43rd Zagreb Salon /Applied Arts and Design ANTI-DESIGN /PERMANENT ALTERNATIVES Social responsibility of the author?

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If, by definition, utility means meeting the needs, what are the real needs anyway? What is it that unmistakably places an artifact in certain place and time, what are the new forms of immaterial design, and how to make the design not only a part of
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   󰀴󰀳. zagrebački salon/primijenjene umjenosi i dizajn 󰀴󰀳rd Zagreb Salon/Applied  Ars and Design 󰁁󰁎󰁔󰁉-󰁄󰁉󰁚󰁁󰁊󰁎󰀯󰁔󰁒󰁁󰁊󰁎󰁅 󰁁󰁌󰁔󰁅󰁒󰁎󰁁󰁔󰁉󰁖󰁅Drušvena odgovornos auora?󰁁󰁎󰁔󰁉-󰁄󰁅󰁓󰁉󰁇󰁎 󰀯󰁐󰁅󰁒󰁍󰁁󰁎󰁅󰁎󰁔 󰁁󰁌󰁔󰁅󰁒󰁎󰁁󰁔󰁉󰁖󰁅󰁓Social responsibiliy of he auhor?  Koncepcija/ConcepionUvodnik/InroducionBiografije/BiographiesRadovi na izložbi/HrvaskaExhibiion works/Croaia 󰁁󰁒󰁃󰁈󰁉squadDanielle Auberi Lana CavarMaja Bagić (󰁋󰁏:󰁋󰁅 kreaivna farma), Lina KovačevićDora Bilić, Tina Müller/Bilić_Müller sudioŽeljko BlaćeBarbara BlasinDuška BobanIvana BorovnjakMara BraošDora Budor, Maja ČuleLana Cavar, Linked by Air (Tamara Maleić, Dan Michaelson)Branka CvjeičaninParizia DonàRafaela DražićPredrag DubravčićEko dizajn: Damir Bedalov, Mladen DonadiniAna ElizabeFor Use/NumenIgor GrubićGrupa ‘􀀲󰀴 saa’Amel IbrahimovićAleksandar Batisa Ilić, Ivana Keser, Anonio G. Lauer aka Tomislav GoovacSanja IvekovićNikolina Ivezić, Nenad LakašićNenad JalšovecBožidar KaićHelena Klakočar VukšićVladimir KončarKončar – Elekroindusrija Jasminka KončićŽeljko KoprolčecIgor Kuduz/pinheadAndreja Kulunčić󰁌󰁁󰁂󰁏󰁒󰁁󰁔󰁏󰁒󰁉󰁕󰁍󰀯Orsa Franković, Ivana VučićKrisina LekoAna LozicaBoris LjubičićTonka MalekovićAnun MaračićLjubica Marčeić MarinovićIvica MarinIvan MavrovićDragan Mileusnići Željko SerdarevićNaalija Nikpalj Polondak󰁎󰁏󰁒󰁍󰁁󰁌󰁁󰀯Roman Šilje, Ana KunsOdsjek za dizajn vizualnih komunikacija Umjeničke akademije u Spliu / Visual Communicaions Deparmen, Academy of Fine Ars, SpliMarko PavlovićIra PayerIra Payer, Lana CavarVinko Penezić, Krešimir RoginaPlaforma 󰀹,󰀸􀀱 / Dinko PeračićRenaa PoljakSiniša RadićVančo RebacAkiko SaoIrena SerićSofijaSilvia (Silvia Poočki Smiljanić)Sinese fea.   