1 40 Years of Design Education at the University of Ljubljana, Academy of Fine Arts and Design 40 let oblikovanja na Univerzi v Ljubljani, Akademiji za likovno umetnost in oblikovanje As a consequence of two centuries of industrial development Z razvojem industrije preteklih stoletij in posledic razvoja and exponential growth, we have found ourselves dangerously eksponentne rasti v prejšnjem stoletju smo se radikalno približali close to the thresholds of the planetary boundaries. This despite vzdržnosti planetarnih meja. In to čeprav le gibanje znotraj meja the fact that it is only staying within the planetary boundaries planetarnih mej zagotavlja ustrezne razmere za vzdrževanje that can ensure suitable conditions for keeping the biological pestrega in zdravega ravnovesja življenja našega planeta. diversity of our planet at a healthy equilibrium. The repercussions Posledice prekoračitev meja so otipljivo vidne že danes. of overstepping these boundaries are already tangible today. The Povprečne temperature ozračja strmo naraščajo, oceani se kisajo, average atmospheric temperatures are steeply increasing, the upada biotska raznovrstnost, drastično se povečuje število oceans are acidifying, biodiversity is falling, natural disasters are naravnih katastrof – pri čemer pa nas prave posledice dejansko on the increase—and the truly dire consequences are yet to come. še čakajo. Kako torej misliti sedanjost? Zgolj tako, da končno How, then, to think the present? By finally beginning to recognise začnemo razumeti, da zeitgeist oz. duh časa presega našo sedanjost, that the zeitgeist transcends our present, meaning that in our kar pomeni, da se mora naše spopadanje s trenutnimi problemi dealing with the problems of the present we must also address hkrati spopadati s prihodnjimi. Prav zato mora oblikovanje the problems of the future. That is why today’s design must go našega časa presegati zeitgeist in začeti gledati v prihodnost. beyond the zeitgeist and start looking into the future. 4 5 The call WE WILL DESIGN 2024 BASE of Milan is born out of the observation of the increas­ Milanski poziv z naslovom »WE WILL DESIGN 2024 BASE« raste iz ugotovitve o vedno bolj ing disintegration of social networks and the breakdown in solidarity between people. The call razkrajajočih se socialnih mrežah in razpadu solidarnosti med ljudmi. Poziv želi spodbujati obliseeks to foster design based on universal mutual kindness, or conviviality. As the authors of the kovanje, ki temelji na vsesplošni vzajemni prijaznosti (angl. conviviality). Kot pojasnijo snovalci programme explain, in our times we are collectively in need of conviviality—which is based on programa, je conviviality kolektivna potreba sodobnega časa, ki temelji na sodelovanju, vzajemni cooperation, mutual care and solidarity, In the field of design, this can be understood as a tool skrbi in solidarnosti. V oblikovanju jo lahko razumemo kot komunikacijsko orodje, ki stremi k of communication that strives towards inclusive design free of hierarchical tendencies. How inkluzivnemu oblikovanju brez hierarhičnih teženj. Pri čemer na vprašanje can we ensure autonomy for communities and place solidarity at the very centre of the designed odgovarjajo z environment? The answer to this question, they argue, is that it is only through addressing social napotkom, da lahko trajnostno in inkluzivno okolje omogočimo zgolj skozi naslavljanje družbedialogue that is resilient to changing environmental and social factors that a sustainable and innega dialoga, ki bo odporno proti spreminjajočim se okoljskim in družbenim dejavnikom. Zdi clusive environment can be made possible. se, da sta revolucija in sprememba družbenih razmerij vsekakor potrebni, še pomembnejši pa so vsesplošna prijaznost in empatija do sočloveka in čimprejšnje naslavljanje stisk. Še več, ravno zadnje je najbolj revolucionarno dejanje. Predstavitev Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani se v dani kon­ The presentation by the Academy of Fine Arts and Design of the University of Ljubljana fits the tekst solidarnosti in empatije umešča s preizpraševanjem o vlogi vode. Voda oziroma njena given context of solidarity and empathy by examining the role of water. It is water, or more predostopnost je namreč ključni dejavnik, ki vzpostavlja medsebojno soodvisnost družbenega in cisely its availability, that is the key factor establishing the interdependence of the social and the okoljskega. Še več, vprašanje dostopnosti vode pogojuje družbena morala, saj ta določa, kdo je environmental. Moreover, the issue of water availability is contingent on social morality, which