Godišnjak Studija Dizajna School of Design Annual Review

Godišnjak Studija dizajna 13. / 14.

School of Design Annual Review 13 / 14

Godišnjak Studija dizajna School of Design Annual Review izdavač Sveučilište u Zagrebu Arhitektonski fakultet Studij dizajna Godišnjak publisher University of Zagreb Faculty of Architecture School of Design Studija dizajna 13. / 14. za izdavača Voditelj Studija dizajna prof. Stipe Brčić for the publisher Head of School of Design School of Design Professor Stipe Brčić

Sva prava pridržana. Niti jedan dio ove publikacije Annual Review 13 / 14 ne smije se reproducirati ni na koji elektronski i mehanički način bez pisane dozvole izdavača.

ISSN 1848 – 7823

Zagreb, 2015. godišnjak studija dizajna 13./14. school of design annual review 13 / 14 undergraduate undergraduate programme / Sadržaj Contents preddiplomski preddiplomski studij predgovor preface 7 preddiplomski studij undergraduate programme 11 Projektiranje – Industrijski dizajn Design Course – Industrial Design 15 Projektiranje – Vizualne komunikacije Design Course – Visual Communications Design 57 Tipografija Typography 111 Likovni program Visual Arts Programme 143 Fotografija i film Photography and Film 159 graduate graduate programme

Osnove interaktivnih medija Basic of Interactive Media 179 / Studenti Students 189 Izvedbeni program Curriculum Outline 197 diplomski diplomski studij diplomski studij graduate programme 205 Industrijski dizajn Industrial Design 209 Dizajn vizualnih komunikacija Visual Communications 223 Projektiranje pisma Font Design 239 Film i video Film and Video 245 Interaktivni mediji Interactive Media 253 Diplomski radovi Graduation Theses 257 Studenti Students 303 Izvedbeni program Curriculum Outline 309

Godišnje nagrade i priznanja Annual Awards and Acknowledgements 316 Projekti Projects 325 Događanja Events 353 vijeća, povjerenstva, programski odbori council, committes, programme board 377 registar Archive 381 impressum impressum 414 godišnjak studija dizajna 13./14. school of design annual review 13 / 14

Predgovor Preface

Svoje sam predgovore u prethodnim Godišnjacima završavao In the previous issues of this publication I usually ended my sa zahvalama onima koji su doprinijeli postignutim rezultatima. introductions giving thanks to all those who contributed to the Ovaj put zbog izuzetno teških uvjeta u kojima smo radili, a koji achieved results. On this occasion, due to the fact that we all su bili gotovo na rubu regularnosti, najprije zahvaljujem svim worked in extremely adverse conditions, I would like to express studenticama i studentima, nastavnicima i suradnicima na izni- my gratitude to all the students, the professors and our collabo- mnim naporima koje su morali uložiti kako bi uspješno okončali rators who put in a great deal of effort in order to successfully ovu akademsku godinu. complete this academic year.

Podsjećam, prošla akademska godina (2012./2013.), bila je po- The academic year 2012/13 was the last year in which we could sljednja u interfakultetskom organizacijskom modelu. follow our formerly established interfaculty organization model.

Kako u međuvremenu nije pronađen novi, 22. studenog 2013. In view of the fact that no new organizational model was de- god. potpisan je između Sveučilišta u Zagrebu i Arhitektonskog vised in the meantime, an Agreement between the University fakulteta Sveučilišta u Zagrebu Sporazum o prijelaznom ustroju of Zagreb and the Faculty of Architecture of the University of Studija dizajna. Zagreb was made on 22nd November 2013 concerning a transitional organizational scheme for the School of Design. Proces zamjene nastavnika koji su radili u svojstvu vanjskih suradnika u okviru prethodnog modela, stalno zaposlenim na- Finding full-time teaching staff who might adequately substi- stavnim kadrom u okviru novog modela, odvija se izuzetno teško. tute those who used to work on outsourcing basis (as was Propisane procedure, komplicirane i trome, troše toliko vremena previously the case), has turned out to be an extremely difficult da će ovaj problem opterećivati i iduću akademsku godinu. task. The regulations currently in force are complicated, slow, Studentima je istovremeno trebalo osigurati nastavu u skladu and time-consuming and therefore will continue to put great sa studijskim programima koje su upisali, zbog čega je uspješno strains and burdens on our work in the next academic year as okončanje ove akademske godine ravno podvigu. well. Teaching should have been organized according to the programs. Therefore the successful completion of this academic Zbog toga sam ovaj predgovor započeo iskrenom zahvalom year is a real accomplishment. neposrednim akterima. Zahvalu svakako dugujemo i Arhitek- tonskom fakultetu na čelu s dekanom, prof. mr.sc. Borisom This is why I started my introduction giving thanks to all the par- Koružnjakom, te Fakultetskom vijeću bez čije podrške bi se ticipants in this successful endeavour. We express our gratitude teško nosili s trenutnim problemima. to the Faculty of Architecture and its dean prof. Boris Koružnjak including the Faculty Council for their active support.

7 godišnjak studija dizajna 13. / 14. predgovor school of design annual review 13 / 14 preface

Voditelj Studija dizajna Head of the School of Design prof. Stipe Brčić Stipe Brčić, prof.

U povodu ove, 25. godišnjice Studija dizajna sasvim je umjesno On the occasion of the 25th anniversary of the School of Design, Rođen 1948. godine u Osijeku. 1971. diplomirao Born in 1948, in Osijek. In 1971 graduated from postaviti pitanje: Da li je Studij ispunio (i dalje ispunjava) ciljeve it seems appropriate to raise the following question: Has the slikarstvo na Akademiji likovnih umjetnosti u the Academy of Fine Arts in Zagreb, Painting Zagrebu, u klasi prof. Miljenka Stančića. Od 1968. Department, in the class of Prof. Miljenko Stančić. zbog kojih je 1989. godine osnovan? Umjesto odgovora iznijeti School truly fulfilled the objectives set in its 1989 foundation do 1972. stalni suradnik u ateljeu arh. Vjenceslava From 1968 to 1972 was a permanent associate ću samo neke činjenice: program? Let me present a few facts as an answer: Richtera. Od 1977. do 1989. član autorskog tima with the architect Vjenceslav Richter’s studio. From Na Studiju dizajna je u “predbolonjskom” periodu diplomiralo In the “pre-Bologna” period 535 designers graduated from our Vizualne komunikacije Centra za industrijsko 1977 to 1989 acted as an authoring member of the oblikovanje CIO. 1983. član-osnivač Društva visual communications design team at the Industrial 535 dizajnerica i dizajnera. Nakon uvođenja “bolonjskog” modela School. Upon the implementation of the “Bologna” higher edu- dizajnera Hrvatske. Od 1985. do 1989. predsjednik Design Centre (CIO). In 1983 became a co-founding bilježimo 196 prvostupnica i prvostupnika, te 96 magistrica i cation reform, 196 students have earned their Bachelor’s degrees Društva dizajnera Hrvatske. 1990. osniva vlastiti member of the Croatian Designers Society (HDD). magistara dizajna. Njihovo profesionalno djelovanje je domi- and 96 their Master’s degree. Their professional activities have studio Norma International. Od 1986. do 1988. član From 1985 to 1989 held the position of President of radne grupe za osnivanje i izradu okvirnog programa the Croatian Designers Association (HDD). In 1990 nantno odredilo dizajnersku scenu u Hrvatskoj. Afirmirana je left an indelible trace on the Croatian design scene. The design Studija dizajna na Sveučilištu u Zagrebu na kojem, established his own studio, Norma International. profesija. Nije nevažna ni činjenica da na tržištu rada gotovo i profession has established its reputation. Last but not least, po osnivanju 1989. godine, postaje predavač na From 1986 to 1988 acted as a member of the nema nezaposlenih dizajnera. there are currently no unemployed designers. kolegiju Projektiranje. Od 2002. do 2006. voditelj working group in charge of founding of the School Studija dizajna. Od 2004. do 2005. koordinator of Design and drafting of its educational programme radne grupe za izradu studijskog programa u sklopu framework. After the School’s foundation in 1989 Zašto ipak izostaje plodnija interakcija između dizajna i hrvat- The question is: why cannot be established a more fruitful colla- ‘bolonjske’ reforme i koautor izvedbenog programa he became a lecturer in Visual Communications skog gospodarstva? boration between design and Croatian economy? iz kolegija Projektiranje / vizualne komunikacije 1 – 6 Design. From 2002 to 2006 he was Head of the (preddiplomski studij) i Dizajn vizualnih komunikacija School of Design. From 2004 to 2005 acted as 1 – 4 (diplomski studij). Od 2011. godine voditelj coordinator of the working group in charge of the To je tema koja svakako zaslužuje posebnu analizu i elabora- This is the vital issue that needs to be specifically addressed and Studija dizajna. educational programme draft within the ‘Bologna’ ciju. Tek nakon toga će biti moguće točno odgovoriti na gore properly examined. Only then will it be possible to provide an reform of higher education, and a co-author of the Visual Communications Design 1 – 6 (undergraduate postavljeno pitanje. adequate answer to this question. level) and the Visual Communications Design 1 – 4 (graduate level) courses’ educational programmes. Voditelj Studija dizajna Head of the School of Design As of 2011 he has been holding the position of Head of the School of Design. prof. Stipe Brčić Stipe Brčić

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Preddiplomski studij Undergraduate Programme

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Ciljevi Objectives

Struka je na Studiju dizajna promatrana kao interdisciplinarna, Design profession is at the School of Design considered as an Studenti već tijekom preddiplomskog studija kontinuirano su- Undergraduate students continuously co-operate in project kreativna, inovativna i intelektualna djelatnost usmjerena na interdisciplinary, creative, innovative and intellectual activity rađuju na projektantskim zadacima sa stvarnim gospodarskim i tasks with economic and social entities, as well as in extracu- uspostavu načela promišljenog, održivog i ekološki osviještenog striving to comply with the principles of planned, sustainable društvenim subjektima u okviru semestralnih projekata tijekom rricular activities: workshops, tenders, exhibitions and in current razvoja sa ciljem stvaranja i njegovanja identiteta, humanizacije and environmentally friendly development, humanisation of redovne nastave, te u izvannastavnim aktivnostima poput radi- regional and international events, which enables comprehensive tehnologije i permanentnog poboljšavanja kvalitete života i technology and continuous improvement of the quality of life onica, natječaja, izložbi i sudjelovanja u aktualnim regionalnim i advancement of the process of design in real conditions, keeping rada, te prema odgovornom pronalaženju odgovarajućih rje- and work, and it is primarily focused on responsible selection međunarodnim događanjima. Time je omogućeno cjelovito usa- abreast of current trends and events, as well as inclusion of šenja komunikacijskih problema u gospodarskom, društvenom of adequate solutions to communication problems in economic, vršavanje procesa dizajniranja u uvjetima suvremenog realnog students in the processes of professional development. i kulturnom segmentu društva. Kao takav, dizajn je promatran social and cultural aspect of society. Design is one of the prin- okruženja, aktivno praćenje aktualnosti i uključivanje studenata kao jedan od temeljnih čimbenika pri stjecanju konkurentnosti i cipal features in achieving competitiveness and recognisability u procese razvoja struke. Following the completion of the undergraduate study of design prepoznatljivosti u globalnoj gospodarskoj i kulturnoj razmjeni. in the global economic and cultural exchange. the students acquire competences in the field of design creation Završetkom preddiplomskog studija dizajna studenti stječu in compliance with the definition by icsid and icograda, such Tijekom trogodišnjeg preddiplomskog studija dizajna studen- During the three-year undergraduate study of design students kompetencije za suradničke poslove na području dizajnerskog as independent performance of simple tasks concerning design ti stječu znanja i sposobnosti za rad u projektnim timovima acquire knowledge and competencies for work in project te- stvaralaštva prema definiciji ICSID-a i ICOGRADA-e, poput samo- of objects or systems and co-operation in interdisciplinary, re- na osmišljavanju i oblikovanju projektantskih zadataka diza- ams on ideas and creation of planning design tasks in material stalnog izvođenja jednostavnih projektantskih zadataka dizajna search, developmental, scientific and artistic teams. Moreover, jna predmetne i komunikacijske okoline. Cilj preddiplomskog and communication environment. The principal objective of predmeta i sustava, suradnje u razvojno-istraživačkim poslovi- following the completion of undergraduate study, students obrazovnog ciklusa je stvaranje kompetentnih stručnjaka za an undergraduate cycle is the creation of competent profes- ma i projektima, zatim suradnja u specijalističkim istraživanjima acquire competencies for enrolment in graduate study. zadovoljavanje stvarnih ljudskih potreba u realnom okruženju. sionals to meet human requirements in the real environment. i u interdisciplinarnim razvojnim, istraživačkim, znanstvenim Interdisciplinarni karakter dizajna je uspješno implementiran The interdisciplinary feature of design is implemented in the i umjetničkim timovima. Završetkom ovog studija stječu se u nastavni program pomoću teorijsko-metodičkih, osnovnih curriculum through theoretical and methodological, basic te- također i kompetencije za upis diplomskog studija. tehničkih i tehnoloških, te društvenih i umjetničkih, odnosno chnical and technological, as well as social, artistic, practical onih praktično-projektantskih područja koja čine bitne zada- and project-related areas as fundamental preconditions of the tosti struke. Ciljano koordiniranim kombiniranjem teorijskih i profession. The use of creative imagination is encouraged to praktično-projektantskih predmeta potiče se svestrani razvoj enhance development of personality required for innovative kreativne imaginacije u cilju razvoja sposobnosti za inovativno creation trough co-ordinated combination of theoretical and stvaralaštvo u dva specijalistička područja koja Studij dizajna practical-planning courses in two specialist areas of study at the pruža: industrijski dizajn i dizajn vizualnih komunikacija. Pod- School of Design: industrial design and visual communications ručje industrijskog dizajna na preddiplomskom studiju uključuje design. Industrial design at the undergraduate study includes a raspon strukovnih vježbi od dizajna raznovrsnih predmeta, diza- broad range of practical work ranging from design of various jna namještaja i njihovih sustava, dok područje dizajna vizualnih items and furniture design and furniture system design. On the komunikacija uključuje dizajn elemenata i sustava za tiskovne i other hand, visual communications design involves the design elektroničke medije. Tijekom prve godine studija studenti usva- of elements and systems for the press and electronic media. jaju temeljna opća načela dizajna i informacije potrebne za izbor During the first year of study the students become acquainted usmjerenja. U kasnijim fazama produbljuju opća znanja i vještine with fundamental general standards of design and the informa- i stječu specifična znanja u odabranim područjima specijalizacije. tion essential for their selection of a specific study programme. Subsequently, throughout the study, the students enrich their general knowledge and acquire new skills, as well as specific knowledge in their selected study programme.

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Projektiranje Design Course – Industrijski dizajn – Industrial Design

Projektiranje – industrijski dizajn temeljni je strukovni kolegij koji Industrial Design Studio is the fundamental vocational course se provodi kroz sve tri godine preddiplomskog studija. Tijekom extending throughout the three years of undergraduate study. prve godine studija studenti usvajaju osnovna znanja i vještine During the first year of study students acquire basic knowledge temeljem kojih izabiru usmjerenje. Na drugoj i trećoj godini and skills based on which they subsequently select the program- studija studenti svladavaju projektantske procese u cilju stjecanja me. During the second and third year they become acquainted odgovarajućih kompetencija. Složenost projektantskih zadataka with planning processes aiming to acquire the required com- postepeno raste kroz semestre, a studenti u njima primjenjuju petencies. The complexity of planning tasks increases gradu- znanja i vještine iz odgovarajućih predmeta društveno-huma- ally through semesters and students are required to apply the nističkog, umjetničkog, tehničkog i komunikacijskog područja. knowledge and skills in social and humanistic area, as well as the area of arts, technology and communications. Na početku obrazovnog procesa u okviru predmeta Projek- tiranje studenti svladavaju temeljna predznanja u struci. U tu At the commencement of the educational process during the svrhu analiziraju, estetski razmatraju i stvaraju trodimenzio- course Studio the students acquire the fundamental backgro- nalne oblike na funkcionalnoj i simboličkoj razini kao temeljne und required. Consequently, they analyse, examine aspects of sposobnosti u industrijskom dizajnu. U nastavku obrazovnog aesthetics and create three-dimensional items at functional procesa usvajaju metode kritičke analize i kreativne sinteze u and symbolic level as vital competencies in industrial design. cilju osposobljavanja za osmišljavanje kreativnih i inovativnih Subsequently throughout the educational process students rješenja. Pri tome primjenjuju osnovne metode istraživanja are introduced to methods of critical analysis and creative odnosa proizvoda, korisnika i okoline u aktualnim društvenim, synthesis in order to acquire competencies in providing creative tehnološkim i gospodarskim okolnostima. and innovative solutions. Moreover, fundamental methods of research of relationship between products, users and the envi- Završnim radom preddiplomskog studija studenti pokazuju ronment against the backdrop of current social, technological svoje sposobnosti, znanja i vještine potrebne za samostalno and economic circumstances. projektiranje proizvoda i njihovih sustava. Izradom multimedijalne prezentacije završnog rada dokazuju svoje sposobnosti u The graduation thesis upon completion of the undergraduate predstavljanju svojih zamisli kao sastavnog dijela kompetencija study shows students’ competencies, knowledge and skills requ- koje preddiplomski studij daje. ired for independent planning of products and their systems. In a multimedia presentation of their graduation thesis students show their competencies in presentation of their ideas as a vital constituent of competencies acquired during the undergraduate study.

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prvi semestar eva šmuc josipa tadić marta badurina mentor Mladen Orešić mentor Mladen Orešić Analiza oblika mentor Ivana Fabrio asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog Prvi zadatak studentima postavlja izazov oblikovanja prostorne forme inspirirane principom zlatnog reza (Fibonaccijevog niza). Studenti trebaju analizom prirodne i predmetne okoline u sva- kodnevnici uočiti i istražiti taj princip, te ga koristiti kao osnovu vlastite interpretacije predmeta. Cilj zadatka je potaknuti studente na analitičko promatranje vlastitog okruženja, iz kojeg će crpiti ideje za oblikovanje; upoznavajući zakonitosti kompozicije trodimenzionalnih oblika kroz analizu plohe, volumena, mrežne konstrukcije, materijala, teksture i svjetla. Potrebno je istražiti percepciju tih karakteristika, te ih artikulirati kao alate u oblikovanju. Tijek zadatka obuhvaća bilježenje zapažanja i razvijanje ideja skicama i predmodelima, te konačnu samostalnu izradu prostorne forme, koja predstavlja studentovu interpretaciju istraženih fenomena. first semester Rad je nastao temeljem analize oblika čajnika grupe Analysis of Form Memphis. Pri tome su uočene nelogičnosti nastale predimenzioniranjem pojedinih dijelova čajnika. The first task for the students is the challenge of designing spatial Redukcijom oblika stvorena je kompozicija kojom form inspired by the principle of the Golden section (Fibonacci se neobičnim rasporedom elemenata negiraju sequence). Students are required to perceive and study this zakonitosti zlatnog reza i zadržava prepoznatljivi karakter čajnika. Polazni predmet, šivaća mašina, The initial item, sewing machine Odabrani predmet je stroj za ručno The selected item is a manual walnut principle through analysis of natural and material environment razdvojena je na dva zasebna tijela. has been divided into two separate mljevenje oraha. Proučavanjem grinder. Shapes reduced to basic in our daily lives and use it as a basis for their own interpretation The project originated as a result of an analysis of Manje je tijelo ono koje predstavlja parts. The smaller part represents sastavnih oblika i postupkom njihove and simplified items were obtained Memphis group teapot forms. Moreover, the analysis funkciju te ukazuje na oštrinu igle i the function and indicates the redukcije dobiveni su oblici svedeni following the study of the constituent of objects. The specific objective of the task is to encourage showed inconsistencies of over dimensioning of pokret koji mašina čini pri radu, dok sharpness of the sewing needle and na osnovne i pojednostavljene parts and through the process of students to develop analytical observation of their environ- specific teapot parts. A composition has been veće tijelo ukazuje na karakterističnu the movement made by the machine elemente. Pri tome je zadržan their reduction, while retaining ment which will provide them with ideas for design; by getting created through a reduction of forms which, through formu šivaće mašine. Pri redukciji forme while operating, while the smaller osnovni karakter i prepoznatljivost the fundamental features and the an unusual arrangement of items, negates the rules sačuvane su kosine koje su iznimno part indicates the specific form of the predmeta i njegove funkcije. recognisability of the item and introduced to rules of composition of three-dimensional forms of the Golden section and retains the recognisability uočljive kod polaznog predmeta. sewing machine. The slants which are its function. through analysis of level surface, volume, network construction, of the teapot features. extremely prominent in the initial item material, texture and light. Perception of these features needs have been preserved irrespective of the reduction of form. to be analysed and articulated as design tools. During the task students need to document their observations and development of their ideas through drafting and pre-modelling and subsequently provide an independent design of spatial form showing students’ interpretation of the analysed phenomena.

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paula šantić mentor Mladen Orešić tea dragaš anja nikolić luka dundović asistent / assistant Andrea Hercog mentor Ivana Fabrio mentor Zlatko Kapetanović mentor Ivana Fabrio

Namijenjen snimanju fotografija, Through its form the camera, intended fotoaparat svojom nas formom for photograph shooting, makes us navodi na postupak promatranja, observe, select and frame the scenes odabira i kadriranja prizora ispred before our eyes. Through a selection nas. Odabirom kadra i okidanjem, of a shot and photograph shooting we Početni predmet, melodika, reducirana The initial item, melodica has been Kao predmet analize odabran je Walnut grinder has been selected Za analizu odabran je češer bora, čija A pine cone has been selected as omogučujemo prolaz svjetlosti enable the passage of light to the film je na dva osnovna elemenata. Jedan reduced into two basic items. One mlinac za orahe. Karakteristike as the subject of this analysis. The gradbena struktura prati Fibonaccijev the subject of this analysis. Its do filma, čime bilježimo odabrani which records the selected shot. The element je šuplji kvadar koji sugerira item is a hollow parallelepiped which mlinca zadržane su u formi izdvojenih features of the grinder have been niz. Model je stiliziran prema osnovnoj construction structure follows the kadar. Izvedeno rješenje naglašava implemented solution points out the strujanje zraka i stvaranje zvuka, a suggests the air circulation and the elemenata, te u njihovoj funkciji: retained in its form and separate items, kompoziciji tih ukrštenih spirala. Fibonacci sequence. The model has usmjeravanje fotoaparata u potrazi za focusing of the camera in search for drugi su tipke u različitim položajima. creation of sound, while the other izvlačenju / uvlačenju i rotaciji. as well as in their function: pulling been stylised according to the basic različitim kadrovima. diverse shots. Kompozicija tipki prati položaj crnih item comprises of keys in diverse Oblikovana su dva kvadra koja se out / pulling in and rotation. Two composition of the intertwined spirals. i bijelih tipki na melodici a njihovim positions. The composition of the pomiču, a kroz njih prolazi disk. Za movable squares have been designed postavljanjem na različite visine keys follows the position of the black dva pomična kvadrata korišteno je and a disc passes through them. sugerira se visina tonova. and white keys on the melodica and drvo, dok kružni element od plesiglasa Wood has been used for two movable their placement at different heights simbolizira rotaciju. squares, while the circular item made suggests tone height. from Plexiglas symbolises rotation.

18 19 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 1. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 1st semester

prvi semestar paula šantić josipa tadić mentor Mladen Orešić mentor Mladen Orešić karla čotić Ravnoteža asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog mentor Ivana Fabrio Drugi zadatak prvog semestra vježba je u kojoj studenti istražuju pojam ravnoteže, kako u oblikovnom smislu, tako i kao stanja tijela ili fizičkog sustava. Cilj zadatka je oblikovati trodimenzi- onalnu kompoziciju koja simbolizira zadani pojam kroz tri faze procesa. One uključuju analizu pojma i otkrivanje karakterističnih značajki na funkcionalnoj i simboličkoj razini. Interpretacija vlastitih saznanja sastavni je dio procesa oblikovanja sa jasno definiranim odnosom elemenata. Ovom vježbom studenti razvijaju osobno razumijevanje osnovnih načela percepcije i semiotike trodimenzionalnih oblika. Usvajaju osnove analitičkih, kreativnih i prezentacijskih metoda i tehnika. Proces je dokumentiran skicama i prostornim eksperimentima. Zadatak uključuje i samostalnu izradu osnovne projektantske dokumentacije i prezentacije kao i izradu modela. first semester Trodimenzionalna kompozicija je A three-dimensional composition Balance sastavljena od dva međusobno comprises of two mutually opposed suprotstavljena elementa: polukugle items: half-ball made from Styrofoam The second assignment in the first semester is a task through od stiropora i drvenih štapića. Na taj and little wooden sticks, resulting in an which students analyse the concept of balance, both concerning način dobivena je naizgled nestabilna apparently unstable composition. Since its formal aspect and as a condition of a body or a physical kompozicija. Budući da je težište izvan its median point is placed outside its njene konstrukcije, a oslonac u jednoj construction and the support is in one system. The objective of the assignment is to create a three-di- točci, ostvarena je stabilna ravnoteža, point, a stable equilibrium has been mensionalcomposition that symbolises a specified concept odnosno tijelo se uvijek vraća u achieved and the entity always returns through a process comprising of three phases. These include uravnoteženi položaj. to the point of equilibrium. concept analysis and revealing of characteristic features at a Trodimenzionalna kompozicija je sastavljena od Trodimenezionalna kompozicija functional and at a symbolic level, as well as interpretation of kocaka koje je moguće zakretati za 360 stupnjeva na je sastavljena od kocaka različitih one’s own findings through creation of a three-dimensional način da u određenom momentu zakretanja dolaze veličina, čije su stranice obrađene na dijagonalu prethodne kocke. Time je omogućeno na način, da imaju grubu teksturu. composition with clearly defined relations between the features. formiranje kompozicije na način da se iz uspravne Takva gruba tekstura ostvaruje This assignment is intended to contribute to development of forme rotacijom elemenata ostvaruje niz novih trenje pomoću kojeg je moguće personal understanding of fundamental principles of perception uravnoteženih ili neuravnoteženih formi. slagati kocke u trodimenzionalne kompozicije, ostvarujući pri tome and semiotics of three-dimensional shapes among students. Three-dimensional composition comprises of dice indiferentnu ravnotežu. Students deepen their insight into analytical, creative and pre- which can be turned by 360° by reaching the diagonal of the previous die at a certain point. The three-dimensional composition sentation methods and techniques, while the process has been Consequently, the formation of the composition comprises of dice of different sizes documented through results of these findings through drawings has been restricted by a rotation of items from the whose sides deliberately have a rough texture. The rough texture enables and spatial experiments. The assignment includes independent vertical form and creating a vast array of new or unbalanced forms. friction through which it is possible preparation of design documentation and presentation, as well to arrange the dice into three- as model creation. dimensional compositions, hence achieving an indifferent equilibrium.

20 21 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 1. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 1st semester

valentina sunek viktoria jurina matej maltar mentor Mladen Orešić dorja horvatić mentor Ivana Fabrio mentor Zlatko Kapetanović asistent / assistant Andrea Hercog mentor Ivana Fabrio

Ravnoteža je prikazana odnosima The equilibrium has been shown raznih materijala. Omjer gustoće through the relationship between naspram veličine čelika i stiropora diverse materials. The ratio between omogućava ravnotežu ove the thickness and the size of iron kompozicije, bazirane na principu and Styrofoam accounts for the poluge. Kako bi se lakoća stiropora equilibrium of this composition, izjednačila težini čelika, dodani su based on the principle of lever. plošni elementi različitih karakteristika. Surface items of diverse features Pleksiglas svojom prozinošću djeluje have been added in order to balance lakše od crnog, manjeg i lakšeg the lightness of Styrofoam and komada forexa, dok bjelina stiropora the weight of iron. As a result of Crtači zvrkovi su nastali na temelju The drawing spinning tops originated Inspiracija za izražavanje ravnoteže The inspiration for the expression of Trodimenzionalna kompozicija je The three-dimensional composition doprinosi njegovoj lakoći. Prikazano je its transparency, Plexiglas appears istraživanja načina funkcioniranja following the research of the methods proizašla je iz promatranja equilibrium came from the observation sastavljena od niza krugova koji comprises of broad range of circles također kako odnos gustoće materijala, more light-weight in relation to žiroskopa i zvrka kao najstarije igračke of functioning of the gyroscope and kaotičnog kretanja duplih ljuljački. of the chaotic movement of double položajem svojih osi zajedno čine which through the position of their svijetlog naspram tamnog, plohe black, smaller and more light-weight na svijetu. Prilikom vrtnje zvrk balansira the spinning top as the oldest toy in Eksperimentiranje je rezultiralo swings. The experimentation resulted kuglu. Oblikom kugle ostvaruje se axes create a ball. The form of the ball naspram volumena, teksture naspram piece of forex, while the whiteness of na vrhu okomite osi ostvarujući the world. During the normal going of sistemom međusobno povezanih in a system of mutually connected iron simetrična ravnoteža. Osi krugova accounts for a symmetric equilibrium. glatkog te sam razmještaj elemenata Styrofoam contributes to its lightness. labilnu ravnotežu. Pri tome se zvrk ne the spinning top, spinning about the čeličnih šipki koje se kreću bez lagera, bars which move without a bearing, omogućuju njihovo zakretanje na The axes of the circles enable their unutar kompozicije, utječe na optičku i Moreover, the relationship between vrti u jednoj točci, nego se kreće po vertical axes, it achieves an unstable stvarajući zanimljive kinetičke efekte. creating interesting kinetic effects. način da se postižu različite prostorne turning and hence diverse spatial mehaničku ravnotežu. the thickness of the materials, light horizontalnoj plohi. Ova karakteristika equilibrium, while the spinning top kompozicije, ostvarjući pri tome compositions are created, as well as versus dark, surface versus the volume, je iskorištena za formiranje zvrka does not spin in one point as it asimetričnu ravnotežu. an asymmetric equilibrium. texture versus smoothness and the crtača: tanjuru pomoću kojeg se moves along a horizontal surface. arrangement of the items within ostvaruje labilna ravnoteža je kao This feature has been used for the the composition impact both on the središnja vertikalna os ugrađena olovka, formation of the drawing spinning top: optical and the mechanical equilibrium. koja svaki puta prilikom vrtnje ostavlja as a central vertical axis a pencil has drugačije tragove. been built into a plate through which an unstable equilibrium is achieved. Upon spinning the pencil leaves different marks.

22 23 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 2nd semester

drugi semestar ana kikerec mentor Mladen Orešić josipa tadić eva šmuc Nagrada Studija dizajna izabrano rješenje / a selected solution mentor Ivana Fabrio mentor Ivana Fabrio Na prvom zadatku drugog semestra studenti su oblikovali go- dišnju nagradu Studija dizajna, koja se dodjeljuje za najuspješnije projekte iz područja industrijskog dizajna i dizajna vizualnih komunikacija za preddiplomski i diplomski studij. Oblikovanje nagrade podrazumijevalo je osnovno rješenje sa dvije varijante, jednu za preddiplomski i jednu za diplomski studij. Tijekom ovog zadatka studenti se upoznaju s osnovnim predznanjima o procesu dizajna predmeta sa zadanim parametrima i definiranja osnovnih kriterija za kreiranje novih proizvoda. Idejnim rješenjima prethodilo je istraživanje simboličke uloge nagrade u općem i konkretnom smislu, te upoznavanje sa konstrukcijskim, tehnološkim i estetskim načelima. Prema definiranim kriterijima studenti su oblikovali jednostavan predmet jasne simboličke vrijednosti, izradili projektantsku dokumentaciju i finalni model. second semester The School of Design Award The first assignment in the second semester comprised of de- signof annual award presented by the School of Design, that isgiven for the most successful projects in the area of industria- Idejni koncept nagrade temelji se na The conceptual idea of the award is ldesign and visual communication design for both undergra- obliku knjige kao simbolu stečenog based on the form of the book as a duateand postgraduate study programme. The design of the znanja. Iako je forma nalik na običnu symbol of the acquired knowledge. knjigu, unutrašnjost je ispunjena Irrespective of the fact that the form award implies a basic solution with two versions, one for the sadržajima i alatima koji potiču looks like an ordinary book, the inside undergraduate and one for the postgraduate study program- Pored osnovne uloge objekta da se nekom dodjeli dobitnika Nagrade na daljnji kreativan is filled with content and tools which me. During the assignment students were introduced to basic kao nagrada, ovo rješenje istovremeno služi i kao rad i razvoj. encourage the award winner to further creative work and development. background knowledge on the process of design of objects with praktični alat za proces dizajniranja. Zamišljen kao mjerilo za mjerenje proporcije ljudskog tijela -1:10, specific assigned parameters, striving to predict the fundamental ovaj se alat može iskoristiti pri oblikovanju predmeta criteria for the creation of new products. The conceptual design za čovjeka. Ovako oblikovana, Nagrada Studija dizajna postaje i koristan alat za dizajnera. Koncept nagrade temeljen je na pojmu The concept of the award is based was preceded by aresearch on the symbolic role of the award interdisciplinarnosti obrazovanja koje on the notion of interdisciplinarity of both in the generaland in the specific sense, as well as intro- In addition to the fundamental role of the item to stječemo tijekom studija. Drveni kubus education acquired throughout the duction to construction, technological and aesthetic principles. be received by someone as an award, this solution predstavlja temeljna znanja, a metalni study. The wooden cube stands for is simultaneously intended as a practical tool dio je kreativan doprinos dizajnera. the fundamental knowledge, while the for the design process. It has been conceived for Metalne pločice se nadovezuju jedna metal part stands for the contribution measuring of the proportion of the human body na drugu, kreirajući grafizam koji made by designers. Metal plaques 1:10. This tool can be used during the design of the predstavlja proces i napredak. Krak koji create a continuum, hence creating items intended for people. Designed in this manner, izvire kada se metalne pločice spoje sa graphism which indicates the process. the School of Design Award transforms into a kubusom simbolizira pojedinca koji se The part which is protruded when useful tool for the designer. istaknuo, dobivanjem nagrade. metal plaques are brought together with the cube symbolises an individual who has become prominent – an award winner.

24 25 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 2nd semester

rafael milčić paula šantić vita vrebac mirjam milas mentor Mladen Orešić mentor Ivana Fabrio mentor Ivana Fabrio mentor Mladen Orešić

Idejno rješenje Nagrade se bazira The conceptual design of the Award Idejnim rješenjem naglašava The conceptual design points out na međuodnosu plohe i tijela, te is based on the interrelationship se dimanika samoga dizajna a the dynamics of the design itself, as na simbolici dualnosti / jedinstva between the surface and the entity, as istovremeno i stalni intelektualni well as the continuous intellectual koja proizlazi iz njihove interakcije. well as on symbolism of duality / “unity i kreativni napredak dizajnera. and creative progress of the designer. Korištenjem poliranog inoksa kao originating from their interaction. Odabirom reflektirajućeg materijala na Through a selection of a reflective reflektirajuće podloge, u odrazu Through the use of polished inox as a simbolički se način ističe sveprisutnost material in a symbolic manner od jedne polovice drvene kugle reflective background surface, in the dizajna ali i odgovornost koju dizajneri emphasises the omnipresence of dobijamo sliku cijele kugle. Taj efekt reflection of one half of the wooden imaju prema društvu i okolini u design, as well as the responsibility omogučuje da ista nagrada služi ball we get the picture of the entire kojoj djeluju.Rješenje omogučuje of designers towards the society i za preddiplomski i za diplomski ball. This effect enables the same ward različite prostorne položaje koji and the environment they operate studij, zavisno o tome na koju stranu to be used both for the undergraduate simbolički izražavaju razliku između in. The solution provides diverse okrenemo objekt. Različitom obradom and for the postgraduate study, Svoje ideje najprije stavljamo na Firstly we put our ideas down on paper Koncept nagrade inspiriran je The concept of the award has prediplomskog i diplomskog studija. spatial positions which symbolically drva dobiva se doslovna razlika između depending on the side we choose. The papir, od njega sve počinje, stoga from where everything commences stereotipnim izgledom nagrada been inspired by the stereotypical Okretanjem idejnog rješenja u različite express the difference between the jedne i druge strane objekta a time i diverse methods of wood processing je i ambalaža ove nagrade od and hence the packaging of the izrađenih iz kristala, koje se dodjeljuju appearance of awards made from položaje mijenjamo veličinu baznog undergraduate and the postgraduate simbolička razlika između nagrade za result in differences between the sides tyveka, materijala koji izgleda award has been made from Tyvek, the u različitim prilikama. Ideja je bila crystal which are presented in diverse trokuta čime simboliziramo različite study. Through placing the conceptual preddiplomski i diplomski studij. of the item, as well as the symbolic poput zgužvanog papira. Ambalaža material which looks like wrinkled zadržati ideju ‘kristalne nagrade’ occasions. The idea was to preserve nivoe studija. design into different positions, one can difference between the award for the je s unutrašnje strane hrapava što paper. The inside of the packaging ali ne kroz materijal, već formu. the idea of a crystal award, yet opting alter the size of the basal triangle and undergraduate and the award for the simbolizira ‘brušenje, poliranje’ ideja. is uneven which symbolises the Smišljene su dvije verzije nagrade, for the form rather than the material. hence symbolise diverse levels of study. postgraduate study. Sama nagrada je slojevita, kao i naš ‘polishing and the smoothing’ of ideas. jedna za preddiplomski a druga za Two versions of the award were put do uspjeha. Vanjsko ‘kučište’ je The award in itself is multi-layered diplomski studij, koje se formom i devised, one for the undergraduate od metala što simbolizira težinu puta and so is the road leading to success. bojom razlikuju, a imaju i mogućnost and one for the postgraduate study, do uspjeha, unutar kojeg se nalazi The exterior ‘casing’ has been made spajanja u jedinstvenu cjelinu. Ideja which differ concerning the form and novo ‘kučište’ sačinjeno od četiri vrste from metal which symbolises the je da svaki nagrađeni student dobije the colour and have the opportunity drva čime je simbolizirana raznolikost difficulties encountered on the road pomalo izmjenjenu verziju nagrade of integration into a unique entity. The načina obrade / razrade ideje. leading to success, within which there tako da jedan oblik nikada nije dva idea behind it was for each awarded Posljednji, unutarnji dio je grafit koji is another ‘casing’ made from four puta ponovljen, što nagradu čini student to receive a slightly altered sugerira poticaj na stvaralaštvo. types of wood which symbolises the uistinu jedinstvenom. version of the award so that one form different methods of the processing / is never repeated, which certainly elaboration of ideas. The last, interior makes it a unique award solution. part is a grafitto which implies an encouragement to create.

26 27 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 2nd semester

drugi semestar mirjam milas paula šantić josipa tadić Svjetlo na stolu mentor Mladen Orešić mentor Ivana Fabrio mentor Ivana Fabrio U ovom zadatku studenti trebaju istražiti funkcionalne potrebe za svjetlom na stolu u različitim situacijama, te tehničke zakonitosti i estetske i ambijentalne vrijednosti proizvoda koji takvo svjetlo omogućuju. Na temelju tog istraživanja studenti su osmislili vlastita rješenja i samostalno izradili proizvode. Cilj zadatka je istraživanje i rješavanje međusobnih odnosa čovjeka, predmeta i okoline u zadanoj situaciji uz uvažavanje ergonomskih, konstrukcijskih i estetskih načela, istraživanje dostupnih materijala i tehničkih zakonitosti, te stjecanje iskustva samostalne izrade jednostavnog proizvoda. second semester Light on the Table This assignment was aiming to focus on functional requirements for lighting at tables in different situations, as well as technical principles and aesthetic and ambient values of products providing such lighting. Based on this research students provided their own solutions and independently created products. The specific objective of the task was research and addressing relations between man, objects and environment in specific situations Koncept svjetiljke temelji se na The concept of the lamp is based on Svjetiljka ‘Pa’trik’ sastoji se od ‘Pa’trik’ lamp comprises of two items, considering ergonomic, construction and aesthetic principles, as upotrebi najnužnijihh elemenata the use of the most essential items dva elementa, statičnog okvira i a static frame and a mobile cube well as research of available materials and technical principles svakog rasvjetnog tijela, žarulju i of each lighting equipment, the light pomične kocke u kojoj se nalazi in which the light bulb is located. kabel uz minimum materijala koji bulb and the wire with the minimum žarulja. Uglavljivanjem kocke u okvir Fixing the cube into the frame in and gaining experience in independent creation and making of će te elemente povezati u cjelinu. material which will integrate all these na različite načine postižu se brojne diverse ways provides a vast array of a simple product. Idejno rješenje inspirirano je igrom svjetlosti i sjene, Provlačenjem kabla kroz plohe items. The installation of the wire mogućnosti osvjetljenja, a može se opportunities of lighting and it can pozitiva i negativa. Ideja je bila jednostavnom drvene konstrukcije postižu se through the wooden surfaces results koristiti i samostalno, bez okvira. also be used independently, without rotacijom elementa omogućiti korisniku da različiti karakteri svjetiljke, a samim in diverse character features of the the frame. po osobnom afinitetu, želji i potrebi prilagodi tim i raznolike sjene koje nastaju lamp, as well as different shades osvjetljenje. Rasvjetno tijelo nudi dvije mogućnosti, interakcijom svjetla i kabela. which originate from the interaction navedenom rotacijom elementa dobiva se difuzno, of the light and cable. atmosfersko svjetlo dok početni položaj odlikuju karakteristike usmjerenog svjetla. The conceptual design has been inspired by the game between light and shadows, the positive and the negative. The idea behind it was to enable the user to adapt the lighting, aiming to meet their specific personal requirements, wishes and affinities through simple rotation of items. The lighting equipment provides two opportunities - the abovementioned rotation results in diffused, ambiance lighting, while the initial position has the features of directional light.

28 29 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 2nd semester

luka dundović marta badurina lucija rubinić mentor Zlatko Kapetanović filip kovačić mentor Zlatko Kapetanović mentor Ivana Fabrio asistent / assistant Sanja Bencetić mentor Mladen Orešić asistent / assistant Sanja Bencetić

Jednostavna poligonalna forma A simple polygonal form of a Osnovna ideja rasvjetnog tijela The idea behind the lighting equipment svjetiljke omogućuje promjenu lamp enables a change in position zasnovana je na širenju i sužavanju is the spreading and narrowing down položaja pod različitim kutevima, under diverse angles, meeting the sjenila kako bi se regulirala količina of the lampshade in order to adjust ispunjavajući potrebe za više ili manje requirements for higher or lower svijetla te time mjenjala ambijentalna the quantity of light and hence alter osvjetljenja u prostoru. U situacijama quantity of light in a specific space. i radna funkcija rasvjete. Vrijednost the ambiance and the operating kada se ne želi u potpunosti ugasiti During the situations in which one izmjene svijetla najkorisnija je za function of lighting. The value of the svjetlo okretanjem otvora svjetiljke does not want to turn off the light one koji u istom prostoru rade i alterations of lighting is most useful prema podlozi, svjetlo se prigušuje i entirely, one can decide to turn the borave. Izmjena je ostvarena sjenilom for those working and spending their postaje vrlo suptilno. opening of the lamp towards the dizajniranim u formi ‘tuljca’ koji sadrži free time in the same environment. base which will result in a dimmed podesiv prsten, čime je omogućeno The alteration has been performed subtle light. reguliranje količine svijetla. Kreirane through a lampshade designed in the su dvije verzije, jedna sa stalkom shape of a cylinder that contains an na kojem je moguće podesiti visinu adjustable ring which enables the uz moguću roatciju prstena i druga adjustment of the quantity of light. samostojeća koju je moguće i objesiti. Two versions have been created, one with a stand on which the height Oponašanjem jednostavnih tehnika A lamp made from unique pieces of Svjetiljka se sastoji od baze i The lamp comprises of a basis and a can be adjusted and the ring can origamija, japanske vještine savijanja solid material, a thin and foldable svjetlosnog objekta sačinjenog od lighting object made from Plexiglas be rotated and the second, a free papira bez rezanja i lijepljenja, polypropylene, in transparent and pleksiglasa i LED trake. Ta se dva and LED strip. The two features can standing lamp which can also be hung oblikovana je svjetiljka iz jedinstvenih opaque variant was designed and elementa mogu kombinirati na be combined in several ways and as a pendant. komada čvrstog materijala, tankog i shaped through imitation of simple nekoliko načina, čime svjetiljka mijenja consequently the lamp changes savitljivog polipropilena u prozirnoj origami techniques, the Japanese funkciju iz radne u ambijentalnu i its function from being used for i neprozirnoj varijanti. Linijske skill of paper folding without cutting obratno. the purpose of work to ambiance perforacije na ravnim komadima and gluing. Linear perforations in purposes and vice versa. materijala navode korisnika da flat pieces of material encourage the svjetiljku sam oblikuje i tako sudjeluje user to attempt to design and shape u njenoj izradi, ali i u odluci koji položaj the lamp by themselves and hence će svjetiljka zauzeti u prostoru. participate in its creation, as well as in the decision on the most adequate position of the lamp in a specific space.

30 31 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 2nd semester

karla čotić dorja horvatić mentor Zlatko Kapetanović tanja modraković mentor Zlatko Kapetanović rafael milčić asistent / assistant Sanja Bencetić mentor Mladen Orešić asistent / assistant Sanja Bencetić mentor Mladen Orešić

Koncept rasvjete proizašao je iz The concept of lighting originated Rasvjetno tijelo je inspirirano The lighting equipment has been Početna ideja bila je, vodeći se The initial idea was, considering the promatranja igre svjetla i sjene u from the observation of the game mjesečinom a osmišljeno da se u inspired by moonlight and devised to konceptom klasične lampe sa concept of the classical lamp with a prirodi, pri čemu je cilj bio omogućiti between light and shadows in Nature, potpunosti izvede prema ‘uradi be made entirely according to the ‘do- sjenilom, napraviti modularnu lampu shade, create a modular lamp with manipuliranje količinom svjetlosti u aiming to enable the manipulation sam’ principu. Korištenjem jeftinih it-yourself’ principle. Through the use sa odvojivim sjenilom. Kao inspiraciju a detachable shade. The inspiration prostoru i pritom stvoriti interakciju with the quantity of light in a specific i dostupnih materijala (PVC of affordable and available materials korišten je oblik kugle, kojim je came from the form of the ball s korisnikom. Pomicanjem vanjskih, space, resulting in an interaction Kombinacijom tehnike origamija i A kinetic ambiance lamp was created kanalizacijske cijevi, stiropor, stari (PVC drain pipes, Styrofoam, an old oblikovano tijelo lampe i sjenilo. Oblik which shaped on the body of the elipsoidnih elemenata mjenjaju se with the user. The contours and the igre kockastom formom, oblikovana through a combination of origami punjač za mobitele) i praćenjem mobile phone charger) and following lampe proizlazi iz njenog korištenja i lamp and the shade. The form of the konture i oblik lampe, što doprinosi shape of the lamp change through je kinetička ambijentalna svjetiljka technique and playing with the form jednostavnih uputa za izradu, moguće the simple instructions, it is possible interakcije sa korisnikom. lamp originates from its use and its raznolikosti oblika svjetla. movement of exterior, ellipsoidal items, koja nudi mogućnost da korisnik sam of a cube. The lamp provides the user je samostalno izraditi svjetiljku. to make a lamp on one’s own. Upon interaction with the user. which contributes to the diversity of određuje položaj, a time i intenzitet with the opportunity to decide on its Kada se svjetiljka upali, iznenadi lighting it, it provides a surprising the shapes of lighting. svjetla. Oblikovana je od hrastovine position, as well as on the intensity of nas neobičnim efektom koji nastaje effect caused by the passage of light te spajana tekstilom, čime je stvorena light. It has been made from oak wood prolaskom svjetla kroz stiropor. through Styrofoam. stabilina forma koja omogućuje and fabric was used for its assembly, interakciju sa korisnikom. which resulted in a stable form that enables interaction with the user.

32 33 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 3rd semester

treći semestar Dizajn proizvoda za ciljanog lidija šarko dina bartolić mentor Zlatko Kapetanović mentor Zlatko Kapetanović korisnika i za široko tržište asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog Zadatak počinje analizom karakternih osobina odabrane osobe uočavanjem potreba i problema sa ciljem osmišljavanja ekskluzivnog proizvoda za izabranog korisnika. Cilj zadatka je usvajanje osnovnih projektnih okolnosti odnosa proizvoda i korisnika. Pri tome je potrebno razviti metode analize korisnika uz istraživanje njegovog okruženja (antropometrija i antropologija). Proces razvoja proizvoda za poznatog korisnika podrazumijeva aktivnu suradnju između korisnika i dizajnera. U tijek zadatka uključena je i obavezna valorizacija rješenja koju daje sam korisnik. Drugi dio semestra je posvećen dizajnu proizvoda za nepoznatog korisnika na temelju spoznaja i rješenja iz prehodnog zadatka. Prije svega, studenti moraju definirati ciljne skupine korisnika prema zaključcima o željama i potrebama poznatog korisnika iz prethodnog zadatka, te analizirati njihove karakterne osobine. Pri tome studenti moraju razmatrati funkcionalne, ergonomske i tehnološke aspekte i uvažavati zakonitosti serijske proizvodnje. third semester Product Design for Target Audience and Broad Market torba / kabanica / marama Inspiracija za proizvod proizašla je iz istraživanja The task commenced with the analysis of character traits of a potreba i osobnog stila poznatog korisnika. Često specific person and identification of requirements and problems, nošenje marama kao odjevnog detalja ukazuje na aiming to develop and plan an exclusive product for a specific potencijal korištenja jednostavnog oblika tkanine na višenamjenski način. Rješenje na jednostavan način user. The objective of the assignment was to deepen the insight omogućuje četiri različita načina korištenja, uz brzu i stolić – stalak za igru go table – japanese board game go on the basic relations in design between the product and the jednostavnu prenamjenu. Široj ciljanoj skupini sličnih Stolić je inspiriran interesom za Japan i japansku The idea behind the table originates from the kulturu odabranog poznatog korisnika, iz čega interest in the Japanese culture. The table meets user. Consequently, methods of user analysis need to be deve- korisnika rješenje je prilagođeno širokom paletom različitih materijala i veličina, te izborom materijala su proizašli oblik i mehanizam rasklapanja. Stolić two requirements: when folded it takes up little loped and research of their environment (anthropometry and koji omogućuje pohranu u malim dimenzijama. ispunjava dvije uočene potrebe: u sklopljenom stanju room and can be used for putting away drawings, anthropology) conducted. Product development process for a zauzima malo prostora i služi za odlaganje crteža, folders, magazines, two playing surfaces for several bag / raincoat / scarf mapa i časopisa, a rasklapanjem stolića pojavljuje Japanese games, as well as a drawer for figurines known user implies active co-operation between the user and The inspiration for this product originated from the se ploha s dvije igrače podloge za japanske igre i required for the games. The table becomes a focal the designer. The assignment also implies mandatory evalua- research on the requirements and a personal style ladica kao spremište za figure potrebne za igre. point for socialising. The research of the target user tion of solutions that is provided by the user. The second part of the known user. The frequency of wearing scarfs Time stolić postaje centar prostora za druženje. group showed a vast potential of Japanese social as a fashion accessory pointed out the potential Istraživanjem ciljane skupine sličnih korisnika, uočen games during journeys or long waiting periods, of the semester is dedicated to product design for an unknown of using a simple cloth for multiple purposes. je potencijal japanskih društvenih igara prilikom which impacted on the selection of materials, as user based on the findings and solutions from the previous The solution provides four simple and diverse putovanja ili dužih čekanja, iz čega proizlaze izbor well as on a specific form and the implementation assignment. Primarily, students need to define target market possibilities of use along with quick and facilitated materijala, te specifičan oblik i konstrukcija. Rješenje of the conceptual design which uses an extremely repurposing. The solution has been adapted to a zauzima iznimno mali prostor, a figurice su povezane small space, while the figurines have been attached groups based on conclusions, wishes and requirements of a broad target group of similar users through a vast s podlogom na način koji spriječava njihovo to the playing surface which prevents their being known userfrom the previous assignment and hence analyse array of diverse materials and sizes, as well as the slučajno razdvajanje tijekom igre u uvjetima vožnje. accidentally scattered in case of playing the games their character traits. Consequently, students need to consider selection of materials which enables the storage of Istraživanje načina pomicanja figura tijekom igre during the journey. small-sized objects. rezultiralo je specifičnom konstrukcijom i uzorkom functional, ergonomic and technological aspects, as well as igraće površine. principles of serial production.

