BORDER CROSSING International Platform for Art&Design Education

Aktualno / BORDER CROSSING International Platform for Art&Design Education

Projekt REINTERPRETACIJA ARHITEKTURNE IDENTITETE v okviru mednarodne platforme Border Crosing 2015 in pod mentorstvom doc.mag. Jasne Kralj Pavlovec je zaključen. Študentje 2. letnika NO_FD so uspešno predstavili svoje projekte na NING-u in komisiji. Osnovni izhodišči sta značilnosti stanovanjske arhitekture 20. in 21. stoletja in teoretično delo Juhanni Palismaa ” The Eyes of the Skin. Namen naloge je oblikovanje enonadstropne hiše 5 x 10 m za oblikovalca po principu re-interpretacije značilnosti arhitekture ter implementacije sozvočja arhitektovih in lastnih tipoloških/oblikovalskih prepoznavnosti.

Že četrto leto Fakulteta za dizajn, smer Notranja oprema, Katedra za notranjo opremo in arhitekturo prostora, sodeluje na mednarodni platformi Border Crossing. V akademskem letu 2014/15 se je članstvo iz 3 povečalo na 6 mednarodnih izobraževalnih inštitucij:

  • University of Dundee , DJCAD Duncan of Jordanstone College of Art & Design, Scotland
  • University of North Texas, College of Visual Arts and Design, Texas, USA
  • University of Primorska, Faculty of Design, Slovenia
  • OCAD University, Ontario College of Art & Design, Toranto, Canada
  • Gerrit Rietveld Academie, Amsterdam, The Netherland
  • University of Lapland, Faculty of Art and Design, Finland

Glavni koordinator in projektni vodja Border Crossing za Slovenijo je doc. mag. Jasna Kralj Pavlovec.

 

BORDER CROSSINGS INTERIOR COLLABORATION 2014-2015

 

“Today culture has a powerful new vector: the Internet. Ideas: from a YouTube video to a viral marketing phenomenon or a fundamentalist religion, [each] are travelling further and faster, and changing the cultural landscape like never before. In a new electronic democracy of ideas, cultural power is devolving to the creative individual. We will soon all have the means to create; we just have to decide whether it be art or bombs. In our symbol-drenched lives we desperately need a way of decoding the messages that bombard us.”Rian Hughes ‘Cult-Ure : Ideas can be Dangerous’

As interaction between people, objects and networks undergoes radical convergence through the ‘Internet of Things’ [IoT], how might a new breed of interior graduates interact in this increasingly democratized and digital landscape? New hybrid practices are emerging as technological innovations surface but there are also opportunities to reassess this ‘symbol-drenched’ world and challenge the default response to interaction as overtly virtual interaction. Interaction, like the term ‘creativity’, is not the lexicon of the few but open to wider interpretations. UK experts predict that there will be shift from electronic toward more haptic, emotive and sensorial social interactions. How might interior students develop, experiment and express diverse responses to these conditions and how might this reshape [or reinforce] students’ emerging ‘identities’? Traditional borders that once separated [and defined] each design practice are increasingly porous and like the digital convergence of [IoT] a parallel disciplinary convergence is occurring; borders are being crossed; new creative maps are being drawn.

New tools, methods and mindsets are opening up designs social conscience. Open-sourced practices, new Fab-Labs centres, digital CNC, 3D printing tools and the emergence of service, social and ‘critical-design’ practices are transforming the design landscape each filtered through digital and web contexts. The ‘open-design’ work of Ronan Kadushin , social interaction ethos of Hillary Cottam’s ‘Participate’ or the 3d printed house experiments of DUS Architects typify some new design attitudes. Where we once sought principally to ‘solve’ design problems [and emulated and imitated this in education] we now use design thinking to ‘frame’, we apply co-design and service design strategies to interact with communities as social facilitators as we grapple with societies wicked problems- and we use ‘critical design’ to speculate on the uncertain future relationships between designers, clients and technologies [Dunne & Raby].

Border Crossings is an international collaborative project involving design disciplines of Jewellery, Textiles andInterior related partner schools. Partners agree to work to a shared design theme across the three discipline areas and seek creative common ground for students. Border Crossings bring an international student community together through NING Network- a social networking platform. Students from similar disciplines [e.g. interiors to interiors etc] update, share, contrast and compare their own their creative process, skills, methods and insights through an on-line conversation and final design outcomes on-line. Students’ develop skills as ‘creative editors’ of their uploaded work whilst also acting as a ‘critical friend’ to their international peer.