do dostopa upravičen in kdo ga lahko upravlja, kot tudi, kje dovoljujemo onesnaževanje vodnih determines who is entitled to access water and who gets to manage that access, as well as where virov in do kakšne mere. Ta vprašanja se navadno sprejemajo mimo želja lokalnega prebivalstva and to what degree we allow water sources to be polluted. These issues are typically sorted out pod diktatom kapitalističnih teženj industrije. Lokalno dopuščeno onesnaževanje ima zaradi without regard for the wishes of the local population, with the decisions dictated by the capitalkompleksne mreže povezav vodnih sistemov pogosto tudi globalni učinek, pri čemer pa človeška ist tendencies of the industry. Due to the water systems’ complex webs of interconnections, any potreba po dostopu do čiste pitne vode vedno ostaja enaka ne glede na rast ali padec BDP­ja. Popollution permitted locally often ends up having a global effect. The human need for clean drinksledično smo si z razstavnim projektom zastavili vprašanje, kako nasloviti neenakost dostopa do ing water, meanwhile, remains the same, regardless of GDP fluctuations. Our exhibition project, pitne vode, upoštevajoč potrebe globalnih skupnosti mimo interesov kapitala. accordingly, asks the question: how do we address inequalities in access to drinking water and in the process prioritise the needs of global communities over the interests of capital? 6 7 One of the Nine Planetary Boundaries, which were proposed by Stockholm Resilience Centre Med devetimi planetarnimi mejami, ki jih je osnoval Stockholm Resilience Center (Stockholmski and which need to be taken into account to safeguard the future of humanity, is the consumption center za odpornost) in katerih vzdržnost je nujna za varno delovanje človeštva, je poraba sladke of fresh water. Among the repercussions of the development of modern society (agricultural and vode. Zaradi posledic razvoja sodobne družbe (agrikulturnega in industrijskega onesnaževanja, industrial pollution, climate change and population growth) is that the water cycle indicators podnebnih sprememb in rasti populacije) se vodni krog približuje mejnim kazalnikom. Hkrati, are approaching their limits. At the same time, Tudi prihodnost ni nič kaj The future is not overly promising either. According to the Fund’s projections, obetavna. Do leta 2050 bo po napovedih Sklada več kot pol milijarde ljudi po svetu trpelo zaradi more than half a billion people will suffer due to water­related catastrophes by 2050. katastrof, povezanih z vodo. The growth of the global economy, which is directly proportional to excess production, is also Izjemno negativne učinke na vodne vire pa ima tudi rast globalne ekonomije, ki je premo sorazhaving an extremely negative impact on water resources and is already causing severe harm to merna s čezmerno produkcijo, saj ta že intenzivno škoduje svetovnemu prebivalstvu. Po izrathe world’s population. Stockholm Resilience Centre’s calculations indicate that we have already čunu omenjenega Stockholmskega centra za odpornost smo planetarno mejo sladke vode zaradi exceeded the planetary boundary for fresh water due to the emergence of new types of contampojava novih onesnaževalcev v vodi – pretežno plastičnih delcev – že presegli. Oksimoronska inants in the water—mainly plastic particles. The contradictory dogma stating that economic dogma o povezavi med gospodarsko rastjo in človeško dobrobitjo se je tako znova izkazala za growth is linked to human welfare has thus once again proved to be an oxymoron. The dogmatic ravno to – oksimoron. Dogmatično dojemanje gospodarske rasti kot kazalnika uspeha družbe, perception of economic growth as the indicator of a society’s success, which originated in the posledica čikaške šole ekonomskega mišljenja, se vsakič znova in vedno bolj kaže kot svetovni Chicago school of economic thought has been shown time and time again—and increasingly so— lapsus kataklizmičnih razsežnosti. to be a global blunder of cataclysmic proportions. Planetary Boundaries: 6 crossed. Planetarne meje: 6 prekoračenih. Licenced under CC BY­NC­ND 3.0. (Credit: Azote for Licenca CC BY­NC­ND 3.0. (Vir: Azote za Stockholm Resilience Centre, Stockholm University. Stockholmski center za odpornost, Univerza Based on Richardson et al. 2023, Steffen et al. 2015, v Stockholmu. Na podlagi Richardson et al. and Rockström et al. 2009.) 2023, Steffen et al. 2015 in Rockström et al. 2009). 