34 35 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 3rd semester

monika močević iva vučemilović-grgić mentor Zlatko Kapetanović mentor Zlatko Kapetanović asistent / assistant Sanja Bencetić asistent / assistant Sanja Bencetić

višenamjenski zidni držači system of furniture items torba – ruksak Sustav proizvoda za pohranu različitih stvari na A system of furniture items used for wall storage Višenamjenska torba, koju je moguće nositi i kako ruksak, zidovima, proizašao je iz istraživanja potreba shelving originated from the research on the projektirana je prema specifičnim zahtjevima poznatog poznatog korisnika i specifičnog prostornog requirements of the known user and a specific korisnika za svakodnevno prenošenje stvari, a kasnije i socijalnog konteksta. Oblikom neutralni i spatial and social context. Neutral and unobtrusive je razvijena u proizvod za ciljanu skupinu sa sličnim nenametljivi elementi omogućuju postavljanje furniture items provide an opportunity of placement potrebama. Posebnost proizvoda je izrazito jednostavna različitih kompozicija na pojedine zidove. Zajedno of different compositions on individual walls, and, proizvodnja i održavanje, te visoka prilagodljivost različitim sa stvarima koje su na njih odložene, čine zanimljivu along with the objects stored upon them, create osobnim predmetima koja se postiže jednostavnim i jedinstvenu kompoziciju u prostoru, prilagodljivu an interesting and a unique spatial composition, preklapanjima i spojevima. osobnom stilu korisnika. S obzirom da rješenje adaptable to the personal style of the user. Since nudi veoma široku lepezu kompozicija i funkcija, za this solution has an immense potential of functions bag – backpack prilagodbu široj skupini sličnih ciljanih korisnika bilo and compositions, in order to adapt it to the broad The conceptual design of the backpack originated from the je potrebno tek proširiti izbor materijala i dimenzija. group of similar target users, a selection of materials research on the requirements and the problems of a known and dimensions needed to be expanded. user during the carrying of the objects and the equipment used daily. It is made from rationally used simple piece of cloth, by folding it in a specific manner and by using a small number of simple additional features. The backpack has been designed for a target group of users with similar features, for a vast array of transportable objects and its appearance and form are highly acceptable for a broad user group.

36 37 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 4. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 4th semester

četvrti semestar mirko vučić mentor Zlatko Kapetanović Redizajn asistent / assistant Andrea Hercog Zadana tema studentima postavlja problem funkcionalnog, obli- glačalo kovnog i/ili tehnološkog poboljšanja i unapređenja postojećeg Istraživanjem procesa glačanja i postojećih tehnoloških mogućnosti, uočena je potreba za proizvoda s električnim pogonom, za ručnu uporabu, poput intervencijom u vizualnom doživljaju glačala. malih kućanskih aparata, alata, upravljačkih konzola i sl., pri Stoga rješenje ispunjava uobičajene funkcionalne i čemu treba poštovati univerzalnu prepoznatljivost predme- tehnološke zahtjeve, ali svojim izgledom preispituje odnos tradicionalnih i suvremenih vrijednosti. ta. Cilj zadatka kritičko je sagledavanje okoline: upoznavanje konteksta nastajanja i životnog vijeka proizvoda; uočavanje iron Through exploration of the process of ironing njegovih funkcionalnih, oblikovnih, ekonomskih, tehničkih i and of the current technological opportunities, ekoloških karakteristika; zatim konstrukcijskih i tehnoloških a requirement for an intervention in the visual zakonitosti, uz prepoznavanje prednosti i nedostataka proizoda experience of iron arose. Consequently, the solution provided meets the customary functional kroz propitivanje uporabnih, ergonomskih, estetskih, socioloških and technological requirements, yet through its i psiholoških aspekata. appearance it reconsiders the relationship between the traditional and the contemporary values. fourth semester Redesign The specific topic presents the issue of functional, design and/ uvijač za kosu or technological improvement and enhancement of the existing Redizajn uvijača za kosu rješava probleme uočene pri korištenju – proizvod svojim oblikom sprječava product with electric drive yet for manual use, reminding of small kontakt vruće cijevi s rukom korisnika, te omogućava household appliances, tools and handlebar consoles, to name brzo i jednostavno odlaganje tijekom korištenja. a few, where universal recognisability of the object needs to Dugme, čijom se rotacijom regulira temperatura grijača, istovremeno je iskorišteno u svrhu lakšeg be respected. The principal objective of the task is to acquaint odlaganja. students with critical analysis of the environment: introduction hair curler to the context of production, use and life cycle of a product. A re-design of a hair curler provides solutions to Moreover, the task focused on raising awareness of its functional, problems identified upon the research on use – the design, economic, technical and ecological features, as well as product shape prevents contact between the hot iron and the user’s skin, while enabling quick and deepening of insight into structural and technological principles, simple putting aside throughout the use. The button, in addition to identification of advantages and disadvantages which upon rotation regulates the temperature of of the product with particular focus on operative, ergonomic, the heater, is simultaneously used for the purpose of simplified putting aside. aesthetic, sociological and psychological aspects.

lidija šarko mentor Mladen Orešić

38 39 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 4. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 4th semester

iva vučemilović-grgić dina bartolić mentor Zlatko Kapetanović mentor Mladen Orešić asistent / assistant Andrea Hercog

uređaj za silikonsko ljepilo glue gun uređaj za silikonsko ljepilo glue gun Istraživanje problema koji se javljaju tijekom The research on the problems arising upon the Klasični pištolj za ljepilo je redizajniran u precizni A classical glue gun has been redesigned into a more uporabe pištolja za vruće ljepilo ukazalo je na dvije use of a glue gun showed two groups of specific manji pištolj koji je namijenjen prvenstveno za accurate smaller gun intended primarily for the grupe specifičnih situacija korištenja, odnosno na situations, as well as two possible solutions. In the izradu modela i hobi upotrebu, stoga koristi nižu creation of a model and hobby use. Hence it can dva moguća rješenja. U prvom rješenju je oblik first solution the shape is ergonomically adapted temperaturu i manju količinu ljepila. Može se operate at lower temperatures and it needs smaller ergonomski prilagođen ruci različitih skupina to the hand of diverse groups of potential users odložiti na gornju ili donju plohu, a prikladan je amounts of glue. It can be placed either on the upper eventualnih korisnika, a način korištenja je intuitivan and the method of use is easily understandable and ljevacima ili dešnjacima. or on the lower surface and can be used by both (shvatljiv i jednostavan). Omogućuje precizan rad simple as it enables accurate work and control, as left-handed and right-handed persons. i kontrolu, te u najvećoj mogućoj mjeri spriječava well as prevents mistakes and potential injuries as greške i eventualne ozljede. Drugo rješenje ispunjava much as possible. The second solution meets two dvije glavne potrebe korisnika u specifičnim principal user requirements in specific situations of situacijama korištenja; u ravnom položaju olakšano use – horizontal position facilitates the squeezing je istiskivanje većih količina ljepila, a jednostavnom out of large quantities of glue and through a simple rotacijom za 180°, pomoću silikonskog prihvatnika rotation by 180°, using a silicone handle which koji istovremeno štiti prste od opeklina, omogućuje simultaneously protects the fingers from burns, se precizan rad i kontrola. enables accurate work and control.

40 41 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 5th semester

maja jandrić mentor Mladen Orešić peti semestar kometor / co-mentor Zlatko Kapetanović asistent / assistant Andrea Hercog Klara gardening priznanje studija dizajna Tema ovog semestra je dizajn proizvoda s ciljem usvajanja zna- twool nja i vještina u području inoviranja proizvoda namijenjenog Twool je multifunkcionalan set alata za vrtlarenje. Sastoji se od dvije alatke, od kojih svaka obavlja širem tržištu uz razumijevanje uloge dizajna u društvenom, po dvije funkcije, te se koriste kao lopatica, klin, kulturološkom i gospodarskom aspektu. Od studenata se oče- grabljice i vile. Ovaj set namijenjen je vrtlarenju na kuje usvajanje i primjena metodologije dizajna, upoznavanje manjim prostorima, poput balkona i posuda unutar zatvorenih prostora. Alati su svojom veličinom i interdisciplinarnosti procesa kao i razumijevanje mogućnosti funkcijom prilagođeni biljkama koje se uzgajaju i ograničenja proizvodnje unutar realnog okruženja. Zadatak u posudama. Cilj projekta je alatu za vrtlarenje kreiranja i inoviranja proizvoda za vrtlarenje nastao je surad- udahnuti osobnost, a vrtlarenje prikazati kao igru a ne kao umarajuću i napornu aktivnost. Forma alata njom s tvrtkom Klara Gardening, koja se bavi proizvodnjom inspirirana je samim biljkama, odnosno njihovim i distribucijom opreme za vrtlarenje. Studenti su na osnovu organskim oblicima. Takvom estetikom alat se informacija i istraživanja definirali upute, zahtjeve i kriterije te uklapa u ambient, ne narušavajući harmoniju i sklad vrta. Ova neobična nedefinirana forma svojevrsni izradili rješenja. Kijent je za realizaciju odabrao projekt Twool, je hommage svim improviziranim alatima koje ljudi studentice Maje Jandrić. u malim vrtovima koriste, te kao takva ostavlja korisniku da sam odluči kako će ga koristiti. Kako bi fifth semester to bilo moguće, alat je oblikovan tako da ergonomski odgovara hvatu ruke kako god se prihvati. Njegova Klara Gardening konkavno-konveksna forma omogućava sklapanje, što spremanje i skladištenje čini vrlo praktičnim. The topic of this semester is product design, aiming to acqu- twool ireskills and knowledge in the field of innovation of products Twool is a multifunctional set of tools for gardening. intended for broad market, through understanding of the role It comprises of two tools each of which has two ofdesign, considering social, cultural and economic aspects. functions and are used as small shovels, spikes, rakes and pitchforks. This set is intended for Students are expected to adopt and use design methodology, gardening in smaller areas, such as balconies and deepen their insight into interdisciplinarity of the process, as containers placed in the interior. The size and the well as on the potential and the limits of production against real function of the tools are adapted to plants grown in containers. The objective of the project is to environment. The assignment concerning the creation and inno- provide a specific personality to gardening tools vation of gardening products ardening, a company involved in and to present gardening as entertainment rather production and distribution of gardening equipment. Following than as an exhausting and strenuous activity. The idea behind the shape of the tools originated from the collection of information and a research conducted, students the plants and their organic shapes. Hence, sue to provided the guidelines, requirements and criteria and presen- their aestheticism, the tools are perfectly adequate ted a design solution. The project entitled Twool, designed by for their environment without interfering with the harmony of the garden. This unusual undefined form thestudent Maja Jandrić was selected for implementation by is a specific tribute to all the improvised tools used the client. by people in small gardens and hence it is up to the user to decide when and how to use them. In order to make it possible, the tools have been given a form which ergonomically corresponds to the grip of the hand in any way. Their concave-convex shape enables folding, which is very practical in terms of storage and putting away.

42 43 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 5th semester

matej goreta ivan šaban mentor Mladen Orešić mentor Mladen Orešić kometor / co-mentor Zlatko Kapetanović asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog

Kućica na drvu a tree house Carryola carryola Koncept proizvoda se temelji na iskustvu kako djeca The idea behind the product originated from the – Kolica za vrt – wheelbarrow for the garden uče kroz igru. Dajući djeci zadatak gradnje, djeca experience of children learning through games. Kolica Carryola - korisniku omogućuju pohranu i Carryola wheelbarrow provide the user with razvijaju samopouzdanje, timski rad, motoriku i Through a task of building, the children develop their prijenos sitnog i krupnog alata i različitog tereta storage and an opportunity of transport of small kreativnost, a roditelji ne trebaju izdvojiti puno self-confidence, team work, enhance their mobility u vrtu. Inovacija u odnosu na slične proizvode and large tools and diverse loads in the garden. An vremena da bi djeci sagradili vanjsko igralište. Igračka and creativity, while simultaneously parents do predstavlja spremnik koji je moguće zarotirati te innovation and a competitive advantage compared bi djecu pratila od malih nogu, te bi u početku not need to spend much time to make an outdoor tako istresti teret bez napora, što olakšava i rad with other similar products is a container which imala funkciju penjalice / provlačilice koju bi sastavili playground. The toy is intended to accompany u vrtu Teret se istovaruje zakretanjem ručke na can be rotated and hence the load can be unloaded roditelji od malog broja elemenata. Kako bi djeca children throughout their growing up and initially vrhu samog spremnika koja istovremeno služi without much physical effort, which considerably rasla dodavali bi se elementi, a djeca bi mogla it would serve for climbing/creeping through made kao kočnica za određeni položaj. Nakon istovara facilitates gardening. The load can be unloaded sudjelovati u gradnji s roditeljima ili bi se mogli by the parents from a small number of items. As the tereta, prazan spremnik lako je uspraviti i pomoću through turning the handle placed on the bottom udruživati s vršnjacima i graditi nove module sve dok children grow up, items would be added and children ručke ponovno pričvrstiti za konstrukciju kolica. of the container which can simultaneously be used ne dođu do razine izrade kućice na drvu. Sustav se would be able to participate in the construction with Na stražnjoj strani spremnika nalazi se prostor koji as a brake for a specific position. Upon unloading, sastoji od jednog osnovnog ponavljajućeg elementa, the parents or construct new modules with their omogućuje pohranu krupnog alata, dok se sitni alat the empty container can be easily set straight and koji je rastavljiv zbog transporta i poticanja peers until they eventually initiate the construction pohranjuje u manje spremnike attached to the construction of the wheelbarrow. kreativnosti. Osnovni elementi se međusobno of the tree. The system comprises of a basic On the rear side of the container there is a space for spajaju gumenim elementima koji ulaze u žljebove i repeating item, which is decomposable because of storage and transport of shovels, a plough, rakes savijaju se prema potrebnom kutu. transport, as well as to encourage creativity. The and other large tools, while small tools are stored in fundamental items are mutually attached through smaller containers. rubber items which are placed into the conduits and cane be bent are required.

44 45 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 5th semester

toni šljaka lea varva mentor Mladen Orešić mentor Mladen Orešić kometor / co-mentor Zlatko Kapetanović asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog

hangee hangee Sustav elemenata Hangee sastoji se od tri platnena Hangee system of furniture items comprises dijela koji različitim kombinacijama ispunjavaju of three cloth furniture items which through različite funkcije boravka u vrtu. Samostalni diverse combinations perform various functions elementi koriste se kao viseće ležaljke (hammock), in the garden. The independent items are used as a međusobnim spajanjem pomoću dodatnih hammocks, while diverse forms can be obtained elemenata (plastične/metalne cijevi, špage, metalni through additional items (plastic / metal pipes, Roštilj Oganj flame barbecue grill spojevi) mogu se stvarati različite forme: ležaljka twines, metal connections): a deck chair with upper Dizajn roštilja Oganj rezultat je istraživanja The design of the Flame barbecue grill is the sa gornjim ili bočnim sjenilom, zatvorena ležaljka, or side canopy, a closed deck chair, a rocking chair, običaja i procesa pripreme hrane u vrtu i result of the research of customs and processes ljuljačka, te kućica koja se vješa na drvo. Odvojivi as well as a small hut which can be hanged on a tree. proizašlih postavljenih zahtjeva, a koji impliciraju of food preparation in the garden arising from jastuk je dodatni element koji se jednostavno može A separable cushion is an additional item which can moderni izričaj i izražajnu estetsku komponentu, the requirements which imply modern ways of spojiti na različita mjesta na svakom elementu be attached to diverse points on each item of cloth, jednostavnost korištenja i praktičnost, racionalnu expression and expressive aesthetic features, tkanine, čime dodatno povećava funkcionalnost i additionally enhancing the functionality and the upotrebu materijala, te multifunkcionalnost. Glavna simplicity of use and practicality, rational use of udobnost korištenja, a jastučnica istovremeno služi comfort of use, while the pillow case simultaneously posuda, prsten sa stepenastim osloncima, rešetka materials and multi-functionality. The principal pot, za odlaganje, kao i za pohranu elemenata sustava. serves for disposal, as well as for the storage of the i ručka odvojivi su, a rotacija nožica dodatno štedi the ring with step like props, the grid and the handle Logotip proizvoda je otisnut na jastuk na specifičan items of the system. The product logo has been prostor prilikom pohranjivanja i transporta proizvoda. are detachable, while the rotation of the small legs način; u otvorenom obliku vidljive su sve riječi koje printed on the pillow in a specific way, showing all Odvajanjem prstena i ostalih dijelova od posude, additionally contribute to saving space during the čine smisao proizvoda, dok je u zatvorenom obliku the words pointing out the fundamental scope of Oganj ostvaruje svoju sekundarnu funkciju kao storage and the transport of the product. Through vidljivo samo ime proizvoda. the product while unfolded. The product’s name is otvoreno ložište. detachment of the ring and other parts from the visible when the pillow is folded. pot, the Flame achieves its secondary function as an open furnace.

46 47 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 5th semester

nataša njegovanović valentino večerić mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Andrea Hercog asistent / assistant Andrea Hercog

Vrtni naslonjač garden armchair Tegla za samozalijevanje self-watering flower pot Udobno sjedenje u vrtu povezuje se s opuštenim Comfortable sitting in the garden is normally Uzgoj biljaka u stambenim i sličnim prostorima često Growing plants in apartments and other closed sjedenjem u naslonjaču. Projektirani vrtni naslonjač linked with relaxed sitting in an armchair. The zahtijeva posude koje omogućuju samozalijevanje spaces often requires tanks which enable self- sastoji se od drvene konstrukcije, dva drvena okvira designed garden armchair comprises of a wooden biljaka u određenom periodu odsustva vlasnika. watering of plants during the owner’s absence. i razapetog platna koje je moguće odvojiti. Platno construction, two wooden frames and a stretched Istraživanjem potreba i postojećih rješenja uočeni Through research on the requirements and the i drveni okviri zajedno osiguravaju konstruktivnu fabric which can be separated. The fabric and su problemi koji su ovim rješenjem zadovoljavajuće available solutions problems have been identified stabilnost na način da su platnom zamijenjeni štapni the wooden frames ensure construction stability ispunjeni. Ova posuda omogućuje pohranu dovoljne which have been adequately tackled through this elementi i ono umjesto njih preuzima ulogu zatege. through replacement of the bar features with the količine vode (0.75 litara, što je dovoljno vode solution. This flower pot enables the storage of a Tom zamjenom smanjen je broj elemenata naslonjača fabric which assumes the role of tightening. The biljci za tri tjedna), te jednostavno ulijevanje i sufficient quantity of water (0.75 litres), which meets i njegova masa. Platno se za drveni okvir pričvršćuje replacement reduced the number of the components samozalijevanje koje ne iskrivljuje korijen biljke, a the requirements of a plant during three weeks. It u četirima točkama: na gornjoJ i donjoj horizontalnoj of the armchair and its mass, as well. The fabric is vodu dovodi do korijena ravnomjerno i pravilno.Oblik provides simple pouring and self-watering which prečki te pri donjim krajevima stražnjih nogu na attached to the wooden frame at four points, on the i izgled posude inspirirani su proljetnim ikebanama does not bend the root of the plant and takes the kojima su metalni prsteni s alkama. Stražnji drveni bottom and on the top horizontal cross beam and u kojima se koriste pravilo trokuta, razgranate linije, water to the root evenly and properly. The shape okvir rotira oko metalnog spoja pri sredini glavnog towards the bottom part of the back legs containing sinergija vode, zemlje i zraka. Posuda je u cijelosti and the appearance of the flower pot have been okvira čime je omogućeno sklapanje naslonjača. metal rings with mooring eyes. The rear wooden izrađena od keramike, osim unutarnjeg dijela koji inspired by spring ikebanas in which the rule of Trokutasti dijelovi platna koji obavijaju glavni okvir frame rotates around the metal connection towards je od ABS plastike, te kamene vune koja se nalazi u the triangle has been applied, as well as branched i funkcioniraju kao zatega, mogu se iskoristiti kao the centre of the principal frame which enables the središtu i koristi za dovod vode do korijena biljke. U out lines, the synergy of water, earth and air. The mjesto za našivanje funckionalnih bočnih džepova folding of the armchair. The triangle parts of the posudu je moguće posaditi do tri biljke - svaku u flower pot is entirely made from ceramics, with the koji proizvodu daju dodanu funkcionalnu vrijednost. fabric enfold the principal frame and function as jedan otvor na vrhu, a četvrti otvor služi za ulijevanje exception of its interior which has been made from Naslonjač je moguće koristiti i u drugim prostorima, a tensile cord and may be used as a point where vode u spremnik. ABS plastics, as well as rock wool which is placed in otvorenim ili zatvorenim. Svojim prozračnim oblikom one could stitch up functional side pockets which the centre and is used for the supply of water to the i konstrukcijom vizualno prenosi atmosferu boravka can add functional value to the entire product. The root of the plant. Up to three plants can be planted na svježem zraku. armchair can be used also in other venues, both in the flower pot, each in one opening on the top, in interior spaces and on the exterior. Through its while the fourth opening is intended for the pouring airy shape and construction it visually transfers the of water into the tank. atmosphere of staying outside in fresh air.

48 49 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 6th semester

tamara petruša šesti semestar mentor Mladen Orešić asistent / assistant Sanja Bencetić, Andrea Hercog Kuhinje Knapić Godišnja nagrada Studija dizajna / Annual Awards at the School of Design Tema je dizajn složenih proizvoda ili sustava proizvoda kao najkompleksniji zadatak u zadnjem semestru Preddiplomskog studija. Osnovni ciljevi su usvajanje specifičnih znanja i vještina u razvoju proizvoda uz upoznavanje timskog rada u interdisci- plinarnom procesu te razvijanje osobnog kreativnog potencijala i stava prema profesiji. Od studenta se očekuje da kreira kriterije, a potom i dizajnerska rješenja kojima inovira i unapređuje kvalitetu života i kulturni identitet. U procesu je težište stavljeno na razumijevanje i integriranje tehničko tehnoloških, društve- nih i prirodnih resursa iz realnog okruženja pa je u skladu s time uspostavljena suradnja s jednim od vodećih proizvođača kuhinja firmom Knapić, koja je provedena kroz cijeli proces od formuliranja zadatra do verifikacije rješenja. Rezultat suradnje su uspješno dizajnirane kuhinje, a dva rješenja su izdvojena za daljni razvoj s namjerom da se proizvedu i komercijaliziraju.

sixth semester FRAMES Inspiracija za sustave kuhinjskih elemenata, Knapić Kitchen Sets pod zajedničkim nazivom frames, bila su djela suvremene umjetnosti koja se bave pronalaskom The topic is design of complex products or product systems as savršene kompozicije raznih elemenata. Koncept the most complex assignment during the last semester of the rješenja temelji se na uočenoj potrebi za vizualnom i perceptivnom integracijom kuhinjskih elemenata undergraduate study programme. The principal objectives are u prostor i ambijent dnevnog boravka. Kuhinja acquisition of specific knowledge and skills in the development FRAMES prestaje biti kuhinja kao takva; potpuno of such products in addition to introduction to teamwork during je stopljena s prostorom, otvorena, slobodnog pristupa svima i stvorena za druženje oko mjesta an interdisciplinary process, as well as development of one’s gdje se ljudi od davnina vole skupljati – kuhinje. own creative potential and attitude towards the profession. Finalno rješenje čini nekoliko sustava elemenata koji Students are expected to use the methods of techniques of stvaraju različite ambijente. gaining information, as well as to create criteria following re- frames search and experimentation, and hence provide design solutions The inspiration for the frames kitchen system came from contemporary works of art which aiming to innovate and enhance the quality of life and cultural focus on identification of a perfect composition of identity. The process focuses on understanding and integration diverse items. The design concept is based on the of technical and technological, social and natural resources identified requirement for visual and perceptual integration of kitchen furniture items in the space from the real environment and consequently co-operation and the ambiance of the living room. frames was established with Knapić, one of the leading kitchen set kitchen system ceases being a kitchen system in manufacturers that was subsequently taken through the entire itself, as it is fully integrated with the space, open, providing free access for everyone and created process from the formulation of the assignment to the verifica- for socialising in the kitchen, which has been a tion of the solution. The co-operation resulted in a successfully favourite place for socialising for ages. The final designed kitchen set by each student, while two solutions were solution comprises of several systems of item which create diverse ambiances. selected for further development, striving for their subsequent manufacturing and commercialisation.

50 51 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 6th semester

maja jandrić laura mrkša mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Sanja Bencetić, Andrea Hercog asistent / assistant Sanja Bencetić, Andrea Hercog

simplea simplea culinae culinae Koncept kuhinje temelji se na modularnosti, a The concept of this kitchen system originates from Inspiracija za sustav kuhinjskih elemenata Culinae The idea behind Culinae kitchen furniture system kubus je glavni element gradnje koji svojom combinations, where the cube is the principal feature proizašla je iz tradicionalne funkcionalne, vizualne originated from the traditional functional, visual and jednostavnošću pruža mnogo mogućnosti. of the construction which provides a broad range i perceptivne uloge drvenog stola kao centralnog perceptive role of a wooden table as the principal Razmještanjem i slaganjem kubusa različitih boja of opportunities due to its simplicity. A vast array of elementa kuhinje. Svaka kompozicija elemenata kitchen furniture item. Each kitchen furniture item i veličina u različite položaje stvaraju se različite compositions result from a game of rearrangement odiše monumentalnošću i masivnošću, određujući composition shows monumentality and massiveness, kompozicije.Izražena modularnost kuhinje pruža and putting together the cubes of diverse colours prostor u kojem se nalazi kroz isticanje masivnog defining the space surrounding it through pointing veliku funkcionalnu i vizualnu fleksibilnost i and sizes and hence creating different forms. The drva kao osnovnog vizualnog koda. Funkcionalnost i out solid wood as its fundamental visual code. prilagodljivost različitim prostorima. Iako je pronounced modularity of the kitchen provides atmosfera dodatno su istaknute elementima poput Functionality and ambience have been additionally kuhinja svojim izričajem namijenjena prvenstveno considerable functional and visual flexibility and karakterističnih spremnika za pohranu namirnica i highlighted through features such as specific boxes većim prostorima koji će joj omogućiti punu adaptability to diverse spaces. Irrespective of the pribora i posuda za for the storage of ingredients and tableware, as well monumentalnost, ona se također može prilagoditi kitchen being intended primarily for large spaces rasute namirnice. as containers for bulk ingredients. i manjim prostorima.Ono što Simplea kuhinju čini which will enable it to show its full monumentality, posebnom jest činjenica da kod kuće ne morate it can also be adapted to smaller spaces. The fact imati kuhinju’, već kompoziciju’ u kojoj možete i that you do not need to have a kitchen in your home kuhati. Komponiranje je moguće prepustiti dizajneru, but a composition in which you can cook is what ali i samostalno makes Simplea kitchen unique. The designer can be in charge of the compositions, or you may opt for designing your own spatial composition of a kitchen with selected furniture items.

52 53 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – industrijski dizajn, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Industrial Design, 6th semester

nataša njegovanović matej goreta mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Sanja Bencetić, Andrea Hercog asistent / assistant Sanja Bencetić, Andrea Hercog

allay Inspiracija za ovaj sustav kuhinjskih elemenata proizlazi iz vizije budućnosti kuhinje, interijera i načina života. Prateći predviđanja razvoja tehnologija i materijala, futurizam kao smjer odlikuju aurea valle aurea valle jednostavnost, estetska dopadljivost, te detalji koji Inspiracija za kuhinju Aurea Valle je Slavonija, njezina The inspiration for Aurea Valle kitchen system is obliku daju karakter. Suvremeni način života ne obilježja i osebujna tradicija. Odabir smjera potaknut Slavonia, its specific features and its unique tradition, ostavlja nam puno prostora za odmor i opuštanje, je činjenicom da je proizvođač kuhinja smješten as well as the fact that the kitchen system producer stoga priliku za to treba tražiti u svakodnevnim u toj regiji. Bogatstvo tradicije moguće je očuvati is located in the region. The wealth of tradition can radnjama kao što je, između ostalog, kuhanje prenošenjem u suvremeni kontekst i na taj način be preserved in the contemporary context and hence i objedovanje. Kako bi takvo što bilo moguće stvoriti karakterističan brend. Također, korištenje create a specific and a unique brand. Simultaneously, potreban nam je jednostavan osjetilni doživljaj lokalno dostupnih materijala potiče razvoj tamošnjeg the use of locally available materials fosters the koji umanjuje napore i organizacijski kaos. Kuhinja gospodarstva. Kuhinja Aurea Valle moderna je development of the regional economy. Aurea Allay kroz jednostavne, elegantne forme i primjenu inačica tradicionalne slavonske kuhinje. Suštinu Valle kitchen is a modern version of a traditional najnaprednijih tehnologija, nudi upravo takvu koncepta nose tri samostojeća elementa, kredenc, Slavonian kitchen. The crux of the concept comprises funkcionalnost i doživljaj. stol i zidna polica – središte negdašnje slavonske of three standalone furniture items – a cupboard, a allay kuhinje, oživljeno novim ulogama. Kredenc koji je u table and a wall shelf, the heart of the traditional The idea behind this kitchen furniture system prošlosti služio pohrani reprezentativnog posuđa, Slavonian kitchen revived through new roles. The originated from the vision of the future of the sada postaje prostor za dodatnu pohranu i rad. Stol cupboard which used to be intended for the storage kitchen, the interior and the life style. Against the je zadržao svoje dvije temeljne uloge: pripravljanje of representative tableware, has been transformed backdrop of the forecasts of the development of hrane i konzumiranje kraćih obroka. Zidna polica into a pace for additional storage and work. The technology and the materials, the fundamental na kojoj su nekoć stajali tanjuri, interpretirana je table has retained its two fundamental roles: food features of futurism are simplicity, aesthetic kao polica za boce, začinsko bilje i vješanje kuhača i preparation and eating. The wall shelf which used attractiveness, as well as the details shaping it and ostalog pribora za kuhanje. to be intended for the storage of plates, has been accounting for its character. The contemporary life interpreted as a shelf for bottles, herbs and the style does not leave us much room for relaxation hanging of big ladles and other cooking equipment. and rest, hence the opportunity for them needs to be sought for in everyday activities such as cooking and dining, to name a few. In order to make it possible, we need a simple sensory experience which reduces the strain and organisational chaos. Allay kitchen provides such functionality and the aforementioned experience through elegant forms and the use of the cutting edge technologies.

54 55 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Projektiranje Design Course – Vizualne komunikacije – Visual Communications Design

Kolegij Projektiranje – Vizualne komunikacije osnovni je forma- The course Design – Visual Communications is a fundamental tivni kolegij u području dizajna vizualnih komunikacija, koji se formative course in the area of visual communications desi- kroz sve tri godine studija odvija u nekoliko faza. Tijekom prve gn which comprises of several stages during the three-year godine, studente se upoznaje s temeljnim predznanjima struke undergraduate study programme. During the first year of the i najosnovnijim vještinama procesa dizajniranja, nakon čega undergraduate study programme students are provided with the biraju daljnje usmjerenje, kako bi tijekom druge dvije godine fundamental background to the design profession and the basic savladavali specifične vrste projektantskih zadataka, čime se skills of the design process. Subsequently, students can decide stječu neophodne profesionalne kompetencije. on the area of their orientation in order to master the specific design tasks during the next two years of the undergraduate Pojedini zadaci i projekti na kolegiju slijede jedan za drugim study programme and acquire core professional competencies. postajući sve složeniji, te ih studenti rješavaju uz nužnu primjenu znanja i vještina stečenih na informativnim kolegijima; Specific tasks or projects during the course become increasingly što uključuje vještine likovnog izražavanja (raznolike varijante complex and students complete them using the knowledge and crtačkih i grafičkih disciplina), upoznavanje povijesnog razvoja skills acquired during informative courses which implies the use tiskarstva i tipografije, te njihovih različitih zakonitosti i izra- of visual expression skills (diverse drawing and graphic design žajnih mogućnosti; zatim ovladavanje osnovama fotografskog disciplines), introduction to the historical development of prin- snimanja i učenje temeljnih principa oblikovanja interaktivnih ting industry and typography, as well as to their diverse rules web sadržaja. Naravno, tu je i kontinuirano obrazovanje u teoriji and their expressive potential. In addition, the course focuses i povijesti dizajna te povijesti umjetnosti, što u studenata potiče on mastering the basics of photography shooting and introdu- dugoročno razvijanje humanističke kulture potrebne svakom ction to the basic principles of interactive web content design. akademskom građaninu, u skladu s osnovnim etičkim i estetskim Furthermore, students are provided continuous education in vrijednostima i mjerilima struke. the theory and the history of design, as well as in the history of art, which encourages long-term development of humanist Tijekom druge i treće godine studija studenti usvajaju osnovne culture of fundamental importance for academic population vještine oblikovanja informacijskih sustava, kako bi upoznali in accordance to the basic ethical and aesthetical values and formalne zakonitosti semantičkih elemenata i postupke arti- professional standards. kulacije struktura značenja u procesu vizualnog komuniciranja. Uči se projektiranje komunikacijskih sustava u suvremenim During the second and the third year of the undergraduate društvenim zajednicama, te se upotpunjuju znanja koje kom- study the students acquire the fundamental skills of infor- petencije studenata čine dostatnim da mogu funkcionirati kao mation system design in order to bec0me acquainted with samostalni izvođači projekata. Školovanje završava izradom formal regulations of semantic features and the procedures interaktivne prezentacije, što podrazumijeva kompleksnu si- of articulation of semantic structures throughout the process mulaciju jasnog i preciznog predstavljanja vlastitih projektnih of visual communication. Moreover, students focus on design zamisli potencijalnim klijentima i suradnicima. S formativnim of communication systems in contemporary communities and predmetom projektiranja povezani su i informativni kolegiji, deepen their knowledge to be able to become independent posebice u pojedinim specifičnim područjima koja pomažu project developers. sadržajno kompletiranje preddiplomskog studija.

56 57 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 1. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 1st semester

prvi semestar valentina sunek mihovil karač petra kovačević klara marelić eva šmuc Analiza grafičkih struktura mentor Ivan Doroghy mentor Nenad Dogan mentor Nenad Dogan mentor Nenad Dogan mentor Ivan Doroghy asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp asistent / assistant Romana Kajp asistent / assistant Romana Kajp asistent / assistant Tomislav Vlainić – Artikulacija 2d oblika mreža / grid mreža / grid točka / point linija / line mreža / grid U ovom se zadatku studenti vizualnih komunikacija upoznaju s osnovama metodologije dizajnerskog promišljanja: potrebno je usvojiti analitički pristup promatranja okoline, te metode analize i sinteze zbilje koristiti u razvijanju ideja prema vizualnim elementima iz neposrednog fizičkog okruženja. Cilj zadatka je na temelju struktura predmeta i materijala prikupljenih foto- grafiranjem projektirati jednostavne vizualne forme sastavljene od osnovnih grafičkih elemenata (točka, linija, mreža), jasnog i dosljednog ritma, te čvrstog i skladnog grida, s kojim se studenti u ovom zadatku prvi put susreću.

first semester Analysis of Graphic Structures – Articulation of 2d Shapes Throughout this task students of visual communications are introduced to methodology basics of designers’ reasoning: analytical approach to one’s environment is fundamental, as well as using the methods of analysis and synthesis of reality for the development of ideas towards visual features within the immediate physical setting. The specific objective is to design straightforward visual forms comprising of basic graphic features (points, lines and nets), produce a clear and consistent rhythm, as well as create a solid and harmonious grid, which students are introduced to during this task, based on the structures of objects and image materials collected by taking photographs.

58 59 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 1. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 1st semester

prvi semestar Znak – Označavanje u simbolizirajućoj funkcionalnosti Ovaj zadatak posvećen je proučavanju formalnih karakteristika klara marelić mentor Nenad Dogan osnovnih grafičkih elemenata (u što je uključena i uporaba boje), asistent / assistant Romana Kajp te njihovoj sintezi sa sadržajem triju zadanih i povezanih pojmova u seriju znakova prepoznatljive i efektne simbolike. Oblikujući hardware, software, mreža / hardware, software, network grafičke znakove koji simboliziraju određene sadržaje, studenti uče vizualno interpretirati jednostavne sustave značenja, što je jedna od osnovnih vještina u kasnijem projektiranju kompleksnije vizualne komunikacije. valentina sunek mentor Ivan Doroghy first semester asistent / assistant Tomislav Vlainić

Sign vrtić, škola, fakultet – Signalising in simbolising Functionality / day-care, centre, school, university This task focuses on the study of formal features of the basic graphic elements (which includes the use of colours), as well as their synthesis with the content of three specified and paula šobat connected concepts into a series of signs of a recognisable and mentor Ivan Doroghy effective symbolism. Students are provided an insight into visual asistent / assistant Tomislav Vlainić interpretation of straightforward semantic systems through udruga, zajednica, unija design of graphic signs which symbolise specific / association, community, union

filip kovačić mentor Nenad Dogan asistent / assistant Romana Kajp

signal, sirena, alarm / signal, siren, alarm

luka dundović mentor Stipe Brčić asistent / assistant Luka Borčić

udruga, zajednica, unija association, community, union

60 61 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 2nd semester

drugi semestar Informacijska jedinica – Oblikovanje plakata klara marelić karla novak dorja horvatić mentor Nenad Dogan mentor Ivan Doroghy mentor Stipe Brčić zadanog sadržaja asistent / assistant Romana Kajp asistent / assistant Tomislav Vlainić asistent / assistant Luka Borčić Ovim se zadatkom znatno proširuje očekivani dijapazon izra- žajnih sredstava – pored osnovnih grafičkih elemenata, od studenata se sada traži kompetentna uporaba tipografije, te korištenje ilustracije i/ili fotografije u interpretaciji odabranog sadržaja, odnosno u dizajnu logotipa i plakata određenog do- gađanja u sferi kulture. Ovo je prvi zadatak u kojem na temelju konkretnog briefa studenti moraju iscrpno analizirati subjekt dizajna, te sintezom prikupljenih podataka i stečenih spoznaja razraditi odgovarajuću strategiju vizualne komunikacije. Kako je ovdje riječ o tradicionalnom, statičnom tiskanom mediju, pred studentima je također i izazov njegovog osvježavanja u kontekstu sve snažnije dominacije digitalnih interaktivnih medija.

second semester 25fps 25fps 25fps festival potiče popularizaciju 25fps Festival promotes the Information unit nezavisnih i nekomercijalnih filmova, popularisation of independent and propitujući mogućnosti filma i non-commercial films, questioning the – Design of Poster with videa kao medija. Festival pokušava potential of film and video as media. festival neverbalnog kazališta suvremenim pristupom filmskom The Festival is striving to change the specific Content Ljudsko tijelo je na ovom festivalu glavni medij stvaralaštvu, promijeniti način na attitude to film and the understanding i najbitniji element komunikacije izvođača s koji se gleda i razumije film. Koncept of film through a contemporary This task significantly expands the expected range of the means publikom. Tipografija na plakatu nema samo plakata temelji se na kompjutorskoj approach to artistic filmmaking. The of expression – in addition to basic graphic elements, students funkciju prenošenja poruke već simbolizira i ljudski intervenciji na tipografiji, te fizičkim idea behind the poster is computer are required to become competent in the use of typography, pokret.Okomiti redovi predstavljaju dane festivala, intervencijama na traci analognog intervention on typography, as well as a vodoravni program pojedinog dana. U svakom filma, rezanjem, grebanjem ili physical intervention on analogue film as well as to use illustration and/or photography during the vodoravnom redu odabrano je po jedno slovo kao šaranjem. tape, through cutting, scratching interpretation of the specified content, or achieve competence dominantni vizualni element ispod kojeg se nalazi or scribbling. in the logo design and the design of posters on a specific event program pojedinog dana festivala. in the cultural sphere. It is the first task in which students are festival of non-verbal communication required to comprehensively analyse the subject of design based Human body is here considered as the human rights film festival human rights film festival principal media and the fundamental feature Plakat za Human Rights Film Festival Human Rights Festival poster on a specific brief and hence develop an adequate strategy of of communication between the performer and bavi se pravom na informiranje. addresses the right to be informed. visual communication through synthesis of collected data. Since the audience. In addition to the role of message Prikaz precrtanih riječi u novinskom The words in the newspaper article in this case they are dealing with traditional static print media, transmitter, the typography on the poster also članku predstavlja cenzuru koja se have been crossed to imply censorship has the role of symbolising human movement. The manifestira u medijima i manipulaciju which is present in the media and the students are also faced with a challenge of its revival against vertical columns show festival days, while the informacijama. information manipulation. the increasingly vigorous dominance of digital interactive media. horizontal rows present the programme for each festival day. In each horizontal row one letter has been selected as a dominant visual feature below which the programme of a specific festival day is presented.

62 63 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 2nd semester

ana kikerec matea bertina vita vrebac paula šobat mentor Nenad Dogan mentor Stipe Brčić mentor Ivan Doroghy mentor Ivan Doroghy asistent / assistant Romana Kajp asistent / assistant Luka Borčić asistent / assistant Tomislav Vlainić asistent / assistant Tomislav Vlainić

zagreb dox zagreb dox 25fps 25fps Međunarodni festival dokumentarnog Zagreb dox, an International Festival 25fps bavi se promocijom 25fps primarily focuses on the filma Zagreb dox namijenjen je Documentary Film Festival, is eksperimentiranja medijem i promotion of experimenting with ljubiteljima dokumentarnog filmskog intended for documentary film genre jezikom filma. Plakat je zamišljen the media and the language of žarna. Pozadina plakata predstavlja enthusiasts. The poster background kao eksperiment medijem film. The idea behind the poster svojevrstan mozaik kadrova iz nekih od comprises of a specific mosaic of shots plakata – papirom. Plakat je nastao is an experiment with the poster najpoznatijih dokumentarnih filmova. from the best known documentary izmicanjem papira s otisnutim media – paper. The poster has been Mozaik oblikom asocira na barkod, films. The mosaic resembles a barcode naslovom festivala tijekom created by moving of the paper kojim se film na simbolički način which is used to symbolically depict procesa skeniranja što je rezultiralo with the printed festival title during prikazuje kao svaka druga roba, čime film as it is used to indicate any other neočekivanom deformacijom naslova. the process of scanning which je naglašen dokumentarni karakter goods emphasising the documentary Eksperimentiranje fotokopiranim resulted in the title deformation. The prikazanih filmova. Izborom boja željela features of the presented films. The papirom na simbolički se način željelo experimenting with the photocopied se još više naglasiti dokumentarnost i colours have been selected to highlight prikazati eksperimentalni karakter paper is a symbolic method of realnost filmskih tema tipičnih za žanr the documentary and the realistic filmova prikazanih na ovom festivalu. illustrating the experimental character dokumentarnog filma. features of the film topics typically of the films presented at this festival. covered in documentary film genre. tabor film festival tabor film festival dani zagrebačke arhitekture zagreb architecture salon Specifična lokacija, dvorac Veliki The specific location where the Arhitektura kao disciplina između Architecture as a discipline between Tabor na kojoj se održava Festival, Festival is held, Veliki Tabor Castleis a tehničke znanosti i umjetnosti, technical science and art comprises osnovni je element idejnog rješenja fundamental feature of the conceptual obuhvaća oblikovanje i projektiranje of styling and design of areas used plakata. Zračni snimak lokacije dvorca design of the poster. Aerial photograph humanih prostora. Ideja plakata bila by people. The idea behind the poster pozicioniran je u središte plakata of the location of the castle is placed je prikazati prostorne strukture na was to show spatial structures on a te dodatno označen krugom koji at the centre of the poster and dvodimezionalnoj površini pomoću two-dimensional surface and create ujedno simbolizira i centar događanja. additionally marked with a circle aksonometrijskog prikaza oblika i an impression of three-dimensionality. Centralna fotografija je promjenom which simultaneously symbolises the stvaranje dojma trodimenzionalnosti. The programme of the event deepens tonaliteta podloge podjeljena na dva focal point of the event. The central Program manifestacije pojačava the experience of three-dimensionality dijela. Ova podjela ima dvostruko photograph is divided into two parts doživljaj trodimenzionalnosti through the fact that typography has značenje. Označava ograničenje through a change of the background činjenicom da je tipografija stavljena been included in axonometric image trajanja duljine prezentiranih filmova tonality. The division has a double u aksonometrijski prikaz. Slova su u and, in addition to other visual features, na najviše 30 minuta, te dvije meaning. It restricts the duration aksonometriji deformirana čime se creates a set of planes in space. The kategorije filmskih žanrova, animirani of the presented films to up to 30 propituju pravila u dizajnu i tipografiji letters have been deformed through i dokumentarni. Duljina trajanja minutes and two categories of film kao što suvremena arhitektura axonometry hence questioning the festivala, tijekom četiri dana, prikazana genres: animated and documentary. propituje uvriježena pravila struke. rules in design and typography. je kvadratičnom mrežom koja sadrži The four-day duration of the festival program događanja festivala. has been shown through a square grid.

64 65 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 2. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 2nd semester

drugi semestar Predmet / informacija – Povezivanje predmeta vita vrebac tanja modraković luka dundović mentor Ivan Doroghy mentor Nenad Dogan mentor Stipe Brčić i značenja (odnos) asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp asistent / assistant Luka Borčić Prvi dodir studenata s marketinškom sferom dizajnerske struke događa se upravo u ovom zadatku. Potrebno je dizajnirati vizualni identitet zadanog proizvoda (najčešće prehrambenog) i cjelokupan specifični informacijski sustav njegove ambalaže, što podrazumijeva ne samo izražavanje do sada upoznatim sredstvima u fazi vizualne sinteze, već i iscrpnu početnu analizu karakteristika proizvoda, njegove pozicije na tržištu i odnosa s konkurencijom, te prepoznavanje odgovarajuće ciljne skupine potrošača kojima je proizvod namijenjen. Prema rezultatima takvog istraživanja studenti moraju sami artikulirati projektni zadatak i koncipirati idejno rješenje koje će poslužiti kao temelj konkretnog dizajnerskog postupka.

second semester Item / Information – Connection between Objects franck kikiriki franck peanuts Kikiriki u džepnom pakiranju od Peanuts in small pillow bag packaging and Meaning (Relationship) 100 grama je namirnica koja se with pack weight of 100 grams is konzumira između obroka. Proizvod snack food. The product is intended The first encounter of students with the sphere of marketing is je namijenjen mlađim kupcima, što to attract children and young the specific objective of this task. Students are required to design je bila osnova za opušteniji pristup consumers which primarily impacted kozje mlijeko oblikovanju ambalaže. Opuštenost, on the approach adopted concerning a visual identity of a specific product (generally a food product) Ideja je bila oblikovati ambalažu mlijeka tako da zabava i slobodno vrijeme koje the packaging. Relaxation, fun and and the entire specific information system of its packaging, podsjeća na ambalažu s uputstvima za korištenje povezujemo s ovakvim proizvodom leisure which are usually associated lijekova, što bi na simboličan način trebalo govoriti which implies using the means of expression studied thus far in istaknuta je snažnim bojama i with similar products have been o lijekovitosti ovog proizvoda. Ambalaža ne sadrži specifičnim ilustracijama. highlighted through vivid colours and the phase of virtual synthesis, as well as providing a compre- ilustracije niti fotografije već se isključivo sastoji od tuzlanska sol the tuzla salt specific illustrations. hensive initial analysis of product features, its market position čitke tipografije i linija zelene boje koje hijerarhijski Prostor današnjeg grada Tuzle u Bosni The area of the city of Tuzla in Bosnia odjeljuju tekst u zasebne skupine kako bi se postigla and the relationship with the competition and identification i Hercegovini, značajan je zbog dugug and Herzegovina is significant because što boja čitljivost informacija.. kontinuiteta življenja koje se razvijalo of the long continuity of life on the of the target market. According to the results of this research, goat milk oko mjesta pronalaska i eksploatacije location. It was developed around students need to independently articulate the project task and The idea behind the project was to design the soli. Idejni koncept ambalaže temelji se the place where salt was discovered create a conceptual design to be used as the basis during the packaging in order to remind of medication na želji da se prikaze opširna povijest and is exploited. The packaging lokaliteta koja datira još iz neolita. design concept is based on the idea specific design process. packaging with instructions for use, striving to show through this symbolism the medicinal Rješenje je tipografsko kako bi se to present the detailed history of properties of the product. The packaging does not zadržala karakterna jednostavnost the location, which dates since the contain illustrations or photographs, as it primarily začina, dok sitna slova ujedno Neolithic age. The solution is in consists of legible typeface and green lines which simboliziraju i samo zrno soli. typographic design in order to keep hierarchically divide the text into separate segments the character of this simple spice, while in order to enhance information legibility. letters symbolize the grains of salt.

