Focus 3


	by Saša J. Mächtig, for Imgrad, 1966

3D - Possibilities in the fields of documentation, evaluation, interpretation and communication of cultural heritage.

Workshop Experience:
- 3D digitisation (high-quality) provides better documentation of cultural heritage;
- Due to, by 3D digitisation, more acquired data and their manipulation in digital environment (measurments) facilitate the research and the evaluation process (for conservation planning);
- Support for heritage interpretation and communication in virtual (virtual museums, collections, tours, serious games), mixed (augmented reality mobile applications) and physical environment (3D printed models for education purposes or as souvenirs) with the aim of enhancing experience, inclusion and active participation of heritage users regardless of time and location as well as attracting new audiences (younger generations, remote access);
- Prevent counterfeiting;
- Reducing the costs of insurance.

Mentor: dr. Kaja Antlej (SI)


	3D printed model of K67 Kiosk, Silent Revolutions / Contemporary Design in Slovenia. Organizer: the Museum of Architecture and Design of Slovenia. Curator: Maja Vardjan. Maribor European Capital of Culture 2012, Maribor Art Gallery, Maribor, Slovenia, 16. 6. – 15. 7. 2012.

University of Ljubljana, in cooperation with IB-PROCADD, (SI)

University of Ljubljana:
www.uni-lj.si/eng/
Kaja Antlej:
kaja-antlej.com
Kaja Antlej bibliography
kaja-antlej.com/bibliography/
IB-PROCADD:
www.ib-procadd.si

Architect and designer Saša J. Mächtig is an important figure in Slovenian industrial design. In 1984 he was one of the founders of the Design Department at Ljubljana University, where he still teaches industrial design today. He is the author of many classics of Slovenian modern design such as his best known and celebrated work, the colourful K67 kiosk made of reinforced polyester and polyurethane. The kiosk put its stamp on urban centres around Europe and beyond over the last 30 years of the 20th century.

The mass-produced K67 system, composed of five basic modular space units, was functionally conceived so as to fit any location or context. Units were used individually or in large groups and adjusted to a broad range of content and program. The kiosks functioned as newspaper stands, small workshops, flower shops, snack stands, parking payment booths, information offices, ticket sales booths, tourist offices etc. In many industrial complexes Mächtig’s kiosks were utilised as small workshops, gatehouses, protection from factory noise and more. The multifunctional modular unit, serially produced by Imgrad of Ljutomer, was a bestselling item also abroad, mostly in Eastern European countries, parts of Russia and to some extent in Western Europe, USA, Japan, even New Zealand. Critics and publishers Ilke and Andreas Ruby and researcher Helge Kühnel refer to K67 as some kind of dispersed network architecture, which has been used for some 40 years and still remains in use.

During the social and economic crisis of the transition period of the 1990s, Imgrad ceased production, but interest in the product has increased over the past decade. Renowned artist Marjetica Potrč revived it with her urban case installations, reinterpretations of parallel possibilities for survival in today’s over-urbanised cities. The kiosk is also included in the 20th century design collection at The Museum of Modern Art in New York. In 2005 the designer conceived alternative, yet unrealised version with the genetic code of its predecessor, but in the spirit of 21st century visual culture, which is again fascinated by the perfection and efficiency of organically sprouting biomorphic organisms.

Case study on virtual museums

Museum of Image-Nation

"Museum of Image-Nation": University of Arts Berlin,
presented by Natasa Tepavcevic, University of Leipzig, (RS)

"Museum of Image-Nation. Museum as a place of permanent conference" is a redesign of the "Museum of the second AVNOJ session" in Jajce, Bosnia & Herzegovina, established in 1953 as a central memorial Yugoslavian Museum, during the war in Bosnia and Herzegovina (1992-1995) plundered and demolished and re-opened in 2008 .

The inspiration for the project "Museum of Image - Nation" is coming from the following texts: the concept of "Museum as a place of permanent conference" of Joseph Beuys, "Museum as working place" developed by Bazon Brock, Barbara Kirshenblatt-Gimblett considerations of performative museology and Hans Belting's reflections on the historical museum. The aim of this work is to re-make the "AVNOJ museum" as a kind of political platform, in which the visitor has a central place. The artistic work is a 3D animation of the museum which takes you on a virtual walk through the newly conceived space of the "Museum of the second AVNOJ session".

Kaja Antlej, Ph.D. (SI)

Doctor of Philosophy in Heritage Studies
and Bachelor of Industrial Design,
University of Ljubljana, Slovenia

Kaja Antlej, museum and heritage professional, obtained her doctorate in Heritage Studies (Heritology) from the Faculty of Arts, University of Ljubljana in 2013 with the thesis 3D Technologies as a Support for Industrial Design Museum Exhibition as a Young Researcher from Business at IB-PROCADD d.o.o. During working (2006–2013) at the mentioned company she has been partially involved in various other 3D content projects including the Virtual Emona on dlib.si (National and University Library, Museum and Galleries of Ljubljana), the World of Energy visitor center of the Krško Nuclear Power Plant and the Multimedia Center of the Sečovlje Salina Natural Park. She graduated from Industrial Design at the Academy of Fine Arts and Design, University of Ljubljana. The thesis title: The Development of an Industrially Designed Product through the Use of 3D Technologies.

Nataša Tepavčevič (RS)

Visual multimedia artist, holds master degree from the University of Arts Berlin, Institute Art in Context. She has studied visual art at the Faculty of Fine Arts in Belgrade and was exchange student at
the same faculty in Ljubljana and Vienna.
She is working as journalist, curator, Kunstvermittlerin, art educator.

She has published theoretical texts, critiques and interviews on culture, performing and visual arts in journals and collections in Serbia, Germany and USA (Serbia Today, Art Fama, Danas, Teatron, Scena, Mašta, Collection of Methodological Examples etc.). She is the author of various projects and artworks in public space that are dealing with the issues of identity politics in the EU integration process and the production of knowledge. She is the publisher and co-author of the fanzine Knowledge Distribution and author of an art-book Under Construction.

Currently living in Berlin and writing PhD thesis at the Leipzig University.

IB-PROCADD (SI)


3D applications of the tomb of Frederick IX. Ptuj

IB-PROCADD is leading provider and developer of 3D technologies in the Southeast European region. The ability of new technologies and process efficiency to explore and develop inovative projects challenges the company to recognize new markets, where the are introducing 3D technologies for faster, more efficient and higher-quality development of new products in various fields of human activity from engineering disciplines, through the design, architecture and urbanism, civil engineering, geodesy, to areas of cultural heritage, restoration and jewelery.

www.ib-procadd.si