8 9 Due to the increasing hyperproduction of greenwashing, sustainability has become a deceptive Trajnost je skozi pospešeno hiperprodukcijo zelenega zavajanja postala varljiva beseda, ki poword that is often stripped of its own original meaning of referring to something with zero envigosto ne premore več lastnega pomena – to je ničelnega vpliva na okolje. Pri čemer zadnje v ronmental impact. In our age, even the latter is no longer sufficient. What we are looking for is redanašnji dobi ni več dovolj. To, kar iščemo, je regenerativnost. Regenerativno oblikovanje je generativity. Regenerative design is one that takes a holistic view of sustainability as not just the oblikovanje, ki trajnost dojema celostno – ne zgolj kot optimizacijo proizvodnih procesov za optimisation of production processes to minimise environmental impact. Such design actively čim manjši okoljski vpliv, temveč oblikovanje, ki aktivno želi prispevati k boljši prihodnosti za seeks to contribute to a better future for a humanity that is dependent on natural systems. Or, as človeštvo, odvisno od naravnih sistemov. Ali kot slednje pojasnita Pamela Mang in Ben Haggard Pamela Mang and Ben Haggard explain in their book Regenerative Development and Design: A v knjigi Regenerative Development and Design: A Framework for Evolving Sustainability: Framework for Evolving Sustainability: V [regenerativnem oblikovanju] narava deluje kot dinamična organska mreža, v kate-In [regenerative design], nature works as a dynamic organic web, within which interde-ri se medsebojno odvisne entitete organizirajo in vzdržujejo, izmenjujejo informacije in pendent entities organize and maintain themselves, exchange information and energy, energijo ter se razvijajo v harmoniji s svojim lokalnim okoljem. Ta model je biocentričen and evolve in harmony with their local environments. This model is biocentric, based on in temelji na načelu, da imajo vse oblike življenja notranjo vrednost in pravico do obstoja. the principle that all life forms have intrinsic value and the right to exist. Humans are Ljudje so le ena izmed mnogih vrst, ki je enakovredna, in ne nadrejena. simply one species among many, equal rather than superior. Na Akademiji za likovno umetnost in oblikovanje je kritično mišljenje o okoljskih in družbenih At the Academy of Fine Arts and Design, critical thinking about the environmental and social posledicah ekonomskih predpostavk močno zasidrano v kurikulum. Vprašanje, kako izobraževaconsequences of economic assumptions is strongly embedded in the curriculum. The issue of ti kritične posameznike znotraj posameznih disciplin umetnosti in oblikovanja, se vedno znova how to educate critical individuals in various disciplines of art and design is repeatedly addressed naslavlja v internem diskurzu. in the internal discourse. Poudarek na opisanih temah in spodbujanje študentskih raziskav se kažeta v številnih rezulta­ This emphasis, as well as encouragement of student research, ends up reflected in many of the tih študijskega procesa. Mednje se uvršča tudi magistrski projekt Dodola skupine Pjorkkala, ki results of the study process. Among them is the master’s programme project Dodola, developed je bil razvit na 27. bienalu oblikovanja (BIO27). Slednji namreč odlično ilustrira način, kako se by the Pjorkkala team as part of the 27th Biennial of Design (BIO27). It perfectly illustrates how prek študijskega procesa akumulirano znanje preplete v zmožnost prepoznavanja in analiziranja knowledge accumulated through the study process is woven into the ability to identify and anresnih družbenih in okoljskih problemov, s ciljem spretnega tvorjenja rešitev na povezovanju alyse serious social and environmental problems with the aim of creating clever solutions that sodobnih tehnologij z vernakularnimi znanji. Torej temelju, ki ga je na BIO27 odlično pojasnila combine modern technologies with vernacular knowledge—a foundation wonderfully explained kuratorka Jane Withers: by curator Jane Withers, curator of BIO27: 10 11 Dodola I: example of a vernacular approach to water treatment enhanced by modern technology Dodola I: primer vernakularnega načina čiščenja vode, nadgrajenega s sodobno tehnologijo 12 Dodola I: Sustainable water filtration product produced using 3D printing technology, containing principles of gyroidal structure and Archimedean screw Dodola I: Trajnostni izdelek za filtriranje vode, proizveden s pomočjo 3D­tehnologije, ki upošteva načela giroidne strukture in Arhimedovega vijaka 14 15 Access to drinking water is an increasing global problem. Even in Slovenia, as many as 20% of Problem dostopa do pitne vode je globalni problem v porastu. Tudi v Sloveniji kar 20 % Slovencev the population lives in areas that are not part of the public water supply system, which means živi na področjih, ki niso