66 67 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 3rd semester

treći semestar Informacijske strukture – Odnos teksta i slike u petra grubišić miran bašić mentor Nenad Dogan mentor Nenad Dogan sustavu (layout) asistent / assistant Romana Kajp asistent / assistant Romana Kajp U ovom je zadatku cilj dizajnirati standarde prijeloma godišnjeg izvješća (promotivne brošure) za određeni poslovni subjekt. Riječ je o tiskanom mediju koji uglavnom nije namijenjen kraj- njim korisnicima proizvoda i usluga subjekta, već njegovim postojećim i potencijalnim partnerima i suradnicima, što će reći kako pri dizajnu valja voditi računa o specifičnim zakonitostima komunikacije takvim medijem. Prilika je to za studente da se okušaju u zadatku uobičajenom u radu profesionalnog studija za dizajn ili marketinške agencije, te da dokažu svoju kreativnost u zadatku prilično ograničene autorske slobode, što će ambicioznijima svakako značiti izazov vještog manevriranja među zahtjevima različitih strana uključenih u projekt, u realnom tržišnom kontekstu.

third semester Information structures – Relationship between the Text and the Photograph in the Layout The specific objective of this task is to create standards of annual report layout (or a promotional brochure) for a particular business entity. It is print media which is not intended for end- users of products and services of the business entity, since it focuses on its potential partners and the current collaborators franck franck implying that design needs to comply with the specific rules of Franck je tvrtka koja proizvodi i distribuira Franck is a company involved in production and communication in this form of media. It provides an opportunity prehrambene proizvode ali je od svog osnutka distribution of food products, yet is has specialised brodogradilište viktor lenac specijalizirana za proizvodnju kave koja je i danas in coffee production since its inception, with coffee for students to become involved in a customary work of a pro- Iako je 2012. godina prva u kojoj je brodogradilište njezin najpoznatiji proizvod. Koncept za godišnje being its best known product to date. The idea fessional design studio or a marketing agency and display their poslovalo s gubitkom, oblikovanjem izvještaja željelo izvješće Grupe Franck je proizašao iz modernog behind Franck Group Annual Report originated from creativity in a task where the author’s freedom of expression is se dioničarima, nadzornom odboru i klijentima značenja izraza ‘ajmo na kavu’ koji je postao sinonim the current implications of the expression ‘Let’s go poručiti kako je Viktor Lenac i dalje jaka tvrtka za kratki odmor tijekom napornog dana. Zbog for coffee’ which has become synonymous with a rather limited. Consequently, this task is an immense challen- koja neće potonuti u valovima ekonomske krize. ubrzanog tempa života ljudi danas nemaju vremena short break taken throughout an exhausting work ge for ambitions students as it implies skills of manoeuvring Specifičnim prijelomom, nastojalo se prikazati za dugotrajno opuštanje pa je sjedenje u kafiću i day. As a result of a fast pace of life people currently between the requirements of diverse parties involved in the uzburkano more kojim plovi brodić. ispijanje kave postalo važan dnevni predah. Uz kavu, cannot afford long term relaxation and hence sitting među ostalim navikama, uobičajeno je čitati novine in a coffee bar and drinking coffee has become an project against the real market circumstances. viktor lenac shipyard te se tako riješenje za godišnje izvješće Francka u important daily siesta. Reading a newspaper while Although in 2012 the shipyard saw a loss for the obliku stranice novina nametnulo kao logično. having coffee has become a customary daily ritual first time, the design of the Annual Report strived and consequently the idea behind the project of to show the shareholders, the Supervisory Board Franck Annual Report in the shape of a newspaper and the clients that Viktor Lenac was still a strong was a logical solution imposed by itself. company which will not sink beneath the waves of the financial crisis. The specific layout of the text aimed to show a little ship navigating in a wavy sea.

68 69 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 3rd semester

otto kušec mentor Ivan Doroghy asistent / assistant Tomislav Vlainić

hrvatske šume croatian forests Hrvatske šume bave se Croatian Forests Ltd. is involved in gospodarenjem državnim šumama. management of state owned-forests, To uključuje održavanje postojećih i which includes maintenance of the pošumljavanju novih područja, kao i existing and afforestation of new brigu za osiguravanje sirovine za drvnu areas, as well as the involvement industriju. U njihovoj je nadležnosti i in providing raw material for wood skrb za faunu hrvatskih šuma. Osnovni processing industry. It also cares for slikovni elementi idejnog rješenja su Croatian forests’ fauna. The basic listovi raznih vrsta domaćeg drveća. picture elements of the conceptual Podaci u tablicama i grafikonima design are the leaves of various složeni su tako da s listovima tvore species of local trees. The data simetričnu kompoziciju uz zadržavanje provided in the tables and graphs jasnog prikaza podataka. Cijelim se have been arranged in order to create izvješćem mijenjaju boje listova, od a symmetrical composition whilst svijetlo zelene preko žute do crvene i simultaneously managing to clearly smeđe, kako bi simbolički izrazili život present the data. The colours of the šume kroz sva godišnja doba. leaves keep changing throughout the report, ranging from light yellow, to red and brown, striving to symbolically present the life of the forest nikolina fuzul throughout all the seasons. mentor Nenad Dogan asistent / assistant Romana Kajp maraska maraska Dizajn financijskog izvješća zamišljen The idea behind the design of the je kao priča o Maraski, ispričana financial report is the story about ispreplitanjem starog i novog Maraska told through interweaving poimanja kvalitete, tradicije i moderne the old and the new concept of tvrtke. Istraživanje podataka o quality, tradition and a modern tvrtki otkrilo je vremensku lentu company. A research on the company koja prikazuje povijest tvrtke od data uncovered a timeline displaying početaka sadnje višnje maraske, the company history since the preko razvoja postupaka destiliranja commencement of planting of the do današnjeg vremena. Upravo je current Maraska sour cherry, through lenta svojim dimenzijama uvjetovala the advancement in distillation preklapajući format izvješća. Motiv process up to date. The dimensions pletiva karakterističan za ambalažu of the timeline significantly impacted maraskinih proizvoda poslužio je on the folding format of the report. kao osnovni motiv oblikovanja a The motif of a twine is characteristic simbolizira autohtonost, tradiciju i of Maraska product packaging and it originalnost tvrtke. Opletena boca became the principal packaging motif Maraschina osmišljena je početkom symbolising autochthony, tradition 19. stoljeća da bi istakla posebnost and originality of the company. The glavnog proizvoda tvrtke. Inspiriran knit on Maraschino bottle was crvenom bojom višnje maraske, dizajn conceived at the beginning of the izvješća koristi tamno crvenu boju kao 19th century to emphasise the specific osnovni element cjelokupne ideje. features of the principal product of the company.

70 71 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 3rd semester

gala marija vrbanić sara pavleković preis mentor Stipe Brčić mentor Stipe Brčić asistent / assistant Luka Borčić asistent / assistant Luka Borčić

xd xenia design xd Xenia Design ekskluzivna je ženska modna marka za kupce višeg cjenovnog razreda. Osnovne karakteristike branda su geometričnost, crno bijeli koloristički odnos te minimalizam, što se odražava i u pristupu oblikovanju godišnjeg izvješća. Kako se ne radi o velikoj tvrtki, nametnuo se neformalan pristup pri dizajniranju izvješća. Kao što se bilo koji odjevni komad ne može proizvesti bez odgovarajućeg materijala tako je i godišnje izvješće, koje se gemetrično rasklapa i time sugerira ulazak u ‘xd dimenziju’, zamišljeno tako da se ne može čitati bez korištenja tkanine. xd xenia design xd Xenia Design is an exclusive women’s fashion brand for upper price range. The characteristic features of the brand are geometrical features, the zagrebačko kazalište mladih (zkm) zagreb youth teathre (zkm) juxtaposition of black and white and minimalism Analiza repertoara i pristupa tetarskom izrazu The analysis of the repertory and the approach to which has been reflected in the design of the Annual rezultiralo je zaključkom da je zkm kazalište koje the theatrical expression resulted in a conclusion Report. Since the company is not a large one, an svojim repertoarom i umjetničkom koncepcijom that Zagreb Youth Theatre (zkm) is a theatre which informal approach to Annual Report design has been promiče i zagovara individualnost, eksperiment, with its repertory and artistic concepts promotes adopted. Clothing items require a specific material improvizaciju, nove trendove i stilove, te traženje and advocates individuality, experimenting, in order to be made and hence the Annual Report, novih kazališnih formi. Takav karakter kazališta improvisation, new trends and styles, as well as a which is geometrically unfolded symbolising the diktirao je i pristup idejnom rješenju. Izvješće nije search for new theatrical forms. Consequently, the entry into xd dimension, has been designed with klasičnog oblika a svojom neuobičajenim prijelomom approach to the conceptual design of the Annual cloth being placed at the focal point and crucial for i formom na simboličan način izražava posebnosti Report was imposed by the specific features of the reading of the Annual Report. kazališta. Korisniku je prepušteno da sam nađe način the theatre. The form of the Annual Report is not i redosljed kojim će ga koristiti. classical and with its unusual layout it displays the specific features of the theatre in a symbolic manner. It is up to the user to find the most appropriate manner and the sequence in which to use it.

72 73 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 3rd semester

treći semestar Informacijske strukture gala marija vrbanić elizabeta lončar mentor Stipe Brčić mentor Ivan Doroghy – Oblikovanje informacijske mape asistent / assistant Luka Borčić asistent / assistant Tomislav Vlainić Ovaj se zadatak izravno nadovezuje na prethodni – sada je potrebno dizajnirati promotivni korporativni kalendar u dvanaest listova za isti poslovni subjekt. Nužno je analizirati karakteristike ovog tiskanog medija, njegove najčešće namjene i metode komunikacije vrijednosti subjekta, te odrediti ciljne skupine koje će od takvog kalendara imati koristi, kako informativne, tako i estetske. Svakako, kalendar se obraća širem krugu ljudi nego godišnje izvješće, stoga je to slobodniji i fleksibilniji medij komunikacije, ali nužno je pronaći kreativni balans između originalne dizajnerske interpretacije subjekta i punog ispunjavanja svrhe medija koji je naposljetku ipak promotivni materijal.

third semester Information Structures – Design of an Information Folder prirodoslovni muzej This task is a direct continuation of the previously described Dvanaest je geoloških razdoblja u razvoju zemlje što task – it focuses on design of a 12-sheet promotional corporate se slučajno podudara s činjenicom da je dvanaest calendar for the same business entity. Features of this print mjeseci u godini. Ta podudarnost je iskorištena kao ideja za oblikovanje. Kalendar se sastoji od dva media need to be analysed, as well as its general use and the sloja naljepnica koje bojom simbolički izražavaju communication methods of the advantages of the business mjesece u godini i geološka razdoblja. Nakon što povratak prirodi a return to nature entity. Moreover, target market needs to be identified which prođe aktualni mjesec odljepljuje se gornja površina Tema kalendara je ‘povratak prirodi’ kućnim The topic of the calendar is “a return to nature” kalendara nakon čega se pojavljuje slika minerala will primarily benefit from this calendar, both concerning in- uzgojem začinskog bilja. Ideja je bila da se svaki through home-grown spice plants. The idea behind koji pripada jednom od dvanaest geoloških razdoblja. mjesec u godini posadi jedna biljka. Svakom it was to plant one spice plant per month. A small formation and aesthetics. The calendar is intended for wider Nakon kalendar ostaje plakat s pregledom zemljine mjesecu namijenjena je jedna čašica sa sjemenkom glass with a seed belonging to a specific plant is audiences than the annual report and hence there is more free- geološke prošlosti odgovarajuće biljke. Na plaštu svake čašice intended for each month. In addition to the calendar dom and flexibility in this communication media. Nevertheless, natural history museum uz kalendar određenog mjeseca aplicirani su i of a specific month there are pictograms containing piktogrami koji upućuju na postupanje i uvjete information on the procedure and the conditions a creative balance needs to be achieved between the original Twelve geological time periods in the development of Earth which accidentally coincide with the fact that koji su potrebni za rast pojedine biljke. Sve bilje je required for the growth of a specific plant. All the designer’s interpretation of the business entity and fully meeting there are twelve months in a year. The coincidence začinsko i time primjenjivo u kućanstvu. Kuhajući s plants are spices which are intended for household the objectives of the media which is still considered merely as has been used as the principal idea behind the design biljem koje smo sami uzgojili na simbolični se način use. The use of home-grown plants in the kitchen ‘vraćamo prirodi’ a istovremeno stvaramo zdrave is a symbolic “return to nature” and simultaneously promotional material. of the calendar. The calendar comprises of two layers of stickers which through colour symbolically prehrambene navike konzumiranja nečeg prirodnog, implies promotion of healthy eating habits of depict the months of the year and geological periods. domaćeg i svježeg. consuming natural, home-grown and fresh food. The colour of the first month is the lightest and the colours get increasingly darker as the end of the calendar year approaches. After the current month has elapsed the upper surface of the calendar is unglued and subsequently a photograph of the mineral belonging to one of twelve geological periods appears. After the year has elapsed and the calendar has lost its original function, there is a poster with an overview of Earth’s history.

74 75 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 3. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 3rd semester

petra grubišić dora kasun mentor Nenad Dogan mentor Nenad Dogan asistent / assistant Romana Kajp asistent / assistant Romana Kajp

muzej suvremene umjetnosti museum of contemporary art Stalni postav Muzeja suvremene umjetnosti podijeljen The permanent display of the Museum of franja kave franja coffee je u pet zbirki. Ovaj kalendar predstavlja zbirku Contemporary Art has been divided into five Tema kalendara je promocija kave kao zdravog The topic of the calendar is the promotion of Umjetnost o umjetnosti, koja sadrži djela iz perioda collections. This calendar represents a collection Art napitka. Poznato je da kava u razumnim količinama coffee as a healthy beverage. It is a well-known pedesetih i šezdesetih godina dvadesetog stoljeća. on Art comprising of artwork originating from the pomaže u spriječavanju nekih bolesti a kao dokaz fact that in moderate quantities coffee assists Najvećim djelom to su radovi članova grupe Exat 51 period of the 1950’s and the 1960’s. This primarily poslužile su znanstveno dokazane činjenice koje in prevention of several illnesses which has been i sudionika izložbe Nove tendencije. Programirana, refers to the work by the members of the group potvrđuju da je kava dobra za naše zdravlje. Uz confirmed by scientifically proven facts showing kinetička i optička umjetnost zaštitni su znak tog Exat 51 and the participants of the exhibition svaki mjesec iskorišten je jedan znanstveni citat coffee as beneficial to our health. Hence each month pokreta. Upravo iz tih karakteristika proizlazi i entitled New tendencies. The programmed, kinetic o zdravstvenoj vrijednosti kave. Cilj je potaknuti provides a quote on health benefits of coffee, aiming oblikovanje kalendara. Svaki mjesec predstavlja jedno and optical art are a trademark of this movement ljude da uživaju u kavi bez straha da time štete to encourage the public to enjoy coffee without djelo kroz fotografiju i kalendarij, kojima je prikazana i and they also simultaneously inspired the calendar svome zdravlju. Za vizualni dio kalendara odabran fearing to harm their health. The visual aspect of naglašena neka karakteristika djela. design. Each month represents a piece of art through je prizor koji većina nas vidi svakoga dana - šalicu the calendar focuses on the photograph that most photography and a calendar which reinterprets and kave na stolu. Svaki mjesec je prikazan kolažem koji people see daily – a cup of coffee on the table. Each emphasises a specific feature of the artwork. kompozicijom različitih dijelova prikazuje ugođaj month is depicted through a collage which, through tipičan za svaki pojedini mjesec. the composition of its diverse parts, shows the ambience typical of each month.

76 77 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 4. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 4th semester

četvrti semestar Informacijski sustav – Oblikovanje vizualnog helena nemec mentor Ivan Doroghy identiteta i signalistike asistent / assistant Tomislav Vlainić Ova kompleksna vježba podrazumijeva dizajn sustava vizualnog bazeni utrina bazeni utrina identiteta određenog subjekta i skupine pravila koja ga reguli- Koncept za vizualni identitet The idea behind the concept for the sportskog objekta Bazena Utrina visual identity of the sports facility of raju,To podrazumijeva izradu cjelokupnog priručnika grafičkih započet je istražvanjem tipičnih Utrina Swimming Pool were unusual standarda vizualne komunikacije. Subjekti obuhvaćaju institucije, asocijacija vezanih za vodu. Ideja je associations linked with water. I tvrtke i udruge mahom iz vladinog ili nevladinog sektora, koje naglasiti da se radi o bazenima, što wanted to point out the fact that je postignuto motivom pločica sa the facility comprises of swimming djeluju primarno u sferi javnog dobra. Zadatak nakon analize dna bazena čiju sliku voda izobličuje. pools, hence I focused on the motif subjekta i istraživanja njegovog socijalnog, političkog i ekonom- Dimenzije, smještaj i proporcije of tiles on the bottom of the pool skog aspekta, podrazumijeva dizajn znaka i logotipa, definiranje znaka proizašle su iz duljina tipičnog which always appear distorted when plivačkog bazena. Boje su odabrane watched through the water. The njihovog odnosa, odabir karakteristične tipografije, definiranje na osnovu boja pločica iz konkretnog dimensions and the position of the sustava boja i dizajn svih korporativnih aplikacija u kojima se bazena. Kako bi piktogrami bili logo originated from the prescribed ogleda primjena osnovnog vizualnog identiteta. Signalistika vizualno kompatibilni sa znakom, dimensions for a typical swimming preuzet je isti motiv iskrivljene slike pool size. The colours have been obuhvaća dizajn informacijskog sustava i pojedinačnih elemena- bazenskih pločica i primjenjen na selected based on the colour of the ta za označavanje i komunikaciju u prostorima javnog sadržaja. table i ploče. tiles in the swimming pool. In order to enhance the visual compatibility of pictograms and air, I worked on the motif of the visual distortion of the tiles and applied the same principle on fourth semester plaques and boards. Information System tin burić – Design of Visual Identity mentor Nenad Dogan and Signalistics asistent / assistant Romana Kajp This complex task implies design of visual identity system for a glavni kolodvor u zagrebu central railway station zagreb Vizualni identitet Glavnog kolodvora Throughout the work on visual identity specific entity and the set of rules regulating it. Hence, students Zagreb proizašao je iz analize of the Zagreb Central railway station need to become involved in the creation of the entire manual karaktera subjekta. Uzeto je u obzir I have commenced by analysing the of graphic standards of visual communication. Diverse entities da se radi o prometnom čvorištu u subject itself. It had to be highlighted centru grada, kroz kojeg dnevno prođe that it is a traffic hub, located in the comprising of institutions, companies and associations both mnoštvo ljudi kojima je to usputna centre of the city which is daily visited from the public and the non-governmental sector operating stanica na putu prema određenom by a large number of people and who primarily for the public benefit. It is a demanding task which, cilju. Kao mjesto konstantne cirkulacije are there only en passant on the way i pokreta, kolodvoru je potreban jasan, towards their specific destination. following the analysis of the entity and the research on its social, čvrst i razumljiv identitet. Ideja za znak As a place of continuous flow and political and economic aspects, requires design of a sign and proizlazi iz prepoznatljivog simbola movement, the station needs a clear, a logo, the study of their relationship, a selection of a specific željezničkog kolodvora, skretnice na concrete and understandable identity. kojoj se preklapaju željezničke pruge. The design of the sign originated typography and the design of all corporate applications showing Znak je komponiran uspostavom from the recognisable symbol of a the application of a basic visual identity. Signalistics includes balansa punih linija i praznina između railway station – railway tracks or information system design and its separate components for njih. Piktogrami su komponirani po the intersection which is the result of uzoru na znak, što signalistiku čini two tracks crossing. The sign shows signalling and communication in public areas. sastavnim dijelom identiteta a strong interrelationship between vacancy and fullness. Pictograms have also been designed using this idea, which makes this signalistics recognizable.

78 79 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 4. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 4th semester

dora kasun mentor Nenad Dogan asistent / assistant Romana Kajp studentski centar the student centre Studentski centar kao ustanova koje okuplja Student Centre is an institution which brings together studente iz cijele Hrvatske, mjesto je kojem je teško students from throughout Croatia and is hence a definirati jedinstveni identitet. Osnovni elementi venue whose unique identity is considerably difficult vizualnog identiteta su interpunkcijski znakovi koji to define. The fundamental features of the visual predstavljaju svojevrsni grafički kod koji svaka osoba identity are punctuation marks which represent a može čitati i interpretirati na sebi svojstven način. specific graphic code legible and interpretable by Grafički kod u kombinaciji s logotipom tiska se na anyone in their own particular way. The graphic code jedan dio materijala dok se na ostatak tiska krovni in combination with the logo is printed on a part of znak, sublimacija osnovnog koda. Svi oblikovani the material while the main logo, the sublimation of znakovi simboliziraju sadržaje unutar centra što the basic code, is printed on the remaining material. omogućava jednostavno kreiranje pojedinačnih All the designed logos symbolise the programmes znakova za konkretne sadržaje. Ideja kod oblikovanja and the content provided in the Centre which enables signalistike je da i arhitektura postane nositelj a straightforward creation of individual logos for vizualnog identiteta te da se na taj način kodira i specific programmes. The idea behind the design of prostor. Grafički kod koji je apliciran na arhitekturu signalistics is architecture assuming the central role ima djelomično signalizacijsku ulogu i govori o in visual identity and hence simultaneously code the sadržaju koje se nalazi unutar zgrade. premises. The graphic code applied on architecture partly has a signalisation role and reflects the programmes provided in the premises.

mladen udovičić mentor Stipe Brčić asistent / assistant Luka Borčić

muzej suvremene umjetnosti lakše percipira položaja objekta. Objekt je rotiran museum of contemporary art has been rotated in six equal moves showing the Da bi se djelo suvremene umjetnosti sagledalo u šest jednakih pomaka u kojima je najizraženija In order to have a comprehensive overview of most prominent changes. The pictograms have been u svojoj cjelini i dobro razumjelo, promatrač je promjena pogleda. Znakovi se primjenjuju na način the artwork and gain a deep insight, the beholder stylistically adapted to the identity. They originate često prisiljen da se kreće oko djela i da ga sagleda da su mutacije znaka dozvoljene tamo gdje korisnik is often made to move around the artwork and from the separate grid whose basis is a hexagon and iz više uglova. Djela suvremene umjetnosti nisu može doživjeti promjenu ugla opažanja. Osnovni observe it from different perspectives. Works of its multiplication and folding.The object from which vezana isključivo za jedan medij ili za neku posebnu znak u sistemu primjenjuje se na osnovne tiskanice. contemporary art do not depend on one media a sign has originated is placed as a sculpture in front dimenziju i upravo je ta kombinacija različitih Ostali znakovi u sistemu primjenjuju se za druga or on one dimension and precisely this game of the museum entrance where the visitor is given dimenzija i medija prenesena na ideju vizualnog sredstva komunikacije gdje se događaju promjene of dimensions and the media has been used to an opportunity to observe it in three dimensions and identiteta Muzeja suvremene umjetnosti. Idejno sadržaja u određenom vremenu.Piktogrami su stilski create a visual identity of the subject. The identity recognise it in the visual identity rješenje vizualnog identiteta sastoji se od sustava prilagođeni identitetu a proizlaze iz zasebnog grida comprises of a system of six signs. The signs have šest međusobno stilski povezanih znakova. Svaki čija je osnova šesterokut, i njegovo umnožavanje been created from six perspectives of the object znak predstavlja pogled iz drugog ugla na objekt i preklapanje. Osnovni znak može biti izveden u which comprises of four square diagonally folded koji je sastavljen od četiri kvadratne plohe savijene formi skulpture u eksterijeru ispred Muzeja, kako surfaces. The exterior shell of the object is black, po dijagonalama. Vanjski je plašt objekta crne boje, bi ga posjetitelji mogli sagledati u tri dimenzije i whilst the interior is a raster which assists in the dok je unutrašnjost ispunjena rasterom kojim se prepoznati ga kao dio ukupnog vizualnog identiteta perception of the position of the object. The object

80 81 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 4. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 4th semester

otto kušec sara pavleković preis mentor Ivan Doroghy mentor Stipe Brčić asistent / assistant Tomislav Vlainić asistent / assistant Luka Borčić

zoološki vrt the zagreb zoo studentski centar the student centre Zoološki vrt grada Zagreba bitan je dio njegove Zagreb zoo is an important feature of the City and Studentski centar ustanova je koja obuhvaća The Student Centre is an institution comprising of povijesti a omiljeno je mjesto građana Zagreba is also a favourite place of its citizens and its visitors. mnoštvo sadržaja različite društvene i kulturne a multitude of programmes and content of diverse i njegovih gostiju. Ciljana skupina su ponajviše The targeted group are primarily families with namjene, usmjerena prvenstveno studentima. social and cultural purpose, intended primarily for porodice s djecom koja mogu uživati u njegovoj children who are given an opportunity to enjoy its Sadržaj sc-a karakterističan je po svojoj students. The programme of the Student Centre is zabavnoj i edukativnoj funkciji. Karakter institucije educative and entertainment function. The character promjenjivosti i raznolikosti što je uvjetovalo well-known for its changeability and diversity which odredio je pristup vizualnom identitetu koji je of the institution has defined the approach adopted karakter idejnog koncepta novog identiteta. Druga has significantly affected the conceptual design of nastao na asocijaciji dječjih crteža, naoko nepravilno for the creation of the visual identity which primarily je karakteristika prostora mnoštvo plakata i oglasa the new identity. The second feature of the premises raspoređenih elemenata. Ilustrativni geometrizirani resulted from children’s drawings and apparently raznih manifestacija s vlastitim identitetima pa novi is a multitude of posters and advertisements of elementi identiteta, ravnih linija i oštrih kutova irregularly placed features. The illustrative features identitet treba biti funkcionalan ali nenametljiv u diverse events with their own specific identities osiguravaju čitljivost s blagom asocijacijom na dječju of identity interwoven with geometric forms, okolini. Kao polazišna točka u oblikovanju poslužio and hence a new identity needs to be functional, interpretaciju životinjskih likova. Signalistika nastavlja with straight lines and sharp angles account for je nadogradiv element okvira preuzet iz plakata za yet unobtrusive to the environment. The design pratiti vizualne karakteristike znaka Zološkog vrta u the legibility with a slight association to childish teatar sc-a, dizajnera Mihajla Arsovskog. Prostor framework taken from the poster created by the piktogramima i nepravilnim oblicima usmjeravajućih interpretation of animal characters. The signalistics sc-a simbolični je okvir za studentsku kulturnu designer Mihajlo Arsovski for the Student Centre ploča. Smjerokazi su nepravilnih oblika kako bi privukle follows the visual features of the Zoological Garden alternativnu scenu. Druga polazišna točka je tlocrt Theatre was used as a starting point. The premises pozornost a istovremeno se formom razlikuju od logo in pictograms and irregular shapes of routing centra na temelju kojeg je stvoren prepoznatljiv of the Student Centre are a symbolic framework ploča s poučnim i informativnim sadržajem. plaques. Signposts are of irregular shape in order vizualni kôd promjenjivog sustava unutar čvrstog for the students’ cultural alternative scene. The to attract attention and simultaneously their form okvira. Promjenjivost sustava odražava skup različitih second starting point was the ground plan of substantially differs from the plaques providing sadržaja centra, što rezultira time da identitet nema the Student Centre which was the idea behind a educative and entertaining content. klasičan znak. recognisable visual code – a changeable system of simple shapes within the defined framework. The symbolic expression of specific content resulted in an impossibility to provide a unique sign to the identity due to a variety of programmes at the Student Centre.

82 83 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

peti semestar Komunikacijski sustav tihana šare lara žic mentor Nenad Dogan mentor Nenad Dogan – Identitet grupe proizvoda asistent / assistant Romana Kajp asistent / assistant Romana Kajp Vježba projektiranja identiteta grupe proizvoda naprednija je i zahtjevnija varijanta posljednje vježbe iz drugog semestra studija. Dok je tada bilo potrebno oblikovati vizualni identitet pojedinačnog prehrambenog proizvoda i dizajnirati informacijski sustav njegove ambalaže, sada se to mora učiniti za grupu od tri povezana proizvoda iz istog sektora, te ih predstaviti kao jedinstvenu robnu marku koju student treba osmisliti i dizajnirati prema nekoj postojećoj. Svaki se proizvod mora isticati vlastitim identitetom, čime se pak ne smije naškoditi koherentnosti krov- nog vizualnog identiteta robne marke. Naravno, samostalnoj izradi projektnog zadatka prethodi analitičko istraživanje subjekta i tržišta koje je neizostavni dio ovakvog posla, uobičajen u budućoj profesionalnoj praksi.

fifth semester

Communication System čajevi sana Rebrandiranje i pakiranje Agristarove neobične – Identity of a Group of Products selekcije čajeva u prvi plan stavlja ljekovita svojstva The task of designing the identity of a group of products is both svake biljke. Naziv sana+ dolazi od latinskog sanabilis i znači ‘izlječiv’. Primjerice, čaj od vrbine kore je a more advanced and a more demanding task compared with dobar za kosti i protiv upala i bolova. Sav sadržaj o the last task during the second semester of undergraduate ljekovitosti je kodiran zelenom bojom i tako vizualno study. Whilst the latter focused on designing the visual iden- jasno komunicira zašto bi bilo dobro isprobati recimo čaj od gloga, borovnicinog lista ili kupine, kad okus tity of individual food products and design of the information uglavnom nije glavni razlog. system of its packaging, the current task requires the same sana teas solana pag pag saltworks whilst focusing on three related products in the same sector and Rebranding and packaging of Agristar’s unique Solana Pag je najveći proizvođač morske soli u Saltworks, as currently the largest salt producer in presenting them as a unique brand which needs to be created by selection of teas highlights the health benefits of Hrvatskoj, a svoju proizvodnju temelji na tisućljetnoj Croatia bases its production on a thousand-year the student and designed in accordance with an existing brand. each herb. The name sana + derives from the Latin tradiciji proizvodnje morske soli na otoku Pagu. long tradition on the island of Pag. Consequently, sanabilis which means ‘curable’. Hence, for example, Stoga su za nositelje vizualnog identiteta odabrane considering the visual identity I opted for Each product needs to be provided with its own identity, yet the willow bark tea is beneficial for the bones and fotografije koje su zabilježile jedan trenutak u photographs which mark a moment in the history it needs to be coherent with the framework visual identity of to soothe inflammation and eliminate pain. All prošlosti paške solane kako bi naglasile njenu of Pag Saltworks in order to emphasise the the brand. Independent work on the project task is preceded by the contents concerning the healing properties autohtonost i tradiciju. Logotip daje koloristički tradition. The logo provides a coloristic accent and have been coded in green and they hence visually akcent, a korištena blok tipografija postiže optički simultaneously bloc typography has been used analytical research of the entity and market research which are communicate with clarity why it would be a good točkastu strukturu koja simbolizira kristale through which a dotted structure has been achieved both crucial in this type of work and customary in the future idea to taste, for instance, hawthorn tea, blueberry soli. Razlika u kvaliteti između cvijeta soli kao which symbolizes salt crystals. The difference in professional life of the student. leaf tea or corn silk tea, as the taste in itself is not ekskluzivnog proizvoda te sitne i krupne soli kao quality between the flower of salt as an exclusive the principal cause for tea tasting in this case. proizvoda niskog cjenovnog ranga postignuta je product and fine and coarse salt as a product of promjenom oblika ambalaže. Ambalaža cvijeta soli the Nin salt price range was highlighted through izdvaja se, kako specifičnim oblikom, tako i načinom modification of the packaging design and the coding otvaranja i korištenja. Korisnik kroz interakciju principle has been pointed out also through the s ambalažom, na simboličkoj razini sudjeluje u difference between fine and coarse salt. stoljećima nepromijenjenom procesu ručne obrade cvijeta soli.

84 85 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

barbara bjeliš josipa prša mentor Nenad Dogan mentor Stipe Brčić asistent / assistant Romana Kajp asistent / assistant Luka Borčić

zrno zrno veli’s veli’s Stvaranju idejnog koncepta prethodilo je utvrđivanje The creation of the conceptual idea was preceded by Veli’s je jedan od rijetkih domaćih brendova koji Veli’s is a one of a few domestic brands involved potreba i navika ciljne skupine, potrošača organske the identification of requirements and habits of the se bave proizvodnjom zdrave hrane bez aditiva. in healthy food without additives. The company hrane koji se redovito ili povremeno opskrbljuju u target group, organic food consumers who are regular Proizvođač se predstavlja kao skup mladih i presents itself as comprising of young and ambitious trgovinama zdrave hrane. Radi se o proizvodima or occasional clients of healthy food stores. The ambicioznih stručnjaka, što bi novi dizajn ambalaže experts and hence I believe that the design and višeg cjenovnog razreda za kupce koji su spremni products are of upper-end of the price range intended trebao izraziti na simboličan način. Ciljna skupina su the concept of this new packaging should be izdvojiti novac za proizvod bez sumnjivih i for buyers who opt for higher prices of products mladi ljudi koji brinu o svome zdravlju i vode brigu o pointing out this fact through symbolism. The prikrivenih sastojaka ili netransparentnih procesa without questionable or concealed ingredients or tome što konzumiraju. Sadržaj vrećice je ono što je specific target group are young people who care proizvodnje. Cilj je bio oblikovati ambalažu non-transparent production processes. The idea bitno i što treba naglasiti, zbog čega se u oblikovanju about their health and the products they opt for. koja će prenijeti vjerodostojnu informaciju o behind the project was to design the packaging ambalaže koristi prozirna folija. Stilizirane ilustracije It is important to highlight the content of the sastavu proizvoda. Tako se nametnula ideja da se which would transfer reliable information on product voća izvedene vodenim bojama, sugeriraju packaging and hence transparent foil has been used. ambalaža oblikuje u formi dnevnih novina koje će ingredients. Hence, the idea of packaging in the shape prozračnost, lakoću i svježinu proizvoda. Consequently, the features of being airy, light, fresh potencijalnim kupcima prenijeti filozofiju tvrtke of a daily newspaper originated striving to transfer and environmentally-friendly are shown on stylized Zrno i predstaviti njegove proizvode. Predstavljena the philosophy of the company Zrno and present its watercolour illustrations. ambalaža osim što informira korisnika o svim važnim products to potential buyers. In addition to providing podacima vezanim za konkretan proizvod, služi i kao information to the user on all the fundamental izvor dotatnih informacija o sastojcima i sirovinama i information on the specific product, the presented njihovim pozitivnim učincima na naše zdravlje. packaging is also used as a source of additional information on the ingredients and raw materials, as well as on their beneficial effects on health.

86 87 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

klasja habjan zita nakić vojnović mentor Nenad Dogan mentor Ivan Doroghy asistent / assistant Romana Kajp asistent / assistant Tomislav Vlainić

čokolade nadalina nadalina chocolate Nadalina je dalmatinska prehrambena tvrtka Nadalina is a Dalmatian food processing company koja između ostalog proizvodi tamnu čokoladu which also produces dark chocolate using a tradicionalnom ručnom izradom sa 70% kakaa. traditional method with 70% share of cocoa. Čokolada je obogaćena raznim lokalnim i egzotičnim The chocolate is enriched with diverse local and začinskim biljem i voćem, počevši od suhih smokava, exotic spice herbs and fruits, from dried figs, carob, rogača, badema i lavande pa sve do crvenog papra almonds and lavender to red pepper and cinnamon. i cimeta. Tako proizvedena, predstavlja otkriće za Hence it is a real treat for chocolate enthusiasts. The ljubitelje čokolada. Izražena tekstura, snažne arome pronounced texture, strong flavours and abundance te bogatstvo mirisa i okusa, simbolički su izraženi of smells and tastes are symbolically depicted crtežima plodova, izvedenih tehnikom linoreza. Tako through illustrations of fruits using a technique of nastale ilustracije asociraju na kućnu izradu, pomake lino cut. The resulting illustrations look like home- 505 sa crtom kraš 505 with line candies u procesu, nesavršenost i toplinu ljudske ruke, a sam made, deviations from the process, imperfections Povijest bombona 505 sa crtom seže još u vrijeme The idea behind Kraš 505 with line candies stems back proces mazanja i otiskivanja često je nepredvidiv, and the warmth of a human hand, whilst the prije drugog svjetskog rata, kada je čokolade i to the time preceding the Second World War when baš kao i kuhanje. Trake u boji doprinose čvrstoći very process of spreading and printing is often bombone proizvodila tvornica Union u Zagrebu. chocolate and candies were produced by the Zagreb- ambalaže i kodiraju okuse badema, rogača, smokve, unpredictable, just like cooking itself. The coloured Potenciranje autentičnosti i nostalgije za originalnim based factory Union. The stress on authenticity and muškatnih oraščić i dr. strips enhance the strength of the packaging and pakiranjem osnova je idejnog koncepta. On nostalgia for original packaging is the basis of the encode the taste of almonds, carob, figs and nutmeg, predstavlja svojevrstan povratak originalnoj conceptual idea. It is a kind of return to the original to name a few. ambalaži tridesetih godina koju mnogi i danas packaging from the 1930’s who is still kept by many čuvaju. Iako je proizvod danas dostupan samo u to date. Irrespective of the fact that the product is plastičnim vrećicama, povratak limenoj ambalaži currently available only in plastic bags, a comeback of polazna je točka u razvoju koncepta ove ambalaže. tin packaging is a starting point in the development Redizajnirani logotip zamišljen je kao glavni vizualni of the conceptual idea of the new packaging. A element na plaštu ambalaže. re-designed logo is considered as a principal visual feature on the envelope of the packaging.

88 89 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

peti semestar Komunikacijski sustav barbara bjeliš hana tintor mentor Nenad Dogan mentor Stipe Brčić – Oglašavanje asistent / assistant Romana Kajp asistent / assistant Luka Borčić Kao i u prethodnim semestrima, i sada je drugi zadatak neposredno povezan s prvim, ali ovaj put se istim subjektom bavi drugi student, s ciljem oblikovanja oglašivačkih sredstava za grupu proizvoda, što je standardni dio promotivnog procesa. Zadatak je težak utoliko što student sve elemente oglašivačke kampanje mora osmisliti sam (na temelju prethodno dizajnira- nog vizualnog identiteta robne marke) – naslov i slogan, slikovne elemente (fotografiju ili ilustraciju), seriju plakata i oglasa, te cjelovitu strategiju implementacije tih oglasa u javni prostor, također prema rezultatima samostalno provedenog istraživanja. Tako je student istodobno i marketinški ‘stručnjak’, i dizajner, i copywriter, i ilustrator, a mentori i asistenti nalaze se u ulozi svojevrsnih art direktora. Cilj zadatka usvojiti je osnove svih vještina koje se u marketinškoj praksi smatraju neizostavnima.

fifth semester Communication System solana pag – Advertising Odabrani idejni koncept bazira se na činjenicama koje povezuju morsku sol i ljudski organizam. Tri As in previous semesters, the second task is directly connected ključna organa ljudskog organizma koje ne mogu with the first task, yet this time another student needs to deal normalno funkcionirati bez elemenata koji su with the same entity in order to design advertising methods prisutni u morskoj soli osnovni su vizualni elementi oglašavanja. Povezanost ljudskog organizma i for a group of products which is a standard constituent in a morske soli kao prirodnog elementa podržana je promotional process. It is a demanding task since students odgovarajućim sloganom. need to independently design all the features of the advertising pag saltworks campaign (based on the previously designed visual identity of The selected conceptual idea is based on the the brand) – the title and the slogan, graphic elements (pho- facts connecting sea salt and the human body. napolitanke kraš kraš napolitanke wafers Three fundamental organs in the human body tography and illustration), a series of posters and advertise- Cilj kampanje je bio na duhovit način napolitankama The campaign strived to gain a competitive which cannot operate normally without elements Kraša dati prednost pred konkurentima. Želja je bila advantage through humorous advertising. The ments, as well as the entire strategy for implementation of the contained in sea salt are the vital features of prikazati ih luksuznijim proizvodom visoke kvalitete. idea behind it was to present the wafers as a top advertisements in public space in accordance to the results of advertising. The connection between the human Ideja se temelji na tri poznata filozofska citata quality luxury product. The idea is based on three body and sea salt as a natural element has been independently conducted research. Hence, students are simul- kojima je dodana riječ ‘napolitanka’ i time istakne da well-known philosophical quotes to which the word highlighted by an appropriate slogan. su najbolje, originalne i neodoljive. ‘napolitanka’ (wafer) has been added, aiming to taneously both marketing experts and designers, copywriters highlight their top quality, originality and irresistibility. and illustrators, whilst mentors and assistants have a role of some kind of art directors. The specific objective of the task is to master the basics of all the fundamental skills in marketing.

90 91 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

zita nakić vojnović klasja habjan mentor Ivan Doroghy mentor Nenad Dogan asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp franck cafe cappuccino Cappuccino je talijanski napitak čiji je nezaobilazan dio toplo mlijeko i pjena. Uglavnom se u oglašavanju cappuccina ističe pjena, koja čini razliku između obične kave i cappuccina.. Naglasak je stavljen na uživanje, opuštanje, razgovor, druženje, mir, zabavu ili buđenje. Proizvođači cappucina obraćaju se ljudima mlađe dobi, s naglaskom na tinejđere i studente. Urbana mlađa populacija uz brz ritam želi uživati, a također ima energiju i vrijeme za duga druženja. Cilj kampanje bio je zadržati isticanje pjene i komunikaciju s mladima kroz humor. Koncept je igra riječima; korištenjem fraza urbanog rječnika pjena poprima šira značenja. Pjena prisutna u svakodnevnom govoru, postavljena preko ilustracija šaljiv je sudar ideja.

franck cafe cappuccino Cappuccino is an Italian coffee drink whose fundamental ingredients are warm milk and foam. Enjoyment, relaxation, conversation, socialising, peacefulness, entertainment or wakening are particularly stressed. Cappuccino producers primarily address young people, such as teenagers and students. In addition to life in the fast lane, young urban population is striving for enjoyment, as they also have sufficient energy and time for extended socialising. The specific objective of the campaign was to preserve the emphasis on milk foam and communication with young people through humour. The idea behind is playing with words – urban phrases used additionally broaden the meaning behind the entire concept. The concept of foam permeates everyday communication and, presented through illustrations, become a witty clash of ideas. riječka tjestenina rijeka pasta factory Riječka tjestenina je proizvođač s najduljom The Rijeka pasta factory is the producer with the tradicijom u svojoj kategoriji u Hrvatskoj a njeni longest tradition in its category in Croatia and its proizvodi vrlo dobre kvalitete pripadaju srednjem high quality products are in the middle price range. cjenovnom razredu. Glavni simbolički motivi The principal symbolic motifs of the campaign are kampanje su more i različite vrste plovila izvedenih the sea and different types of vessels made from iz oblika pojedinih vrsta same tjestenine. Slogani several specific shapes of pasta. The slogans have su smišljeni tako da korespondiraju s vizualnim been conceived in order to correspond with the elementima kampanje. visual features of the campaign.

92 93 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 5. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 5th semester

tihana šare josipa prša mentor Nenad Dogan mentor Stipe Brčić asistent / assistant Romana Kajp asistent / assistant Luka Borčić

alnatura proizvodi alnatura products riblji proizvodi mirela mirela fish products Alnatura proizvodi zdrave prehrambene proizvode Alnatura healthy food products intended for and Kako se radi o prehrambenim proizvodima široke Since we are dealing with broad consumption food namijenje i dostupne širokom krugu korisnika. available for a broad range of users. A campaign potrošnje, kampanja se obraća široj ciljnoj skupini. products, the campaign is addressing a broad target Predviđena je kampanja za četiri proizvoda: müsli for four products has been planned: muesli with Duhoviti ton kampanje trebao bi biti blizak group. A humorous tone of the advertising campaign s bobičastim voćem, namaz od lješnjaka, gris berries, hazelnut spread, wheat groats, and spelt večini potencijalnih kupaca, Fraze korištene za is aiming to reach most potential buyers. The (pšenična krupica) i keksi od pira s bademima and hazelnut biscuits for children. A specific set propagandne poruke asociraju na jezik slenga i phrases used in advertising remind of slang and their namijenjene djeci. Za svaki je proizvod kreiran of characters has been created for each product. svojom dvosmislenošću osiguravaju stanovitu ambiguity enables specific freedom of interpretation karakteristični set likova koji personaliziraju sastojke The characters personalise the ingredients of slobodu u tumačenju reklamnih poruka. of advertisements. svakog odabranog proizvoda. Likovi su postavljeni each specific product and they are presented poput sudionika različitih dječjih igara. Vizualne as participants in diverse children’s games. The elemente kampanje prate odgovarajući slogani visual features of the campaign are accompanied izvedeni iz uobičajenih roditeljskih savjeta s duhovito by corresponding slogans created from advice izmjenjenom pojedinom riječi ili slova, kako bi normally given to children by their parents, albeit poruke sličile dječjem govoru. with humorously altered words or letters aiming to emulate children’s speech.

94 95 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

šesti semestar Komunikacijski sustav – Komunikacija autorskog ana vujasić lara žic mentor Stipe Brčić mentor Nenad Dogan umjetničkog sadržaja asistent / assistant Luka Borčić asistent / assistant Romana Kajp Pri kraju svog preddiplomskog studija, student se vraća plakatu kao jednom od najzahvalnijih medija vizualne komunikacije, kako bi izražajnim sredstvima dizajna interpretirao tuđu autorsku cjelinu kazališne predstave, čime postaje sudionik u kolektivnom stvaralačkom procesu karakterističnom za kazalište. Cilj je oblikovati seriju plakata za promociju tri teatarska sadržaja odabrana iz repertoara jednog kazališta, pri čemu valja podjednako voditi računa o bazičnom poštivanju literarnog predloška predstava, odražavanju specifičnosti redateljskih pristupa, a treba imati na umu i da serija plakata mora odražavati i originalni karakter ka- zališta, odnosno funkcionirati kao element njegovog vizualnog identiteta, onako kako ga vidi student. Pravi izazov za završnu godinu trogodišnjeg studija! &td teatar &td theatre Glorija, Ljevoruka i This is you su Gloria, The Left-handed Woman and sixth semester predstave kazališta &td. Sve se tri This is you are &td Theatre plays. All navedene predstave bave osjetljivim the three plays address delicate social Communication System društvenim problemima. Osnovna problems. The idea behind the design ideja oblikovanja sva tri plakata of the three posters is an extremely – Communication of glumačka družina histrion temelji se na krajnje simboličkom symbolic presentation of theatre Škandal na vuglu Vlaške i Koturaške tipična je izrazu teatarskih tema, tipografskim topics through typographic features. Author’s Artistic Content kajkavska histrionska komedija smještena na elementima. Slova kao osnovni The letters as elements ofdesign have kraj 19. stoljeća. Glavni problem u predstavi je oblikovni elementi, posjeduju a sufficient dose of illustrativeness By the end of the undergraduate studies, students focus on iskrivljeno sjećanje izazvano alkoholom. Ugao dovoljnu dozu ilustrativnosti, stoga and hence the selection of typography, posters yet again, as the most gratifying visual communication Vlaške i Koturaške u stvarnosti ne postoji, te bi se je odabir tipografije, letteringa i lettering and colour for each poster simbolički mogao shvatiti kao cijeli donji grad. To boje na svakom plakatu bilo ključno were crucial in order to achieve the media, in order to use all the means of expression available odgovara i mamurluku glavnih likova koji se ne za postizanje željenog izgleda i desired effect in design to interpret another author’s theatre performance mogu sjetiti gdje su proveli noć, i u svom neznanju, simboličkog izraza. which transforms them into participants in a collective creative boje se najgoreg. Nepostojeći ugao prikazala sam kao Escherovsku konstrukciju zagrebačkih zgrada, process specific for the theatre. The objective is to design a iskrivljenu viziju prostora koji dopunjuju ‘dokazi’ iz series of posters for the promotion of three featured theatre predstave – izgubljeni kišobran, ukradeni grudnjak i contents selected from the repertoire of one theatre where the cipela, koštice pronađene u džepovima. literary work which the performances are based on needs to glumačka družina histrion be fully considered and respected. Moreover, one needs to be Scandal on the corner of Vlaška and Koturaška is a typical Histrion Actor’s Company comedy in fully aware of the fact that the series of posters needs to reflect Kajkavian dialect taking place in the end of the 19th the original features of the theatre in question and operate as century.The principal issue in the play is the distorted a feature of its visual identity as perceived by the student. It is memory caused by alcohol. The corner of Vlaška and Koturaška does not actually exist and it can be a true challenge for the final year students of the three-year symbolically interpreted as the entire Downtown. study programme. It shows the hangover of the characters as they cannot remember where they have spent the night and hence fear the worst. I depicted the non- existent street corner between Vlaška and Koturaška as an Escher construction of Zagreb buildings and the distorted vision of space enhanced by ‘evidence’ from the play – a lost umbrella, a stolen bra and a stolen shoe, kernels found in pockets.

96 97 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

hana tintor klasja habjan mentor Stipe Brčić mentor Nenad Dogan asistent / assistant Luka Borčić asistent / assistant Romana Kajp

kazalište kerempuh kerempuh theatre Satiričko kazalište Kerempuh specijalizirano je za Kerempuh Satirical Theatre is specialised for satiru i humor s naglaskom na suvremene teme. satire and humour with particular emphasis Predstave Svećenikova djeca, Krletka i Živio Harms! on contemporary topics. Theatre plays Priest’s uzete su kao teme za oblikovanje serije plakata. children, The Cage and Long live Harms! have been Plakati za sve tri predstave temelje se na crno bijeloj selected. Posters for the three plays are based on ilustraciji kojima su prikazani elementi karakteristični black and white illustration depicting a feature of a za scenografiju ili rekvizite iz pojedine predstave scenery or a paraphernalia from a specific theatre kao dominantni vizualni elementi. Njihovom play as dominant visual features. The specific kombinacijom sa drugim simboličkim elementima message of individual plays was conveyed through ili bojom nastojala se izraziti osnovna poruka svake a combination of the visual features with other pojedine predstave. symbolic features, kazalište gavella gavella theatre Osmi povjerenik, Fine mrtve djevojke i Tri sestre, The Eighth Commissioner, Fine Dead Girls and Three predstave su iz repertoara dramskog kazališta Sisters are plays from Gavella theatre repertoire. Gavella. U sva tri plakata teme odabranih predstava The topics on the three posters have been illustrated prikazane su bogatom likovnošću, specifičnim through luscious visual arts effects, through a jezikom simbola jake uočljivosti i metaforičnosti. specific symbolic expression and through metaphors Svojim pristupom srodni su već postojećem attracting attention. The approach is similar to the likovnom pristupu rješavanju Gavellinih plakata. existing visual arts solutions in Gavella theatre posters.

98 99 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

zita nakić vojnović vanja perković mentor Ivan Doroghy mentor Nenad Dogan asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp

teatar exit U seriji plakata za predstave Munchausen, Ja, tata i Njuške teatra Exit, jednostavnom linijskim ilustracijama postavljenima u kontrastni odnos s pozadinom, prikazani su simboli koji gledateljima pružaju uvid u karakter i temu svake odabrane predstave ovog popularnog zagrebačkog teatra. exit theatre Symbols providing the audience with an insight into the principal features of each selected play of this popular Zagreb-based theatre have been presented in this series of posters for the plays ‘Munchausen’, zagrebačko kazalište mladih (zkm) zagreb youth teathre (zkm) ‘I, Dad!’ and ‘Snouts’ with a simple linear illustration Plakati su dizajnirani tako da predstavljaju The posters have been designed aiming to present placed as a contrast with the background. Zagrebačko kazalište mladih kao kazalište u Zagreb Youth Theatre as a theatre in search potrazi za novim formama i trendovima koje for new forms and trends, a theatre prone to teži eksperimentu i scenskim istraživanjima te experimentation and scenic research, as well as a visokoj estetskoj razini. Plakati koriste fotografije theatre aiming to reach high aesthetic levels. The kao polazišnu točku dizajna kojom se predočava posters include photographs as a starting point atmosfera ili neki osnovni elementi predstave. of design which show the ambience or several Zatim se kolažem parafraziraju razne težnje novim fundamental features of the play. Hence, a collage kazališnim i scenskim formama u jezik dizajna, technique is used to paraphrase the striving bilo jasnom aluzijom na sadržaj predstave ili towards new theatrical and scenic forms into design reinterpretacijom poruka samih predstava. Rukom language, both through obvious allusions to the ispisani naslovi trag su jakih autorskih pečata i čestih plot of the play or through reinterpretation of the improvizacija u kazalištu, kao dodatna predodžba o messages permeating the the plays. The handwritten naravi i djelovanju kazališta. titles symbolise the impact of specific author’s work and frequent improvisations in this theatre, as well as additionally clarify the nature and the specific activity of this theatre.

