carmen mikuš · 2013. 2. 20. · estetika često ovdje nije samo vizualna, već i taktilna. ... to...
TRANSCRIPT
-
Ca
rmen
Miku
š
Ca
rmen
Mik
uš
CM-redizajnirano-korice.indd 1-3 09.01.2013. 11:42:29
-
Ca
rmen
Miku
š
Ca
rmen
Mik
uš
CM-redizajnirano-korice.indd 4-6 09.01.2013. 11:42:34
-
Ca
rmen
Miku
š
Ca
rmen
Mik
uš
CM-redizajnirano-korice.indd 7-9 09.01.2013. 11:42:38
-
Ca
rmen
Miku
š
Ca
rmen
Mik
uš
CM-redizajnirano-korice.indd 10-12 09.01.2013. 11:42:43
-
CM-redizajnirano-korice.indd 13-15 09.01.2013. 11:42:43
-
Nakladnik Publisher Hrvatska gospodarska komora
Croatian Chamber of Economy
Za nakladnika On behalf of the publisher Nadan Vidošević
Urednik Editor Luka Mjeda
Izložba Exhibition Carmen Mikuš – Redizajnirano Redesigned Centar za dizajn Centre for Design Zagreb, 16.01. – 08.02.2013.
Postav izložbe Exhibition layout Carmen Mikuš
Predgovor Foreword Vilim Plužarić
Prijevod Translation Graham McMaster
Video montaža Video editing Tomislav Lubina
Glazba Music Luka Zima
Oblikovanje Design Boris Barna
Tisak Print Printera
Naklada Printed in 300
Zagreb, 2013.
-
Carmen Mikuš
|16|01 |13| – |08|02|13|
-
Ciklus uporabno–dekorativnih predmeta “Redizajnirano” magistre dizajna
Carmen Mikuš polazi u svojoj inspiraciji iz unutarnje stvaralačke razigranosti
autorice prema vizualno–taktilnoj dimenziji industrijskog oblikovanja, ali se
u svojem razvoju profilira prema promišljanju o održivosti proizvodnje u krug
suradnje kreativnosti i njezine racionalizacije.
“Redizajnirano” ovdje služi kao kolokvijalni pojam ponovne upotrebe (eng.
reuse) materijala i već oblikovanih proizvoda za neku drugu ulogu. Termino-
loški problem projektnog nazivlja reflektirao bi se u nemogućnosti katego-
rijskog homogeniziranja osnovnog metodološkog koncepta. Naime, ponovna
upotreba prethodno neoblikovanog materijala ili pak već oblikovanog materi-
jala i predmeta kao konstrukcijskog elementa za neku novu namjenu tehnički
nije redizajn, već sâm dizajn. U striktnom smislu, redizajn kao pojam označava
formom i principom izmijenjenu semiotičku, odnosno fizičku ulogu jedne te
iste vrste uporabnog predmeta. S druge strane, u ovom pak slučaju nazivni
pojmovi “ponovna upotreba” (“reuse”) ili jednostavno “dizajn” nisu dostatni
kako bi pokrili smisao temeljne ideje. Autorica je i sama toga svjesna, ne čineći
razliku između različitih metodologija, bilo da je riječ o oblikovanju nikad prije
oblikovanog materijala ili pak ponovnom oblikovanju već jednom oblikovanog
predmeta. Svim predmetima je zajednička re–iskoristivost prethodnog mate-
rijala/predmeta, a sami predmeti su upravo principijelno i formalno novi oblici
postojeće vrste uporabnih predmeta (stol, svjetiljka, tabure...), te je stoga u
konačnici “redizajn” najadekvatniji pojam, kako s intuitivno–opisne, tako i s
terminološki–konceptualne razine.
Reprezentativni predmeti izrađuju se u manufakturnoj više nego u pogon-
sko–industrijskoj maniri, čime racionalizacija ponovne upotrebe materijala i
proizvoda zadobiva simbolički značaj i transparentnost prema osnovnoj ideji
redizajna. Svaki od predmeta izrađuje se u velikoj mjeri manualno, pri čemu
se transpozicija materijala/predmeta iz jedne uloge u drugu objelodanjuje
pred samim kreatorom u procesu oblikovanja.