del javnega vodovodnega sistema in posledično vodna zajetja niso redno that the water catchments do not undergo regular sampling. Field research on the topic led the vzorčena. Terensko raziskovalno delo na izbrano temo je avtorje iz skupine Pjorkkala popeljalo authors from the Pjorkkala group to study a global issue in the local environment of Triglav Nav proučevanje globalnih problemov v lokalnem okolju Triglavskega narodnega parka v Sloveniji. tional Park in Slovenia. At first glance, the countless idyllic photographs showing the pristine na­ Številne idilične fotografije neokrnjene narave in očarljivosti vodnih teles v gozdovih na prvi ture and enchanting bodies of water in the forest give the impression of untouched purity. Howpogled dajejo občutek čistosti in nedotaknjenosti. Analize vzorcev vode iz gozdnih potočkov pa ever, analyses of water samples from the forest streams have revealed the worrisome presence of so razkrile skrb vzbujajočo prisotnost bakterije E. coli, ki ob zaužitju pomeni resno nevarnost E. coli, which poses a serious health risk if ingested. One of the key findings of the research was zdravju. Eno od ključnih spoznanj raziskave je zato bilo, da je onesnaženje lahko prisotno tudi therefore that pollution can be present even in unexpected places, where it is imperceptible to tam, kjer ga primarno ne pričakujemo, se ga ne zavedamo in ne zaznamo s prostim očesom. the naked eye and consequently escapes our awareness. Izhajajoč iz raziskave in potreb lokalnih skupnosti so si avtorji za cilj zadali razvoj rešitve, ki Drawing upon the research and guided by the needs of local communities, the authors set out to bi po vzoru vernakularnih principov in s pomočjo novih tehnologij omogočala filtracijo vode develop a water filtration solution for use in remote locations that would be based on vernacular na odročnih lokacijah. Zato da bi ohranili stroške filtriranja čim nižje za odročne skupnosti, je principles while using new technologies. In order to keep the cost of filtration as low as possibilo eno od ključnih izhodišč filtracijskega sistema tudi funkcionalna avtonomija izdelka z mible for remote communities, one of the key starting points in the development of the filtration nimalno zahtevo po vzdrževanju. Nastala rešitev, Dodola, je izjemno enostavna za uporabo, saj system was that the product should offer maximum functional autonomy with minimal mainne potrebuje električne energije, ampak za pogon uporablja kar vodni tok in zahteva le občasno tenance requirements. The resulting solution, Dodola, is exceptionally easy to use, as it does not čiščenje brez specializiranih orodij. Zasnova Dodole temelji na regenerativnem oblikovanju, ki require electricity—it is powered by the water flow itself—and only needs occasional cleaning, vodo filtrira na principu mehanske filtracije skozi porasto matrico keramičnega materiala. Pri which can be performed without specialised tools. Developed on the basis of regenerative design tem skozi stene iz vode odstranjuje onesnažila v mikroskopski velikosti bakterij E. coli, saj se te principles, Dodola employs mechanical filtration to filter water by passing it through a porous cene morejo prebiti skozi mikroskopsko strukturo por – ostanki organskega materiala v glini, ki ramic matrix. In this process, microscopic contaminants the size of E. coli bacteria are removed med žganjem v peči pogori. Kompleksna giroidna struktura je izdelana iz gline s pomočjo tehfrom the water, as they cannot penetrate the microscopic pore structure formed by the residual nologije 3D­tiska in omogoča večjo površino in posledično poveča pretočnost vode skozi filter. organic material in the clay that burns off during firing in the kiln. With the help of 3D­printing Poleg giroidne strukture za optimalen pretok vode Dodola izkorišča princip Arhimedovega vitechnology, the clay is formed into a complex gyroid structure, which yields a larger surface area jaka, ki vodo poriva skozi stene proti zgornji odprtini. Modularna zasnova filtracijskega sistema and consequently increases the flow rate of water through the filter. In addition to the gyroid omogoča nadgradnje ( Dodola II in Dodola III) glede na vsakokratne specifične zahteve okolja in structure, Dodola ensures optimal water flow by using the principle of the Archimedes’ screw to potrebe lokalne skupnosti. push water through the walls towards the upper opening. The modular design of the filtration system allows for upgrades ( Dodola II and Dodola III) according to the requirements of particular environments and the needs of the local community. Dodola II: modified for easier transport and suitable for drawing water from various natural sources (rivers, lakes, water wells) Dodola II: prilagojena za lažji transport z možnostjo črpanja vode iz različnih vodnih virov (reke, jezera, vodnjaki) 16 17 Dodola III: in this upgrade, the water filtering process is supported by a human­powered pump. This version was developed in collaboration with the Floating University of Berlin for the Tbilisi Triennial of modern art in Georgia. Dodola III: nadgradnja omogoča filtriranje vode s pomočjo črpalke na človeško moč. Različica je bila razvita za Trienale sodobne umetnosti v Gruziji v sodelovanju s Floating University Berlin. 