it were, len Valentinov (BU), Mirko Vujičić (RS), An- from Mikser’s extensive annual exhibition Janković, Zoran Jedrejčić, Nikolina Jelić, Luka icons of the renaissance in Croatian design. dreja Jandrečić, Denis Ristivojević, Marko of local upcoming designers and bearing the Jelušić, Iva Frank (arhitektica), Ksenija Jurinec, Involved at the macro level were three sce- Petrić, Katarina Maltar (HR) name Ghost Project, the Young Balkan De- Ada Kezić, Krunoslav Kovač, Neven Kovačić, narios or design development platforms, signers initiative was created in 2009 with Sanja Kovačić, Maja Mesić, Maja & Mejra Mu- which had not previously been in existence Young Balkan Designers je regionalna smo- the idea to encompass the best of what the jičić, MVA arhitekti (Marin Mikelić, Tomislav to any great extent. One of these consisted tra talenata iz područja industrijskog diza- local scene had to offer to the international Vreš), Numen/ForUse (Christoph Katzler, Sven of architectural projects that set off the crea- jna koju je organizacija Mikser pokrenula s market through ten works. A very important Jonke, Nikola Radeljković), Ruđer Novak-Mi- tion of original Croatian product designs for ciljem otkrivanja, razvoja i međunarodne odabira i razvoja pojedinačnih eksponata role in the selection and development of kulić, Marija Ružić i Ana Tevšić. their interiors; the second was the furniture promocije kreativnog potencijala Balkana, s glavnu ulogu igra mentor projekta, čuveni particular exhibits is played by the project’s industry; the third was independent designer posebnim naglaskom na obnovi multikultur- svjetski industrijski dizajner Konstantin mentor, international renowned industrial Autorica izložbe / exhibition curator production in limited editions. However, a alne suradnje u regiji. Iznikla iz velike Mikse- Grčić. Natječaj YBD danas predstavlja pravu designer Konstantin Grčić. The YBD call fro Tatjana Bartaković common denominator is the high percent- rove godišnje izložbe domaćih dizajnerskih mobilizacijsku snagu novih generacija diza- proposals today presents a true mobilizing age of handcraft involved in the production, nada pod nazivom Ghost Project, inicijativa jnera, od Beča do Atene, dok proizvođačima force for new generations of designers, from Postav izložbe / exhibition design with, in most cases, only a minimum of tech- Young Balkan Designers pokrenuta je 2009. nudi jedinstvenu dinamičnu bazu podataka Vienna to Athens, while producers can profit Neven Kovačić nology, the place of which is taken by design. godine s idejom da u deset radova sublim- o kreativnim resursima. from a very dynamic database with creative The works, divided into the 9 thematic units, ira ono najbolje što lokalna scena dizajna www.mikser.rs resources. Luka Mjeda, Centar za dizajn, HGK: “U vre- dizajnu. Na makrorazini riječ je o tri scenar- Luka Mjeda, Centre for Design, CCE: “As communicate the Croatian natural and cul- može ponuditi svjetskom tržištu. U procesu menu tranzicije hrvatskog gospodarstva iz ija ili platforme razvoja dizajna koje do tada Croatia went through the transition from a tural heritage — including the tradition of centralno-planirane u tržišno-orijentiranu nisu postojale u značajnoj mjeri. Jedna od centrally-planned to a free market economy, producing furniture in solid wood, the use ekonomiju, dizajn se pojavio kao doista po- njih su arhitektonski projekti koji su potaknu- design emerged as a useful and indeed es- of local resources, inspiration by natural and godan i ključan alat u stvaranju novih proiz- li stvaranje originalnog hrvatskog dizajna za sential tool in the creation of new products cultural motifs in the form of contemporary voda za globalno gospodarstvo. Novi Studij svoje interijere, druga je industrija namješta- for the global economy. The newly estab- objects and finally architecture, which gen- Scramble City dizajna u Zagrebu iznjedrio je visokoedu- ja, a treća samostalna dizajnerska produkcija lished School of Design in Zagreb produced erates new products to support its own basic cirane dizajnere koji pokazuju da su tržišno u limitiranim količinama. Međutim, njihov numbers of highly-trained designers, who qualities. SOLID ACTS brings together these orijentirani, slobodna duha, živahni, kvalitet- zajednički nazivnik svakako je visok postotak proved to be market-oriented, free-spirited, common grounds of the works, communi- Lada Hršak, Michiel van Iersel, Dieuwertje Komen, ni i, smatramo, dostojni odobravanja svjetske uključenosti ručne izrade u proizvodnji, a u alert and, we believe, worthy of interna- cating Croatian knowledge and production dizajnerske zajednice. U godini u kojoj se većini slučajeva i minimalno potrebna teh- tional recognition in the design community. culture through new Croatian design.“ Neeltje ten Westenend Hrvatska pridružuje Europskoj Uniji, naši su nologija koju zamjenjuje dizajn. Izabrana 32 In 2013, the year in which Croatia is join- dizajneri na Tjednu dizajna u Milanu (9-14. rada demonstriraju u kojoj mjeri je moguće ing the EU, our designers exhibited SOLID Scramble City je presjek zamišljenog grada sas- raznih praksi u arhitekturi i suvremenom Scramble City presents the cross section with a focus on cultural interventions. It is travnja 2013. godine) pokazali da je EU naše razviti suvremeni proizvod s minimalnom ACTS — Design from Croatia at the Design tavljan od elemenata devet europskih gradova. društvu. Najviše se bavi intervencijama na of a fictitious secondary city, composed of ultimately a journey through time: the suc- prirodno okruženje. Cjelokupni nastup te po- uključenošću tehnologije te poreći predra- Week in Milan (9. — 14. April 2013) and have To je vizualni esej kojim se bilježi putovanje specifičnim lokacijama te dizajnira praktične elements from nine European cities. It is a cesses and failures in the creation of urban jedinačni radovi hrvatskih dizajnera izazvali sudu da je za razvoj dizajna nužna visoka shown that the European Union is our natural fragmentiranim urbanim krajolikom. Sadrži radove na području umjetničkog istraživanja, visual essay recording a journey through a identity over the past decade. su velik interes dizajnerske zajednice, medija tehnologija. Radovi podijeljeni u 9 temat- environment. The designer´s products and inventar službenih i neformalnih pokušaja da arhitekture, prostornih vizura i djeluje kao kus- fragmented urban landscape. Containing an Lada Hršak is a Croatian-Dutch architect i velikog broja posjetilaca Temporary Museum skih cjelina komuniciraju hrvatsku prirodnu the Exhibition in whole raised a great amount se određeni dijelovi grada učine jedinstvenim tosica uključujući velik broj interdisciplinarnih inventory of official and informal attempts to based in Amsterdam. Following the training for New Design. Centar za dizajn HGK primio i kulturološku baštinu — od tradicije proiz- of interest of the design community, the me- i pogodnim za življenje, a glavni naglasak je sudionika. make sections of the city unique and liveable, at the University of Zagreb she has complet- je velik broj čestitki za kvalitetno predstavljan- vodnje namještaja od punog drveta, upora- dia and many visitors of the Temporary Mu- stavljen na kulturološke intervencije. Zapravo www.ladahrsak.com ed the postgraduate program at The Berlage je hrvatskog produkt dizajna te više poziva za bu lokalnih resursa, inspiracije prirodnim i seum for New Design. The Centre for Design se radi o putovanju kroz vrijeme, odnosno o Institute in Amsterdam and consequently buduća izlaganja. Ta je izložba sada predstav- kulturološkim motivima u formi suvremenih received many compliments for organizing uspjesima i neuspjesima u stvaranju urbanog worked in a number of renowned Dutch ar- ljena i hrvatskoj publici.” predmeta, do arhitekture koja, osim svoje os- such a good presentation of Croatian product identiteta tijekom proteklog desetljeća. chitectural offices. Tatjana Bartaković, autorica izložbe: „Hrvat- novne kvalitete, generira i nove proizvode. design(ers) and has been invited to exhibit Lada Hršak je hrvatsko-nizozemska arhitekti- In 2010. she set up a collaborative studio ski produkt dizajn je danas znatnije utemel- SOLID ACTS objedinjuje naznačene zajed- Croatian Design in the near future. For this ca koja živi u Amsterdamu. Nakon studija na BureauLADA that explores the manifold po- jen u proizvodnji nego prije samo 5 godina. ničke temelje radova komunicirajući hrvat- reason, SOLID ACTS –Design from Croatia is Sveučilištu u Zagrebu, završava poslijediplom- tential of architecture practices in the con- Upravo za vrijeme krize dogodio se ključni sku kulturu znanja i proizvodnje kroz novi now presented to the Croatian public.“ ski studij na Institutu Berlage u Amsterdamu te temporary societies. Focusing on site specific proboj međunarodno relevantnih projekata hrvatski dizajn.“ Tatjana Bartaković, exhibition curator: “Cro- nakon toga radi u nekoliko poznatih nizozem- interventions and designs the practice acts in koji su visokom razinom kvalitete postali atian product design is today much more skih arhitektonskih biroa. the fields of artistic research, architecture, svojevrsne ikone preporoda u hrvatskom substantially grounded in production than Godine 2010. osniva kolaborativni studio Bu- spatial visions and curation, engaging a grow- reauLADA koji istražuje raznovrsne potencijale ing range of interdisciplinary participants. Hungry Designers Zagrebački urbani Zagreb Urban hdd / Ivana Borovnjak, Roberta Bratović mobilijarij Mobiliarium Dizajneri / designers Ana Rimac, Mirena te povezivanje sektora dizajna i turizma kroz Croatian design among the international au- Škarić, Branimir Paškvan, Kristina Lugonja, dizajn hrane, popratnih proizvoda i scenari- dience and link tourism and design sectors Luciano Basauri, Dafne Berc, Dominko Blažević, Jana Filip Havranek, Ivan Dorotić, Luka Borčić, ja. Projekt, raspisan u formi natječaja, okupio through designing food and all other accom- Marina Andrijašević, Nikola Radeljković, je dvadesetak mladih hrvatskih dizajnera panying products and scenarios. The project Dabac, Sonja Leboš Maja Subotić, Oaza, Manufakturist, Sonda, čiji su radovi rezultat istraživačkog pristupa started with a tender and gathered some twen- Vlatka Leskovar, Noel Šuran, Davorka Tumpić, fenomenu turizma i propitivanja sociologije ty young Croatian designers whose works are Remake izložbe ZG urbani mobilijarij održane This is a remake of the exhibition ZG Urban Superstudio 29, Vina Ćurčija, Ana Sekulić, turizma. Odabrana rješenja propituju stereo- a result of an exploration of tourism as a phe- u galeriji Hrvatskog dizajnerskog društva 2010 Mobiliarium held at the Croatian Design- Grupa, Mirna Raduka, Karmen Kolombo tipe vezane za hranu, reinterpretiraju tradici- nomenon and societal category. The selected godine. Pod pretpostavkom nedovršenosti ers’ Society Gallery in 2010. Presuming that jske načine pripreme hrane te nude nove oblike works investigate various stereotypes related dizajnerskog pristupa estetici i kulturnim vri- designer’s approach to esthetic and cultural U okviru projekta Dizajn turizam, platforme konzumiranja hrane i promišljanja gastron- to food, reinterpretation of traditional food jednostima zagrebačkog urbanog namještaja i values of Zagreb’s urban furniture and city za afirmaciju i promociju dizajna u turizmu omske ponude. Prototipovi, trenutno u fazi iz- preparation at the same offering new types of gradskih mikroinfrastruktura, ZG urbani mobili- micro-infrastructures is unfinished, the ZG pokrenutom pri HDD-u u 2012. godini reali- rade, bit će premijerno predstavljeni u Muzeju Croatian Holiday is a project developed in the food consumption and creation of gastronom- jarij istražuje koliko često ovakva servisna po- Urban Mobiliarium explores how often this ziran je projekt pod nazivom Croatian Holiday. turizma u Opatiji u obliku jednomjesečne izlo- framework of Design tourism- platform for the ic offer. In this phase, the prototypes are being drška pomaže profiliranju identiteta specifičnih kind of service assistance can help in profil- Pilot projekt koji je obišao gotovo sve diza- žbe, dok izložbeni preview na Danu D prati affirmation and promotion of design in tourism developed which will then be presented at the urbanih uvjeta — ponekad čak s dramatičnim ut- ing the identity of specific urban conditions, jn festivale u regiji, ove se godine nastavlja pop-up event uz hranu i druženje. initiated by the CDS in 2012. This pilot project Museum of Tourism in Opatija during a one- jecajem na socijalno-urbanu dinamiku Zagreba. that sometimes even dramatically influence kustoskom koncepcijom Hungry Designers. toured almost all design festivals in the region month exhibition. This year’s D-Day will give social and urban dynamics of the City of Ključni cilj projekta ponovo je povezivanje and this year it will continue with the curator’s a sneak preview with a pop-up event offering Zagreb. dizajnera s proizvođačima, bilo malim obrt- conception called Hungry Designers. The key food and an opportunity to hang out together. nicima ili tvornicama, promocija suvremenog objective of the project is to reconnect design- hrvatskog dizajna u međunarodnoj javnosti, ers with producers, promote contemporary

26 d-news, službene novine dana d d-news, official d-day newspaper 27 Izložbe exhibitions

