43rd Zagreb Salon /Applied Arts and Design ANTI-DESIGN /PERMANENT ALTERNATIVES Social responsibility of the author? (original) (raw)
Katarina Dimitrijevic /KraalD MRes in Design Thesis, Goldsmiths UoL, 2013
KraalD: Transformation by Designedisposal, 2013
In the face of the neo-nuclear era, when the majority of the global population dwells in an urban environment, one cannot imagine future social constructs and design praxis scenarios without first acknowledging the importance of the present. Bombarded daily by mass media regarding dysfunctional socio-economic and environmental issues, driven by the urbanisation, globalisation, and informalisation megatrend triad, it seems imperative to start fundamentally re-thinking the way we organize, design, dispose and manufacture in our urban future. Following the ethos of a socially conscious design approach, the focus of the initial research phase is to emphasise a heroic element of mundane disposable plastic waste materials, empowered by self-manufacturing craft techniques. The objective is that the proposed design transformation by KraalD studio will be a validating micro-affirmation of an emerging co-creative global prosumer, questioning "What kind of cultural and socio-ethical encounters will the proposed Designedisposal asterism provoke in the future?" The research will utilize Designedisposal exhibitions and workshops as a platform to question further: Will this seemingly simple design process lead to social innovation opportunities, connecting London’s waste management network and small scale co-production urban transformation? Therefore, I intend to create new possibilities within contemporary design practice, using the plastic thing as an abductive tool for re-imagining new urban meta relations, reclaiming urban sociality as a new consumer need to be reawakened. Urban Ubuntu.
Politics of Design Abstracts Booklet-Draft (Manchester Architecture Research Centre), 2010
Burak Asiliskender, Erciyes University 'Re-creating the self and nation in a factory' Industrialization, as an achievement of modernization, reconstructed the identities with reacting on economy, social dynamics and space. In the beginning years of Turkey, industrialization was closely linked the ideology of the authorities that reconstructed the national form and identity under the aim of modernization. It was aimed to renovate whole life styles and stereo types by revolutions. Moreover, Turkish State established industrial sites, as a part of the modernization. They also built residences, cultural spaces and sportive fields with factories, in a 'modern' architectural order and outlook. It could be easily said that transformation process and its approach was leaded, instead of remaining the change on its own. Thus, the identity of space, urban form and social order were modified by the industrial settlements in Anatolian cities, founded under the ideology based on creating transformation and providing the development, with their economic effects, and their very new spatial context. From this point of view, it could be evaluated that industrialization was used for creating transformation with its effects on space and demographic order in a figurative contrast to traditional environments and order. In a retrospective view, this study was intended to evaluate the contradiction on the transformation process of space and social order, due to the state-based industrialization in Turkey. The policy and ideology that affected the industrialization process in Turkey was criticized, first. International calls of and technical supports were assessed. According to these conceptual outlook, this study was determined a detailed discussion from a case of the Kayseri city, which state-based factories were firstly founded, between 1930 and 1970. Spatial and social transformations were evaluated from the development of the urban form and housing. Social and cultural activates and habits of daily life were also examined to articulate the chance on the identities and the society. In the case, urban development of the Kayseri was observed to identify the transformation. Besides these, the avant-garde forms and spaces of these industrial establishments and their housing settlements are examined. According to this survey, their urban and spatial orders are compared with traditional environment to clarify the effects on space and its construction. Although, their housing forms are not only observed as a spatial or cultural artifact, but their urban pattern characteristics and spatial qualities are also examined. Moreover, cultural and social activities are discussed as well as housing types and their usage, for evaluating the change on identity of the people and their relationships. According to these, the role of the authority, power, citizenship, multiplicity, breaking the homogeneity, othering and reproduction of the identity phenomenon were criticized from laborers and their foreigner positions in the society. Transformation on social order and space were also evaluated.
Architectural Magazines and the Concept of Design in Croatia 1945–1980
2015
Post-war Modernism in Croatia can be described as a confluence of two domains: design—a new discipline within the applied arts—and architecture—an indisputable signifier and generator of cultural changes. The concept of industrial design in its new meaning focused on functional applications of artistic ideas and was in turn closely connected with new technological developments and emerging social and political ideologies of the new times, including socialist agendas. Research into the correlation of architecture and industrial design shows that architectural journals played the crucial role in the positioning of new creative strategies and aesthetic trends in Croatia in the second half of the twentieth century. In the period of Yugoslav socialism after 1945, the Zagreb journal, Arhitektura, along with a few other periodicals of similar genre, was the central medium in the continued monitoring and vigorous encouragement of the avant-garde in Croatia. Since its founding in 1947, 218 issues of the journal have been published. Arhitektura was the first modern periodical in the domain of architectural journalism—and the visual arts in general. Seeking a stronger periodical tradition, it could only partially rely on the first seeds of Modernism in the visual arts sown in the post-war Zagreb journal, Građevni vjesnik [Construction News], or in the Ljubljana periodical, Arhitektura, of the early 1930s. The journal, thus, created its visual character independently, practically ab ovo. During its 66 years of being published, it has offered an exceptionally complete and comparable insight into the development of graphic trends, and those who took part in the visual genesis of the journal compose a relevant catalogue of key figures in Croatian graphic design. The inclination toward abstract visuals, such as those created by Aleksandar Srnec and Ivan Picelj, had a particular effect on this segment of design during the late 1950s and early 1960s in Croatia, as did the postulates of EXAT 51, which very early on appeared as illustration design of the covers of Arhitektura.
