Based on our practical experience with leading Holis learning programs since 2014 and, the interv... more Based on our practical experience with leading Holis learning programs since 2014 and, the interviews with participants and facilitators we worked with, we have decided to open up and create an ongoing public online resource, that will help us learn and improve the tools we use by receiving feedback from the community. The publication provides theoretical overview into the topic of hybrid learning and analyzes the state of best practice in this field by providing curated overview of academic learning design resources, massive open online courses (MOOCs), we well as open educational resources, and practical handbooks & toolkits. Second part of the publication shares the step-by-step process of Holis experience and learning design, described through the lens of a specific Holis Hybrid '21 learning program. The final part analyzes the feedback of program participants and facilitators & summarizes the key findings and reflections.
Med oktobrom in novembrom 2020 sva s Tjašo Mužina izvedli nišno raziskavo o zaposljivosti. Nareje... more Med oktobrom in novembrom 2020 sva s Tjašo Mužina izvedli nišno raziskavo o zaposljivosti. Narejena je bila med bivšimi študenti magistrskega študijskega programa Industrijsko in unikatno oblikovanje na UL ALUO. Rezultati analize so za november 2020 pokazali, da je bil delež zaposlenih s končanim magisterijem 92,85 %. Od tega je delež vseh zaposlenih za nedoločen čas znašal 64,28 %. Rezultati raziskave kažejo sliko, ki je diametralno nasprotna obstoječim raziskavam o zaposlovanju na področju umetnosti.
In The Lancaster Care Charter (2019), its authors wrote that a substantial part of the design pro... more In The Lancaster Care Charter (2019), its authors wrote that a substantial part of the design profession holds a sentimental belief about what design could eventually become and consequently, persists in devoting energy towards finding out what design can achieve. In truth, however, design ought to face an uncomfortable truth: that it might prove unable to actually accomplish everything it feels capable of doing. You can, of course, face this uncomfortable truth from the opposite, positive perspective; design can be understood as a gesture, a tool, a means of analyzing and synthesizing visions of the future. These can help us develop ways to take better care of our world, our cities, our survival and each other; the latter was also the topic of our workshop, which took place at Avtomatik delovišče in Koper. The workshop dealt with the fundamental question of what it means to be human in our times—in the individual, as well as social sense—and how human action in the world, through design and participatory practices, enables the creation of conditions that facilitate better (co)habitation, better living.
The workshop was accompanied by a group exhibition prepared by the students, which was, likewise, held at the premises of Avtomatik delovišče. The exhibition is the fruit of a three-month seminar conducted at the Industrial Design and Applied Arts Department at the Academy of Fine Arts and Design of the University of Ljubljana. Participants at the seminar, which was conducted through the History and Design Theory class and titled “Questions Raised by Design”, were 2nd level students in the first year of the industrial design programme under the mentorship of Assist. Prof. Barbara Predan.
Questions raised by design / Michala Lipková, Barbara Predan ; [foreword by Boštjan Bugarič ; exhibition introduction by Matevž Breznikar ; English translation by Tadej Rosa ; photographs Aleš Rosa and authors]. - Ljubljana : Pekinpah Association ; Bratislava : Faculty of Architecture, Slovak University of Technology, 2020. ISBN 978-961-94078-7-5.
Papiro-logía: Krožno oblikovanje in uporaba papirja v interierju, 2019
Knjiga Papiro-logía novo paradigmo krožnega oblikovanja predstavi na jasen, inovativen in razumlj... more Knjiga Papiro-logía novo paradigmo krožnega oblikovanja predstavi na jasen, inovativen in razumljiv način ter z ustrezno znanstveno terminologijo. Obenem se usmerja na možnost oblikovanja interdisciplinarne poslovne verige pohištva iz papirja ter hkrati preverja nove izobraževalne pristope na področju oblikovanja, kar je rezultat izmenjave znanj strokovnih in znanstvenih partnerjev projekta. Delo bi lahko uvrstili med pionirska dela te vrste, saj z aktivnim spreminjanjem miselnosti pospešuje razvoj krožnega oblikovanja in na podlagi ustrezne mednarodne literature povzema cilje iskanja smotrnih načinov maksimalnega izogibanja odpadkom, pri čemer je bistveni namen takšnega delovanja optimalno zmanjševanje črpanja novih virov. Kot referenčno delo in dopolnilno gradivo za univerzitetni študij lahko pripomore k razumevanju principov krožnega gospodarstva. Ravno zato je skoraj nujno čtivo tudi za široko strokovno javnost, ki se lahko po seznanitvi s tematiko usmeri v proces edukacije širše javnosti. Dr. Boštjan Bugarič (odlomek iz recenzije)
The question is an old one. How do you teach in a way that students actually learn something? In ... more The question is an old one. How do you teach in a way that students actually learn something? In a way that they actually acquire knowledge? And what does it mean to acquire knowledge?
Izobraževanje na področju oblikovanja: KAJ VIDIŠ? KAJ MISLIŠ O TEM? KAJ S TEM NAREDIŠ?, 2015
Vprašanje je staro. Kako poučevati, da se učenec dejansko nekaj nauči? Ali bolje, da dejansko pri... more Vprašanje je staro. Kako poučevati, da se učenec dejansko nekaj nauči? Ali bolje, da dejansko pridobi znanje? Toda kaj sploh pomeni pridobiti znanje? Verjetno je najpreprostejši preizkus stopnje pridobljenega znanja v preverjanju razumevanja, v preverjanju zmožnosti samostojne uporabe pridobljenega znanja. Kot bomo videli v nadaljevanju, je že izbira besed »uporaba«, »uporabno« v povezavi z znanjem lahko precej problematična.
Kljub številnim poročilom in priporočilom, ki v zadnjem času s strani Evropske komisije izpostavl... more Kljub številnim poročilom in priporočilom, ki v zadnjem času s strani Evropske komisije izpostavljajo pomen in vlogo vključevanja oblikovanja v javni in zasebni sektor za dosego boljše učinkovitosti in usmerjenosti k uporabnikom, pa stanje v polju slovenskega javnega sektorja, ki naj bi ta napotek zares slišal, v večji meri ostaja »gluho«. Verjetno sta razlog za takšno stanje na začetku omenjeni strah in napačno razumevanje vloge, ki jo oblikovalska stroka lahko ponudi. Čas je, da se zavemo, da za aktivno vključevanje, participiranje in sodelovanje s strokovno in splošno javnostjo ni dovolj, da na zapisano strategijo odpremo enomesečno javno razpravo s pozivom k posredovanju predlogov na narejeno in predlagano. To pač ni aktivno soustvarjanje, saj si kot javnost že v izhodišču postavljen v podrejeni položaj, zgolj v funkcijo komentiranja predlaganega.
The main purpose of this book is, to outline certain presuppositions for a new state of affairs, ... more The main purpose of this book is, to outline certain presuppositions for a new state of affairs, a new politics of collective emancipation – we might even call it a sustainable ethics of design. By reading this book, you may not earn anything that resembles the classic notion of “profit”, but as the Roman Club discovered back in 1972, while there may exist limits to material growth, there is no limit to learning.
The objective of this paper is to identify the structural impossibility within the potential for ... more The objective of this paper is to identify the structural impossibility within the potential for designing our everyday life. In other words, the goal is to make a case – through a discussion of active citizenship during the era of globalised capitalism – for the necessity of the existence of unregulated islands of design activity. The paper tries to show why focusing on everyday design – design for life – should be of much greater importance than it is now. It also shows that in order to achieve this goal, design needs thinking individuals. It needs all those whose ordinary acts are overlooked today but are already happening in everyday life and are free from market domination. The task of design lies in recognising and empowering each of us. Consequently, the role of design – as one of the key builders of our environment – lies not only in redesigning the environment in order for it to ensure the requisite empowerment of individuals, but also in establishing the conditions for cre...
