napisala
written by
Sanja Muzaferija
Magija
Majika
Karim Rashid jedan je od najproduktivnijih i najcjenjenijih
dizajnera dananjice. Smatraju ga ivuom legendom di
zajna. Raznolikost i golemi dijapazon Rashidovog talenta
i interesa, kao i sposobnost da se lakoom prebacuje iz
podruja u podruje, koristei u svom radu razliite materijale,
poigravajui se najraznovrsnijim idejama, estetikama po
mae mu da uistinu proiruje vidike i pomie granice dizajna
podiui ga istodobno na viu razinu. Njegov beogradski
Majik cafe zapravo je restoran i lounge bar sa 70 sjedeih
mjesta. Dizajn Majik cafea izravno proizlazi iz njegove
autor
author
Karim Rashid
116 Caf Majik, Beograd, Srbija
fotografije photographs by Neboja Babi
portret portrait Michael David Adams
The Magic
of Majik
Karim Rashid is one of the most productive and highly
esteemed designers of today. He is considered to be a
design legend. The diversity and huge range of Rashids
talent and interests, as well as his ability to shift from
one field to another, using various materials, playing with
various ideas and aesthetics helps him to widen his views
and push the borders of design by simultaneously lifting it
to a higher level. His Majik Caf in Belgrade is actually a
restaurant and lounge bar with 70 seats. The cafs design
results directly from his philosophy on the evolution of
Majik Caf, Belgrade, Serbia Karim Rashid, Majik Caf 117
 potovanja prema novom i suvremenom, pa i elje i gladi za of respect for the new and contemporary, for the desire and
novim idejama i modernizacijom gradova.Rashid je odluio hunger for new ideas and modernization of cities. Rashid
razviti malo arolije, magije usred Beograda i nazvao prostor decided to develop a bit of magic in Belgrade by calling
Majik upravo da i imenom sugerira jedno malo i poetino, the caf Majik, suggesting a small and poetic, magical and
arobno i posebno mjesto koje bi trebalo biti stavljeno na special place that should be put on the global map as
globalnu mapu kao destinacija koju se ne smije i ne moe a destination not to be missed. His colour code is the
zaobii. Kao koloristiki kod koristio je techno-paletu, techno palette, that is, vibrant colours emanating the
tj. boje koje imaju vibrantnu snagu i emaniraju energiju energy of the digital age and world. Behind the counter there
digitalnog doba i svijeta.Iza anka je stakleni zid s uzorkom is a glass wall with a pattern, illuminated from behind and
koji je osvijetljen sa stranje strane i mijenja boju, tako da changing colour, so that there is no unique colour code. He
ovdje nije prisutan jedinstveni koloristiki kod. Dizajnirao designed a computer graphic on glass panels with RGB LED
je kompjutersku grafiku na staklenim panelima s RGB LED lights so that everything constantly changes, creating an
svjetlima pa se sve neprestano mijenja i stvara neoekivanu unexpected dynamics. The stone floor with white and black
dinamiku u prostoru. Kameni pod s bijelim i crnim linijama lines represents a juxtaposition to the electric dynamics and
predstavlja jukstapoziciju ovoj elektrinoj dinamici, a evocira evokes old Ottoman patterns. The ceiling is golden, while the
stare otomanske uzorke. Strop je zlatan, a ulazi u zatvorene entrances to closed booths are treated with a shiny polish
separee lakirani su sjajnim lakom tako da se boje iz okruenja so the colours from the environment reflect from the glossy
reflektiraju na sjajnim povrinama. Ista ga je ideja vodila i pri surfaces. He used the same idea when selecting the furniture,
izboru namjetaja koji je velikim dijelom bijel i lakiran tako mostly white and glossy to reflect the dynamic change of
da se dinamina izmjena boja u prostoru ogleda i na njemu. colours. An attraction in itself is a screen showing text
Atrakcija za sebe je ekran na kojem se prikazuju SMS-poruke messages guests send to be presented, shown and become
gostiju koje oni namjerno i svojevoljno alju, upravo zato da bi public. In this way, a live social experiment is created, a social
se prikazale, pokazale i postale javne. Tako je, zapravo stvoren work in progress. Rashid could not ignore the moment we

