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druga strana dizajna

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another side of design

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KoraljKa

vlajo

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asopis za suvremena likovna zbivanja

magazine or contemporary visual arts

Preaene donedavno vrsto odreenih granica

izmeu discipina posudbom metoda, izriaa i

pristupa esta e praksa u suvremenim umetniko-

dizanerskim krugovima, a 40. zagrebaki saon

(Siri) i Prd rso di 0708 ukazai

su na vie kvaitetnih primera i iz hrvatske prakse.

Autori skupine studenata ii proesionaaca iz

raziitih strunih podrua ii pak poedinci koi

naputau sigurnost vastitog podrua deovana,upravo su u ovom nedeiniranomordrdu nai

kontekst za eksperiment i kritiko promiane.

Dieom e to nasedstvo postmodernistikog

nastoana da se razbiu stakena zvona oko dotad

strogo izoiranih discipina, dieom posedica

dosad nesuenih mogunosti razmene inormacia

i utecaa. Dieom e razog i inenica da su se

ekonomski interesi nai u snano opozicii s

drutvenim vriednostima i dovei do zbiana

redova meu istomienicima.

U suvremenom potroakom drutvu dizan e

spretno asimiiran u marketinki vokabuar kaosvoevrsna garancia dobrog ukusa, kvaitete ii

prestia. Povrno gedaui, pooa dizana /dizanera

(na Zapadu) nikada nie bio boi: dizan e napokon

prihvaen kao vaan dio proizvodnog procesa, bro

dizanera zaposen u industrii vei e no ikad, a od

nih e dio promoviran u meunarodne zviezde.

Meutim, ona dizan ii ci nieis-proit

osuen e na margine avnog deovana.

Rubna ii aternativna podrua dizana naaze

se izvan okusa masovne proizvodne i potrone.

Takvi radovi zastau na konceptu, unikatu ii, u

naboem suau, na maoserisko proizvodni.Prvenstveno, dake, govorim o proizvodnom

dizanu1 na samom rubu industriske proizvodne,

a interesi su mu isprepeteni s tradiciona nim

podruima interesa (primienenih) umetnosti.

Razdvoen od industrie uz kou e donedavno bio

vezan pupanom vrpcom, proizvodni dizan otkriva

svo drutveno-poitiki potencia.

Odreivane granica na reacii umetnost

primienene umetnosti dizan edno e od kunih

pitana u poviesti dizana. Nova se discipina za

svo status izboria upravo odreuui se naspram

tradicionanoga umetnikog obrta. S druge strane,brisane riicii ri2 izmeu iste umetnosti

i surm umosi oio teoriska e

pozicia na koo su inzistirai i EXAT 51 i Bernardo

Crossing the boundaries between discipines, rm

estabished unti recent, b borrowing methods,

expressions, and approaches has been a commonpractice o todas artistic and designer circes. The

40th Zagreb Saon (Sris) and the Ori o

Croi Dsi 0708 presented severa prominent

exampes rom the Croatian practice.

It is precise in this undened borderand that man

authors groups o students or proessionas rom

various eds, or individuas that have decided to

eave the saet o their own ed o activit have

ound a suitabe context or experimentation and

critica reection. It has par t happened owing to

the inherited post-modernist tendenc o breaking

the ivor towers around the hitherto isoateddiscipines, and part as a consequence o the et

unseen possibiities o exchange o inormation and

inuences. Part it is aso the act that economic

interests have come to be sharp opposed to socia

vaues, thus causing the cosing o ranks with

those that endorsed simiar principes.

In the contemporar consumerist societ, design

has been skiu assimiated into the marketing

vocabuar as somehow guaranteeing good taste,

quait, or prestige. Supericia seen, the position

o design/designers (in the West) has never been

better: design is now ina acknowedged as animportant segment o the production process, the

number o designers empoed in industr is arger

than ever, and man among them have become

internationa ceebrities.

Nevertheess, design that has aims other than

instant proit is condemned to remaining on

the margins o pubic ie. These margina or

aternative ieds o design are out o ocus or mass

production and consumption. Such proects are

bound to remain on the eve o concept or become

a unique item, at best a sma series. I am primari

reerring to product design,1 which is situated onthe ver edge o industria production and has

interests that are intertwined with the traditiona

interest ieds o (appied) ar ts. Separated rom

industr, with which it was once inseparab inked,

product design coud ina discover its socio-

poitica potentia.

Setting boundaries between art, appied arts,

and design is among the crucia issues in the

histor o design. The new discipine achieved

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Bernardi i Zvonimir Radi.

Primerenost mieana komercianog i umetnikog3

i suaevi O o-a ii posprdno nazvanog

riso di 4 (koi nastae iskuivo radi

izagana u gaeriama) inspirirau ustre rasprave

o svrsi i cievima dizana. Iako nema sumne da e

ponekad tzv. gaeriski dizan manipuacia avnosti,

bio da e rie o umetno ogranienim seriama da bi

im se pridodaa ekskuzivnost5 ii o unikatima ii eedini ci postoana samopromocia, ugavnom mu

se ne moe osporiti hrabrost eksperimentirana.

Vriednost aternativnog dizana upravo e u

eksperimentu, propitivanu kako mogunosti

i posedica novih tehnoogia tako i

vriednosti drutva unutar koega e nastao.

U superpotroakom drutvu, u koemu e

posedovane kuna vrednota, dizan e ideaan

medi za komunicirane idea. Nove idee raau se

na marginama, gde e soboda eksperimentirana

navea.

Ako emisrm-dizan ogedao drutva u koeme nastao, onda e rubni dizan negova kristana

kuga.

Less is more; less is bore; less + more

Govorimo i oriom kao neemu to se

otkana od uobiaenog, zanimivo e ra zmotriti

kakav e uope prevadavaui odnos industrie i

dizana6 u zapadnom drutvu.

Omi Uimpor.Dieter Rams7

Poetkom 20. stoea dizan se kao nova discipina

nametao industrii kao neizostavni partner, spremnoprihvativi nezine zakonitosti. A zato i ne?

Industriaizacia e obeavaa drutveno pravednii

sviet obia - etinih, kvaitetnih, svima dostupnih

proizvoda. Do sredine 70-ih, dizaner o oi

r prom, prevodite izmeu industrie i

oveka zastupao e racionanu estetiku izvedenu

iz unkcie, ergonominosti i proizvodivosti.