Lessons to Learn? Past Design Experiences and Contemporary Design Practices, 2020
This paper* aims to illuminate how Yugoslav designers in the 1970s, on the basis of the Yugoslav ... more This paper* aims to illuminate how Yugoslav designers in the 1970s, on the basis of the Yugoslav model of socialist self-management, took a critical view of international design organisations and through that eventually secured their active participation in an international organisation — The International Council of Societies of Industrial Design (ICSID). The text will also attempt to show that, building on the workers' struggles, the role of design participation in the field of design did not come solely from the Scandinavian designers, but that an important contribution was provided by Yugoslav designers who were building on the model of self-management.
*This paper is a result of the research project J7-2606 ‘Models and Practices of Global Cultural Exchange and Non-aligned Movement: Research in the Spatio-Temporal Cultural Dynamics’, which is funded by the Slovenian Research Agency.
The International Journal of Design Education, 2020
The article shows that the circular economy is more than just a new name for recycling: it is a s... more The article shows that the circular economy is more than just a new name for recycling: it is a systemic approach that involves circular use of resources. Understanding the latter is crucial for an industry like design, where as much as 80 percent of waste and the resultant pollution results from decisions taken in the design phase of the product. If we start deliberately changing our design approach from linear to circular by taking different decisions in the planning and design phase, then designers will have to start considering more than one product lifecycle before the design process has even started. In other words, there is an urgent need for a systematic introduction of smart design and deliberate development of circular design. This was also the goal of our research project embedded in the field of design education. By establishing a supply chain that involves partners from the public and private sectors, through a practical example of the potential use of paper in interior design, we sought ways of conveying to the students the urgent need for a different understanding in approaches to the transformation of our environment. By incorporating the principles of circular design into the field of design education, we created the conditions for a new understanding of the wider context of the social, environmental and business model, establishing, as a result, the conditions for different outcomes of final product design.
Resilience and the City: Art, Education, Urbanism, 2019
The paper shows that the task of design lies in empowering each of us. Consequently, the role of ... more The paper shows that the task of design lies in empowering each of us. Consequently, the role of design—as one of the key builders of our environment—lies not only in redesigning the environment, but also in establishing the conditions for creating and encouraging new ways of thinking. In other words, the goal is to make a case, through a discussion of active citizenship during the era of globalised capitalism, for the necessity of the existence of grassroots initiatives and unregulated islands of design activity. The paper shows why focusing on everyday design—design for life—should be of much greater importance than it is now.
GENERATIVE ART 2018: GA2018, XXI Annual International Conference (Proceedings), 2018
With the three cycles of research/experimental participatory events by Tjaša Bavcon, Katja Burger... more With the three cycles of research/experimental participatory events by Tjaša Bavcon, Katja Burger and Jasmina Ferček of the Oloop Design collective as an example, we will look at alternative approaches to learning and working in the field of design. More importantly, we will look at how to avoid getting trapped within the conventional design process, starting instead from nature’s perspective; a perspective that—as Maria Blaisse, a Dutch designer and artist, reminds us—is also our own.
The text presents research that incessantly questions its own results and the results of its experiments in order to transcend the boundaries of the expected. By raising doubt about the established, ordinary notions, it will make us confront the questions about the primary role of design and its purpose. At the same time, our endless exploration will reveal new areas of design potential. By focusing their investigation on perception, emergence, play, learning, action and cooperation, the designers of the Oloop collective sustain the conditions that allow the emergence of a variation of the product or, sometimes, even just a momentary result. The key word here is “variation”: every change in this process, however minor, is immediately reflected in the experiment – in the impression of the individual. This is the richness, the emotion that distinguishes their work from conventionally designed products. They set themselves apart by establishing an alternative approach.
The text makes a case, through a discussion of active citizenship during the era of globalized ca... more The text makes a case, through a discussion of active citizenship during the era of globalized capitalism, for the necessity of the existence of grassroots unregulated islands of activity such as the Autonomous Rog Factory. To some, the existence of this autonomous zone of activity represents nothing other than the usurpation of an abandoned space that, in the case of Rog, was slated for rapid demolition; for others, it represents a legitimate occupation through which active citizenship and political participation is manifested. What does an urban action such as the Autonomous Rog Factory create in the context of the freedom of grassroots action? And what perhaps does it prevent? Put another way: can we allow ourselves to neglect existing creative resistance merely in order to create an orderly framework of the known?
From the introduction:
"Taking up the concept of the inadequacy of the “zombie institutions” we open then this issue with the article “The Island of the Possible” by Barbara Predan. This text generates profound considerations on the need for the coexistence of different and alternative model of territory occupancy and experiences that can generate new organizing principles. It presents a case history of urban occupation, the Rog Factory squat in Ljubljana, Slovenia, existing in an autonomous form since 2006. Defined as a case of civil disobedience by politically active citizenship in the era of globalized capitalism, this “unregulated islands of activity “represents the most extensive community (as a space occupied) for alternative content in a heavily institutionalized Slovenia. The author highlights the issues related to the tension between renewal and resistance to the change of rigid systems and raises a deep critical reflection on the possibilities of transformation that can be opened in a world of experimentation and peaceful coexistence of different models."
-- Marinella Ferrara, Design Department, Politecnico di Milano, Italy
Kratek prispevek načne vprašanji: Kaj pomeni »biti živ« v kontekstu oblikovanja? in Kako »živo« j... more Kratek prispevek načne vprašanji: Kaj pomeni »biti živ« v kontekstu oblikovanja? in Kako »živo« je oblikovanje?
The objective of this paper is to identify the structural impossibility within the potential for ... more The objective of this paper is to identify the structural impossibility within the potential for designing our everyday life. In other words, the goal is to make a case – through a discussion of active citizenship during the era of globalised capitalism – for the necessity of the existence of unregulated islands of design activity. The paper tries to show why focusing on everyday design – design for life – should be of much greater importance than it is now. It also shows that in order to achieve this goal, design needs thinking individuals. It needs all those whose ordinary acts are overlooked today but are already happening in everyday life and are free from market domination. The task of design lies in recognising and empowering each of us. Consequently, the role of design – as one of the key builders of our environment – lies not only in redesigning the environment in order for it to ensure the requisite empowerment of individuals, but also in establishing the conditions for creating and encouraging new functions, new ways of thinking.
The report’s primary goal is to inform and provide a guide for future strategies in design educat... more The report’s primary goal is to inform and provide a guide for future strategies in design education, in order to ensure the beneficial impact of design as a key player in our unfolding future.
Pričujoči sklop izbrano tematiko (znanost v oblikovanju) premišljeno načenja – tako s stališča ob... more Pričujoči sklop izbrano tematiko (znanost v oblikovanju) premišljeno načenja – tako s stališča oblikovalske teorije kot s stališča znanstvenikov, katerih delo in teorijo bi poklicni oblikovalci najverjetneje označili za teorijo in/ali prakso oblikovanja (ali vsaj za nekaj, kar je v tesni povezavi z obema). Namerno torej opozarjamo na heterogene vidike razumevanja odnosa znanosti do oblikovanja, oblikovanja do znanosti in enigmatičnosti njunega razlikovanja, prepletanja ali enačenja. Namreč, heterogenost glasov v tem hipu najbolje odslikava obstoječe stanje, odslikava različnost v razumevanju oblikovanja in njegove vloge in razmerja do znanosti. Hkrati pa zbrani prispevki s svojo različnostjo odpirajo novo področje, odpirajo nadaljnji diskurz in kažejo še na eno bistveno značilnost oblikovanja – njegovo vseprisotnost. Sledeč Fryevi tezi bi namreč prav v vsem – če bi se vrnili nazaj po korakih razvoja – našli sledi prvih preoblikovanih kamnov.