Akupunktura grada: Trnje City Acupuncture: Trnje Iskopavanja: Znakovi Excavations: Društvo arhitekata Zagreba (koordinator), Public Room Zagreb Architectures Society (coordinator), Public Room proizvodnje — Signs of production- Sarajevo, Public Room Skopje, Cultural Front Beograd, Sarajevo, Public Room skopje, Cultural Front Beograd, proizvodnja znakova Production of signs Društvo arhitekata Splita Društvo arhitekata Splita Lana Cavar, Narcisa Vukojević

Sudionici/participants Zagreb: Jelena odobrila sufinanciranje u okviru programa Acupuncture of the city was developed as Tomić, Luka Krstulović, Valentina Benčić, Kultura 2007-2013. Akupunktura grada je a project of the Youth Section active within Projekt Iskopavanja, započet prije tri godine, rekonstruiranih prema izvornim predlošcima Excavations project, initiated in 2010, intends Karmen Krasić Kožul, Larisa Čišić, Vilma projekt koji se razvio unutar Sekcije mladih the Zagreb Architects’ Society. Authors were bavi se pretraživanjem, prevrednovanjem pronađenima u različitim arhivskim materi- to explore, re-evaluate and interpret different Stopfer, Luka Cindrić, Ivana Stanić, Julijana Društva arhitekata Zagreba, na volonterskoj volunteers who organized a series of inter- i tumačenjem djela iz povijesti hrvatskog jalima ili kao memorabilije. Osim estetske works of Croatian design in the period from Bockaj, Lea Anić, Petra Sapun, Sandra Perić, bazi, provođenjem interdisciplinarnih radioni- disciplinary workshops on various locations dizajna u vremenskom razdoblju od 1950. do komponente, možda i značajnijim se čini 1950 to 1990. The first edition of Excava- Anna Koscis, Nikolina Krešo, Lana Trobentar, ca na lokacijama za koje se ispostavilo da imaju in need of small scale interventions that 1990. godine. Prvo izdanje Iskopavanja, Sudi pokušaj kontekstualizacije izabranog vizual- tions — Judge the book for its covers- focused on Petra Zaninović, Sanja Benaković, Lea potrebu za sitnim intervencijama koje mogu ut- could strongly influence their quality and knjigu po koricama, tematiziralo je naslovne nog materijala prema povijesnom vremenu book covers published by Croatian publishers Horvat, Tatjana Petrić; Beograd: Dejan Mitov, jecati na kvalitetu i način korištenja prostora. practical use. Acupuncture of the city is a stranice knjiga izdanih od hrvatskih naklad- i prostor te pronalaženje eventualnih inter- in that period. The second edition of Excava- Snežana Ćuruvija, Jovana Miletić; Skopje: Akupunktura grada rad je nekoliko međunarod- work of several international teams, and the nika u spomenutom vremenskom razdo- tekstualnih veza sa suvremenom praksom tions- Signs of production- Production of signs- Diana Dimitrijevska, Tamara Georgijevska, nih timova, a u radionici Trnje sudjelovalo je Trnje workshop gathered about forty young blju. Drugo izdanje Iskopavanja, Znakovi hrvatskog dizajna. focuses on different types of visual identities, Monika Petrov; Sarajevo: Lana Barač, Emir i 40-ak mladih autora, studenata arhitekture, The exhibition comprises fifteen works that authors, students of architecture, history of proizvodnje — proizvodnja znakova temati- trade marks of mostly production but also other Kapetanović, Leila Dizdarević. povijesti umjetnosti, dizajna, krajobrazne ar- resulted from an international interdiscipli- art, design, landscape architecture and oth- zira vizualna identitetska obilježja, zaštitne business entities active in Croatia at the time. component, another important attempt is to try hitekture, psihologije i dr. struka iz Zagreba, nary workshop that attempted to find solu- er professions from Zagreb, Belgrade, Split, znakove uglavnom proizvodnih, ali i ostalih The authors selected more than two hundred to provide contexts for the selected visual ma- Izložba obuhvaća 15 radova rezultata međun- Beograda, Splita, Skopja i Sarajeva. tions for Trnje, a neighborhood in Zagreb. Skopje and Sarajevo. poslovnih subjekata koji su djelovali na pod- trade marks reconstructed according to the terials in relation to the time and space and to arodne interdisciplinarne radionice koja www.cityacupuncture.org The project was co-financed by the Europe- ručju Hrvatske u istom razdoblju. Riječ je o original blueprints found in archives or pre- find possible inter-textual connections with the promišlja rješenja za gradsku četvrt Trnje. U www.cityacupuncture.org/about/ an Commission in June 2012 in the frame- izboru više od dvije stotine zaštitnih znakova served as memorabilia. Apart from the esthetic contemporary Croatian design practice. lipnju 2012. projektu je Europska komisija project_team work of the Culture Programme 2007-2013.

Gredelj / o mapiranju i Gredelj / on mapping Arhitektura u džepu Architecture in Your Naziv poslovnog subjekta: Zagorje, građevinsko poduzeće, Varaždin Djelatnost: Razdoblje: Autor znaka: Pocket sondiranju okljaštrenog and soundingIzvor: a Društvo arhitekata Zagreba Zagreb Architectures Society diva mutilated giant Muzej kvarta The Neighborhood Museum Autori / authors Sekcija Mladih DAZ-a Dizajn / design Katarina Zlatec Architecture in your pocket is a selection of Koncept i postav izložbe / Concept a culturally significant location at the same Arhitektura u džepu predstavlja izbor od 179 179 buildings. 42 of them are selected ac- and exhibition layout Vladimir Tatomir time neglecting its cultural importance. In građevina, od kojih 42 istaknute fotografi- cording to their architectural relevance in brief, we are talking about demolition of her- jom, nacrtom i tekstom, prema kriteriju ar- the context of Zagreb School of Architec- Audio-video instalacije / Audio and itage. The soundings will literally conserve hitektonske relevantnosti problemski obja- ture, and presented through photos, plans video installations Matija Kralj various micro-locations of the Gredelj work- šnjavaju odabranu građevinu i njezin značaj and text. shops and thus explain how the owner (The u okvirima Zagrebačke škole arhitekture. Organizator diskurzivnog programa/ Zagreb Holding) treats cultural capacities tribine / Moderator of discursive pro- like TŽV Gredelj. The legends will mark all gramme/panel discussion Jovica Lončar reference topographic or production point in our proximity aiming to inform the visi- Muzej Kvarta platforma je za bilježenje i komu- tors about the overall importance of the site. Ministarstvo nikaciju baštinskih vrijednosti, te revalorizaciju During the day, the Neighborhood Museum Ministry of Pleasure samog pojma baštine. Putem sondi i legendi exhibition will serve for a post-industrial posjetitelje se upućuje na povijesni i spoznajni kapacitetu kao što je (bio) TŽV Gredelj. Leg- The Neighborhood Museum is a platform intellectual meditation with a site-specific zadovoljstva značaj Gredelja kao negdašnjeg proizvođačkog ende će označavati referentne topografske ili for recording and communicating values audio and video installation created by the diva, te na specifičnost trenutne situacije kao proizvodne točke u našoj neposrednoj blizini, resulting from heritage and for reevaluating artist Matija Kralj. procesa ‘konsolidacije troškova’, odnosno re- s ciljem upućivanja posjetioca prema cjelovi- the very meaning of that term. Visitors are Public Room Skopje cikliranja kulturnog dobra, pri čemu se zane- tom značaju pogona željezničkih radionica. presented with the materials providing in- maruje njegov izraziti kulturni značaj. Ukratko, Izložbeni prostor Muzeja kvarta tijekom dana formation about the cultural and cognitive Dizajneri / designers Zavar Design, daje uvid u dizajnersku scenu u Makedoni- Design, like no other art form, gives us the riječ je o heritocidu. Sasvim doslovno, sonde će služiti za post-industrijsku intelektualnu importance of the Gredelj factory, which Plakart, Творница, Lidiya Georgieva, Bojan ji danas, od potencijala na fakultetima do opportunity to perceive and understand the će konzervirati mikro-lokacije Gredeljevih meditaciju, kojoj će doprinijeti audio-vizual- used to be a production giant, and all specific Krtolica, Koma.com.mk, Fakultet strojarstva, međunarodno priznatih profesionalaca. world in a new way, to better grasp the im- radionica, čime se upućuje na odnos vlasnika na prostorno-specifična instalacija umjetnika features of the present situation as a process Skopje www.ministryofpleasure.net portance of other things around us and life in (Zagrebačkog Holdinga) prema kulturnom Matije Kralja. of so-called ‘cost consolidation’, or recycling www.publicroom.org general. That perspective can only be person- Dizajn, kao niti jedan drugi oblik umjetnosti, ally articulated, when it is provided through omogućava nam novo gledanje i razumije- an insider’s view into this “different perspec- vanje svijeta, bolje shvaćanje važnosti stvari tive”. That’s why Ministry of Pleasure has the koje nas u životu općenito okružuju. Takva se mission to present the most recent and high perspektiva može izraziti samo osobno, kada quality, exciting and challenging designs from Morana Krklec Zagreb Dunja Sučić Zagreb je omogućena pogledom na ‘drukčiju pers- an upcoming design destination, Macedonia. pektivu’. Zbog toga je misija Ministarstva We sincerely believe that designs made by Morana Krklec predstavit će gotove Morana Krklec will present her Koncept Big Fish potekao je iz igre Big Fish concept emerged from the zadovoljstva predstaviti najnovije i najkval- local designers are very strong, original and odjevne predmete, ali će kroz igru ready-made clothes by playing and formom i volumenom — kako iz jed- interplay between form and vol- itetnije, uzbudljive i izazovne dizajnerske honest. The designs are treating mainly local i interakciju privući i posjetitelja interacting with visitors who will noga kroja prikazati dvije forme? Iz ume — how to use one blueprint to koji na taj način i sam postaje dio thus become part of the exhibits. pitanja nastaju dva naizgled nep- present two forms? The question radove koji dolaze iz sveprisutnije dizajner- or regional subjects even though they use the eksponata. Želja je interaktivnim The intention is to bring the audi- ovezana objekta, namećući ideju leads to two seemingly unrelated ske destinacije — Makedonije. Iskreno vje- global language, approach and techniques. izlaganjem, temeljenom na principu ence closer to the clothes exposed kako isprovociranu promjenu ne objects, imposing an idea that rujemo da je dizajn lokalnih autora vrlo The designers in this second touring exhi- slagalice, približiti publici ne samo and to teach them something treba povezivati s mijenjanjem stvari provoked change should not be snažan, originalan i iskren. Radovi se bave bition produced by the platform Ministry of izloženu odjeću, nego i način izrade about the production process u korijenu, nego u procesu. Biljka, related to changing things from krojeva te sam proces koji stoji iza behind each product during an kao pratilac Big Fish teme je u službi the bottom but during the process. uglavnom lokalnim ili regionalnim temama Pleasure tell us stories about themselves and realizacije pojedinog odjevnog interactive presentation based on podsjetnika na silnice života bez A plant following the Big Fish topic iako se služe globalnim jezikom, pristupom i people that surround them. This exhibition is predmeta. the principle of jigsaw puzzle. čega smisao prestaje biti važan. serves as a reminder of various tehnikama. Dizajneri druge putujuće izložbe very specific because it gives full inside of the forces in life without which our koja je nastala u okviru platforme Ministarst- current design scene in the country, ranging lives seem to lose importance. va zadovoljstva pričaju priče o sebi i ljudima from faculty potential till the internationally koji ih okružuju. Izložba je posebna i zato što prominent professionals.

28 d-news, službene novine dana d d-news, official d-day newspaper 29 izložbe fakulteta design school exhibitions

Igra u drvu Wood Interplay Dizajner i obrtnik Designer and craftsman Studij dizajna, Zagreb The School of Design, Zagreb Studij dizajna i Obrtnička komora The School of Design and the Chamber of Trades and Crafts