19 The process of designing the exhibition was undertaken by a diverse group of under­ and post­ Oblikovanje razstave je potekalo v pestri zasedbi dodiplomskih in podiplomskih študentov indugraduate students of industrial design and visual communications design under the mentorship strijskega oblikovanja in oblikovanja vizualnih komunikacij pod mentorstvom profesorjev obeh of professors from both of the design departments at the Academy of Fine Arts and Design of oblikovalskih oddelkov na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani. the University of Ljubljana. The research portion of the process was carried out by master’s Raziskovalni del procesa so opravili študentje magistrske stopnje v študijskem letu 2022/2023, students in the 2022/2023 academic year. The design work was taken over in the next academic oblikovalski del procesa pa je v naslednjem študijskem letu, 2023/2024, prevzela skupina štuyear, 2023/2024, by a group of undergraduate students along with a smaller number of master’s dentov dodiplomskega študija in manjšega dela magistrskih študentov, ki so primarno pripravstudents whose involvement was otherwise primarily in research. ljali raziskavo. Igra senc obiskovalce subtilno vabi k interakciji in svojstvenemu The shadow play serves as a subtle invitation to visitors to interact with and develop branju paviljona. Krožna zasnova paviljona sporoča kroženje vode in medsebojno povezanost their own interpretation of the pavilion. The circular design of the pavilion suggests the cycling na videz nepovezanih dejavnikov; igra odsevov in zvokov vode pa ustvarja meditativno vzdušje, of water and the interdependence of seemingly non­related factors; the play of reflections and ki obiskovalce spodbuja k poglabljanju v vsebino. Materialnost paviljona prepletata mehkoba in the sounds of water, meanwhile, create a meditative atmosphere that encourages the visitors to vpojnost tkanine z odbojnostjo, trdnostjo in lahkotnostjo pločevine. Osrednji otok z razstavljeimmerse themselves in the content. The materiality of the pavilion combines the softness and nim produktom je vodna »fontana« – zbirališče in izhodišče paviljona, katerega namen je ustvarpermeability of the fabric with the resistance, strength and lightness of the sheet metal. The janje občutka vzajemne pripadnosti. central island where the product is exhibited is a water “fountain”—the focal and starting point of the pavilion that is intended to create a sense of mutual belonging. Pri oblikovanju paviljona smo sledili pristopom s čim manjšim vplivom na okolje. Paviljon je zasnovan modularno, kar omogoča transport z manjšim ogljičnim odtisom, prav tako pa taka In designing the pavilion, we chose approaches that minimise the environmental impact. The zasnova podaljša življenjsko dobo paviljona. Paviljon se lahko vedno znova brez večjih posepavilion features a modular design that reduces the carbon footprint of its transport and extends gov postavlja v najrazličnejše prostorske kontekste. Na tej osnovi smo pri snovanju paviljona the lifetime of the installation. The pavilion can be exhibited in a wide variety of spatial contexts zavestno uporabljali trpežne materiale, ki bodo prenesli postavitev v visoko obljudenih razstavwithout major alterations. With this as the premise, we consciously used durable materials in the nih prostorih. Po zaključku življenjske dobe paviljona bo vse razstavne elemente mogoče znova design of the pavilion that will withstand installation in high­traffic exhibition spaces. At the uporabiti ali reciklirati. end of its lifetime, all the elements of the pavilion can be reused or recycled. The design of the exhibition project Echoes of Tomorrow is based on a play of reflections, captured within a lightweight and sustainably grounded circular installation design. Zasnova razstavnega projekta Odmevi jutrišnjega dne temelji na igri odsevov, ujetih v lahkotni in na trajnosti utemeljeni krožni postavitvi. 