100 101 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

šesti semestar Komunikacijski sustav u klasja habjan odgovarajućim medijima mentor Nenad Dogan asistent / assistant Romana Kajp – Multimedijalna prezentacija Godišnja nagrada Studija dizajna / Annual Awards at the School of Design Završni zadatak preddiplomskog studija po prvi put dopušta studentima da sami osmisle i odaberu sadržaj kojim će se baviti i koji će istraživati koristeći znanja i vještine stečene u prethodnim godinama studija. Sada se od studenata traži da se jasno postave prema struci, definiraju svoju poziciju i artikuliraju vlastite stavove u kontekstu suvremenih vizualnih komunikacija, te da se postave i prema problemu ili području koje su odabrali. Projektni zadatak može se temeljiti na osobnoj promociji ili na promišljanju određenog fenomena u studentovoj okolini, ali završna prezentacija mora biti ostvarena u medijima i izražaj- nim sredstvima koji najbolje komuniciraju kako individualnost studenta, tako i kompleksnost odabranog problema. Poticaj je to studentima da na pojave i probleme oko sebe reagiraju u skladu sa svojim životnim pozivom.

sixth semester blok ‘od(blok)iraj’ notepad ‘unblock’ Communication System Uvjereni da se neznamo izražavati crtanjem ili We are convinced that we are unable to express pisanjem, skloni smo traženju i nalaženju ‘rubnih’ ourselves through drawing or writing, we are prone in the relevant Media načina izražavanja. Ponekad i osobama koje sebe to embracing the peripheral means of expression. drže kreativnima treba konkretan povod da bi Persons who consider themselves creative at times – Multimedia Presentation oslobodili svoje kreativne potencijale. ‘Od(blok)iraj’ need a concrete incentive to release their creative je blok s tridesetdva zadatka namijenjena svima koji potential. ‘Unblock’ is a notepad comprising of The final task in the undergraduate study programme allows vole crtati i pisati te istraživati prostor gdje se te thirty-two tasks intended for enthusiasts of drawing students to select and create the content of personal interest dvije vještine dotiču. Ispunjavajući svoj blok, vlasnik and writing, as well as those fond of exploring which they will focus on and explore using the knowledge and prolazi kroz tri cjeline. Pri crtanju, neživom predmetu the area where the two skills intersect. The owner ‘udahnjuje život’ ili metaforama ilustrira poruku, needs to pass through three units whilst working skills acquired during the previous years of undergraduate study. improvizirajući tehnikama i načinima izražavanja. Pri in their notepad. During the drawing segment they Students need to assume responsibility towards their profes- pisanju, razvija sposobnost prepričavanja, potrebnu are required to give life to an inanimate object or sion, define their position and articulate their attitudes within jednako u brojnim profesijama kao i u svakodnevnom illustrate a message through metaphors, improvising životu. U posljednoj cjelini vlasnik bloka spaja sliku techniques and methods of expression. During the context of contemporary visual communications, as well i tekst ilustriranjem vlastitih priča. Rješavanjem the writing segment they need to develop the skill as express their attitudes about the problem or the selected zadataka u crtaćem bloku možemo trenirati svoje of retelling which is required in a large number area. The project task can be based on personal promotion kreativne mogućnosti bez obzira na osobne ambicije. of professions, as well as in daily life. Finally, in Blok je sastavljen od različitih vrsta papira, sukladno the last unit, the owner of the notepad needs to or reflexion on a specific phenomenon encountered in student preporučenoj tehnici ili zadanim poglavljima. Malog connect the picture and the text through providing milieu. Nevertheless, the final presentation needs to be crea- je formata i spiralnog uveza kako bi bio prenosiv i illustrations to their own stories. The tasks provided ted using the media and the means of expression which can korišten u različitim situacijama. Zasad je izvedeno in the drawing notepad strive to enhance creative šest primjeraka od kojih je svaki pronašao vlasnika potential irrespective of one’s personal ambitions. adequately communicate both student’s individuality and the čiji će radovi pridonijeti istraživanju i uspoređivanju There are six copies of the notepad to date with each complexity of the selected issue. It is an incentive for students rezultata. Vježbe su uglavnom izmišljene i of them having an owner whose work will promote to deal with occurrences and issues encountered in their milieu konstruirane prema nekim osobnim iskustvima, dok the research and comparison between the results. je dio vježbi za pisanje interpretacija vježbi preuzeto The tasks are primarily invented and created based in accordance to their profession. iz knjige ‘Radionica pisanja fikcije’ Josipa Novakovića. on personal experience, whilst several writing tasks aiming to improve the writing of interpretations have been taken from the book entitled ‘Fiction Writer’s Workshop’ by Josip Novaković.

102 103 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

vanja perković zita nakić vojnović mentor Nenad Dogan mentor Ivan Doroghy asistent / assistant Romana Kajp asistent / assistant Tomislav Vlainić

175.5 ECTS 175.5 ECTS pogled na dvorište view to the yard Ova knjiga osvrt je na pozadinu, dosad osvojenih, 175.5 ECTS This book is a commentary on my 175.5 ECTS credits Projekt ‘Pogled na dvorište’ preispituje ulogu The project ‘View to the yard’ analyses the role and bodova. Umjesto portfolija radova, ovdje se ja, kao student achieved thus far. Instead of a portfolio of works, I i značenje zajedničkih javnih prostora koji nas the meaning of common public areas surrounding us dizajna, predstavljam svojim promišljanjima vezanim uz attempted to present my work as a design student through okružuju a istovremeno pokušava skrenuti pažnju and is simultaneously striving to attract attention of odrađene zadatke na studiju i nudim usporedbu orginalnih reflections concerning specific tasks throughout the zajednice na značajan potencijal javnih površina the community to the significant potential of public pratećih tekstova radova i sadašnjih prisjećanja te najčešće study and I provide a comparison of the original texts koje su nam na raspolaganju. Želja je potaknuti areas available to us. The idea behind the project prizivanih iskustava iz istih. Sukladno tome, u knjizi su accompanying my work and the current remembrances zajednicu na (re)akciju i (re)vitalizaciju dvorišta kao is to encourage the community to (re)act and (re) priloženi seminari i eseji za razne kolegije u protekle 4 and most commonly recollected experiences acquired from mjesta za boravak, igru, spremište ili okupljanje. vitalise the yard as a place for stay, play, storage or godine studiranja u koje je uloženo mnogo truda (činilo se them. Consequently, I provided seminars and essays for Osnovne metode akcije su provokacija, interakcija social gathering. The principal methods of action are tako ili ne), a nakon predaje su ostali pospremljeni u nekoj diverse courses during the past 4 years of study which I i povezivanje građana. Cilj projekta je omogućilti provocation, interaction and connection between ladici ili folderu i više ih se nije spominjalo. Oni su ovdje jer had put substantial effort into (irrespective of whether it detaljniju edukaciju o planiranju i uređenju gradskih the citizens. The objective of the project is to enable nisu formalnost u stjecanje zadovoljavajućeg broja bodova, appears so) and they were left in some drawer or in a folder površina te upoznavanje s mogućim izvorima a more comprehensive education on planning and već su izraz pokušaja stvaranja mislećih dizajnera. Dizajn after submission and were never mentioned again. They financiranja koji bi omogućili transformacije refurbishment of public areas, as well as providing reinterpretira skripte i studentske bilješke pa u stiliziranoj have been included in this book because they are not only a dvorišnih prostora kao značajnih dijelova ukupnog information on potential sources of financing vizualnoj formi nalazimo klamericu koja nosi numeraciju, formality for acquisition of the required number of credits, javnog urbanog prostora. Pomoću naljepnica u which would enable the transformation of yards as podcrtavanja i uokviravanja koja služe za podjelu i but are also an expression of attempts at creation of obliku oznake za fotografski kadar koje se lijepe po important segments of the entire public space in organizaciju sadržaja, greške koje nastaju fotokopiranjem designers during their work. The design reinterprets lecture raznim lokacijama, omogućava se fokusiranje na urban areas. The focus on concrete public areas is itd. Knjiga je posvećena svim profesorima, predmetima, notes and student notes and hence, through a stylized konkretne prostore. Predstavljanje ideje ostvaruje achieved through the use of stickers designed in a zadacima, filmovima, knjigama, stripovima i uzorima iz svih visual form, a staple is provided which bears numerisation, se promotivnim letcima i serijom plakata koji shape of a sign for photography shot which are put sfera života čiji se pozitivan utjecaj na naše obrazovanje highlights and framing intended to divide and organize the dokumentarističkom fotografijom i kratkim opisom on different locations. The presentation of the idea često nepravedno umanjuje jer na konačan rezultat utječu content and the mistakes originating through copying. The prenose glavni smisao projekta. is achieved through promotional leaflets and a series ponekad vrlo, vrlo suptilno. book is dedicated to all the professors, courses, tasks, films, of posters which through documentary photography books, comic strips and role models throughout the spheres and a short description convey the basic message of of life whose positive impact on our education is often the project. wrongfully reduced, since they often affect the final results in a considerably subtle manner.

104 105 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

hana tintor ana vujasić mentor Stipe Brčić mentor Stipe Brčić asistent / assistant Luka Borčić asistent / assistant Luka Borčić super mušica iza ograde Ideja projekta nastala je na temelju zaključka da veliki – tajne dubravkinog puta broj ljudi ima potrebu udovoljavati nekim svojim Dubravkin put, jedna od najljepših zagrebačkih malim osobnim željama i navikama. Ponekad te želje šetnica u samom centru grada, duljine oko dva nazivamo ‘mušicama’ a one su često puta dokaz kilometra, nazvana je prema naslovu Gundulićevog koliko je interesantan, kreativan i duhovit ljudski istoimenog književnog djela. Zagrepčani i turisti um. Izmišljenim likovima simbolički su predstavljeni nedovoljno su upoznati s lokacijom i prošlosti pojedini karakteri kojim je stvoren novi, mali svijet Dubravkinog puta kao značajnog i zanimljivog likova s kojima se svatko od nas može poistovjetiti. dijela ‘zelenog’ Zagreba. Pažnju rijetkih posjetilaca Likovi su vizualno stilski ujednačeni a odabrani dio privlače starinske vile sagrađene duž Dubravkinog njihovog tijela asocira na naviku za kojom lik iskazuje puta, koje su nekad pripadale znamenitim građanima potrebu. Oblikovanjem ‘stickera’, koji su ljepljeni po Zagreba a djela su značajnih hrvatskih arhitekata javnim mjestima, napravljena stranica na društvenim poput Stjepana Planića, Kazimira Ostrogovića mrežama (Facebook). Likovi nas navode da i drugih. Projekt naslovljen ‘Iza ograde - tajne razmislimo o sebi samima i svojm ‘mušicama’, da ih Dubravkinog puta’ ima za cilj upoznavanje javnosti prihvatimo i odaberemo odgovarajući lik ili izmislimo s bogatom prošlošću tog dijela grada. Projekt novi, što projekt može dalje razvijati i širiti. Projekt uključuje signalistiku kojom bi se označila svaka vila s ujedinjuje tri područja koja su bliski autorici projekta, elementarnim podacima o bivšem vlasniku, nastanku ilustraciju, uličnu umjetnost i dizajn. i graditelju te tiskani prigodni ilustrirani vodič. super whim behind the fence The idea behind the project resulted from – secrets of dubravka’s path observation and becoming acquainted with different – secrets of dubravka’s path people of which a large number is prone to meeting Dubravka’s path is one of the most beautiful their petty needs. Such needs are sometimes referred Zagreb’s walkways located in the centre of the city. to as whims. Whimsical habits have inspired this Its current name originated from the eponymous project as they are a proof of interest, creativity literary work by Gundulić. Zagreb inhabitants and and humour of the human mind. During the initial tourists are insufficiently acquainted with the phase a survey was conducted on caprices, which location and the history of Dubravka’s path as an was followed by planning, drawing and naming important and interesting part of the green area of of characters, the creation of stickers which were Zagreb. Old fashioned villas, which used to belong subsequently put on public places and finally a to remarkable citizens of Zagreb, constructed profile on social network sites (Facebook) was along Dubravka’s path attract the attention of created. The characters created are stylistically visitors. These family houses were the result of homogeneous, they have been depicted humorously work of reputable Croatian architects such as and are aiming to improve the mood of the beholder. Stjepan Planić and Kazimir Ostrogović, to name They even invite us to invent new characters. Hence, a few and are considered significant for Zagreb the project can develop and expand. Moreover, the architectural heritage. The project entitled ‘Behind project brings together three areas the artist is fond the fence – secrets of Dubravka’s path’ strives to of: illustration, street art and design. inform the general public about the rich history of that part of the city. The project includes signalistics which can be used to mark each villa containing the fundamental information on the former owner, the construction and the constructor. The project also comprises of a relevant printed illustrated guide.

106 107 godišnjak studija dizajna 13. / 14. preddiplomski studij / projektiranje – vizualne komunikacije, 6. semestar school of design annual review 13 / 14 undergraduate programme / Design Course – Visual Communications Design, 6th semester

lara žic tena kelemen mentor Nenad Dogan mentor Ivan Doroghy asistent / assistant Romana Kajp asistent / assistant Tomislav Vlainić

leksikon Autograph book Projekt je nastao na iskustvu komuniciranja The project is the result of experience of Leksikonima u osnovnoškolskom razdoblju, kada communication through Autograph books during su ovi alternativni oblici međusobne komunikacije primary school when this alternative method učenika bili izetno popularni. Njihova popularnost of communication among students is extremely imala je uporište u mogućnostima razmjenjivanja popular. The popularity of Autograph books was različitih poruka između prijatelja ili simpatija. U based on the opportunity to exchange diverse ovom projektu komunikacija među studentima messages among friends or sweethearts. The Studija dizajna odvija se metodom ankete, odnosno communication among students of the School of metodom pitanja i odgovora, iznesenih u formi Design in this project occurs using a method of Leksikona. Pitanja su vezana uz teme iz dizajnerske survey, i.e. through questions and answers, provided sedam veličanstvenih the magnificent seven struke i studentskog miljea a odgovori izražavaju in the form of an Autograph book. The questions Dizajn je u svojoj suštini rješavanje problema a Design is basically problem solving. The obstacles široki raspon raspoloženja i stavova studenata, address design issues, as well as those popular prepreke na koje nailazimo u dizajnerskom procesu encountered in design process are often not iznesenih često u humorističnom tonu. among students, while the answers present a vast često nisu povezane izravno s projektnim zadatkom connected directly with the project task and they array of moods and attitudes of students and they a imaju velik utjecaj na njegov konačni ishod. have a significant impact on its final outcome. are normally provided humorously. Inspiracija, komunikacija s mentorom, dosljednost Inspiration, communication with the mentor, ili artikulacija i slični problemi mogu neizravno coherence or articulation and similar problems can ugroziti sam projekt. Što se ranije s njima suočimo indirectly jeopardise the project itself. The sooner prije ćemo ih moći osvjestiti, analizirati te ih pokušati we face them, the earlier will we be able to raise što bezbolnije riješiti ili zaobići. Cilj ovog projekta our awareness on these issues, analyse them and je utvrđivanje problema u vlastitom dizajnerskom attempt to tackle them in the most opportune procesu. Vizualizirajući probleme dajemo im neku manner or simply avoid them. The objective of this novu, pozitivnu, drugačiju vrijednost. project is neutralising of the negative sign to the detected problems in one’s own design process. A new positive and different value can be attributed to them through visualisation of the problems.

108 109 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Tipografija Typography

Cilj tipografskih kolegija na preddiplomskom studiju je stvaranje The specific objectives of the course at the undergraduate study osnovnog, upotrebljivog fundusa znanja o tipografiji. Studenti is the creation of the fundamental, usable knowledge base se upoznaju s osnovnim terminima (tipografija, pismo, font, on typography. Students are being acquainted with the basic mjerne jedinice...), osnovnom klasifikacijom pisama (serifni / be- concepts (typography, script, font, and measurement units, to zserifni; konstrukcija translacije i ekspanzije; naslovna pisma i name a few), basic classification of script (serif / sans-serif; pisma za tekući tekst...), osnovnim parametrima manipulacije construction of translation and expansion; title calligraphy and (horizontalni pokret – spacing, kerning, tracking, veličina pi- regular text calligraphy, to name a few), basic parameters of sma – te vertikalni pokret – prored i veličina pisma) i poviješću manipulation (horizontal movement: spacing, kerning, tracking, tipografske discipline. Studenti se također upoznaju s osnovama script size; vertical movement: spacing and script size) and the tipografskog sloga, proporcijama, formatima i hijerarhijom tek- history of typography. Students are also introduced to funda- sta. Nastava se provodi pretežno u obliku niza praktičnih vježbi mentals of typographic ligature, proportions, formats and text koje tipografsku disciplinu opisuju iz oba smjera – makro (rad sa hierarchy. The lectures are normally organised as practical slovima, mreže, formati…) i mikro (analiza, konstrukcija, crtanje work presenting typography from two points of view – macro slovnih znakova i cijelih pisama). Nakon usvajanja uobičajenih (work with types, grids and formats) and micro (analysis, design, rješenja za uobičajene probleme od studenata se očekuje i drawing of fonts and entire typeface). In addition to mastery of kritički stav te odstupanja. the most common solutions in tackling of everyday issues, the students are expected to develop a critical attitude and distance. Nakon uvodnih predavanja i pretežno tehničkih vježbi s prve godine, studenti se na drugoj i trećoj susreću s kompleksnijim Following the introductory lectures and primarily technical pra- zadacima poput oblikovanja knjiga, časopisa i digitalnih pisama. ctice during the first year of study, the students of the second Uz aktivno povezivanje znanja usvojenih prethodnih godina, and third year face more complex problems such as design of od studenata se očekuje da do kraja preddiplomskog studija books, magazines and digital typeface. In addition to having svakoj vrsti dizajnerskog problema / projekta mogu pristupiti comprehensive overview of knowledge acquired during the tipografski i potencijalno ga isključivo tako i rješiti. previous years of study, the students are expected to be able to tackle problems using their knowledge in typography and solve it primarily in this manner by the completion of their undergraduate study.

110 111 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 1. semestar school of design annual review 13 / 14 undergraduate programme / typography, 1st semester

prvi semestar Kaligrafija eva šmuc mentor Hrvoje Živčić – Pisanje širokim perom demonstrator Marko Hrastovec Kaligrafija je grana vizualne umjetnosti koja se bavi pisanjem kao likovnom formom i predstavlja temelj znanja o slovnim oblicima. Pisanjem širokim perom studenti se upoznaju s logikom kontrasta, konstruktivnim elementima slova, proporcijama te neposredno savladavaju ritam unutar i između riječi (spacioni- ranje) te između redaka (prored). Usavršavanje tehnike pisanja u ovoj vježbi nije samo sebi svrhom već su znanja stečena kroz pisanje izravno primjenjiva u svemu što uključuje slova, od projektiranja logotipa, informacijskih sustava do knjiga i časopisa.

first semester Calligraphy – Writing with a Broad Nib Pen Calligraphy is a branch of visual art involved in writing as a form of visual art and is considered the foundation of knowledge on letter forms. Using a broad nib pen for writing is aimed at introducing the students to the logic of contrast, structural features of letters and proportions and are indirectly acquainted with the rhythm within and between words (spacing) and between the lines (leading). The perfecting of the technique of writing in this course is not an end in itself, as the knowledge acquired through writing is directly applicable.

vita vrebac mentor Hrvoje Živčić demonstrator Marko Hrastovec

112 113 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 2. semestar school of design annual review 13 / 14 undergraduate programme / typography, 2nd semester

drugi semestar vita vrebac dorja horvatić mentor Hrvoje Živčić mentor Hrvoje Živčić Upotreba mreže u tipografiji demonstrator Marko Hrastovec demonstrator Marko Hrastovec U slijedu vježbi koje se nižu od jednostavnih do kompliciranijih, studenti savladavaju osnove tipografske raspodjele plohe. U zimskom semestru vježbe se temelje na klasičnom pristupu oblikovanja tekućeg teksta (knjige) pomoću Villardovog di- jagrama, dok se u ljetnom obrađuje upotreba kompleksnijih mreža, poglavito metodologije švicarske tipografske škole (J. M. Brockmann, E. Ruder...). Posebna pažnja usmjerena je kako tretmanu tekućeg teksta (na mikro razini), tako i logici sustavnog rasporeda svih elemenata (na makro razini). second semester Use of a Typographic Grid During a sequence of exercises ranging from the simplest ones to the more complex, the students are introduced to basics of typographic page layout primarily through the methodology adopted in the Swiss style typography (J.M. Brockmann, E. Ruder, etc.). Special focus is placed on dealing with the entire text (at the micro level), as well as on the logic of systematic layout of all the features on the page (at the macro level).

klara zaher mentor Hrvoje Živčić demonstrator Marko Hrastovec

114 115 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 2. semestar school of design annual review 13 / 14 undergraduate programme / typography, 2nd semester

drugi semestar Izrada vlastitog valentina sunek karla čotić luka dundović vita vrebac mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić monograma demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec Monogram je znak sastavljen od dva ili više slova, inicijala osobe, udruge, tvrtke ili neke druge vrste organizacije, te se poput klasičnog logotipa koristi za raspoznavanje i označavanje. Mo- nogram ima dugu povijest (od kovanog novca, preko plemićkih oznaka do tiskara, izdavača i umjetnika), a do danas se njegova upotreba zadržala primarno kao varijanta logotipa. Ovim uvodnim zadatakom studenti se kroz osmišljavanje i iscrtavanje vlastitog monograma upoznaju s crtanjem Bézierovim krivuljama, ograničenjima pri reprodukciji ovisno o mediju te smislenom povezivanju forme i sadržaja (vlastite osobnosti). second semester Creation of One’s viktorija jurina matej maltar tanja modraković rafael milčić own Monogram mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec Monogram is a sign consisting of two or more letters, initials of a person, association, company or any other type of organisation and is used as a classical logo for identification and recognisability. Monograms have a long history (ranging from metal money, aristocrat signs and printeries, publishers and artists) and its use primarily as a variant of logo has been present to date. This introductory task aims to introduce the students to the drawing of Bezier curves, reproduction restrictions depending on the media, as well as a meaningful connection of the form and the content (one’s own personality) through design and the drawing of their own monogram.

116 117 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 2. semestar school of design annual review 13 / 14 undergraduate programme / typography, 2nd semester

drugi semestar paula šantić ena begčević paula šobat mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić Tehnički logotip demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec Vježba se temelji na iscrtavanju jedne riječi u više različitih stilova i vrsti slova (sans, serif, kurziv, kurenti, verzali). Logotip se u ovom slučaju ne projektira u klasičnom smislu riječi (forma ne mora odražavati sadržaj) već je naglasak na istraživanju formalnih stilova i pristupa, dubljem razumijevanju konstrukcije slova, logikom kontrasta i usklađivanju pozitivnih i negativnih formi. Očekuje se da na ovaj način studenti dobiju kvalitetnu podlogu i tehničke vještine potrebne za projektiranje logotipa.

second semester Tehnički logotip This exercise is based on drawing one word in several different styles and letter constructions (sans, serif, cursive, lowercase, uppercase). Instead of trying to match the appearance of the shapes to the meaning of the word, the emphasis is on exploring different aesthetics and approaches to drawing letters, better ana kikerec ivona vuri anja nikolić understanding of letter construction, contrast and counter sha- mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić pes. The exercise is meant to prepare students for designing demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec wordmarks as part of bigger visual identity projects.

vita vrebac rafael milčić mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec

118 119 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 3. semestar school of design annual review 13 / 14 undergraduate programme / typography, 3rd semester

treći semestar Crtanje klasičnih serifnih slova tin burić petra grubišić mentor Hrvoje Živčić mentor Hrvoje Živčić – Varijacija u kontrastu demonstrator Marko Hrastovec demonstrator Marko Hrastovec Pomoću metode za konstruiranje slova temeljenih na pisanju širokim perom (LetterModel, Frank Blokland) studenti iscrtavaju kurente koji će im poslužiti kao osnova za crtanje klasičnog seri- fnog pisma. Unatoč istoj polazišnoj točci (LetterModel) gotovo svaki student dolazi do drugačijeg rješenja. U ovoj vježbi se od studenata ne očekuje velika inovativnost u dizajnu već prvent- sveno savladavanje osnova oblikovanja pisma. U drugoj fazi se na temelju nacrtanih serifnih slova izvode varijacije u višem i nižem (bezserifna i slab serifna pisma) kontrastu. third semester Drawing of seriffed Letters – Variations in Contrast Through the method for design of letters based on writing with a thick pen (LetterModel, Frank Blokland) the students draw miran bašić dunja lesar lower-case script letters to provide a base for the drawing of mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec the classical serif script. Irrespective of the LetterModel almost every student provides a different solution. In this practical work exercise the students are not obligated to show particular innovativeness in design, as the task aims primarily at mastery of scripting fundamentals. During the second phase the task focuses on variations in higher and lower (sans-serif and weak serif script) contrast based on the drawn serif letters.

120 121 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 3. semestar school of design annual review 13 / 14 undergraduate programme / typography, 3rd semester

treći semestar petra grubišić mentor Hrvoje Živčić Prezentacija pisma demonstrator Marko Hrastovec Uobičajen način prezentacije pisma jest knjižica koja predstavlja klinic slab Klinic Slab je slab serifna porodica pisama s pismo u punom opsegu i u različitim tipografskim situacijama. četiri debljine koju je 2013. dizajnirao Joe Prince. Radi se o svojevrsnoj osobnoj iskaznici pisma koja sadrži podatke Prince je aktivni član online zajednice dizajnera i o samom pismu, njegovom dizajneru, izdavaču fonta, pripovijest tipografa Dribbble, na kojoj je objavljivao proces stvaranja Klinic Slaba, a korisnici stranice svojim su o nastanku... Ona sadrži potpun pregled porodice (prikaz svih komentarima i sugestijama sudjelovali u dizajnu. karakterističnih slovnih znakova svakog pojedinog reza, liga- Specimen je podijeljen u dva dijela, crveni koji tura, alternacija i ostalih specifičnosti), preporuke za uporabu odmotavanjem otkriva online timeline dizajna, i plavi koji prezentira dovršeni Klinic Slab. (prikaz rezova u različitim veličinama, proredima i poravnanjima, prikaz blokova teksta za rezove koji su namijenjeni slaganju klinic slab Klinic Slab is a slab-serif typeface with four weights kontinuiranog teksta) i ostale tehničke podatke. Također, to designed by Joe Prince in 2013. Prince is an active je i ‘priča’ o pismu ispričana na zanimljiv, originalan i prikladan member of Dribble, an online community of način. Oblikovanje knjižice može biti vrlo eksperimentalno, ali designers and typographers where he published the process of creation of Klinic Slab and website users i tradicionalno u pristupu i konačnom rezultatu pod uvjetom participated in the design with their comments and da su sadržani svi obavezni elementi te da postoji jasna stilska suggestions. Specimen has been divided into two poveznica knjižice i odabranog pisma. parts – a red part, which through unfolding reveals the online timeline of design and a blue part which represents a completed Klinic Slab. third semester Type Specimen The common method of typeface presentation is a booklet providing a comprehensive presentation of the typeface including a vast array of typographic situations. It is a personal identity of typeface comprising of information on the typeface itself, its designer, font publisher and a story of its inception, to name a few. It consists of a comprehensive overview of the system (illustrating all the specific typefaces of specific incisions, ligatures, alternations and other distinctive features), instructions for use (an overview of incisions of various sizes, spacing and alignments, a survey of text blocks intended for continuous text structuring) and other technical information. In addition, it is a story of a typeface told in an innovative, interesting and appropriate manner. Design of a library may be both experimental and traditional in its approach. Its final miran bašić neutra neutra results providing all the obligatory features have been included mentor Hrvoje Živčić Neutraface je tipografija grupe House Ind., nastala po Neutraface is a typeface created by House Ind. Group, and there is a clear stylistic connection between the library and demonstrator Marko Hrastovec uzoru na brojke koje se nalaze na zgradama arhitekta the principal idea behind it being the numbers written on the selected typeface. Richarda Neutre. Kao što njegova arhitektura spaja the buildings by the architect Richard Neutra His prirodu i čovjeka, tako i ovo pismo objedinjuje architecture connects the Nature and man and humanističko i geometrijsko. To načelo je naglašeno similarly this font brings together the humanistic and alternativnim formama slova, koje omogućuju izbor the geometrical. This principle has been emphasised između ta dva karaktera. Ovaj type specimen nastoji through alternative letter forms which enable the choice prikazati taj dvojni karakter i omogućiti izravnu between these two types of character. This type specimen usporedbu različitih formi istih znakova. is aiming to present the dual character and enable direct comparison between different forms of the same signs.

122 123 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 3. semestar school of design annual review 13 / 14 undergraduate programme / typography, 3rd semester

otto kušec tin burić mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec

bello bello archer archer Bello je tipografija grupe Underwear, koja oblikuje Bello is a typeface created by Underwear group Archer je slaboserifno pismo dizajnirano za časopis Archer is a slab-serif typeface designed for use in zanimljive i drugačije fontove. Bello je nastao po which designs interesting and different fonts. Bello o kućanstvu Marthe Stewart. Specimen zamišljen Martha Stewart Living Magazine. The specimen is uzoru na rukom pisane oglase, znakove i logotipe originated from handwritten advertisements, signs kao knjižica ideja i predložaka na koje je sve moguće conceived as a booklet of ideas and templates on kakvi se često nalaze na mjestima poput slastičarnica, and logos which are often found in places such as načine koristiti ovo pismo. Tako su naglašavanjem diverse possible ways of use of this typeface. Hence, trgovina dječjim igračkama ili u kafićima opuštenijeg ice-cream parlours, children’s toys shops or coffee detalja samog fonta stvoreni patterni u duhu uzoraka through highlighting of the details of the font itself ambijenta. Tako se i ovaj type specimen referira na bars with a more relaxed atmosphere. Hence even zidnih tapeta i sličnih dekora, dok su korice, vodeći patterns associating of wallpaper patterns and vizualni kod, razigranih veličina teksta, uz autorske this type specimen has a visual code, playful text se istom idejom, presvučene tkaninom. similar decoration have been created, whilst the ilustracije postavljenog stola u slastičarnici. sizes, in addition to author’s illustrations of a set covers, behind which there is the same idea, have table at an ice-cream parlour. been upholstered with fabric.

124 125 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 4. semestar school of design annual review 13 / 14 undergraduate programme / typography, 4th semester

čevrti semestar Oblikovanje pisma po dunja lesar barbara bjeliš miran bašić mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić zadanim parametrima demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec Za ovu vježbu od studenata se očekuje poznavanje anatomije slova, vrsta kontrasta te osnovne vještine crtanja slova. Na temelju nasumično odabranih parametara (konstrukcija, kontrast, x-visina…) studenti crtaju skice dužine jedne riječi. Nasumični parametri omogućavaju nove i neočekivane situacije te uvjetuju studente da crtaju van svojih navika. Početne skice poslužit će kao predložak za razvoj cijelog pisma. Kada je dizajn definiran, slova se digitaliziraju (skeniraju te iscrtavaju pomoću Bézierovih krivulja) i oblikuju u funkcionalan digitalni font.

fourth semester Type Design following given Parameters Students needed to be acquainted with typeface anatomy, type contrasts and basic skills in type design. Based on randomly selected parameters (structure, contrast and x-height, to name a few), the students had to draw drafts whose the length was one word. Random parameters provide new and unexpected situations and make the students draw in an entirely different manner. The initial drafts were used as a template for the development of the entire typeface. Once the design had been defined, the typeface was digitised (scanned and drawn using Bézier curves) and designed into a functional digitised font. donat radas mentor Hrvoje Živčić demonstrator Marko Hrastovec

126 127 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 4. semestar school of design annual review 13 / 14 undergraduate programme / typography, 4th semester

otto kušec tin burić grgo petrov gala marija vrbanić mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec demonstrator Marko Hrastovec

128 129 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 4. semestar school of design annual review 13 / 14 undergraduate programme / typography, 4th semester

četvrti semestar Tipografska hijerarhija barbara bjeliš mentor Hrvoje Živčić i struktura demonstrator Marko Hrastovec Zadatak je oblikovati imaginarni časopis proizvoljne tematike. ink magazin Naglasak je na tipografskom tretmanu sadržaja koji izlazi iz Ink Magazine je časopis o tetoviranju, tetovažama i kulturi tetovaže. Časopis tiskan na transparentnom građenja unutarnje logike časopisa, uspostavi hijerarhija teksta, papiru unatoč ograničenjima, donosi i nove mreže, rubrika te navigacije. Ovaj kompleksan zadatak spaja mogućnosti u oblikovanju prijeloma. Upotrijebljene sadržaj i formu što potiče studente na kritičko razmišljanje, istra- su dvije boje, cyan i magenta, koje preklopljene sugeriraju dojam trodimenzionalnosti. živanje i komunikacijski jasnu artikulaciju teme kojom se bave. ink magazine ink Magazine is a magazine on tattooing, tattoos and tattoo culture in general. The magazine has fourth semester been printed on transparent paper irrespective of its limitations and provides new opportunities in the Typographic Hierarchy design of the layout. Two colours have been used, cyan and magenta, which, when folded, create an and Structure impression of three dimensionality. The assignment is to design an imaginary magazine of an arbi- trary topic. The emphasis is put on the typographic treatment of the content which comes out of the magazine’s inner logic, text hierarchy, grid, columns, navigation, and ends with the design of the lettering for the magazine’s logo and a series of dora kasun covers. This complex assignment connects form and content, mentor Hrvoje Živčić which encourages the students to think critically, to do research, demonstrator Marko Hrastovec and to clearly communicate and articulate the topic that they 10X are dealing with. 10X je časopis koji se bavi popularnoznanstvenim temama. Znanost često istražuje nešto puno veće (zvijezde, galaksije) ili puno manje od čovjeka (stanice, atomi). Kako bi se opisala proporcija velikih malih veličina, koriste se potencije određenih brojeva, najčešće broja 10. Svi članci su podijeljeni u kategorije kojima su pridružene četiri potencije broja 10. Ovisno o tome kojoj je potenciji pridružen koji članak ovisi i upotrijebljen tipografski stil. Ideja je bila prenijeti empirijsku podjelu fizičkog svijeta u časopis. 10x 10x is a magazine dealing with popular science topics. Science often explores something beyond man (stars, galaxies) or much smaller than man (cells, atoms). In order to describe or the proportions of large or small sizes, potentials of specific numbers are used, most commonly of the number 10. All the articles have been divided into categories to which four potentials of number 10 have been associated with. A typography style has been used in accordance to the potential a specific article has been associated with. The idea behind it was to transfer the empirical division of the physical world into a magazine.

130 131 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 4. semestar school of design annual review 13 / 14 undergraduate programme / typography, 4th semester

otto kušec miran bašić mentor Hrvoje Živčić mentor Hrvoje Živčić demonstrator Marko Hrastovec demonstrator Marko Hrastovec

the fantasy review The Fantasy Review je časopis fantasy role playing tematike, koji sadrži kritike društvenih i video igara iz sfere znanstvene fantastike, te intervjue s njihovim autorima. Časopis je oblikovan u formi plakata, budući da na poleđini sadrži novu društvenu igru u svakom broju. Plakat savijanjem po principu ‘harmonike’, formom postaje bliži klasičnom časopisu. Koristi samo dvije boje kako bi se uštedilo na izvedbi a istovremeno nadoknadilo troškove licence igre. Izbor tipografije je primjeren tonu teksta a obogaćena je motivima iz sf tematike. the fantasy review The Fantasy Review is a magazine covering the topic of fantasy role-playing, which includes criticism on social and video games in the field of science fiction, as well as interviews with their developers. psy-fi psy-fi The magazine has been designed in the form of a Psy-Fi je časopis znanstvenog karaktera koji se Psy-Fi is a scientific magazine dealing with the poster, since it includes a new social game on the bavi temama iz područja psihologije i sociologije. topics in the field of psychology and sociology. The back cover in each issue. The poster can be folded Forma časopisa proizlazi iz psihološke teorije koja form of the magazine originates from psychological like an accordion and hence through folding its form govori o razini dosega ljudske spoznaje. Prijelazom theory which deals with the range and scope of becomes more similar to a classic magazine. It uses na višu razinu svijesti, format postaje veči čime human cognition. Through transcendence to a only two colours to reduce the costs and make up sadržaj i prijelom postaju kompleksniji. Zastupljeno higher level of consciousness, the form becomes for the costs of the license of games. The selection of je osam razina svijesti, odnosno osam formata, koji larger which makes the content and the layout typography is accordance with the tone of the text pojedinačno čine jedno poglavlje. Gradacija formata increasingly complex. Eight levels of consciousness and it has been enriched with science fiction motifs. oblikuje naslovnu stranicu koja prikazuje sadržaj or eight formats have been covered which separately svake pojedine razine. constitute a chapter. A gradation of formats shapes the front cover which presents the contents of each separate level.

132 133 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 5. semestar school of design annual review 13 / 14 undergraduate programme / typography, 5th semester

peti semestar Digitalizacija i reinterpretacija borna aaron grčević mentor Nikola Đurek postojećeg pisma demonstrator Marko Hrastovec ‘Revival’ postojećeg, a nedigitaliziranog pisma veže studente neue plastiq uz tipografsku tradiciju i upućuje ih na istraživanje tipografske Pismo je nastalo kao oživljavanje natpisa na lokalnom frizerskom salonu. Karakterističnim ga povijesti s naglaskom na hrvatsko tipografsko naslijeđe. Rekon- čini kombinacija masivnih grotesknih formi koje strukcija i nadogradnja ‘nađenog’ pisma odvija se u dvije faze. u konačnici stvaraju dinamičan vizualni doživljaj. Prva se bavi analizom zatečenih formi te kreiranjem što vjernije Redosljed i specifične kombinacije debljina, korisnik može odabrati na računalu ili može sam birati pojedine digitalne inkarnacije pisma, dok u drugoj studenti oblikuju vla- oblike i tako izravnije kontrolirati dinamiku pisma. stitu, subjektivnu reinterpretaciju i nadogradnju istog. neue plastiq The font originated through a revival of an inscription on a local hairdresser’s salon. Massive fifth semester grotesque forms make it specific and they eventually account for a dynamic visual experience. Digitisation and Reinterpretation of The sequence and specific combinations of thickness can be selected by the user on their the existing Typeface computer or they can select specific shapes by themselves hence controlling the dynamic of the The revival of the existing, non-digitised typefaces connects the font in a more direct manner. students with tradition of typography and encourages them to explore history of typography focusing on the Croatian typographic heritage. The reconstruction and the upgrade of zita nakić the existing typeface are implemented through two phases: mentor Nikola Đurek the first phase focuses on the faithful digital incarnation of the demonstrator Marko Hrastovec typeface, whereas during the second phase the students design noir their own, subjective reinterpretation. Pismo je nastalo po uzoru na stare najavne špice za kriminalističke hollywoodske crnobijele filmove iz kasnih 30-ih. Riječ je o vrlo geometriziranom pismu s naglaskom na specifične oštre završetke i detaljima kojima se suprotstavlja nekolicina vrlo oblih slovnih formi. Pismo je predstavljeno u formi multifunkcionalnog omota za film ‘Marked Woman’. Omot se rastvara u pop-up spremnik / držač za dvd, moguće ga je koristiti kao promotivnu knjižicu ili kao plakat ako se potpuno rastvori. noir The idea behind the font were old trailers for Hollywood black and white crime movies from late 1930’s. It is a considerably geometric font highlighting the specific sharp endings and with details which are opposed by several very round letter forms. The font has been presented through a multifunctional film sleeve ‘Marked Woman’. The sleeve opens up to become a pop-up container / DVD box and, when unfolded completely, it can be used as a promotional booklet or as a poster.

134 135 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 5. semestar school of design annual review 13 / 14 undergraduate programme / typography, 5th semester

klasja habjan ana vujasić mentor Nikola Đurek mentor Nikola Đurek demonstrator Marko Hrastovec demonstrator Marko Hrastovec

carnelutti Inspiracija za ovo pismo bio je natpis zagrebačkog građevnog poduzeća braće Carnelutti na zgradi u Tomašićevoj ulici. U prvoj fazi kreirana je digitalna verzija pisma, a u sljedećoj vlastita interpretacija. Ovo pismo natpisnog karaktera ima dvije debljine, Regular i Hairline a sadrži i alternacije za pojedine slovne znakove. carnelutti The font was inspired by the inscription written by the construction company brothers Carnelutti on a building located in Tomašićeva Street. During the first phase a digital version of the font was created and subsequently also an own interpretation. This font with features of inscription has two thicknesses: Regular and Hairline and it also includes alternations for individual letters.

timber timber Ovo neserifno pismo nastalo je oživljavanjem i This sans-serif font was created through a revival digitalnom interpretacijom starih tiskarskih matrica and digital interpretation of old matrix printing izrađenih od drveta. Timber je širok, masivan i čvrst, made from wood. Timber is broad, massive and na prvu nalik mnogim postojećim modernističkim sturdy, at first glance similar to a large number of pismima a u isto je vrijeme profinjen i specifičan. existing modernist fonts, yet simultaneously also Idealno je pismo za naslove i podnaslove. sophisticated and specific. An ideal font for headlines and subtitles.

136 137 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 6. semestar school of design annual review 13 / 14 undergraduate programme / typography, 6th semester

šesti semestar Tipografska linearnost klasja habjan mentor Nikola Đurek i eksponencijalnost demonstrator Marko Hrastovec Knjiga, definirana u tradicionalnom smislu, stari je medij i ima svoju sintaksu, tj. ima u dobroj mjeri utvrđene obrasce, odnose i pravila prenošenja informacija, koja valja poštovati. Ona mora prenijeti informacije primjereno i optimalno. Studenti oblikuju izabrano djelo u eksperimentalnoj interpretaciji, svjesno odmi- čući od tradicionalnog kanon oblikovanja knjiga. Svrha zadatka je propitivanje pozicije knjige u digitalnom dobu u kojem su informacije digitalizacijom postigle razinu kompresije koji znatno nadilazi mogućnosti knjige, a i njena funkcija najpopularnijeg prijenosnika znanja (tu ulogu preuzimaju internet i televizija) je poljuljana. I pored toga, zbog svoje formalne sagledljivosti, ana- lognosti i izradi po čovjekovoj mjeri, knjiga je zadržala kredibili- tet. U tom smislu je i cilj zadatka eksperimentalne interpretacije sweet thursday sweet thursday istražiti njena medijska ‘ograničenja’ i upotrebiti ih kao ‘prednosti’ Novela Johna Steinbecka iz 1954. godine mjestom, A novel by John Steinbeck dating back to 1954 is a kroz koje će do izražaja doći njeni neupitni spoznajni potencijali. likovima i duhom nastavlja novelu ‘Cannery sequel of the novel ‘Cannery Row’ concerning the Row’. Radnja je smještena u grad Monterey place where it happened, the characters and the na kalifornijskoj obali u vrijeme nakon Drugog spirit permeating it. The plot takes place in Monterey svjetskog rata a prikazuje lokalne ljude na duhovit on Californian coast during the Second World War sixth semester i human način. Društvo od dvadesetak likova depicting local residents in a humorous and human (propalica, znanstvenika, prostitutki, trgovaca), way. Some twenty characters (tramps, scientists, Typographic Linearity međusobno si pomaže koliko i odmaže. Likovi čine prostitutes, traders) simultaneously help and hinder cijeli mikro svijet, zatvoren i idealiziran, a u isto each other. The characters create a micro a closed and Exponentiality vrijeme prekrasno univerzalan. Već je u predgovoru and idealised micro-world, which at the same time Book, defined in a traditional sense, is an old medium using its vidljiva Steinbeckova misao vodilja; Mack želi čitati is also wonderfully universal. Steinbeck’s guiding knjigu u kojoj je jasno što osoba misli iz onoga principle is clear from the preface; Mack wants to own syntax and with given patterns, relationships and rules on što osoba kaže. Zbog toga su u prijelomu poneki read a book in which it is obvious what a person information transfer which need to be complied with. It needs dijalozi ili priče unutar priča istaknuti crvenom thinks from what the person is actually saying. to convey textual, cognitive information in an appropriate and bojom, veličinom i drugačijom tipografijom. Ti se Consequently, in the layout some dialogues or stories odabrani dijelovi mogu čitati sami za sebe te su within stories have been highlighted in the colour red, optimum manner. The students design the selected work in često poučni na Steinbecku svojstven način, kroz through a different font size or typography. These experimental manner, consciously moving away from tradi- humor. Osim te smjernice, ostvarena je i druga, selected fragments can be read separately and are tional book canon. The objective of the task is the analysis također dana u predgovoru: Mack bi volio da mu uz often humorously educative in a specific Steinbeck’s svako poglavlje piše par riječi tako da zna kojem bi manner. In addition to this guideline, there is another, of the importance of books in the digital age where digitised se vrijedilo vratiti. Natuknice ispod naslova nalikuju also presented in the preface. Mack would like to information reached compression levels which substantially onima na marginama, kratkre su i suptilne, kako have a few words written by each chapter so he exceed the potential of books whose leading role in information i priliče čitatelju koji se odvažio intervenirati u could know which chapter is worth re-reading. sadržaj. Likovi hobotnice su na omotu korica zbog The hints below the title are similar to those in conservation has been affected. Moreover, the role of books as njihove prisutnosti kao ‘eksperimentalnog kunića’ u the margins, they are concise and subtle, which is the most important knowledge transmitter has also been lost znanstvenim istraživanjima Doca, lokalnog biologa. appropriate for a reader who has dared to interfere to the Internet and television. In addition, due to the percep- with the content. The octopus characters have been placed on the cover of the book due to their presence tion of their form, their analogue features and to their being as ‘guinea pigs’ in scientific research conducted by tailor-made to meet human requirements, books retained their Doc, a local biologist. credibility. Consequently, the specific objective of the task of experimental interpretation is to explore the limitations of books as the media and transform them into advantages which can be used to highlight the indisputable cognitive potential of books.

138 139 godišnjak studija dizajna 13. / 14. preddiplomski studij / tipografija, 6. semestar school of design annual review 13 / 14 undergraduate programme / typography, 6th semester

zita nakić ana vujasić mentor Nikola Đurek mentor Nikola Đurek demonstrator Marko Hrastovec demonstrator Marko Hrastovec

the curious incident of the the curious incident of the cloud atlas cloud atlas dog in the nighttime dog in the nighttime Cloud Atlas, knjiga britanskog pisca Davida Mitchella, Cloud Atlas is a book by a British writer David Ova je knjiga zamišljena kao prikaz ‘prave’ bilježnice This book has been conceived as a presentation sastoji se od šest priča koje se odvijaju u rasponu Mitchell comprising of six stories which take place koju bi, kada bi bez ikakvih kompromisa i prilagodbi of a ‘real’ notebook which would be written by the od 19. stoljeća do neke daleke budućnosti. Naoko during the period ranging from the 19th century to a čitatelju, napisao glavni lik Christopher koji boluje principal character Christopher who suffers from nepovezane a ipak duboko isprepletene, one tvore distant future. Seemingly unconnected and yet deeply od aspergerova sindroma. Naslovnica je proizašla Asperger syndrome, without any compromises or koherentnu cjelinu. Šest različitih likova, svaki u interwoven they constitute a coherent whole. Six iz asocijacije na bilježnicu, a isti duh prati i spiralni adaptations to the reader. The idea behind the front svojem vremenu i prostoru (dnevnik putovanja different characters, each placed in their time and uvez. Tekst je podjeljen u nekoliko cjelina koje cover originated from an association of a notebook Pacifikom iz 1849. godine, pisma skladatelja space (a diary of a journey on the Pacific dating back svojom veličinom, debljinom ili pozicijom prate and identical spirit permeates its spiral binding. The njegovom prijatelju, triler o ubojstvu u nuklearnom to 1849, letters by a composer to a friend of his, a način razmišljanja, preferencije ili pravila glavnoga text has been divided into several units which through postrojenju, farsa o izdavaču u domu za nemoćne, thriller about a murder at a nuclear plant, a farce lika. Osim brojeva poglavlja, u prednji plan izdižu its font size, thickness or position accompany the way klon u futurističkoj Koreji i pleme koje nastanjuje about a publisher in a home for the disabled, a clone se i jednostavne, linijske ilustracije koje pobliže of thinking, the preferences or the rules established Havaje daleko u budućnosti) pripovijedaju priču o in a futuristic Korea and a tribe inhabiting Hawaii objašnjavaju pojedine djelove teksta. by the principal character. Simple, linear illustrations pojedinačnim odlukama koje oblikuju budućnost in a distant future) tell a story about individual comprehensively explaining specific fragments of the čovječanstva i imaju mnogo šire posljedice nego što decisions shaping the future of mankind and whose text have been particularly emphasised in addition to smo svjesni. U skladu sa strukturom samog romana, consequences are more far-reaching than one may chapter numbers. knjiga se sastoji od šest zasebno uvezanih dijelova be aware of. In accordance with the structure of the koji se mogu čitati odvojeno ili kao dio cjeline. Dijelovi novel, the book comprises of six separately bound knjige se po principu babuške umeću jedni u druge. parts which can be read separately or as a part of the Odabir pisma i vrsta papira inspirirani su vremenskim whole. The parts of the book can be inserted one into razdobljem u kojemu se odvija pojedina priča. another according to the principle of Babushka. The script and the type of paper have been inspired by the time period in which the specific story takes place.

140 141 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Likovni program Visual Arts Programme

crtanje 1 / 2 / 3 / 4 – Proces edukacije započinje vježbama cr- drawing 1 / 2 / 3 / 4 – Educational process commences with assi- tanja po promatranju, polazeći od proporcije oblika, perspektive, gnments of drawing from observation, starting from proportions prostora i kompozicije slike. Postupak se provodi kroz radni i of shape, perspective and space. In the 2nd semester drawing from finalni crtež. U drugom semestru izvode se vježbe crtanja po sje- observation assignments are frequent, in addition to development ćanju, uz razvijanje osobnosti likovnog izraza. U trećem semestru of personal form of visual expression. In the 3rd semester visual razvija se sposobnost crtačke čistoće, likovnog i grafičkog izraza and graphic expression are developed through notions connected asocijacijom povezane predodžbe, afirmiranjem ‘asocijativne by association, through affirmation of associative memory, as memorije’ te izražavanje refleksivnim postupkom. Analizira se well as expression through reflex procedure. The shape and the oblik i namjena predmeta, potom se prilagođava konceptu likovne intended use of an object are analysed and hence it is adjusted to definicije i jasnoći crteža. Praktično se primjenjuje teorija boja the concept of visual definition and the clarity of the drawing. The Johanessa Ittena. U četvrtom semestru komparativno vred- theory of colours by Johannes Itten is practically applied during the novanje oblikovanja pripada crtačkom, tonskom, rasteriranom, assignments. During the 4th semester comparative evaluation of modelacijskom i kolorističkom zadatku u djelokrugu primarno design is included in the drawing, tonal, modelling and coloristic likovnog ozračja. Ekspresija, stilizacija, konstrukcija ili redukcija assignment against the backdrop of primarily visual ambience. kao stilske oznake u funkciji su imaginacije slobodnog i zadanog Following the completion of the educational process students crteža. Završetkom procesa edukacije studenti su kompetentni achieve competence and are able to create an original drawing stvarati autorski crtež kao samostalnu interpretaciju zadataka. as independent interpretation of the assignment.