Žarišna točka ovoga projekta, i ujedno ona koja ga najviše diferencira
od dominantne struje industrijskog dizajna angažiranog oko redizajna kroz
re–upotrebu, jest činjenica da ovdje predmeti ne žele eksplicitno pokazati
svoju “recikliranost”. Upotrijebljeni materijali i predmeti ne žele odati svoju
prethodnu “povijest”, već žele biti dio “novog”. Stoga izostaje uobičajena
ironijska nota takve vrste redizajna u kojoj se reciklažnost naglašava anti–
estetičkim oblikovnim tehnikama. Ovdje su predmeti oblikovani kao novi
proizvodi, a njihov cilj je stvoriti novu formu, koja je manje–više neovisna
od forme ponovno upotrijebljenog materijala. Osim toga, ti predmeti nisu
isključivi u svojoj recikliranosti; ne libe se surađivati s novim materijalima,
ukazujući još više na estetiku kao svoj primarni poziv. Tako se, primjerice,
The inspiration for the series of use objects/decorative objects called Rede-
signed by master of design Carmen Mikuš springs from the internal crea-
tive exuberance of the artist concerning the visual and tactile dimension of
industrial design. However, the development process is profiled according to
consideration of the sustainability of production in a collaborative circle of
creativity and rationalisation.
Redesigned here is used as a colloquial term for the reuse of materials and
products already shaped for the purpose of some other role. The problem of
the terminology of the project is reflected in the impossibility of any categor-
ical homogenisation of the basic methodological concept. That is, the reuse
of previously non–designed material or of even already designed material and
objects as structural element for some new purpose is technically not redesign,
but design itself. In a strict sense, the term redesign signifies a modification
of the semiotic or physical role of a use object that is identical in its form
and principle. On the other hand, in this case, the nominal concepts “reuse”
and simply “design” are not sufficient to cover the point of the fundamental
idea. The author herself is aware of that, and does not differentiate between
different methodologies, whether it is a matter of the design of previously
non–designed material or perhaps of giving a new shape to an object that has
already been formed. All displayed objects have in common the reusability
of a previous material or product, and the objects themselves are actually in
principle and form new solutions for existing kinds of functional objects (a
table, a lamp, a pouf) and redesign is ultimately the most appropriate term,
at both an intuitive and descriptive and a terminological and conceptual level.
Objects for display are made in small series rather than in mass–production
terms, which means that the rationalisation of the reuse of materials and
products takes on a symbolic importance and transparency with respect to
the basic idea of redesign. Each of the objects is made to a great extent by
hand, and the transposition of material/object from one role to another is
present before the creator in the process of its formation.
The focal point of this project, and that which differentiates it the most
from the dominant trend in industrial design concerned with redesign through
reuse is the fact that here objects have no ambition to foreground their
having been recycled. Materials and objects for usage don’t wish to reveal
their previous history; they want to be part of the new. So there is none of the
usual ironical note of this kind of design, in which recycling is emphasised by
militantly anti–aesthetic formal techniques. Here the objects are designed as
new products, their goal is to create a new form, which is more or less inde-
pendent of the form of the reused material. Apart from that, these objects
are not exclusive in their recycling; they do not refrain from collaborating with
PrENaMjENa kaO ODržIVOsT aUTOrskOG OblIkOVaNja
rEUsabIlITy as sUsTaINabIlITy OF aUThOrshIP IN PrODUcT DEsIGN
car
men
mik
uš
— r
ediz
ajn
ira
no
car
men
mik
uš
— r
edes
ign
ed
76 reusability as sustainability of authorship in product designprenamjena kao održivost autorskog oblikovanja
-
kartonske tube obavijaju oblogom u boji visokog sjaja, a kišobrani podaruju
konstrukcijsku logiku končanom opletu na račun svoje prethodne pojavnosti.
Estetika često ovdje nije samo vizualna, već i taktilna. Promatraču ovih
predmeta može se učiniti da je u određenim momentima autorica više pazila
na “vizualnu opipljivost” predmeta nego na “vizualnu pojavnost”. Čak i bez
fizičkoga kontakta, objekti naglašavaju svoju taktilnost – stol od pleksiglasa
koji vizualno nestaje ujedno kao da nestaje i fizički, pretvarajući se u “svje-
tlost”, kao i svjetiljke od končanog opleta.
Stoga, predmeti ciklusa “Redizajnirano” su prvenstveno autorska ekspre-
sija, čime izravno koketira s umjetničkim djelom, a svojim “reciklažnim” karak-
terom više upražnjavaju promišljanje mogućnosti kreativno–estetske uloge
ponovne upotrebe materijala i predmeta nego same ideje ekološki–osviješte-
nog i održivog oblikovanja. Racionalna i održiva dimenzija ostaje prisutna, ali
utopljena i maskirana u estetičkom i taktilnom doživljaju samih uporabnih
predmeta, bez potrebe da sebe proglasi i označi racionalnom i održivom. Umje-
sto toga, ovi predmeti žele se samo dokazati kao uzbudljivi, zanimljivi, lijepi.
Svaki ima svoju priču, i to prije svega onu osjetilnu, koja odražava momente
oblikovne razigranosti i koja se može doživjeti samo u izložbenom prostoru.