Saša Anić kao Alejuandro BuendijaOlja SipanovićSudio Majorian 󰀴󰀵󰀸Mirjana Tomašević DančevićUdruga za inerdisciplinarna, inerkuluralna israživanja 󰀨󰁕󰁉󰁉󰁉󰀩 󰀯 Associaion for inerdisciplinary and inerculural research 󰀨󰁁󰁉󰁉󰁒󰀩Ana VivodaAna Župić Radovi na izložbi/inozemni auoriExhibiion works/Foreign Auhors Ila Bêka, Louise Lemoîne/BekaFilmsHussein ChalayanIzvedbeni kolekiv Des prairiesIaN+/Luca Garofalo, Carmelo BaglivoZbigniew Libera󰁍󰁁󰁄Vikor&Rolf 󰁍󰁖󰁒󰁄󰁖/Winy Maas, Jacob van Rijs,Nahalie de Vries Program/Programme , 􀀱󰀸􀀱 Poseban gos/Special Gues , 􀀱󰀸󰀸Sudio Arless/Željko Zorica, 􀀱󰀸󰀹 Zahvale medijskim pokrovieljima i sponzorima / Acknowledgemens o Media and Oher Sponsors , 􀀱󰀹􀀱󰀶􀀱󰀰􀀲󰀵􀀳􀀱   􀀳􀀲􀀳󰀵 􀀳󰀶􀀳󰀸󰀴􀀱󰀴􀀲󰀴󰀴󰀴󰀶󰀴󰀸󰀵󰀰󰀵􀀲󰀵󰀴󰀵󰀵󰀵󰀹󰀶􀀱󰀶􀀳󰀶󰀵󰀶󰀷󰀷􀀱󰀷󰀴󰀷󰀵󰀷󰀶󰀷󰀸󰀷󰀹󰀸􀀱󰀸􀀲󰀸􀀳󰀸󰀵󰀸󰀶󰀸󰀸󰀹󰀰󰀹􀀲󰀹󰀴󰀹󰀵􀀱󰀰󰀰􀀱󰀰􀀳􀀱󰀰󰀴􀀱󰀰󰀶􀀱󰀰󰀸􀀱􀀱󰀰􀀱􀀱􀀲􀀱􀀱􀀳􀀱􀀱󰀴􀀱􀀱󰀵􀀱􀀱󰀶􀀱􀀱󰀷􀀱􀀲󰀶􀀱􀀲󰀸􀀱􀀳󰀰􀀱􀀳􀀱􀀱􀀳􀀳􀀱􀀳󰀵􀀱􀀳󰀷􀀱􀀳󰀸􀀱󰀴󰀰􀀱󰀴􀀳􀀱󰀴󰀴􀀱󰀴󰀷􀀱󰀴󰀹􀀱󰀵󰀰􀀱󰀵􀀲􀀱󰀵󰀵􀀱󰀵󰀶􀀱󰀵󰀷􀀱󰀶􀀱􀀱󰀶􀀲􀀱󰀶󰀴􀀱󰀶󰀵􀀱󰀶󰀷􀀱󰀷󰀰􀀱󰀷󰀵􀀱󰀷󰀶􀀱󰀷󰀹􀀱󰀸􀀱󰀸󰀸󰀸󰀹􀀱󰀹􀀱Zagrebački salon je reprezenaivna godišnja izložba suvremenog likovnog svaralašva Republike Hrvaske koju je 􀀱󰀹󰀶󰀵. uemeljila Skupšina grada Zagreba. Pokrovielj izložbe  je Gradsko poglavarsvo Grada Zagreba i gradonačelnik Milan Bandić. 󰀴􀀳. zagrebački salon financijski je poduprije od Gradskog ureda za obrazovanje, kuluru i špor Grada Zagreba i Minisarsva kulure Republike Hrvaske.󰁏󰁲󰁧󰁡󰁮󰁩󰁺󰁡󰁴󰁯󰁲 Hrvaska udruga likovnih umjenika primijenjenih umjenosi / 󰁕󰁌󰁕󰁐󰁕󰁈󰁏󰁲󰁧󰁡󰁮󰁩󰁺󰁡󰁣󰁩󰁪󰁳󰁫󰁩 󰁯󰁤󰁢󰁯󰁲 Nikola Albaneže, Mario Aničić, Eleonora Aposolova, Ivana Bakal, Rea Boschi Gogolja, Jasenka Bulj, Neda Cilinger, Anasazija Debelli, Ružica Hodak, Đurđica Horva, Mladen Kakša, Aleksander Lončarić, Lazer Rok Lumezi, Ivan Mucko, Sanja Pribić, Tomislav Rasić, Irena Serić, Višnja Slavica Gabou, Biserka Šavora, Laura Topolovšek i Hrvoje Vuleić󰁒󰁡󰁶󰁮󰁡󰁴󰁥󰁬󰁪󰁩󰁣󰁡 󰁓󰁡󰁬󰁯󰁮󰁡 Ivana