Modernistika utopia o univerzanom eziku eziku

strogo odreenog izriaa i ednoznano deinirane

unkcie nametaa se kao edini ispravan put

industriaizacie svieta. U potrebi za otkonom

od historicistike tradicie obikovana i uednoprihvaaui datost tadanih mogunosti industrie,

dizan modernizma inzistirao e na standardizacii,

its status precise b deining itse with respect

to traditiona artistic crats. On the other hand,

erasing riici dircs2 between pure artand the comporr r o cr is a theoretica

position on which EXAT 51, Bernardo Bernardi, and

Zvonimir Radi equa insisted.

The adequac o mixing commercia and ar tistic

aspects3 and the cases o One o or that which

has been mocking caedr dsi4 (made

excusive in order to be exhibited in gaeries)

have inspired vehement debates about the purpose

and aims o design. Even though there is no doubt

that the so-caed gaer design has sometimes

manipuated the pubic, regardess o whether it

was produced in artiicia imited series so asto add a touch o excusiveness5 or consisted

o unique items with the soe purpose o se-

promotion, genera it must be credited with daring

experimentation.

The vaue o aternative design is indeed in

experimenting, since it questions both the

possibiities and the consequences o new

technoogies, as we as the vaues o the societ in

which it emerges. In a super-consumerist societ,

in which possession is the ke vaue, design is

an idea medium or communicating ideas. New

ideas are born on the margins, where one canexperiment more ree than anwhere ese.

I mainstream design is a mirror o the societ

in which it emerges, then margina design is its

crsta ba.

Less is more; less is bore; less + more

Speaking about theri as something that is

detached rom the commonpace, it is interesting to

consider what is the prevaiing reationship between

industr6 and design in the Western societies.

Omi Uimpor. Dieter Rams7

Ear in the 20th centur, design was a new

discipine, imposing itse on industr as its

inevitabe partner and readi accepting its aws.

Wh not? Industriaisation was promising socia

ustice and a word o pent cheap and good

products that woud be accessibe to everbod.

Beore the mid-70s, the designer the one who

soves probems, the interpreter between industr

and man endorsed an aestheticism that was

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simpiikacii i stvaranu estetike neovisne o

poviesnim i kuturookim reerenciama.

U podosiu ompsos uur

iu(...)8

S postmodernistikim odreivanem predmeta

kao komunikaciskog media pitane e unkcie

reativizirano; u sreditu pozornosti negova e

zapostavena semantika vriednost. Nastavauise na popartovske eksperimente i taianski

radikani dizan, Studio Achimia a zatim i Memphis

burno se razvode od modernistike dogme. arite

e postmodernistike kritike esperanto stroevnoga

doba koi inzistira na ednoznanosti umesto

mnogoznanosti, a predmet izdvaa iz drutvenog

konteksta.

S obzirom na Memphisov drastini zaokret od

etabirane estetike, ne udi poetna rezerviranost

industrie: veina Memphisovih predmeta

proizvedena e kao unikat ii u ogranieno serii.

Vano e, meutim, nagasiti da e Memphis ipakproizvod osamdesetih, desetea izobia i rasipana

zaiha, pa kritika konzumerizma nie u sreditu

pozornosti negovih anova. Mmpis sr

surmu uuru, diir porou.9

S vremenom e industria iroke potrone asimiiraa

postmodernistiku estetiku, priagodivi e vastitim

potrebama. Povrnim stiistikim itanem preuzea

e arenio pastenih boa, obika i uzoraka.

Memphis e rasputen u trenutku kada e masovna

proizvodna postaa negova parodia.

Gde su dizaneri danas? Negde izmeu sumnei otrienenosti.

U sektoru iroke potrone dizan e uz hvae

vriedne iznimke triviaiziran: postao e goriicirani

marketinki aat, sredstvo za proizvodnu upitne

dod ridosi. Dizanerovo viene poma

(unapreivane proizvoda za dobrobit korisnika)

nie neumitno istoznano deinicii proizvoaa.

Industria, razumivo, bei od rizika: rietke su

tvrtke spremne investirati sredstva u zaista nove

proizvode.10

U ostvarivanu svoga primarnog cia zarade,

industria iroke potrone ovisna e o stanomirenu trita i ubrzanom zastarievanu proizvoda.

Dizaner, odgaan kao posrednik izmeu industrie

based on unctionait, ergonom, and easibiit.

The modernist utopia o universa anguage a

anguage o strict and accurate expression and auniorm deined unction was imposing itse as

the on appropriate wa to industriaize the word.

In its need to detach itse rom the historicist

tradition o crat, whie accepting at the same time

the possibiities oered b the industr, modernist

design insisted on standardization, simpiication,

and the creation o an aestheticism that woud be

independent rom historica and cutura reerences.

I simpii, compxi o cuurs

s os(...)8

The post-modernist deinition o obect as amedium o communication reativized the question

o unction and its negected semantic vaue was

now in the ocus o attention. Basing themseves

on pop-art experiments and Itaian radica

design, Studio Achimia and then Memphis were

energetica reecting the modernist dogma. The

ocus o post-modernist criticism was the ingua

ranca o the machine age, which insisted on

carit instead o ambiguit, whie separating the

obect rom its socia context.

As to Memphiss drastic negation o the estabished

aesthetics, the initia scepticism o industr washard surprising: most o Memphiss obects

were made as unique items or in a imited series.

However, it shoud be noted that, ater a, Memphis

was a product o the 80s, the decade o pent and

o squandering reserves, even o consumerism;

thereore, its members did not pace the critique

o consumerism into the ocus o their attention.

Mmpis ors or comporr cuur, i

dsis or cosumpio.9

With time, the industr o common goods

assimiated the post-modernist aestheticism b

adapting it to its own needs. In its supercia sti sticinterpretation, it was appropriating the coouru

range o paste coours, shapes, and patterns.

Memphis ceased its existence at the moment when

mass production had become its parod.

Where do designers stand toda? Somewhere

between doubt and sobriet.

In the common goods sector, design has been

triviaized, abeit with some noteworth exceptions:

it has become a goriied marketing too, a means

rug a

trana

iz ajna

nothe r

de o

e sig n

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i oveka koi miri zahteve obe strane, naazi se u

izorenom pooau mirena diametrano suprotnih

potreba kienta i korisnika.