Autori / authors studenti 1. godine pred- godine na popisu nematerijalnih dobara up- Wooden toys are traditional Croatian prod- technological requirements, wooden toys Autori / authors studenti 1. godine i gospodarskog razvoja. Povezivanje stude- diplomskog Studija dizajna / 1st year under- isanih na UNESCO. Inspirirani tom baštinom, ucts that emerged in the 19th century and refer to some values linked to the identity of diplomskog Studija dizajna / 1st year under- nata na pragu profesionalnog djelovanja s understanding one own product inspires its graduate students of the School of Design studenti su interpretirali tradicijski potenci- their production continued until the pres- Croatian cultural heritage. Designers’ inter- graduate students of the School of Design obrtnicima koji su prepoznali potrebu za further improvement and finally brings about jal drvenih igračaka, polazeći od istraživanja ent date, especially in Zagorje. Wood toys ventions transform the elements of heritage razvojem vlastitog proizvoda idealna je pri- innovation, recognizable qualities and com- Mentori / mentors Mladen Orešić, Ve- mehanizama koji potiču interaktivno iskus- are sold at fairs, church events, markets and into a collection of local souvenirs. Mentor Mladen Orešić lika za stjecanje potrebnog iskustva i povjer- petitiveness. In that process design plays a dran Kasap, Ivana Fabrio, Sanja Bencetić tvo igre. Pored rješavanja konstrukcijskih i they are also kept in museums. They are Asistent / assistant Vedran Kasap enja te uspostavljanje željenog kontinuiteta crucial part, which is confirmed in successful Demonstratori / demonstrators Mario tehnoloških zahtjeva, drvena igračka referira also listed on the official List of protected suradnje kao osnove za dugoročni uspjeh. strategies in communities that continuously Dobrečević, Petra Jelaska, Vlatka Leskovar se i na vrijednosti identiteta koji su nosioci non-material heritage in the Register of cul- Suradnja Studija dizajna i Obrtničke komore Ovogodišnja suradnja okupila je 11 studenata use design as a tool for cultural and economic hrvatske kulturne baštine. Kolekcija drvenih tural heritage of the Republic of Croatia. As rezultat je orijentacije Studija da dijelom 1. godine Diplomskog studija dizajna i 7 obrt- growth. Connecting students who are about Drvene igračke su tradicijski hrvatski igračaka dizajnerskom intervencijom pret- of 2009, wooden toys are also non-material programa omogući studentima stjecan- nika raznih tehnoloških i proizvodnih orijent- to start their professional careers with crafts- proizvod nastao u 19. stoljeću, a izrada se vara baštinu u potencijal lokalnog suvenira. cultural goods registered with the UNESCO. je što više iskustva u okolnostima realnog acija iz čega je proizašlo 11 novih proizvoda. men and entrepreneurs who have recognized zadržala do današnjih dana, poglavito u Inspired by this segment of our cultural her- okruženja. Gospodarska situacija u kojoj the need for developing their products is an Zagorju. Prodaju se na sajmovima, crkven- itage, students intended to reinterpret the više nema velike industrije kao naručitel- ideal opportunity for acquiring experience im svečanostima, tržnicama, a čuvaju se i u traditional potential of wooden toys. They ja dizajna otkriva strateške promašaje iz Cooperation between the School of Design and creating an atmosphere of trust in or- muzejima. Nalaze se na Listi zaštićenih do- started from an insight in the mechanisms prošlosti, a koji se i danas manifestiraju kao and the Chamber of Trades and Crafts is a re- der to establish continuous cooperation as bara nematerijalne baštine u Registru kul- that motivate interactive playing experience. nedovoljno razumijevanje prirodnog razvoja sult of the School’s intention to offer students a ground for long-term success. This year’s turnih dobara Republike Hrvatske i od 2009. Apart from solutions for constructional and gospodarstva u kojem razumijevanje vlasti- an opportunity to get as much experience as programme gathered eleven first-year un- tog proizvoda potiče unapređenje istog, što possible in real-life circumstances. The eco- dergraduate students of the School of Design rezultira inovativnošću, prepoznatljivošću i nomic situation in which there are no large and seven craftsmen from various techno- konkurentnošću. Dizajn u tom procesu ima commissions from the industry reveals many logical and production branches. Their col- neupitnu ulogu što potvrđuju uspješne strate- strategic mistakes form the past which are laboration resulted in eleven new products. Odjevno oplošje grada Clothing city surface gije sredina u kojima se on desetljećima kon- today manifested as a lack of understanding tinuirano koristi kao sredstvo kulturološkog for the natural economic development where Tekstilno-tehnološki fakultet, Zagreb The Faculty of Textile Technology, Zagreb

Autori / authors Sonja Brstilo, Tina Buž- The exhibition presents five students of fash- don, Matija Čop, Milkica Ercegovac, Ivana ion design who used the concept of a city as Dizajn 07–13 Design 07–13 Hutinski a starting point for expressing their fashion Mentorica / mentor Jasminka Končić philosophies. Sonja Brstilo uses the princi- Sumentorica/ co-metor Josipa Štefanec ple of covering city streets with geometrical Odsjek za dizajn vizualnih komunikacija, umas, Split Department for visual communications design, umas, Split shapes and translates it into a deconstructive Izložba predstavlja petero studenata modnog principle for designing fashion superficial dizajna koji u svojim kolekcijama doživljav- areas. Tina Buždon focuses on anti-fashion Izložba predstavlja izbor iz retrospektive The exhibition is a retrospective overview aju grad kao poligon za modna razmišljanja. combinations from city streets and squares, radova studenata i studentica Odsjeka za of projects developed by students at the De- U radu Sonje Brstilo princip popločavanja recomposing them in order to find new fash- Dizajn vizualnih komunikacija Umjetničke partment for visual communications design ulica geometrijskim plohama preveden je ion interpretations. Milkica Ercegovac trans- akademije Sveučilišta u Splitu kroz proteklih at the Academy of Arts in Split over the pe- u dekonstrukcijski princip oblikovanja od- forms sports wear into urban street style with šest godina (2007. — 2013.), nastalih u redov- riod of six years (2007– 2013). All projects jevnog oplošja. Tina Buždon polje svog in- accompanying accessories. Ivana Hutinski nom nastavnom procesu ili tijekom poprat- were developed for the regular curriculum teresa pronalazi u antimodnim odjevnim explores the city leaving its exteriors and nih radionica koje su sastavni dio obrazovne or follow-up workshops making part of the kombinacijama s gradskih ulica i trgova koje moving to restaurant interiors only to find the prakse. Ovaj pregled studentskih radova s educational process. The overview of the u konačnici rekomponira dajući im novo od- remains of socialist uniforms which she then hvt UMAS sadrži širok raspon radova: od DVK UMAS student projects encompasses a jevno značenje. U radu Milkice Ercegovac turns into new fashion solutions. In the first ilustracija, plakata, vizualnih identiteta, wide range of works: illustrations, posters, sportska odjeća pretvara se u urbani street part of his fashion trilogy dedicated to the layouta, ambalaža i informacijskog dizajna visual identities, layouts, packaging and in- style s pripadajućim modnim dodacima. city, Matija Čop uses a city map to create so- do oblikovanja pisma, animacija i dizajna formation design, typography, animation Ivana Hutinski u svom istraživanju grada called city lace, whereas in the second part interakcija. and interaction design. napušta prostor ulice i seli se u interijere of the trilogy he translates the architectural restorana pronalazeći još uvijek prisutne os- principles into seamless fashion designs. The tatke socijalističke ugostiteljske uniforme i drugom segmentu bavi prevođenjem princi- trilogy ends with a focus put on a homeless pretvarajući ih u nova modna rješenja. Mat- pa arhitekture u načine oblikovanja odjeće person who is an inhabitant of urban space. ija Čop u prvom dijelu svoje modne trilogije bez šava i veziva. Trilogiju završava fokusom o gradu plan grada i mrežu ulica pretvara u na jedinku beskućnika kao stanovnika javnog osuvremenjenu čipku - city lace, dok se u gradskog prostora.

Pulp_urban art wear Akademija primijenjenih umjetnosti, Rijeka Academy of Applied Arts, Rijeka

Autori/authors Sunčana Simichen, Mirna PULP okuplja studentice i studente kolegija PULP is a platform that gathers students Oštarić Kerr, Ana Sabolić, Nisa Hrvatin, Iva- Oblikovanja nakita Akademije primijenjenih studying Jewelry Design at the Academy of na Šepac, Petra Oković, Ivan Radeka, Romi- umjetnosti u Rijeci za realizaciju različitih pro- Applied Arts in Rijeka in order to realize var- na Mejak, Barbara Brnelić, Ana Hrćan, Daria jekata s kojima djeluju u javnosti od 2008. go- ious projects. The platform has been publi- Valenčić, Tijana Mihailović, Anna Rupenović, dine, a na Danu D predstavljaju se projektom cally active as of 2008, and this year the PULP Sabina Gužvinec, Ana Aleksandra Buković, Urban art wear. Art wear je koncept umjet- presents its Urban Art Wear project. Art wear Barbara Bjeliš i Tena Kelemen Zagreb Parapatuljci Zagreb Sanita Zorić, Tomislav Mirković, Tonko Vu- ničkog izričaja koji koristi cijelo tijelo za nošen- is an art concept using the entire body for Rad je nastao ovog proljeća za izlož- The project emerged this spring Neki kažu da su mitska bića koja Some say they are mere mythical konić, Nikolina Car, Jana Plovanić, Mirela je umjetničkog djela (tjelesne instalacije) čiji wearing artifacts (body installations) whose bu Medvedi u Beogradu. Inspirirane on the occasion of the Medvedi uočite noću s prozora na trijemu creatures who can be seen at night Duktaj, Goranka Tomić, Dorotea Smrkinić, sadržaj je umjetnikov statement, komentar content is an artistic statement, comment stihom Elvira Lakovića Lake odre- exhibition organized in Belgrade. gdje su iznijeli stolce i gledaju aute from your window, sitting on the Ines Križaj, Ena Đelmo, Marijana Smolić, An- ili neki drugi pokušaj aktivizma u odnosu na or attempt to get actively involved in events dile smo svoj moto: Medvedi se bude, Inspired by a line written by Elvir kako prolaze, pa se vrate pa trpaju porch where they brought their dreja Jandrečić, Ada Osmanagić, Ines Šarić, događaje u gradskoj sredini. Pokret je nastao happening in urban surroundings. PULP pretvaraju u ljude. Rad se sastoji od Laković Laka, Medvedi se bude, dizajn u novine i novine u dizajn i za chairs, watching the cars drive Natalija Ložnjak, Petra Pletikos, Zvonimira iz potrebe da se umjetnička djela izmjeste iz emerged from the need to relocate various četiri plakata tehnikom origamija pretvaraju u ljude. we defined our to vrijeme pjevaju karaoke, dovikuju by. They return to put design into složena u piramidu, koji metaforički motto: the work consists of four se i općenito ostavljaju nered za newspapers and vice-versa, during Karavida, Silvana Vodnica Filičić prostora umjetničkih galerija i da korištenjem works of art from art galleries and to use a prikazuju proces proljetnog buđenja. posters constructed in a pyramid sutra. Ujutro zaključuju kako bi mo- that time they sing karaoke, shout tijela ukažu na urbane probleme. U projektu body in order to underline urban problems. by using origami techniques to gli prošetati sav taj dizajn kroz grad. at each other and generally leave Mentor Nenad Roban 7 PULP-a za Dan D sudjeluje oko 25 izvođača/ This year’s D-Day will present about 25 per- metaphorically present the process their mess behind for tomorrow. ica. Nastup je djelomično koreografiran, ali je formers. This performance is partially chore- of spring awakening. In the morning they conclude they could just walk all that design out najvećim dijelom najbliži performansu i bit će ographed and it will be presented during one into the city. predstavljen tijekom jedne večeri. of the D-Day evenings.

30 d-news, službene novine dana d d-news, official d-day newspaper 31 instalacije installations d-industry

Instalacije Installations D-industrija D-industry Radionica prostornih i virtualnih instalacija Spatial & virtual installation workshop Artisan, Element, Kvadra, Regeneracija

Prepoznavanje dodatnih vrijednosti industrijskih prostora te njihova prenamjena afirma- The site-specific installation workshop ran by Ivana Franke resulted in recognizing the added tivnim prostornim intervencijama, rezultat su ove radionice site-specific instalacija pod vod- value of industrial locations and their conversion by means of alternative spatial interven- Izložba D-industrija u Komercijalnoj dvorani Dana D posvećena je predstavljanju diza- D-industry Exhibition in the D-Day Commercial Hall presents designer brand labels of com- stvom Ivane Franke. Značajniji utjecaj, pri odabiru lokacija za provedbu tih aktivnosti, dao je i tions. Selection of locations for such activities was under a considerable influence of this jnerskih robnih marki onih tvrtki i proizvođača koji su unazad par godina počeli uspješno panies and manufacturers who have started a successful cooperation with local (and foreign) sam tematski raspis ovogodišnjeg festivala, pozivajući sudionike na angažiranije propitivanje year’s D-Day theme because it called on the participants to engage in analyzing various surađivati s domaćim (ali i inozemnim) dizajnerima na razvoju koncepata i prototipova, te designers in developing concepts and prototypes, and employing designer methodology and povezanosti grada i dizajna, te stvaranje odnosa javnog prostora u interakciji sa zajednicom. links between design and city and create the relation between the public space and local implementirati dizajnersku metodologiju i alate u svoj proizvodni proces. tools in their manufacturing process. Predstavljamo dva projekta proizašla kao slijed tih razmišljanja. Mijenjaju donekle značenja community. The 2013 D-Day will present two projects that resulted from this process. They odabranih lokaliteta, te naglašavaju potencijal koja oni u sebi imaju sadržan, omogućavajući are somewhat changing the meaning of selected locations and underlining their potential Tvornica Artisan nastala je iz tradicionalne processing. Artisan specializes in producing tako postupnu prenamjenu industrije. thus providing a platform for possible conversion of industry. stolarije Ćostović, koja ima više od 50 godina high quality hand-made furniture made ​​of iskustva u obradi drveta. Artisan je specijal- solid wood, and insisting on manual labour is Autorice / authors Dora Đurkesac, Maja Kolar, Nina Matika, Maša Milovac, Adriana iziran za ručnu proizvodnju visokokvalitet- precisely what distinguishes them from their Pavelić, Sabina Pleše, Aleksandra Poljanec nog namještaja od masivnog drveta i upravo competitors. They launched their first col- je inzistiranje na ručnom radu ono što tvrtku lection in 2007, in cooperation with regional Mentorica / mentor Ivana Franke razlikuje od ostalih. Prvu vlastitu kolekciju designers. Since then, they have aimed to Ostvareno uz pomoć tvrtki AJ-MONT i EMA D.O.O. Tvrtke surađuju u rješavanju problema pokrenuli su 2007. u suradnji s regionalnim justify their philosophy with each new pro- mikroklima zatvorenih i otvorenih prostora, s visokotehnološkim raspršivačima vode Normist. dizajnerima. Od tada nastoje svakim novim ject. They have over one hundred stores www.aj-mont.hr, www.ema.hr projektom opravdati filozofiju koju slijede. Artisan factory has evolved from Ćostović worldwide, and the closest one is located in Imaju više od sto prodajnih mjesta u svijetu, a traditional carpentry business, which has Zagreb, Radnička 1a, which is also the first najbliže se nalazi u Zagrebu, u Radničkoj 1a, more than 50 years of experience in wood Artisan ‘monobrand’ show room. ujedno u prvom Artisan ‘monobrand’ salonu. www.artisan.ba

