carmen mikuš · 2013. 2. 20. · estetika često ovdje nije samo vizualna, već i taktilna. ... to...

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CM-redizajnirano-korice.indd 1-3 09.01.2013. 11:42:29

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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

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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

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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

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


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

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


“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

TUbE TUbEs

STOL TABLE

TUbE sTOl 1

materijal kartonske tube

PVC folija

inox navojne šipke i matice

staklo

boja crna

TUbE sTOl 2


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


PVC foil

stainless steel nuts and bolts

glass

colour white

52 71

5352 tubes tabletube stol

TUbE TUbEs

SVjETILjkA LAMP

TUbE sVjETIljka 1


PVC folija

inox nosač

rasvjeta 1 x E14 halogena žarulja

Ø 45mm

28 W (35 W)

boja ružičasta

TUbE sVjETIljka 3


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja crvena

TUbE sVjETIljka 2


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja žuta

TUbE sVjETIljka 4


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja zelena

TUbEs laMP 1


PVC foil

stainless steel fitting

illumination 1 x E14 halogen bulb

dia. 45 mm

28 W (35 W)

colour pink

TUbEs laMP 3


PVC foil



dia. 45 mm

28 W (35 W)

colour red

TUbEs laMP 2


PVC foil



dia. 45 mm

28 W (35 W)

colour yellow

TUbEs laMP 4


PVC foil



dia. 45 mm

28 W (35 W)

colour green

32

18

6564 tubes lamptube svjetiljka

TUbE sVjETIljka 5


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja crna

TUbE sVjETIljka 6


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja plava

TUbEs laMP 5


PVC foil



dia. 45 mm

28 W (35 W)

colour black

TUbEs laMP 6


PVC foil



dia. 45 mm

28 W (35 W)

colour blue

TUbE sVjETIljka 7


PVC folija

inox nosač


Ø 45mm

28 W (35 W)

boja bijela

TUbEs laMP 7


PVC foil



dia. 45 mm

28 W (35 W)

colour white

44

18


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

[email protected]

+385 91 79 93 132

[email protected]

+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

carmen mikuš · 2013. 2. 20. · estetika često ovdje nije samo vizualna, već i taktilna. ... to...

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