Based on our practical experience with leading Holis learning programs since 2014 and, the interv... more Based on our practical experience with leading Holis learning programs since 2014 and, the interviews with participants and facilitators we worked with, we have decided to open up and create an ongoing public online resource, that will help us learn and improve the tools we use by receiving feedback from the community. The publication provides theoretical overview into the topic of hybrid learning and analyzes the state of best practice in this field by providing curated overview of academic learning design resources, massive open online courses (MOOCs), we well as open educational resources, and practical handbooks & toolkits. Second part of the publication shares the step-by-step process of Holis experience and learning design, described through the lens of a specific Holis Hybrid '21 learning program. The final part analyzes the feedback of program participants and facilitators & summarizes the key findings and reflections.
Med oktobrom in novembrom 2020 sva s Tjašo Mužina izvedli nišno raziskavo o zaposljivosti. Nareje... more Med oktobrom in novembrom 2020 sva s Tjašo Mužina izvedli nišno raziskavo o zaposljivosti. Narejena je bila med bivšimi študenti magistrskega študijskega programa Industrijsko in unikatno oblikovanje na UL ALUO. Rezultati analize so za november 2020 pokazali, da je bil delež zaposlenih s končanim magisterijem 92,85 %. Od tega je delež vseh zaposlenih za nedoločen čas znašal 64,28 %. Rezultati raziskave kažejo sliko, ki je diametralno nasprotna obstoječim raziskavam o zaposlovanju na področju umetnosti.
In The Lancaster Care Charter (2019), its authors wrote that a substantial part of the design pro... more In The Lancaster Care Charter (2019), its authors wrote that a substantial part of the design profession holds a sentimental belief about what design could eventually become and consequently, persists in devoting energy towards finding out what design can achieve. In truth, however, design ought to face an uncomfortable truth: that it might prove unable to actually accomplish everything it feels capable of doing. You can, of course, face this uncomfortable truth from the opposite, positive perspective; design can be understood as a gesture, a tool, a means of analyzing and synthesizing visions of the future. These can help us develop ways to take better care of our world, our cities, our survival and each other; the latter was also the topic of our workshop, which took place at Avtomatik delovišče in Koper. The workshop dealt with the fundamental question of what it means to be human in our times—in the individual, as well as social sense—and how human action in the world, through design and participatory practices, enables the creation of conditions that facilitate better (co)habitation, better living.
The workshop was accompanied by a group exhibition prepared by the students, which was, likewise, held at the premises of Avtomatik delovišče. The exhibition is the fruit of a three-month seminar conducted at the Industrial Design and Applied Arts Department at the Academy of Fine Arts and Design of the University of Ljubljana. Participants at the seminar, which was conducted through the History and Design Theory class and titled “Questions Raised by Design”, were 2nd level students in the first year of the industrial design programme under the mentorship of Assist. Prof. Barbara Predan.
Questions raised by design / Michala Lipková, Barbara Predan ; [foreword by Boštjan Bugarič ; exhibition introduction by Matevž Breznikar ; English translation by Tadej Rosa ; photographs Aleš Rosa and authors]. - Ljubljana : Pekinpah Association ; Bratislava : Faculty of Architecture, Slovak University of Technology, 2020. ISBN 978-961-94078-7-5.
Papiro-logía: Krožno oblikovanje in uporaba papirja v interierju, 2019
Knjiga Papiro-logía novo paradigmo krožnega oblikovanja predstavi na jasen, inovativen in razumlj... more Knjiga Papiro-logía novo paradigmo krožnega oblikovanja predstavi na jasen, inovativen in razumljiv način ter z ustrezno znanstveno terminologijo. Obenem se usmerja na možnost oblikovanja interdisciplinarne poslovne verige pohištva iz papirja ter hkrati preverja nove izobraževalne pristope na področju oblikovanja, kar je rezultat izmenjave znanj strokovnih in znanstvenih partnerjev projekta. Delo bi lahko uvrstili med pionirska dela te vrste, saj z aktivnim spreminjanjem miselnosti pospešuje razvoj krožnega oblikovanja in na podlagi ustrezne mednarodne literature povzema cilje iskanja smotrnih načinov maksimalnega izogibanja odpadkom, pri čemer je bistveni namen takšnega delovanja optimalno zmanjševanje črpanja novih virov. Kot referenčno delo in dopolnilno gradivo za univerzitetni študij lahko pripomore k razumevanju principov krožnega gospodarstva. Ravno zato je skoraj nujno čtivo tudi za široko strokovno javnost, ki se lahko po seznanitvi s tematiko usmeri v proces edukacije širše javnosti. Dr. Boštjan Bugarič (odlomek iz recenzije)
The question is an old one. How do you teach in a way that students actually learn something? In ... more The question is an old one. How do you teach in a way that students actually learn something? In a way that they actually acquire knowledge? And what does it mean to acquire knowledge?
Izobraževanje na področju oblikovanja: KAJ VIDIŠ? KAJ MISLIŠ O TEM? KAJ S TEM NAREDIŠ?, 2015
Vprašanje je staro. Kako poučevati, da se učenec dejansko nekaj nauči? Ali bolje, da dejansko pri... more Vprašanje je staro. Kako poučevati, da se učenec dejansko nekaj nauči? Ali bolje, da dejansko pridobi znanje? Toda kaj sploh pomeni pridobiti znanje? Verjetno je najpreprostejši preizkus stopnje pridobljenega znanja v preverjanju razumevanja, v preverjanju zmožnosti samostojne uporabe pridobljenega znanja. Kot bomo videli v nadaljevanju, je že izbira besed »uporaba«, »uporabno« v povezavi z znanjem lahko precej problematična.
Kljub številnim poročilom in priporočilom, ki v zadnjem času s strani Evropske komisije izpostavl... more Kljub številnim poročilom in priporočilom, ki v zadnjem času s strani Evropske komisije izpostavljajo pomen in vlogo vključevanja oblikovanja v javni in zasebni sektor za dosego boljše učinkovitosti in usmerjenosti k uporabnikom, pa stanje v polju slovenskega javnega sektorja, ki naj bi ta napotek zares slišal, v večji meri ostaja »gluho«. Verjetno sta razlog za takšno stanje na začetku omenjeni strah in napačno razumevanje vloge, ki jo oblikovalska stroka lahko ponudi. Čas je, da se zavemo, da za aktivno vključevanje, participiranje in sodelovanje s strokovno in splošno javnostjo ni dovolj, da na zapisano strategijo odpremo enomesečno javno razpravo s pozivom k posredovanju predlogov na narejeno in predlagano. To pač ni aktivno soustvarjanje, saj si kot javnost že v izhodišču postavljen v podrejeni položaj, zgolj v funkcijo komentiranja predlaganega.
The main purpose of this book is, to outline certain presuppositions for a new state of affairs, ... more The main purpose of this book is, to outline certain presuppositions for a new state of affairs, a new politics of collective emancipation – we might even call it a sustainable ethics of design. By reading this book, you may not earn anything that resembles the classic notion of “profit”, but as the Roman Club discovered back in 1972, while there may exist limits to material growth, there is no limit to learning.
The objective of this paper is to identify the structural impossibility within the potential for ... more The objective of this paper is to identify the structural impossibility within the potential for designing our everyday life. In other words, the goal is to make a case – through a discussion of active citizenship during the era of globalised capitalism – for the necessity of the existence of unregulated islands of design activity. The paper tries to show why focusing on everyday design – design for life – should be of much greater importance than it is now. It also shows that in order to achieve this goal, design needs thinking individuals. It needs all those whose ordinary acts are overlooked today but are already happening in everyday life and are free from market domination. The task of design lies in recognising and empowering each of us. Consequently, the role of design – as one of the key builders of our environment – lies not only in redesigning the environment in order for it to ensure the requisite empowerment of individuals, but also in establishing the conditions for cre...