Unato pemenitim ideama, dizan se o uviek (ii

vie no ikad) percipirao siso srdso, nagovor

na kupnu bio kao promotor trenda ii dizanerskim

potpisom.11

Suvremeno zapadno drutvo zaista e i ostvario

modernistiku tenu proizvodima dostupnimaveini, no po cienu ekspoatacie zemaa treeg

svieta, zagaena okoia i rasipana zaiha.

Papanekovo upirane prstom u dizan (kao edno

od natetniih zanimana) preterano e utoiko

to dizaneru pripisue daeko vee ovasti no to

ih ova zaista ima; meutim, potpuno odricane

odgovornosti takoer e pogreno. Ni tehnoogii ni

industriskom dizanu ne moe se odrei poitinost

ona koi uprava tehnoogiom (pa tako i dizanom)

posedue mo. Odabir proekta, tehnoogie i

metode ovisi o neiim interesima. Pitane e esu i ti

interesi na strani oveka: industria i napredak nisu

nuno ista strana medae.

Kada govorim o dizanersko sumniavosti,

misim na sumnu o koo govori Meurer 12 - sumnu

kao suprotnost apsoutno uverenosti (dogma) u

ispravnost svoih postupaka. Sumna e posedicanesigurnosti, a nesigurnost potica na preispitivane

postupaka, miena i idea. Sum prdu

rios.13

Nakon razuzdanih osamdesetih devedesete su

doniee otrienenost sviest o konanosti zaiha,

o posedicama zagaivana i preterane potrone.

U suvremenom dizanerskom razmianu sve

e izraenia sumna u ispravnost postupaka

o producing the questionabeddd u. The

designers view o the term (improving the product

or the sake o the user) is not necessari the same

as the producers deinition. It is understandabe

that industr is awas tring to avoid risk:

companies rare show themseves read to invest

in tru innovative products.10

Whie reaizing its primar goa, which is proit,

the common goods industr depends on the

permanent expansion o the market and the imited

expiration date o its products. Trained as the

intermediar between industr and man, the one

to appease both sides, the designer has ound

himse in the schizophrenic position o someone

who is tring to reconcie the diametrica opposite

needs o his cients and users.

Despite a the nobe principes, design is sti (and

perhaps more than ever) perceived as a sisic

oo, an argument or purchasing something be

it b promoting a trend or because it bears a

designer signature.11

The modern Western societies have actua

reaized the modernist wish to create products that

woud be accessibe to most peope, but at the

price o expoiting the Third Word, pouting the

environment, and squandering the resources.

Papaneks pointing the inger at designers (as

one o the most harmu proessions) is perhaps

exaggerated, since it attributes to them more

power than the actua have; however, it

woud aso be wrong to sa that the have no

responsibiit. Neither the technoog nor industria

design can den being poiticised those who rue

over technoog (and thus over design) do possess

|

Rag ChaIR, TEjO REMy fOR DROOG,

ARMCHAIR Of DISCARDED fABRIC

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CheSt Of DRaweRS,

TEjO REMy fOR DROOG, 1991

naSlOnja OD ODbaene tkanIne,

TEjO REMy ZA DROOG

|

kOMODa,

TEjO REMy ZA DROOG, 1991.

|

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suvremene industrie.

Etika postae ednako vana kao estetika. Dizaner

se ne identiicira s uogom reavatea, ve

uoavatea probema: onog koi postava

neugodna pitana. je i etino reavati dizanerski

probem koi e zadaa industria ako ta industria

teti oveku i okoini?14 Da i e etino tehnoogiu

initi ugodnom za upotrebu ako ona otuue i

zadire u privatnost?

Od potroaa do korisnika

jedno od prvih (veno rubnih) podrua na koem

su dizaneri otrii svoe etike otrice odi

posednih e godina znaanie prisutan

u industrisko proizvodni, prie svega zbog

odreenih pomaka u sviesti korisnika te stoga

i mediske eksponiranosti teme, pa i uvoena

stroih ekookih zakona. Meutim, za veinu tvrtki

ekodizan e tek dio odnosa s avnou: tvrtke o

uviek vie uau u promociu svoe ekoproizvodne

no u samu ekoproizvodnu.15

U konanici, kakva e korist od ekooki

proizvedenog mobinog teeona ako e to tek o

edan ubrzo odbaeni teeon? Osim toga, kako

dokazue john Thackara,16 ekooginost takvih

proizvoda upitna e ako se uzme u obzir nihovukupan razvoni put te kada se zbroi konaan

ekooki trag (ooi pr) koi za sobom

ostavau. Povrno shvaen, ekooki dizan dae

aibi konzumerizmu.

Reene probema mnogi suvremeni dizaneri

i teoretiari od Drooga do Thackare naaze

u radikanom socioekonomskom zaokretu

odbacivanu konzumerizma. Utopia 21. stoea

power. The choice o proects, technoogies, and

methods awas depends on someones interests.

The question to be asked is whether these interests

are on the side o Man: or industr and progress are

not necessari the same side o the meda.

Speaking about the designers doubt, I am

reerring to the doubt mentioned b Meurer,12

name that which is opposed to absoute conviction

(dogma) about the ustication o ones deeds.

Doubt originates in insecurit, whie insecurit eads

one to question ones deeds, thoughts, and ideas.

Dou is prrquisi or crii.13

foowing the reckess 80s, the 90s woud bring

sobriet the awareness o imited resources,

knowedge o the consequences o poution and

overconsumption. In contemporar designer

thinking, there is an increasing doubt about the

ustiication o methods empoed b contemporar

industr. Thus, ethics is becoming equa important

as the aesthetics. The designer is no onger equated

with the one who brings soutions, but with the

one who identiies probems and asks unpeasant

questions. Is it ethica to sove a design probem

imposed b the industr i that industr harms

man and his environment?14 Is it ethica to make

technoog peasant to use i it aienates peope and

vioates their privac?

From Consumer to User

One o the rst (orever margina) areas in which

designers have sharpened their ethica edge name

eco-design has recent become signicant

present in industria production, primari owing to

a shit in the users awareness and the subsequent

klUPa - DeblO,

jURGEN BEy ZA DROOG, 1999.

|

|

tRee tRUnk benCh,

jURGEN BEy fOR DROOG, 1999

rug a

trana

iz ajna

nothe r

de o

e sig n

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u diametrano e suprotnosti s modernistikom

utopiom (svima pristupanog proizvoda), i

predvia odrivo drutvo koe se ne temei na

vasnitvu (predmetu) nego na suradni (akcii).17

Idusri i r ii u rum dir,

oro.18

Kao to se Memphisovo poavivane na

dizanersko sceni povezue s postmodernizmomu dizanu, tako se i nizozemskom Droogu pripisue

poetni zamah u promocii novog dizana.