20 • Green Nudge within the framework of the pilot project Lifelong Learning and Micro­credentials (led by UL ALUO) • Urban agriculture for a green transition to a smart and sustainable society and Pjorkkala consists of Žan Giradon, Pia Groleger and Luka Pleskovič. All three obtained their inclusive growth master’s degree from the Academy of Fine Arts and Design of the University of Ljubljana with • Promoting innovative learning environments for teaching engineering students their project Dodola. Since forming the collective three years ago (in 2021), they have become solon the topics of green transition idly established as designers committed to sustainability with an experimental approach. Their • Digital study programme for Mechanical Engineering approach to design is characterised by social and environmental engagement and a research em­ • Open Laboratory phasis on natural materials and traditional skills, both of which they continuously combine with • Optimised study environment in Society 5.0: developing a model for measuring modern technologies. Their work has received many accolades, which include the main internaenvironmental parameters and their effects on the participants of the study tional prize in the Project Excellence category at the Distributed Design Awards 2022; first place process with the aim of supporting the transition to a green and sustainable in the social innovation category at Zagreb Design Week; placement among the top ten at the academic society international competition by DesignWanted: design trends and innovations; an award by Zavod • Additive digital technologies for the fabrication of composite elements BiG in the Perspektivni category and the Daljnogled award by the Designers’ Society of Slovenia. • Developing (future) educators’ competences to promote green transition, sustainable development and environmental literacy in early childhood • An educational ecosystem for achieving digital competences for educators The task of designing the Milan exhibition was given to the Četrtek collective, which consists of and students final year students of industrial design, in collaboration with the final year students of Graphic Design Hana Jelovšek and Gal Šnajder, who work under the name Čira Čara. Četrtek (meaning In addition to the ULTRA programme, we are also involved in two basic research projects in the Thursday) is a collective that tackles design challenges in the field of the climate and social crisis field of sustainability, which are co­funded by the Slovenian Research and Innovation Agency at sessions that usually take place on Thursdays. They began operation in June 2023, when they (ARIS): issued a founding manifesto. The collective’s external efforts in the field of socially responsible design are complemented internally by the exploration of non­hierarchical forms of organisa­ • Heritage for Inclusive Sustainable Transformation – HEI­TRANSFORM tion and design process management with an emphasis on self­management by designers. • Stucco marble altars in Slovenia: materials, conservation, and meaning Without doubt, one of the outstanding successes of scientific and artistic research in 2023 is The Academy of Fine Arts and Design is the oldest educational and research institution in Slovethe establishment of the first research programme at UL ALUO, Visual Literacy. It is the first nia in the field of art and design, and is a member of the University of Ljubljana. Over the years, research programme at the University of Ljubljana to combine scientific and artistic research the Academy has developed advanced programmes in art and design that are committed to social on an equal footing, and will also focus on visual literacy in the field of sustainability. Research and environmental justice. The programmes are developed with an emphasis on individual work programme (P5­0452) co­financed by the Slovenian Research and Innovation Agency (ARIS). with students, with the aim of maximising the transfer of knowledge and experience from the professional staff to the students. The main points of emphasis in the educational process are: The Team of the Echoes of Tomorrow Project • creativity, • innovation and practical learning, • the broader social context, • transdisciplinary, • a strong emphasis on theory, • critical and independent thinking, • sustainability. It is in the latter area of sustainability that the Academy of Fine Arts and Design of the University of Ljubljana has made a deliberate commitment to actively address climate and environmental emergencies. It was the first Slovenian educational institution to join the global initiative of