Paralaksa Gredelja Autoportreti su projekt kojim Regeneracija vune, proizvedenih tehnikom ručnog ‘taftin- as textile raw materials and waste sorting poziva umjetnike, dizajnere i arhitekte da ga’ i namijenjenih prvenstveno opremanju plant. Most of its revenue today Regener- dizajniraju tepihe za njezine nove kolekcije. javnih interijera. acija generates in the segment of nonwoven Instalacija Paralaksa Gredelja nastoji prib- Paralaksa Gredelj installation intends to U prvoj prezentaciji Autoportreta na Danu D www.regeneracija.hr fabric and in the manufacture of felt for the ližiti Gredelj gradu, odnosno grad Gredelju. bring the Gredelj factory closer to the city 2013. svoje će tepihe predstaviti četvero diza- construction industry. In addition, it manu- Mapira prostore stare tvornice koja je urban- and vice-versa. It maps the interiors of the jnera — tipografi Peter Bil’ak i Nikola Đurek, factures cotton wool for furniture industry istički bliska zagrebačkom užem centru, no old factory. In its urban function, the old te produkt dizajneri Svjetlana Despot i Niko- (filling for mattresses), and machine and zbog svoje dispozicije i nemogućnosti pris- factory is closer to the city center but due la Radeljković. Tvrtka Regeneracija d.o.o. hand-made woollen carpets for households tupa postaje svojevrsni brisani prostor o ko- to its disposition and complicated access, it utemeljena je 1954. godine kao razvrstaon- and businesses. In 2013 the Management jem se ne zna ili ne želi znati više. Njegovom becomes a kind of empty space, intentionally ica tekstilnih sirovina i otpadaka. Najveći Board of Regeneracija has decided to renew potencijalnom prenamjenom u kreativni or unintentionally unknown to the public. Its dio prihoda Regeneracija danas ostvaruje systematic collaboration with designers and klaster, pretpostavlja se da bi pružio zanim- potential conversion into a creative cluster u segmentu netkanog tekstila i u proizvod- architects in manufacturing high-quality ljivu novu dinamiku svojim posrednim i ne- presupposes new and interesting dynamics nji filceva za građevinsku industriju. Osim Self-portraits is a project by Regeneracija rugs made from New Zealand wool, using posrednim korisnicima. Mapiranje se vrši for its direct and indirect users. Mapping toga, proizvodi i vatu za potrebe industrije which invites artists, designers and architects hand “tufting” manufacturing technique, snimkama iz različitih vizura koje su izve- is done by recording various vistas created namještaja (punilo za madrace), te strojne i to design carpets for its new collections. In primarily intended for use in public interiors. dene iz trenutnih pristupnih putova Gredelju; from the existing access roads. They serve ručno izrađene vunene tepihe za opremanje the first presentation of Self-portraits at the radi se o vizualnim putanjama sa različitih as visual paths seen from different angles: domaćinstava i poslovnih objekata. Tijekom 2013 D-Day, four designers will present their gledišta, iz vlaka, tramvaja ili automobila. from a train, tram or car. Twisted vistas un- 2013. godine uprava Regeneracije donijela carpets, namely typographers Peter Bil’ak Snimka iskrivljavanjem pogleda naglašava derline Gredelj’s ‘real’ image. By contrasting je odluku o obnovi sustavne suradnje s diza- and Nikola Đurek, and product designers “stvarnu” sliku Gredelja. Sukobljavajući te the vistas, putting them one against the other jnerima i arhitektima na području oblikovan- Svetlana Despot and Nikola Radeljković. vizure, smještajući ih nasuprot jedne drugoj, and placing them back inside the factory, it ja visokokvalitetnih tepiha od novozelandske Regeneracija d.o.o. was founded in 1954 pozicionirajući ih nazad u interijer tvornice, creates a wondrous space document and cho- stvara začudni dokument prostora, te ko- reographs the ways we relate to it. Zagrebačka tvrtka Intera, uvoznik i distrib- Zagreb-based company Intera, importer reografira načine na koje se prema njemu uter dizajniranog namještaja, 2006. godine and distributor of designer furniture, pre- odnosimo. je predstavila vlastitu kolekciju namještaja sented its own collection of furniture called nazvanu Element, nastalu u suradnji s diza- Element in 2006, as a result of collaboration jnerima Numen/For Use. Do izrade prvih with Numen/For Use designers. The man- prototipova i manjih serija namještaja iz- ufacture of the first prototypes and small rađenih iz masivnog slavonskog hrasta došlo line of furniture made ​​of solid Slavonian oak Paramachine je godinu dana prije. Tipologija i forma proiz- started a year before. Typology and form of voda, ime i cjelokupni brend Elementa zorno the product, the name and overall Element pokazuju mogućnost inovativnog korištenja brand clearly display the possibilities for the Instalacija Paramachine smještena je na Paramachine installation is located at the takve drvne sirovine. Najnoviji proizvodi use of such innovative timber. Its latest prod- platformi starog parnog stroja bivše tvornice platform of the old steam engine at the nastali su uporabom elementarnih materijala ucts have been created using natural mate- Gredelj. U kontaktu sa prolaznicima koji mu ex-Gredelj factory. In contact with passers-by koji elegantno stare i habanjem samo dobiva- rials that mature gracefully and whose wear pristupe, ona generira oblak vodene prašine, that come close to it, it generates water vapor ju na kvaliteti, te stvaranja arhetipskih formi only adds to their quality, and to creation of formirajući gušće ili rijeđe magličaste ob- forming thicker or thinner vapor shapes, de- koje svojom elementarnošću mogu odoljeti archetypal forms whose elementary use can like ovisno o trenutnom broju posjetitelja. pending on the number of visitors. It intends permanentnoj mijeni trendova. www.intera.hr resist the permanent change of trends. Nastoji oživjeti ugasli pogon direktno ga pov- to breathe life into the old factory directly ezujući sa ljudima i njegovom neposrednom linking it to people and immediate surround- Nakon pokretanja vlastite proizvodnje nam- prva hrvatska tvrtka koja je u novijoj povi- in two new conceptual designs - the Revolve okolinom. Na interaktivan način pokreće ing. It interactively sets in motion the past ještaja 2010. godine, tvrtka Kvadra je 2011. jesti počela izvoziti namještaj pod vlastitim bed (design: Numen/ForUse + Bratović & nekadašnje srce postrojenja, koje u ovakvom center of the factory which no longer repre- započela s integracijom dizajna u segmente brandom, noseći potpis hrvatskog dizajna, Borovnjak), and a two-seater and armchair prenamjenjenom izdanju više ne reprezenti- sents the management system but rather cul- razvoja proizvoda. Riječ je o začecima prvog što je uz dozu ozbiljnosti koja je posvećena 3angle (design: Studio Grupa), whose de- ra upravljački sustav već baštinu kojoj valja tural heritage that needs new spatial function hrvatskog brenda namještaja za sjedenje kvaliteti u proizvodnji, a time i dizajnu, ot- velopment went smoothly. Simultaneously, pridodati novu prostornu važnost, a ne samo and not only an archeological mark. The en- i spavanje — Kvadra Design. U svrhu is- vorilo široku i dugoročnu platformu za razvoj five new sofas and pull-out sofas have been arheološki predznak. Stroj je usuglašen sa gine is harmonized with its surroundings by traživanja ideja za nove proizvode Kvadra dizajna u tom segmentu industrije, u čemu developed, designed by the in-house team. svojom okolinom, uvođenjem elementa koji reintroducing its previous element- steam. je u suradnji s HDD-om pokrenula svoj prvi se tvrtka pozicionirala kao regionalni lider. Revolve bed was awarded the prestigious je tamo (bio) prisutan — parom. Njome se It is used to mark the territory in an indirect, natječaj namijenjen domaćim dizajnerima. www.kvadra.hr Red Dot in 2011, and the entire collection označava teritorij koji on zauzima na indirek- almost invisible way, distinguishable only Izdvojila su se dva idejna rješenja — ležaj was successfully presented at the interna- tan, gotovo nevidljiv način, raspoznatljiv tek when in close tactile contact with the engine Revolve (dizajn: Numen/ForUse + Bratović tional furniture fair IMM Cologne in 2012. u bliskom doticaju sa strojem, kroz osjetilo and vapor produced at a particular moment. & Borovnjak), te dvosjed i naslonjač 3angle After starting their own furniture production Also, Kvadra is the first Croatian company dodira, u izmaglici proizvedenoj u danom All the energy from the previous times is de- (dizajn: Studio Grupa), u čiji se razvoj krenu- in 2010, the Kvadra company began inte- that has recently started exporting furniture trenutku. Sva snaga nekadašnjeg postrojenja scribed by a quiet illumination of a forgotten lo bez zastoja. Usporedo s time razvijeno je i grating design in their product development under its own brand, labelled as Croatian opisuje se tihom iluminacijom zaboravljenog engine. Come closer and give it a go! pet novih sofa i garnitura na razvlačenje, koje segments in 2011. That was the beginning design, which has, in addition to seriousness stroja. Priđite mu i aktivirajte ga! je dizajnirao kućni tim. Ležaj Revolve 2011. of Kvadra Design - Croatia’s first brand of and dedication to quality in production, and godine nagrađen je prestižnim priznanjem furniture for sitting and sleeping. In order thus the design, opened a wide and long- Red Dot, a cijela je kolekcija uspješno pred- to research ideas for new products Kvadra term platform for the development of design stavljena 2012. na svjetskom sajmu namješta- launched its first tender for domestic design- in this segment of the industry, where it has ja IMM Cologne. Također, Kvadra je postala ers, in collaboration with HDD. This resulted become a regional leader.

32 d-news, službene novine dana d d-news, official d-day newspaper 33 d-dizajneri d-designers