Border Crossings collaboration exists to:

 

  • Foster international collaboration between students, staff and institutions
  • Explore the changing nature of design practice
  • Enhance our students’ digital literacies
  • Improve creativity, communication and collaboration skills
  • Integrate a research led culture into the students’ experience
  • Shift students’ digital consumer attitudes toward more professional contexts
  • Introduce examples of border crossing and hybrid practices
  • Develop empathy for the ‘other’ [student peer, future client, employer]

MACRO/MICRO/MEZZO_INTERSPACE_2013/14

Jasna Kralj Pavlovec

jasna BW

Prostor je vse kar nas obdaja. Prostor oblikuje lahko človek/grajeno okolje ali ga je izoblikovala narava/naravno okolje. Prostor zaznavamo z vsemi čutili na fizičnem, psihološkem in čustvenem nivoju. Gibanje skozi prostor omogoča doživljanje prostora kot kontinuirano spreminjanje vizualnih vtisov, večanje in manjšanje objektov, svetlobe, kontrastov, itd.

Grajeni prostor razumemo kot pozitivni prostor in vse kar ga obdaja imenujemo negativni prostor.  Premikamo se vedno v t.i. praznem ali negativnem prostoru. Negativni prostor sooblikuje grajen prostor. Skupaj s pozitivnim prostorom tvorita arhitekturni prostor. Podobno lahko opredelimo pozitivni in negativni prostor tudi v kiparstvu.

Raziskovanje odnosov med večjimi, manjšimi in medprostori nam dopušča in omogoča različne nivojske interpretacije. Nivoji interpretacije gredo lahko od naravnega okolja, mesta, objekta, notranje arhitekture, prostorskih inštalacij, skulptur do predmetov in ne nazadnje do grafičnih zapisov misli in besed. Ko obravnavamo prostore in njihove medsebojne odnose jih različno dojemamo. Prostore med seboj primerjamo na fizičnem, psihološkem in čustvenem nivoju.

Zastavlja se vprašanje kaj je vmesni prostor in kako ta prostor občutimo in definiramo?

Namen projekta je evidentiranje in raziskovanje prostorov, ki so nekje vmes. To so medprostori med dvema enakovrednima prostoroma, med prostori, ki imajo jasno definirane funkcije in vsebine in jih sprejemamo kot samoumevne. Medprostori so prostori, ki jih v prvem stiku ne zaznavamo kot prostorov dogajanja. Govorimo o prezrtih prostorih.

Cilj je (pre)oblikovanje medprostorov v večji strukturah. Z intervencijo medprostori dobijo zgodbo, nov inovativen program in vsebino, novo identiteto in novo korelacijo z okoljem. Vmesni prostor mora postati prostor, ki presega mimohode.

Ko vmesni prostor izgubi svojo anonimnost, postane opažen in s tem ni več vmesni prostor,temveč postane PROSTOR.

MACRO/MICRO/MEZZO_INTERSPACE

Jasna Kralj Pavlovec

Statement:

Space is everything around us. It can be crafted by a human being or created by nature. We perceive it with all our senses on a physical, psychological and emotional level. Moving through space makes it possible for us to perceive it as a continuum of changing visual impressions, apparent growing and shrinking of objects, changes in light and contrast, etc.

We think of built space as positive space, and everything surrounding it as negative space. We always move through so called negative or empty space. Negative space is a key element of built space. It combines with positive space to form architectural space. A similar situation occurs in sculpture.

Research of relationships between large spaces, small spaces and interspaces allows us many different levels of interpretation. These levels can reach from natural environments, city environments, built structures, interiors, installations and sculptures to small objects and even graphic interpretations of thoughts and words. When we deal with spaces and their interactions we perceive them differently, comparing them on a physical, psychological, and emotional level.

The question is what interspaces are and how they’re felt and defined?

The aim of the project is the registration and research of spaces that are somewhere in between. These are the interspaces between two equivalent spaces, between spaces that have clearly defined functions and content and are taken for granted. Interspaces are spaces that are not initially perceived as active. We are talking about overlooked areas.
The aim is to (re) design interspaces of larger structures. With intervention these interspaces obtain a story, an innovative new program and content, a new identity and a new correlation with the environment. The interspace has to become a space which one does not merely pass through.

When the space loses its anonymity, becomes noticed and is no longer interspace but THE SPACE.

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