PLASTIčNO OBLIKOVANJE 1 / 2 – Teme kolegija su upoznavanje visual design 1 / 2 – The topics of the course include introdu- osnovnih elemenata plošne i prostorne kompozicije, njihove ction to the basic features of planar and spatial composition as primjena u procesu projektiranja te analiza međuodnosa ele- well as analysis of inter-relationships among fundamental forms mentarnih formi i generiranje prostorne kompozicije iz plošnog and using planar composition to create a spatial composition. prikaza. Kreativnom dekompozicijom i transformacijom zadane Opportunities for the creation of a new form are explored through forme, istražuju se mogućnosti stvaranja “nove” forme raznim a creative composition and transformation of the specific form. likovnim tehnikama. nude 1 / 2 – The course focuses on human proportions and AKT 1 / 2 – Proporcije ljudskog tijela te pretvaranje trodimenzional- transformation of a three-dimensional model into a two-di- nog modela u dvodimenzionalni crtež, raznim likovnim tehnikama mensional drawing using diverse visual arts techniques. Human predstavlja sadržaj izbornog kolegija. Crtežom se pozicionira body is positioned in space through drawing and presented in ljudsko tijelo u prostoru i prezentira u međuodnosu sa uporabnim the inter-relationship with usable objects. The objective of the predmetima. Cilj kolegija je razviti sposobnost stvaranja autorskog course is to develop the ability to create an original drawing as crteža kao samostalne interpretacije teme ljudskog tijela. an independent interpretation of human body.

ILUSTRACIJA 1 / 2 – Tijekom dva semestra studente se upoznaje illustration 1 / 2 – During the period of two semesters students s pojmom ilustracije, osnovnim elementima, karakteristikama i are introduced to the concept of illustration and its fundamental područjima primjene te kroz predavanja i vježbe razvija kritičko features. Moreover, lectures and practical classes contribute to gledanje, oblikovne i tehničke vještine te osobni vizualni jezik. formation of critical attitudes and technical skills. In addition, Educira se o odnosu ilustracije s dizajnom, fotografijom i tipo- students are provided insight on the correlation between ill- grafijom, kao i o primjeni ilustracije u izdavaštvu, oglašavanju, u ustration and design, photography and typography, as well as informacijskom dizajnu, filmu te oblikovanju ambalaže i promo- on application of illustration in publishing, information design, tivnih materijala. packaging design and design of promotional materials.

142 143 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, crtanje school of design annual review 13 / 14 undergraduate programme / Visual arts programme, drawing

crtanje 1 Fotoaparat – Crtačka analiza trodimenzionalnog modela

drawing 1 Still camera – Drawing analysis of a three-dimensional model crtanje 1 Ključevi – Crtačka analiza trodimenzionalnog modela kroz kontraste i raster drawing 1 Keys – Drawing analysis of a three- dimensional model through contrast and raster vita vrebac mentor Boris Ileković asistent / assistant Inja Kavurić Kireta

crtanje 1 dorja horvatić Mrtva priroda – Crtačka analiza trodi- mentor Boris Ileković menzionalnog modela kroz teksturu asistent / assistant Inja Kavurić Kireta drawing 1 Still life – Drawing analysis of a three-dimensional model through texture dorja horvatić mentor Boris Ileković asistent / assistant Inja Kavurić Kireta

crtanje 1 Soba – Crtačka vježba sobe u perspektivi po zadanom tlocrtu, slobodno interpretirano tonskom obradom

drawing 1 Room – Drawing exercise of a room in one-point perspective based on a specified ground plan, free interpretation through tonal finishing

viktorija jurina mentor Boris Ileković asistent / assistant Inja Kavurić Kireta

144 145 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, crtanje school of design annual review 13 / 14 undergraduate programme / Visual arts programme, drawing

grupa studenta nikolina kentrić stančić mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta crtanje 2 crtanje 2 Ploha i tijelo – Vizualna tekstura na Utičnica – Afirmiranje asocijativnog geometrijskim tijelima ‘spremišta’ anonimnim predmetom kao polaznom pretpostavkom u crtačkom drawing 2 procesu. Surface and geometric shape – visual texture on geometric shapes drawing 2 Power socket – Affirmation of an associative ‘storage’ through an anonymus object as an initial assumption in the drawing process

crtanje 2 Teorija boja – Hommage kvadratu

drawing 2 Theory of colours – Hommage to the square

klara marelić matea bertina mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta

146 147 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, crtanje school of design annual review 13 / 14 undergraduate programme / Visual arts programme, drawing

otto kušec mentor Boris Ileković asistent / assistant Inja Kavurić Kireta crtanje 3 crtanje 2 Osam šalica Forma bez funkcije – Vizualna analiza likovnih tehnika drawing 2 drawing 3 Form without a function Eight cups – Visual analysis of visual arts grgo petrov techniques mentor Boris Ileković asistent / assistant Inja Kavurić Kireta monika močević mentor Boris Ileković asistent / assistant Inja Kavurić Kireta drvena bojica / colored pencil

crtanje 4 Deveta šalica – Reinterpretacija umjetničkog djela

drawing 4 Ninth cups – Reinterpretation of a work of art

iva leustek mentor Boris Ileković asistent / assistant Inja Kavurić Kireta

prema djelima j. tornquista / based on work by j. tornquist

mladen udovičić mentor Boris Ileković asistent / assistant Inja Kavurić Kireta

crtanje 4 Teorija boja – Hommage Verneru Pantonu

drawing 4 Theory of colours – Hommage to Verner Panton

148 149 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, plastično oblikovanje school of design annual review 13 / 14 undergraduate programme / Visual arts programme, visual design

paula šobat grupa studenata mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta plastično oblikovanje 1 plastično oblikovanje 2 Vježba izrade kompozicije Vježba izrade kompozicije tonskom raspodjelom plohe dekompozicijom zadanih formi kugle i kocke. Theory of Form 1 Creating a composition through a Theory of Form 2 tonal division of the surface Creating a composition through decomposition of the assigned shape of a sphere and a square.

karla čotić lucija rubinić mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta

150 151 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, akt school of design annual review 13 / 14 undergraduate programme / Visual arts programme, figure drawing

monika močević miran bašić mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta akt 1 akt 2 Studija ruke s uporabnim predmetom Studija ljudske figure figure drawing 1 figure drawing 2 A Study of a hand with a usable item A study of the human figure

miran bašić nikolina fuzul mentor Boris Ileković mentor Boris Ileković asistent / assistant Inja Kavurić Kireta asistent / assistant Inja Kavurić Kireta

152 153 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, ilustracija school of design annual review 13 / 14 undergraduate programme / Visual arts programme, illustration

ilustracija 1 Odnos ilustracije i tipografije – Kaligram

illustration 1 Relationship between illustration and typography – Calligram ilustracija 1 ana vujasić Froma i sadržaj – Pojmovi mentor Inja Kavurić Kireta illustration 1 Form and content – Terms

hana tintor mentor Inja Kavurić Kireta

ana vujasić mentor Inja Kavurić Kireta Izgubljenost / Entrancement

154 155 godišnjak studija dizajna 13. / 14. preddiplomski studij / likovni program, ilustracija school of design annual review 13 / 14 undergraduate programme / Visual arts programme, illustration

hana tintor juraj balen tena kelemen mentor Inja Kavurić Kireta mentor Inja Kavurić Kireta mentor Inja Kavurić Kireta kit / a whale fusion / fusion priča o meni / a story about me ilustracija 2 ilustracija 2 Vizualni jezik – Nositelj priče Vizualni jezik – Priča illustration 2 illustration 2 Visual expression – The protagonist Visual expression – The Story

valentino večerić ana vujasić mentor Inja Kavurić Kireta mentor Inja Kavurić Kireta zec / a rabbit pink lizard / pink lizard

156 157 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Fotografija i film Photography and Film

Sposobnost predočavanja stvarnosti fotografijom i razvijanje The ability to express the reality through photographs and the fotografskog umijeća imaju važnu ulogu u obrazovanju bu- development of photography skills have a vital role in the educa- dućeg dizajnera. Na Studiju Dizajna se fotografija izučava kao tion of the future designer. Photography is taught at the School samostalna vizualna umjetnost, a ujedno je i osnova za bolje of Design as an independent visual art which is simultaneously a izražavanje u kreativnim dizajnerskim projektima. U oba preddi- prerequisite for improved expression in creative design projects. plomska kolegija studenti se pod mentorskim vodstvom Stanka During both undergraduate courses students under the men- Hercega bave slobodnim fotografskim temama, ali i zadanim torship of Stanko Herceg deal with free photography themes, vježbama – primijenjenom fotografijom. Na kolegiju fotografija, as well as a range of predefined assignments – applied photo- studenti druge godine počinju fotografirati analognim fotoa- graphy. During the photography course, second year students paratom, uče o teorijskim osnovama tehnike fotografiranja i start taking photographs using an analogue camera and they o kompoziciji fotografske slike. Nakon što su savladali osnove are provided the theoretical basis of photography techniques fotografskog znanja, studenti se tijekom treće godine susreću and on photography composition. Following the acquisition of sa složenijim postupcima fotografskog izražavanja. Na kolegiju the fundamentals of photography skills, during the third year of fotografija i film 1 i 2 se u praktičnom programu poučava o study students are faced with increasingly complex methods of filmskom svjetlu i boji, a u teorijskom se dijelu uči o osnovama photographic expression. The courses on photography and film filmske teorije. Zadane vježbe uključuju fotografiranje u uvje- 1 and 2 and their practical classes programme include learning tima postojećeg svjetla i u kontroliranim svjetlosnom uvjetima about film lighting and colours, while the theoretical part com- fotografskog studija, pomoću profesionalne umjetne rasvjete. prises of fundamentals of film theory. The assignments include taking photographs against the existing lighting conditions, as well as under controlled conditions in a photographic studio and professional artificial lighting.

158 159 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 4. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 4th semester

otto kušec mentor Stanko Herceg arhitektura / Architecture

grgo petrov mentor Stanko Herceg pejzaž / Landscape

lidija šarko mentor Stanko Herceg portret / Portrait

mladen udovičić mentor Stanko Herceg poznati predmet / A Familiar Object

160 161 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 4. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 4th semester

petra grubišić monika močević mentor Stanko Herceg mentor Stanko Herceg reportaža / Reportage mrtva priroda / Still-life

monika močević sara pavleković preis mentor Stanko Herceg mentor Stanko Herceg akt / Nude slobodna tema / free topic

162 163 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 5. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 5th semester

elizabeta bošnjak nataša njegovanović mentor Stanko Herceg mentor Stanko Herceg mješano svjetlo / Mixed light svjetlo žive / Mercury light

rebecca mesarić mentor Stanko Herceg miješano svjetlo / Mixed light

164 165 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 5. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 5th semester

klasja habjan maja jandrić mentor Stanko Herceg mentor Stanko Herceg smrt / Death svjetlo natrija / sodium light

matija sviben ana vujasić mentor Stanko Herceg mentor Stanko Herceg flourescentno svjetlo halogeno svjetlo / Halogen light / fluorescent light

166 167 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 5. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 5th semester

ana vujasić jana obradović mentor Stanko Herceg mentor Stanko Herceg akt u studiju / studio nude akt u studiju / studio nude

laura mrkša mentor Stanko Herceg svjetlo žarulje / light bulb light

168 169 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 5. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 5th semester

ana vujasić rebecca mesarić mentor Stanko Herceg mentor Stanko Herceg svjetlo svijeće / Candle light slobodna tema / free topic

170 171 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 6. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 6th semester

maja jandrić martina bitunjac mentor Stanko Herceg mentor Stanko Herceg tri doba dana / Three periods of the day primari / primary colours

nataša njegovanović mentor Stanko Herceg kolristički akcent / colour accent

172 173 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 6. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 6th semester

klasja habjan borna aaron grčević mentor Stanko Herceg mentor Stanko Herceg sekundari / secondary colours tercijari / tertiary colours

lea viktoria varva mentor Stanko Herceg toplo hladno / Warm-cold

174 175 godišnjak studija dizajna 13. / 14. preddiplomski studij / fotografija i film, 6. semestar school of design annual review 13 / 14 undergraduate programme / photography and film, 6th semester

jana obradović borna aaron grčević mentor Stanko Herceg mentor Stanko Herceg sjeverno svjetlo / Northern light nezasićene boje / Unsaturated Colours

176 177 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Osnove Basic of interaktivnih medija Interactive Media

Kolegij Osnove interaktivnih medija fokusiran je na teoriju i The course entitled Introduction to Interactive Media focuses praksu grafičkog dizajna unutar područja digitalnih interaktivnih on theory and practice of graphic design in the field of digital medija. Utjecaj novih digitalnih tehnologija sve više mijenja način interactive media. The influence of new digital technologies has na koji se izražavamo, na koji komuniciramo te kako doživljava- been considerably impacting on our methods of expression, the mo svijet oko sebe. S obzirom da sve više komuniciramo putem way we communicate and the manner we perceive the world interaktivnih digitalnih medija, uloga dizajnera u promišljanju i surrounding us. As communication through digital media has oblikovanju tih interaktivnih sadržaja i prezentacija od izuzetne been increasing continuously, the role of designers in the reflecti- je i stalno rastuće važnosti. Kroz predavanja, vježbe i projekte on on and the reshaping of the digital content and presentations kolegij ima za cilj kod studenata stvoriti razumjevanje i interes is of vital and continuously increasing importance. The course za ovo područje koje je u stalnom razvoju. Na koji se način to strives to enhance understanding and arouse interest amongst područje dizajna razlikuje od tradicionalnih medija te kako u students in this field of work which has been continuously de- tom kontekstu pristupiti promišljanju i oblikovanju interaktivnih veloping trough lectures, practical work and projects. Moreover, sadržaja teme su kojima će se kolegij baviti. the course will include the topics covering the issue of how and how much the context of interactive media design differs Kolegij studentima prenosi praktična znanja, tehnike i vještine from traditional media design, as well as how to approach the koje im pomažu u samostalnom projektiranju suvremenih in- creation and the design of the interactive content. teraktivnih rješenja. The objective of the course is also to transfer practical knowledge, techniques and skills to the students which they will use in their independent planning design of contemporary interactive solutions.

178 179 godišnjak studija dizajna 13. / 14. preddiplomski studij / osnove interaktivnih medija, 3. semestar school of design annual review 13 / 14 undergraduate programme / basic of Interactive Media, 3rd semester

treći semestar monika močević Oblikovanje mobilne aplikacije mentor Tin Kadoić Na kolegiju Osnove interaktivnih medija, studenti se bave promi- off the hook app off the hook app šljanjem i projektiranjem mobilnih aplikacija. Zadatak je odabran Off the hook App je aplikacija koja Off The Hook App comprises of a sadrži more izgovora, a omogućava large number of excuses enabling the dijelomično zbog svojih ograničenja formata, veličine ekrana te jednostavno i krajnje kreativno ‘getting user to get off the hook in a simple interakcija, no većim dijelom zbog sveprisutnosti tog medija u off the hook’. Tim morem izgovora and an extremely creative manner. našem svakodnevnom životu i okolini. Mobilne aplikacije omo- plovimo brodićem u koji spremamo The user sails the ship through a omiljene izgovore i sa kojeg dodajemo multitude of excuses and puts away gućuju iskorištavanje specifičnih tehničkih karakteristika poput nove.Svaki izgovor je vezan za ključne their favourite excuses into the geolokacijih mogućnosti, akcelerometra i žiroskopa. riječi čime je pronalaženje izgovora za ship and adds their new ones. Each određene situacije znatno olakšano. excuse is linked primarily with the key Za hitne slučajeve našom udicom words which substantially facilitates možemo upecati i nasumične izgovore. the search for excuses in specific third semester situations. In case of emergency, the user can fish for random excuses Mobile Application Design using a special fishhook. In the course Interactive Media Basics, students are engaged in contemplating and designing mobile applications. The task has been selected partially due to restrictions imposed by its format concerning the size of the screen and the system of interactions and primarily due to the omnipresence of the media in our everyday lives and in our environment. Mobile applications enable the use of their specific technical features such as geo-location opportunities, accelerometer and gyroscope, iva leustek providing a vast array of opportunities of creative expression mentor Tin Kadoić for students of design. tonight we’re out tonight we’re out Aplikacija je namijenjena korisnicima The application is intended for the koji žele brz pristup informacijama o users aiming for quick access to muzičkim sadržajima koji se odžavaju information on musical programmes na njima vec poznatim lokacijama occurring at well-known locations (klubovima), kako bi se mogli odlučiti (clubs), to be able to make a decision gdje žele izaći. Planirani izlasci se on their night out. The plans spremaju, a osim kalendara, postoji i concerning night outs can be saved baza prijatelja u kojoj korisnik može and, in addition to the calendar, there provjeriti i njihove posjećene događaje. is a friends’ base in which the user has the opportunity to check the events they are attending.

180 181 godišnjak studija dizajna 13. / 14. preddiplomski studij / osnove interaktivnih medija, 3. semestar school of design annual review 13 / 14 undergraduate programme / basic of Interactive Media, 3rd semester

elizabeta lončar donat radas mentor Tin Kadoić mentor Tin Kadoić

fešte fiestas radio student Fešte je aplikacija kojoj je cilj objediniti jedinstvenu Fiestas is an application aiming to integrate a unique Radio student je jednostavna aplikacija čija je glavna vrstu kulturno-zabavnih događanja karakterističnih za type of cultural and entertainment events, specific funkcija ‘live stream’ programa Radio Studenta. naše prostore. Korisnik može pretraživati fešte prema for this area. The user is provided an opportunity of Aplikacija omogućuje i slušanje snimki emisija putem mjestu ili datumu, bilo da planira odmor unaprijed ili searching the fiestas according to the venue or the ‘podcasta’. te spremanje omiljenih pjesama u favorite. spontano želi otići na njemu najbliže događanje. date, irrespective of whether they are planning their Uz ove opcije prisutan je i ‘shoutbox’, te preglednik vacation in advance or they are simply aiming to vijesti vezanih za radio. spontaneously visit the nearest event. radio student Radio Student App is a simple application whose principal function is live streaming of the radio Student programme. The application enables the listening of programme recordings through podcasts and saving the favourite songs into favourites. Moreover, there is also a shoutbox and a browser of news linked with the radio.

182 183 godišnjak studija dizajna 13. / 14. preddiplomski studij / osnove interaktivnih medija, 4. semestar school of design annual review 13 / 14 undergraduate programme / basic of Interactive Media, 4th semester

četvrti semestar ivana hrabar Oblikovanje web stranice festivala mentor Tin Kadoić Četvrti semestar fokusira se na medij web stranica. Kreće se od kradu festival kradu festival definiranja subjekta, istraživanja potreba korisnika i ciljeva web Web stranica za KRADU (Kazališna The idea behind the design of kradu Revija Akademije Dramske Umjetnosti) (Theatre Review of the Academy stranice, definiranje informacijske arhitekture, wireframeova, pa slijedi vizualni jezik identiteta of Dramatic Arts) web site is the sve do finalne faze – vizualnog dizajna. osmišljenog za 2013. godinu. Naglasak defined visual identity of the event. se i u web-u stavlja na dramski tekst Diacritical symbols are used for visual i njegovu višeznačnost, korištenjem and content-related marking of the povećanih interpunkcija koje su ujedno entire web structure. Duochromatic fourth semester i nositelj vizualnog identiteta presentation is delivered through black and white photographs of the scenes Festival Website Design from the theatre stage. During the fourth semester the course focuses on the study of the medium of the website. It commences with the introduction to the issue of the website, research on user requirements and the objectives of this type of presentation through creation of information architecture and wireframes to the final phase – visual design itself.

tin burić mentor Tin Kadoić

for festival for festival Web stranica je rađena za FOR, for is a small, four-day dance and mali, četverodnevni festival dance electronic music festival held on the i elektronske glazbe koji se odvija island of Hvar. The specific objective na otoku Hvaru. Cilj je bio stvoriti is to, through web site design, provide minimalistički i moderni okvir, a minimalist and a modern framework unutar kojeg će sam sadržaj šarene within which the content of the elektronske scene festivala nositi diverse electronic music festival vizualni identitet. Tako je dizajnirano scene will directly determine the jednostavno monokromatsko sučelje, visual identity. A monochromatic kao podloga koja će naglasiti vizuale. interface of a simple design provides a background which is striving to increase the existing visuals of the defined content.

184 185 godišnjak studija dizajna 13. / 14. preddiplomski studij / osnove interaktivnih medija, 4. semestar school of design annual review 13 / 14 undergraduate programme / basic of Interactive Media, 4th semester

dora kasun mentor Tin Kadoić hartera festival Pri oblikovanju stranice za festival Hartera cilj je bio omogućiti što jednostavniju i veću dostupnost informacija. Na početnoj stranici nalaze se kratke novosti vezane uz izvođače i lokaciju, prikazane vizualnim elemntima. Ostale podstranice sadrže praktične infomacije za posjetitelje. Vizualni jezik stranice proizašao je iz postojećeg identiteta festivala.

hartera festival During the creation of the design of the Hartera festival web site the principal focus was on facilitated and high availability of information. The home page presents brief news, with strong visual features, linked with the performers and the venue, while other web pages provide practical information for the visitors. The visual expression originated from the existing festival identity.

gala marija vrbanić dimensions festival dimensions festival mentor Tin Kadoić Web stranica je rađena u Web site has been designed in a minimalističkom stilu, a korištene minimalist style with three principal su tri osnovne boje koje su sastavni colours which are an integral dio vizualnog identiteta festivala. component of a visual identity of the Pri otvaranju stranice pokreće se festival. Upon accessing the website a pozadinski video te se prikazuju background video is played presenting osnovne informacije o festivalu te the fundamental information on glavni izbornik koji uvijek stoji na the festival and the principal menu istom mjestu. Na ostalim stranicama which is always placed in the same u pozadini se nalazi crno-bijela position. Other web pages provide a fotografija koja je staticna, a ostali static black and white photograph in ‘objekti’ se pomiču ovisno o interakciji the background, whereas other visual sa stranicom. features can be moved and altered depending on and in interaction with the web site.

186 187 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Studenti Students

188 189 godišnjak studija dizajna 13. / 14. preddiplomski studij / studenti school of design annual review 13 / 14 undergraduate programme / students prva godina first year Preddiplomskog studija Undergraduate Programme

Marta Badurina Ena Begčević Matea Bertina Bruno Bolfan Mikela Cvitanović Dora Čaldarović Monika Močević Tanja Modraković Anja Nikolić Karla Novak Ena Piškorić Vilim Redža

Karla Čotić Tea Dragaš Luka Dundović Iva Franjić Dorja Horvatić Sandra Huskić Lucija Rubinić Valentina Sunek Paula Šantić Eva Šmuc Paula Šobat Josipa Tadić

Viktoria Jurina Mihovil Karač Maja Kezić Ana Kikerec Petra Kovačević Filip Kovačić Vita Vrebac Ivona Vuri Klara Zaher Jasna Zoričić

Morana Laušin Iva Leustek Matej Maltar Klara Marelić Mirjam Milas Rafael Milčić

190 191 godišnjak studija dizajna 13. / 14. preddiplomski studij / studenti school of design annual review 13 / 14 undergraduate programme / students

druga godina second year druga godina second year Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme – Industrijski dizajn – Industrial Design – Vizualne komunikacije – Visual Communications

Juraj Balen Dina Bartolić Stela Cvijanović Sara Grubić Karmela Gudiček Katarina Huljev Miran Bašić Marina Bitunjac Tin Burić Nikolina Fuzul Petra Grubišić Matea Jurčević

Maja Prelec Petra Salarić Ivan Šaban Lidija Šarko Valentino Večerić Iva Vučemilović-Grgić Dora Kasun Nikolina Kentrić Juraj Košćica Michelle Antonia Otto Kušec Dunja Lesar Stančić Kovačević

Mirko Vučić Elizabeta Lončar Dominik Markušić Rebecca Mesarić Helena Nemec Fran Oršanić Borjan Pavlek

Sara Pavleković Preis Grgo Petrov Josipa Prša Marina Trošić Mladen Udovičić Gala Marija Vrbanić

Matej Vučković

192 193 godišnjak studija dizajna 13. / 14. preddiplomski studij / studenti school of design annual review 13 / 14 undergraduate programme / students

treća godina third year treća godina third year Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme – Industrijski dizajn – Industrial Design – Vizualne komunikacije – Visual Communications

Valentina Barić Elizabeta Bošnjak Matej Goreta Ana Herceg Maja Jandrić Kai Ana Matulina Barbara Bjeliš Martina Gelo Borna Aaron Grčević Klasja Habjan Ivana Hrabar Paula Kasač

Laura Mrkša Nataša Njegovanović Tamara Petruša Matija Sviben Toni Šljaka Viktoria Lea Vavra Tena Kelemen Vitomira Martinjak Marinko Murgić Zita Nakić-Vojnović Jana Obradović Vanja Perković

Donat Radas Tihana Šare Hana Tintor Ana Vujasić Lara Žic

194 195 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – preddiplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – undergraduate programme

Izvedbeni Curriculum program Outline

196 197 godišnjak studija dizajna 13. / 14. preddiplomski studij / izvedbeni program school of design annual review 13 / 14 undergraduate programme / curriculum outline prva godina first year Preddiplomskog studija Undergraduate Programme

Izvedbeni program / Curriculum Outline 1. semestar / 1 st semester 2. semestar / 2 nd semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vježbe ects Pred. Vježbe ects Predmeti / Courses Lectures Exercises Credits Lectures Exercises Credits

Projektiranje – Industrijski dizajn 1, 2 15 45 4 15 45 4 prof. mr. sc. Zlatko Kapetanović / MSc, associate professor asist. Andrea Hercog / teaching assistant Design Course – Industrial Design 1, 2 prof. Mladen Orešić / associate professor doc. mr. sc. Ivana Fabrio / assistant professor

Projektiranje – Vizualne komunikacije 1, 2 15 45 4 15 45 4 prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant Design Course – Visual Communications Design 1,2 prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Crtanje 1, 2 / Drawing 1, 2 0 30 3 0 30 2 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Kompozicija 1, 2 / Composition 1, 2 15 15 2.5 15 15 2.5 pred. Nives Sertić / lecturer Plastično oblikovanje 1, 2 / Theory of Form 1, 2 15 15 3 15 15 2 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Vizualna kultura 1, 2 / Visual Culture 1, 2 30 0 2.5 30 0 2.5 izv. prof. dr. sc. Feđa Vukić / PhD, associate professor pred. dr. sc. Ivana Podnar / PhD, lecturer Uvod u dizajn 1, 2 / Introduction to Design 1, 2 15 15 2.5 15 15 2.5 izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Povijest pisma i tipografije / History of Type and Typography 15 15 2 – – – prof. Nenad Dogan / associate professor asist. Hrvoje Živčić / teaching assistant Teorija tipografije 1/ Theory of Typography 1 – – – 15 15 2 prof. Nenad Dogan / associate professor asist. Hrvoje Živčić / teaching assistant Matematika 1, 2 / Mathematics 1, 2 15 15 2 15 15 2 v. pred. Zlatko Klanac / senior lecturer Engleski za dizajn 1, 2 / English for Design 1, 2 15 15 2 15 15 2 v. pred. mr. sc. Neda Borić / MA, senior lecturer pred. Jelena Parizoska / lecturer 3D modeliranje i vizualizacija / 3D Modeling and Visualization – – – 15 15 2 prof. dr. sc. Bojan Baletić / PhD, full professor asist. mr. sc. Roberto Vdović / MSc, teaching assistant Nacrtna geometrija i perspektiva 1, 2 / Descriptive Geometry and Perspective 1, 2 15 15 2.5 15 15 2.5 v. pred. mr. sc. Nikoleta Sudeta / MA, senior lecturer doc. dr. sc. Marija Šimić Horvath / associate professor

390 30 420 30

Tjelesna i zdravstvena kultura 1, 2 / Physical Training 1, 2 0 30 – 0 30 – prof. Stipe Brčić / associate professor

198 199 godišnjak studija dizajna 13. / 14. preddiplomski studij / izvedbeni program school of design annual review 13 / 14 undergraduate programme / curriculum outline druga godina second year Preddiplomskog studija Undergraduate Programme

Izvedbeni program / Curriculum Outline 3. semestar / 3 rd semester 4. semestar / 4 th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vježbe ects Pred. Vježbe ects Zajednički predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Crtanje 3, 4 / Drawing 3, 4 0 30 2.5 0 30 2.5 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Povijest umjetnosti 1, 2 / Art History 1, 2 30 0 3 30 0 3 izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Metodologija dizajna / Design Methodology 15 15 2.5 – – – doc. mr. sc. Sanja Bencetić / MSc, assistant professor Fotografija / Photography – – – 15 30 3 izv. prof. Stanko Herceg / associate professor Engleski za dizajn 3, 4 / English for Design 3, 4 15 15 2 15 15 2 v. pred. mr. sc. Neda Borić / MA, senior lecturer pred. Jelena Parizoska / lecturer Tehnike prezentiranja pomoću računala 1 / Computer Presentation Techniques 1 15 15 3 – – – doc. mr. sc. Ivana Fabrio / assistant professor 150 13 135 10.5

Tjelesna i zdravstvena kultura 3, 4 / Physical Training 3, 4 0 30 – 0 30 – prof. Stipe Brčić / associate professor

Predmeti smjera industrijski dizajn Courses in the Industrial Design Programme

Projektiranje – Industrijski dizajn 3, 4 15 45 6.5 15 45 6.5 prof. mr. sc. Zlatko Kapetanović / MSc, associate professor asist. Andrea Hercog / teaching assistant Design Course – Industrial Design 3, 4 prof. Mladen Orešić / associate professor doc. mr. sc. Sanja Bencetić / MSc, assistant professor

Konstruiranje pomoću računala / Computer Aided Design 15 30 3.5 – – – prof. dr. sc. Dorian Marjanović / PhD, full professor Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc. mr. sc. Sanja Bencetić / MSc, assistant professor Osnove konstrukcija / Introduction to Engineering Design 15 15 2 – – – prof. dr. sc. Milan Opalić / PhD, full professor doc. dr. sc. Dragan Žeželj / associate professor Konstrukcije drvnih proizvoda 1 / Wood Products Engineering 1 – – – 15 30 3 prof. dr. sc. Ivica Grbac / PhD, full professor doc. dr. sc. Ivica Župčić / associate professor Strojarske konstrukcije / Mechanical Engineering Design – – – 30 15 2.5 izv. prof. dr. sc. Tanja Jurčević-Lulić / PhD, associate professor 165 14.5 180 14.5 Izborni predmeti – industrijski dizajn Elective Courses in the Industrial Design Programme

Crtanje akt 1, 2 / Figure Drawing 1, 2 0 30 2.5 0 30 2.5 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoić / lecturer Grafički materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 doc. dr. sc. Sonja Jamnicki / associate professor v. asist. dr. sc. Krešimir Dragičević / PhD, lecturer 30 2.5 75 5 Predmeti smjera vizualne komunikacije Courses in the Visual Communications Programme

Projektiranje – Vizualne komunikacije 3, 4 15 45 6.5 15 45 6.5 prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant Design Course – Visual Communications Design 3, 4 prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Teorija tipografije 2, 3 / Theory of Typography 2, 3 15 15 3 15 15 3 prof. Nenad Dogan / associate professor asist. Hrvoje Živčić / teaching assistant Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoić / lecturer Grafički materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 doc. dr. sc. Sonja Jamnicki / associate professor v. asist. dr. sc. Krešimir Dragičević / PhD, lecturer Grafički proizvodi/ Graphic Products – – – 30 15 2.5 doc. dr. sc. Sonja Jamnicki / associate professor v. asist. dr. sc. Krešimir Dragičević / PhD, lecturer 180 14.5 225 17 Izborni predmeti | vizualne komunikacije Elective Courses in the Visual Communications Programme

Crtanje akt 1, 2 / Figure Drawing 1, 2 0 30 2.5 0 30 2.5 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc. mr. sc. Sanja Bencetić / MSc, assistant professor 30 2.5 30 2.5

200 201 godišnjak studija dizajna 13. / 14. preddiplomski studij / izvedbeni program school of design annual review 13 / 14 undergraduate programme / curriculum outline treća godina third year Preddiplomskog studija Undergraduate Programme

Izvedbeni program / Curriculum Outline 5. semestar / 5 th semester 6. semestar / 6 th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vježbe ects Pred. Vježbe ects Zajednički predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Uvod u povijest dizajna / Introduction to Design History 30 0 3 – – – izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Marketing 1, 2 / Marketing 1, 2 30 0 2 30 0 2 prof. dr. sc. Jurica Pavičić / PhD, full professor v. asist. dr. sc. Morana Fudurić / PhD, lecturer Psihologija za dizajnere / Psychology for Designers – – – 30 0 2 prof. dr. sc. Melita Kovačević / PhD, full professor izv. prof. dr. sc. Marijan Palmović / PhD, associate professor Urbana sociologija / Urban Sociology 30 15 2.5 – – – izv. prof. dr. sc. Anka Mišetić / PhD, associate professor Socijalna ekologija / Social Ecology – – – 30 15 2 izv. prof. dr. sc. Anka Mišetić / PhD, associate professor Estetika 1, 2 / Estetics 1, 2 15 15 2.5 15 15 2 pred. Veljko Žvan / lecturer Osnove intelektualnog vlasništva / Introduction to Intellectual Property – – – 30 0 2 prof. Stipe Brčić / associate professor 135 10 165 10 Predmeti smjera industrijski dizajn Courses in the Industrial Design Programme

Projektiranje – Industrijski dizajn 5, 6 15 75 8 15 75 8 prof. mr. sc. Zlatko Kapetanović / MSc, associate professor asist. Andrea Hercog / teaching assistant Design Course – Industrial Design 5, 6 prof. Mladen Orešić / associate professor

Konstrukcije drvnih proizvoda 2/ Wood Products Engineering 2 30 15 3 – – – prof. dr. sc. Ivica Grbac / PhD, full professor doc. dr. sc. Ivica Župčić / associate professor Konstrukcije proizvoda iz plastike / Plastic Products Engineering – – – 15 15 3 doc. dr. sc. Tatjana Haramina / associate professor izv. prof. dr. sc. Janez Indof / PhD, associate professor Elementi arhitektonskog projektiranja 1, 2 / Architectural Design Elements 1, 2 15 30 3 15 30 3 prof. Teufik Galijašević / associate professor 180 14 165 14 Izborni predmeti – industrijski dizajn Elective Courses in the Industrial Design Programme

Fotografija i film za industrijski dizajn 1, /2 Photo. and Film for Ind. Design 1, 2 15 30 3.5 15 30 3.5 izv. prof. Stanko Herceg / associate professor Likovne vježbe – ilustracija 1, 2 / Art Studio – Illustration 1, 2 15 30 2.5 15 30 2.5 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Tehnike prezentiranja pomoću računala 2 / Computer Presentation Techniques 2 15 30 2.5 – – – doc. Vedran Kasap / assistant professor Scenografija 1, 2 / Stage Design 1, 2 30 15 3.5 30 15 3.5 pred. dr. sc. Ivana Knez / PhD, / lecturer Kolegij sa Sveučilišta / Courses at the University (free choice) 45 0 2.5 45 0 2.5 90 6 90 6 Predmeti smjera vizualne komunikacije Courses in the Visual Communications Programme

Projektiranje – Vizualne komunikacije 5, 6 15 75 8 15 75 8 prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant Design Course – Visual Communications Design 5, 6 prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Oglašavanje 1, 2 / Advertising 1, 2 15 30 2.5 15 30 2.5 pred. Veljko Žvan / lecturer Fotografija i film 1, 2 / Photography and Film 1, 2 15 30 3.5 15 30 3.5 izv. prof. Stanko Herceg / associate professor 180 14 180 14 Izborni predmeti – vizualne komunikacije Elective Courses in the Visual Communications Programme

Dizajn fonta i kaligrafija 1, 2 / Font Design and Calligraphy 1, 2 15 30 3.5 15 30 3.5 doc. dr. sc. Nikola Đurek / associate professor Tehnike prezentiranja pomoću računala 2 / Computer Presentation Techniques 2 15 30 2.5 – – – doc. Vedran Kasap / assistant professor Likovne vježbe – ilustracija 1, 2 / Art Studio – Illustration 1, 2 15 30 2.5 15 30 2.5 izv. prof. Boris Ileković / associate professor asist. Inja Kavurić Kireta / teaching assistant Scenografija 1, 2 / Stage Design 1, 2 30 15 3.5 30 15 3.5 pred. dr. sc. Ivana Knez / PhD, / lecturer Grafičke tehnike 1, 2 / Graphic Techniques 1, 2 0 30 2.5 0 30 2.5 doc. Josip Baće / assistant professor asist. Mario Petrak / teaching assistant Kolegij sa Sveučilišta / Courses at the University (free choice) 45 0 2.5 45 0 2.5 90 6 90 6

202 203 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. school of design annual review 13 / 14 school of design annual review 13 / 14

Diplomski studij DiplomskiGraduate studijProgramme Graduate program

204 205 godišnjak studija dizajna 13. / 14. diplomski studij school of design annual review 13 / 14 graduate programme

Ciljevi Objectives

Suvremenim tokovima tehnološkog razvoja nastaju novi gospo- New economic and social relationships at the global and the Program diplomskog studija je, dakle, temeljen na kritičkom i Postgraduate study programme focuses on critical and creative darski i društveni odnosi na globalnoj i lokalnoj razini ostvarujući local level are continuously established due to technological kreativnom istraživanju, preispitivanju i dizajnerskom promi- research, analysis and consideration from the design stance uvjete za modernizaciju materijalne proizvodnje i komuniciranja, development, creating the conditions for modernisation of šljanju postojećih i budućih odnosa u sprezi sa teorijsko – me- of the existing and the future relationships, which include the a time i društva u cjelini. Ujedno se stvara potreba za nastaja- material production and communication and subsequently the todološkim i projektantskim predmetima. Tako koncipiranim subjects on methodology and planning. Consequently, stereo- njem novih disciplina dizajna. U tom kontekstu dizajn je defini- entire society. Design is considered to be an intellectual activity sadržajem nadilaze se stereotipni okviri disciplina dizajna i stva- typical scope of design disciplines has been expanded, providing ran kao intelektualna djelatnost koja uključuje razvoj životnih which includes the development of living and social scenarios, raju se uvjeti za preispitivanje metoda i prirode dizajnerskog the conditions for analysis of methods and the nature of design i društvenih scenarija, sustava, usluga, te kreiranje doživljaja i systems, services and creation of experiences and strategies at djelovanja, načina produkcije i oblika komunikacije. Obrazovne activity, the mode of production and the form of communi- strategija na poslovnoj, strukovnoj i društvenoj razini. U skladu a business, occupational and social level. In accordance with metode se primarno odnose na stjecanje iskustava studenata cation. Educational methods primarily focus on acquisition of sa navedenim načelima, sadržaj diplomskog studija je osmišljen the previously mentioned principles, the curriculum of gradua- u teoriji i kritičkoj analizi, na poznavanju suvremenih tehnolo- experiences in theory and critical analysis, modern technologies na način da studente potiče na kritičko sagledavanje tehnološ- te studies has been created in order to encourage students to gija i materijala, te na metode i procese realizacije projekata s and materials, as well as methods and processes of project kog, društvenog i ljudskog okruženja kao temelja za ostvarivanje critically observe the technological, social and human environ- gospodarskim i društvenim subjektima. implementation with economic and social entities. vlastitih dizajnerskih zamisli. Takva definicija dizajna podrazu- ment as the basis for implementation of their design projects. mijeva svladavanje vještina potrebnih za istraživanja usmjerena Consequently, the definition of design implies acquisition of skills prema novim, modernijim metodama u koncipiranju životnih required for the research, primarily focusing on new, innovative okolnosti, za razumijevanje gospodarstva, društva i kulture na methods in the perception of living circumstances and in gaining globalnoj i lokalnoj razini, te za primjenu načela održivog razvoja a comprehensive insight into the economy, society and culture u ekološkom, gospodarskom i kulturološkom smislu. at the global and the local level, as well as implementation of standards of sustainable development in the fields of ecology, Diplomski studij dizajna, ulazeći u nova područja poput pri- economy and culture. mjerice dizajna interakcija, doživljaja i događanja i dizajna u interaktivnim medijima omogućuje studentima da se u okvirima The postgraduate study programme of design covers new fields odabranih disciplina osposobljavaju za rad u kreativnoj industriji, of interest such as interaction design, events and experience za suradnju i vođenje interdisciplinarnih timova, za osmišljavanje design, as well as interactive media design and consequently i provođenje složenih strategija, te za samostalno i međudisci- enables students to acquire competencies required for work in plinarno djelovanje. creative industry, for co-operation and management of interdisciplinary teams, for creation and implementation of complex Kompetencije magistara dizajna koje se stječu završetkom ovog strategies, as well as for independent and interdisciplinary action. studija uključuju također i sposobnost samostalnog zamišljanja i provođenja projekata kao rezultata teorijsko-istraživačkog rada, Competencies of master degree holders in design acquired upon stvaranja koncepata i strategija razvoja dizajna s ciljem unapre- the completion of this study programme include also the ability đivanja društvenih i gospodarskih sustava, te za preuzimanje of independent creation and implementation of projects as a strateške i proaktivne uloge na akademskoj i strukovnoj razini. result of theoretical and research work, creation of concepts and strategies for design development in order to promote social and economic systems, as well as play the strategic and proactive role at both the academic and the occupational level.

206 207 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Industrijski dizajn Industrial Design

Diplomski studij dizajna osposobljuje studente da kroz razu- Postgraduate study of design trains students to develop new mijevanje društvenog, kulturološkog i tehnološkog konteksta relationships and strategies in order to ennoble life and promote razvijaju nove odnose i strategije s ciljem humaniziranja života their line of work through a comprehensive insight into social, i unapređenja struke. Studenti usvajaju metode upravljanja pro- cultural and technological context. Students acquire deep insight jektnim procesima i timovima, te provode složena istraživanja into methods of project management and management of project socijalnih, gospodarskih i tehnoloških aspekata. Pored samo- teams and conduct complex research of social, economic and stalno iniciranih projekata, studenti sudjeluju i u projektima koji technological aspects. In addition to individually initiated projects, proizlaze iz suradnje s konkretnim gospodarskim, društvenim, students participate in projects originating from co-operation javnim i privatnim subjektima, nastojeći pri tome implementirati with specific economic, social, public and private entities, striving istraživane fenomene u razvoj konceptualnih inovacija u domeni to implement the analysed phenomena into the development of proizvoda, sustava, usluga i strategija. conceptual innovation in the domain of products, systems, services and strategies. Tijekom prve godine diplomskog studija studenti usvajaju spoznaje o suvremenim tehnologijama i društvenim procesima uslijed During the first year of postgraduate study students acquire kojih nastaju nove mogućnosti i potrebe, koje implementiraju u knowledge on modern technologies and social processes which procese dizajniranja i vizije novog razvoja. Studentima je omo- provide new opportunities and create new requirements which gućeno da individualnim radom uz odgovarajući odabir mentora, they subsequently implement into the design processes and into komentora i vanjskih suradnika, kao i odabirom izbornih predme- their visions of new development. Students are provided the op- ta, ovisno o odabranom području istraživanja, formuliraju vlastite portunity to formulate their own preferences for specific fields sklonosti prema pojedinim područjima industrijskog dizajna. of industrial design through individual work and a selection of a mentor, co-mentor, external partners and elective subjects Druga godina je završna godina diplomskog studija koja sadrži depending on the selected area of research. dva segmenta završnog rada – magistarske diplome: u trećem semestru studente se potiče na samostalni teorijski i istraživački The second and the final year of postgraduate study comprise rad kao temelj za izradu završnog projekta. Pri tome istražuju of two aspects of the master’s thesis: during the third semester odabrano područje, što predstavlja teorijsku podlogu rada, te students are encouraged to conduct individual theoretical and paralelno vrše istraživanja i analize temeljem kojih stvaraju baze research work as a basis for the creation of the final project. podataka za projektantski dio rada. Nakon prihvata elaborata They conduct research on the selected area which provides studenti u četvrtom semestru pristupaju izradi projektnog dijela the basis for theoretical work, whilst simultaneously conduct- diplomskog rada kojim dokazuju svoje strukovne sposobnosti: ing research and analyses based on whose results they create samostalno vođenje projekata, upravljanje procesima razvoja databases for practical work in planning. During the fourth dizajna i komuniciranje s drugim strukama u procesu dizajna, u semester and following the acceptance of the project plans skladu s predviđenim kompetencijama diplomskog studija dizajna. students commence project implementation as a constituent part of the final thesis to show their results and acquired competencies: independent project management, management of processes of design development and communication with other occupations during design process in accordance to the specific competencies acquired during the postgraduate design study programme.

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prvi semestar franka spetić mentor Mladen Orešić Klara Gardening asistent / assistant Sanja Bencetić, Ivana Fabrio Dizajn u kontekstu realnog okruženja je prva tema na Diplom- skom studiju sa ciljem usvajanja znanja i vještina te stjecanje iskustva u vođenju interdisciplinarnog razvoja složenih proizvoda Potiče se razvijanje i komuniciranje osobnog kreativnog potencijala i stava u profesiji i društvu kao i uočavanje i rješavanje društvenih, gospodarskih i kulturoloških problema u realnom okruženju. Primjenom znanstvenih metoda istraživanja studenti analiziraju i povezuju čimbenike unapređenja kvalitete života, humaniziranja tehnologije i uspostavljanja kulturnog identiteta na temelju čega inoviraju svoj proizvod. Specifičnost procesa je aktivna suradnja s realnim partnerom i integriranje njegovih želja, mogučnosti i ograničenja, ali i promišljanje i koncipirnje novih odnosa u kontekstu teme i užeg područja koje je u ovom semestru bio odnos sa prirodom. Partner je bila firma Klara Gardening čija djelatnost je proizvodnja i distribucija opreme za vrtlarenje za koju su studenti inovirali rješenja i koncepte koji u okviru teme na različite načine unapređuju kvalitetu života. first semester Klara Gardening Design in real environment is the first topic at the postgraduate study striving to acquire knowledge and skills in management of interdisciplinary development of complex products. Deve- lopment and communication of personal creative potential and Dječja pregrada child partition attitude both in the profession and the society is being encoura- Smisao projekta je na zanimljiv način razvijati The Child partition project was incepted in co- ged, as well as identification and solving of social, economic and empatiju kod djece kroz poimanje prirode, a pri čemu operation with teachers and defectologists. It cultural problems in real environment. Students identify, analyse, se djecu na suptilan način uči odgovornosti. Dječja comprises of several parts: work surface provided pregrada je nastala kroz suradnju s odgojiteljima with small multi-coloured containers in order connect and evaluate the potential of local resources, as well as i defektolozima. Pregrada se sastoji od nekoliko to foster children’s creativity and playfulness, a the features for enhancement of the quality of life, humanising dijelova: radne plohe, u koju se umeću posudice container with soil and a small bottle of water of technology and establishment of cultural identity on which raznih oblika kako bi se pobudila dječja kreativnost i for watering. All the items are placed in one spot razigranost, posudica sa zemljom i bočica s vodom and are easily accessible-encouraging children’s the innovation of their product is based. The specific feature of za zalijevanje. Svi elementi smješteni su na jednom attention on their activities. The upper part with the process is active co-operation with a real partner and inte- mjestu i lako dostupni, čime se potiče održavanje hanging flower pots, enables the adaptation of the gration of their wishes, their potential and limitations, as well as dječje pažnje na aktivnosti. Gornji dio sa visećim flower pot height to the height of the child. The posudama za biljke omogućuje prilagodbu visine flower pots comprise of two parts: the upper part the pondering and conception of new relationships against the posudica sukladno visini djece i njihovim potrebama. containing the soil and the plant and the bottom backdrop of the topic and the specific area of interest, which Posudice za biljke se sastoje iz dva dijela, gornjeg u part made from felt used for the collection of water in this semester was relationship with Nature. The partner was kojem se nalaze zemlja i biljka te donjeg, izrađenog in order to avoid water dripping on the floor. All the od filca u koji voda kapa kako bi se spriječilo kapanje children’s activities enabled by the partition enhance Klara Gardening, a company involved in production and distri- vode po podu. Pomoću aktivnosti koje omogućuje the development of skills required for their further bution of gardening equipment. Students provided innovation pregrada djeca ujedno razvijaju i ostale vještine growth and development (sensory intelligence, to solutions and concepts enhancing the quality of life. potrebne za kasniji razvoj (socijalne, senzornu mobility, self-confidence, etc.). inteligenciju, motoriku, samopouzdanje i dr.)

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lucija ničeno niko crnčević mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Sanja Bencetić, Ivana Fabrio asistent / assistant Sanja Bencetić, Ivana Fabrio Zeleni zid / pregrada Suvremeni čovjek većinu vremena provodi u zatvorenom prostoru, gdje mikroklimatski uvjeti negativno utječu na njegovo zdravlje. Znanstveno je dokazano kako prisutnost biljaka u zatvorenim prostorima utječe na stvaranje tjelesno i psihološki zdravije i ugodnije mikroklime i okoline, odnosno utječe na zdravlje ljudi, kvalitetu života i radne učinke, te značajno smanjuje troškove umjetne klimatizacije. S ciljem implementacije biljaka u zatvorene prostore, osmišljen je sustav elemenata kojeg je moguće postaviti u najrazličitije prostore, neovisno o namjeni, dimenzijama i ambijentu. Elemente i prateću konstrukciju moguće je postaviti kao zidnu oblogu ili samostalnu pregradu u prostoru. Kombinacije elemenata konstrukcije i posuda za cvijeće omogućuju veliki raspon različitih vizualnih kompozicija, a dodatni elementi izrađeni od tkanine po potrebi omogućuju i zvučnu izolaciju. Sustav također potiče interes za biljke i uspostavljanje osobnog odnosa.

green wall / partition A contemporary person spends most of their time in closed spaces where microclimatic conditions adversely affect their overall health. The fact that the presence of plants in closed spaces has a positive impact on physical and psychological Kokedama kokedama health has been scientifically proven, as it creates – početnički set za uzgoj biljaka – food growing starter kit a more comfortable microclimate and significantly Uzimajući u obzir rastući trend urbanog vrtlarenja, Against the backdrop of the trend of community reduces the costs of artificial air-conditioning. A posebna je pažnja dana situacijama u kojima je takav gardening, a special attention was paid to the system of furniture items has been devised in uzgoj nemoguć. Kroz istraživanje spomenutog situations in which such gardening is practically order to popularise the cultivation of plants in fenomena kao najzanimljiviji potencijal za dizajn impossible. Following the research on the above enclosed and confined spaces which can be put in izabran je simbiotski uzgoja biljaka, kombiniranjem mentioned phenomenon the most interesting diverse spaces, irrespective of its use, dimensions kompatibilnih biljaka višeg i nižeg ranga omogućuje potential for design was symbiotic farming, through and ambience. The furniture items and the se brži i bujniji rast uz minimalno potrebno gnojenje. combinations of compatible plants of higher and accompanying construction can be placed as a wall Pronalaženjem različitih kombinacija biljaka i lower rank enables a faster and a more exuberant background or an independent partition in space. mahovina moguće je postići homeostatski učinak growth with minimum fertilisation required. A vast The combinations of items in the construction na simbiozu i imitirati proces koji bi se odvijao kod array of combinations of plants and mosses enable and the flower pots provide a vast array of spatial klasičnog uzgoja u zemlji. Završno rješenje projekta the homeostatic effect on symbiosis and imitate compositions and additional features made from je sustav proizvoda i edukacije koji u kombinaciji the process which would take place upon classical fabric can provide sound insulation when required. promoviraju i omogućuju uzgoj hrane u vlastitim farming in the soil.The final solution to the project Moreover, the system encourages the adoption of domovima. Principi prisilne simbioze surađuju s is a system of products and training which, when activities fundamental for plant cultivation, as well rješenjima uzgoja, dovoda svjetla i vode kako bi se combined, promote and enable the food agriculture as for the development of sensibility to sustainable omogućila djelomična homeostaza, stanje u kojemu in people’s homes. The principles of coercive coexistence of humans and plants. biljci nije potrebna ljudska briga. symbiosis enable the agriculture of edible plants, provision of light, water and the required nutrients, in the partial homeostasis where the plant does not require human care and attention.