D-dizajneri D-designers The Draft Andro Giunio D-dizajneri je sekcija prvi put uvedena na Danu D 2012, a formirana je upravo uvažavajući D-designers is a section that was introduced for the first time at the 2012 D-Day. It was činjenicu da dizajneri i kreativci u Hrvatskoj i regiji, ne svi, ali mnogi od njih, danas vrlo brzo formed taking into account the fact that designers and creative authors in Croatia mostly dostižu etabliran status i u kulturnom i u poslovnom smislu. Damir Žižić, Marko Hrastovac, manage to quickly establish their statuses, both in culture and business. Damir Žižić, Marko Draft je naziv eksperimentalnog solo-projek- The Draft is the name of an experimental Ivan Klisurić, Andro Giunio, Dario Dević & Iva Maria Jurić i Ivan Antunović (koji se predstavl- Hrastovac, Ivan Klisurić, Andro Giunio, Dario Dević & Iva Maria Jurić ana Ivan Antunović ta dizajnera vizualnih komunikacija i glaz- solo-project of Andro Giunio, a visual com- ja kroz kolektiv Zastranienie) posebno su pozvani da se kroz izložbe i instalacije predstave (here presented by the Zastranienie collective) have been invited separately to present their benika Andra Giunia, zasnovanog na elek- munication designer and musician. The na festivalu, upravo kao autori koji prema dobnom kriteriju Dana D (do 35 godina) pripadaju work through installations or exhibitions at the Festival as the authors who, according to the tričnoj gitari i pokrenutog 2012. godine. Riječ project is based on the electric guitar and dizajnerskoj populaciji kojoj se obraćamo, ali su svojim dosadašnjim radom već izgradili D-Day age criteria (up to 35), belong to the targeted designer population but whose work so je o glazbi obilježenoj, najčešće, repetitivnim was started in 2012. It is music, mostly char- itekako prepoznatljiv autorski identitet. Ove godine naglasak je na autorima koji paralelno far has already earned them reputation and easily distinguished author’s identities. This strukturama, ‘drone’ riffovima, ambijental- acterized by repetitive structures, drone riffs, uz svoju svakodnevnu autorsku praksu djeluju i na područjima presjecanja dizajna i glazbe, year’s focus is on the authors practicing various intersections between design and music, nim instrumentalnim dionicama, šumovima ambient instrumental parts, noises and often performansa, medijske i angažirane umjetnosti. Autori selekcije za 2013. su Ivana Borovnjak performance, media and engaged art in parallel with their everyday design practice. Ivana i nerijetkim trenucima improvizacije, stvar- improvised moments, created through com- i Marko Golub. Borovnjak and Marko Golub are the authors of the 2013 selection. anima kombiniranjem efekt-pedala i loopo- bining effect pedals and loops. As The Draft, va. Andro Giunio je kao Draft drugu godinu Andro Giunio has participated in a program uzastopno sudjelovao u programu Platforme of the New Sound Platform – Sinelinea, for novog zvuka – Sinelinea, a ove je godine the second year in a row, and this year he Tamna komora The Dark Chamber također svirao i na festivalu Žedno Uho. Na has also performed in Žedno Uho Festival. njegovu su glazbu utjecali različiti umjetn- His music was influenced by various artists, ici ponajviše iz domene noisea i eksperi- particularly those from the field of noise and Damir Žižić mentalne glazbe, poput Swansa, Wolf Eyes, experimental music, like Swans, Wolf Eyes, Orena Ambarchia, zatim drone/doom metal Oren Ambarchi, drone/doom metal band Tamna komora je interaktivna prostorna postaju autoreprezentativne, čime se kompl- enter a darkened room, and every sound grupa Earth i Sunn O))), a treba spomenuti Earth and Sunn O))), not to mention the in- instalacija u kojoj posjetitelji, slučajnom ili icira pitanje autorstva, a fotografija se pre- they produce activates a digital camera flash i utjecaje psihodelije, shoegazea i bendova fluence of psychedelia, shoegaze and bands namjernom proizvodnjom zvukova utječu na ispituje kao performativan medij. which takes a photograph every 15 seconds lo-fi estetike poput Flying Saucer Attack, of the lo-fi aesthetics, such as Flying Saucer vlastitu fotoreprezentaciju. Posjetitelji ulaze damirzizic.com automatically (the photo is then presented Grouper i slično. Attack, Grouper etc. u zamračenu prostoriju, a sa svakim njihovim to visitors on a screen). Given that the expo- www.androgiunio.com proizvedenim zvukom aktivira se blic digital- sition is set to 15 seconds, the final layout of draftdraftdraft.tumblr.com nog fotoaparata koji svakih 15 sekundi auto- every photograph depends on the process in matski snima po jednu fotografiju (posjetitel- which the visitors play the main roles. The jima posredovanu ekranom). S obzirom na to photos become self-representative to the ex- da su mu postavke namještene na ekspoziciju tent to which the visitors take ‘care’ of their duljine 15 sekundi, finalni izgled svake pojedi- own representation (by improvising in front Digitalni Veltšmerc A Digital Weltschmerz ne fotografije ovisi o procesu u kojem glavnu The Dark Chamber is an interactive spatial of the camera), thus making the issue of au- ulogu imaju posjetitelji. Do mjere do koje sami installation in which visitors, producing thorship more complicated, and questioning preuzimaju ‘brigu’ oko vlastite reprezentaci- sounds accidentally or deliberately, affect photograph as a performative medium. Zastranienie je (improvizirajući pred kamerom), fotografije their own photo representation. Visitors Digitalni veltšmerc retrospektiva je subver- muzika, tekstovi, video, produkcija, A Digital Weltschmerz is a retrospective of zivnog manifesta Zastranienie, a riječ je o dizajn spota distopija 911 Boško, Ida i a subversive manifesto Zastranienie (di- audio-vizualnoj žanrovskoj kovanici kojom Svetlana vergence), and this is an audio-visual genre je troje samozatajnih srpskih autora okar- scenarij i režija Daca Rajkić i Nemir coinage used by three understated Serbian Kritika A Piece of Criticism akteriziralo svoj dosadašnji rad, koji bilježi Muretilović authors to characterize their work so far. svoje polagane, ali sigurne odjeke u regiji i kostimi Veki Fadihadžić The project has recorded its slow but certain inozemstvu. Trojac Boško, Svetlana i Ida www.zastranienie.org echoes in the region, as well as abroad. The Marko Hrastovec svoj manifest baziraju na razmišljanjima trio, Boško, Svetlana, and Ida base their man- Viktora Šklovskog, famoznoj teoriji ‘defa- ifest on Viktor Shklovsky’s considerations, the Kritika je foto-dokumentarno-dizajnerski pro- A Piece of Criticism is a photo-documenta- milijarnog’, pomiješanoj s elementima ruske famous theory of defamiliarization, entwined jekt kojim autor uočava, dokumentira i prez- ry-designer’s project the author uses to per- avangarde, uz obavezan naglasak i na aspekt with elements of the Russian avant-garde, entira javnosti svu kreativnost pri upotrebi ceive, document, and present to the public međuljudskih odnosa, te regionalnih tenzi- with the required emphasis on the aspect hrvatskih dijakritika nađenih u javnom pros- the entire creativity when using Croatian di- ja uvjetovanih sukobima na području bivše of interpersonal relations, and regional ten- toru. Dokumentacija nastaje kroz posljednje acritics found in the public space. The doc- Jugoslavije. Namjera manifesta je širenje sions conditioned by conflicts in the former četiri godine, a zasigurno će se nastaviti i nakon umentation has been created over the past ­tolerancije i negacija društvenih isključivosti. Yugoslavia. The manifesto’s intention is to ovog check-pointa gdje se prvi put pojavljuje u four years, and will most certainly continue Uz projekciju njihovog mini-albuma Duh spread tolerance and negate social exclusion. više-manje strukturiranoj verziji. Na taj način, after this check-point, where it appears for Vremeni (Zeitgeist, u slobodnom prijevodu Other than the projection of their mini-album kroz ovaj projekt autor povezuje svoje inter- the first time in a more or less structured s ruskog), na Danu D izložene su i grafičke re- Duh Vremeni (Zeitgeist, liberal translation ese — tipografiju i urbani prostor, što je ujedno version. In this way, within this project the produkcije odabranih dosadašnjih radova uz from Russian), graphic reproductions of their i prilično doslovno interpretirana tema samog author links his interests — typography and predstavljanje dva urnebesna kostima i eksk- selected works are exhibited at D-Day, as well festivala — dizajn i grad. the urban space, which is, at the same time, luzivnog manifesta povodom ovog omanjeg as two hilarious costumes and an exclusive www.markohrastovec.com a rather literally interpreted theme of the fes- izlaganja. manifesto will be presented on the occasion tival — design and the city. of this small exhibition.

Pravo na igru The Right to Play Slideshow Ivan Klisurić Dario Dević & Iva Maria Jurić Pravo na igru projekt je koji se bavi lociranjem, The Right to Play is a project dealing with bilježenjem, kvantitetom, a posredno i kval- locating, documenting, quantity, and, in- Slideshow je video-kolaž sastavljen od ne- ćemo gledati na posve nov način. Također, ri- The Slideshow is a video-collage assembled itetom, te zatečenim stanjem funkcionalnih directly, quality and existing conditions of koliko stotina animiranih gifova i statičnih ječ je o nastavku projekta započetog u siječn- from hundreds of animated gifs and static javnih dječjih igrališta (u početnoj fazi, na po- functional public children’s playgrounds (in vizuala inspiriranih masovnom i popularnom ju 2013. u HDD galeriji. visuals inspired by massive and pop culture. dručju šireg centra grada Zagreba) i prenošen- the initial stage, playgrounds in the wider kulturom. Njihovi autori su anonimni fanovi www.dario-dario-dario.com Their authors are anonymous Internet fans jem tih informacija najširem krugu zaintere- Zagreb city center), and transferring those s interneta, koji TV serije, filmove, reality who take TV series, movies, reality shows, siranih građana. Krajnji je cilj kroz bilježenje information to the widest range of interested showove, glazbene spotove i druge komade music videos, and other pieces of consum- broja, lokacija i opremljenosti javnih dječjih citizens. The ultimate goal of documenting potrošne zabave svakodnevno opsesivno er entertainment, and obsessively decom- igrališta (primarno u formi tiskane, sekund- the number, locations and level of equipment rastavljaju, reinterpretiraju i izmiču iz kon- pose and reinterpret them, and take them arno digitalne mape) i pružanju osnovnih in- of public children’s playground (primarily in teksta. Same te serije, spotovi i filmovi su out of the context. Those series, videos, formacija o zakonskim i sigurnosnim okviri- a form of printed maps, and, secondarily, dig- pak rezultat dugotrajnog i očitog recikliran- and movies alone are results of a long-term ma, podići razinu svijesti građana i utjecati na ital maps), and providing basic information ja trendova i elemenata popularne kulture, obvious recycling of trends and pop culture transparentno, odgovorno i redovno održavan- on legal and security frameworks is to raise koje potom sastavljamo u novo djelo, ready- elements, which are then reassembled into initial context, and we will observe them in je postojećih, ali i izgradnju novih, kvalitetnijih awareness among citizens and affect a trans- made sastavljen od manjih ready-madeova, a new piece, a ready-made assembled from an entirely new manner. Also, this is a con- i sigurnijih javnih dječjih igrališta. parent, responsible and regular maintenance svojevrsnu ‘kopiju kopije kopije’. U konačni- smaller ready-mades, a sort of ‘copy of a tinued project, started in January 2013 in the www.ivanklis.com of the existing public children’s playgrounds, ci, sastavni dijelovi Slideshowa u potpunosti copy of a copy’. Ultimately, the components Croatian Designers’ Society Gallery. as well as building new better and safer ones. su izvan svojeg početnog okruženja, i na njih of the Slideshow are completely beyond their

34 d-news, službene novine dana d d-news, official d-day newspaper 35 d-market D-market

Morana Vukov završila je Školu za primijenjenu umjetnost i dizajn (dizajna tekstila i odjeće). Potom punih Morana Vukov has graduated from Applied Arts and Design School (textile and clothing design). After that, PUCE su prije dvije godine stvorile grafičke dizajnerice Katarina Vasilj i Vanja Sivrić. Dizajn temelje na 100% PUCE (“button”) was created two years ago by graphic designers Katarina Vasilj and Vanja Sivrić. Their 14 godina radi na televiziji i filmu, na odjelu kostimografije. Brand odjevnih predmeta Bossa Noga osmislila she worked on television and film for whole 14 years, at the costume design department. She created Bossa čvrstom pamuku, crnom ili bijelom, primijenjenom u šest artikala; torbi — velikoj ili klasičnoj, ruksaku, pregači, design is based on 100% solid cotton, black or white, applied in six items: bags — a big one or a classical one, je 2010, te se potpuno posvetila kreiranju odjeće pod tim imenom. Koristi svakakve vrste tkanina, uglavnom Noga, a clothing brand, in 2010, and completely dedicated her work to designing clothes for that brand. She jastučnici, vrećici ili neseseru. Brand se zove PUCE jer su na svakom artiklu zasebno zašivena puceta. Torba a backpack, an apron, a pillowcase, a pouch, or a cosmetic bag. The brand’s name is PUCE because there pamuk i reciklirane resurse. Alati koje koristi su mašta, materijali i šivaća mašina, a odnedavno i sitotisak uses many types of fabric, mostly cotton and recycled resources. Her tools are imagination, textiles, and a The Roots pobijedila na natječaju Krpe.hr, pa je bila predstavljena na njihovom štandu tijekom Terraneo are buttons sewn on every article. The Roots bag has won the Krpe.hr contest, and it was presented on their kojeg izrađuje samostalno. sewing machine, and recently she started using silk screen she makes on her own. festivala 2012. stand during the Terraneo festival 2012. [email protected] [email protected], facebook: Puce.Torbe