Lessons to Learn? Past Design Experiences and Contemporary Design Practices, 2020
This paper* aims to illuminate how Yugoslav designers in the 1970s, on the basis of the Yugoslav ... more This paper* aims to illuminate how Yugoslav designers in the 1970s, on the basis of the Yugoslav model of socialist self-management, took a critical view of international design organisations and through that eventually secured their active participation in an international organisation — The International Council of Societies of Industrial Design (ICSID). The text will also attempt to show that, building on the workers' struggles, the role of design participation in the field of design did not come solely from the Scandinavian designers, but that an important contribution was provided by Yugoslav designers who were building on the model of self-management.
*This paper is a result of the research project J7-2606 ‘Models and Practices of Global Cultural Exchange and Non-aligned Movement: Research in the Spatio-Temporal Cultural Dynamics’, which is funded by the Slovenian Research Agency.
The International Journal of Design Education, 2020
The article shows that the circular economy is more than just a new name for recycling: it is a s... more The article shows that the circular economy is more than just a new name for recycling: it is a systemic approach that involves circular use of resources. Understanding the latter is crucial for an industry like design, where as much as 80 percent of waste and the resultant pollution results from decisions taken in the design phase of the product. If we start deliberately changing our design approach from linear to circular by taking different decisions in the planning and design phase, then designers will have to start considering more than one product lifecycle before the design process has even started. In other words, there is an urgent need for a systematic introduction of smart design and deliberate development of circular design. This was also the goal of our research project embedded in the field of design education. By establishing a supply chain that involves partners from the public and private sectors, through a practical example of the potential use of paper in interior design, we sought ways of conveying to the students the urgent need for a different understanding in approaches to the transformation of our environment. By incorporating the principles of circular design into the field of design education, we created the conditions for a new understanding of the wider context of the social, environmental and business model, establishing, as a result, the conditions for different outcomes of final product design.
Resilience and the City: Art, Education, Urbanism, 2019
The paper shows that the task of design lies in empowering each of us. Consequently, the role of ... more The paper shows that the task of design lies in empowering each of us. Consequently, the role of design—as one of the key builders of our environment—lies not only in redesigning the environment, but also in establishing the conditions for creating and encouraging new ways of thinking. In other words, the goal is to make a case, through a discussion of active citizenship during the era of globalised capitalism, for the necessity of the existence of grassroots initiatives and unregulated islands of design activity. The paper shows why focusing on everyday design—design for life—should be of much greater importance than it is now.
GENERATIVE ART 2018: GA2018, XXI Annual International Conference (Proceedings), 2018
With the three cycles of research/experimental participatory events by Tjaša Bavcon, Katja Burger... more With the three cycles of research/experimental participatory events by Tjaša Bavcon, Katja Burger and Jasmina Ferček of the Oloop Design collective as an example, we will look at alternative approaches to learning and working in the field of design. More importantly, we will look at how to avoid getting trapped within the conventional design process, starting instead from nature’s perspective; a perspective that—as Maria Blaisse, a Dutch designer and artist, reminds us—is also our own.
The text presents research that incessantly questions its own results and the results of its experiments in order to transcend the boundaries of the expected. By raising doubt about the established, ordinary notions, it will make us confront the questions about the primary role of design and its purpose. At the same time, our endless exploration will reveal new areas of design potential. By focusing their investigation on perception, emergence, play, learning, action and cooperation, the designers of the Oloop collective sustain the conditions that allow the emergence of a variation of the product or, sometimes, even just a momentary result. The key word here is “variation”: every change in this process, however minor, is immediately reflected in the experiment – in the impression of the individual. This is the richness, the emotion that distinguishes their work from conventionally designed products. They set themselves apart by establishing an alternative approach.
The text makes a case, through a discussion of active citizenship during the era of globalized ca... more The text makes a case, through a discussion of active citizenship during the era of globalized capitalism, for the necessity of the existence of grassroots unregulated islands of activity such as the Autonomous Rog Factory. To some, the existence of this autonomous zone of activity represents nothing other than the usurpation of an abandoned space that, in the case of Rog, was slated for rapid demolition; for others, it represents a legitimate occupation through which active citizenship and political participation is manifested. What does an urban action such as the Autonomous Rog Factory create in the context of the freedom of grassroots action? And what perhaps does it prevent? Put another way: can we allow ourselves to neglect existing creative resistance merely in order to create an orderly framework of the known?
From the introduction:
"Taking up the concept of the inadequacy of the “zombie institutions” we open then this issue with the article “The Island of the Possible” by Barbara Predan. This text generates profound considerations on the need for the coexistence of different and alternative model of territory occupancy and experiences that can generate new organizing principles. It presents a case history of urban occupation, the Rog Factory squat in Ljubljana, Slovenia, existing in an autonomous form since 2006. Defined as a case of civil disobedience by politically active citizenship in the era of globalized capitalism, this “unregulated islands of activity “represents the most extensive community (as a space occupied) for alternative content in a heavily institutionalized Slovenia. The author highlights the issues related to the tension between renewal and resistance to the change of rigid systems and raises a deep critical reflection on the possibilities of transformation that can be opened in a world of experimentation and peaceful coexistence of different models."
-- Marinella Ferrara, Design Department, Politecnico di Milano, Italy
Kratek prispevek načne vprašanji: Kaj pomeni »biti živ« v kontekstu oblikovanja? in Kako »živo« j... more Kratek prispevek načne vprašanji: Kaj pomeni »biti živ« v kontekstu oblikovanja? in Kako »živo« je oblikovanje?
The objective of this paper is to identify the structural impossibility within the potential for ... more The objective of this paper is to identify the structural impossibility within the potential for designing our everyday life. In other words, the goal is to make a case – through a discussion of active citizenship during the era of globalised capitalism – for the necessity of the existence of unregulated islands of design activity. The paper tries to show why focusing on everyday design – design for life – should be of much greater importance than it is now. It also shows that in order to achieve this goal, design needs thinking individuals. It needs all those whose ordinary acts are overlooked today but are already happening in everyday life and are free from market domination. The task of design lies in recognising and empowering each of us. Consequently, the role of design – as one of the key builders of our environment – lies not only in redesigning the environment in order for it to ensure the requisite empowerment of individuals, but also in establishing the conditions for creating and encouraging new functions, new ways of thinking.
The report’s primary goal is to inform and provide a guide for future strategies in design educat... more The report’s primary goal is to inform and provide a guide for future strategies in design education, in order to ensure the beneficial impact of design as a key player in our unfolding future.
Pričujoči sklop izbrano tematiko (znanost v oblikovanju) premišljeno načenja – tako s stališča ob... more Pričujoči sklop izbrano tematiko (znanost v oblikovanju) premišljeno načenja – tako s stališča oblikovalske teorije kot s stališča znanstvenikov, katerih delo in teorijo bi poklicni oblikovalci najverjetneje označili za teorijo in/ali prakso oblikovanja (ali vsaj za nekaj, kar je v tesni povezavi z obema). Namerno torej opozarjamo na heterogene vidike razumevanja odnosa znanosti do oblikovanja, oblikovanja do znanosti in enigmatičnosti njunega razlikovanja, prepletanja ali enačenja. Namreč, heterogenost glasov v tem hipu najbolje odslikava obstoječe stanje, odslikava različnost v razumevanju oblikovanja in njegove vloge in razmerja do znanosti. Hkrati pa zbrani prispevki s svojo različnostjo odpirajo novo področje, odpirajo nadaljnji diskurz in kažejo še na eno bistveno značilnost oblikovanja – njegovo vseprisotnost. Sledeč Fryevi tezi bi namreč prav v vsem – če bi se vrnili nazaj po korakih razvoja – našli sledi prvih preoblikovanih kamnov.