212 213 godišnjak studija dizajna 13. / 14. diplomski studij / industrijski dizajn, 1. semestar school of design annual review 13 / 14 graduate programme / industrial design, 1st semester

petra vrdoljak stanislav kostić mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Sanja Bencetić, Ivana Fabrio asistent / assistant Sanja Bencetić, Ivana Fabrio

Florigami Florigami su biorazgradive sklopive posudice za biljke izrađene od kartonske ljepenke. Sjemenke biljaka se sade u posudice i korisnik se o njima brine dok ne izrastu u sadnicu, a zatim biljku zajedno sa posudicom presađuje u vanjski prostor. Kartonska ljepenka za vrijeme razgradnje u tlu pomaže biljci da se prilagodi novom tlu, a kada se karton potpuno razgradi, biljka nastavlja neometano rasti. Smisao koncepta je da se na suptilan i zanimljiv način potakne ljude na sadnju i vlastiti uzgoj biljaka te da se redefinira životni vijek biljaka u zatvorenom prostoru. Poticanjem ljudi na presađivanje biljaka u vanjske prostore ujedno se potiču i međusobni društveni odnosi i interakcija korisnika, a dodatna vrijednost koncepta je ozelenjavanje zapuštenih prostora u gradovima. Florigami Florigami are biodegradable folding plant pots made from cardboard pasteboard. Plant seeds are sown in the pots and the user takes care of them until they have grown and transformed into a seedling when they transplant both the seedling and the plant pot outside. Upon decomposing in the soil the cardboard pasteboard assists the plant to adapt to the new soil and when the cardboard has fully decomposed, the plant continues its unimpeded growth. The idea behind the concept is to encourage people in a subtle and interesting manner to plant and grow plants and redefine the life cycle of plants in interior spaces. Through encouraging people to transplant plants outside results in enhancement of mutual Posuda za osobni uzgoj biljaka A flower pot for personal use social relationships and the interaction between Projekt je nastao s ciljem približavanja uzgoja jestivog The project is intended to present the growing the users, while the value added of the concept is i dekorativnog bilja osobama kod kojih postoji of edible and decorative plants to the people greening of the neglected urban areas. inicijalni interes za uzgoj u vlastitom životnom interested in growing plants at home, yet requiring prostoru, ali ih u tome priječi manjak informacija. further information. Hence, an information system Osnovna značajka ovog proizvoda je informativni which facilitates the taking care of the plants is the sustav koji korisniku olakšava brigu o biljci. Posuda fundamental feature of this product. The flower pot za biljke sadržava osnovne informacije o biljci koja je contains all the basic information on the plant grown u nju posađena, a vezane uz sve potrebne radnje za in it, concerning all the crucial activities required for uzgoj. Informacije su kodirane kroz godišnji ciklus the growth. The encoded information following the biljke, a očitavaju se za svaki mjesec, kroz okvir na annual cycle of the plant is read monthly through samoj posudi. Osmišljeni sustav uključuje i uslugu the frame on the flower pot. Moreover, the system nabavke biljaka. Sustav također može intuitivno can provide assistance to the user on selection of pomoći korisniku pri odabiru biljke, jer je već vizualna plants, as the quantity of the information provided količina pratećih podataka informacija o zahtjevnosti is sufficient data on the complexity of the plant. biljke. Na taj se način korisniku značajno olakšava Consequently, the user can easily opt for the plant odabir biljke koja odgovara njegovom životnom stilu, which is the most adequate for them, concerning željama i potrebama. their life style, wishes and requirements.

214 215 godišnjak studija dizajna 13. / 14. diplomski studij / industrijski dizajn, 2. semestar school of design annual review 13 / 14 graduate programme / industrial design, 2nd semester

drugi semestar niko crnčević mentor Mladen Orešić Suradnja s obrtnikom asistent / assistant Ivana Fabrio, Andrea Hercog Dizajn u kontekstu razvoja tehnologije je okvirna tema sa ciljem Serija drvenih igračaka razumijevanje aktualnih trendova razvoja društva, gospodarstva – priče iz davnina Serija drvenih igračaka dizajnirana je u suradnji sa i tehnologije čije implementiranje u koncepte i inovacije bitno stolarskim obrtom Bruno iz Davora. Inspiracija unapređuje kvalitetu života. Kod studenta se nastoji razviti sen- za proizvod proizlazi iz legendi sakupljenih i zibilitet uočavanja, promišljanja i vizionarskog nagovještavanja reinterpretiranih u zbirci pripovijetki ‘Priče iz davnina’ Ivane Brlić Mažuranić, ne isključivo kao rješenja koja proizlaze iz poznatih, novonastalih ili pretpo- klasična dječja igračka. Proizvod sadrži tri razine: stavljenih problema, potreba, potencijala i želja. Očekuje se da na prvoj razini funkcionira kao igračka, na drugoj primjenom metoda i tehnika znanstvenog i dizajn istraživanja i je funkcionalan i specifičan hrvatski suvenir, te na trećoj kao serija koja postaje kolekcionarski ekperimentiranja integrira zaključke u koncept, dizajn rješenje i predmet. Cilj ovoga projekta bilo je stvoriti proizvod strategiju razvoja projekta. Da cijeli proces rezultira i iskustvom koji promovira kraj iz kojega dolazi i sposobnosti snalaženja u realnim situacijama studentima je u dogovoru i vještine obrtnika. Sustav igračaka funkcionira kao svojevrsna trodimenzionalna ilustracija koja u sa Hrvatskom obrtničkom komorom omogučeno da izaberu prvim fazama igre prikazuje likove iz priče, a kasnije obrtnika s kojim će surađivati na unapređenju proizvodnog omogućava stvaranje novih likova i novih priča istom programa kao i koncipiranju strategije razvoja, a neke suradnje logikom i pravilima osam originalnih priča. rezultirale su prototipnim realizacijama i namjerama razvoja za A series of wooden toys proizvodnju i plasman na tržište. – Croatian Tales of Long Ago A series of wooden toys designed in co-operation with the Davor-based carpenter Bruno. The inspiration for the product originated from the second semester legends collected and re-interpreted in the short story collection ‘Croatian Tales of Long Ago’ by Co-operation with an Artisan Ivana Brlić-Mažuranić. It is not exclusively a classical children’s toy, since it is a product at three Design against the backdrop of technological development is levels: it is primarily a toy; secondly it is a functional the underlying topic while striving to comprehend the current and a specific Croatian souvenir and finally it is trends in the development of our society, economy and tech- a series which can be considered a collector’s item. The objective of this project was to create a nology whose implementation into the concepts of innovation product which simultaneously promotes both the substantially promotes the quality of life. Students need to place where it originates from and the carpenter’s develop their sensitivity to observation, pondering and visionary skills. The system of toys functions as a specific three-dimensional illustration which during the first foreshadowing of solutions resulting from the well-known, the phases of the game presents the characters from newly arisen or the supposed problems, requirements, potential the story and subsequently enables the creation of and wishes. Students are expected to integrate their conclusions new characters and new stories with the same logic and the rules which are specific throughout the into a concept, a design solution and a project development original eight stories. strategy through application of methods and techniques of scientific and design research and experimentation. In order to create the prerequisites for the process to result in the experience of dealing with real situations, in co-operation with the Croatian Chamber of Economy students have been given the opportunity to select an artisan to co-operate with on the enhancement of the production programme, as well as on the creation of development strategy, whereas some co-operation resulted in prototype realisation and intentions of further development for the purpose of production and market placement.

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stanislav kostić karlo pavičić mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Ivana Fabrio, Andrea Hercog asistent / assistant Ivana Fabrio, Andrea Hercog

Kalamper Kalamper Kalamper je sustav modularnih košara koje služe Kalamper is a system of modular baskets intended za pohranu svježeg voća i povrća, a namijenjene for storage of fruits and vegetables in modern su suvremenim kućanstvima koja brinu o zdravoj households where particular attention is paid to prehrani te kontinuirano konzumiraju svježe voće i healthy food and where fresh fruit and vegetables povrće. Proizvod je nastao u suradnji sa obrtnikom are continuously eaten. The product is the result of Zvonkom Pošpaićem koji se bavi pletenjem co-operation with the craftsman Zvonko Pošpaić Let it be Let it be proizvoda od vrbove šibe. Sustav proizvoda se who is involved in handmade production of products Vrata ‘Let it be’ dizajnirana su kao spoj funkcije, Let it be door has been designed as a combination sastoji od tri modula različitih dimenzija koje made from willow cuttings. The system of products estetike i simbolične poruke. Vrata sadrže integriranu of function, aesthetics and symbolic messages. The određuju volumnu zapremninu košare. Dimenzije comprises of three modules of diverse dimensions rasvjetu. I kao takva su unikatna. Oblik koji door has integrated lighting, which makes it unique. baze i gornjeg otvora su jednake za sva tri modula, which determine the volume of the basket. The omogućuje propuštanje svjetla, a da se ono direktno The shape that enables the passage of light, without što omogućuje vertikalno slaganje košara jednu dimensions of the basket bottom and of the upper ne vidi ostvaren je savinutim furnirom u oblik vala it being directly visible, has been achieved with a na drugu. Na taj način košare tvore vertikalni stup opening are equal for the three modules, which koji izlazi iz ravne plohe vrata. Pozicionirana svjetla bended veneer in the shape of a wave that comes i zauzimaju manje prostora. Oblikovanje košare ensures vertical placement of the baskets one upon u ilustriranim primjerima koncentrirana su na out from a flat surface of the door. Positioned proizašlo je kao odgovor na problem koji se često the other. Hence, the baskets create a vertical funkcionalne aspekte otključavanja i naglašavanja lighting in illustrated examples is focused on javlja kod proizvoda za pohranu; na dnu se uvijek column and occupy less space. The design of the kvake bilo u mraku ili po danu, te na poziciji ispred functional aspects of unlocking and pointing out nakuplja voće i povrće koje je prije pohranjeno, stoga basket originated as a solution to the problem which okulara gdje se nalazi osoba koja zvoni. Mogućnost the handle in the dark or during daytime, and in the može doći do truljenja. Kako bi se izbjegao ovaj is often encountered with products for storage – ovih vrata je da zamjeni sporednu rasvjetu i bude position in front of the eyepiece where the person problem, forma košare sadrži udubljenje i otvor pri where normally fruit and vegetables which had samodostatna za prostor, tako da bi se u npr. ringing the bell is located. The door can replace dnu koji omogućuje da se uvijek prvo uzima voće i been stored first are left at the bottom of the basket hotelskim hodnicima mogle vrlo dobro uklopiti kao secondary lighting and be self-sufficient and hence povrće s dna, a kroz gornji otvor dodajemo svježe and hence rotting may easily occur. In order to svjetlo za atmosferu ili pak u bilo kojem drugom e.g. in hotel halls it could be used as ambiance voće i povrće. Košare su izrađene tehnikom pletenja tackle this issue, the form of the basket contains a prostoru. Također zbog jednostavnosti konstruiranog lighting or in any other premises. Moreover, due to vrbove šibe, a prozračna struktura pletiva rješava hollow and an opening towards the bottom which oblika moguće je lako upravljati pozicijom svjetla na the simplicity of the constructed shape it is possible problem nakupljanja nepotrebne vlage. ensures the consumption primarily of the fruit and vratima i tako omogućiti kupcu mogućnost vlastitog to easily direct the position of the light on the door vegetables placed on the bottom of the basket. The odabira gdje i koliko želi svjetla. Ovaj princip je and hence provide the customer with a possibility of upper opining is used for the placement of fresh primjenjiv na unutrašnja i vanjska vrata. choice of where and how much lighting they want. fruit and vegetables. Baskets have been made using This principle is applicable both on internal and the technique of weaving of willow cuttings and the external door. airy structure of the weave solves the problem of excessive dampness.

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matija špoljar dorja benussi mentor Mladen Orešić mentor Mladen Orešić asistent / assistant Ivana Fabrio, Andrea Hercog asistent / assistant Ivana Fabrio, Andrea Hercog

Transformwood U suradnji s obrtom ICM, koji se bavi tehnološkim inžinjeringom, razvijen je koncept podnih obloga koji uključuje tehnološke inovacije. Podne obloge mogu se transformirati u razne oblike zidnih pregrada i sjedećih elemenata koji se izdižu iz tla. Tehnološka inovacija je spoj između elemenata, koji omogućuje spajanje elemenata pod nekoliko različitih kuteva, što pak omogućuje izdizanje konstrukcije u prostor. Transformwood In co-operation with the craft ICM, involved in technological engineering, a concept of flooring has been developed that includes also technological innovation. The flooring can be transformed into diverse shapes of wall partitions and seating sets that appear to be growing from the floor. The technological innovation comprises of a combination of features that enables the merging of items under several different angles, which enables the variations in the positioning of the entire construction.

sudi sudi Lončarska radionica Merania iz Labina proizvodi The Labin-based Merania potter’s workshop keramičke posude za pripremu i posluživanje is involved in production of ceramic vessels for hrane i pića, koristeći tradicionalne tehnike the preparation and the serving of food, using izrade i dekoriranja keramike. Odabrana jela koja traditional techniques of production and decorating simboliziraju kulturni identitet Istre, odnosno, Labina, of ceramics. The selected dishes which symbolise baza su razvoju prve serije seta proizvoda za kuhanje the cultural identity of Istria or Labin were the idea i posluživanje: Srdele na savor (predjelo) Žgvacet behind the first series of a set cooking and serving od kokoši sa fužima i krafima (glavno jelo) Pasutice products: Sardines on pickled onions (starter) sa slanim srdelama ili bakalarom (glavno jelo) Supa Istrian-style meat goulash with chicken and two (desert) Specifičnosti navedenih jela i potrebe pri types of traditional Istrian pasta (fuzi and krafi) pripremanju, serviranju, konzumaciji i skladištenju (main dish) Traditional Istrian pasta (pasutice) with preuzete su kao neposredne smjernice za dizajn. salted sardines or codfish (main dish) Istrian wine Rješenje ima za ciljeve poticati tradicionalnu soup (supa) (dessert) The specific features of the pripremu autohtonih jela koja su zapostavljena u previously mentioned dishes and the requirements ponudi. Prezentirati tradicionalna jela u izvornom upon preparation, serving, consummation and obliku, ali u posuđu koje odgovara suvremenim warehousing have been considered as direct potrebama. Istaknuti karakteristike i specifičnosti guidelines for design. The objectives of the serviranih jela, te ponudom u restoranima conceptual solution are encouragement of promovirati kupnju proizvoda za osobnu upotrebu traditional preparation of local dishes which have odnosno ponuditi funkcionalni suvenir. been neglected, presentation of traditional dishes in their traditional form, as well as in the tableware which meets the modern needs, pointing out the specific features and the particularities of the served dishes, and promote the purchase of products for personal use through restaurant menus or to be used as functional souvenirs.

220 221 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Dizajn vizualnih komunikacija Visual Communications

Zvanje magistra dizajna, koje studenti stječu po završetku di- The title of a Master of Design (M.A. in Design) which is obtained plomskog studija, pruža im kvalifikacije za samostalno vođenje by the students upon the completion of the postgraduate study projekata i upravljanje procesima razvoja dizajna. Na zadacima programme provides them with qualifications for independent projektiranja vizualnih komunikacija naglašava se sposobnost project development and management of design development snalaženja u kontekstu realnog okruženja, uz obavezno usvajanje processes. The tasks of visual communications design highlight znanja i vještina znanstveno utemeljenog i kritičkog promatranja the ability of succeeding against the backdrop of real environ- zbilje, čim se izlazi iz užih okvira struke. Studenti odabiru teme ment, in addition to mandatory acquirement of knowledge ili probleme od neposrednog subjektivnog ili općeg društvenog and skills of the scientific and critical approach to reality which interesa, te uče artikulirati svoja opažanja i stavove izražajnim transcends the professional boundaries. Students select the topi- sredstvima dizajna, ali i potaknuti i formirati javni diskurs druš- cs or issues of immediate subjective or general interest and learn tvenih skupina posredstvom inovativne vizualne komunikacije. to articulate their observations and attitudes with expressive U procesu ovladavanja svim aspektima dizajna svaki student methods of design, as well as the skill to initiate and maintain – magistarski kandidat – trebao bi individualnim radom s men- a conceptual thread through public discourse amongst social torom i odabirom izbornih kolegija artikulirati vlastite sklonosti i groups through innovative visual communications. During the otkriti mogućnosti svoga daljnjeg razvoja, pri čemu se podržava process of achievement of mastery in all the aspects of design i potiče suradnja sa studentima i stručnjacima iz različitih disci- each student – a candidate for a Master’s Degree – needs to plina povezanih s dizajnom, u duhu temeljnog karaktera studija. articulate their own preferences and the potential of their further development during their individual work with a mentor, whilst Završna godina studija temelji se na dva povezana segmenta they are simultaneously encouraged to co-operate with other završnog rada, odnosno magistarske diplome. Prvi segment students and experts in diverse disciplines related to design in podrazumijeva samostalni teorijski i istraživački rad kao pre- accordance to the fundamental features of the postgraduate dradnju za projekt, kada studenti moraju kompetentno prepo- study programme. znati i obraditi određeni / e problem(e), u skladu sa standardima akademskog pisanja znanstvenih radova. The final year of the postgraduate study programme is based on two interrelated aspects of the final thesis or the Master’s Rezultati istraživanja u prvom semestru završne godine su tzv. thesis. The first aspect implies independent theoretical and teorijska teza i istraživački elaborat, koji uključuju sve relevantne research work as prerequisites for the project when students čimbenike pripreme za projekt, koji je nastavak istraživanja u are required to identify and tackle a specific problem using the realnom kontekstu. U drugom, posljednjem semestru, studenti required competencies and in compliance with the standards izrađuju diplomski projekt kojim pokazuju stečenu razinu snala- of academic writing of scientific papers. ženja u struci, što podrazumijeva samostalno vođenje projekta i komuniciranje s drugim strukama u procesu dizajna. Izborni The results of the research during the first semester of the final predmeti na ovoj godini studija usko su vezani uz savladavanje year are the so called theoretical thesis and the research study samostalnog djelovanja u dizajnu. Projekt i teorijska teza / istra- which imply all the relevant features of the preparation for živački elaborat razlikuju kompetencije magistra dizajna od pr- the project, which is a continuation of the research in the real vostupnika, te se smatraju jednako važnim elementima diplome context. i krajem formativnog dijela edukacije na ovoj razini u struci.

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prvi semestar Dizajn u kontekstu martin peranović mentor Nenad Dogan realnog okruženja asistent / assistant Romana Kajp Prvi zadatak na diplomskom studiju dizajna, razrađuje i produ- bljuje znanja i vještine stečene pri kraju preddiplomskog studija, a istovremeno služi kao određeni uvod u proces rada na završnom diplomskom projektu. Cilj zadatka je usmjeriti senzibilitet studenata prema prepoznavanju aktualnih tema i problema u području suvremenih vizualnih komunikacija, masovnih medija i digitalnih tehnologija, u širem društvenom, ekonomskom i političkom kontekstu. Po odabiru tematskog područja koje će obrađivati, studenti se opredjeljuju za neku od komunikacijskih formi ili neki žanr dizajna iz široke palete aktualne vizualne kulture. Izbor uključuje tiskane medije, korporativni dizajn i signalistiku, ambalažu te sustave vanjskog oglašavanja, sve do interaktivnih digitalnih tehnologija na različitim platformama. Važno je koristiti alate vizualnih komunikacija u artikulaciji prepoznatih problema, inovativnom izražavanju vlastitih stavova, s ciljem poticanja i usmjeravanja javnog odnosa o određenim temama.

first semester Design against the Backdrop of Real Environment The first task during the new section of studies on the one hand mine mines elaborates and deepens the knowledge and skills acquired by the Svrha aplikacije Mine je upozoriti na visok stupanj The specific objective of the application entitled rizičnosti kretanja u blizini minsko sumnjivih MINES is to warn of the high level of risk of end of the undergraduate studies and on the other hand is used područja, informirati putem jasnih i lako dostupnih movement near minefields or ‘mine suspected as an introduction into the production of a postgraduate thesis informacija o minski sumnjivim područjima te areas’, to inform through providing clear and easily during the final year of postgraduate studies. The objective is to omogućiti planiranje kretanja na temelju tih available information on mine suspected areas, as informacija. Jednostavnost korištenja aplikacije well as to enable planning of movement based on make the students focus upon recognition of the current topics proizlazi iz pojednostavljenih funkcija i minimalnih the information acquired. The simplicity of use in and issues in the area of contemporary visual communications, kolorističkih intervencija što uspješnijeg prijenosa i the application is due to simplified functions and mass media and digital technologies, as well as within the wider jasnoće informacija. minimal colouristic interventions to ensure a more successful transfer and clarity of information. social, economic and political context. Following their decision on the topic area tackled in the task, students opt for a form of communication or a design genre amongst a vast array of topics and genres in the current visual culture, ranging from print media, to corporate design and signalistics, packaging in industry or in the service sector and out-of-home advertising to interactive digital technologies using diverse platforms. The use of visual communications tools is fundamental in the articulation of the identified problems and in innovative expression of one’s attitudes aiming to encourage and focus the public discourse upon specific topics.

224 225 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 1. semestar school of design annual review 13 / 14 graduate programme / visual communications, 1st semester

matea brkić anta bučević mentor Ivan Doroghy mentor Nenad Dogan asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp

znakovni rječnik Samoinicirani projekt bavi se oblikovanjem sistema edukacije kroz igru, usmjeren ka gluhoj i nagluhoj djeci. Znakovni rječnik je organizirani sustav za lakše učenje hrvatskog znakovnog jezika s naglaskom na komunikaciji roditelja i djeteta. Cilj projekta je najprije prilagoditi učenje potrebama djece i smanjiti mogućnost stresnih situacija, istovremeno poboljšavati komunikaciju i omugučiti roditeljima što bolju povezanost s djetetom i njegovim edukativnim i komunikacijskim napretkom. Znakovni rječnik edugram edugram je sustav koji se sastoji od start paketa koji sadrži Područje kojim se projekt ‘Edugram’ bavi je u Throughout the development of the project entitled edukativno-informacijski priručnik, početne kartice području znanosti i obrazovanja. Riječ je o edukaciji Edugram I was involved in the field of science and s ilustriranim pojmovima, brojevima i jednoručnom kroz igru, a budući da je igra djetetova omiljena education. It implies education through games, abecedom, te usb priključkom s pristupom aktivnost i da kroz nju najlakše uči, ideja je bila since games are children’s best friends and the best edukativnom video sadržaju. potaknuti nesvjesno usvajanje pojmova kroz igru. method of learning. The idea behind the project Cilj projekta je prvenstveno razvijanje vizualne was to encourage unconscious learning of concepts semiotic dictionary percepcije, a potom usvajanje osnovnih pojmova kao through games. The specific objective of the project For the purpose of implementation of self- što su boja, oblik i riječ. ‘Edugram’ igra razvija finu was visual perception development, followed by initiated project, I decided to create a system of motoriku, koncentraciju i pamćenje. Jednom rječju learning of the basic concepts, such as colour, shape education through play intended primarily for osnovna ideja projekta su problemi perceptivno- and word. Edugram develops fine motor skills, deaf and hearing-impaired children. The Semiotic kognitivnih karaktera u edukaciji djece od njihove concentration and memory. To sum up, one could dictionary is an organized system for simplified najranije dobi. conclude that the basic ideas of the project were learning of the Croatian semiotic language perceptive-cognitive features in children’s education focusing on communication between parents and since the earliest age. children. The specific objective of the project is primarily to adapt the learning to the requirements of children and reduce the opportunities for stressful situations, simultaneously improving communication and enabling parents to improve their relationship with their children and their educational and communication advancement. The Semiotic dictionary is a system comprising of an initial package which includes and education and informative manual, beginner cards with illustrated concepts, numbers and one-handed sign language alphabet, as well as a usb device with access to educative video content.

226 227 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 1. semestar school of design annual review 13 / 14 graduate programme / visual communications, 1st semester

slavica farkaš mentor Nenad Dogan alma šavar asistent / assistant Romana Kajp mentor Stipe Brčić

Time Line pušlec Pušlec Time Line je aplikacija za organiziranje i upravljanje vremenom nastala kao – vodić kroz kulturne – a guide through cultural odgovor na potrebe mladih koji imaju problem sa raspolaganjem i organizacijom događaje u gradu samoboru events in the city of Samobor svog vremena. Time Line dopušta slobodu individualnog pristupa slaganju Svrha ovog projekta je poticanje interesa mladih The specific objective of this project is to arouse kompozicija vremenskih cjelina kao što su: tjedni raspored, vo đenje projekata, za kulturne sadržaje u gradu Samoboru. Rješenje interest in cultural events in the city of Samobor organiziranje radnog vremena, slobodno vrijeme, dodatne aktivnosti i dr. Time je realizirano u obliku kulturnog vodiča, putem among young people. The solution has been Line pruža brz i jednostavan način praćenja užurbanog i promjenjivog tempa kojeg se mladima prezentiraju izdvojena kulturna provided in the form of a cultural guide through života mladih kroz njima pristupačne i praktične digitalne medije. događanja, u tiskanom kao i digitalnom obliku. Web which specific cultural events are being presented stranica služi za generalno sagledavanje i arhiviranje to young people both in print and in the digital form. Time Line sadržaja, dok tiskani mjesečnik sadrži dodatne The website is intended for a “macro overview”, i.e. TimeLine is an application for organizing and managing time designed in tekstove o izdvojenim događanjima, te na taj način general consideration and content archiving, while response to the needs of young people who have a problem of disposing and služi kao svojevrsno proširenje web stranice. Tiskana the print monthly issue includes supplementary texts organizing their time. Time Line allows freedom of individual approach to publikacija i web stranica međusobno su povezane on specific events and is hence intended to provide compose time oriented unit such as the weekly schedule, project execution chart, SnapTag kodom koji korisnici mogu skenirati za brži an extension to the website or a “micro overview” of working hours organizer, free time, additional activities, etc. Time Line provides a pristup webu, koji je sukladno tome prilagođen i the content. The print publication and the website quick and easy way to track the young people’s hectic and changing pace of life mobilnim uređajima. are mutually connected through a SnapTag code through affordable and practical digital media. which the users can scan for a faster access to the website which has consequently been adapted also to mobile devices.

228 229 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 2. semestar school of design annual review 13 / 14 graduate programme / visual communications, 2nd semester

drugi semestar Dizajn u kontekstu razvoja matija gulič mentor Nenad Dogan komunikacijskih medija asistent / assistant Romana Kajp Od studenta se očekuje osmišljavanje multimedijalne društve- no angažirane kampanje na određenu temu, koja omogućuje kvalitetnu dvosmjernu komunikaciju u procesu informiranja javnosti o određenom problemu i usmjeravanja društvenog potencijala za njegovo rješavanje. Sadržaj i forma su u korelaciji, pa je cilj zadatka originalno interpretirati klasične oblike medijskih kampanja, uz zadržavanje nekih njihovih karakteri- stičnih elemenata, poput naslova kampanje, slogana i slično. Zadatak podrazumijeva kompetentno preliminarno istraživanje i kontinuiranu suradnju s kolegama iz drugih struka, u duhu interdisciplinarnog karaktera dizajnerske profesije i edukacijskog programa diplomskog studija.

second semester Design within Communications Media Development The premise of this task is entirely contrary to the previous task, although their context is similar. Students need to devise a multimedia and a socially-involved campaign on a given topic, identitet društvene Adopting dogs from kampanje za udomljavanje pasa Dumovec dog shelter implying that form (in the broad sense) precedes the selection Tema ove društveno korisne kampanje je Adoption of dogs from Dumovec dog shelter is the of the topic, as acquisition of skills of agitation and persuasion senzibiliziranje javnosti za udomljavanje pasa iz principal topic of my socially useful campaign. It is a is considered fundamental, as well as quality two-way commu- skloništa za nezbrinute životinje. Najčešći način rather common occurrence to advertise shelter dogs postojećih kampanja je da se uz psa pojavljuju by placing them in the context with some celebrity, nication in the process of informing the public on a specific issue poznate osobe što usmjerava fokus kampanje sa psa which actually shifts the focus of the campaign and directing the social potential towards providing a solution. na ‘celebrity’ ličnost. Zamišljena kampanja nastoji towards the celebrity in question. I was striving to Form and content are correlated and hence the objective of izbjeći takvu praksu te staviti psa u centar pažnje a avoid the feeling of depression and separation and time i u centar poruke kampanje. Kako se većinom use the dog motif as the principal theme of the the task is original interpretation of classical forms of media radi o odraslim psima koji već imaju izgrađenu campaign and I was aiming to highlight the fact that campaigns, yet through preservation of some of their distinctive osobnost, kampanja koristi osobne oglase iz the dogs in question had already formed their own features, such as campaign title and slogans, to name a few. odgovarajuće rubrike objavljene u Plavom oglasniku. specific personality traits. Ads included in the Free Kombinacijom portreta psa i teksta preuzetog iz Ads Paper where men are looking for partners for life The task explores both research and the creative potential of Oglasnika u kojem osoba traži prijatelja ili životnog and vice versa appeared as an excellent idea behind students against the backdrop of considerably limited formal partnera, kampanja ukazuje na to da su i psi the project that stressed the fact that dogs have postulates which is the most common context of activity during osobnosti s jednakim potrebama za komunikacijom personalities with equal needs for communication kao i ljudi i time poziva javnost na udomljavanje as people and is inviting the general public to adopt subsequent professional life and work. Moreover, the task implies napuštenih pasa. stray dogs. competent preliminary research and continuous co-operation with colleagues from other lines of work providing the given topic requires it, in line with interdisciplinary features of design profession and educational programme during the graduate study.

230 231 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 2. semestar school of design annual review 13 / 14 graduate programme / visual communications, 2nd semester

dora lugarić anta bučević mentor Ivan Doroghy mentor Nenad Dogan asistent / assistant Tomislav Vlainić asistent / assistant Romana Kajp identitet društvene identitet društvene kampanje za autizam kampanje za dječji dom zagreb Autizam je neurorazvojni poremećaj koji izaziva Dječji dom Zagreb nositelj je kampanje za teškoće u neverbalnoj i verbalnoj komunikaciji, povezivanje studenata i štićenika domova za razvoju, te održavanju i razumijevanju socijalnih nezbrinutu djecu kroz sadržajna i motivirajuća odnosa. Također uzrokuje neobičnosti ponašanja, druženja po principu jedan na jedan. ograničene interese i fiksacije na određene stvari ili Cilj kampanje je povezati studente i djecu pojave. Nisu svi oblici poremećaja jednaki. Ljudi s (7-18 godina) na temelju zajedničkih interesa, blažim oblicima poremećaja sposobni su obavljati motiviranjem studenata da vlastitim iskustvom određene aktivnosti bez teškoća (često zbog fiksacija pomažu djeci u ostvarenju njihovih snova, a postaju izrazito dobri u razumijevanju i obavljanju istovremeno u praksi poboljšavaju vlastite vještine određenih aktivnosti). Takvim ljudima potrebno je u različitim područjima edukacije i osobnih interesa. dati priliku da ostvare svoje želje i snove. Kampanja Kampanja obuhvaća tri različita područja - kulturu, komunicira problem kroz seriju plakata i dvije vrste sport i znanost. Kampanja djeluje offline (billboard, letaka, koji se mogu dobiti na određenim mjestima guerilla stickeri + predmeti) i online (fejs filtiranje, (poput bolnica ili škola) ili uz kupovinu proizvoda web platforma). U sklopu dizajna web stranice za djecu. Ideja je podizanje svijesti o autističnom napravljen je i sistem prijava temeljen na inputu poremećaju i problemima koji ga prate, iz čega bi prikupljenom direktno od domskih stićenika, što trebale proizaći pravovremene reakcije obitelji i omogućava direktno povezivanje djeteta sa veći senzibilitet javnosti. Istovremeno, ukazuje se studentom i pripadajućim područjem interesa. na činjenicu da su ljudi s određenim oblicima bolesti sposobni funkcionirati u društvu i čime se želi postići Identity of a social campaign manja diskriminacija for Zagreb Children’s home Zagreb Children’s home is the protagonist of the Identity of a social campaign aiming to connect students and the campaign for autism beneficiaries of homes for neglected children Autism is a neurodevelopmental disorder through motivating and interesting socializing causing problems in both non-verbal and verbal events one-on-one. The specific objective of the communication, development and maintaining and campaign is to connect students and children (aged understanding of social relationships. Moreover, it 7 to 18) based on their common interests, motivating causes unusual behaviour, limited scope of interests students to provide assistance to children in the and fixation to specific things or occurrences. achievement of their dreams, while simultaneously There are diverse forms of this disorder. People improving their own skills in diverse educational with mild autistic spectrum are able to perform areas and those concerning personal interests. specific activities without any problems (and The campaign has been divide into three different commonly become very good at understanding and directions linked with students’ interests – culture, performance of specific activities as a result of their sports and science. The campaign functions offline fixation). They deserve to be given the opportunity (billboard, guerilla stickers + objects), as well as to fulfil their desires and dreams. The campaign online (Facebook filtering, web platforms). Web communicates the issue through a series of posters site design includes also a system of applications and two types of leaflets that can be obtained at based on input collected directly from children’s specific venues (such as hospitals or schools) or home beneficiaries, which additionally enhances while purchasing children’s products. The principal the connections among children with students idea behind it was raising awareness on autism considered as the most appropriate in their case. disorder and the problems resulting from it, aiming to cause timely reactions of the family and a higher sensibility of the general public. Simultaneously, it points out the fact that people with specific forms of the disease are capable of functioning well in the society and hence the campaign is aiming to decrease their discrimination.

232 233 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 2. semestar school of design annual review 13 / 14 graduate programme / visual communications, 2nd semester

martin peranović matea brkić mentor Stipe Brčić mentor Ivan Doroghy asistent / assistant Karla Paliska asistent / assistant Tomislav Vlainić

najbolji posao na svijetu the best job in the world kampanja pčele The bee campaign Diskriminacija predstavlja zakonski, društveno i poslovno neprihvatljivo Discrimination is considered as unacceptable behaviour from the legal, the social Ideja kampanje Jedan cvijet – cijeli svijet, je The idea behind the campaign – The whole world is ponašanje, a definira se kao postavljanje jedne osobe u nepovoljniji (lošiji) položaj and the business point of view. It is defined through placement of a person osvjestiti ljude o važnosti opstanka pčelinje vrste. a single flower – is primarily to raise the awareness u odnosu na drugu, na temelju neke njene karakteristike.Pojedinci vrlo različito into an inconvenient (inferior) position in relation to others based on a specific Potrebno je informirati javnost na koji način of people on the importance of the life of bees. It i individualno procjenjuju što je ili nije diskriminacija. Subjektivna procjena trait attributed to them. Nevertheless, we all differ substantially as individuals pomoći njenoj održivosti, te kako da se malom is important to provide information on the ways onoga što je potrebno, opravdano i relevantno za određeno radno mjesto in assessing discrimination. Subjective assessment of what is required, justified promjenom ponašanja pojedinaca, potakne na to contribute to the survival of this animal species varira od osobe do osobe, bez obzira radi li se o posloprimcu ili poslodavcu. and relevant for a specific workplace varies from person to person, especially djelovanje.Kampanja uključuje sjeme različitih and how to encourage individuals to action through Poseban problem nastaje ako paušalne procjene nisu u skladu s normativnim if a person is not informed on the normative framework and the institutions vrsta cvjetova kako bi se sadnjom bilja doprinjelo slight lifestyle changes. Diverse seeds were used in okvirom i institucijama koje se bave ovim područjem. Društvena kampanja involved in this issue. A social campaign against discrimination against youth on održivosti pčelinje vrste. order to encourage individuals to become involved protiv diskriminacije mladih na tržištu rada nastala na temelju istraživanja, ima the labour market has been based on the research and is aiming to inform and and participate in the campaign by planting them, za cilj informirati ciljnu skupinu o mogućim rješenjima problema i promicanje promote legal rights of the target group that is already on the labour market which would eventually contribute to the survival zakonodavnih prava. Uz pomoć web bannera koji nude ‘najbolji posao na svijetu’, or will only be so in the forthcoming future. A broad range of discriminatory of the bees. ne dolazi se do savršenog posla, nego internet sjedišta s informacijama i uputama questions are posed through web banners that offer ‘The best job in the world’, kako se postaviti ili kome se obratiti u realnoj situaciji ili kome se obratiti u that do not lead to a perfect job, but rather to an internet centre providing slučaju potrebe information and guidance on how to act in a real situation or who to address in such an inconvenient situation. The internet centre can also be reached through scanning of QR codes on fliers and city light posters.

234 235 godišnjak studija dizajna 13. / 14. diplomski studij / vizualne komunikacije, 2. semestar school of design annual review 13 / 14 graduate programme / visual communications, 2nd semester

luka reicher ana somek mentor Nenad Dogan mentor Nenad Dogan asistent / assistant Romana Kajp asistent / assistant Romana Kajp

problem sjedenja Dugotrajno sjedenje bez pauze ima brojne štetne utjecaje na organizam. Štetne se posljedice mogu značajno usporiti uzimanjem stanke od sjedenja svakih sat vremena te provođenjem minimalnih tjelesnih aktivnosti. Problem je što tijekom koncentriranog rada nismo svjesni koliko upoznavanje javnosti s Presenting problems of dyslexic je vremena proteklo te se zaboravljamo ustati i problemima djece disleksičara children to the general public aktivirati. Aplikacija nas svakog sata podsjeća da Djeci s disleksijom potrebno je puno vremena, Dyslexic children require a considerable amount of napravimo pauzu te nas vodi kroz minimalne vježbe napora i koncentracije da bi pročitali i time, effort and concentration to read the simplest koje se mogu suptilno izvoditi u bilo kojoj radnoj najjednostavnije tekstove, te im je zbog toga texts and they hence find reading similar to puzzle okolini. Da bi aplikacija došla do korisnika osmišljena čitanje poput rješavanja zagonetki. Osobe koje solving. Persons working with children often do je kampanja koja bi ljude zaticala u različitim rade s djecom često ne razumiju trud koji je djetetu not understand how much effort they invest while kontekstima sjedenja, na problem ih upozoravala, potreban za uspješno savladavanje čitanja, te ih je reading and consequently I believe they need to educirala i nudila im rješenje. potrebno izravno suočiti s problemom, odnosno be faced with the problem or made ‘to wear their Sedentary lifestyle issue staviti ih položaj djeteta kako bi razumijeli dimenziju shoes’ in order to deepen their insight into the issue. Prolonged sitting without breaks has a vast array of problema. Problem je komuniciran serijom plakata The solution comprises of a series of rebus posters, harmful consequences for our health. The adverse na kojima se nalaze rebusi, zagonetke predstavljene showing a puzzle through a combination of images, effects can be considerably reduced by taking active kombinacijom slika, slova i znakova, iz čijeg odnosa letters and symbols, whose deciphering leads to a breaks on an hourly basis and engaging in at least a proizlazi rješenje, te tako nije daleko od procesa solution and appears to be similar to reading. All minimum amount of physical activity. The problem čitanja. Sva tri plakata razlikuju se rješenjem rebusa the three posters show different rebus puzzles and is that during one’s concentrated work, one is i porukom koja se skriva unutar svakog. Rješenja messages. The solutions to rebus puzzles appear in commonly not aware of how much time has elapsed rebusa smješteni su uz desni rub plakata. the right-hand corner of the poster. and one forgets to get up and become active. The problem is being addressed through a computer application. The application acts as a reminder at an hourly basis to take a break and guides one through minimal exercises that can be performed with subtlety in any work environment. In order to convey the key points to the users, the idea behind the campaign is to slow down the people who have adopted a sedentary lifestyle in diverse contexts, to educate them and provide them with a solution.

236 237 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Projektiranje pisma Font Design

Na diplomskom studiju tipografsko obrazovanje provodi se Typographic education during the graduate study is primarily primarno na kolegiju Projektiranje pisma. Za razliku od preddi- provided through the course ‘Typeface design’. As opposed to plomskih tipografskih kolegija koji se kroz brojne vježbe bave undergraduate courses in typography, which through a large širokim spektrom tipografskih situacija, na diplomskom studiju number of practical exercises tackle a vast array of typographic je težište na produbljivanju određenih aspekata discipline. Savla- situations, during the graduate study the focus has been placed davanjem nastavnih sadržaja ovog kolegija studenti i studentice on gaining a comprehensive insight into specific aspects of će steći sposobnosti tipografskog oblikovanja s naglaskom na typography. The curriculum of this course will encourage the cjelovito promišljanje procesa oblikovanja pisma i oblikovanja s students to acquire the skills of typographic design with specific pismom. Kolegij se temelji na istraživačkom radu i specijalizaciji emphasis on comprehensive consideration of the process of u području oblikovanja pisma, te završno fontova. Studentice i typeface design and design with typeface. The idea behind the studenti savladavaju metodologiju i proces oblikovanja pisma course is research and specialisation in the field of typeface uzimajući u obzir kako tipografsku tradiciju, tako i predviđene design and fonts. The students will learn the methodology and namjene i medije reprodukcije. Stečena znanja i vještine pred- the process of typeface design, taking into consideration both stavljaju kvalitetnu osnovu za profesionalno bavljenje ovim typographic tradition and the anticipated scope of use and the aspektom dizajnerske struke, ali i za samostalano unapređenje print media. The acquired knowledge and skills are top quality vlastitih sposobnosti u ovom području. background for professional involvement in this aspect of the profession of a designer, yet can be also used for independent enhancement of one’s own skills in this filed.

238 239 godišnjak studija dizajna 13. / 14. diplomski studij / projektiranje pisma, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / font design, 1st and 2nd semester

prvi / drugi semestar matea brkić mentor Nikola Đurek Tipografsko istraživanje demonstator Marko Hrastovec Ova vježba proteže se kroz oba semestra te je grubo podijeljena Croata na dva dijela: istraživanje i produkciju. Studentice i studenti slo- Ideja prilikom kreiranja ovoga pisma bila je oblikovati suvremenu inačicu ovog pomalo zaboravljenog bodni su sami izabrati temu kojom se žele baviti te se očekuje staroslavenskog pisma, uglate glagoljice. Osim što da do kraja zimskog semestra postave idejno rješenje projekta. oživljava jedno tradicionalno pismo, namjena Croate je Ljetni semestar je posvećen primarno postavljanju i oblikova- i edukacija. Pismo se sastoji od ukupno jedanaest stilova, od osnovnog, koji uključuje brojne ligature nju izvedbenog rješenja. Iako postoji tendencija da rezultati i time je pogodan za tekstualni blok, do ekspresivnijih kolegija budu autorska pisma, medij i format završnog rješenja poput Stencila (šablonskog pisma) te stilova nisu definirani. namijenjenih za istovremeno korištenje, preklopnjeni jedni preko drugih. Croata Idea throughout the process of creation of this first / second semester typeface was to create a contemporary version of this rather forgotten Old Slavic angular Glagolitic script. In Typographic Research addition to reviving a traditional script, the purpose of This task extends through two semesters and has been roughly Croata is also education. It has eleven styles in total, from the regular one which includes a lot of ligatures divided into two sections: research and production. The students and by this becomes more appropriate for setting text, are free to choose the topic they are interested in and are expe- to the more expressive ones like the Stencil or layering cted to present the conceptual design of the project by the end styles ment to be used at the same time, overlapped. of winter semester. The summer semester is dedicated primarily Grotesk to implementation and design of the conceptual design. There is Grotesk pismo je nastalo po uzoru na rana pisma s početka 20. stoljeća s jednom neobičnom a tendency for course results to be original fonts, yet the media karakteristikom – kurzivnim italikom. Za razliku od and the format of the final solution have not been defined. uobičajenih grotesknih italika, koji su nakošeni pod određenim stupnjem, ovo pismo odlikuje kurziv koji podsjeća na pisanje perom. Grotesk Grotesk typeface has originated from early typefaces from the beginning of the 20th century with an unusual feature – a cursive italic. As opposed to usual grotesque italic fonts, cursive under a specific angle, this typeface has a cursive which reminds of writing with a feather.

lana grahek mentor Nikola Đurek demonstator Marko Hrastovec

240 241 godišnjak studija dizajna 13. / 14. diplomski studij / projektiranje pisma, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / font design, 1st and 2nd semester

luka reicher alma šavar mentor Nikola Đurek mentor Nikola Đurek demonstator Marko Hrastovec demonstator Marko Hrastovec Nantes iSM Nantes je natpisna porodica pisama i ISM je tipografski sustav inspiriran avangardnim mikrotipografski alat koji omogućava korisniku da umjetničkim pravcima, ‘izmima’ s početka jednostavnim kombiniranjem rezova dobije grafički dvadesetog stoljeća. Sustav broji šest rezova zanimljive makrotipografske rezultate. Pismo oblikovanih prema zajedničkom kosturu koji je se sastoji od dva dizajnom različita reza sličnog inspiriran primjerima natpisa iz tog razdoblja. Svaki karaktera, koji se mogu međusobno kombinirati. se rez nastoji konceptualno referirati na pravac koji Konstrukcija je proizašla iz poteza kistom koji je predstavlja i prenijeti njegove umjetničke premise i odredio izgled porodice pisma i detalja. Pismo u jezik samog pisma. Rez Futur koristi futuristički je namijenjeno oblikovanju za različite subjekte princip repeticije oblika kako bi vizualizirao neformalnog karaktera. Također podnosi upotrebu pokret i napredak. Neoplastic je određen strogom u različitim kontekstima (logotipi, plakati, ambalaže, ortogonalnošću De Stijla. Cub nastoji prenijeti natpisi...). Svi rezovi, verzali i kurenti, dijele kubističku multiperspektivu na konstrukciju slova. zajedničku visinu koja omogućava međusobno Exppression je izvrnut subjektivnoj deformaciji kombiniranje i kompaktnije komponiranje natpisa. te surovošću koja proizlazi iz tehnološkog procesa digitalizacije skice. Supremat je potpuno Nantes konceptualni rez u kojem su forme apstrahirane i Nantes is a type of inscription typeface family and kao takve teško čitljive te ih je moguće dešifrirati micro-typographic tool which enables the user sagledavanjem negativnog prostora slovnih znakova. to get graphically interesting macro-typographic results through simple combination of styles. The iSM typeface comprises of two different styles of ISM is a typographic system inspired by avant- different design, yet of similar features which garde artistic movements, ‘isms’ dating back to the can be mutually combined. The construction beginning of the twentieth century. The system has originated from a brush-stroke which has defined 6 styles designed in accordance to the common the appearance of the typeface family and details. skeleton framework which had been inspired The typeface is intended for the design of different by examples of inscriptions dating back to that subjects of informal character. Moreover, it can period. Each style is striving to conceptually refer be used in diverse contexts (logotypes, posters, to the movement it represents and transfer its packaging, inscriptions, etc). All the styles, capital artistic premises into the language of the typeface letters and lower case letters share a common height itself. The Futur style uses futuristic approach of which enables their mutual combinations and a repetition of shapes in order to visualise movement more compact composition of inscriptions. and progress. Neoplastic is defined by strict orthogonality of De Stijl. Club is aiming to transfer cubist multiple perspectives onto the construction of letters. Expression is subject to subjective deformation and the brutality which originates from the technological process of digitisation of rough drafts. Supremat is entirely a conceptual style where forms have been abstracted and hence hardly legible and they can be deciphered through observation of negative space of letter signs.

242 243 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Film i video Film and Video

Ne moramo posebice naglašavati snagu i djelovanje filma i videa The impact and the power of film and the video on modern na moderan dizajn i obrnuto. To je sinergija bez koje današnje design and vice versa do not have to be particularly empha- digitalno medijsko oglašavanje ne bi bilo zamislivo. Više ne po- sised. It is a synergy without which the current digital media stoje digitalni fotoaparati bez mogućnosti video zapisa u visokoj advertising would certainly be inconceivable. High-definition rezoluciji, pa je stoga izražavanje pokretnim slikama postalo video is currently an integral part of digital cameras and hence široko dostupno. Zbog toga je poznavanje osnova filmskog i expression through moving images has become broadly avai- video jezika vještina izražavanja njime vrlo važno. lable. Consequently, the insight into the basics of film and video expression and its mastery is crucial. Cilj kolegija Film i video je pružiti studentima teoretska, filmska i praktična znanja kako bi znali promišljati i kreativno se izražavati The specific objective of the course entitled Film and video is to video kamerom, kao i pravilno komunicirati s profesionalnim provide students with theoretical and practical knowledge, as režiserima i snimateljima u svom budućem oglašivačkom poslu well as knowledge on film in order to enable them to think and kao kreativni direktori. express themselves in a creative way using the video camera, as well as to communicate in an adequate manner with professional film directors and cameramen in their future advertising work as creative directors.

244 245 godišnjak studija dizajna 13. / 14. diplomski studij / film i video, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / film and video, 1st and 2nd semester

niko crnčević lana grahek mentor Stanko Herceg mentor Stanko Herceg

lajk like moja soba my room Kroz kratki autobiografski film, rad iz najintimnije This work, a short autobiographic film looks from Film ‘Moja soba’ predstavlja autoricu kroz stvari koje The film entitled ‘My Room’ presents the author perspektive zamislive u našoj generaciji, ekran the most intimate perspective imaginable to our se nalaze na zidovima njene sobe pomoću specifičnih through things placed on the walls of her room, mobilnog telefona, prikazuje pozadinu svake generation, the screen of the mobile phone showing osobnih priča vezanih uz svaki predmet. providing a specific personal story linked with fotografije, poslane poruke i pjesme u jednoj the background of every photo, text message each object. pijanoj noći dajući iskrenu sliku o zaleđu današnje and song in one drunken night giving an honest komunikacije. description of today’s communication.