Duhovito propitivane drutvenih vriednosti, kritika

konzumerizma, nagaavane procesa upotrebe

proizvoda i nihovo eegantno starene teme su koe

e Droog nametnuo na iniciano miansko izobi

1993. a u aritu su interesa novih generacia

dizanera na rubu industrie.

Droogova izvedenica modernistike kriatice

lss+mor19 zasniva se na idei o proizvodu kao

mediu, dake nasana se na semantike teorie

postmodernizma te konceptu iza proizvoda pridaeednaku vanost kao i samom proizvodu. No, za

raziku od stiski osvietenog Memphisa (B. Radice

usporeue ga s modom), novim stremenima

u dizanu teko e odrediti obuhvatne stiske

karakteristike.

Droogovi radovi, ii, primerice, radovi inske grupe

Anteeksi, vedskog Ugcute ii britanske grupe

&made nisu zgodni, niti poseduu oekivano

savrenstvo orme koa posredno obeava

kvaitetu. Otkrivane novog dizanerskog vokabuara

u tretmanu materiaa, tehnoogia i tipoogia

rezutira vizuano uznemiruuim proizvodima.Novi pristup dizanu svou pobunu protiv

etabiranog sistema uviek navetava naruavanem

estetskih normi. U ovom suau kritika e usmerena

na suvremeno (an)estetizirano drutvo i masovnu

proizvodnu baziranu na posunim, statistiki

istovetnim potroaima. Rui rim, kako ga

naziva Hea jongerius, nudi se kao aternativa

uniormiranosti i savrenstvu industriskih

proizvoda. Autori poput jersza Semoura ii

Maartena Baasa u svom radu revaorizirau upravo

estetske norme i pitaneruo. Koekcia Scum

jersza Semoura nastaa e kapanem izoaciskepene; seriu nametaa CBaas e izveo grubim

nanoenem gine na osnovnu metanu strukturu.

Ruo i siroos ru diu io.20

takkIaInen, ANTEEKSI, 2000.,

jAKNA ZA USAMljENE PREKRIVENA IAK TRAKAMA

|

takkIaInen, ANTEEKSI, 2000.,

jACKET fOR lONElIES WITH THISTlE STRAPS

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U pozitivno maniestacii trenda, povratak obrtno/

manuakturno proizvodni inspiriran e upravo

potragom za autentinou izraza, biegom od

nametnute estetike, i eom za eksperimentom.

U tom smisu zanimiv e primer novog (Ii prvog?

Isandski dizan nie siedio uspean razvoni

put ostaih nordiskih zemaa.) vaa isandskog

dizana koi svou reputaciu gradi upravo na nikad

prekinuto vezi s obrtom i manku zaiha. Nunarecikaa proizvoda, vitana obrtna proizvodna,

snaaivost i skonost eksperimentu, inspirirai

su intrigantan hibrid novih i starih tehnoogia/

metoda/tipoogia. ak i donedavni ribi otpad (riba

e osnovni isandski izvozni proizvod) pokazao se

kao vie no izdana dizanerska sirovina. Isandski

dizaneri upotrebavau sve od ribe koe u

modno industrii do deih igraaka od ribih kosti.

Konano, svoevrstan dizanerski spomenik ribi

podiga e Dogg Gudmundsdttir 2002. godine

svetikama od suene ribe Cod lmp.

Dizaneri se ne ustruavau mieati tzv. niskui visoku tehnoogiu, a upravo zahvauui

mogunostima eksperimentirana u sobodniem

obrtnom okruenu dio proizvoda zatim probia

exposure o the topic in the media, as we as the

enactment o stricter ecoogica aws. However,

or most companies eco-design is on a segmento their pubic reations: the sti invest in the

promotion o their eco-production ar more than in

the eco-production itse.15

Ater a, what is the use o an ecoogica

produced ce phone i it is discarded as quick

as an other? Besides, as john Thackara has

demonstrated,16 the ecoogica nature o such

products is questionabe i one takes into account

their entire path o deveopment and sums up the

ecoogica ootprints (co-) that the eave

behind. Supericia understood, eco-design oers

an aibi to consumerism.A number o contemporar designers and

theoreticians rom Droog to Thackara ind

a soution to this probem in a radica socio-

economic turn the reection o consumerism.

The 21st-centur utopia is diametrica opposite

to the modernist one (the utopia about universa

accessibe products) and presupposes a

sustainabe societ that is based on cooperation

(action) rather than possession (obect).17

Idusr soud oo i dsirs ds d

o ic rs.18

As Memphiss emergence on the designer sceneis common associated with post-modernism in

design, the Dutch studio Droog has been attributed

with giving the initia impetus to the promotion o

new design.

Humorous questioning o socia vaues, a critique

o consumerism, an emphasis on the process o

using the product and its eegant aging these are

the topics that Droog imposed to the irst Mian

exhibition in 1993, and the were aso in the ocus

o interest or the new generations on the margins

o industr.

Droogs version o the modernist sogan lss+mor19 is based on the idea o the product as a medium,

thus basing itse on the semantic theories o post-

modernism and giving equa importance to the

concept behind a product as to the product itse.

However, unike the stistica conscious Memphis

(B. Radice has compared it to ashion), it is diicut

to determine some comprehensive eatures o ste

when it comes to these new tendencies in design.

Droogs proects, ike those o the finnish Anteeksi,

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KOlEKCIjA Pjena, jERSZy SEyMOUR

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SCUM COllECTION, jERSZy SEyMOUR

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SvjetIljka bakalaR, DOGG GUDMUNDSDOTTIR, 2002.

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COD laMP, DOGG GUDMUNDSDOTTIR, 2002

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granicu industriske proizvodne. Demakersvanov

proizvod lc c (2005.), dipomski proekt

joepa Verhovena inspiriran e tradicionanom

nizozemskom ipkom: uvoenem novog, za

petene podatnieg materiaa uniormnu

industrisku ogradu pretvara u potpuno novi

proizvod.

Isto tako, prva verzia kod cir(1996.) Marce a

Wandersa proizvedena e runo kombinaciomtradicionane tehnike (petena) i novog materiaa

karbonskih i aramidskih vakana, a od 2001. godine

proizvodi e Capeini.