Povzetek
Če drži trditev Cliva Dilnota, da oblikovalska praksa ni usmerjena v pridobivanje znanja... more Povzetek Če drži trditev Cliva Dilnota, da oblikovalska praksa ni usmerjena v pridobivanje znanja, temveč gre za imanenco človekove aktivnosti pri iskanju najboljše mogoče anticipacije potrebe, katere zadovoljevanje gradimo prek procesa prevajanja, potem lahko oblikovalski aktivnosti pripišemo predvsem zadovoljevanje smisla. V oblikovanju je torej ideja volje osrednja in ta takoj najde izraz v dejanju (produktu ali storitvi). S takšno trditvijo pa – kot nam nakaže že naslov pričujočega besedila – opozorimo na nasprotno stran dileme, in ta je: ali s tem, ko oblikovanje postavimo na stran smisla, hkrati izrekamo, da oblikovanje ne misli? Ali ravno narobe, ali zato, ker ne izničuje smisla, oblikovanje tudi misli? Ključne besede: oblikovanje, oblikovalsko mišljenje, sredstvo znanja, potencialnosti
Abstract Design: pursuit of thought and/or meaning? If Clive Dilnot was right in saying that design practice is not oriented towards gaining knowledge, but is instead an immanent human activity, focused on the anticipation of needs, which are in turn addressed through the process of translation, than design activity can be construed as, first and foremost, a pursuit of meaning. The idea of will is thus pivotal in design and is immediately expressed through action (that is to say, a product or service). However, any such claim automatically highlights – as implied by the title – the opposite side of the dilemma. Namely: by placing design on the side of meaning, are we not, in fact, saying that design does not think? Or, conversely: since it does not abolish meaning, is it safe to presume that design thinks? Keywords: design, design thinking, a means to knowledge, potentialities
Povzetek
Trditev, da sta oblikovanje in znanost le različni vrsti intelektualnega študija in prod... more Povzetek Trditev, da sta oblikovanje in znanost le različni vrsti intelektualnega študija in produkcije, nista pa različna sama po sebi, velja v večini znanstvenih in oblikovalskih strok za nasprotovanje konvencionalnemu stališču. Torej stališču, da so med oblikovanjem in znanostjo tolikšne razlike, da ju ni mogoče enačiti. Misel o tem, da znanost in oblikovanje vendarle nista tako različna, v razpravi The Simone-Kroes model of technical artifacts and the distinction between science and design razvijata Robert Farrell in Cliff Hooker. Rokavico sta pobrala Per Galle in Peter Kroes, ki sta poskušala v razpravi Science and design: Identical twins? ovreči provokativno tezo in si v zameno zadala nalogo, da poglobljeno konceptualno razjasnita odnos med znanostjo in oblikovanjem. Pričujoči članek – sledeč znanstvenim teorijam – v treh izbranih dilemah sooča aktualne argumente o (ne)enakosti znanosti in oblikovanja. Ključne besede: oblikovanje, znanost umetnega, oblikovalska znanost, artefakt
Abstract Co-occurrence, interdependence and a different logic of becoming Among science and design professionals, claims that design and science are merely two different types of intellectual study and production rather than being distinct in kind are largely considered as opposing the conventional view, i.e. that sharp distinctions between design and science make it impossible to equate the two. Nevertheless, in their paper “The Simone-Kroes model of technical artifacts and the distinction between science and design”, Robert Farrell and Cliff Hooker introduce the notion that the separation of science and design is not radical. Per Galle and Peter Kroes pick up the gauntlet, attempting to refute the controversial claim in their paper “Science and design: Identical twins?”, instead aiming to provide an in-depth conceptual clarification of the science–design relationship. Based on scientific theories, this article examines the relevant arguments about the (dis)similitude between science and design. Keywords: design, science of the artificial, design science, artifact
This paper presents a project in which we designed activities with and for senior citizens who sh... more This paper presents a project in which we designed activities with and for senior citizens who show signs of dementia. Since the condition of dementia places a heavy burden on the families and environment of affected people, our project addresses both parties: people with dementia as well as their caregivers in adult day-care centres and/or at home. The project focuses on stimulating social interaction and cognitive activities. Using the tools and methods from service and information design, we initiated a collaborative process between designers, people with dementia, caregivers, doctors, and therapists. Drawing on the extensive available research, we investigated materials and combinations of approaches that would also stimulate the senses: sight, touch, hearing, and smell. We field-tested various versions and difficulty levels of the games. We developed unique sets of social activities and developed written instructions for users. Visual topics were selected on the basis of ethnographic research and recognition levels. Graphic and stylistic variations were thoroughly tested in order to establish guiding principles for the building of an image bank. We also designed, produced, and tested a 3D working prototype. Due to the excellent responses of people with dementia to digital media, the project is now being upgraded into an app supported by a digital database of visual materials and other services.
The question is an old one. How do you teach in a way that students actually learn something? In ... more The question is an old one. How do you teach in a way that students actually learn something? In a way that they actually acquire knowledge? And what does it mean to acquire knowledge? Probably the simplest way to test the level of acquired knowledge is to first verify understanding and then verify the ability to independently make use of that acquired knowledge. And yet, as discussed later in this essay, even words such as “use” and “useful” in conjunction with knowledge can be quite problematic.
Namen pričujoče analize je skozi očala uporabnika državnih
spletnih portalov analitično preverit... more Namen pričujoče analize je skozi očala uporabnika državnih
spletnih portalov analitično preveriti prisotnost, dostopnost,
razumljivost in predvsem učinkovitost javno dostopnih storitev
na spletu.
Analiza preverja funkcionalne načine (vizualnega) komuniciranja
ter izkoriščanja storitvene kulture na relaciji med državno upravo
in državljani, pa tudi notranji pretok in vzpostavljeno hierarhijo
informacij v državni in javni upravi (med zaposlenimi).
The words in the title (from Sherlock Holmes in his latest BBC incarnation) sum up one of the bas... more The words in the title (from Sherlock Holmes in his latest BBC incarnation) sum up one of the basic premises of service design. Even if we have already been dealing with a given service, perhaps using it regularly or even providing the service every day, in most cases we do not know all that much about it. We may be familiar with only a segment of the service – and that superficially – or we may simply be stuck in a routine and so lack the necessary distance to evaluate it. Jumping to conclusions, then, can be dangerous: hasty conclusions too often lead us even farther from recognizing the real problems in service and information design. In many cases, we think that what (we think) we know is all the knowledge we need to start redesigning a service. As Sherlock Holmes said (in his original version): “It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts.”
To help us “do and make”, and to help us ask the right questions, it makes sense to use methods a... more To help us “do and make”, and to help us ask the right questions, it makes sense to use methods and tools that have already been developed. Working in the areas of service and information design can, indeed, be fun, at least at first glance. In most cases, however, if we really want to improve a service, there are many arduous steps that cannot be avoided: analysing, observing, defining, researching, observing, creating, testing, analysing,
correcting, testing, observing, etc. (the repetition is all intentional). These steps do not happen one after another; rather, this list tells us that we have to always be shifting our gaze from the details to the whole and from the whole to the details, over and over. Even Bill Moggridge, a world-recognized guru of interactive design, believes that “if we think first about people and then try, try, and try again to prototype designs, we stand a good chance of creating innovative solutions that people will value and enjoy”.
The goal of the present essay is to show that a number of critiques, following in succession from... more The goal of the present essay is to show that a number of critiques, following in succession from the first efforts to professionalize design, played a key role in the formation of the discipline as we know it today. Such critiques of design, by countering established practices, created gaps in knowledge – created a discontinuity, the consequence of which was the creation of the possibility for a new way of working. What the discipline lacks today, then, is precisely such a critique of this sort: one that would oppose a situation in which design submits itself uncritically to market demands and accepts the universal relativism of social consensus. For the first time in the history of design, it seems that the professionalization of the discipline is increasingly determined by what is supposed to have chiefly produced it (as a side product during the industrial revolution and the division of labour). Similarly for the first time, we in the profession are indifferent to such a situation.