Petra Podnarčuk diplomirala je prije osam godina na Grafičkom fakultetu Sveučilišta u Zagrebu. Završila Petra Podnarčuk graduated from the University of Zagreb, Faculty of Graphic Arts eight years ago. She Ines Vlahović / Petra Križan Ines Vlahović (r. 1976.) diplomirala je industrijski dizajn na Studiju dizajna Ines Vlahović / Petra Križan Ines Vlahović (born in 1976) has graduated from the Faculty of Architecture je i tečaj izrade nakita, te se danas bavi izradom suvremenog nakita i modnih dodataka pod imenom Ovo has also finished a jewelry making course, and today she makes modern jewelry and accessories, using the (AF Sveučilišta u Zagrebu). Izlagala je na brojnim skupnim izložbama u Hrvatskoj i inozemstvu, među koji- in Zagreb, industrial design stream. She has exhibited in a number of group exhibitions in Croatia and abroad. nije nakit. Riječ je o nakitu od plemenitih kovina i prirodnih materijala (vuna, drvo, različite boje). Članica name Ovo nije nakit (“this is not jewelry”). The jewelry is made of precious metals and natural materials ma su Izložba hrvatskog dizajna 1112, Meloburne International Design Festival, Gwangju Design Biennale, Some of those were Izložba hrvatskog dizajna 1112 (Croatian Design Exhibition 1112), Melbourne International je ULUPUH-a i Kluba prijatelja nakita. (wool, wood, different paints). She is a member ofULUPUH , the Croatian Association of Artists of Applied Index Award Exhibition i druge. Održala je i samostalnu izložbu Laki projekti u Galeriji Klovićevi dvori 2005. Design Festival, Gwangju Design Biennale, Index Award Exhibition, and others. She also had a solo exhibition [email protected], notajewerly.etsy.com Arts, and the Jewelry Friends Club (Klub prijatelja nakita). godine. Ovom prilikom bit će izložene Roll and Tie-in torba Ines Vlahović, te sushi maramice Petre Križan. Laki projekti in the Klovićevi dvori Gallery in 2005. This time the exhibits are the Roll and Tie-in bag by Ines [email protected], [email protected] Vlahović, and sushi tissues by Petra Križan. D&D — Dom i dizajn je najčitaniji mjesečnik o uređenju interijera i kulturi stanovanja u Hrvatskoj i regiji, D&D — Dom i dizajn (Home & Design) is the mostly read monthly magazine on interior design and the a izlazi svaku treću nedjelju u mjesecu, kao prilog Nedjeljnog Jutarnjeg. Cjelokupna produkcija magazina culture of living in Croatia and the region, and is published every third Sunday in a month, in a package with Patrizia Donà živi i radi na relaciji Zagreb-Amsterdam. Njezin je primarni interes redizajn ready-made Patrizia Donà lives and works between Zagreb and Amsterdam. Her primary interest is the redesign je domaća i svime je prilagođen hrvatskom tržištu, a sve su teme autorski snimljene, obrađene i napisane. the Sunday’s issue of Jutarnji list. The overall production of the magazine is Croatian. It is entirely customized predmeta u funkcionalne komade odjeće. Vlastiti modni brand Laboratorio Donà pokrenula je 2010. godine. of ready-made items into functional pieces of clothing. She launched her own fashion brand Laboratorio Najbolji domaći fotografi, autori, stilisti i stručnjaci rade za D&D, koji se upravo svojom kvalitetom izdvojio for the Croatian market, and all themes are shot, processed, and written by Croatian authors. Croatia’s top Predstavljala se na brojnim samostalnim i skupnim međunarodnim izložbama. Izložena kolekcija Hommage Donà in 2010. She has presented her work in many international solo and group exhibitions. Her exhib- na hrvatskom tržištu kao vodeći magazin s temom interijera. photographers, authors, stylists, and experts work for D&D, and thanks to its quality, the magazine stands à Remington izrasla je iz fascinacije kompleksnim mehaničkim objektima — pisaćim mašinama, a može se ited collection, Hommage à Remington, has grown out of a fascination with complex mechanical ob- facebook: Dom i Dizajn out as the leading interior design magazine on the market. shvatiti kao proces tijekom kojeg se svaki dio mašine reciklira. jects — typewriters, and it can be understood as a process during which every part of a typewriter is recycled. [email protected], laboratoriodona.com UPI2m Books je knjižarska i nakladnička kuća specijalizirana za izdanja iz područja dizajna, umjetnosti, UPI2m Books is a bookstore and publishing company specialized in design, art, architecture and construction arhitekture i graditeljstva. U njihovim knjižarama u Zagrebu i Splitu, uz pomno odabrane stručne naslove, building publications. Besides carefully selected professional titles, a variety of imaginative designer gifts and Lolina kućna manufaktura Upravni odbor Loline kućne manufakture čine životni i poslovni parneri Lolina kućna manufaktura / Lola’s Home Manufacture’s steering committee are life and busi- možete pronaći i maštovite dizajnerske poklone i dodatke za osvježenje svakodnevice. Sve dobre ideje su accessories can be found on the spot. All the good ideas in one place! During the D-day festival the following Gorana Lolić i Goran Villi. Dotični dvojac već treću godinu reciklira ono što je nekome otpad. Materijal ness partners Gorana Lolić and Goran Villi. The duo has been recycling someone else’s waste for the na jednom mjestu! Kuća će sudjelovati i u tzv. Satelitskom programu Dana D 2013, kada će od 10. lipnja, editions will be on sale: Croatian Design Now, Design and Independent Culture and Bauhaus personally. pronalaze među industrijskim otpadom, na Hreliću ili u oglasniku. Tako štekeri nerijetko postaju ogrlice s third year now. They find the material among industrial waste, Hrelić (the local flea market), or in yel- pa sve do završnog dana festivala, u svojoj poslovnici u Zagrebu (Medulićeva 20) svim kupcima osigura- porukom ‘ignore on/off’, ‘emotions on/off’, odbačene olovke prstenje, a potrgane igračke unikatni komad low pages. Thus sockets often become necklaces with an ‘ignore on/off’ or ‘emotions on/off’ note, dis- ti popust od 50% na slijedeće naslove: Hrvatski dizajn sad, Dizajn i nezavisna kultura i Bauhaus osobno. nakita. Koža, aluminij, plastika, drvo, pleksiglas i epoksi smola su najčešće upotrebljavani materijeli. carded pens are turned into rings, and broken toys become a unique piece of jewelry. Leather, alu- www.upi2mbooks.hr [email protected], facebook: Lolina kućna manufaktura minum, plastic, wood, plexiglass, and epoxy resin are among the most frequently used materials.

Elizabeta Novaković dizajnirala je Acro, akademski rokovnik namijenjen studentskoj populaciji -- sadrži Elizabeta Novaković has designed the Acro, an academic organizer intended for university students, Lisnati Odred / Woodoir Lisnati Odred trudi se olakšati proces prve sadnje svima koji žele krenuti u zelenu Lisnati Odred / Woodoir Lisnati Odred (“leafy squad”) is trying to make the first planting process kalendar akademske godine, poglavlja poput lente slobodnog vremena, mjesečnih troškovnika, tjednog containing an academic year calendar, chapters like free time schedule, monthly bill, weekly planner, student avanturu. Svi elementi proizvoda ciljaju na one koji već gaje simpatije prema ideji samostalnog uzgoja i one easier for all of those who wish to head into a green adventure. Woodoir is a brand producing wood- planera, popisa studentskih poslova, itd. Prva kolekcija akademskog rokovnika proizvedena je u pet linija: jobs list, etc. The first collection of the academic organizer was produced in five lines: Red Pinks, Curious koje tek treba pridobiti na lisnatu stranu. Woodoir je brand češljeva i nakita napravljenih od mediteranskih en combs and jewelry made of Mediterranean tree types, and woodwork waste composites. The ob- Red Pinks, Curious Purple, Vintage Blue, Creative Orange i Man in Black. Vjerujemo da će svaki student u Purple, Vintage Blue, Creative Orange, and Man in Black. We believe every student will find something of vrsta drva, te kompozita otpada iz stolarije. Predmeti nastaju intuitivno, zahvaljujući neopterećenom samo- jects occur intuitively, thanks to the author’s unburdened confidence, which is a result of working ovom akademskom rokovniku pronaći nešto za sebe, jer sadržaj čini razliku. their interest in this academic organizer, because it’s the content that makes a difference. pouzdanju autorice, koje je rezultat višegodišnjeg rada u drvu. Od drva i za drvo — analognost prirodnih ma- with wood for many years. Made of wood and for wood — the analogy of natural materials and con- www.jasam.hr/rokovnik-acro-za-studente-koji-vise-vole-papir, [email protected] terijala i koncepata drži LO i Woodoir povezane u različitim fazama oblikovanja. Prve čine Marina Andrijašević, cepts holds Lisnati Odred and Woodoir connected in different shaping stages. Lisnati odred are Marina Maja Subotić i Danijel Krznarić, dok iza branda Woodoir stoji Sanja Rotter. Andrijašević, Maja Subotić, and Danijel Krznarić, and Sanja Rotter is the name behind Woodoir. Rustica Moderna je studio za uređenje interijera i proizvodnju unikatnog namještaja po mjeri, rađenog iz Rustica Moderna is an interior design studio that also manufactures unique custom furniture made of www.lisnatiodred.com, facebook: lisnatiodred, [email protected] masivnog drveta. Na ovoj izložbi predstavljaju namještaj nastao u suradnji s Arteferrumom, obrtom Igora solid wood. The exhibition features furniture created in collaboration with Afterrum, Igor Panković’s craft, facebook: woodoir, [email protected] Pankovića. Riječ je o kovačkoj radionici koja se bavi tradicionalnim načinom izrade kovanog željeza i indus- a blacksmith shop making wrought iron, industrial furniture, and lamps in a traditional way. Their lecture is trijskog namještaja, te lampi. Svoje su izlaganje zamislili kao odraz starih i već pomalo zaboravljenih zanata, intended to show the reflection of old and somewhat forgotten crafts, woven into the modern urban lifestyle. ITO ITO / Spletke grupa je dizajnera odjeće i nakita koja će ovom prilikom izlagati nove kolekcije dizajnirane ITO ITO / Spletke is a group of clothing and jewelry designers who will exhibit their new col- utkanih u moderan urbani stil života. specifično za D-market. Svi projekti grupe nisu stariji od godinu dana. lections designed specifically for D-market. None of the group’s projects is older than a year. www.rusticamoderna.com, www.arteferrum.hr, [email protected] facebook: ItoItoStore, www.ito-ito.net, [email protected]

Martina Ivanković i Angela Runje — ItsMI Brand ItsMI zajednički su osmislile Martina Ivanković i The ItsMI brand was created by Martina Ivanković and Angela Runje. For a long period of time they have Hidden Garden čine Vanja i Morana, studentice TTF-a, koje se izradom nakita bave praktički oduvijek. Hidden Garden are Vanja and Morana, students at the Faculty of Textile Technology, who have been Angela Runje. Već dugi niz godina bave se modnim dizajnom, a od prošle godine djeluju pod tim imenom. been involved in fashion design, and since last year they have been working under this name. Martina U radu koriste epoxidnu smolu i prešano cvijeće. Smola poput povećala ističe detalje i teksture, a izgledom making jewelry practically their whole lives. They use epoxy resin and pressed flowers. The resin high- Martina Ivanković (r. 1980) diplomirala je na Tekstilno-tehnološkom fakultetu i bavi se modnim dizajnom Ivanković (born in 1980) has graduated from the Faculty of Textile Technology and has been working in podsjeća na staklo koje njihovom nakitu daje dozu elegancije i prozračnosti. Sudjelovale su na sajmovima lights details and textures like a magnifier, and it resembles glass and gives their jewelry a note of ele- i kostimografijom od 2007. godine. Angela Runje (r. 1975) završila je Srednju školu za tekstil, kožu i dizajn, fashion design and costume design since 2007. Angela Runje (born in 1975) has completed her secondary Creativicon, Mašlek, Viva Kreativa, Artomat, Bazaar, a nakit im je izašao u virtualnom magazinu Do!ts, te gance and airiness. They have participated in many fairs - Creativicon, Mašlek, Viva Kreativa, Artomat, te se dugim radnim iskustvom usavršila u konstrukciji, šivanju i izradi odjevnih predmeta od tekstila i kože. education in the School for Textiles, Leather and Design, and has a long working experience, where she časopisima Trudna&lijepa i Stilist. Bazaar, and their jewelry was in Do!ts virtual magazine, as well as magazines Trudna&lijepa and Stilist. facebook: Itsmi mastered the construction, sewing, and manufacturing clothing made of textiles and leather. [email protected], facebook: hiddengarden11

Petra Lasić apsolventica je na Tekstilno-tehnološkom fakultetu u Zagrebu. Tijekom studija pokreće modni Petra Lasić is a graduate student at the Faculty of Textile Technology in Zagreb. During her studies, she Elderice: Iva Mišković / Željka Haric Iva Mišković i Željka Haric kao Elderice djeluju od 2010. godine. Elderice: Iva Mišković / Željka Haric Iva Mišković and Željka Haric work under the name Elderice since brand LP Design, te kontinuirano izrađuje odjeću i modne dodatke. Sudjeluje na Modnom ormaru 2007. i na has launched a fashion brand, LP Design, and has been continuously manufacturing clothing and accesso- Fokusirane su na izradu tkanina tehnikom sitotiska (s vlastitim dezenom i ručnim otiskom), te na osmišlja- 2010. They focus on producing fabric using silk screen technique (with their own designs and hand prints), and on modnoj reviji natječaja Young Creative Chevrolet. U sklopu 12. međunarodnog festivala čipke u Lepoglavi ries. She participated in Modni ormar (“fashion closet”) in 2007 and in a Young Creative Chevrolet fashion vanje i šivanje gotovih tekstilnih proizvoda. Tkanine su otisnute razgradivim bojama na vodenoj bazi. Estetika designing and sewing fabricated textile products. The prints on the fabrics are made of degradable water-based sudjelovala je u projektu Lepoglavska čipka na modnoj odjeći, koji je predstavljen na izložbama u Ljubljani i show contest. She participated in the project Lepoglava lace on fashion clothing at the 12th International predmeta kombinacija je arhitektonske jednostavnosti i rustikalnih, organskih tekstura. Spektar proizvoda paints. The aesthetics of their products is a combination of an architectural simplicity and rustic, organic tex- Sydneyu. Profesionalna je članica HDD-a. Lace Festival. This project has been exhibited in Ljubljana and Sydney. She is a professional member of the pokriva funkcionalne i ukrasne predmete za dom i modni asesoar. tures. The product range covers functional and decorative products for the home and fashion accessories. [email protected], facebook: LP design Croatian Designers Society. [email protected], www.krpa.hr/Elderice, facebook: Elderice

Ivana Bačelić Sajko pokrenula je modni brand DI dizajn 2011. godine. Kolekcija izložena na D-marketu Ivana Bačelić Sajko launched the DI dizajn fashion brand in 2011. The collection exhibited on D-market can BrukaNotes: Jelena Lugonja i Maja Maksimović BrukaNotes je brand koji su osnovale Maja Maksimović BrukaNotes: Jelena Lugonja and Maja Maksimović BrukaNotes is a brand founded by Maja Maksimović dijeli se na dva segmenta — prvi je crno-bijeli, gdje se dizajnerica poigrava krojevima i asimetričnim kom- be divided in two segments — the first is black and white, and the designer is playing with cuts and asymmetri- i Jelena Lugonja, studentice Fakulteta primenjenih umetnosti u Beogradu i dizajnerke Kulturnog centra and Jelena Lugonja, students at the Faculty of Applied Arts in Belgrade and designers at the Cultural Center pozicijama, a prevladavaju haljine ženstvenog kroja. U drugom segmentu kolekcije nit vodilja je bila upotri- cal compositions, and feminine style dresses are predominant. The main idea behind the second segment of Beograda. Svoj dizajn i ilustracije apliciraju na notese, beževe, naušnice, cekere… Tijekom protekle godine of Belgrade. They apply their design and illustrations on notebooks, badges, earrings, tote bags…Over the jebiti iskorištene materijale pri stvaranju novih odjevnih predmeta. Autorica odjeću izrađuje sasvim sama, the collection was to use already used materials to create new garments. The author makes clothing herself, dana, koliko brand postoji, izlagale su na mnogim umjetničkim i dizajnerskim manifestacijama poput Mikser last year, since the brand exists, they have exhibited at many art and designer events like Mikser Festival, pri čemu je riječ o unikatima i malim serijama. the pieces are unique, and they are produced in small series. Festivala, Mode za poneti, Katapulta, Exit Festivala, Naših ruku, i drugima. Moda za poneti, Katapult, Exit Festival, Naše ruke, and others. facebook: DI Dizajn by IBS [email protected], facebook: brukanotes, behance.net/brukanotes