Pobuna protiv konzumeristikogis oitue se

u ponovnom vrednovanu odbaenog i u subverzii

industrie koa ovisi o brzo izmeni proizvoda.

formirane emocionanih veza izmeu predmeta

i korisnika edna e od kunih preokupacia

aternativnog dizana. Predmeti i interieri koi

eegantno stare i zahtievau akciu/reakciu

korisnika, pa im vriednost ne ovisi o novini,

nego znaene kreirau upotrebom, predmetisu koe su vasnici skonii zadrati no odbaciti.

Tretman proizvoda moe se usporediti s razikom

izmeu s i so ood-koncepta u kuinarstvu:

konzumacia (prederavane) naspram uitka u

procesu upotrebe.

Ve neko vrieme namee se teza o vremenu u

koem ivimo kao inormatikom dobu, premda

e ono o uviek ovisno o zastareim metodama

Sweedish Ugcute, or British &made, are neither

cute nor possess the expected perection o

orm that indirect promises quait. The discover

o a new designer vocabuar in the treatmento materias, technoogies, and tpoogies has

resuted in visua disturbing products.

A new approaches to design have procaimed

their rebeion against the estabished sstem

b vioating aesthetica norms. In this case,

criticism has been directed at the contemporar

aestheticised (or anesthesized) societ and the

mass production based on obedient, statistica

identica consumers. The u rism, a term

coined b Hea jongerius, has oered itse as

an aternative to the uniormit and perection

o industria products. Authors such as jersz

Semour or Maarten Baas have re-evauatedprecise those aesthetica norms and the issue

ouiss in their work. The Scum coection

b jersz Semour was created rom drops o

isoation oam, whie Baass urniture series caed

Cwas produced rom coarse aers o ca,

appied onto a basic meta structure. w uiss

or rss c ri is id o ii c o

dsi.20

IPkaSta OgRaDa, DEMAKERSVAN, 2005.,

HUMANIZACIjA INDUSTRIjSKE, ElINE OGRADE

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laCefenCe, DEMAKERSVAN, 2005.,

HUMANISING INDUSTRIAl, STEEl fENCE

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StOlICa S vOROvIMa, MARCEl WANDERS,

CAPPEllINI, 2001.

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proizvodne. Na drutveni okoi se promienio,

no industria pa i misrm industriski dizan

maniristiki podravau sus quo sredine 20.

stoea.

Dizan, ako ei ostati reevantan, mora reagirati

na drutvene, ekonomske, kuturooke i

tehnooke promene, pa, ogino, preuzima i

aktivistiku uogu.21

Rie e prie svega o konceptuanom dizanu koiupotrebava dizanerska reena da bi isprovocirao

diskusiu, akciu, i razotkrio stereotipe. Moda

e naizravnii primer dizanerova poitikog

aktivizma koncept odiea okopa za sudionike

uinih demonstracia Suid or Sursio (2002.)

umetnika/dizanera/tehnooga Rapha Boranda.

Sine pobude vode autore koi kritiki reagirau na

devastaciu urbanog prostora. Umrtvivane urbanih

sredita ogina e posedica konzumerizma i

zadirana privatnih u avne interese.

Moe se povui vro asna paraea izmeu

uniormne savrenosti kou nudi suvremenaindustriska proizvodna i nasino estetizirane

urbane okoine. Eement suanosti ednako e

nepoean u industrisko proizvodni22 kao i u

suvremeno urbano okoini. Sve ima svoe mesto,

sve e na prodau, sve e predeterminirano: nema

prostora za nepotroae i neproizvoae potrone.

Dizaneri/arhitekti/umetnici u urbanu okoinu

raznim (i)eganim intervenciama unose upravo

nepredvidivost kao nepoznanicu radi revitaizacie

gradskog prostora.23 Nedavno odran bienae

ExperimentaDesign Amsterdam 200824 ponudio e

grad kao patormu za autore raznih proia. Oko 90

In a positive maniestation o the trend, return to

the manua or manuacture production has been

inspired precise b the search or authenticit oexpression, a ight rom the imposed aesthetics,

and a desire to experiment. An interesting exampe

in that sense is that o the new wave o Isandic

design (or was it the irst wave? Isandic design

did not oow the successu ine o deveopment

o other Nordic countries), which has buit its

reputation on the uninterrupted ink with crat and

on the ack o resources. The necessar reccing

o products, the essentia manua production,

switness, and a tendenc to experiment have

inspired an intriguing hbrid o new and od

technoogies, methods, and tpoogies. Even thatwhich was unti recent ish waste (ish being

the main Iceandic product) has reveaed itse as

an extreme promising raw materia or design.

Iceandic designers use everthing rom ish

scaes in ashion industr to tos made o ishbone.

Eventua, a sort o designer monument to ish

was constructed in 2002 b Dogg Gudmundsdttir:

amps made o dried ish, or Cod lmp.

Designers do not shrink rom mixing the so-caed

high and ow technoogies and it is precise

owing to the possibiities o experimenting in the

ibera setting o crat that some o their productshave immediate crossed the boundar into

industria production. Demakersvans product

lc fc (2005), the graduation proect o

joep Verhoven, was inspired b traditiona Dutch

ace: b introducing that new materia, suitabe or

weaving, he atered the uniorm industria ence

into a compete new product.

Simiar, the irst version okod Cir(1996)

b Marce Wanders was produced manua, b

combining the traditiona techniques (weaving)

and the new materia carbon and aramid ibres.

Capeini has been producing it since 2001.Rebeion against the consumerist ieste has

expressed itse in the re-evauation o discarded

obects and the subversion o industr, which

depends on a quick exchange o products. The

emergence o emotiona ties between the obect

and its user is one o the ke preoccupations

in aternative design. Obects and interiors that

age eegant and demand an action/reaction o

the user, so that their vaue does not depend on

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RAlPH BORlAND,

ODjeven za SUbveRzIjU, 2002.

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sudionika (od Avara Size do Steana Sagmeistera)

u nizu dogaana i raziitih ormata od debata i

izobi do urbanih intervencia probematizirao e

suvremenu poziciu grada i negovih stanovnika.

Sudbina dvau bienanih proekata primerena e

iustracia suvremene urbane zbie. Sagmeisterov

proekt (Osssio sika na poniku izraena od

300 000 novia) preko noi e ukonia poicia,

dok su drvee zasaeno u duanskim koicima(proekt Moi forrs Nl Architects) graani

unato zabranama odvozii iz strogo zadanog

prostora (i ostavai tamo gde im odgovara).