Bakal󰁓󰁥󰁬󰁥󰁫󰁴󰁯󰁲󰁩󰁣󰁡 󰁩 󰁫󰁵󰁳󰁴󰁯󰁳󰁩󰁣󰁡 Silva Kalčić󰁁󰁵󰁴󰁯󰁲󰁩󰁣󰁡 󰁫󰁯󰁮󰁣󰁥󰁰󰁣󰁩󰁪󰁥 Silva Kalčić󰁔󰁡󰁪󰁮󰁩󰁣󰁡 Lidija Buković󰁐󰁒 󰁩 󰁭󰁡󰁲󰁫󰁥󰁴󰁩󰁮󰁧 Ivana Musić󰁏󰁣󰁪󰁥󰁮󰁪󰁩󰁶󰁡󰄍󰁫󰁩 󰁳󰁵󰁤 󰁺󰁡 󰁩󰁺󰁢󰁯󰁲 󰁲󰁡󰁤󰁯󰁶󰁡 󰁩 󰁤󰁯󰁤󰁪󰁥󰁬󰁵 󰁮󰁡󰁧󰁲󰁡󰁤󰁡 Tihomir Milovac, Milan Trenc, Ivana Vučić, Silvio Vujičić / Ivana Fabrio za sudenski rad󰁏󰁣󰁪󰁥󰁮󰁪󰁩󰁶󰁡󰄍󰁫󰁩 󰁳󰁵󰁤 󰁈󰁲󰁶󰁡󰁴󰁳󰁫󰁥 󰁳󰁥󰁫󰁣󰁩󰁪󰁥 󰁁󰁉󰁃󰁁-󰁥 Goran Blagus, Darko Glavan i Feđa Vukić󰁖󰁩󰁺󰁵󰁡󰁬󰁮󰁩 󰁩󰁤󰁥󰁮󰁴󰁩󰁴󰁥󰁴 Damir Bralić i Nikola Đurek󰁌󰁩󰁫󰁯󰁶󰁮󰁩 󰁰󰁯󰁳󰁴󰁡󰁶 󰁩󰁺󰁬󰁯󰅾󰁢󰁥 Darko Friz󰁔󰁥󰁨󰁮󰁩󰄍󰁫󰁡 󰁩󰁺󰁶󰁥󰁤󰁢󰁡 Veljko Danilović, Andrija Mićin i Tomislav Zidar󰁄󰁩󰁺󰁡󰁪󰁮 󰁳󰁶󰁪󰁥󰁴󰁬󰁡 Miljenko Bengez i Saša Fisrić󰁄󰁩󰁺󰁡󰁪󰁮 󰁷󰁥󰁢 󰁳󰁴󰁲󰁡󰁮󰁩󰁣󰁥:Tin Kadoić Radovi članova Organizacijskoga odbora i Ocjenjivačkog suda izloženi na Salonu nisu bili u konkurenciji za nagrade. 󰁎󰁡󰁫󰁬󰁡󰁤󰁮󰁩󰁫 󰁕󰁌󰁕󰁐󰁕󰁈, Zagreb, Vlaška 󰀷􀀲󰁚󰁡 󰁮󰁡󰁫󰁬󰁡󰁤󰁮󰁩󰁫󰁡 Ivana Bakal󰁕󰁲󰁥󰁤󰁮󰁩󰁣󰁡 󰁫󰁡󰁴󰁡󰁬󰁯󰁧󰁡 Silva Kalčić󰁉󰁺󰁶󰁲󰅡󰁮󰁡 󰁵󰁲󰁥󰁤󰁮󰁩󰁣󰁡 󰁫󰁡󰁴󰁡󰁬󰁯󰁧󰁡 Lidija Buković󰁇󰁲󰁡󰁦󰁩󰄍󰁫󰁯 󰁯󰁢󰁬󰁩󰁫󰁯󰁶󰁡󰁮󰁪󰁥Damir Bralić i Nikola Đurek󰁴󰁩󰁰󰁯󰁧󰁲󰁡󰁦󰁩󰁪󰁡 Nikola Đurek (TyponineSans)󰁐󰁲󰁩󰁪󰁥󰁬󰁯󰁭 Damir Bralić i Hrvoje Živčić󰁌󰁥󰁫󰁴󰁵󰁲󰁡 Dalibor Jurišić󰁐󰁲󰁩󰁪󰁥󰁶󰁯󰁤 󰀨󰁥󰁮󰁧󰁬󰁥󰁳󰁫󰁩 󰁪󰁥󰁺󰁩󰁫󰀩 Hrvoja Heffer, Graham McMaser, Marina Miladinov, Zana Šaškin󰁐󰁲󰁩󰁰󰁲󰁥󰁭󰁡 󰁫󰁯󰁬󰁯󰁲󰁡 Punk sudio󰁔󰁩󰁳󰁡󰁫 Prinera grupa, Zagreb󰁎󰁡󰁫󰁬󰁡󰁤󰁡 󰀵󰀰󰀰Izdano u Zagrebu, ožujak 􀀲󰀰󰀰󰀹. © 󰁕󰁌󰁕󰁐󰁕󰁈Za izradu kaaloga korišeni su dokumenacija i podaci koje su dosavili auori.󰁃󰁉󰁐 zapis dosupan u računalnom kaalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 󰀶󰀹󰀵󰀴󰀴󰀵󰁉󰁓󰁂󰁎 󰀹󰀷󰀸-󰀹󰀵􀀳-󰀶󰀸󰀹󰀸-󰀶􀀳-􀀳 Zagreb Salon is a representative annual exhibition of contemporary art of the Republic of Croatia, established by the Zagreb City Council in 󰀱󰀹󰀶󰀵. The Patron of the exhibition is jointly the City Authority of the City of Zagreb and the Mayor, Mr Milan Bandić. The 󰀴󰀳rd Zagreb Salon was funded by the City Office for Education, Culture and Sports of the City of Zagreb, and the Ministry of Culture of the Republic of Croatia.