This guide to co-creation explains
1/ Why co-creation
2/ What is co-creation
3/ What are the bene... more This guide to co-creation explains 1/ Why co-creation 2/ What is co-creation 3/ What are the benefits and challenges of co-creation 4/ 8 key principles for successful co-creation 5/ 4 key steps in co-creation 6/ How to prepare a co-creation workshop
Ta priročnik za soustvarjanje pojasnjuje
1/ Zakaj soustvarjanje
2/ Kaj je soustvarjanje
3/ Kakšne... more Ta priročnik za soustvarjanje pojasnjuje 1/ Zakaj soustvarjanje 2/ Kaj je soustvarjanje 3/ Kakšne so koristi in izzivi soustvarjanja 4/ 8 ključnih načel za uspešno soustvarjanje 5/ 4 ključne korake pri soustvarjanju 6/ Kako pripraviti delavnico soustvarjanja
THE CO-CREATE HANDBOOK FOR CREATIVE PROFESSIONALS, 2019
This document is a handbook for training yourself and others in collaborative design. In particul... more This document is a handbook for training yourself and others in collaborative design. In particular, it presents a methodology for developing train-the-trainer workshops on co-design. It can be used for accompanying co-design courses while it also features examples and practical information. This handbook has been created for both students and organizations interested in implementing co-design training activities.
This document has been elaborated from the insights and research developed during the CO-CREATE project. The goal of the CO-CREATE consortium was the elaboration and distribution of a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. We are sure both this handbook and the curriculum supporting it, are relevant steps in making co-design training more popular among educational organization.
While the curriculum presents a methodology for disseminating co-design at professional environments, this handbook introduces newcomers to co-design theory as well as to the practical issues of co-creation in the context of creative industries.
This report is based on the research done within the Erasmus+ Key Action 2 Cooperation for innova... more This report is based on the research done within the Erasmus+ Key Action 2 Cooperation for innovation and the exchange of the good practice project CO.CREATE. This report represents an overview of co-design best practice from Austria, Denmark, Slovenia, Slovakia and Spain in Creative Industries.
The best practices examples in this research show the diversity of co-design. The cases represent different settings of creative industries and design, as well as the different scopes of co-design. The following major findings could be made based on different practices of the research involving a variety of methods, tools, settings and stakeholders:
# SKILLED FACILITATOR # CLEAR NEEDS AND SHARED PAINS # BUILDING A HEALTHY ENVIRONMENT FOR CO-CREATION # DIVERSITY OF TEAM # COMMON VISION & SHARED VALUES # INDIVIDUAL ROLES FOR INDIVIDUAL GOALS # HANDLE CONFLICTS AND INTERESTS # REFLECTION AND EVALUATION
… ready to be incorporated in a co-design curriculum for creative professionals.
Here you can find basic foundational findings we have collected throughout the Co-Create project.... more Here you can find basic foundational findings we have collected throughout the Co-Create project. Taking a look at them can help you getting the most out of the Co-Create workshops.
Are you a creative professional and want to know more about Co-Design? This video is part of a se... more Are you a creative professional and want to know more about Co-Design? This video is part of a series aimed to provide creative professionals with further information on Co-Design and how their work can benefit from it.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
Are you a creative professional and want to know more about Co-Design? This video is part of a se... more Are you a creative professional and want to know more about Co-Design? This video is part of a series aimed to provide creative professionals with further information on Co-Design and how their work can benefit from it.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
Are you a creative professional and want to know more about Co-Design? This video is part of a se... more Are you a creative professional and want to know more about Co-Design? This video is part of a series aimed to provide creative professionals with further information on Co-Design and how their work can benefit from it.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
Are you a creative professional and want to know more about Co-Design? This video is part of a se... more Are you a creative professional and want to know more about Co-Design? This video is part of a series aimed to provide creative professionals with further information on Co-Design and how their work can benefit from it.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
Museum of Architecture and Design, Ljubljana, Slovenia
(November 26, 2015–May 1, 2016), co-curate... more Museum of Architecture and Design, Ljubljana, Slovenia (November 26, 2015–May 1, 2016), co-curated by Maja Vardjan and Špela Šubic, display designed by Mertelj Vrabič Arhitekti and Žiga Testen
The book provides a thorough introduction into Information design and Service design. It accurate... more The book provides a thorough introduction into Information design and Service design. It accurately positions professional practice, reviews relevant literature, shows case studies, and provides many links to external sources. The bilingual text immediately shows the international character of information and service design and emphasizes that the practical situations that need urgent attention are common across societies.
This book is about service design and information design and how both are complementary. It valid... more This book is about service design and information design and how both are complementary. It validates the social usefulness of design and its impact; and reinforces the role that service and
information designers can and should play in transforming products and processes in business, government and health. The authors present a methodological approach to improving people’s lives through actively involving designers and stakeholders in the process of solving problems faced by people in their daily lives in such a way that those who deliver services or information also benefit.
The modern city and its buildings have been shaped by the availability of cheap oil and resources... more The modern city and its buildings have been shaped by the availability of cheap oil and resources, and plentiful credit. As cheap energy and easy capital disappear, how will cities adapt? How will we create structures, heat and cool buildings, move and treat water, or grow and supply food, in the absence of
massive resource and energy flows?
The bio-city works with natural processes and social energy to achieve the same ends - and it is not a future dream. it is already emerging in dozens of projects around the world. Examples include:
At the level of the bioregion: river and watersheds restoration; tree planting, edible forestry; biodiversity corridors and grey space (buildings, pavements & roads); rainwater harvesting, green sanitation; ecoboulevards;
In the context of regional food systems: community supported agriculture; urban farming; cooperative distribution systems and markets; seed banks, hothouses and nurseries;
In the creation of man-made structures: Green buildings; green products; green networks
The bio-city is part of the new economy that replacing the industrial growth economy as it dies. Thousands of local groups and communities use social innovation to meet daily life needs in new ways. They also "sweat equity" to create new kinds of green infrastructures. Using language such as "Paris as a sponge" or "Edible London", these social actors range from the Watershed Management movement in the US, to urban market
gardens in Europe.
DOP and editing: Boris Benko
Script: Barbara Predan (Pekinpah) and Boris Benko
Music: The Mist,... more DOP and editing: Boris Benko
Script: Barbara Predan (Pekinpah) and Boris Benko
Music: The Mist, Silence
The Set of Social Games for Senior Citizens with Dementia / D9 was designed and developed by Jože Carli, Petra Černe Oven, Brina Fekonja, Breda Klančič, Katarina Kranjc, Gregor Makovec, Jure Miklavc, Barbara Predan, Urška Preis, Barbara Šušteršič, Silva Vitez
Partners: Nursing Home Ljubljana Vič Rudnik – Bokalce branch, Papilot Institute, Nursing Home Fužine, Associate Professor dr Aleš Kogoj, MD
Studio Miklavc / Pekinpah Association project manager: Jure Milklavc
RRA LUR project manager: Nataša Mršol
Head of RRA LUR's creative camp / project conceptualization: Tina Pezdirc Nograšek
Produced by Regional Development Agency of the Ljubljana Urban Region (RRA LUR)
The Set of Social Games for Senior Citizens with Dementia was conceptualized during the »Designing an Agenda, or, How to Avoid Solving Problems That Aren’t« creative camp in April 2013
Idea by: Brina Fekonja, Breda Klančič, Katarina Kranjc, Gregor Makovec, Urška Preis
Mentors: dr. Petra Černe Oven, dr. Barbara Predan (Pekinpah, ALUO)
Organization: RRA LUR and the Pekinpah Association
The turn of the millennium witnessed many fresh strides toward a new thinking in design education... more The turn of the millennium witnessed many fresh strides toward a new thinking in design education. In 2001 Alain Findeli set out three priorities for the design field: ‘a discussion on the purpose of design’, ‘the reform of design education’, and, as ‘there can be no responsible design without a responsible designer, ... the development of an individualistic ethics’.