Uz komentar drutvenog trenutka, dizan, meutim,

preispitue i vastitu odgovornost za drutvo

u koem nastae. jedan od interesa rubnog

dizana su drutvene, kuturane i etike posedice

novih tehnoogia. Apikacia ai i impikacia novih

tehnoogia (nanotehnoogia, biotehnoogia) i

scenarii moguih budunosti tema su, primerice,

nedavne izobe esic mid u MOMA.

Snaga dizana, koi e po svoo deiniciiuviek bizak svakodnevnom, upravo i est u

oteotvorenosti apstraktnog: kako e izgedati

meso uzgoeno u biotehnookim aboratoriima

novet, since the create their meaning through

use, are obects that their owners preer to keep

rather than throw awa. This treatment o products

can be compared to the dierence between

ast and sow ood in cooking: consummation

(overeating) versus peasure in the process o

using.

for some time we have been conronted with the

hpothesis that the time in which we ive is an

inormation age, even though it is sti determined

b outdated methods o productions. Our socia

environment has changed, but the industr and

even the mainstream industria design sustain

the status quo rom the mid-20th centur in a

mannerist ste.I it is to remain reevant, design must respond

to socia, economic, cutura, and technoogica

change, which is wh it is ogica adopting an

activist roe.21

It is primari conceptua design, which uses

designer soutions in order to provoke debate and

action, as we as to discredit stereotpes. Perhaps

the most direct exampe o designer poitica

activism was the concept o suits/armours, made

or the participants o street demonstrations

Suid or Sursio (2002) b artist/designer/

engineer Raph Borand.

Simiar motives can be identiied behind the

activities that react critica to the devastation o

urban space. Suocation o urban centres is a

ogica consequence o the encroachment o pubic

interests into the pubic sphere.

One can draw a ver cear parae between the

uniorm perection oered b contemporar

industria production and the orced aestheticized

urban environment. There, the eement o

accidence is equa unwanted as in industria

production.22 Everthing has its pace, everthing

is or sae and predetermined: there is no paceor non-consumers or or the non-producers o

consummation.

A number o designers/architects/artists have

introduced unpredictabiit into the urban

environment b various (i-)ega interventions aimed

at revitaizing urban space b inserting an unknown

eement.23 The recent biennia ExperimentaDesign

Amsterdam 200824 oered the cit as a patorm to

authors o dierent proies. Around 90 participants

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POkRetna UMa,

Nl ARCHITECTS, 2008.

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budunosti?25 Koe su ire drutvene posedice

mogue masovne komerciane upotreberpid

mucuri?26 Kako e nanotehnoogia utecati

na teksti budunosti?27

A gdje smo tu mi?

Kako smo mogi videti na 40. zagrebakom

saonu i na nedavno izobi 0708, suvremeni

enomeni i kretana u dizanu nisu zaobii Hrvatsku.U okruenu gotovo nepostoee industriske

produkcie, upravo rubna/aternativna podrua

dizana na naim prostorima izranau kao

navitania veroatno i zbog neoptereenosti

ogranienima masovne proizvodne. Negde na

rubu industrie izranau maoseriski proizvodi

(primerice em28) i drutveno kritiki i

konceptuani proekti (DuisfrSor29) koi

preaze strogo zacrtane teritorie deovana (pa

tako odevni predmet nastae metodoogiom

proizvodnog dizana: O is M30).

Ako usporedimo radove nastae u Hrvatsko s

recentnom inozemnom produkciom, primietit

emo zaokupenost sinom probematikom

(konzumerizam, urbanost, nove predmetne

tipoogie) pa stoga i neizostavnu biskost tematike i

metodoogia.

Studentski proekt Rid fucioi(radionica pod vodstvom Ivane fabrio na Studiu

dizana, 2004.), nastao e u suradni s Hrvatskim

dizan centrom u skopu proekta Di odrii

ro. esnaest predstavenih radova, na nain

metodooki bizak droogovskim duhovitim

promianima materiane kuture, pozabavio se

probemom zastarievana/ odbacivana proizvoda i

podario im novi ivot.

Ovde svakako treba spomenuti i samostane

(rom varo Siza to Stean Sagmeister) have

thematized the present-da position o the cit

and its inhabitants in a series o events o various

ormats rom debates and exhibitions to urban

interventions.

The ate o two biennia proects is an adequate

iustration o modern urban reait. Sagmeisters

proect (Osssio a picture made o 300

thousand coins on the pavement) was removed bthe poice during the night, whie the trees panted

in supermarket troes (a proect caed Moi

forrs b Nl Architects) were taken out o the

strict imited area b the citizens (and then et i n

arbitrar paces).

However, apart rom commenting upon a socia

moment, design has aso been questioning its own

responsibiit towards the societ in which it has

emerged. Among the interests o this margina

design, one shoud mention the socia, cutura, and

ethica consequences o the new technoogies. The

appication, but aso the impication o these new

technoogies (nanotechnoog, biotechnoog) and

the possibe uture scenarios were aso the topic

o the recent exhibition on esic Mid, which took

pace at MOMA.

The power o design, which is b deinition cose to

everda ie, resides precise in the embodimento the abstract: how wi the esh cutivated

in biotechnoogica aboratories o the uture

actua ook ike?25 What are the broader socia

consequences o the potentia commercia and

massive use o rapid manuacturing?26 How wi

nanotechnoog inuence the textie o the uture?27

Where Do We Stand?

As we coud observe at the 40th Zagreb Saon

DUtIeSfReeStORe, DORA BUDOR, MAjA UlE, 2007.-2008.,

STUDIj DIZAjNA, MENTOR: I. DOROGHy

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DUtIeSfReeStORe, DORA BUDOR, MAjA UlE, 2007.-2008.,

fACUlTy Of DESIGN, MENTOR: I. DOROGHy

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proekte (wrcoc proc, Sudio 100) voditeice

proekta, Ivane fabrio, koa e magistriraa na

Design Academ Eidenhoven, odake e poteka

itava nova generacia nizozemskih dizanera.

Igra P a vioc31 upotrebava ednaku

metodoogiu poput radova Eia Caccavaea M

bio (2005.) i fuur fmiis (2007.): krpene utke

kao didaktiko pomagao za poduavane dece

udskim raziitostima, sponosti, i razbianustereotipa.

viui priVedrane Vrabec tehnikom

(prekrivane rekama beinom) koa e upravo

suprotna od one arhitekta Pasia Kohonena

(instaacia Ci wipou32 brie s otograie

itav urbani kraoik osim ogasa) upozorava

na zastrauuu koiinu ogaavana u urbano

svakodnevici.