To vrijedi i za predmet u svojoj primjeni u životnom prostoru, gdje sama logika
nalaže da je njegovo mjesto namjene uvijek ono posebno... ono izložbeno.
Vilim Plužarić
Vilim Plužarić (rođen u Osijeku 22. siječnja 1981.) je industrijski i grafički dizajner,
filozof estetike i teoretičar audiovizualne kulture, dizajna i tehnologije. Diplomirao
je Studij dizajna na Arhitektonskom fakultetu u Zagrebu kao industrijski dizajner,
a od 2010. godine je doktorand poslijediplomskog doktorskog studija filozofije na
Filozofskom fakultetu u Zagrebu iz područja estetike, rad na disertaciji o povijesnim
i društvenim implikacijama mehaničke reproducibilnosti umjetničkog djela. Osim
akademskog rada, piše i online kolumne o aktualnoj tehnologiji.
Vilim Plužarić (born in Osijek, January 22, 1981) is an industrial and graphic
designer, aesthetic philosopher and theorist of audiovisual culture, design and
technology. He took his first degree in the Design School at the Faculty of Archi-
tecture in Zagreb, as industrial designer, and since 2010 has been enrolled in the
doctoral course in philosophy of the Faculty of Philosophy in Zagreb, in the area of
aesthetics; he is working on a dissertation on the historical and social implications
of the mechanical reproducibility of the work of art. In addition to his academic
writing, he also writes online columns on current technology.
new materials, showing even more that aesthetics is their primary calling.
Thus for example, the cardboard tubes are wrapped in a high gloss coating,
and umbrellas endow the woven thread with a structural logic at the expense
of their own appearance in previous life.
Aesthetics here is often not only visual but also tactile. Someone looking
at the objects might feel at given moments that the artist has paid court
more to the visual “tactility” of the object than to the visual appearance. Even
without there being any actual physical contact, the objects emphasise their
tactility – a table of plexiglass that visually vanishes also seems to vanish
physically, to turn into light, like the lamps with their thread weaving.
Accordingly, objects from the Redesigned series are primarily an original
expression, directly flirting with the work of art, and with their recycled char-
acter tend more to mulling over the possibility of the creative and aesthetic
role of reused material and objects than to the idea of ecologically aware
and sustainable design. The rational dimension of sustainability is there of
course, but it is merged into and masked by the aesthetic and tactile expe-
rience of the actual use objects, without any need to proclaim themselves
rational and sustainable. Rather, these objects want to show that they are
exciting, interesting, beautiful. Each has its own story, above all a sensory
story, which reflects moments of formal playfulness that can be experienced
only in the exhibition space. This holds true too for the object in its use in
a living space, where logic itself says that the place for its use is always a
special one – an exhibition space.
Vilim Plužarić
car
men
mik
uš
— r
ediz
ajn
ira
no
car
men
mik
uš
— r
edes
ign
ed
98 reusability as sustainability of authorship in product designprenamjena kao održivost autorskog oblikovanja
-
rEDIZajNIraNa “rEINVENTED” “rEINVENTED” rEDEsIGNED
SVjETILjkA LAMP
-
laMP 1
material umbrella spokes
thread
illumination 1 x E27 long–life bulb
dia. 120 mm
16 W (70 W)
colour black
sVjETIljka 1
materijal konstrukcija od kišobrana
konac
rasvjeta 1 x E27 štedna žarulja
Ø 120 mm
16 W (70W)
boja crna
40
80 65
1312 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
1514 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
1716 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
laMP 2
material umbrella spokes
thread
illumination 1 x E27 long–life bulb
dia. 93 mm
12 W (50 W)
colour white
sVjETIljka 2
materijal konstrukcija od kišobrana
konac
rasvjeta 1 x E27 štedna žarulja
Ø 93 mm
12 W (50W)
boja bijela
30
60 65
2322 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
2524 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
2726 “reinvented” redesigned lampredizajnirana “reinvented” svjetiljka
-
cOFlEk POMPOM
TEPIH ITABURE
CARPET AND POUF
-
carPET
material wool
colour red
yellow
pink
blue
white
green
TEPIh
materijal vuna
boja crvena
žuta
ružičasta
plava
bijela
zelena
100
3130 pompom carpet and poufcoflek tepih i tabure
-
3332 pompom carpet and poufcoflek tepih i tabure
-
POUF 1