universities for transitioning towards a zero­carbon world, initiated by the Alliance for Sustainability Leadership in Education. We are actively participating in 12 research projects that directly address sustainability issues. In two of them we are the lead organisation. The key projects include those managed and implemented within the programme UL for a Sustainable Society – ULTRA and funded by the Ministry of Higher Education, Science and Innovation of the Republic of Slovenia and the European Union – NextGenerationEU: 23 • Zeleni dregljaj v pilotu Vseživljenjsko učenje in mikrodokazila (nosilnost na UL ALUO), • Urbano kmetijstvo za zeleni prehod v družbo pametne, trajnostne in vključujoče Pjorkkala so Žan Giradon, Pia Groleger in Luka Pleskovič. Vsi trije so s projektom Dodola marasti, gistrirali na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani. V treh letih od • Spodbujanje inovativnih učnih okolij pri učenju in poučevanju študentov tehnike ustanovitve društva (leta 2021) so se dodobra uveljavili kot oblikovalci, zavezani trajnosti z ekso tematikah zelenega prehoda, perimentalnim pristopom. K oblikovanju pristopajo z družbeno in okoljsko angažiranostjo, s po­ • Digitalni študijski program strojništva, udarkom na raziskovanju naravnih materialov in tradicionalnih znanj, oboje pa ves čas prepleta­ • Odprti laboratorij, jo s sodobnimi tehnologijami. Za svoje delo so med drugim prejeli glavno mednarodno nagrado • Optimizirano študijsko okolje v Družbi 5.0: Razvoj modela merjenja okoljskih Distributed Design Awards 2022 v kategoriji Project Excellence; 1. mesto v kategoriji socialnih parametrov in njihovih učinkov na udeležence študijskega procesa za podporo inovacij na zagrebškem tednu oblikovanja; uvrščeni so bili med top 10 konceptov na mednaroprehodu v zeleno in trajnostno akademsko družbo, dnem natečaju DesignWanted: design trends and innovations; prejeli so nagrado Zavoda BiG: • Dodajalne digitalne tehnologije za gradnjo kompozitnih elementov, perspektivni in nagrado Društva oblikovalcev Slovenije: daljnogled. • Razvoj kompetenc (prihodnjih) vzgojiteljev za spodbujanje zelenega prehoda, trajnostnega razvoja in okoljske pismenosti v zgodnjem otroštvu, • Izobraževalni ekosistem za pridobivanje digitalnih kompetenc pedagogov in Oblikovanje razstave v Milanu je prevzel kolektiv Četrtek, sestavljen iz absolventov industrijske­ študentov. ga oblikovanja, v sodelovanju z absolventoma grafičnega oblikovanja Hano Jelovšek in Galom Šnajderjem pod imenom Čira Čara. Četrtek je kolektiv, ki se večinoma ob četrtkih posveča obli­ Poleg programa ULTRA na področju trajnosti sodelujemo tudi v dveh temeljnih raziskovalnih kovalskim izzivom na področju podnebne in socialne krize. Delovati so začeli junija 2023, ko projektih, ki jih sofinancira Javna agencija za znanstvenoraziskovalno in inovacijsko dejavnost so izdali manifest ob ustanovitvi. Kolektiv poleg družbeno odgovornega oblikovanja navzven Republike Slovenije (ARIS): navznoter preizkuša nehierarhične oblike organizacije in vodenja oblikovalskega procesa s poudarkom na samoupravljanju oblikovalcev. • Dediščina za vključujočo trajnostno preobrazbo – HEI­TRANSFORM, • Štukmarmorni oltarji v Sloveniji: materiali, ohranjanje, pomen. Akademija za likovno umetnost in oblikovanje je najstarejša izobraževalna in raziskovalna usta­ Med izjemne uspehe znanstvenega in umetniškega raziskovanja v letu 2023 pa se nedvomno uvrnova v Sloveniji na področju umetnosti in oblikovanja in je članica Univerze v Ljubljani. Skozi šča pridobitev prvega raziskovalnega programa Vizualna pismenost z nosilnostjo na UL ALUO. leta so se na Akademiji izoblikovali napredni programi v umetnosti in oblikovanju, ki so zaveza­ Gre za prvi raziskovalni program na Univerzi v Ljubljani, ki enakovredno povezuje znanstveno ni družbeni in okoljski pravičnosti. Programi so oblikovani s poudarkom na individualnem delu in umetniško raziskovanje ter se bo med drugim ukvarjal z vizualno pismenostjo v polju trajs študenti v želji po čim večjem prenosu znanja in izkušenj strokovnega izobraževalnega kadra nosti. Raziskovalni program (P5­0452) sofinancira Javna agencija za znanstvenoraziskovalno in na študente. Glavni poudarki izobraževalnega procesa so: inovacijsko dejavnost Republike Slovenije (ARIS). • ustvarjalnost, • inovativnost in praktično učenje, Ekipa projekta Odmevi jutrišnjega dne • širši družbeni kontekst, • transdisciplinarnost, • izjemen poudarek na teoriji, • kritično in samostojno mišljenje ter • trajnostni pristop. Prav pri trajnosti se je Akademija za likovno umetnost in oblikovanje Univerze v Ljubljani na­ črtno zavezala aktivni