246 247 godišnjak studija dizajna 13. / 14. diplomski studij / film i video, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / film and video, 1st and 2nd semester

martin peranović alma šavar mentor Stanko Herceg mentor Stanko Herceg

hochstapler Hochstapler autoportret Self-portrait U dokumentarnom autobiografskom filmu autor In this autobiographical film the author presents U ovom je kratkom filmu tema autoportreta The topic of self-portrait was addressed in this prikazuje svoj život kroz arhivske snimke kućnog his life using archival snapshots using a home video, tretirana kao proces skrivanja i otkrivanja subjekta, short film as a process of hiding and revealing of videa, od najranijeg djetinjstva pa do danas. Film je from the earliest childhood until the present moment. u doslovnom i figurativnom smislu. Svakodnevica the subject matter, both in the literal and in the montiran u različitim filmskim i video formatima: The film was edited in diverse film and video formats: privatnog prostora vizualno je stilizirana i time figurative sense. The day-to-day life in a private Super 8, VHS, Full HD, zbog čega dobiva na velikoj Super 8, VHS and Full HD which has significantly indirektno skrivena, dok autorska glazba, koja je space has been visually stylised and hence indirectly dokumentarnoj uvjerljivosti. contributed to its high documentary credibility. prethodila samom filmu, predstavlja najdublji uvid u hidden, while the soundtrack, which preceded the intimu i privatnost. film itself, represents the deepest insight into the intimacy and privacy.

248 249 godišnjak studija dizajna 13. / 14. diplomski studij / film i video, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / film and video, 1st and 2nd semester

ana somek slavica farkaš mentor Stanko Herceg mentor Stanko Herceg

život kroz uloge Life through roles Akira Yamaoka – Scarlet Akira Yamaoka – Scarlet Kako živjeti kad ne poznaješ sebe? U tim situacijama How to live when you don’t know yourself? In such Krenuvši od fascinacije ljudskom kožom i pokretom Against the backdrop of fascination with human skin često glumimo nama poznate likove, tražimo se, situations we often pretend, acting as familiar nagog tijela, odlučeno je ispričati priču o Scarlet and movements of naked human body, I decided oponašajudi neke druge. Takve situacije su česta characters, looking for our true self, emulating koja će vizualno popratiti složenu emotivnu to tell a story about Scarlet to visually accompany pojava kod glumaca. U filmu imamo priliku vidjeti others. Such situations are rather common among sliku predstavljenu u pjesmi Akira Yamaoka. a complex emotional image presented in a song crticu iz Filipovog života, koji, pripremajudi se actors. This film fives us the opportunity to see an Kroz eksperiment pokreta nošenih projiciranim by Akira Yamaoka. Through experimenting with za ADU, prolazi kroz život spašavajudi se u tuđim incident from Filip’s life, in which he, while preparing emocijama pod odgovarajudim studijskim movements based on projected emotions under a ulogama. for the Academy of Dramatic Art, gets through life osvjetljenjem cilj je bio dočarati atmosferu intimnog specific studio lighting, my specific objective was to by playing other people’s roles. unutarnjeg svijeta jedinke; njenu vlastitu borbu, rast depict the atmosphere of an intimate internal light i dostizanje oslobođenja. of an individual; her own struggle, growth and finally the accomplishment of her liberation.

250 251 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Interaktivni mediji Interactive Media

Kolegij Interaktivni mediji fokusiran je na teoriju i praksu gra- The new technologies are increasingly impacting on the methods fičkog dizajna unutar područja digitalnih interaktivnih medija. of expression and communication, we well as on the way we Utjecaj novih digitalnih tehnologija sve više mijenja način na are experiencing the world around us. Since we are increasingly koji se izražavamo, na koji komuniciramo te kako doživljavamo communicating via interactive digital media, the role of desi- svijet oko sebe. S obzirom da sve više komuniciramo putem gners in the development and design of this interactive content interaktivnih digitalnih medija, uloga dizajnera u promišljanju and presentations is of extreme and continuously increasing i oblikovanju interaktivnih sadržaja i prezentacija od izuzetne importance. The course is aiming to enhance understanding je i stalno rastuće važnosti. Kroz predavanja, vježbe i projekte and arouse interest in this continuously developing area among kolegij ima za cilj kod studenata razviti razumjevanje i interes students trough lectures, practical tasks and projects. The course za ovo područje koje je u stalnom razvoju. Na koji se način to primarily focuses on topics concerning the differences between područje dizajna razlikuje od tradicionalnih medija te kako u the area of design and the traditional media, as well as how to tom kontekstu pristupiti promišljanju i oblikovanju interaktivnih approach the development and design of interactive content sadržaja, teme su kojima će se kolegij baviti. in this context.

Tijekom oba semestra studenti prolaze kroz cijeli proces obliko- Students are provided an insight into user experience design vanja korisničkih iskustava. Kroz prvi semestar prolaze prve četiri during both semesters. During the first semester they undergo faze – strategija, sadržaj, struktura i tzv. kostur web stranice, dok the first four phases – the strategy, the content, the structure se u drugom semestru bave površinom, tj. vizualnim dizajnom. and the so called web site skeleton framework, while during Studenti su teme birali sami, a kroz oba semestra prolazili su the second semester the students deal with the surface i.e. neke od klasičnih metoda u ux dizajnu – informacijska arhi- visual design. The students selected the topics and during the tekura, dizajnersko istraživanje, persone, korisnički scenariji, two semesters they were introduced to several classical met- wireframeovi, prototipi, style guides, moodboards. hods of UX design – information architecture, design research, personas, user scenarios, wireframes, prototypes, style guides, mood boards, etc.

252 253 godišnjak studija dizajna 13. / 14. diplomski studij / interaktivni mediji, 1. i 2. semestar school of design annual review 13 / 14 graduate programme / Interactive Media, 1st and 2nd semester

anta bučević i alma šavar hrvoje dominko mentor Tin Kadoić mentor Tin Kadoić ilu – Online ilustratorska platforma Online platforma za ilustratore i sve ljubitelje ilustracije, uključuje profile umjetnika, galerije radova i webshop. Korisnicima je omogućen detaljan uvid u rad odabranih umjetnika, njihov radni prostor, proces i tehniku rada, kao i mogućnost kupovine njihovih radova / publikacija. Svrha projekta je promocija odabranih ilustratora i prodaja njihovih radova te dostupnost detaljnih informacija o njima i njihovom radu na jednom mjestu. Karakteristike platforme su laka preglednost, povezanost i dostupnost informacija te jednostavna kupovina. Primjer scenarija: Lana dolazi na stranicu pregledati radove ilustratora A na kojeg je naišla na tumblru i koji ju je zainteresirao. Čita intervju s njim i pregledava galeriju radova. Nakon što je pregledala njegove radove, prebacuje se na druge umjetnike te zaključuje da su joj i B i C dosta zanimljivi. Pretplaćuje se na newsletter, te stavlja jedan od A-ovih stripova na ‘wishlist’. Ilu – online platform for illustrators An online platform for illustrators and illustration enthusiasts. It includes artist profiles, artwork galleries and a web-shop. The users are provided a comprehensive insight into the work of selected artists, their work space, the process and the technique of work adopted, as well as the opportunity to purchase their work / publications. The objective of the project: promotion of selected illustrators and the sale of their work, as well as availability of comprehensive information on both hrvatske željeznice (hž) croatian railways (hž) the illustrators and their work. User requirements: Web stranica hž-a bila je u potpunom rasulu kada HŽ (Croatian Railways) website was disintegrating easy visibility, correlation and availability of govorimo o user exeperience-u i user interface-u concerning UX, UI and design. The users have been information, facilitated purchase. A possibility of te dizajnu. Korisnici su imali velikih problema sa facing immense problems while dealing with the creation of a user account (wish list, saving the snalaženjem na stranici te dobivanjem informacija website and obtaining the required information data concerning the purchase, the address, etc.).The koje su im potrebne u kratkom vremenu. Glavni within a specific time frame. The principal objectives scenario of use: Lana accesses the site in order to fokusi stranice su bili potpuno zanemareni što je of the website had been entirely neglected resulting have a look at the work by the illustrator A whom dovodilo do jako lošeg korisničkog iskustva sa hž in extremely unsatisfactory experiences upon she came across on Tumblr and who aroused her web stranicom. Redizajnom web stranice hž-a accessing the Hž website. Through a redesign of curiosity. She reads the interview with him and goes pokušalo se grupirati informacije u logične grupe Hž website I attempted to group information into through his gallery of work. Having got an insight te staviti u fokus ono što korisnici najviše traže logical sets and focus on the most popular website into his work, she studies other artists and reaches a na stranici, a to je pretraga rasporeda vlakova i content, such as train schedules and railway conclusion that B and C are the most interesting for sve informacije koje se vežu uz njihov put. Ostale timetable and information concerning the journeys. her. She subscribes to the newsletter and adds one informacije su zauzele sekundarno mjesto u dizajnu. The remaining information ranks second in the of A’s artworks to her wish list Nastojalo se ovim projektom poboljšati korisničko entire design.I do hope to have enhanced the user iskustvo na web stranici hž-a te olakšati putnicima experience at the Hž website and facilitated the use snalaženje na stranici i pomoći im da dođu do of the website and provided assistance to the users željenih informacija u kratkom vremenu. in obtaining the required information within a short time frame.

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Diplomski radovi Graduation Theses

Diplomski rad se temelji na cjelovitoj obradi utvrđenih tema, a A graduation thesis is based on comprehensive approach to sastoji se od dva dijela: istraživačko-teorijskog dijela i projek- specific topics and comprises of two sections – the theory se- tnog dijela. Tijekom 3. semestra diplomskog studija studenti ction and the project section. During the three semesters of the istražuju i analiziraju odabrane teme kako bi bili u mogućnosti postgraduate study students explore and analyse the selected stvoriti teorijski temelj za projektni dio, kojeg realiziraju tijekom topics in order to provide a theory section as the idea behind 4. semestra i brane ga pred ispitnim povjerenstvom imenovanim the project section which is consequently implemented during na Vijeću Studija dizajna. the fourth semester and presented before the exam commission appointed at the Council of the School of Design. Ovim radom student treba dokazati posjedovanje kompetencija i postizanje ishoda učenja pri rješavanju problema iz područja The thesis shows student competences and study results in koja su bila sadržaj njegova studija, te korištenje teorijskog i problem solving related to the field of interest, as well as imple- praktičnog znanja stečenog tijekom studija. mentation and use of both theoretical and practical knowledge acquired throughout the course of studies. U području industrijskog dizajna diplomski radovi u akademskoj godini 2013./2014. su uključivali područja poput dizajna The theses in the field of industrial design during the academic proizvoda i njihovih sustava, dizajna urbane opreme, razvo- year 2013/2014 included the topics such as product and pro- ja turističkih proizvoda/suvenira, stvaranja novih koncepata duction system design, urban equipment design, development prostornih zahvata u povijesnim gradskim jezgrama sa ciljem of tourism products/souvenirs, creation of new concepts of isticanja lokalnih vrijednosti i područje dizajna za izvanredne spatial intervention in historical town nuclei to enhance local situacije, dok je nekolicina diplomskih radova bila temeljena na monuments and design in extraordinary circumstances, whilst području dizajna interakcija i doživljaja. several graduation theses covered the topics of experience and interaction design. U području vizualnih komunikacija diplomski radovi u akademskoj godin 2013./2014. uključivali su širok raspon tema od The graduation theses in visual communications during the obrazovanja, kulture, medija, turizma pa sve do sporta. Zajed- academic year 2013 / 2014 covered a vast array of topics ran- nička karakteristika većine odabranih tema je izbor interaktivnih ging from education, culture, the media and tourism to sports. medija kao dominantnog oblika komuniciranja s odabranom The common feature of most selected topics was the choice ciljnom skupinom. Tek nekolicina diplomskih radova uključuje of interactive media as the principal form of communication klasične medije komunikacije. with the selected target group. Only several graduation theses covered the classical communication media.

256 257 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

luka jelaska mentor Mladen Orešić kometor / co-mentor Sanja Bencetić, Ivana Fabrio, Vedran Kasap mentor teorijskog istraživanja / theory research mentor Feđa Vukić Godišnja nagrada Studija dizajna / Annual Awards at the School of Design

inkluzivna monoskija karbonske lisnate opruge koja je višestruko lakša An inclusive monoski research during a one year period, which should Cilj ovog projekta je prije svega postavljanje od postojećih amortizera, čije se podešavanje vrši The specific objective of this project is setting the be met by designing a new monoski. One of the kriterija za razumijevanje osoba s invaliditetom, jednostavnim mehaničkim putem. Monoskija također criteria for understanding of the disabled, their major shortcomings of the currently available njihovih potreba, mogućnosti ili nemogućnosti i sadrži mehanizam za sedežnicu kao i za podešavanje requirements, possibilities and impossibilities, as solutions is their excessive weight due to the use of prava jednakosti. Unatoč činjenici da je proizvod visine i kuta sjedenja. Svi su mehanizmi zaklonjeni od well as equality rights as persons. Irrespective of the composite materials. Carbon leaf spring significantly namijenjen osobama s invaliditetom, točnije izloženosti snijega i prašine te su osmišljeni kako bi fact that the product itself is intended for and used contributed to the reduction of the weight of the osobama s paraplegijom i amputacijom, njegov je ih korisnik mogao koristiti bez pomoći druge osobe. by the disabled, by paraplegic persons and persons product in question, due to its being substantially potencijal mnogo širi, kao i industrije proizvoda Iako će produkt ovog projekta biti samo još jedan with a leg amputation, its potential is considerably more lightweight compared with the current shock za osobe s invaliditetom općenito. Proizvod koji ‘sportski rekvizit’, njegov je cilj pokrenuti inicijativu higher which applies also to the industry of products absorbers whose adjustment is performed in a je tema ovog projekta predviđen je za industriju promjena ka boljim životnim standardima, osoba s for the disabled in general. The product that is the straightforward mechanical way. The monoski also kojoj je cilj sustavno unaprjeđenje kvalitete života invaliditetom, a time i čitavog društva. subject matter of this this project is an example includes a mechanism for sitting, as well as for the osoba s invaliditetom. Razvoj monoskije pokrenut of an industry that is not so commercial despite adjustment of the angle and the height of the sitting je opažanjem nedostataka postojećih rješenja, te being highly important, where design can and position. All the mechanisms are protected from se nastavio kroz daljnja istraživanja proizvođača, should be emphasised, aiming to systematically exposure to snow or dust and were developed to krajnjih korisnika, ali i samih proizvoda. Prikupljenim enhance the quality of the persons with disabilities. enable independent use without the requirement podacima vrlo detaljnih analizama i istraživanjima The development of a monoski was initiated for any assistance. Although the product presented u periodu od jedne godine, postavljeni su kriteriji following the identification of the shortcomings by this project will only be another sports accessory, za dizajniranje nove monoskije. Jedan od većih of the currently available solutions and continued the project is striving to launch an initiative of nedostataka postojećih rješenja je prevelika masa. through further research on producers, end users, changes towards better standards of living, not only To je riješeno korištenjem kompozitnih materijala. U as well as products. Criteria were set, based on the for the disabled, but for the entire society. smanjenju mase doprinijela je inovativna primjena data collected from comprehensive analyses and

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ema gerovac mentor Zlatko Kapetanović kometor / co-mentor Sanja Bencetić, Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Socijalna inkluzija starijih osoba Social inclusion of the elderly – Socijalne i kulturološke odrednice – Social and cultural guidelines of the pojma starosti i starenja concept of old age and ageing Tematiziranje uloge starijih osoba u našemu društvu Thematising of the role of the elderly in our society nastalo je kao izravan odgovor na demografska is a direct result of demographic movements and kretanja i primjeren odnos društva prema the manner in which this age group is treated in our ovoj dobnoj sukupini. Način na koji se društvo society, which is highly degrading and dishonourable. odnosi prema njima uglavnom je degradirajući i The concept of old age and aging and the attitude nepoštivajući. Pojam starosti i starenja te njegovog towards it is based on the assumptions and viđenja temelji se na pretpostavkama i stereotipima stereotypes created through the media, the politics stečenim kroz medije, politiku i društvo. Kada bi se and the society. If the attitude towards old age promijenio odnos društva prema starosti i starenju and aging changed, the elderly would be provided onda bi i starije osobe imale bolju socijalnu okolinu a better social environment and an opportunity i mogućnost integracije i širenja svojih iskustava of integration and sharing of their experiences. i znanja. Nakon opširnoga istraživanja radom se Following an extensive research, the paper was pokušalo odgovoriti na zadanu temu u dva smjera. striving to provide two types of answers to the Prvi smjer je stvaranje proizvoda kojima je cilj assigned topic. The first type of answers followed angažirati mlađe generacije da promisle o svome the direction of creation of products aiming to odnosu prema starijim osobama i starosti. Tako encourage other generations to consider their su nastali pokrivač, jastuk i stolić. Drugi smjer je relationship towards both the elderly and ageing. stvaranje radionica na kojima se povezuju starije Consequently, a blanket, a pillow and a coffee table osobe i mladi dizajneri kako bi zajedno stvorili originated. The second type of answers implied nove proizvode, i tako dokazali da se međusobnom the workshops intended to connect the elderly suradnjom mogu prevladati stereotipi. and young designers in order to jointly create new products and hence tell their life stories, proving that mutual co-operation can transcend stereotypes.

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ana armano linta mentor Mladen Orešić kometor / co-mentor Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić stručni suradnik / expert associate Anka Jurčević-Lozančić

Fizičko okruženje u učionicama slova, rastavljanje riječi na slogove, učenje zbrajanja Physical environment in lower different shapes (on one side they have slots and the nižih razreda osnovnih škola i oduzimanja, geometrijskih likova i tijela), kao grade elementary school classrooms other side is intended for chalk writing), thick flexible Set za igru i učenje nastao je kao odgovor na medij za razvoj kreativnosti (razvoj kombinatorike, The Set for playing and learning, a physical sticks, thin sticks which retain their form and spheres. potrebe suvremene pedagogije i njene primjene u gradnja elementima seta, osmišljavanje igara i environment in the lower grades of primary school All the components of the set can be connected nižim razredima osnovne škole. Kroz istraživanje načina korištenja seta.) te kao poticaj za fizičku was created as a response to the requirements and used together for diverse learning objectives koje je obuhvaćalo područja pedagogije, razvojne aktivnost (razvoj motorike, strpljenja, timskog duha). of contemporary pedagogy and its application in (learning the letters of the alphabet, dividing words psihologije, školske medicine, povijesti školstva i Zahvaljujući jednostavnosti elemenata cijeloga lower grades of primary school. Guidelines for its into syllables, learning of adding and subtracting, utjecaja fizičke okoline na učenje, te promatranje seta i načina korištenja, testiranjem se pokazalo da design were created following a research which geometric shapes and three-dimensional figures), as same nastave nižih razreda u nekoliko osnovnih škola, mogućnosti seta rastu ovisno o kreativnosti njegovih encompassed the fields of pedagogy, developmental a method of creativity enhancement (development formirane su smjernice za dizajn. Cilj je bio potaknuti korisnika. psychology, scholastic medicine, history of of combination skills, construction using the i olakšati korištenje suvremenih pedagoških educational system and the impact of the physical components of the set, devising games and diverse metoda u nastavnoj praksi te je tako nastao ‘set environment on learning, as well as through methods of how to use of the set), as well as to za igru i učenje’. Set se sastoji od ploča različitih monitoring of teaching classes in lower grades encourage physical activity (development of motor oblika (s jedne strane imaju utore, a druga strana of primary school in several primary schools. The skills, patience and team spirit). It became evident je pogodna za pisanje kredama), debelih savitljivih specific objective was to encourage and facilitate that the potential of the set was increasing during štapova, tankih štapova koji zadržavaju oblik, i kugli. the use of contemporary pedagogical methods in its classroom use depending on the creativity of its Svi elementi se mogu međusobno spajati te ih se teaching practices and hence the Set for playing users and as a result of non-predetermination of the može koristiti u različite nastavne svrhe (učenje and learning was created. It consists of boards of components of the set and their method of use.

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petra jelaska mentor Mladen Orešić kometor / co-mentor Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić RITUALI GRADA RITUALS OF THE CITY OF ZAGREBA / POZDRAV IZ ZAGREBA ZAGREB / GREETINGS FROM ZAGREB – projekt revitalizacije baštine i – a project of revitalisation of heritage and rituala u svrhu kreiranja identiteta grada rituals striving to create a city identity Govoreći o baštini kao elementu identiteta grada, Speaking about heritage as a feature of a city govorimo o povijesti, o legitimnim i provjerenim identity, one speaks about history, the legitimate činjenicama / djelatnostima čija revitalizacija pruža and the verified facts / activities whose revitalisation bazu za građenje identiteta. Zato je najbolji primjer, provides the most well-founded foundation for baštinski element duboko ugrađen u povijest the creation of an identity. Consequently, the Zagreba – obrtništvo. Ono je ključni, danas zapušteni, best example for it is a heritage feature that dio zagrebačke kulturne i poduzetničke povijesti, te has been deeply integrated in the history of temelj povijesnog razvoja grada Zagreba. Pripadnost Zagreb – craftsmanship. It is a crucial, albeit zajednici, gradu, očituje se u jednostavnom osjećaju currently highly neglected, segment of the cultural pripadnosti no i u dijeljenju načina života grada, živeći and entrepreneurial history of Zagreb and a rituale grada, poštujući baštinu, prihvaćajući ritam i foundation of its historical development. The time djelujući kao konstutivni element grada. Upravo belonging to a community, to a city is manifested dizajn treba pokazati neopravdanost predrasuda through a simple feeling of belonging, as well društva naspram obrtništva. Treba pokazati da boljim as through sharing a way of life in a city, living i kreativnijim korištenjem vještina obrade materijala its rituals, respecting its heritage, accepting mogu nastati proizvodi visoke reprezentativnosti i its rhythm and hence acting as a constitutive konkrentosti. Osvještavanje potrebe za kreiranjem feature of a city. The designer needs to show vlastitih proizvoda, stvaranje konkurentnosti, the unfoundedness of prejudices of the society podizanje obrtništva na viši nivo, uspostavljanje towards craftsmanship. Moreover, they need to baze za gospodarski razvoj, sve je to samo jedan show that a higher quality and a more creative use zadatak dizajnera. Jedan zadatak koji iziskuje mnogo of skills of material processing can result in highly truda i rada, komuniciranja koje je u velikoj mjeri representative and concrete products. Raising the jednosmjerno, ali zadatak koji se može uspješno awareness of the requirement for the creation of izvršiti i pomoći društvu u realnom okruženju. own products, focusing on competitiveness, raising of craftsmanship to a higher level and setting the foundations for economic development, to name a few, are the issues that need to be addressed by designers. The addressing of these issues requires a great amount of effort, work and communication, which is to a great extent unilateral. Nevertheless, it is a task that can be accomplished successfully and that will provide substantial assistance to the society in real environment rather than only on a paper draft.

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ana sekulić mentor Mladen Orešić kometor / co-mentor Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić O KAO OBITELJ F FOR FAMILY Projekt ‘O kao obitelj’ nastao je kao osobna reakcija The project entitled ‘F for Family’ was the result of na kulturološko-socijalne promjene obiteljskog a personal reaction to cultural and social changes obroka. Kroz višegeneracijsko istraživanje unutar that have affected a family meal. Following a četiri obitelji sve naglašenija individualnost članova multi-generational research within four families, obitelji istaknula se kao ključna karakteristika the increasing individuality of their members was suvremenog obiteljskog obroka u odnosu na one highlighted as a crucial feature of the contemporary prethodnih generacija, no isto tako, kao vrlo bitna family meal compared with family meals in previous zadržala se i tradicionalna vrijednost zajedništva generations. Similarly, nevertheless, the traditional što je koncept postavilo u smjeru individualizacije value of family unity was preserved and hence the predmeta koji kompletirani čine jednu cjelinu, no bez concept was directed towards individualisation uvjetovanja zajedničkog korištenja. U dizajniranju of objects which, when completed, created a unit, seta fokus je sa šire slike prebačen na onu intimniju, albeit without requiring their joint use. During odnosno na bliske ljude koji sudjeluju u objedima, the design of the set the focus was shifted from što je u konačnici rezultiralo formom koja je do the broader concept to a more intimate one, to određene estetske mjere subjektivni doživljaj people who are close to us and who participate profiliranih pojedinaca. Iako funkcionalno doslovno in meals, which eventually resulted in a form that prati način na koji konzumiraju hranu, proizvod je is to a certain extent, from the aesthetic point of zamišljen kao neunificirani keramički set posuđa view, a subjective experience of profiled individuals, u kojemu su svi elementi, iako funkcioniraju i although it functionally literally follows the way samostalno, na neki način povezani. Set se sastoji in which they eat their food. The idea behind the od devet elemenata od kojih svaki predstavlja po product is a non-unified ceramic set of tableware jednog člana obitelji koji sudjeluje u objedima. in which all the features, irrespective of their Njihova povezanost, odnosno povezanost posuđa independence in functioning, are correlated in koje ih reprezentira, proizlazi iz formi koje ocrtavaju a specific way. The set comprises of nine items karaktere i načine korištenja, a koji se međusobno where each item represents a family member who nadopunjavaju, ostavljaju trag ili se pak razvijaju participates in meals – Mum, Dad, a brother, a jedni iz drugih, oponašajući tako unutarobiteljske Grandma, a boyfriend, a friend and the author međuodnose. Različitim kombinacijama slaganja herself. Their connectedness, or the connectedness posuđa dobivamo set naglašene skulpturalnosti koji of the tableware representing them, originates zahtjeva pozicioniranje na vidljivo mjesto poput stola, from the forms depicting their personalities and čime postaje svojevrsni spomenik tradicionalnom ways of use, mutually complementing one another, obiteljskom objedu. leaving some trace or developing one from another, emulating in this way the relationships within the family. Diverse combinations of tableware setting result in sets of emphasised sculpturality that require positioning onto a visible place such as a table, which makes it a specific monument to the traditional family meal.

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anamaria sever mentor Mladen Orešić kometor / co-mentor Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Humanizacija urbanih obogaćivanju javnih prostora, te bi se poboljšala i djece. Iz ilustrativnih prikaza su vidljivi neki od Humanisation of urban to experiment and express themselves creatively with motivators and interventions that encourage sredina prema djeci kvaliteta života djece u urbanim sredinama, ali i principa prema kojima se može pristupiti dizajniranju environments towards children would enrich public spaces and improve the quality diverse activities and social interactions, making the Teorijskim i terenskim istraživanjima je utvrđeno društva u cjelosti. To se može postići drugačijim i tretiranju prostora. Sve predložene intervencije Theoretical and field research has shown that of children’s lives in urban environments, positively environment more comfortable for both children da su u urbanim sredinama djeca najčešće pristupom planiranju urbanih sredina. Povezivanjem proizlaze iz specifičnosti i namjene mjesta, ne in urban environments children are commonly impacting on the entire society. This can be achieved and adults. Illustrated images show several principles potisnuta u svoje prostore, tj. u ograđena igrališta javnih prostora sa pješačkim zonama koje bi bile narušavaju ambijent, te sadrže poticaj na neku vrstu restricted to their own spaces, i.e. fenced through a different approach to urban planning. according to which design and space planning can be sa standardiziranim ‘zabetoniranim’ spravama umrežene, ali odvojene od trasa za individualni i igre i kreativno ponašanje. Prostori su oplemenjeni playgrounds with standardised cemented equipment Connecting public spaces with pedestrian zones that approached. All the proposed interventions originate koja se postavljaju diljem gradova bez obzira na javni prijevoz, smanjio bi se niz opasnosti i barijera intervencijama koje potiču na interakciju među that are placed throughout cities, irrespective of would be connected into a pedestrian network, yet from the specificity and the intended use of a specific kontekst i karakter mjesta. Ovakva kontrolirana kod kretanja pješaka. Ujedno zone kretanja pješaka djecom, roditeljima, građanima, pozivaju na druženja, the context and the character of the venue. Such separated from the routes for both private and public venue, without undermining the ambience and igrališta najčešće predviđaju određene radnje i poprimaju oblik otvorenih prostora (šetnica) kojima odmor i igru, te se doživljavaju različitim osjetilima. controlled playgrounds most commonly predict transport, would considerably decrease a vast array include encouragement to some type of game and oblike ponašanja, te sputavaju dječji urođeni nagon se povezuju različiti dijelovi gradova. Povezivanjem specific actions and ways of behaviour, restraining of hazards and barriers to pedestrian movement. creative behaviour. The spaces have been enhanced za nestrukturiranom igrom i istraživanjem okoline, parkova, trgova, stambenih naselja otvaraju se the children’s inborn urge for unstructured play Simultaneously, pedestrian zones are assuming with interventions which encourage interaction što je od temeljne važnosti za njihov zdravi fizički zanimljivi prostori i situacije koje je poželjno and exploration of the environment which is of the form of open spaces (walkways) connecting among children, parents and citizens, inviting to i psihički razvoj. Omogućavanjem nesmetanog oplemeniti motivatorima i intervencijama koje fundamental importance for their healthy physical different parts of the city. Connecting parks, squares socialise, play and relax and can be felt through kretanja, istraživanja okoline, eksperimentiranja potiču na različite aktivnosti i socijalne interakcije, and psychological development. Enabling them and residential settlements results in interesting different senses. i kreativnog izražavanja djece doprinijelo bi se te čine prostor ugodnijim za boravak odraslih to move unhindered, to explore the environment, spaces and situations which should be enriched

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ozana ursić mentor Zlatko Kapetanović kometor / co-mentor Ivana Fabrio mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Debuleca Ploča tanjura izrađena je od drva hrasta crnike koji je Debuleca (Weakness) surface has an engraved round slanted slot that Tema projekta je ispreplitanje elemenata selačke poznat kao česmina, a raste na cijelom otoku. U setu The subject matter of this project is intertwining pours out the surplus oil into the plate. The slab kulture uključujući lokalne materijale, obrtničke je i kameni mužar s tučkom izrađenim u kombinaciji of the features of rural culture, including local of the plate was made from evergreen oak wood vještine, dijalekt, običaje i karakter lokalnog drva i kamena te posude za začine i svijećnjak. materials, craftsmanship skills, the dialect, the that can be found throughout the island. The set stanovništva. Razvoj koncepta usmjeren je na Posuda za začine (u ovom slučaju papar) se koristi customs and the character of the local population. includes a stone mortar with a pestle made from a korištenje dizajna kao alata za interpretaciju tako da osoba prstima uzima potrebnu količinu i Concept development focuses on use of design combination of wood and stone, a spice jar and a autohtone kulture, a u svrhu kreiranja na taj način ostvaruje izravan kontakt s mirisom i as a tool for interpretation of local culture aiming candleholder. The spice jar (in this case for pepper) prepoznatljivosti te ukazivanje na mjesto i ljude teksturom začina. Svijećnjak je ambijentalni dodatak to contribute to recognisability and indicating is used by a person taking the required amount with kao protagoniste vlastitog identiteta. Debuleca se koji simboličnim uzorkom stvara sjenu i prenosi the venue and the people as protagonists of their their fingers and hence making a direct contact with sastoji od šest elemenata nadahnutih tradicionalnim atmosferu komina. U drvene elemente Debulece own identities. Debuleca (weakness) comprises the smell and the texture of a specific spice. The sudima (posuđe). Korišteni materijali reflektiraju ugravirani su dijelovi batuda odnosno lokalnih of six features inspired with traditional dishware. candleholder is an ambiance accessory that, with mikrookolinu Selčana, ali i njihova svojstva koja uzrečica koje se i dalje prenose usmenom predajom. The materials used reflect a micro-environment its symbolic decorations creates shade and conveys se ne primjenjuju uobičajeno. Brački kamen nije Vrijednost batuda nije samo u njihovoj duhovitosti of Selca, as well as their features that are not the ambience of a fireplace. The wooden features čest materijal za proizvodnju sudi, no zbog svojih već i u skrivenim poukama koje se mogu prenositi u commonly used. Brač stone is not a commonly of Debuleca include engravings of fragments of toplinskih svojstava je jako zahvalan za primjenu različite kontekste i životne situacije. used material for the production of dishware, yet local proverbs that are still continuously being u ovom kontekstu. Tronožac je izgrađen od drva s due to its thermal features, it is highly appropriate transmitted by word-of-mouth. The value of local metalnim rubnicama i postolje je ugrijanoj kamenoj to use it in this context. A three-legged vessel has proverbs lies not only in their wittiness, but also ploči koja na taj način održava temperaturu hrane been made from wood with metal margins and in hidden messages that can be used in diverse tijekom blagovanja. U ploči je urezan kružni utor the pedestal is a heated stone surface that keeps contexts in real life situations. s prirodnim padom koji odlijeva višak ulja u tanjur. the food temperature during the meal. The stone

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andrija mudnić mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić Godišnja nagrada Studija dizajna / Annual Awards at the School of Design Tonpoton Tonpoton Cilj ovog projekta bio je istražiti povezanost The specific objective of this project was to analyse vizualnog i auditivnog doživljaja / razmišljanja te ih the connection between visual and auditory kroz igru objediniti u svrhu kvalitetnijeg, potpunijeg experiences / musings and combine them together i djeci zabavnijeg glazbenog odgoja, ne samo u through games to provide children with a higher svrhu stvaranja glazbenika, već u svrhu stvaranja quality, comprehensive and entertaining basic produhovljenog, inteligentnog i senzibilnog bića. musical education, aiming not only to provide new Rezultat diplomskog rada je videoigra namijenjena musicians, but also to contribute to the formation of djeci od 7 do 10 godina koja funkcionira kao program sophisticated, intelligent and sensitive persons. The za komponiranje, postepeno uvodeći korisnika u result of the Graduation thesis is the video game svijet glazbe gdje se susreće sa osnovnim glazbenim intended for the children aged between 7 and 10 pojmovima i savladava glazbeni jezik kroz zabavnu years which works as a programme for composing, i dinamičnu igru. Glavni dio igre sastoji se od gradually introducing the user into the world of ‘otvorenog prostora’ u kojem korisnik slaže svoju music where they encounter the basic musical kompoziciju. Sve varijable notnog zapisa (visina terms and acquire the musical terminology, hence tona, tempo, dinamika, ritam, vrsta instrumenta i becoming familiar with the musical terms through sl.) integrirane su tematski u svijet dalekih galaksija a dynamic and an entertaining game. The principal i svemirskih bića, a jednostavno sučelje omogućuje part of the game comprises of ‘an open space’ in korisniku da vrlo intuitivno stvara jednostavne which the user creates their composition; all the melodije tj. glazbene dionice. Kako se glazba u igri variables of musical note records (the pitch of producira na temelju ‘loop’ sustava (zatvoreni krug the tone, the pace, dynamics, rhythm, the type of u kojem dionica svira beskonačno, odnosno dok se instrument, etc.) have been thematically integrated ne ugasi), korisnik može mijenjati razne varijable into a world of faraway galaxies and space creatures, te na taj način jasno čuti razlike između pojedinih while the simple interface enables the user to highly tonova (brzina i sl.). Izgled igre, odnosno boje i intuitively compose simple melodies or music parts. ritam tj. brzina njihovog izmjenjivanja u pozadini, Since during the game we are talking about loop- varira ovisno o glazbenim varijablama, stvarajući based music production (a closed circuit in which tako atmosferu prikladnu glazbenom tonalitetu i a piece of music is played continuously, or until it brzini kojom se djelo izvodi. Aplikacija sadrži opciju has been turned off), the user has the opportunity usnimavanja odnosno učitavanja spremljenih ‘mapa’, to change diverse variables and in this way the kako vlastitih tako i od drugih korisnika putem differences between specific tones / speeds and online baze podataka. Time se gradi neka vrsta similar can be clearly discerned. The appearance of društvene mreže korisnika koji mogu razmjenjivati the game, or the colours and the rhythm, i.e. the vlastite kreacije učeći na taj način jedan od drugih. speed of their interchange in the background varies Umreženost omogućuje i komunikaciju proizvođača depending on music variables, which consequently s korisnicima, pa je tako zamišljen i tjedni / mjesečni creates an atmosphere adequate for the music izazov gdje se korisnici natječu za nagrade u tonality and the speed at which the piece of music skladanju određenih ili slobodnih tema. is performed. The application includes the option of recording or the loading of saved files, both own files and other users’ files through an online database. Subsequently, a specific social network of users is created who can exchange their own creations, simultaneously learning one from another. The networking ensures communication between producers and users and hence a weekly / monthly challenge has been devised where users compete for prizes for composing specific or free topics.

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tessa bachrach krištofić mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić

o / p onlineprint (poput fanzinske scene 80-ih i 90-ih godina). Tema o / p onlineprint itself, establish networking and create connections o / p odnosno onlineprint je ime projekta kojim se i sadržaj časopisa nisu zadani, oni isključivo ovise o / p or onlineprint is the name of the project which (such as the fanzine scene in the 1980’s and 1990’s). objašnjava proces nastanka časopisa. o / p je ujedno o sudionicima projekta. Želja je da se svi prijavljeni explains the process of creation of a magazine. The topic and the content of the magazine have i web sučelje i časopis. Projekt svoj ‘život’ započinje radovi ujedno i objave te da sudionici ujedno o / p is both a web interface and a magazine. not been specified and they exclusively depend on u online obliku putem weba, a zatim je finaliziran postanu i sukreatori. Časopis nije niti dnevni niti The project begins in online form on the Internet project participants. I was striving to publish all the u obliku tiskanog časopisa.Web omogućava tjedni niti mjesečni, već funkcionira po principu and is subsequently finalised through a print submitted work and to transform the participants umrežavanje pojedinaca, grupe autora, udruga... svi popunjavanja svih stranica dovoljnim za objavu. magazine. The web enables networking between into co-creators of the magazine. The magazine is oni su pozvani da pristupe o / p-u kako bi prikupili Zbog nepredvidljivosti sadržaja dizajn, prijelom i znak individuals, groups of authors and associations, neither a weekly nor a monthly as the entire project i objavili nove kreativne ideje, informacije, radove su podložni stalnim promjenama. Znak je ujedno to name a few. They have all been invited to join is implemented according to the principle of filling (tekstovi, ilustracije, fotografije) koji će u konačnici i glavni nositelj vizuala projekta, on je osnovni o / p to collect and publish new creative ideas, a specific number of pages in order to be published. biti izdavani kao low-budget zanimljiva štampa. vizual na web sučelju i u časopisu. Za prototip i 1. information, works (texts, illustrations, photographs) Due to its unpredictable content, the layout and the Projekt potiče razvijanje kulture tiskanih medija te se broj časopisa sudionici su bili: blog On Other Skin which will eventually be published as a low-budget logo are subject to continuous changes. The logo bavi promicanjem kulture mladih Grada Zagreba. Rad (7-člana skupina koja se bavi različitim pogledima interesting magazine. The project encourages the is simultaneously also the principal holder of the na novinama je volenterskog tipa: svaki suradnik/ na modu), Galerija Inkubator (platforma i galerijski development of print media culture and promotes project visual, it is the main visual both on the web ca dostavlja/predlaže svoj prilog, unosi ga na web, prostor namjenjen mladim umjetnicima) i Radiona the youth culture in the City of Zagreb. The work on interface and in the magazine. The participants for the a zatim dizajner oblikuje dane materijale. Printane (Udruga za razvoj ‘uradi sam’ kulture). the magazine is voluntary: each colleague submits prototype and the first issue of the magazine were: novine se distribuiraju po klubovima, kulturnim or sends their contribution, uploads it on the web the blog entitled ‘On Other Skin’ (a group comprising ustanovama, kafićima, dućanima, turističkim and then the designer works on the materials. The of 7 members involved in providing diverse attitudes uredima i besplatnog su karaktera. Cilj je bio stvoriti print magazine is freely distributed in clubs, cultural to fashion), Incubator Gallery (a gallery intended for online novinsku platformu unutar zajednice koja bi institutions, coffee shops, stores and tourist offices. young artists) and Radiona (An Association for the sama sebe razvijala, promišljala, umrežila i povezala I was aiming to create an online magazine platform enhancement of diy culture). within the community which would develop by

274 275 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

dora bilandžić mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Stvaranje sustava koji jača Creation of a system to strengthen the odnose lokalne lgbtiq zajednice relationships in the local lgbtiq community Diplomski rad naziva ‘Stvaranje sustava koji jača The graduation thesis was produced by the Rub odnose lokalne lgbtiq zajednice’ producirao je magazine – a preliminary project of the first časopis pod imenom Rub – idejni projekt prvog Croatian lgbtiq magazine. Several co-operators hrvatskog lgbtiq časopisa. Tokom osmišljavanja were brought together during the creation of the koncepta i istraživanja provedenog u sklopu prvog concept and the research conducted during the first dijela razrade diplomskog rada okupilo se nekoliko part of the elaboration of the graduation thesis suradnika koji su omogućili izradu projekta, u aiming to provide assistance during the completion glavnom uredništvu: Dina Jokanović, Ana Marković i of the work. The editorial board comprised of Dina Lucija Sever. U stvaranju sadržaja sudjelovali su Marin Jokanović, Ana Marković and Lucija Sever, while Berović, Dina Jokanović, Mario Kikaš, Ines Kotarac, Marin Berović, Dina Jokanović, Mario Kikaš, Ines Ana Marković, Nika Pećarina, Barbara Radelja i Angel Kotarac, Ana Marković, Nika Pećarina, Barbara A. Transformation.Časopis ima zadatak otvarati Radelja and Angel A. Transformation participated in kontroverzne teme, demistificirati svakodnevni život the creation of content. The magazine is striving to lgbtiq osoba, analizirati kulturne fenomene koji imaju tackle controversial topics, demystify everyday life utjecaja u zajednici te obrađivati važne događaje kroz of lgbtiq persons, analyse cultural phenomena which lgbtiq perspektivu. Čitalačka publika, definirana significantly impact on the community and address istraživanjima diplomskog rada, prvenstveno su important events from lgbtiq stance. The readers, intelektualni krugovi zagrebačke lgbtiq zajednice, defined through the research conducted for the s namjerom širenja na intelektualne krugove graduation thesis, are primarily intellectual circles zagrebačkih heteroseksualaca, dvije grupe ljudi koje of the Zagreb-based lgbtiq community aiming to su ionako neodvojivo povezane, kako su rezultati expand to intellectual circles of the Zagreb-based istraživanja pokazali. Časopis je podjeljen u četiri heterosexuals, two groups of people who are tematske cjeline: Život, Kultura, Politika i Teorija. inextricably linked irrespective of their differences, as was proved by the research. The magazine has been divided into four thematic units: Life, Culture, Politics and Theory.

276 277 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

marko cvijetić mentor Stipe Brčić suradnica / associate Karla Paliska mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Uloga online baza znanja dostupno samo ovlaštenim osobama radi očuvanja The Role of Online Knowledge Bases content. Administration and adding the texts to the u procesu edukacije studenata autentičnosti i relevantnosti same baze. Naglasak in the Educational Process of Students basis would be performed through academic channels Koncept ovog rada temelji se na istraživanju u ovom projektu upravo je na uspostavi logičnog The concept of this work is based on research of and would be available exclusively to authorised teorijskog aspekta sakupljanja i arhiviranja i intuitivnog sučelja koje pomaže korisniku da što theoretical aspect of collection and archiving of persons in order to preserve the authenticity and the studentskih teorijskih radova kao elementa lakše dođe do željenog rezultata i intuitivnom students’ theoretical work as features of independent relevance of the basis. This project focused primarily samostalne edukacije. Iako su zasebne baze fakulteta navigacijom prolazi kroz različite razine sadržaja. education. Irrespective of the fact that separate on the establishment of a logical and intuitive interface već poznata stvar, kroz istraživanje se došlo do Temeljni koncept razvijao se u dva paralelna smjera, knowledge bases at different faculties are currently which assists the user in rapid achievement of the saznanja da ono što stvara najveću prepreku između što je na kraju i rezultiralo jednim rješenjem ali a well-known fact, following a research conducted desired results and in passing through diverse content studenata i kontinuiranog korištenja baze je loše s dvije potpuno različite vrste prikaza: klasičnim I became aware of the fact that poor and utterly levels through intuitive navigation. The basic concept i potpuno nezadovoljavajuće korisničko iskustvo. tekstualnim prikazom i eksperimentalnim vizualnim unsatisfactory user experience accounts for the major developed into parallel directions which eventually Upravo rješavanjem slabih točaka dosadašnjih baza prikazom sadržaja unutar baze. I jedan i drugi smjer obstacles between students and the continuous use resulted in a unique solution with two completely i rješavanjem nelogičnog strukturiranja informacija imaju uporište u analizi ponašanja korisnika i načina of the knowledge base. Consequently, by addressing different types of presentation: a classical textual cilj je bio dizajnirati sučelje koje će svojim vizualnim na koji dolaze do željene informacije. the weak points of the previous knowledge bases and presentation and experimental visual presentation i funkcionalnim elementima potaknuti korisnika na tackling the illogical structuring of information, of the content within the basis. Both directions are korištenje baze i učestalo konzumiranje sadržaja. I was striving to create an interface which, using its based on the analysis of user behaviour and the Administriranje i dodavanje tekstova u bazu visual and functional features, will encourage the methods they use to gain the required information. odvijalo bi se putem akademskih kanala i bilo bi user to use the knowledge base and frequently use its

278 279 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

marko hrastovec mentor Nikola Đurek mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Sustav pisama kao okosnica identitetskog A system of fonts as the principal idea behind sustava grada Varaždina the identity system of the city of Varaždin Identitet grada moguće je temeljiti na sustavu The identity of the city can be based on the system tipografskih pisama projektiranim specijalno of fonts designed primarily to meet its requirements, za njegove potrebe, kao i potrebe njegovih as well as the requirements of its citizens and stanovnika i dionika. Konačni rezultat ovog stakeholders. The final outcome of the project projekta ne nudi gotov identitet niti je to does not provide a completed identity and the želja autora. Naprotiv, suvremene tendencije artist did not even intend to do it. On the contrary, u praksi pokazuju da modularno građenje contemporary tendencies in practice show that identitetskog sustava grada može biti daleko modular creation of an identity system of a city efikasnije. Često se u takvim slučajevima can be far more effective. ‘New’ features of identity pojavljuju ‘novi’ elementi identiteta: frequently appear in such cases: communication komunikacija i participacija. Upravo je and participation. Font is a design form which is, by tipografsko pismo (font) oblikovna forma koja its nature, used for further design and operates as a po svojoj prirodi služi za daljnje oblikovanje tool which could be used by all those interested in i kao takvo predstavlja alat kojim bi se mogli participating in the creation of identity of the city koristiti svi oni zainteresirani za sudjelovanje of Varaždin. There have been two approaches to u građenju identiteta grada Varaždina. the design of the font: a utilitarian approach and Projektiranju pisma pristupljeno je iz 2 aesthetic approach. The utilitarian approach implies smjera: utilitarnog i estetskog. Pod utilitarnim respect of all technical parameters stipulated by podrazumijevamo poštivanje svih tehničkih the use and the place of use of the font, while the parametara koje uvjetuje primjena i mjesto inclusion of the aesthetic feature, concerning its korištenja pisma, dok je u isto vrijeme vrlo appearance and its visual inspiration is imperative. važno uključiti estetsku komponentu – kako The specific objective was to create a system of će izgledati i koja je vizualna inspiracija. fonts to be used in the design of individual identities, Zadatak je bio oblikovati sustav pisama as well as the official identity of the city, all of which za upotrebu u oblikovanju pojedinačnih jointly contribute to the creation of a common identiteta, ali i službenog identiteta grada identity system of the City of Varaždin. The fonts are koji zajedno sudjeluju u izgradnji zajedničkog intended for use on various sizes, from continuous identitetskog sustava grada Varaždina. text to large inscriptions, and are functionally Pisma namijenjena za upotrebu na različitim adapted to the Croatian language, yet aesthetically veličinama, od kontinuiranog teksta do velikih linked with historical periods of the city and its natpisa, funkcionalno prilagođena hrvatskom architecture. The result of the project was the jeziku, a estetski vezana uz povijesna system of fonts – Garestin – designed to enable the razdoblja grada i njegovu arhitekturu. use of each font from the smallest to the largest Rezultat projekta je sustav pisama ‘Garestin’ sizes in a vast array of environments. Each style oblikovan s namjerom da je svako od pisama has its minimum recommended size, yet there are moguće koristiti od najmanjih do najvećih no upper limits on use. Hence, three related fonts veličina u svim okruženjima. Svaki od stilova were created with corresponding italics, each font ima svoju minimalnu preporučenu veličinu, has specific features which are emphasised upon ali nema gornje granice za korištenje. Na enlargement. Font names originate from clothing taj način dobivena su 3 povezana pisma sa sizes (S, M, L), simultaneously indicating the size of pripadajućim kurzivima, svako od njih sa the font in question. specifičnim karakteristikama koje do izražaja dolaze kada ih se povećava. Nazivi stilova proizlaze iz naziva konfekcijkih veličina (S, M, L), što ujedno upućuje i na veličinu pisma u upotrebi.