Alena Orović magistrirala je dizajn i projektiranje odjeće na Tekstilno-tehnološkom fakultetu u Zagrebu. Alena Orović earned her MA degree in clothing design and projecting at the Faculty of Textile Technology Ku ku tre najbebastiji dućan na internetu. Ku ku tre voli samo lijepe, pametne i ekološke proizvode i traži ih Ku ku tre The most baby-like store on the web. Ku ku tre loves only beautiful, smart and environmentally Radila je kao kostimografkinja na igranim filmovima Marmelada, Snijeg u Splitu, Nije sve u lovi i dr, na pred- in Zagreb. She worked as a costume designer in the movies Marmelada, Snijeg u Splitu, Nije sve u lovi and po cijelome svijetu, a onda ih donosi istoj takvoj djeci u Hrvatskoj. I baš zbog toga, kukutre.hr je tajno mjesto friendly children in Croatia. And because of this, kukutre.hr is a secret spor for buying ingenious gifts for A4 za DanD.pdf 1 6/5/13 11:10 AM stavama suvremenog plesa Borderlines III, Malo, NAU, Mlin, Kič’n’Sol, te na nizu reklama... Autorica je više others, in modern dance performances, Borderlines III, Malo, NAU, Mlin, Kič’n’Sol, and in a number of TV za kupovinu genijalnih poklona za djecu do 3 godine. Ku ku tre d.o.o. je ponosni uvoznik igračke OBLO™ puzzle children up to 3 years of age. Ku ku tre d.o.o. is also a proud importer of OBLO™ puzzle spheres, a toy designed kolekcija nakita i odjeće i naslovnice knjige Rakam kamika. Sudjelovala je na brojnim skupnim izložbama. commercials... She authors several jewelry and clothing collections, as well as the book cover of Rakam spheres, hrvatskog dizajnera Marka Pavlovića. by Croatian designer Marko Pavlović. Bavi se glazbom, slikarstvom, istraživanjem pokreta i prirode. kamika. She has exhibited in numerous group exhibitions. She is into music, painting, and movement and www.kukutre.hr, [email protected] , [email protected] nature exploring. ULUPUH Hrvatska udruga likovnih umjetnika primijenjenih umjetnosti. Izlažu: Lazer Rok Lumezi, Eva Lumezi ULUPUH The Croatian Association of Artists of Applied Arts. Exhibiting designers: Lazer Rok Lumezi, Eva

Andrea Cmrečki diplomirala je 1999. na Tekstilno-tehnološkom fakultetu u Zagrebu, na smjeru za andrea cmrečki has graduated from the Faculty of Textile Technology in Zagreb, projecting and designingA4 za DanD.pdf 1 6/5/13 11:10 AM Šimatović, Dina Grgurić, Sabina Kolonić, Smiljka Franjić i Renata Svetić. Lumezi Šimatović, Dina Grgurić, Sabina Kolonić, Smiljka Franjić and Renata Svetić. Projektiranje i oblikovanje tekstila i odjeće. Od tada pa do danas ima sveukupno 13 godina iskustva rada u textiles and clothes stream, in 1999. To date she has had a total of 13 years of professional experience. She [email protected], [email protected] struci, tijekom kojih je bila zaposlena u dvije modne kuće, gdje se mahom bavila dizajnom ženske i dječje has worked for two fashion houses, where she was engaged primarily in designing women’s and children’s A4 za DanD.pdf 1 6/5/13 11:10 AM odjeće, u svim fazama dizajna i proizvodnje. Posljednje se tri godine posvetila razvijanju vlastitog modnog clothing, in all the stages of design and manufacturing. For the last three years she was concentrated on Filip Gordon Frank - Produkt dizajner. Crta i skicira. Dizajnira i proizvodi. A sve pod motom: little things, Filip Gordon Frank Product designer. Makes drawings and sketches. Designs and produces. All this under branda daVida’s, također ponajviše posvećenog djevojčicama i ženama. developing her own fashion brand, daVida’s, also intended mostly for girls and women. big deal. Na D-marketu izlaže: pepeljare Ashley, lampe Mini Me i torbe Carte Blanche. the motto: little things, big deal. D-market exhibits: Ashley ashtrays, Mini Me lamps and Carte Blanche bags. www.davidasdolls.com www.filipgordonfrank.hr

Projekt Take me Home nastao je iz želje da se na jednom mjestu okupe kvalitetni hrvatski industrijski The Take me Home project arose from the desire to gather quality Croatian industrial designers and their Megaprint tvrtka za ispis velikih formata posluje još od 2002., ustraje na MEGA profesionalnosti i radi MEGA Megaprint large format printing company since 2002, focused on MEGA professionalism and doing MEGA dizajneri i njihovi proizvodi, kao alternativa uvoznim predmetima koji preplavljuju naše tržište. Misija je products in one place, as an alternative to imported products, which are abundant in the domestic market. projekte. U produkciji ima MEGA cool ljude koji mogu sve, od brandinga zidova, prozora, fasada, kamiona, ali projects. It employs MEGA cool people who can do anything, from branding walls, windows, facades, trucks predstaviti hrvatski dizajn domaćoj i stranoj publici kao najbolji lokalni suvenir. TMH nudi uglavnom proizvode The mission is to present Croatian domestic design to the domestic and foreign audiences as the best local i aviona. Na D-marketu izlaže: slike, plakate i naljepnice. to planes. D-market exhibits: pictures, posters and stickers. manjih dimenzija koji se mogu lako transportirati, čime se na jednostavan način osnažuje vidljivost hrvatskog souvenir. TMH offers mostly smaller size products that are easily transportable, which is a simple way to www.megaprint.hr dizajna daleko izvan naših granica. empower the visibility of the Croatian design far beyond the national borders. www.takemehome.hr, [email protected] Sudar Produkt Siniša Sudar s Andreom Mrkobrad pokreće vlastitu proizvodnju torbi pod etiketom SUDAR. Sudar Produkt Siniša Sudar and Andrea Mrkobrad have started their own brand of bags under the label U pomoć zovu Zrinku Nedeljković koja im pomaže skrojiti torbe od printanih PVC tendi i korištenih auto SUDAR. They asked Zrinka Nedeljković to help them design bags made of printed PVC tarp and used car seat Krpa.hr je prva regionalna online zajednica za promociju modnih kreativaca, pokrenuta prije oko Krpa.hr is the first regional online community for promoting fashion creative personalities, launched a pojaseva. Rade i majice, notese te koješta. belts. Apart from bags, they also make T-shirts, notebooks and all sorts of other things. dvije godine, te trenutno broji preko tisuću i petsto aktivnih članova. Služi kao promotivni kanal na couple of years ago, and currently has more than 1500 active members. It serves as a promotional channel www.ilovesudar.com, [email protected] kojem se izrađuje portfolio i izlažu kolekcije u foto i video formatima, dok se odabrani artikli stavl- where people create their portfolios and exhibit their collections in photo and video formats, while the select- jaju na prodaju zainteresiranim posjetiteljima. Osim promocije, Krpa.hr svakodnevno nudi i spektar ed items are put up for sale to interested visitors. Other than promoting, Krpa.hr everyday offers a range of modnih novosti u vlastitom PDF časopisu, Krpa+Magazin, posvećenom domaćoj i inozemnoj sceni. fashion news in its own PDF magazine, Krpa+Magazin, dealing with the domestic and international scenes. Na D-marketu sudjeluju: Sexy Plexy, JET LAG, Dominika Mandić, Me and the Machine, Round Jewelry, D-market participants: Sexy Plexy, JET LAG, Dominika Mandić, Me and the Machine, Round Jewelry, Pinkeye’s Twisted Jewelry, Junk Jewelry, Marko Gregurić’s Chill Clothing, Jem Fimo i Micica. Pinkeye’s Twisted Jewelry, Junk Jewelry, Marko Gregurić’s Chill Clothing, Jem Fimo and Micica. www.krpa.hr, [email protected]

Lega-lega je brand unikatnog dizajna papirnih i tekstilnih proizvoda iz Osijeka, nastao 2006. godine u Lega-lega is a unique paper and textile products brand from Osijek, created in 2006 in a stream of positive naletu pozitivne energije dizajnera okupljenih oko MIT studija. Ideja je stvaranje svježih, iskrenih i korisnih energy of the designers gathered around the MIT studio. The idea is to create fresh, frank, and useful prod- proizvoda. Cjelokupni proces nastanka proizvoda odvija se u Hrvatskoj, uz korištenje ekološki prihvatljivih ucts. The entire process of product manufacturing takes place in Croatia, and only environmentally friendly materijala. Lega-lega stvoren je upravo za vas — bilo da ste neobuzdano kreativna osoba koja vidi inspiraciju materials are used in the process. Lega-lega was created precisely for you — whether you are an uncontrollably u svemu oko sebe ili jednostavno volite ponekad nešto zapisati. creative person who finds inspiration everywhere around you, or you just like to write something down every [email protected], lega-lega.com, blog.lega-lega.com, facebook.com/legalegafejs, once in a while. twitter.com/legalegabrand