filozofije o evoluciji digipopa, tj. prirodi koja kreira svijet bez digipop, that is, nature creating a seamless world. Such a
avova. Svijet kakav nastoji stvoriti, uzbuuje i provocira sva world excites and provokes all human senses. The message
ljudska osjetila. Poruka je toga restorana da je spoj istoka of this restaurant is that it is possible to combine east and
i zapada mogu i da je to iskustvo susreta mogue upravo west, and that the experience of this combination is possible
unutar prostora slobode koju prua digitalno doba. Majik within the space of the freedom offered by the digital age.
je globalan restoran po svojoj prirodi, on kakav jest, svojim Majik is a global restaurant and could be located anywhere
dizajnom, moe biti bilo gdje na svijetu i pripadati bilo kojem in the world, in any climate or context, but still it is very
podneblju i kontekstu, a ipak je i sasvim site specific, prepun site specific, filled with quotes from Serbias past that
citata iz srpske povijesti iz koje je Rashid obilno uio, crpio i Rashid learned, discovered and borrowed. In the premises
posuivao. U ovaj je prostor maksimalan naglasak stavio na he especially emphasized the sensual forms he adores and
senzualne oblike i forme koje oboava i digitalne tehnologije digital technologies that ensure the dynamics. The glass
koje su dinamizirale prostor. Stakleni ank s uzorkom mijenja patterned counter changes colour, and there are artistic glass
boje, a tu su i umjetniki stakleni paneli koji su osvijetljeni panels illuminated by RGB LED technology that dominate the
pomou RGB LED tehnologije i dominiraju salom za ruanje i dining room and bar and make Majik Caf visible from the
barom te omoguuju da se Majik cafe vidi ve s poetka ulice beginning of the street where it is situated. The restaurant
u kojoj je smjeten. Restoran je zamiljen i dizajniran tako da was designed to logically and naturally belong to the techno
logiki i prirodno pripada u techno-doba, posve je srastao s age, completely incorporated in the 21st century. An LED
21. stoljeem. U cijeloj je prii vrlo vaan LED messagebord , message board plays an important role as a screen where
ekrana kojem se, prema elji gostiju, mogu prikazati njihove guests may display their text messages. Majik is based on the
SMS-poruke. Majik je u ideji namjerno umetanje, insertacija idea of the intentional insertion of something completely
neeg potpuno suvremenog u kontekst i okruenje staroga, contemporary into the context and environment of the old
da bi se proirile granice postojeega. Kulturno i umjetniko in order to widen the limits of the existing. Cultural and
nasljee, cjelokupna istonoeuropska batina prepuna je artistic heritage, the entire eastern European heritage is full

118 oris, broj 77, godina 2012 oris, number 77, year 2012 Karim Rashid, Caf Majik Karim Rashid, Majik Caf 119
 skica jedan ivi drutveni eksperiment na djelu, jedan drutveni work live in, whether we want it or not, we are strongly marked GROUND FLOOR PLAN
1 HOST STAND
in progress. Rashid naprosto nije mogao ignorirati moment u by constant communication, social networks and messages. 2 BAR
sketch
kojem svi ivimo, htjeli mi to ili ne, snano obiljeeni upravo If we do not communicate, our environment surely does. 3 DINING
4 PRIVATE DINING
neprestanim komuniciranjem, drutvenim mreama, poru Isolation is not possible. The author believes we have to 8 7 MAIN ENTRANCE 5 DJ BOOTH
6 RESTROOMS
kama. Ako mi ne komuniciramo, komunicira naa okolina. communicate and experiment with such sophisticated, sexy, 7 OUTDOOR LOUNGE
Od toga se nije mogue izolirati. Autor bez rezerve smatra humane and changeable energies around us at the moment, 8 OUTDOOR DINING

da moramo komunicirati i eksperimentirati s tim tako so in the mode we are in, here and now. Design is a social act 1
fisticiranim, tako seksi, tako humanim i tako promjenjivim par excellence, a creative act, but political and behavioural, 5 4 3
tlocrt
energijama koje nas okruuju u ovom trenutku, u modusu as well. Rashids design is also an attempt to capture or
plan
u kojem se nalazimo ovdje i sada. Dizajn je drutveni in par create the infostetics, the new language, filled with symbols, 6

excellence, on je kreativan in, ali je istodobno i politiki i
bihevioralan. Rashidovo bavljenje dizajnom takoer je po
kuaj hvatanja ili stvaranja infostetike, jezika koji je nov, pun
znakova,koji kao takav nije prije postojao, a estetski je za
nimljiv.Time nastaje jedan novi i potencijalno svima razumljiv
jezik. To je estetika, ali i informacija. Ili estetika informacije.
U sadanjem trenutku mi, kao ljudi, baratamo s mnogo vrsta
interakcije i komunikacije. Kada govorimo o primjeru projekta
Majik, informacija, ve spomenuta SMS tekstualna poruka,
never before existing, but aesthetically interesting. Thus, a
new language is created, potentially understandable to all.
2
This is aesthetics, but also information. Or the aesthetics
of information. At the present moment we humans handle 1
m
0 5
a lot of different kinds of interaction and communication.
When we speak of the project Majik, the information, the
text message instantly appearing on screen, is our organic
continuation, techno-organics at work. The conclusion
is certainly that Majik successfully combines the dual

120 oris, broj 77, godina 2012 oris, number 77, year 2012 Karim Rashid, Caf Majik Karim Rashid, Majik Caf 121
 koja se instantno pojavljuje na ekranu, organski je nastavak aesthetics of the local and the global. The local is visible in
nas kao ljudi, a to je technorganics na djelu. Svakako se moe the play with Serbian ornaments, the global is present in the
zakljuiti da je u Majiku uspjeno spojena dualna estetika total impression of contemporariness of the place that could
lokalnog i globalnog. Lokalno se nazire u poigravanju srpskim be located anywhere in the world.
ornamentima, a globalno je prezentno u cjelokupnom dojmu
suvremenosti kojim mjesto odie i koje bi se uistinu moglo
nalaziti bilo gdje na svijetu.

Caf Majik, Dorda Vaingtona 38a, Beograd, Srbija

Majik Caf, Dorda Vaingtona 38a, Belgrade, Serbia

autor author Karim Rashid

voditelj projekta project manager Camila Tariki, Karim Rashid
investitor client Veselin Jevrosimovi
neto povrina net area 136 m
projekt project 2007
realizacija completed 2008
cijena costs nedostupna / undisclosed

122 oris, broj 77, godina 2012 oris, number 77, year 2012 Karim Rashid, Caf Majik Karim Rashid, Majik Caf 123