Search

Straipsnyje nagrinėjama vienos žymiausių šiuolaikinių Lietuvos dizainerių Rasos Baradinskienės kūryba, j os pristatymas. Reprezentacinis šios menininkės kūrybos tapatumas tiriamas atliekant kompleksinę, konteksto, lyginamąją, formos, meninės raiškos analizę. Siekiama išsiaiškinti dizainerės darbų savitumo, kūrybinio vardo, kūrybos pristatymo sąsajas ir reprezentacijos ypatumus. Text explores the creative work of one of the most famous Lithuanian designers, Rasa Baradinskienė, and its presentation. The representative identity of Baradinskienės creative work is researched using complex, contextual, comparative and artistic analysis. The aim of the study is to pinpoint the connections of uniqueness of her work, creative name and the attributes of presenting her work. Baradinskienės creative work came to prominence during a complicated time for Lithuanian design. The search for a unique creative identity, the publicity of design in Lithuania and aspects of presenting a newly restored independent Lithuanian state abroad became especially important. Rasa Baradinskienė, a freelance designer, graduated from Kaunas Applied Arts School with speciality in textile and embroidery (1985-1987). From 1988-1993 she studied at the Design department of Vilnius Academy of Arts. She created the "RASA deSIGN" brand in 2002. This creative brand was contrived when Rasa started participating in international exhibitions and the need for distinctive and concise presentation arose. Four areas of work are noted in the designers biography: projects of furniture and lights fixtures, accessories projects, and graphics in the interior and design concepts. The outstanding features of Baradinskienės design are: transformation (construction of objects), harmonious contrast (creative expression), feelings (emotional influence) and signs (visual perception). The design motive allows the artist to connect emotionally to the viewer of the object. It acquires a symbolic quality in Barandinskienės work and becomes the sign spanning all areas of her work. The "Sign" is confirmed by the main anthropomorphic motives of her works - smiley face, hand and doll. Their function is utilitarian and the aesthetics are based on a positive emotional response. In this way the designer creates and develops the idea of emotive design. One of the segments of presentation of creative work and brand identity is Rasa Baradinskienės creative output the exhibitions which have been especially numerous. She has participated in more than 50 exhibitions in Lithuania and abroad and has organised various exhibitions herself. The design objects presented at the shows are often created for exhibitions and design events and not commissioned by manufacturers. This way the possibilities for individual artistic expression were opened and the creative brand strengthened.

Currently the protection of industrial designs in the European Union undergoes the harmonization process, and two legal protection systems co-exist today: Union-wide protection of Community designs and national protection of designs. These two systems do not always operate smoothly, sometimes they cause difficult problems for the common market. The so-called spare parts problem is one of them. Some problems have been successfully removed in the past by applying the exhaustion of rights doctrine. In fact, applying the doctrine amounts to restriction of intellectual property rights. Examining current harmonization efforts in the EU, we see that the design property rights are in a constant state of adjustment. The restriction of these rights seems to solve successfully the problems of the single market as well as those of free competition – it is a universal legal instrument indeed. The restriction must be motivated, however. The consumers‘ rights must be involved to substantiate the restriction. The design property rights amount to exclusive rights for certain modes of information usage. We have applied this information approach to substantiate the restriction of design property rights when solving the spare parts problem. According to this approach, consumer should have the inalienable right for a free usage of design information to restore the original appearance of a product. The analysis of the problem shows, that exhaustion of rights doctrine should be used to solve the... [to full text]