36 d-news, službene novine dana d d-news, official d-day newspaper 37

petak/friday 14/6 subota/saturday 15/6 nedjelja/sunday 16/6

predavaonica/classroom predavaonica/classroom predavaonica/classroom

12:00 Otvaranje festivala Blok 3 — Dizajn i edukacija Blok 1 Blok 2 Blok 4 10:00–13:00 Petra Križan, Gumi gumi Opening ceremony 17:00–17:15 Jelena Bračun Filipović, Kreativne industrije Dizajn i umjetnost u kontekstu grada (predavanja na engleskom lectures in english) Dizajnerska početnica (hdd) Budućnost likovne i vizualne kulture u školama Creative industries Design and Art in the context of the city 17:00–17:30 Maša Cvetko, prostoRož 10:00–13:00 Ada Kezić, Ležaljka Blok 1 The Future of Art Education in Schools 10:00–10:30 Vesna Mažuran Subotić, 13:00–13:15 Damir Bralić i Nikola Đurek, 17:30–18:00 Nikola Bojić, Archeology of public space Dizajnerska početnica (hdd) viši razredi oš Dizajn i poduzetništvo 17:15–17:30 Ivana Fabrio, Sekcija arhitektonsko nasljeđe daz-a / Od Kožare do Tipografija i signalizacijski sustav označavanja ulica 18:00–18:30 Giovanni Innella, Design and Its Double 11:00–13:00 Prostor i ja Design and enterpreneurship Budućnost dizajna u visokom obrazovanju Gliptoteke hazu grada Zagreba 18:30–19:00 Tulga Beyerle, WerkStadt Vienna, Mala škola arhitekture (daz, hka, opa, noThing, volonteri) oš D-industrija / prezentacije projekata The Future of Design in Higher Education DAZ Section for Architectural Heritage, Od kožare do Gliptoteke HAZU / From the Typography and street signage in Zagreb D-industry / project presentations Design engaging the City — discovery and visibility of city 13:00–16:00 Miranda Herceg, Znakovito 17:30–18:30 Razgovor Discussion Tannery to the Glyptotheque 13:15–13:30 Ivica Mitrović, Dizajn interakcija u urbanom 12:30–12:45 Kvadra potentials through design Dizajnerska početnica (hdd) sš moderator Branimir Paškvan 10:30–11:00 Tom Fleming, Re-thinking the Creative okruženju — Hibridni gradovi 12:45–13:00 Element 16:00–17:00 Vladimir Tatomir, Preoblikovanje pogona sudjeluju/PARTICIPANTS Damir Bralić, Jelena Bračun City — trends and lessons learned Interaction design in urban context — Hybrid cities 13:00–13:15 Regeneracija Blok 5 po mjeri radnika — deindustrijalizacija prema Filipović, Ivana Fabrio, Ivan Ladislav Galeta, Izvorka Jurić, 11:00–11:30 Mark de Kruijk, Redevelopment is 13:30–13:45 Blok (Ivana Hanaček, Ana Kutleša), (predavanja na engleskom lectures in english) demokratskim načelima 13:15–13:30 hdd / D&D / Dekor Zabok a never-ending story Pokret za prostor — o intervenciji Luize Margan Ivica Mitrović, Mladen Orešić, Katarina Nina Simončić, 19:00–19:30 Bert Teunissen, Yesterdays tomorrow became Reshaping the factory on a human scale — de-industrialisation by 11:30–11:45 Dinka Pavelić (Zagrebački holding / Zagreb Holding), na Urbanfestivalu 12 democratic principles Feđa Vukić tomorrows yesterday D-obrt / prezentacije projekata Zagrebački kreativni klaster Gredelj Movement for Space — on the intervention by Luiza Margan at Urbanfestival 12 D-craft / project presentations 18:30–19:00 Dean Skira, Lumeni, vati i centimetri 19:30–20:00 Jan Boelen, New definitions of design Lumens, watts and centimeters Zagreb’s Creative Cluster Gredelj 13:45–14:00 Boris Ljubičić, 13:30–13:45 Matija Duić, Moj motiv 2:0 11:45–12:00 Ivana Nikolić (hkkkki), Slika grada ili vizualni identitet 20:00–20:30 Attila Bujdoso, Motivation architecture My motif 2:0 radionica/workshop hkkkki — generator konkurentnosti sektora Image of the city or visual identity 20:30–21:00 Barbara Predan i Petra Černe Oven, 13:45–14:00 Mladen Orešić, Dizajner i obrtnik radionica/workshop HKKKKI — Generator of sector competitiveness 14:00–14:45 Razgovor Discussion What’s your problem? Designer and craftsman 10:00–14:00 Andreja Kulunčić, 12:00–12:15 Ana Šilović (uha), moderator Valentina Gulin Zrnić 21:00–22:00 Dodjela nagrada Award Ceremony Dizajn u društveno angažiranoj umjetnosti Prijedlog osnivanja Zaklade za kreativne industrije Nacionalna strategija dizajna / izlaganje i razgovor Coworking Design in socially engaged art The National Design Strategy / presentation and discussion Cjelodnevni otvoreni session wholeday open session (arhitektura, dizajn, moda, oglašavanje) Blok 3 10:00–18:00 Barbara Predan i Petra Černe Oven Proposal for the formation of the Foundation for Creative Industry (architecture, radionica/workshop 14:00–14:30 Koraljka Vlajo, 10:00–14:00 Andreja Kulunčić, Dizajn i umjetnost u kontekstu grada What’s your problem?, design, fashion, advertising) Design and Art in the context of the city Kronologija Nacionalne strategije dizajna Dizajn u društveno angažiranoj umjetnosti Service & information design workshop Chronology of the National Design Strategy Design in socially engaged art 12:15–13:00 Razgovor Discussion 15:00–15:15 daz, Akupunktura Grada 10:00–18:00 Coworking, 14:30–15:30 Razgovor Discussion 15:00–17:00 Jelena Bračun Filipović, moderator Marko Golub Acupuncture of the City Cjelodnevni otvoreni session wholeday open session sudjeluju Tom Fleming, Mark de Kruijk, Sanja Šaban 15:15–15:30 Vladimir Tatomir, Muzej Kvarta 10:00–14:00 Andreja Kulunčić, moderator Nikola Radeljković Što djeca trebaju znati o dizajnu?, eksterijer/exterior sudjeluju predstavnici Ministarstva kulture, Ministarstva What should children know about design? (Ministarstvo kulture), Dinka Pavelić (Zagrebački holding), 15:30–15:45 Saša Šimpraga, 1postozagrad Dizajn u društveno angažiranoj umjetnosti gospodarstva, Hrvatskog dizajnerskog društva, Matija Duić 10:00–18:00 Damir Prizmić, Daniela Angelina Jelinčić (Institut za razvoj i međunarodne 15:45–16:00 Lada Hršak, Scramble City Design in socially engaged art 10:00–21:00 Prostor za vrt/Urbani povrtnjak Urban garden (hok), Luka Mjeda (hgk), Aida Kopljar (mps), Tatjana Hommage Tomislavu Lerotiću odnose), Jadranka Veselić (Grad Zagreb) 16:00–16:15 Lana Cavar i Narcisa Vukojević, 10:00–18:00 Barbara Predan i Petra Černe Oven otvoreno zajedničko vrtlarenje open communal gardening Bartaković, Ivana Fabrio, Tomislav Knezović, Dejan Kršić, Hommage to Tomislav Lerotić gosti Nikolina Klaić, Marija Rajaković (Ministarstvo Iskopavanja ii: Znakovi proizvodnje — proizvodnja znakova What’s your problem?, Excavations II: Signs of Production — Production of Signs Koraljka Vlajo gospodarstva), Antonija Mršić (Ministarstvo poduzetništva), Service & information design workshop participants representatives of the Ministry of Culture, the Ministry of Želimir Kramarić (Ministarstvo turizma), Irena Matković 16:15–17:00 Razgovor Discussion Economy and the Croatian Designers Association, Matija Duić (HOK / Croatian eksterijer/exterior (Grad Zagreb), predstavnici kreativnih industrija moderator Bojan Krištofić Chamber of Trades and Crafts), Luka Mjeda (HGK / Croatian Chamber of participants Tom Fleming, Mark de Kruijk, Sanja Šaban (Ministry of eksterijer/exterior Economy), Aida Kopljar (MPS / Ministry of Agriculture), Tatjana Bartaković, 10:00–21:00 Prostor za vrt / Urbani povrtnjak Urban garden Culture), Dinka Pavelić (Zagreb Holding), Daniela Angelina Jelinčić (Institute Ivana Fabrio, Tomislav Knezović, Dejan Kršić, Koraljka Vlajo for development and international relations), Jadranka Veselić (Zagreb City otvoreno zajedničko vrtlarenje open communal gardening Council) 10:00–21:00 Prostor za vrt/Urbani povrtnjak Urban garden 21:00–00:00 Druženje Hanging out Blok 2 — Studenti i mladi profesionalci guests Nikolina Klaić, Marija Rajaković (Ministry of Economy), Antonija Mršić otvoreno zajedničko vrtlarenje open communal gardening (Ministry of Entrepreneurship), Želimir Kramarić (Ministry of Tourism), Irena 12:00–18:00 Paint the barrel, Jack Daniels 15:30–16:45 D-izložba, prezentacije izlagača Matković (Grad Zagreb), representatives of creative industries D-exhibition, presentations by exhibitors 19:00–21:00 Hungry Designers, piknik i druženje 16:45–17:00 estudent, Vizionar 2013. picnic and chilling 22:00 Terraneo warm up party — Kako sudjelovati? How to participate? Stage / moe, Simon Morasi i Vedran Kolac

centar grada pon 10/6 – ned 16/6 10:00 – 00:00

D-studios D-shops D-demonstracije Organizatori Hrvatsko dizajnersko društvo / www.dizajn.hr Bruketa&Žinić, Zavrtnica 17 Brokula&Ž, Nikole Tesle 17 pon 10/6 – ned 16/6, 12:00 – 22:00 Pepermint / www.pepermint.hr sri 12/6, 10:00 – 12:00 popust na gaće 30% underware discount 30% Ivan Tanić: Simulacija agencije / radionica artu die2, Arnoldova 1 Simulated agency / workshop I-gle, Dežmanova 4 pet 14/6, 10:00 – 10:45 Zipo i Neven Aljinović Tot, Svjetlana Vukić: Brokula&Ž / predavanje lecture Intera, Ilica 168a Kačićeva 6a čet 13/6, 19:00 Bunch, Hondlova 2/8 izložba Stolaca Nike Kralja Chairs by Niko Kralj exhibition pet 14/6, 17:00 – 19:00 Lega-lega, Masarykova 19, Zagreb / Dropčeva 3, Dubrovnik izložbe Dejan Kršić / whw, Dalmatinska 6 pon 10/6 – uto 11/6, 11:00 – 16:00 Modus shop, Tkalčićeva 48 Etnografski muzej, Mažuranićev trg 4 Fiktiv, Vodenica 7, Mlinovi Prostor, Mesnička 5 Bert Teunissen – Domaći krajolici: Hrvatska u Europi pet 14/6, 14:00 – 17:00 sri 12/6, 20:00 Domestic Landscapes: Croatia in Europe Fiktiv Open – tour d’studio i ping-pong meč table tennis match promocija lampi WAXLAMP, Bojan Krtolica uz predočenu ulaznicu s izložbe slobodan ulaz na Dan D promotion of lamp series WAXLAMP by Bojan Krtolica free entrance to D–Day with the exhibition ticket Grupa, Križanićeva 11a čet 13/6, 12:00 – 15:00 Roba, Preradovićeva 34 hgk Centar za dizajn, Draškovićeva 45 Solid acts Hamper, Petrinjska 61/1 Themelia, Palmotićeva 26 sri 12/6 – pet 14/6, 15:00 – 17:00 popust od 10% na narudžbe dizajnerskih stolica 10% discount on designers chairs Manufakturist + Đukić-Pavlović, Prilaz Gjure Deželića 51 čet 13/6, 14:00 – 20:00 upi−2M, Medulićeva 20 popust 50% na određene naslove 50% discount on selected items Parabureau, Preradovićeva 8, iv kat uto 11/6, čet 13/6, 14:00 – 17:00

Propuh u Donjoj Preradovićevoj The Draft at Lower Preradovićeva Street Superstudio 29, Roba, Vojković & daughters, Centralna jedinica, Utorak – biro za propagandu, Studio Zelmanović... čet 13/6, 10:00 – 00:00

www.taliamodel.com Rational International, Barutanski jarak 28 pon 10/6 – pet 14/6, 14:00 – 17:00

Studio Norma, Jadranska 11 www.dan-d.info pon 10/6 – pet 14/6, 10:00 – 17:00

Stanislav Habjan / Petikat, P. B. Hanžekovića 57 pon 10/6 – sri 12/6, 11:00 – 15:00

46 d-news, službene novine dana d d-news, official d-day newspaper 47 tžv gredelj pet 14/6 – ned 16/6

velika dvorana mala dvorana

D-izložba D-exhibition D-dizajneri D-designers Europapier Adria Dora Bilandžić, Đorđe Đukanović, Vedran Erceg, Marko Hrastovec, Kritika A piece of criticism eSTUDENT Irena Frantal i Martina Kontošić, Lana Grahek, Nikola Andro Giunio, Draft Finder (popust na kupnju grafičkih tableta) Kalevski, Vedran Klemens, Morana Krklec, Ivan Levak, Damir Žižić, Tamna komora The Dark Chamber Peugeot , Preoblikuj svoj grad Reshape Your City Vildana Lojo, Marina Mijatović, Jasmin Osivčić, Barbara Dario Dević i Iva Maria Jurić, Slideshow Radelja, Ana Sabolić, Franka Spetić, Mario Stipetić, Ivan Klisurić, Pravo na igru The right to play Lana Cavar i Narcisa Vukojević, Iskopavanja ii: Znakovi Dunja Sučić, Valentina Sunek, Martina Štrkalj, Hana Zastranienie, Digitalni veltšmerc A Digital Weltschmerz proizvodnje – proizvodnja znakova, Tintor, Luka Vucić, Željka Zrnić, Babit, Barbara Bjeliš Excavations II – Signs of Production – Production of Signs & Tena Kelemen, DA Dominik i Adriana, Flaster, Grupa Izložbe Exhibitions VIL*e, Guerrillke, Klint, Laura Mrkša i Toni Šljaka, LW X Lada Hršak, Michiel van Iersel, Dieuwertje Komen i Neeltje VM, Radi on/a?, Rational International, Roman Vlahović, ten Westenend, Scramble City komercijalna dvorana TMNT, VIZK10, Martina Zelenika. Dunja Janković, Škver (live stream projekcija) muzejKvarta, Gredelj, ili o mapiranju i sondiranju D-industrija D-market okljaštrenog diva Izložba komercijalnih dizajnerskih robnih marki Bruka Notes, Dom & dizajn, Elderice / Hidden Garden, Gredelj – on mapping and sounding a mutilated giant Artisan Elizabeta Novaković, Filip Gordon Frank / Siniša Sudar / daz, Akupunktura grada – Trnje City Acupuncture Element Megaprint, Ines Vlahović / Petra Križan, ITO ITO / DAZ, Arhitektura u džepu (Džepni vodič zagrebačke Kvadra Spletke, Krpa.hr, Ku ku tre, Lisnati odred / Woodoir, arhitekture) Regeneracija Lolina kućna manufaktura, MIT / Lega lega, Morana Architecture in your pocket Vukov / Petra Podnarčuk / Petra Lasić / Martina Public Room Skopje, Ministry of Pleasure Ivanković / Angela Runje / Ivana Bačelić Sajko / Andrea Mikser, Young Balkan Designers Cmrečki, Alena Orović, Patrizia Dona, Puce, Rustica Dafne Berc i Sonja Leboš, Urbani mobilijarij Moderna, UPI2m, Take me home. Zagreb Urban Mobiliarium Hrvatsko dizajnersko društvo, Hungry Designers D-instalacije D-installations Paramachine / Paralaksa Gredelja Izložbe fakulteta Design School Exhibitions Mentorica Ivana Franke aluibauci, Akademija lepih umetnosti, Beograd Polaznice Dora Đurkesac, Maja Kolar, Nina Matika, Pulp_urban art wear, apuri, Rijeka Maša Milovac, Adriana Pavelić, Sabina Pleše, Aleksandra modna revija: pet 19:00 Poljanec Dizajn 07 – 13, dvk / umas, Split Odjevno oplošje grada, ttf, Zagreb Clothing City Surface modna revija: sub 19:00 Dizajner i obrtnik, sd + hok, Zagreb Designer and Craftsman Igra u drvu, sd, Zagreb Wood Interplay

Filmske projekcije Film program Odsjek za film i video umas( ), Izbor studentskih radova A selection of film and video student works Odsjek za dizajn vizualnih komunikacija (umas), Izbor studentskih radova A selection of visual communication student works Ladislav Galeta, Piramidas Dalibor Martinis, Oda Stroju An Ode to Machine Zagreb film hrt( ), Izbor animiranih filmova i televizijskih emisija Radovana Ivančevića A selection of television shows by Radovan Ivančević Goran Dević, Dvije peći za udarnika Josipa Trojka Two Furnaces for Udarnik Josip Trojko

d-news, official d-day newspaper 49