The symposium had addresse Findeli's priorities, particularly the reform of design education. Lately, there have been numerous calls for a thorough reform of the field. We're told that change is overdue, but have these calls contributed to any noticeable change in the practice of design education? Are we treading the path shown to us by Alain Findeli ... or are we stuck, unable to move past the first priority?
In his book Becoming Human by Design, Tony Fry introduces a new way of understanding the objective of design. Fry writes: "We have always been partly formed by the way we form our world, what we have never done is to make such action a conscious, directed and deliberate transformation of the self." This fundamental change of the purpose of design sheds a new, profoundly critical light on Findeli's priorities. The question is: what do we see in this new light?
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Books by Barbara Predan
The workshop was accompanied by a group exhibition prepared by the students, which was, likewise, held at the premises of Avtomatik delovišče. The exhibition is the fruit of a three-month seminar conducted at the Industrial Design and Applied Arts Department at the Academy of Fine Arts and Design of the University of Ljubljana. Participants at the seminar, which was conducted through the History and Design Theory class and titled “Questions Raised by Design”, were 2nd level students in the first year of the industrial design programme under the mentorship of Assist. Prof. Barbara Predan.
Questions raised by design / Michala Lipková, Barbara Predan ; [foreword by Boštjan Bugarič ; exhibition introduction by Matevž Breznikar ; English translation by Tadej Rosa ; photographs Aleš Rosa and authors]. - Ljubljana : Pekinpah Association ; Bratislava : Faculty of Architecture, Slovak University of Technology, 2020. ISBN 978-961-94078-7-5.
Dr. Boštjan Bugarič (odlomek iz recenzije)
Papers by Barbara Predan
*This paper is a result of the research project J7-2606 ‘Models and Practices of Global Cultural Exchange and Non-aligned Movement: Research in the Spatio-Temporal Cultural Dynamics’, which is funded by the Slovenian Research Agency.
The text presents research that incessantly questions its own results and the results of its experiments in order to transcend the boundaries of the expected. By raising doubt about the established, ordinary notions, it will make us confront the questions about the primary role of design and its purpose. At the same time, our endless exploration will reveal new areas of design potential. By focusing their investigation on perception, emergence, play, learning, action and cooperation, the designers of the Oloop collective sustain the conditions that allow the emergence of a variation of the product or, sometimes, even just a momentary result. The key word here is “variation”: every change in this process, however minor, is immediately reflected in the experiment – in the impression of the individual. This is the richness, the emotion that distinguishes their work from conventionally designed products. They set themselves apart by establishing an alternative approach.
From the introduction:
"Taking up the concept of the inadequacy of the “zombie institutions” we open then this issue with the article “The Island of the Possible” by Barbara Predan. This text generates profound considerations on the need for the coexistence of different and alternative model of territory occupancy and experiences that can generate new organizing principles. It presents a case history of urban occupation, the Rog Factory squat in Ljubljana, Slovenia, existing in an autonomous form since 2006. Defined as a case of civil disobedience by politically active citizenship in the era of globalized capitalism, this “unregulated islands of activity “represents the most extensive community (as a space occupied) for alternative content in a heavily institutionalized Slovenia. The author highlights the issues related to the tension between renewal and resistance to the change of rigid systems and raises a deep critical reflection on the possibilities of transformation that can be opened in a world of experimentation and peaceful coexistence of different models."
-- Marinella Ferrara, Design Department, Politecnico di Milano, Italy
The workshop was accompanied by a group exhibition prepared by the students, which was, likewise, held at the premises of Avtomatik delovišče. The exhibition is the fruit of a three-month seminar conducted at the Industrial Design and Applied Arts Department at the Academy of Fine Arts and Design of the University of Ljubljana. Participants at the seminar, which was conducted through the History and Design Theory class and titled “Questions Raised by Design”, were 2nd level students in the first year of the industrial design programme under the mentorship of Assist. Prof. Barbara Predan.
Questions raised by design / Michala Lipková, Barbara Predan ; [foreword by Boštjan Bugarič ; exhibition introduction by Matevž Breznikar ; English translation by Tadej Rosa ; photographs Aleš Rosa and authors]. - Ljubljana : Pekinpah Association ; Bratislava : Faculty of Architecture, Slovak University of Technology, 2020. ISBN 978-961-94078-7-5.
Dr. Boštjan Bugarič (odlomek iz recenzije)
*This paper is a result of the research project J7-2606 ‘Models and Practices of Global Cultural Exchange and Non-aligned Movement: Research in the Spatio-Temporal Cultural Dynamics’, which is funded by the Slovenian Research Agency.
The text presents research that incessantly questions its own results and the results of its experiments in order to transcend the boundaries of the expected. By raising doubt about the established, ordinary notions, it will make us confront the questions about the primary role of design and its purpose. At the same time, our endless exploration will reveal new areas of design potential. By focusing their investigation on perception, emergence, play, learning, action and cooperation, the designers of the Oloop collective sustain the conditions that allow the emergence of a variation of the product or, sometimes, even just a momentary result. The key word here is “variation”: every change in this process, however minor, is immediately reflected in the experiment – in the impression of the individual. This is the richness, the emotion that distinguishes their work from conventionally designed products. They set themselves apart by establishing an alternative approach.
From the introduction:
"Taking up the concept of the inadequacy of the “zombie institutions” we open then this issue with the article “The Island of the Possible” by Barbara Predan. This text generates profound considerations on the need for the coexistence of different and alternative model of territory occupancy and experiences that can generate new organizing principles. It presents a case history of urban occupation, the Rog Factory squat in Ljubljana, Slovenia, existing in an autonomous form since 2006. Defined as a case of civil disobedience by politically active citizenship in the era of globalized capitalism, this “unregulated islands of activity “represents the most extensive community (as a space occupied) for alternative content in a heavily institutionalized Slovenia. The author highlights the issues related to the tension between renewal and resistance to the change of rigid systems and raises a deep critical reflection on the possibilities of transformation that can be opened in a world of experimentation and peaceful coexistence of different models."
-- Marinella Ferrara, Design Department, Politecnico di Milano, Italy
Če drži trditev Cliva Dilnota, da oblikovalska praksa ni usmerjena v pridobivanje znanja, temveč gre za imanenco človekove aktivnosti pri iskanju najboljše mogoče anticipacije potrebe, katere zadovoljevanje gradimo prek procesa prevajanja, potem lahko oblikovalski aktivnosti pripišemo predvsem zadovoljevanje smisla. V oblikovanju je torej ideja volje osrednja in ta takoj najde izraz v dejanju (produktu ali storitvi). S takšno trditvijo pa – kot nam nakaže že naslov pričujočega besedila – opozorimo na nasprotno stran dileme, in ta je: ali s tem, ko oblikovanje postavimo na stran smisla, hkrati izrekamo, da oblikovanje ne misli? Ali ravno narobe, ali zato, ker ne izničuje smisla, oblikovanje tudi misli?
Ključne besede: oblikovanje, oblikovalsko mišljenje, sredstvo znanja, potencialnosti
Abstract
Design: pursuit of thought and/or meaning?
If Clive Dilnot was right in saying that design practice is not oriented towards gaining knowledge, but is instead an immanent human activity, focused on the anticipation of needs, which are in turn addressed through the process of translation, than design activity can be construed as, first and foremost, a pursuit of meaning. The idea of will is thus pivotal in design and is immediately expressed through action (that is to say, a product or service). However, any such claim automatically highlights – as implied by the title – the opposite side of the dilemma. Namely: by placing design on the side of meaning, are we not, in fact, saying that design does not think? Or, conversely: since it does not abolish meaning, is it safe to presume that design thinks?