obravnavi podnebnih in okoljskih izrednih razmer. Kot prva slovenska izobraževalna institucija se je priključila h globalni iniciativi Univerz za delovanje k prehodu v brezogljični svet, katere pobudnica je Zveza za trajnostno vodenje v izobraževanju. Aktivno sodelujemo v 12 raziskovalnih projektih, ki neposredno obravnavajo trajnostne tematike, od tega smo pri dveh nosilna organizacija. Med ključne se uvrščajo projekti, ki jih vodimo in izvajamo v programu UL za trajnostno družbo – ULTRA in jih financirajo Republika Slovenija, Ministrstvo za visoko šolstvo, znanost in inovacije ter Evropska unija ­ NextGenerationEU: 24 25 Echoes of Tomorrow Odmevi jutrišnjega dne Project for the Milano Design Week 2024 Projekt za Milano Design Week 2024 40 Years of Design Education at the University of Ljubljana, 40 let oblikovanja na Univerzi v Ljubljani, Academy of Fine Arts and Design Akademiji za likovno umetnost in oblikovanje Published by: Izdala: University of Ljubljana, Academy of Fine Arts and Design Univerza v Ljubljani, Akademija za likovno umetnost in oblikovanje For the publisher Prof. Alen Ožbolt, Dean zanjo prof. Alen Ožbolt, dekan Text author: Avtor besedil: Črt Štrubelj Črt Štrubelj Edited by: Uredila: Barbara Predan Barbara Predan Proofreading of the Slovenian texts and their translation into English: Lektura slovenskih besedil in prevod v angleščino: Soglasnik Language Cooperative Prevajalska zadruga Soglasnik Photographs: Fotografije: Bor Cvetko, Pia Groleger, Andrija Mihailović, Luka Pleskovič Bor Cvetko, Pia Groleger, Andrija Mihailović, Luka Pleskovič Design: Oblikovanje: Hana Jelovšek, Gal Šnajder Hana Jelovšek, Gal Šnajder Curators: Kuratorja: Jure Miklavc and Barbara Predan Jure Miklavc in Barbara Predan Authors of the research work and the exhibition project: Avtorji raziskovalnega dela in razstavljenega dela: Žan Giradon, Pia Groleger, Luka Pleskovič (Pjorkkala) Žan Giradon, Pia Groleger, Luka Pleskovič (Pjorkkala) Authors of the research work connected to the exhibition: Avtorji razstavnega raziskovalnega dela: Laura Bučar, Rok Černezel, Zoja Funda Lipnik, Urh Furlanič, Laura Bučar, Rok Černezel, Zoja Funda Lipnik, Urh Furlanič, Iva Grilec, Andrija Mihailović, Luka Obal, Jaka Oman, Iva Grilec, Andrija Mihailović, Luka Obal, Jaka Oman, Marjana Raspor, Nika Vidnjevič Marjana Raspor, Nika Vidnjevič Authors of the exhibition concept and design: Avtorji razstavnega koncepta in oblikovanje razstave: Zoja Čepin, Domen Klinc, Maša Kralj, Jure Kralj, Zoja Čepin, Domen Klinc, Maša Kralj, Jure Kralj, Andrija Mihailović, Črt Štrubelj Andrija Mihailović, Črt Štrubelj Authors of the exhibition graphic design: Grafično oblikovanje razstave: Hana Jelovšek, Gal Šnajder Hana Jelovšek, Gal Šnajder Mentors: Mentorji: Rok Kuhar, Jure Miklavc, Janez Mesarič, Barbara Predan, Rok Kuhar, Jure Miklavc, Janez Mesarič, Barbara Predan, Roman Ražman Roman Ražman Team photo: Fotografija ekipe: Žiga Gorišek Žiga Gorišek Exhibition organisation: Organizacija razstave: University of Ljubljana, Academy of Fine Arts and Design Akademija za likovno umetnost in oblikovanje Univerze v Ljubljani The exhibition show Echoes of Tomorrow accompanies the celebra­ Razstavni dogodek Odmevi jutrišnjega dne spremlja praznovanje 40. tion of 40 Years of Design Education at the University of Ljubljana, obletnice visokošolskega izobraževanja na področju oblikovanja na Academy of Fine Arts and Design. Univerzi v Ljubljani, Akademiji za likovno umetnost in oblikovanje. Free copy Brezplačni izvod First e­edition. Prva e­zidaja. Ljubljana 2024 Ljubljana 2024 The exhibition project Echoes of Tomorrow also included the V razstavnem projektu Odmevi jutrišnjega dne je potekala tudi promotion of the ULTRA research projects and the Green Nudge promocija raziskovalnih projektov ULTRA in mednarodne poletne international summer school, which UL ALUO, together with šole Zeleni dregljaj, ki jo na UL ALUO skupaj s partnerji z UL FF, UL partners from UL FF, UL PEF and UL FE, is running as part of PEF in UL FE vodimo v pilotu Vseživljenjsko učenje in mikrodokazila, the pilot project Lifelong Learning and Micro­credentials that is programu UL za trajnostno družbo – ULTRA in jih financirajo part of UL’s programme for a sustainable society – ULTRA, and Republika Slovenija, Ministrstvo za visoko šolstvo, znanost which are funded by the Ministry of Higher Education, Science and in inovacije ter Evropska unija ­ NextGenerationEU. Innovation of the Republic of Slovenia and the European Union – NextGenerationEU. Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI­ID 191136259 ISBN 978­961­7009­33­0 (PDF) 26