Design elements in anthological Zagreb buildings
e-ZBORNIK Electronic collection of papers of the Faculty of Civil Engineering, 2022
The design elements which appear in the architecture of ten anthological buildings from the 1930s in Zagreb by prominent protagonists of modern architecture, besides being modern, also have a classical morphology, which marks the continuity of a traditional heritage. Adolf Loos's statement of decoration as unadjusted with the Zeitgeist was emphasized in the analyzed buildings by the lack of finances, which made the interior design, in spite of the representative character of the palaces, reduced to a bare minimum. The analysis reveals design elements of interior and furniture design, the architects' creations for the commissioned buildings. There are no examples of total design in the representative palaces, even though some architects applied this principle in other building typologies. In the interwar period, architects like Stjepan Planić and Juraj Denzler paid special attention to design on the basis of functionalist ideas, while the application of the Gesamtkunstwerk concept can be found in the building Dom obrtnika (Artisans' Building) by architects Aleksandar Freudenreich and Zvonimir Požgaj. Architects designed typographies for building names on the front facades and logotypes. The functionality, simplicity, and purity of lines and forms in their design can be seen on preserved plans, photos, and even in buildings for a small portion of this heritage that is still in use.
DHS, Design History Society Conference Book of Abstracts , 2023
Within the 2023 DHS Conference held in Porto, I presented the paper entitled "Displays and Stage Design at IKEA (1960s-1980s). Tomas Jelinek and his Learning from the Viennese." Displays bridge canonical and commercial histories of design and architecture. Belonging to the latter, or better, bridging the two, is the world’s largest furnishing company, IKEA. This paper examines IKEA’s early phase of “modernisation” during the period from the 1960s to the 1980s, one characterised by innovation, professionalisation, and expansion. It highlights the pivotal role of stage design in IKEA’s development and considers both the two-dimensional representation of rooms and their corresponding three-dimensional architectures, as these are inherently intertwined. The paper argues that through clever spatial arrangements and the use of a semiotic system spanning multiple dimensions, IKEA has been able to modify, distort, and enhance the value of its merchandise over time. To understand the historical development of the business, it is crucial to examine the significant shifts in stage design and displaying techniques, as well as the influence of key figures such as IKEA’s designer, Tomas Jelinek. Jelinek, who studied stage design in Brno and immersed himself in the Viennese art and design scene, joined IKEA in 1968. By exploring the process of translating Western European functionalist visions to the Viennese Wohnkultur that Jelinek absorbed in Brno, and how this was adapted for mass consumption within IKEA, this paper articulates the significant changes that Jelinek brought to scene production. It examines the elements representative of both commercial and canonical histories of design and architecture that Jelinek drew from and re-elaborated in his role within the multinational corporation. Through Jelinek’s generation of staff and their creative direction in setting up rhythmic and immersive scenographies, one could say that IKEA anticipated and embodied the essence of television before its widespread adoption. The presentation draws from the author’s doctoral thesis and is evidenced by multiple sources from archival material held at the IKEA archive in Älmhult, Sweden, to interviews with Jelinek’s daughter. Keywords: IKEA; commercial histories of modernity; stage design; Tomas Jelinek; displays commodification Image caption: Backstage at the 1974/5 catalogue. Copyright: Archive & Collection, IKEA Museum AB, Älmhult
2023
and Design Budapest was founded 143 years ago, in a period of time when design was born. Later on, thanks to Bauhaus and all the bright minded people around it, the need for a new attitude became clear. This attitude would combine art and science and define creativity as an active tool for shaping a better world. Since then this has gained even more importance. This is our basic attitude. And 25 years ago, when the Doctoral School was established, MOME unlocked new levels in terms of practicing this attitude. 5 11 May / Day 1 KEYNOTE LECTURE Michalle Gal (Shenkar College) Design Objects and the Illusion of Function COFFEE BREAK
Aesthetics, Cosmopolitics and Design
The scope of this theme is to explore the burgeoning interest in interdisciplinary engagements between the domains of design research and science and technology studies (STS). On the one hand, design has, for some time, been a topic for scholars in interested in the role of science and technology in 'society' where the discipline's practices and technoscientific 'objects' have been studied as a newly recognized source of knowledge production, expertise and politics. On the other hand, design scholars and practitioners have exhibited a sustained interest in STS in order to inform and theorize their own practices and analysis, notably the conceptualisation of technology-user relations by way of actor-network theory, the historical analysis of design, the symmetrical acknowledgement and inclusion of human and non-human actors in participatory research and the engagement of publics in democratic processes. Against this complex and variegated backdrop, design and STS scholars have also been engaging in interdisciplinary collaborations that productively combine aspects of practice-led research and process thought. Here, for example, designed devices (e.g. web-based visualization tools, cultural probes, computational appliances, software roBots) are designed, deployed and studied in-situ as part of inventive and so called speculative methods that acknowledge the active role of such techniques in shaping and manifesting the researched. As such, this theme explores engagements between design research and STS as topic, critical resource as well as interdisciplinary efforts where the crafting and experience of aesthetics is foregrounded as both a practical and theoretical concern and part of the reformulation of politics as cosmopolitics i.e. the modification of the social through designs and design research interventions.