󰁏󰁲󰁧󰁡󰁮󰁩󰁺󰁥󰁤 󰁢󰁹 Croatian Association of Artists of Applied Arts / 󰁕󰁌󰁕󰁐󰁕󰁈󰁏󰁲󰁧󰁡󰁮󰁩󰁺󰁡󰁴󰁩󰁯󰁮󰁡󰁬 󰁂󰁯󰁡󰁲󰁤 Nikola Albaneže, Mario Aničić, Eleonora Apostolova, Ivana Bakal, Rea Boschi Gogolja, Jasenka Bulj, Neda Cilinger, Anastazija Debelli, Ružica Hodak, Đurđica Horvat, Mladen Kakša, Aleksander Lončarić, Lazer Rok Lumezi, Ivan Mucko, Sanja Pribić, Tomislav Rastić, Irena Sertić, Višnja Slavica Gabout, Biserka Šavora, Laura Topolovšek and Hrvoje Vuletić󰁄󰁩󰁲󰁥󰁣󰁴󰁯󰁲 Ivana Bakal󰁓󰁥󰁬󰁥󰁣󰁴󰁯󰁲 󰁡󰁮󰁤 󰁃󰁵󰁲󰁡󰁴󰁯󰁲 Silva Kalčić󰁃󰁯󰁮󰁣󰁥󰁰󰁴 󰁢󰁹 Silva Kalčić󰁓󰁥󰁣󰁲󰁥󰁴󰁡󰁲󰁹 Lidija Butković󰁐󰁒 󰁡󰁮󰁤 󰁭󰁡󰁲󰁫󰁥󰁴󰁩󰁮󰁧 Ivana Musić 󰁊󰁵󰁲󰁹 󰁦󰁯󰁲 󰁳󰁥󰁬󰁥󰁣󰁴󰁩󰁯󰁮 󰁯󰁦 󰁷󰁯󰁲󰁫󰁳 󰁡󰁮󰁤 󰁡󰁷󰁡󰁲󰁤 󰁯󰁦 󰁰󰁲󰁩󰁺󰁥󰁳 Tihomir Milovac, Milan Trenc, Ivana Vučić, Silvio Vujičić / Ivana Fabrio for student work 󰁊󰁵󰁲󰁹 󰁦󰁯󰁲 󰁴󰁨󰁥 󰁃󰁲󰁯󰁡󰁴󰁩󰁡󰁮 󰁳󰁥󰁣󰁴󰁩󰁯󰁮 󰁯󰁦 󰁁󰁉󰁃󰁁 Goran Blagus, Darko Glavan and Feđa Vukić󰁖󰁩󰁳󰁵󰁡󰁬 󰁉󰁤󰁥󰁮󰁴󰁩󰁴󰁹 Damir Bralić and Nikola Đurek 󰁅󰁸󰁨󰁩󰁢󰁩󰁴󰁩󰁯󰁮 󰁤󰁥󰁳󰁩󰁧󰁮 Darko Fritz󰁔󰁥󰁣󰁨󰁮󰁩󰁣󰁡󰁬 󰁰󰁲󰁯󰁤󰁵󰁣󰁴󰁩󰁯󰁮 Veljko Danilović, Andrija Mićin and Tomislav Zidar󰁌󰁩󰁧󰁨󰁴 󰁤󰁥󰁳󰁩󰁧󰁮 Miljenko Bengez and Saša Fistrić󰁗󰁥󰁢 󰁤󰁥󰁳󰁩󰁧󰁮 Tin Kadoić Projecs o Organizaional Board and he Jury members exhibied a he Salon were ouside he compeiion or awards. 󰁐󰁵󰁢󰁬󰁩󰁳󰁨󰁥󰁲 󰁕󰁌󰁕󰁐󰁕󰁈, Zagreb, Vlaška 󰀷􀀲󰁆󰁯󰁲 󰁴󰁨󰁥 󰁐󰁵󰁢󰁬󰁩󰁳󰁨󰁥󰁲 Ivana Bakal󰁅󰁤󰁩󰁴󰁯󰁲 Silva Kalčić󰁅󰁸󰁥󰁣󰁵󰁴󰁩󰁶󰁥 󰁥󰁤󰁩󰁴󰁯󰁲 Lidija Butković󰁇󰁲󰁡󰁰󰁨󰁩󰁣 󰁤󰁥󰁳󰁩󰁧󰁮 Damir Bralić and Nikola Đurek󰁴󰁹󰁰󰁯󰁧󰁲󰁡󰁰󰁨󰁹 Nikola Đurek (TyponineSans)󰁬󰁡󰁹󰁯󰁵󰁴 Damir Bralić and Hrvoje Živčić󰁌󰁡󰁮󰁧󰁵󰁡󰁧󰁥 󰁥󰁤󰁩󰁴󰁩󰁮󰁧 󰀨󰁃󰁲󰁯󰁡󰁴󰁩󰁡󰁮󰀩 Dalibor Jurišić󰁔󰁲󰁡󰁮󰁳󰁬󰁡󰁴󰁥󰁤 󰁢󰁹 Hrvoja Heffer, Graham McMaster, Marina Miladinov, Zana Šaškin󰁐󰁨󰁯󰁴󰁯󰁬󰁹󰁴󰁨󰁯󰁳 Punkt studio󰁐󰁲󰁩󰁮󰁴󰁥󰁤 󰁢󰁹 Printera grupa, Zagreb󰁎󰁵󰁭󰁢󰁥󰁲 󰁯󰁦 󰁣󰁯󰁰󰁩󰁥󰁳 󰁰󰁲󰁩󰁮󰁴󰁥󰁤 󰀵󰀰󰀰Published in Zagreb, March 􀀲󰀰󰀰󰀹 © 󰁕󰁌󰁕󰁐󰁕󰁈The documents and data used in the catalogue were submied by the authors.A 󰁃󰁉󰁐 catalogue record for this book is available from the National and University Library in Zagreb under 󰀶󰀹󰀵󰀴󰀴󰀵󰁉󰁓󰁂󰁎 󰀹󰀷󰀸-󰀹󰀵󰀳-󰀶󰀸󰀹󰀸-󰀶󰀳-󰀳 Sadržaj/Conens  KoncepcijaConcepion  󰀸󰀹  Ani-Design / Permanen AlernaivesSocial responsibiliy of he auhor? Ani-design or radical design wih is provocaive projecions used form as a mode of culural criicism, proposing a ‘erminaion design’ and regarded design as a