Domaa drutvena scena nie ni izdaeka toiko

priemiva za aternativne/rubne proizvode kao

recimo nizozemska ii britanska. Aternativni dizan

zahtieva odreenu kuturooku pa i demokratsku

zreost kou hrvatsko drutvo o nie dostigo.

Ohrabrue, meutim, da e dio spomenutih autora/ica

i nakon zavrenog studia odrao kontinuitet rada

u ovom podruu dizana, kao primerice otvoreni

dvoac BaunBratovi koi redovno suraue i s

autorima iz drugih discipina.Aternativni dizan zahtieva i dozu etinosti

drutvene okoine: kritinu masu osvietene

avnosti priemive za subverzie. Da bi ispunio

svou unkciu, dizanu e nuno potreban korisnik,

t. reakcia. Orium, Droogov neuspean

proekt revitaizacie gradia u Nemako

indikativan e primer vanosti entuziazma svih

strana trokuta (dizanerproizvoakorisnik) da

bi impementacia dizana uspea. Unato veem

and the recent 0708 exhibition, the contemporar

phenomena and movements in design have

arrived to Croatia as we. In the situation in which

industria production is virtua non-existent, it is

precise these margina or aternative areas o

design that emerge as the most vita in this region

probab because the are not burdened b the

imitations o mass production, among other things.

Somewhere on the margins o industr, thereare sma-series proects (such as the em28)

and socia critica or conceptua proects

(DuisfrSor29), which are crossing the strict

outined boundaries between various domains o

activit (so that a garment ma be produced in the

technique o product design, as in O is M30).

Comparing the design made in Croatia with the

recent internationa production, we sha notice

that the are preoccupied with the same issues

(consumerism, urbanit, new obect tpoogies),

which inevitab resuts in simiar topics and

methodoogies.

The student proect on Rid fucioi(a

workshop directed b Ivana fabrio at the Schoo

o Design in 2004) was reaized in cooperation with

the Croatian Design Centre as a part o the Dsi

or Susi Dopm proect. Sixteen

presented artworks, which were methodoogicacose to Droogs witt reections on materia

cuture, discussed the probem o aging/discarding

products, giving them a new ie.

One shoud aso mention the soo proects o

Ivana fabrio (Watercock Proect, Studio 100), who

obtained her MA degree at the Design Academ

Eidenhoven, a centre that aunched an entire new

generation o Dutch designers.

The game caed P a vioc31 has used

vjealICa, NINA BAUN, IVAN VEljAA;

U SKlOPU PROjEKTA REINVENTED

fUNCTIONAlITy

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hangeR, NINA BAUN, IVAN VEljAA;

PART Of REINVENTED

fUNCTIONAlITy PROjECT

vIzUalnI PRaznIk, VEDRANA VRABEC,

2007.-2008., STUDIj DIZAjNA,

MENTOR: I. DOROGHy

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vISUal hOlIDay, VEDRANA VRABEC,

2007-2008, fACUlTy Of DESIGN,

MENTOR: I. DOROGHy

PASI KOlHONEN,

CIty wIPeOUtINSTAlACIjA

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brou zanimivih proekata ii e ci bio stimuacia

gotovo odumrih mesnih obrta i manuaktura i

proekata drutvene reanimacie grada, proekt

e zamro zbog nedovonog interesa okanog

stanovnitva.

Paraea se moe povui izmeu Orium

i hrvatskog konteksta: ni domae okruene

nie priemivo za pokuae iskakana iz kaupa.

Manak institucionane podrke i drutvene zreostizasigurno ne idu u priog kutiviranu nezavisne

dizanerske produkcie. Meutim, na povrini

uniicirane korporativne estetike koa vada

hrvatskom svakodnevicom poavuu se pukotine/

nie unutar koih se razvi a novi, drugaii pristup

dizanu.

inenica da, unato svemu, postoi odreena

koiina kreativne energie usmerena upravo

na konceptuano svee, esto i samoinicirane

proekte, vie e no ohrabruua. Pozicia na

marginama dvoseki e ma: dizanera udaava od

misrm industriske proizvodne (koa e kodnas i tako nepostoea), no s druge mu strane dae

veiku sobodu deovana ako e sam uzme.

the same methodoog as Eio Caccavaes M bio

(2005) and fuur fmiis (2007): rag dos serve

the didactic purpose o teaching the chidren aboutthe dierences in human beings and sexuait, as

we as breaking the stereotpes.

visu hoidb Vedrana Vrabec has used a

technique (whitewashing advertisements) that

is diametrica opposite to that o architect

Pasi Kohonen (in his instaation Ci wipou,32

he erased the entire urban andscape rom

photographs, except or the advertisements),

thus drawing attention to the terriing quantit o

advertisements in our everda urban ie.

Our oca socia scene is not even remote as

accommodating to aternative/margina productsas, or exampe, the Dutch or the British scene.

Aternative design requires a certain eve o cutura

and even democratic maturit, which the Croatian

societ has not et attained. Nevertheess, the

encouraging act is that some o the above-

mentioned authors have continued their activit in

this area o design ater their studies, or exampe

the open duo o Baun-Bratovi, which reguar

coaborates with authors rom other discipines.

Aternative design demands a dose o ethics rom

its socia environment: a critica mass o conscious

pubic that wi accept subversions. In order toui its unction, design must have a user, or rather

a response. Orium, Droogs aied proect

o revitaizing a sma German town, is an indicative

exampe o the importance o enthusiasm on a

sides o the designer-producer-user triange in

order to succeed with the impementation. Despite

a considerabe number o interesting proects, the

aim o which was to stimuate the amost extinct

oca crats and manuactures, as we as pans or

the socia reanimation o the town, the proect went

down because o the ack o interest on the part o

oca popuation.One ma draw a parae between Orium

and the Croatian context: our oca setting is

equa resistant to a attempts at escaping the

moud. The ack o institutiona support and socia

maturit certain obstructs the deveopment o an

independent designer production. However, at the

surace o this uniorm, corporative aesthetics that

dominates everda ie in Croatia, certain cracks

or niches are opening up, enabing the emergence

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My bIO, ElIO CACCAVAlE, 2007.