Keywords: design, design thinking, a means to knowledge, potentialities
Trditev, da sta oblikovanje in znanost le različni vrsti intelektualnega študija in produkcije, nista pa različna sama po sebi, velja v večini znanstvenih in oblikovalskih strok za nasprotovanje konvencionalnemu stališču. Torej stališču, da so med oblikovanjem in znanostjo tolikšne razlike, da ju ni mogoče enačiti. Misel o tem, da znanost in oblikovanje vendarle nista tako različna, v razpravi The Simone-Kroes model of technical artifacts and the distinction between science and design razvijata Robert Farrell in Cliff Hooker. Rokavico sta pobrala Per Galle in Peter Kroes, ki sta poskušala v razpravi Science and design: Identical twins? ovreči provokativno tezo in si v zameno zadala nalogo, da poglobljeno konceptualno razjasnita odnos med znanostjo in oblikovanjem. Pričujoči članek – sledeč znanstvenim teorijam – v treh izbranih dilemah sooča aktualne argumente o (ne)enakosti znanosti in oblikovanja.
Ključne besede: oblikovanje, znanost umetnega, oblikovalska znanost, artefakt
Abstract
Co-occurrence, interdependence and a different logic of becoming
Among science and design professionals, claims that design and science are merely two different types of intellectual study and production rather than being distinct in kind are largely considered as opposing the conventional view, i.e. that sharp distinctions between design and science make it impossible to equate the two. Nevertheless, in their paper “The Simone-Kroes model of technical artifacts and the distinction between science and design”, Robert Farrell and Cliff Hooker introduce the notion that the separation of science and design is not radical. Per Galle and Peter Kroes pick up the gauntlet, attempting to refute the controversial claim in their paper “Science and design: Identical twins?”, instead aiming to provide an in-depth conceptual clarification of the science–design relationship. Based on scientific theories, this article examines the relevant arguments about the (dis)similitude between science and design.
Keywords: design, science of the artificial, design science, artifact
spletnih portalov analitično preveriti prisotnost, dostopnost,
razumljivost in predvsem učinkovitost javno dostopnih storitev
na spletu.
Analiza preverja funkcionalne načine (vizualnega) komuniciranja
ter izkoriščanja storitvene kulture na relaciji med državno upravo
in državljani, pa tudi notranji pretok in vzpostavljeno hierarhijo
informacij v državni in javni upravi (med zaposlenimi).
correcting, testing, observing, etc. (the repetition is all intentional). These steps do not happen one after another; rather, this list tells us that we have to always be shifting our gaze from the details to the whole and from the whole to the details, over and over. Even Bill Moggridge, a world-recognized guru of interactive design, believes that “if we think first about people and then try, try, and try again to prototype designs, we stand a good chance of creating innovative solutions that people will value and enjoy”.
1/ Why co-creation
2/ What is co-creation
3/ What are the benefits and challenges of co-creation
4/ 8 key principles for successful co-creation
5/ 4 key steps in co-creation
6/ How to prepare a co-creation workshop
1/ Zakaj soustvarjanje
2/ Kaj je soustvarjanje
3/ Kakšne so koristi in izzivi soustvarjanja
4/ 8 ključnih načel za uspešno soustvarjanje
5/ 4 ključne korake pri soustvarjanju
6/ Kako pripraviti delavnico soustvarjanja
This document has been elaborated from the insights and research developed during the CO-CREATE project. The goal of the CO-CREATE consortium was the elaboration and distribution of a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. We are sure both this handbook and the curriculum supporting it, are relevant steps in making co-design training more popular among educational organization.
While the curriculum presents a methodology for disseminating co-design at professional environments, this handbook introduces newcomers to co-design theory as well as to the practical issues of co-creation in the context of creative industries.
The best practices examples in this research show the diversity of co-design. The cases represent different settings of creative industries and design, as well as the different scopes of co-design. The following major findings could be made based on different practices of the research involving a variety of methods, tools, settings and stakeholders:
# SKILLED FACILITATOR
# CLEAR NEEDS AND SHARED PAINS
# BUILDING A HEALTHY ENVIRONMENT FOR CO-CREATION
# DIVERSITY OF TEAM
# COMMON VISION & SHARED VALUES
# INDIVIDUAL ROLES FOR INDIVIDUAL GOALS
# HANDLE CONFLICTS AND INTERESTS
# REFLECTION AND EVALUATION
… ready to be incorporated in a co-design curriculum for creative professionals.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
CO-CREATE is an Erasmus+ co-funded European cooperation project which created a brand new curriculum on co-design: a set of valuable design skills that has gained increased relevance in recent years and can no longer be ignored. The curriculum enables education institutions across Europe to provide their students with all the hands-on knowledge they will need to apply this process to their future professional practice.
(November 26, 2015–May 1, 2016), co-curated by Maja Vardjan and Špela Šubic, display designed by Mertelj Vrabič Arhitekti and Žiga Testen
information designers can and should play in transforming products and processes in business, government and health. The authors present a methodological approach to improving people’s lives through actively involving designers and stakeholders in the process of solving problems faced by people in their daily lives in such a way that those who deliver services or information also benefit.
massive resource and energy flows?
The bio-city works with natural processes and social energy to achieve the same ends - and it is not a future dream. it is already emerging in dozens of projects around the world. Examples include:
At the level of the bioregion: river and watersheds restoration; tree planting, edible forestry; biodiversity corridors and grey space (buildings, pavements & roads); rainwater harvesting, green sanitation; ecoboulevards;
In the context of regional food systems: community supported agriculture; urban farming; cooperative distribution systems and markets; seed banks, hothouses and nurseries;
In the creation of man-made structures: Green buildings; green products; green networks
The bio-city is part of the new economy that replacing the industrial growth economy as it dies. Thousands of local groups and communities use social innovation to meet daily life needs in new ways. They also "sweat equity" to create new kinds of green infrastructures. Using language such as "Paris as a sponge" or "Edible London", these social actors range from the Watershed Management movement in the US, to urban market
gardens in Europe.
Script: Barbara Predan (Pekinpah) and Boris Benko
Music: The Mist, Silence
The Set of Social Games for Senior Citizens with Dementia / D9 was designed and developed by Jože Carli, Petra Černe Oven, Brina Fekonja, Breda Klančič, Katarina Kranjc, Gregor Makovec, Jure Miklavc, Barbara Predan, Urška Preis, Barbara Šušteršič, Silva Vitez
Partners: Nursing Home Ljubljana Vič Rudnik – Bokalce branch, Papilot Institute, Nursing Home Fužine, Associate Professor dr Aleš Kogoj, MD
Studio Miklavc / Pekinpah Association project manager: Jure Milklavc
RRA LUR project manager: Nataša Mršol
Head of RRA LUR's creative camp / project conceptualization: Tina Pezdirc Nograšek
Produced by Regional Development Agency of the Ljubljana Urban Region (RRA LUR)
The Set of Social Games for Senior Citizens with Dementia was conceptualized during the »Designing an Agenda, or, How to Avoid Solving Problems That Aren’t« creative camp in April 2013
Idea by: Brina Fekonja, Breda Klančič, Katarina Kranjc, Gregor Makovec, Urška Preis
Mentors: dr. Petra Černe Oven, dr. Barbara Predan (Pekinpah, ALUO)
Organization: RRA LUR and the Pekinpah Association
The symposium had addresse Findeli's priorities, particularly the reform of design education. Lately, there have been numerous calls for a thorough reform of the field. We're told that change is overdue, but have these calls contributed to any noticeable change in the practice of design education? Are we treading the path shown to us by Alain Findeli ... or are we stuck, unable to move past the first priority?
In his book Becoming Human by Design, Tony Fry introduces a new way of understanding the objective of design. Fry writes: "We have always been partly formed by the way we form our world, what we have never done is to make such action a conscious, directed and deliberate transformation of the self." This fundamental change of the purpose of design sheds a new, profoundly critical light on Findeli's priorities. The question is: what do we see in this new light?