culural concep raher han a marke-, mass produc-ion and consumpion-oriened concep. Ani-design is associaed wih Ialian posmodernism (Global Tools, Florence, 􀀱󰀹󰀷􀀳; Memphis, Milan, 􀀱󰀹󰀸􀀱) and led by he fig-ure of Etore Sotsass. The avan-garde is a permanen alernaive o mainsream design, regularly becoming is consiuen par and is repeiive self-producing elemen.When he generaed a buffalo eidos  and projeced i on a cave wall, he firs man used a model o show absen realiy. Tha picure was a eaching ool for buffalo anaomy, for fuure projecions: young archers learned how o shoo a a arge before heir direc encouner wih he animal. The cave image and is adequacy of he realiy was one of he firs ars, which was, jus like any oher ar, boh necessary and purposeful (having he qualiy of elesis). The archeype is an answer o he quesion: ‘How o explain he conservaism of a large number of people concerning heir house appear-ance when hey wan he laes models of cars, 󰁔󰁖s, elephones, hi-fi equipmen ec. a he same momen?’¹ Design emerges ino he arena of visibiliy a he ime when goods are easier o produce han o sell and responds o he human need for sylisic choices. I hus makes he essenial raionaliy of indusrial producion relaive and inroduces an emoional realm (dreams, aspiraions) and desires ino is being. Design is a man-used means o shape his ools and environmen, sociey² and evenually himself as well. Modernism was eliis, insising upon inequaliy and advocaing ‘high culure’. Posmodernism was populis, he norm was no longer a mater of he elie’s ase, bu of large-scale appreciaion. Designing needs o be reariculaed every ime i encouners eiher a radical social ransforma-ion or a radical breakhrough in he means of social reproducion³. A large-scale sociey, characerised by a uniform, nearly universal consumpion sandard, has evolved ino a heerogeneous pos-Fordis sociey of versailiy and increasing complexiy. Finally, he