material wool
colour black
red
yellow
pink
POUF 2
material wool
colour black
blue
white
green
TabUrE 1
materijal vuna
boja crna
crvena
žuta
ružičasta
TabUrE 2
materijal vuna
boja crna
plava
bijela
zelena
5025
5025
3534 pompom carpet and poufcoflek tepih i tabure
-
3736 pompom carpet and poufcoflek tepih i tabure
-
“sjEćaNja” “MEMOrIEs”
STOLIć TABLE
-
sONja
materijal PMMA (polimetil metakrilat)
spužva
boja bijela
sONja
material PMMA (Polymethyl methacrylate)
sponge
colour white
carMEN
material PMMA (Polymethyl methacrylate)
sponge
colour black
carMEN
materijal PMMA (polimetil metakrilat)
spužva
boja crna
3535 35
66
3566
4342 “memories” table“sjećanja” stolić
-
4544 “memories” table“sjećanja” stolić
-
4746 “memories” table“sjećanja” stolić
-
4948 “memories” table“sjećanja” stolić
-
TUbE TUbEs
STOL TABLE
-
TUbE sTOl 1
materijal kartonske tube
PVC folija
inox navojne šipke i matice
staklo
boja crna
TUbE sTOl 2
materijal kartonske tube
PVC folija
inox navojne šipke i matice
staklo
boja bijela
TUbEs TablE 1
material cardboard tubes
PVC foil
stainless steel nuts and bolts
glass
colour black
TUbEs TablE 2
material cardboard tubes
PVC foil
stainless steel nuts and bolts
glass
colour white
52 71
5352 tubes tabletube stol
-
5958 tubes tabletube stol
-
6160 tubes tabletube stol
-
TUbE TUbEs
SVjETILjkA LAMP
-
TUbE sVjETIljka 1
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja ružičasta
TUbE sVjETIljka 3
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja crvena
TUbE sVjETIljka 2
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja žuta
TUbE sVjETIljka 4
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja zelena
TUbEs laMP 1
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour pink
TUbEs laMP 3
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour red
TUbEs laMP 2
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour yellow
TUbEs laMP 4
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour green
32
18
6564 tubes lamptube svjetiljka
-
TUbE sVjETIljka 5
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja crna
TUbE sVjETIljka 6
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja plava
TUbEs laMP 5
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour black
TUbEs laMP 6
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour blue
TUbE sVjETIljka 7
materijal kartonske tube
PVC folija
inox nosač
rasvjeta 1 x E14 halogena žarulja
Ø 45mm
28 W (35 W)
boja bijela
TUbEs laMP 7
material cardboard tubes
PVC foil
stainless steel fitting
illumination 1 x E14 halogen bulb
dia. 45 mm
28 W (35 W)
colour white
44
18
6766 tubes lamptube svjetiljka
-
6968 tubes lamptube svjetiljka
-
7372 tubes lamptube svjetiljka
-
rEDIZajNIraNO rEDEsIGNED
VIDEO VIDEO
Video montaža Video editing Tomislav Lubina
www.carmenmikus.com/redizajnirano/Glazba Music Luka Zima
7574 redesigned videoredizajnirano video
-
Carmen Mikuš rođena je 21. prosinca 1981. godine u Zagrebu. Diplomirala je
produkt dizajn na Studiju dizajna pri Arhitektonskom fakultetu Sveučilišta u
Zagrebu 22. veljače 2008. godine. Osim produkt dizajnom bavi se i projektiranjem
interijera javnih prostora u arhitekturi i brodogradnji. Član je Hrvatskog dizajnerskog
društva i Zajednice za industrijski dizajn pri Centru za dizajn Hrvatske gospodarske
komore. Dosada je izlagala produkt dizajn na nekoliko grupnih izložbi, a ovo joj je
prva samostalna izložba.
Carmen Mikuš was born on December 21, 1981, in Zagreb. She graduated in
product design at the Design School in the Faculty of Architecture in Zagreb on
February 22, 2008. As well as with product design, she is engaged with designing
interiors in public spaces in architecture and naval architecture. She is a member
of the Croatian Designers Association and the Industrial Design Community at the
Design Centre of the Croatian Chamber of Economy. She has exhibited product
designs at several collective exhibitions; this is her first independent show.
kONTakT
Carmen Mikuš
Abramovićeva 11
10000 Zagreb
Hrvatska
cONTacT
Carmen Mikuš
Abramovićeva 11
10000 Zagreb
Croatia
+385 91 79 93 132
+385 91 79 93 132
7776 biographybiografija
-
Hvala mojim roditeljima na njihovoj podršci i mojim prijateljima čiji rad je
zaokružio ovaj projekt: Vilimu Plužariću, Tomislavu Lubini, Luki Zimi i Borisu Barni.
I would like to thank my parents for all their support and also my friends whose
work has rounded off this project: Vilim Plužarić, Tomislav Lubina, Luka Zima and
Boris Barna
hvala acknowledgements
7978