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_________________

1 p , DesignDictionary, . m e, t m. b.b. 2008 ., , , .2 b b, d , a, 16/1959., z,618, : v ., Od oblikovanja do dizajna ,m, z, 2003.3 s b k, . n , , s, , .4 n d, a, ,j r b n c b / , , .5 o 10 Horse Lamp : ront moooi, 44 000 $ .6 r ;

.7 d r, o u, Design issuses:History, heory, Criticism, . 1, . 1, 2426, : vm ., Design discourse, he University of ChicagoPress, c, 1989.

8 d r. W, m p n d, tj aw, d i, . 17, . 1, 2001., .9 b r,Memphis: Research, Experiences, Results,Failures, and Successes of New Design, r, nw y,1984., : c g ., ti d r, aw p , nw y, 2003.10 s b I ja / Me, too. a Industrial design is defunct, i :j b, l p, t d sb ://www../x.?=_w&_=3&i=7711 p s, c m #1, i m, . 50,a 2007. ://www../x.?w=&=46%3a&=&=3019%3a1&12 b m, t t d, :j ., User-Centered Graphic Design: MassCommunications and Social Change, t&, 1997., : Design Issues, . 17, n 1, W 2 001,4453, .13 m, . .14 p: ?15 j t green lipping.16 j t, In the Bubble, mit p, c, 2006.17 t , dott 07 d o t t.

r e , .18 j b, Industrial design is defunct,

o a new and dierent approach to design.

The act that, despite a the odds, there is a certain

amount o creative energ that is directed precisetowards conceptua resh and oten se-initiated

proects, is more than encouraging. The position on

the margins can have a doube edge: it draws the

designer awa rom the mainstream o industria

production (which is anwa bare existing in

Croatia), but it a so grants a considerabe ibert o

action i the designer chooses to caim it._________________

1 e product design industrial design , i Design Dictionary . m ef t m,b: b. 200 8, w ,

, f .2 b b, d [d ],Arhitektura 16 1959, z, 618, : v ., Od oblikovanja do dizajna [ ]z: m, 2003.3 l b k, w x w . h w w , w s l .4 d n, a , sw, r b s a, c b n

w . T w .5 T Horse Lamp: ront moooi 44 us .6 i ,w w f .7 d r, o u, Design Issues: History,Teory, Criticism, . 1, . 1, 2426, : vm ., Design Discourse c: T u c p, 1989.8 d r. W , m p n d, T j aw, Design Issues, . 17, . 1, 2001, .9 b r,Memphis: Research, Experiences, Results,Failures, and Successes of New Design nw y: r, 1984, : c g ., T i dr nw y: aw p, 2003.10

s b m, t f. c. Industrial Design is Defunct,Icon magazine : j b, l p, td, s b ://www../x.?=_w&_=3&i=7711 p s, c m #1, i m, . 50,a 20 07. ://www../x.?w=&=46%3a&=&=3019%3a1&12 b m, T t d, :j ., User-Centered Graphic Design: MassCommunications and Social Change, t&, 1997, : Design Issues, . 17, . 1, W 2001, 4453, .13 m, . .

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i : j b, l p, td s b .19 r r, Less + More, 010 p, r,2002.20 j s u. W W, a b.i, 61, 7/2008. ://www../x.?w=&=414%3a061&=&=3518%3a&=_21 n , . .22 p h j j b .23 s h p d, a . t , : da.n. Emotional design. b b, nw y, 2004.24 ://www.x./25 ://www..//x/2008//#/65/. j k , Dressing the Meat of omorrow,2006., r c , d i. i mri . d in vitro . p : , to ? a in

vitro, ?26 ://www..//x/2008//#/235/. ront : Sketch furniture, 2005.p , 3d r .

27 ://www..//x/2008//#/3/. Fabrics of Life: Nobel extiles /.28 g n, 2005.29 d b, m , 2007.2008., s , i d.30 n b, r b, 2006.31 n b, r b, 2005.2006., s , z. k.32 ://www../k.

_________________

koraljka vlajo zavrila studij dizajn a pri

arh ite kton skom akulte tu u zagre bu 1995. godin u

dan a (1995. /96. ) prove la je n a izvan re dn om studiju

n a uiah (un ive rsity o in dustrial arts h e lsin ki)

u in skoj, odje l dizajn a n am je taja. od 1996. do

2001. radi u h e lsin kiju kao dizajn e rica in te rije ra u

arh ite kton skom ure du pe kka salm in e n arch ite cts

ltd. od 2001. zaposle n a je u m uze ju za um je tn ost

i obrt, a od 2002. vodite ljica je zbirki dizajn a u

m uze ju za um je tn ost i obrt.

14 p : a x w ?15 j T .16 j T, In the Bubble c, ma: mit p,2006.17 T , dott 07d o T t e, w w q .18 j b, IndustrialDesign Is Defunct, i : j b, lp, t d, s b.19 r r, Less + More r: 010 p,2002.20 j s u. W W ab, i, 61, 7/2008. ://www../x.?w=&=414%3a061&=&=3518%3a&=_21 a , w

q , i 1970.22 T w h j j b x w .23 s h p d: a . T . Q : d a. n,Emotional Design nw y: b b , 200 4.24 ://www.x./25 ://www..//x/2008//#/65/ . j k, Dressing the Meat of omorrow2006, r c a l, d d i. T mri w

. t in vitro . T : , it? i w in vitro, w w ?26 ://www..//x/2008//#/235/ . ront : Sketch furniture, 2005. T w w , 3d, q rapid manufacturing.27 ://www..//x/2008//#/3/. Fabrics of Life: Nobel extiles. T w n w .28 n , 2005.29 d b m , 20072008, s d,: i d.30 n b r b, 2006.31 n b r b, 20052006, s d,

: z. k.32 ://www../k.

_________________

koraljka vlajo graduate d in 1995 rom th esch ool o de sign , aculty o arch ite cture inzagre b, olloWe d by a y e ar o study (1995/96) atth e un ive rsity o in dustrial arts h e lsin ki (uiah ),at th e de partm e n t o urn iture de sign . rom1996- 2001, sh e Worke d as an in te rior de sign e r inh e lsin ki , at th e arch ite ctural studio o pe kkasalm in e n arch ite cts ltd. sin ce n ove m be r 2001,sh e h as be e n Workin g at th e m use um o arts an dcra ts in zagre b an d in n ove m be r 2002 sh e be cam eth e m an age r o th e de sign colle ction s at th esame institution.

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