civili-saions wih producion-overpowering design, design which represens he way of living, are he civilisaions ha have crossed heir poins of zenih and begun heir descen. Fields and Frames of Alernaive Operaing󰀱 Recycling as ‘poor echnology’; energy; susainable developmen 󰀲 Ready-made (challenging he concep of auheniciy: pasiche, hybrid) 󰀳  Propaganda (ehics vs. aesheics) 󰀴  Acivising (acivism; performance) 󰀵  Fuure projecions (virual realiy; concepual design) 󰀶  Reservaions over doing (deducion; void as a consiu-en) 󰀷  Accidenal programme-form encouners (flexibil-iy) 󰀸  Proposals for indusrial and communal archiec-ure ha oulives is purpose 󰀹  (In)habiaion (conexual qualiies; conex produc-ion; archiecure as a produc) 󰀱󰀰  Educaion and heory (manifess; design episemology)  Ani-dizajn/Trajne alernaive Drušvena odgovornos auora? Prejerivanje je nužno u iznošenju ideje. Svojim provokaivnim projekcijama ani-dizajn ili radikalni dizajn korisio se formom kao načinom kulurne kriike predlažući ‘dizajn izmaka’, sma-rajući dizajn kuluralnim koncepom – umjeso da naproso biva vođen ržišem i masovnom proizvodnjom i porošnjom. Ani-dizajn povezujemo s posmodernizmom u Ialiji (Global Tools, Firenze, 􀀱󰀹󰀷􀀳 – Memphis, Milano, 􀀱󰀹󰀸􀀱), predvođen figurom Etorea Sotsassa. Avangarda je rajna alernaiva mainsreamu u oblikovanju, redovio posaje njegovim dijelom i soga se nanovo samo-proizvodi. Kad je eidesku sliku (ideju) bizona iznio izvan sebe i projicirao je na sijenku pećine, prvi je čovjek prikazao odsunu svarnos pomoću modela. Ta je slika bila način pouke u anaomiji bizona, projekcije u budućnos: mladi srijelci učili su kamo reba gađai prije direkna suočavanja sa živoinjom. Pećin-ska slika svojom je adekvanošću u odnosu na okolinu jedna od prvih umjenosi koja je, kao i svaka umjenos, nužna, ali je i svr-hovia (ima svojsvo eleze). Arheip je odgovor na pianje ‘kako objasnii konzervaizam velikog broja ljudi u pogledu izgleda nji-hove kuće, kad u isom času žele najmoderniji oblik auomobila, 󰁴󰁶-a, elefona, hi-fi opreme i sl.’¹ Dizajn povezujemo s renukom kad je robu posalo lakše proizvesi negoli prodai, odgovarajući na čovjekovu porebu za silisičkim izborom i ime relaiviziraju-ći sušinsku racionalnos indusrijske proizvodnje, uvodeći u nju carsvo emocija (snovi, aspiracije) i žudnji. Dizajn je najmoćnije sredsvo kojim čovjek oblikuje svoje alake i okoliš, i u nasavku i samo drušvo² (i samoga sebe). Moderna je bila eliisička, inzisi-rajući na nejednakosi i zasupajući ‘visoku kuluru’. Posmoderna  je bila populisička, norma više nije bila ukus elie, nego sviđanje širokih masa. Oblikovanje mora bii nanovo arikulirano svaki pu kad se susrene ili s radikalnom preobrazbom drušva, ili s radi-kalnim pomakom u drušvenim sredsvima reprodukcije³. Masov-no drušvo, koje je karakerizirao jedinsven, goovo univerzalan sandard porošnje, evoluiralo je u heerogeno drušvo različiosi pos-fordizma, sve veće kompleksnosi. Područja i okviri alernaivnog djelovanja󰀱 recikliranje (‘siromašna ehnologija’; energija; održivi razvoj) 󰀲  ready-made (propiivanje koncepcije srcinalnosi djela: pasiš, hibrid) 󰀳  propaganda (eika vs. eseika) 󰀴  performans (akivacija) 󰀵  projekcija u budućnos (virualnos; koncepualni dizajn) 󰀶  suzdržavanje od činjenja (dedukcija; praznina kao gradivni ele-men grada)  󰀷  slučajan susre programa i forme (fleksibilnos) 󰀸  salon odbačenih (naječajnih radova; prijedloga za indusrij-sku i komunalnu arhiekuru koja raje dulje od svoje namjene) 󰀹  (in)habiacija (koneksualnos; proizvodnja koneksa; pro-duk-arhiekura) 󰀱󰀰  edukacija i eorija (manifesi; episemologija dizajna) 󰀱 Lenko Pleština; 􀀲 prema Victoru Papaneku; 󰀳 da parafraziram Patrika Schumachera󰀱 Lenko Pleština; 􀀲 According to Victor Papanek; 󰀳 To paraphrase Patrik Schumacher
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