280 281 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

vinka draganja mentor Nenad Dogan asistent / assistant Romana Kajp mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Sustav prikazivanja željezničkog putničkog prijevoza stanicu. Bojama preuzetim s glavne karte naznačene su linije koje se spajaju na A system of display of passenger rail transport has been applied in the train timetable. It includes all the intermediate stations. U ovom radu pokušalo se uspostaviti sistem prikazivanja željezničkih linija matičnu liniju. Glavne stanice i njihova vremena prikazana su debljim rezom, dok I have attempted to establish a system of presentation of railway lines and train Moreover, below them there are all the train arrivals to the station on a specific i vremenskih rasporeda Hž domaćeg putničkog prijevoza. Započelo je su stanice kroz koje vlak samo prolazi bez zaustavljanja prikazane strelicama, timetables of Croatian Railways to enhance domestic passenger transport. I day. The lines joining the central line have been marked trough colour coding istraživanjem teme, postojećih karti i rasporeda, te primjera iz inozemstva, kao umjesto satom. Tablice s vremenima prolaska i dolaska određenog vlaka željelo commenced by exploring the topic through analysis of the existing maps and taken from the principal map. The main stations and their timetables have i sličnih primjera informacijskog dizajna. Zaključak proizašao iz istraživanja je se svesti na što manji printani format koji bi bio praktičan za putnike. Ostao timetables, as well as examples from abroad and information design examples. I been shown in bold style, while the stations which the trains are only passing da se u postojećim ograničenjima najbolje usklade grafički elementi prikaza je problem prevelike količine elemenata na malom prostoru. Logično rješenje reached a conclusion that the best thing I was able to do against the backdrop through without stopping have been marked with arrows rather than a clock. I vremena. Za raspored vožnji odabrane su tablice kao najuvrježeniji model prikaza problema bila je aplikacija koja omogućuje višeslojno i istovremeno praćenje of the current constraints was to visually harmonise graphic features of display strived to reduce the tables to a tiny print format which is to be distributed to složene strukture. Rezultat je velika karta s prikazanim svim željezničkim linijama relevantnih informacija. of the time and place throughout the materials. I opted for tables as the most the passengers on a single paper format. The creation of a mobile application u Hrvatskoj na jednom mjestu a predviđeno je da se nalazi na svim željezničkim intuitive (or at least the most common) model of display of timetable. The result appeared as a logical solution, striving to reduce the number of features stanicama. Svaka linija na karti označena je različitom bojom i brojem linije. Taj is a large map comprising of all the lines in Croatia shown in one place and it presented on a tiny format. The application enables the passengers to follow the se pristup razrađuje u rasporedu vožnji pomoću tablica. U njima su naznačene is intended for use throughout railway stations.Each line on the map has been relevant information simultaneously and through multiple layers. sve međustanice, ispod njih popisana su vremena u danu u kojima vlak ulazi u marked with a specific colour, as well as with the line number. This approach

282 283 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

andrea franić mentor Nenad Dogan asistent / assistant Romana Kajp mentor teorijskog istraživanja / theory research mentor Feđa Vukić

povezivanje maslinarstva i kao svojevrsna baza svih motiva i asocijacija koji se connecting olive-growing and platform. Moreover, the system is being upgraded kulturnog turizma kroz prizmu vežu za destinaciju. Identitet se komunicira kroz dva cultural tourism through the prism by those who had participated in the programme. uljarske zadruge – Oleokult logotipa od kojih je jedan stalan, a drugi se mijenja of oil producers’ co-operative – Oleokult Consequently, such a system is used as a specific Cilj projekta je oživljavanje uljarske zadruge, u nekim svojim sastavnicama, ovisno o potrebi. Bez This project is striving to revive oil producers’ pool of all the motives and associations linked povezivanje turista s lokalnom zajednicom te obzira na relativno veliku slobodu u manipulaciji co-operative, connect tourists and the local with the destination. The identity is communicated stvoranje dodatnog društvenog sadržaja u općini identitetskim elementima, postoje pravila kojih community and create additional social content through two logos, one of which is permanent, Gradac. Ideja Oleokulta kao projekta je povezivanje se treba držati kako bi identitet ostao dosljedan u in Gradac municipality. The idea of Oleokult as a while the other changes in some of its features, različitih ljudi s različitim životnim pozadinama primjeni. Svaki turist dobiva svoju bocu maslinovog project is to connect different people with diverse depending on the requirements. Irrespectively of na jednom mjestu te njihovo upoznavanje s ulja s etiketom koju sam oblikuje. Ovaj dio projekta backgrounds in one place and introduce them to relatively considerable freedom in manipulation lokalnom kulturom. Identitetski sustav temelji se važan je jer potvrđuje osnovnu premisu fleksibilnosti the local culture. The system of identity is based with identity features, there are rules which need na fleksibilnosti: ima krovni vizual, a unutar sebe taj identitetskog sustava – svi sudionici se mogu on flexibility: it has an umbrella visual, yet it is to be complied with in order to provide identity vizual se može mijenjati i kombinirati na različite, identificirati s nekim dijelom identiteta i imaju se subject to internal changes and can be combined in consistency. Every tourist is given a bottle of olive oil ali sustavno definirane načine. Time se komunicira mogućnost izraziti kroz taj identitet koji je generalno different, yet systematically defined methods. Hence with a label designed by themselves. This segment of raznolikost i slojevitost lokalne kulture i običaja, ali isti, ali u detaljima ima mnogo različitosti. the idea of diversity and stratification of the local the project is of particular importance as it confirms i njihov razvoj pod utjecajem vanjskih faktora,što culture and customs is communicated, as well as the fundamental premise of identity system – all ih donosi turizam. Projekt je zamišljen tako da their development under the influence of external the participants can identify with some aspect of se sustav s vremenom nadograđuje dodatnim factors, in this case of tourism, while simultaneously the identity and have an opportunity to express ilustracijama i tekstovima čime je omogućen njegov retaining the integrity of identity. The idea behind themselves through this identity which is generally razvoj koji nikada ne prestaje, osobito kroz web the project is to gradually enhance the system unchanged, with the exception of its details which platformu. Sustav nadopunjuju upravo oni koji su with additional illustrations and texts and hence its show significant variations. sudjelovali u programu. Takav sustav onda služi development is continuous, primarily through a web

284 285 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

dina milovčić mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Info zone – a portal intended for It is visually the most prominent on the portal. concerning the text and the visual features, aiming informing the youth in the City of Split Furthermore, the portal has been enhanced by to arouse attention of a young person. In this case The project has been divided into two parts. a new content filtering function using the signs the slogan works as a provocation which is intended Firstly, the re-design of the Info zone portal (the called tags. The idea behind Asti sto! Is to provide to capture the attention of young people and hence portal primarily used by young people to access a “physical” extension to the portal. It works as a make them read the text which follows. The visuals information), as well as the creation of a new signatory of all the printed materials intended to change upon each new post of the information and visual identity. Secondly, the physical extension of improve the information services for young people are thematically designed accordingly. There are no the portal – Asti sto! The principal objective of the in Split. The intention was to present the existing defined rules concerning the form or the content re-design of the portal was a new categorisation content to young people in a more appealing way of the printed material. Each new post is both and the simplification of the content. Moreover, and in the venues visited by them through printed thematically and visually adapted to the content a new category has been introduced: asti sto!, media (posters, flyers). The printed materials use which is being addressed. The objective of the project a replacement of the previous sub-category diverse proverbs, comprising of specific Dalmatian is to present the content and the information to the prilika, which addresses all the content of primary words, as well as those in the broader region, as young people in Split in an appealing way and hence interest for young people, such as scholarships slogans of a continuous portal campaign. The idea make the content provided to them more ‘noticeable’. and employment opportunities, to name a few. was to reduce the proverbs ad absurdum, both

Info zona – portal namjenjen približiti mladima u prostorima u kojima se oni informiranju mladih grada splita kreću medijem tiska (plakat, letak). Kod tiskanih Projekt je podijeljen na dva dijela. Prvi, redizajn materijala koriste se razne uzrečice, bilo da se radi o portala Info zona (portala koji mladi najviše koriste lokalnim ili šire, kao slogani kontinuirane kampanje za informiranje), ujedno i kreiranje novog vizualnog portala. Odluka je uzrečice dovesti do apsurda, identiteta te drugi, fizička ekstenzija portala ‘Asti kako tekstualno tako i vizualno, a sve s ciljem sto!’ Glavni cilj redizajniranja portala bio je nova okupiranja pažnje mlade osobe. U ovom slučaju kategorizacija i pojednostavljenje sadržaja. Uvedena slogan funkcionira kao provokacija kojom se mlade je i nova kategorija ‘Asti sto!’ kao zamjena za zainteresira da pročitaju tekst u nastavku.Vizuali se nekadašnju potkategoriju prilika, a odnosi se na sav mijenjaju svakom novom objavom informacije te sadržaj bitan mladima poput stipendija, poslovnih oblikuju tematski sukladno njoj.Nema definiranog prilika i slično. Ista je vizualno najistaknutija na pravila o formatu ili sadržaju tiskovine. Svaka nova portalu. Uz to je portalu pridodana nova funkcija objava prilagođava se tematski i oblikovno sadržaju filtriranja sadržaja uz pomoć oznaka, takozvanih koji obrađuje. Cilj projekta jest mladima grada tagova. ‘Asti sto!’ ujedno je zamišljena i kao ‘fizička’ Splita približiti sadržaj i informacije koje se nalaze ekstenzija portala. Funkcionira kao potpisnik svih u njihovoj okolini, dakle učiniti sadržaj koji im grad tiskanih materijala koji služe boljem informiranju nudi ‘vidljivim’. mladih u Splitu. Ideja je postojeći sadržaj portala

286 287 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

jurica koletić mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Ivanić grad Ivanić Grad – interaktivni identitet – interactive identity Kao što i sama hipoteza kaže, grad bez Identiteta According to a hypothesis, a city without an ne može biti prepoznat u očima turista odnosno identity cannot be recognised by the tourists or potencijalnih posjetioca, jer prepoznatljivost polazi any potential visitors, as recognisability begins od identiteta kojeg gradi zajednica, a zajednica grada with identity created by the community and the je izgubila vlastiti identitet. Jasno definiran identitet city community has lost its own identity. A clearly grada, prepoznat i usvojen od njegovih stanovnika, defined city identity, recognised and accepted čini ga atraktivnijim turistima. Zajednicu čine by its inhabitants, makes it significantly more stanovnici grada, stalni te potencijalni posjetioci, te attractive for tourists. The community comprises of se sama zajednica sukladno tim parametrima mijenja city population, permanent visitors and potential fizički, ali i interesno i sociološki. Upravo ta činjenica tourists, and hence the community itself, in postaje temelj za daljnju razradu ovog rješenja accordance with the stated parameters, changes vizualnog identiteta grada Ivanić Grada. Bit novog physically, as well as sociologically and concerning rješenja je kako prenijeti fluidnost interesa i kretanja interests. Consequently, this is the idea behind zajednice što nam omogućuje današnja napredna further development of the new solution of visual tehnologija i online sustavi koji su sveprisutni kod identity of the city Ivanić Grad. The essence of the gotovo svakog člana ciljne skupine. Ovim rješenjem new solution is how to transfer fluidity of interests identitet dižemo na jednu novu i ‘prirodniju’ razinu and changes within the community which has been jer se otvara mogućnost ulaznih parametara koji su enabled by modern advanced technologies and stvarni, dok su u ‘klasičnim’ dinamičnim identitetima online systems which are present at nearly every predefinirani te su softverski ograničeni. Uporabom member of the target group. Subsequently, the moderne tehnologije i prenošenjem aktivnosti dynamic identity is upgraded to a new and a more ljudstva sa socijalnih mreža i web-a, dolazimo ‘natural’ level, which created opportunities of realistic do mogućnosti da se zajednica interpretira kao initial parameters, whereas in case of ‘classical’ ‘živi uzorak’ koji se ovisno o inputima zajednice dynamic identities they are over-defined and limited konstantno razvija i formira u nešto novo i in terms of software. Through the use of modern nepredvidivo. Upravo tom simbiozom moderne technology and the presentation of human activities tehnologije i unaprijed postavljene dizajnerske logike, on the social networks and the Internet provides zajednica nesvjesno formira svoj identitet koji ju opportunities to interpret the community as a ‘living predstavlja, ali istovremeno i educira i nju i stalne te sample’, which continuously develops, depending on potencijalne posjetioce grada. the input, to form something new and unpredictable. It is primarily through this symbiosis of modern technology and the previously established designer logic, that the community unconsciously forms the identity which represents it, yet simultaneously also educates both the community, as well as the permanent and the potential visitors to the city.

288 289 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

željka tkalčec mentor Stipe Brčić suradnica / associate Karla Paliska mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Brze rečenice Fast sentences ‘Brze rečenice’ su nastale kao rezultat istraživanja ‘Fast sentences’ are a result of my research linked with vezanog uz djecu školskog uzrasta sa specifičnim school-age children, with a specific ‘mixture’ of talent ‘spojem’ nadarenosti i mana, poznatih pod imenom and handicaps known by the name of dyslexia. The disleksija. Pristup ovom zadatku je od početka bio approach to this task was inclusive from its inception: inkluzivan: cilj je bio uključiti osobe s dileksijom u što its specific objective was to include persons with ravnopravnije i aktivnije sudjelovanje u svakodnevnim dyslexia to become involved in an active and aktivnostima vezanim uz školsku sredinu i olakšati undiscriminated participation in everyday activities im savladavanje gradiva. Uz veliku pomoć Mirte linked with the school environment and provide Kapetanović, logopedice Oš Miroslava Krleže u help in their mastery of the school programme. I Zagrebu, provelo se više faza istraživanja ukljujući i conducted several phases of my research study in eksperimentalnu fazu projekta. Na temelju rezultata co-operation with Mirta Kapetanović, a speech upitnika i promatranja rada logopedice s djecom, language pathologist at the Zagreb-based Miroslava odlučeno je rješenje oblikovati kao društvenu igru. Krleže primary school, including the experimental Igra uzima u obzir neke poteškoće koje su specifične phase of the project. Based on the results achieved za disleksične pojedince (‘riječi okidači’ disleksije, through the survey and following my monitoring of slabo fonološko pamćenje), ali isto tako uzima u work of the speech-language pathologist with the obzir i dječju maštovitost i zaigranost. Zbog praćenja children, I decided to devise my work in the form of specifičnog gradiva iz hrvatskog jezika namjenjena je a social game. The game takes into account some učenicima 3. i 4. razreda osnovne škole. Pogodna je difficulties which are specific for dyslexic individuals za korištenje na školskom satu, jer se može odigrati (trigger words, poor phonological memory), as well u 45 minuta, a korisna je i u radu logopeda s grupom as children’s imaginativeness and playfulness. Due to djece. Namjenjena je svima, a ne samo onima koji attendance of a specific curriculum for the Croatian imaju problema sa savladavanjem čitanja i pisanja. language the game is intended for the pupils in the Igra se u ekipama i ima više koraka, u kojima se 3rd and 4th grade of the primary school. It is suitable zahtijeva kreativno mišljenje, ali i znanje obrađenog for classroom use, as it can be played within the školskog gradiva. Tu je i utrka na igraćoj tabli, kao period of 45 minutes and it is useful during the work motivacija za što promišljenijom i boljom igrom. of a speech-language pathologist with a group of Igra je u svojoj eksperimentalnoj fazi odigrana u 4. children. It is intended for anyone, not only those razredu, sa šestero djece, koji su se podijelili u dvije suffering from dyslexia. It is played in several teams ekipe po troje igrača. S obzirom na uživljenost, igra in several steps and it enhances creative thinking im se svidjela, a koncept igre je uspješno proveden and simultaneously evaluates the knowledge of the u djelo. U oblikovanju su korištene ilustracije i curriculum. It also includes a race on the game board, razigrana paleta boja kojom su kodirani pojedine which provides motivation for mental alertness and elemente igre. Font koji je korištenu ovom projektu better quality of the game. The game was played je Dyslexie i on je posebno oblikovan za pojedince during its experimental phase in the 4th grade, with s disleksijom. Težište je stavljeno na donji dio slova, 6 children participating, who were divided into kako bi ona čvrsto ‘stajala’. Također su slična slova two teams comprising of three players. Given their b, p i d oblikovana dovoljno različito da u slučaju involvement in the game, I am convinced that they rotacije i dalje ostaju prepoznatljiva. Drugi korišteni enjoyed it immensely and I would like to express font je Londrina. Radi se o zaigranom, dječjem fontu my utter satisfaction and pride at this fact. I believe koji dobro funkcionira u naslovu, ali i kao nadopuna the concept of the game has been successfully ilustraciji. implemented. I used illustrations and a playful range of colours with which I coded several features of the game. The font I primarily used in this project way Dyslexie, which is designed specifically for those suffering from dyslexia. It focuses on the bottom part of the letters, so it provides them with a solid base. In addition, the letters which are similar have been designed to point out the differences between them, so they will remain recognisable in case of rotation.

290 291 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

franka tertinjak mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić Vizualno u audiovizualnom INTERACTION OF THE MEDIA – Na primjeru eksperimentalne glazbe – THE IMAGE AND THE SOUND U radu je istražen generativni dizajn i mogućnosti The study focused on generative design and the njegove primjene, snalaženje izvan uobičajenih potential of its use, coping without the usual dizajnerskih alata te izvedba vlastitih. Za designer’s tools, as well as the creation of own tools. potrebe projekta, uz pomoć programskog jezika The programme language Processing was used to Processing, izabrane su metode kojima je moguće meet the requirements of the project and in order to kontrolirati parametre zvuka i slike, odnosno select the methods with which one can control the parametre procesa u kojem se zvučnim zapisom parameters of sound and image, or the parameters generira slika. Odabrani su parametri zvuka of the process in which image is generated through koji su mjerljivi, razlikuju se veličinom, a ima ih audio recordings.The selected audio parameters svaki audio zapis: glasnoća ili amplituda (dB), are measurable, they differ in size and are included frekvencija ili raspon tonova (Hz), 3. trajanje (s) in each audio recording: loudness or amplitude Pojmovi kao što su ugođaj ili žanr, nisu fizikalno (dB), frequency of tone range (Hz) and duration mjerljive veličine i uvijek će ostati samo na (s). The terms such as atmosphere or genre are not interpretativnoj razini. Stoga parametri slike, physically measurable units and will always remain osim što sadrže egzaktne komponente, ovise i o only at an interpretative level. Hence the parameters autorskim odlukama dizajnera.Korišteni elementi of image, in addition to the fact that they contain su jednostavni geometrijski oblici – krug, elipsa, accurate features, also depend on creative decisions kvadrat, pravokutnik, sinus val, tipografija, boja of designers. The features used are simple geometric (komponente RGB sustava boja – crvena, zelena, shapes – a circle, an ellipse, a square, a rectangle, plava i komponente HSB sustava boja (hue – ton, a sine wave, typography, colour (features of RGB saturacija ili zasićenost i svjetlina). Parametri slike colour system – red, green, blue and features of i zvuka kroz istraživanje su prilagođavani tako HSB colour system (hue, saturation and brightness). da njihove promjene u korelaciji budu vidljive i Parameters of image and sound have been adapted intuitivne (primjerice, oscilacije glasnoće zvučnog through expression to point out the alterations in zapisa proporcionalno može pratiti veličina ili boja correlation and make them intuitive (for example, geometrijskih oblika). Krajnji rezultat zapravo je oscillations in the loudness of the audio recording sonogram, zapisani zvuk, ovdje u funkciji elementa can be proportionately followed by the size or the vizualne komunikacije zvuka. Razlaganje tehničkih colour of geometric shapes). The ultimate result is komponenata zvuka omogućuje da im se pripišu a sonogram, a recorded sound, which here acts as vizualno komplementarne osobine, što rezultira a feature of visual communication of the author dizajnom koji proizlazi direktno iz medija glazbe. of this sound. The decomposition of the technical Takav dizajn je opravdan u službi formiranja features of sound enables them to show visually identiteta uključenih glazbenika i prikladan za complementary features, which results in design širenje njihovog djelovanja na vizualnu sferu kroz that originates directly from the music media. Such stvorene alate. design has been justified and intended to create an identity of the musicians involved and suitable for expanding their scope of activity towards the visual sphere through created tools.

292 293 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

ivor vrbos mentor Stipe Brčić suradnica / associate Karla Paliska mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Codesign Codesign ne servira gotove zadatke te ne nudi Codesign their official profession. The declaration impacts – Interaktivno okruženje odgovore. Sadržaj kreiraju korisnici, a rješenja nikada – Interactive environment for co-operation on the appearance and the functions of the user’s za suradnju dizajnera i programera nisu finalna. Zadaci se uvijek mogu iznova rješavati, between designers and programmers interface, the role in the tasks they can opt for, as Rezultat teorijskog elaborata na temu odnosa nadopunjavati i evaluirati. Također, svaki od zadataka The result of the theoretical study covering the well as the tools they are allowed to use. Codesign programera I dizajnera jest interaktivni web alat, može poslužiti kao osnova za novi zadatak s kojim topic of the relationship between programmers does not allocate finished tasks and it does not otvoreni virtualni prostor koji nudi besplatnu će komunicirati drugi korisnici koji će doći do nekih and designers is an interactive web tool, an open provide solutions. The content is created by the mogućnost suradnje i nadopunjavanja programera svojih rješenja, i tako u nedogled. Codesign zajednica virtual space which provides an opportunity of users and the solutions are never final. The tasks i dizajnera: www.codesign.co. Postojeći web na kraju svojom aktivnošću i interakcijom ocjenjuje free co-operation and complementation between can be solved repeatedly, they can be upgraded and servisi i online tečajevi koji se bave educiranjem sadržaj te stvara bazu najkorisnijih zadataka, programmers and designers: www.codesign.co. The evaluated. Moreover, each task can be used as the u dizajnu i programiranju, omogućuju edukaciju najzanmljivijih rješenja. Filtirira sadržaj prema težini existing web services and online courses involved idea behind the new task in which other users will koja se odvija uglavnom u smjeru učenik - učitelj. rješavanja (da li je veći naglasak na dizajnu ili na in training in design and programming ensure communicate who will provide other solutions, ad Osnovna i glavna karakteristika alata Codesign jest programiranju, da li je sadržaj označava neko uže training which occurs primarily in the direction infinitum. Codesign community eventually evaluates konstantna komunikacija i interakcija onoga tko područje iz dizajna ili programiranja). student – teacher. The fundamental and the the content based on its activity and interaction and kreira zadatak i onoga koji ga rješava, bio to dizajner principal feature of the tool Codesign is continuous consequently creates a base of the most useful tasks ili programer. Korisnik alata Codesign može se communication and interaction between the creator and the most interesting solutions, filters the content izjasniti kao dizajner ili kao programer, neovisno o of the task and the person solving it, irrespective according to the level of difficulty of solving it and svojoj službenoj profesiji. Deklaracija uvjetuje izgled of the fact whether they are a designer or a its features (whether there is greater emphasis on i funkcije korisnikova sučelja, ulogu u zadacima programmer. The user of Codesign tool can declare design or programming, whether the content focuses koju može birati i alate kojima se može koristiti. to be a designer or a programmer, irrespective of on a specific area of design or programming).

294 295 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi, 3. i 4. semestar school of design annual review 13 / 14 graduate programme / graduation theses, 3rd and 4th semester

stjepan zorko mentor Ivan Doroghy asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / theory research mentor Feđa Vukić

Happy House – the visual identity modern communication methods. The idea behind of the Association and an interactive this work are the basic principles of Feng Shui, its presentation of the basic rules of Feng Shui philosophy and natural laws abided by among the The Association Happy House, that is currently Chinese who have been applying them to date. The being founded in Osijek, is involved in promotion idea behind the solution of the identity of Happy of healthy lifestyles, helping others, as well as House Association are visual solutions in compliance providing self-help and focusing on enhancement with Feng Shui principles. The Project addresses the of quality of life. Feng Shui and its popularization issues such as the impact of visual communications through contemporary communication channels features on the target group, as well as the impact has been selected among a vast array of topics and of symbols on the way of thinking. How are visual activities the Association is involved in. Feng Shui motives related with mathematical relations and has been applied in the Western World for a long why we like something we find repulsive? How to time and it is often presented as a healing method. effectively communicate the current insight into Internet portals abound with those interested in Feng Shui and apply them in modern life? How and Feng Shui aiming to decorate their own homes, why do colours affect human behavior? Are there guided by their own superficial insight into this skill any common points between the basic Feng Shui that originated in the Far East. Our connection principles and the current scientific achievements? with the outer space has recently been increasingly All the above mentioned issues were addressed highlighted and so has the importance of our throughout the implementation of this project and return to Nature and life in harmony with Nature, the potential answers and solutions are to be found as well as the importance of the present moment, among its basic postulates. The design of Happy both literally and figuratively. Feng Shui is an House Association logo was a practical issue – it Sretna kuća – vizualni identitet poznatih, imućnih i obrazovanih ljudi ali i korporacija dosadašnja saznanja iz područja Feng Shuija efikasno ancient oriental practice involved in achieving this had to be presented as an entity that promotes udruge i interaktivna prezentacija koriste ovu tehniku za vlastiti uspjeh. Ako toliko ljudi kominicirati i primijeniti u suvremenom životu? harmony and helping people achieve it, yet it can criteria of natural sciences established by ancient osnovnih pravila Feng Shuija koristi ovu vještinu, ona je vjerojatno nešto više od Kako i zašto boje utjeću na ljudsko ponašanje? also be integrated in new approaches to everyday Feng Shui teachers, using modern communication U Osijeku se osniva udruga koja promiče zdrave pukog postavljanja ‘tronoge žabe u prostor novca’ Postoji li paralela između osnovnih principa Feng life. A large number of famous, wealthy and highly methods. Graphic design has its rules and laws životne stilove, pomoć drugima i samopomoć, te (tronoga žaba je drevni kineski simbol bogatstva i Shuija i današnjih znanstvenih dostignuća? Sva su ta educated people and corporations have been and the same applies also to Feng Shui. Hence, poboljšanje kvalitete života. Naziv udruge je Sretna blagostanja i nekoliko se mitova vezuje za porijeklo pitanja stajala na putu ka realizaciji ovog projekta using it for ages to achieve success. Considering mathematical rules are fundamental and they are kuća. Od niza tema i aktivnosti kojima se udruga ovoga vjerovanja a služi privlačenju novca). Pošto a mogući odgovori na postavljena pitanja su u the fact that so many people use this skill, there simultaneously attractive to the human eye. The bavi, izabran je Feng Shui i njegova popularizacija je udruga Sretna kuća u procesu osnivanja, cilj njegovim temeljnim polazištima. Praktičan problem must be more to it than the mere placement ‘of idea behind the project is as follows: visual identity suvremenim komunikacijskim sredstvima. Feng je zadatka popularizirati udrugu, a time i osnove bio je kako oblikovati sliku udruge Sretna kuća, kao the three-legged money toad’ (a three-legged of the Association can be designed by applying the shui se već dugo primjenjuje u zapadnom svijetu Feng Shuija približiti široj javnosti suvremenim subjekt koji promovira prirodna mjerila znanosti toad is an ancient Chinese symbol of wealth and rules of graphic design simultaneously with the a često se prezentira kao iscjeljiteljska metoda. komunikacijskim sredstvima. Ovaj rad se temelji na a koja su utemeljili drevni Feng Shui majstori, prosperity – several myths are linked with the origin principles of Feng Shui and proving that it is possible Internetski portali su prepuni znatiželjnika koji su suštini Feng Shuija, njegovoj filozofiji i prirodnim suvremenim komunikacijskim sredstvima. Grafički of this belief and it is intended to attract money). to harmonize the rules, the knowledge and the skills se dotaknuli Feng Shuija, te pokušavaju urediti zakonitostima koje su Kinezi koristili a i dan dizajn ima svoje zakonitosti i pravila kao što ih ima Since the foundation of Happy House Association both of graphic design and Feng Shui. vlastiti dom, vođeni površnim spoznajama o ovoj danas ih koriste u svakodnevnom životu. Rješenje i Feng Shui. Između ostalih pravila, matematička is currently underway, the specific objective of the vještini s dalekog istoka. U zadnje vrijeme se sve identiteta udruge Sretna kuća temelji se na vizualnim pravilnost je bitan element, a privlačna su ljudskome assignment is to present the Association, as well više govori o našoj povezanosti sa svemirom, o riješenjima koja su u skladu sa Feng Shui pravilima. oku. Osnovna teza projekta je sljedeća: vizualni as Feng Shui principles to broad public through važnosti povratka prirodi i usklađenja s prirodom Projekt aktualizira pitanja poput kako se elementi identitet udruge se može oblikovati na način da oko nas, te o važnosti sadašnjeg trenutka, kako vizualnog komuniciranja ponašaju u kontaktu sa pravila grafičkog dizajna primjenimo istovremeno s u doslovnom, tako i u prenesenom smislu. Feng ciljanom skupinom i koji je utjecaj simbola na način pravilima Feng Shuija, te da je moguće u nekoj mjeri shuji stara je istočnjačka vještina koja se bavi tim čovjekova razmišljanja ? Kakvu povezanost imaju uskladiti pravila obiju znanja i vještina. skladom i pomaže čovjeku da to postigne, a uklapa vizualni motivi s matematičkim odnosima i zašto se u nove pristupe svakodnevnom životu. Velik broj nam se nešto sviđa a nešto nam je odbojno? Kako

296 297 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi school of design annual review 13 / 14 graduate programme / graduation theses

martina dumić balvan jasmina dupalo mentor Ivan Doroghy, Stanko Herceg mentor Ivan Doroghy asistent / assistant Tomislav Vlainić asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / mentor teorijskog istraživanja / theory research mentor Feđa Vukić theory research mentor Feđa Vukić diplomski rad je rezultat četverogodišnjeg diplomski rad je rezultat četverogodišnjeg studija dizajna/ the graduation thesis studija dizajna/ the graduation thesis is the result of the completion of is the result of the completion of the four year study of design the four year study of design Vizualni identitet Autonomnog Visual identity of Autonomous Kulturnog Centra Medika Cultural Centre Medika Rješenje zrcali moderan, slobodan duh i tendencije The solution of the Visual identity mirrors the Centra, kao žarišta nezavisne kulturne scene free spirit and the tendencies of the Centre as mladih u Zagrebu. Njegova osnovna namjena the focal point of the independent youth cultural je da daje zajednički nazivnik, pozicionira i lakše scene in Zagreb. Its primary scope is to provide a identificira događanja unutar Centra. Zbog common denominator, to position and to simplify samog šarolikog diverziteta raznih djelatnosti the identification of events occurring at the Centre. centra vizualni identitet je dinamičan i podložan As a result of the wide range of activities of the promjenama kako bi zadovoljio različite estetike i Centre, its visual identity is dynamic and subject stilove. Centar je jedini tog tipa u gradu Zagrebu i to changes in order to meet the requirements of bavi se subkulturnim sadržajima te negira i propituje diverse aesthetics and styles. The Centre is unique postojeće društvene vrijednosti. Znak je nastao in Zagreb – it is involved in subculture and negates promišljanjem i kombiniranjem nekoliko formi: and analyses the current social values. The logo was distorziranog slova ‘M’ u formi koja naglašava created through consideration and combination of dinamiku i angažiranost, munje kao simbola snage, several forms: the distorted letter M, whose form energije i neobuzdanog te komunikacijskog ‘oblačka’ stresses dynamics and involvement of lightning as a koji protestira, izjavljuje, najavljuje. Stvorena je symbol of strength, energy and the unrestrained, as prepoznatljiva, jednostavna forma koja se daljnjim well as a communicational ‘cloud’ which protests, komunikacijskim kanalima koristi kao osnovni declares and announces. A recognisable and a simple vizualni identitet festivala Visual identity of Organ of Sight grafički element, dok jačina pečata i grubost form has been created, which is used in further fotografije organ vida Photography Festival geometrijske konstrukcije odgovara urbanom communication channels as a basic graphic feature, Međunarodni festival fotografije Organ Vida je Organ of Sight International Photography Festival “betonskom” ambijentu u kojem se sam prostor AKC while the strength of the seal and the roughness nezavisan godišnji fotografski festival, koji se održava is an independent photography festival held on an Medike nalazi. Aplikacijama su razvijeni i dodatni of the geometric construction corresponds to the u Zagrebu, a platforma je za promoviranje svjetskog annualised basis in Zagreb and it is a platform for grafički elementi. U njih se uvode neki od dodatnih urban ‘concrete’ environment where Autonomous i domaćeg suvremenog fotografskog stvaralaštva. the promotion of both international and domestic vizuala koji se pojavljuju u aplikacijama, a nisu znak Cultural Centre Medika is located. Additional graphic Festivalom upravlja fotografska udruga Organ Vida. contemporary creative photography. The Organ ili logotip. Služe dodatnom vizualnom brandiranju i features have been developed through applications Misija i cilj festivala nisu samo fotografska edukacija of Sight Photography Association manages the stvaranju specifičnog i prepoznatljivog stila u dizajnu and they include several visuals which appear in publike kroz predstavljanje suvremenih svjetskih festival. In addition to deepening the insight of aplikacija. Definirani su konstrukcijom u točkastom the applications and are not a sign or a logo. They fotografa predavanjima ili radionicama, nego i the festival audience by presenting contemporary rasteru ili mrežom. Osim prepoznatljivosti služe i are intended for further visual branding and the angažman u širem društveno-političkom kontekstu. international photographers through lectures and isticanju karaktera i stava koji centar promiče. Zbog creation of the specific and a recognisable style in Ovogodišnja tema festivala su ‘Refleksije’. Cilj je workshops, the mission and the goal of the festival mnogobrojnih mogućnosti kombiniranja dobar su application design. They are defined by construction festivala ovom temom pokazati na koje je načine include also involvement against the backdrop of a i nepresušan izvor različitih dizajnerskih rješenja or in the dotted raster or a net. In addition to provide pojedinac sposoban izraziti (vlastite) refleksije kroz broader socio-political context. This year’s festival unutar razvijenog identiteta. recognisability, they are intended for emphasis vizualni jezik fotografije. Idejni koncept vizualnog topic are ‘Reflexions’. The goal of the festival is to of the character and attitudes promoted by the identiteta festivala temelji se na slovima ‘O’ i ‘V’, show a vast array of ways in which an individual Centre. As a result of a vast array of opportunities inicijalima imena festivala. Vizualnom kombinacijom can express (their own) reflexions through visual of combinations they are a satisfactory and an dva navedena tipografska elementa, dobivena je language of photography. The conceptual idea of the inexhaustible source of a broad range of designers’ vizualna forma koja asocira na oko ali jednako tako visual identity of the festival is based on the letters solutions within the developed identity. i na otvor fotografskog objektiva kroz koji ulazi ‘O’ and ‘V’, the initials of the name of the festival in svjetlost, kao glavni uvjet za snimanje. Znak je Croatian – Organ Vida. The visual combination of vizualno jednostavan i vrlo se lako aplicira na raznim the two previously mentioned typographic features aplikacijama kao element prepoznavanja. Logotip resulted in a visual form reminding of an eye, as well je također jednostavan i nenametljivo podržava as of the opening of photographic objective or lens znak. Osnovna boja znaka i logotipa je žutozelena, that lets the light in, as the principal pre-requisite for a u nekim aplikacijama je zamjenjuje fluorescentna video recording. The sign is visually straightforward žuta boja. Zamišljeno je da fluorescentna boja and can be easily used in diverse applications as an svojim svijetlećim efektom sugerira svjetlost. Njeno identification feature. The logo is also simple and it korištenje je predviđeno u slučajevima kada to provides a non-intrusive support to the sign. The basic tehničke i financijske okolnosti dopuštaju. colour of both the sign and the logo is yellow-green, whereas in some applications it is replaced by a fluorescent yellow. The idea was to remind of the light through a luminous efficacy of a fluorescent colour. Its use is intended for cases in which technical and financial circumstances make it feasible.

298 299 godišnjak studija dizajna 13. / 14. diplomski studij / diplomski radovi school of design annual review 13 / 14 graduate programme / graduation theses

ana klobučar daria marinović mentor Ivan Doroghy mentor Ivan Doroghy komentor Veljko Žvan asistent / assistant Tomislav Vlainić asistent / assistant Tomislav Vlainić mentor teorijskog istraživanja / mentor teorijskog istraživanja / theory research mentor Feđa Vukić theory research mentor Feđa Vukić diplomski rad je rezultat četverogodišnjeg diplomski rad je rezultat četverogodišnjeg studija dizajna/ the graduation thesis studija dizajna/ the graduation thesis is the result of the completion of is the result of the completion of the four year study of design the four year study of design

Digitalni mediji u usavršavanju Digital media enhancing jezične kompetencije linguistic competence Područje interesa projekta jest uloga digitalnih The area of interest of this project is the role of medija u neformalnom izvannastavničkom kontekstu digital media in informal extracurricular context of učenja, odnosno u procesima usavršavanja gradnje learning and during the process of improvement of i znanja stranih jezika. Cilj projekta je stvaranje learning and knowledge enhancement of foreign i primjena interaktivne platforme za čitanje languages. The topic is application and development ili neformalno prevođenje dvojezičnih knjiga of an interactive platform for reading and/or namjenjene usavršavanju jezičnih znanja i vještina. informal translation of bilingual books intended for Cilj je umrežavanje pojedinaca koji kreativno improvement of language knowledge and skills. The promišljaju uporabu stranih jezika i traže njegovo objective is networking between individuals who korištenje na konstruktivan način, te motivacija creatively use the knowledge of foreign languages samih korisnika uključući i priznavajuću njihov and are striving to use it in a constructive manner, rad i trud u širenju i korištenju jezičnih vještina. . as well as the motivation of the users through Specifičnosti ove teme leže u sve većem rasponu inclusion and recognition of their work and effort in mogućnosti uporabe digitalne tehnologije u the promotion and in the use of language skills. The svakodnevnom životu pojedinca i njezinoj ulozi u target group is young adult population who is active procesima cijeloživotnog obrazovanja i konzumacji on social networks. The specific features of this topic teksta. Platforma sadrži pedagošku, društvenu comprise of the increasing range of opportunities i funkciju dokumentranja. Pojačava korisnikovu of the use of digital technology in everyday life of motivaciju u poboljšanju njihovih sposobnosti individuals and its role in the processes of lifelong komunikacije na različitim jezicima, u učenju learning and text consumption. The platform dodatnih jezika ili traženju novih međukulturalnih includes a pedagogical function, as well as the Vizualni identitet zaklade Visual identity of ‘Ana Rukavina’ iskustava. Pomaže korisnicima u razmišljanju o social function and the function of documentation. ‘Ana Rukavina’ i kampanje ‘želim život’ Foundation and the campaign ‘I Want Life’ vlastitim ciljevima, strategijama usavršavanja znanja It increases the user’s motivation concerning the Zaklada Ana Rukavina je organizacija koja se bavi The general concept – Ana Rukavina Foundation is jezika, te planiranju učenja i samostalnosti. Potiče improvement of their communication potential in širenjem Registra dobrovoljnih darivatelja krvnih an organisation involved in expansion of the Registry nova višejezična i višekulturalna iskustva kontaktima, diverse languages, in foreign language learning or maticnih stanica kao i problemom lijecenja bolesti of voluntary hematopoietic stem cell donors, as čitanjem i suradnjom na zajedničkim projekatima. striving for new intercultural experiences. Moreover, leukemije. U svrhu prezentacije kako na regionalnom, well as addressing the issue of leukaemia treatment. Koristeći platformu korisnicima je pružena it assists the users in the comprehension of their tako i svjetskom nivou (jer je Registar povezan For the purpose of its presentation both on the mogućnost linearnog čitanja i čitanja stvaranjem objectives, strategies of language knowledge s ostalim donorskim mrežama diljem svijeta) regional and on the global level (since the Registry is veza i povezivanjem određenih leksičkih segmenata improvement and the planning of learning and potreban joj je adekvatan komunikacijski sustav connected with other donor networks throughout the međusobno, te s drugim sastavnicama cjeline. independence. It also encourages new multilingual osmišljavanjem novog vizualnog identiteta koji će world), it requires a serious communicational system and multicultural experiences, through contacts, zamijeniti ovaj postojeći. Kako bi sustav što bolje through planning of a new visual identity which reading and co-operation on joint projects and funkcionirao potrebno je uz novi vizualniidentitet will replace the existing one. In order to enhance translation. The platform enables the users to enjoy osmisliti i akciju pod nazivom “Želim život!” koja the functionality of the system, it is important to linear reading and the reading through connecting je nastala u vrijeme osnutka Zaklade, radi širenja i develop the campaign entitled ‘I Want Life’, which specific lexical segments. prikupljanja što veceg broja dobrovoljnih darivatelja. was launched upon the inception of the Foundation, Cilj je pokušati potaknuti potencijalne skupine da in order to expand and bring together the greatest se prepoznaju i reagiraju na željeni, krajnji rezultat, possible number of voluntary donors. The principal a to je dobrovoljno doniranje matičnih stanica i objective is to attempt to encourage the potential kroz kampanju izbjeći svaku moguću nejasnoću, groups to recognition and reaction to the desired, dvosmislenost i sumnju. Koncept vizualnog ultimate result, which is voluntary donations of stem identiteta bazira se na znaku kao pojednostavljenom cells and strive to reject any potential ambiguities, grafičkom prikazu krvotvorne maticne stanice uncertainty and doubts. The concept of visual koja je osnova cijele djelatnosti Zaklade. Znak identity is based on a sign as a simplified graphic je prikazan kao stilizirani oblik maticne stanice,i illustration of a blood-producing stem cell which nije simetrican iz razloga jer je sama stanica is the basis of the entire activity of the Foundation. organicka, nesimetricna i stalno se mijenja. Dojam The sign has been designed as a stylised shape of a pokretljivosti se vizualizirao pomocu transparencija stem cell, the feature which is asymmetrical due to koje su pomaknute tako da se dobije što jaci prikaz the fact that a stem cell is organic, asymmetrical fluidnosti i raznolikosti. and continuously changing. It has its nucleus which has been visually depicted, giving it an impression of uniqueness, importance, naturalness.

300 301 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Studenti Students

302 303 godišnjak studija dizajna 13. / 14. diplomski studij / studenti school of design annual review 13 / 14 graduate programe / students

prva godina first year prva godina first year Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme – Industrijski dizajn – Industrial Design – Vizualne komunikacije – Visual Communications

Dorja Benusi Marta Birkić Maja Bošković Niko Crnčević Igor Kolar Stanislav Kostić Matea Brkić Anta Bučević Hrvoje Dominko Slavica Farkaš Tihomir Filipec Lana Grahek

Dorotea Kutleša Lucija Nićeno Ruđer Novak-Mikulić Adriana Pavelić Karlo Pavičić Janja Roškar Matija Gulič Zrinka Horvat Mario Jekić Antonio Karača Iris Klarić Dora Lugarić

Franka Spetić Ana Šolić Matija Špoljar Petra Vrdoljak Tea Pavić Martin Peranović Luka Perić Katarina Ratkaj Luka Reicher Ana Somek

Alma Šavar

304 305 godišnjak studija dizajna 13. / 14. diplomski studij / studenti school of design annual review 13 / 14 graduate programe / students

druga godina second year druga godina second year Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme – Industrijski dizajn – Industrial Design – Vizualne komunikacije – Visual Communications

Marta Anić-Kaliger Ana Armano Linta Kristina Crnek Vidović Vedran Erceg Ema Gerovac Luka Jelaska Tessa Bachrach Dora Bilandžić Marko Cvijetić Vinka Draganja Andrea Franić Marko Hrastovec Krištofić

Petra Jelaska Ivona Miloš Ena Priselec Marija Ružić Ana Sekulić Anamaria Sever Jurica Koletić Daria Marinović Dina Milovčić Andrija Mudnić Maja Subotić Željka Tkalčec

Ozana Ursić Ivan Vukmanić Franka Tretinjak Ivor Vinski Ivor Vrbos Stjepan Zorko

306 307 godišnjak studija dizajna 13. / 14. godišnjak studija dizajna 13./14. – diplomski studij school of design annual review 13 / 14 school of design annual review 13 / 14 – graduate programme

Izvedbeni Curriculum program Outline

308 309 godišnjak studija dizajna 13. / 14. diplomski studij / izvedbeni program school of design annual review 13 / 14 graduate programe / curriculum outline prva godina first year Diplomskog studija Graduate Programme

Izvedbeni program / Curriculum Outline 1. semestar / 1 st semester 2. semestar / 2 nd semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vježbe ects Pred. Vježbe ects Zajednički predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Sociologija kulture / Sociology of Culture 30 15 3 – – – izv. prof. dr. sc. Anka Mišetić / PhD, associate professor Teorija i povijest dizajna 1, 2 / Theory and History of Design 1, 2 30 15 3 30 15 3 izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Umjetnost danas / Art Today – – – 30 0 2 izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Znanstveno – istraživačke metode / Scientific Research Methodology 15 15 2 – – – izv. prof. dr. sc. Anka Mišetić / PhD, associate professor Razvoj koncepata i strategija / Development of Concepts and Strategies – – – 15 15 3 doc. mr. sc. Ivana Fabrio / assistant professor Dizajn interakcija 1, 2 / Interaction Design 1, 2 15 30 2 15 30 2 doc. Vedran Kasap / assistant professor pred. Tin Kadoić / lecturer

Teorija medija 1, 2 / Media Theory 1, 2 30 0 2 30 0 2 pred. Veljko Žvan / lecturer 210 12 195 12 Predmeti smjera industrijski dizajn Courses in the Industrial Design Programme

Industrijski dizajn 1, 2 / Industrial Design 1, 2 15 60 7.5 15 60 7.5 prof. mr. sc. Zlatko Kapetanović / MSc, associate professor doc. mr. sc. Sanja Bencetić / MSc, assistant professor prof. Mladen Orešić / associate professor asist. Andrea Hercog / teaching assistant

Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Neda Cilinger / assistant professor Izbor materijala / Materials 15 15 3.5 – – – prof. dr. sc. Tomislav Filetin / PhD, full professor Suvremene tehnologije materijala / Modern Technology of Materials – – – 15 30 3.5 prof. dr. sc. Mladen Šercer / PhD, full professor 150 14.5 165 14.5 Izborni predmeti – industrijski dizajn Elective Courses in the Industrial Design Programme

Film i video 1, 2 / Film and Video 1, 2 15 30 3.5 15 30 3.5 izv. prof. Stanko Herceg / associate professor Kolegiji sa Sveučilišta / Courses at the University (free choice) 45 0 3.5 45 0 3.5 45 3.5 45 3.5 Predmeti smjera vizualne komunikacije Courses in the Visual Communications Programme

Dizajn vizualnih komunikacija 1, 2 / Visual Communications 1, 2 15 60 7.5 15 60 7.5 prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Kreativna komunikacija i društvo 1, 2 / Creative Communication and Society 1,2 15 30 3.5 15 30 3.5 pred. Veljko Žvan / lecturer 120 11 120 11 Izborni predmeti – vizualne komunikacije Elective Courses in the Visual Communications Programme

Projektiranje pisma 1, 2 / Font Design 1, 2 15 30 3.5 15 30 3.5 doc. dr. sc. Nikola Đurek / associate professor Interaktivni mediji 1, 2 / Interactive Media 1, 2 15 30 3.5 15 30 3.5 pred. Tin Kadoić / lecturer Film i video 1, 2 / Film and Video 1, 2 15 30 3.5 15 30 3.5 izv. prof. Stanko Herceg / associate professor Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Neda Cilinger / assistant professor Kolegiji sa Sveučilišta / Courses at the University (free choice) 45 0 3.5 45 0 3.5 90 7 90 7

310 311 godišnjak studija dizajna 13. / 14. diplomski studij / izvedbeni program school of design annual review 13 / 14 graduate programe / curriculum outline druga godina second year Diplomskog studija Graduate Programme

Izvedbeni program / Curriculum Outline 3. semestar /3 rd semester 4. semestar / 4 th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vježbe ects Pred. Vježbe ects Zajednički predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Teorija i povijest dizajna 3 / Theory and History of Design 3 30 0 6 – – – izv. prof. dr. sc. Feđa Vukić / PhD, associate professor Upravljanje dizajnom / Design Management 30 0 3 – – – doc. dr. sc. Vatroslav Škare / associate professor prof. dr. sc. Goroslav Keller / PhD, full professor Socijalni dizajn / Social Design 15 15 2.5 – – – doc. mr. sc. Ivana Fabrio / assistant professor 90 11.5 – – – Predmeti smjera industrijski dizajn Courses in the Industrial Design Programme

Industrijski dizajn 3 15 75 13.5 – – – prof. mr. sc. Zlatko Kapetanović / MSc, associate professor doc. mr. sc. Ivana Fabrio / assistant professor Industrial Design 3 prof. Mladen Orešić / associate professor asist. Andrea Hercog / teaching assistant

Industrijski dizajn – Diploma – – – 0 210 20 prof. mr. sc. Zlatko Kapetanović / MSc, associate professor doc. mr. sc. Ivana Fabrio / assistant professor Industrial Design – Graduation Thesis prof. Mladen Orešić / associate professor asist. Andrea Hercog / teaching assistant

Diploma – obrana / Graduation Thesis – Presentation – – – – – 10 90 13.5 210 30 Izborni predmeti – industrijski dizajn Elective Courses in the Industrial Design Programme

Inkluzivni dizajn / Inclusive Design 15 15 2.5 – – – doc. mr. sc. Sanja Bencetić / MSc, assistant professor Kolegiji sa Sveučilišta / Courses at the University (free choice) 30 0 2.5 – – – 60 5 – – – Predmeti smjera vizualne komunikacije Courses in the Visual Communications Programme

Dizajn vizualnih komunikacija 3 15 75 13.5 – – – prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant Visual Communications 3 prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Dizajn vizualnih komunikacija – Diploma – – – 0 210 20 prof. Stipe Brčić / associate professor asist. Romana Kajp / teaching assistant Visual Communications – Graduation Thesis prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor

Diploma – obrana / Graduation Thesis – Presentation – – – – – 10 90 13.5 210 30 Izborni predmeti – vizualne komunikacije Elective Courses in the Visual Communications Programme

312 313 godišnjak studija dizajna 13./14. school of design annual review 13 / 14

Godišnje nagrade i priznanja Annual Awards and Acknowledgements Projekti Projects Događanja Events

315 godišnjak studija dizajna 13. / 14. Godišnje nagrade i priznanja school of design annual review 13 / 14 Annual Awards and Acknowledgements

Godišnje Nagrade i Priznanja studija Annual Awards and Acknowledgements dizajna u 13 / 14 godini at the School of Design during the Academic Year 13 / 14

Povodom 25 godina svoga djelovanja, Studij dizajna Arhitek- The School of Design at the Zagreb-based Faculty of Archite- tonskog fakulteta Sveučilišta u Zagrebu utemeljio je Godišnje cture has presented its Annual Awards and Acknowledgements Nagrade i Priznanja, kojima Studij nagrađuje najbolje studentske to mark the 25th anniversary of its operation, awarding the best radove nastale u okviru nastavnog programa na predmetima students’ work created during the teaching programme at the Projektiranje industrijski dizajn i Projektiranje vizualne komu- courses entitled Industrial Design and Visual Communications. nikacije. Nagrade i Priznanja se dodjeljuju za dvije zasebne ka- The Awards and Acknowledgements have been presented for tegorije, za Preddiplomski i Diplomski studij. two separate categories, for the Undergraduate and for the Postgraduate Study Programme. Ovaj projekt ima višestruki značaj kako za studente tako i za sam Studij dizajna. Ne samo da Studij dizajna dodjelom Nagrada This project if of multiple importance both for the students and i Priznanja valorizira pojedinačne studentske projekte, on time for the School of Design itself. The School of Design valorises valorizira i vlastitu uspješnost u realizaciji cjelokupnog studijskog individual student’s projects through presentation of its Awards programa a time i nivo svog doprinosa razvoju domaćeg dizajna. and Acknowledgements, simultaneously showing and valori- sing its own success in the implementation of the entire study Za očekivati je da će u dogledno vrijeme ove Nagrade i Priznanja programme and the proportions of its contribution to design osim podstreka studentima za njihov rad, biti shvaćene i kao development at the local level. podstrek zajednici za kvalitetniji tretman ne samo ovog Studija nego i same dizajnerske struke. It can be expected that these Awards and Acknowledgements will subsequently be considered not only as an encouragement and incentive to students in their future work, but also as an incentive to the community to focus on raising awareness of the importance of this School and of design profession.

316 317 godišnjak studija dizajna 13. / 14. Godišnje nagrade i priznanja school of design annual review 13 / 14 Annual Awards and Acknowledgements

nagrada studija dizajna nagrada studija dizajna Preddiplomski studij, Industrijski dizajn Preddiplomski studij, Vizualne komunikacije annual awards at the school of design annual awards at the school of design Undergraduate study, Industrial Design Undergraduate study, Visual Communications tamara petruša klasja habjan frames blok ‘od(blok)iraj’ / notepad ‘unblock’ mentor Mladen Orešić mentor Nenad Dogan asistent / assistant Sanja Bencetić, Andrea Hercog asistent / assistant Romana Kajp Rad Tamare Petruše na temu dizajna kuhinje odlikuje ‘Od(blok)iraj’ je rad nastao na temelju osobnog se originalnim pristupom u tretiranju kuhinje u skladu i kolektivnog iskustva suočavanja s problemom sa razvojnim trendovima i suvremenim shvaćanjima kreativnog izražavanja. Zamišljen i realiziran u formi u kontekstu modernog stanovanja. Zadržavajući priručnog bloka za crtanje i zapisivanje opažanja iz formalne kvalitete u smislu funkcionalnosti, Tamara neposredne okoline, namijenjen je širokom krugu je ovim projektom uspjela integrirati kuhinju korisnika. Uputama i zadacima iz stranice u stranicu, u životni prostor stanovanja pomoću visećih korisnika se postepeno suočava s izazovima osobnih elemenata, aludirajući pri tome na okvire slika na mogućnosti vizualne i tekstualne interpretacije zidu. Time je na sasvim originalan način ostvarila različitih pojmova. Koncepcijski i oblikovno usklađen osjećaj topline u temeljno minimalističkom rad, odlikuje se neposrednom primjenjivosti unutar pristupu oblikovanju. Suptilnim preoblikovanjem različitih edukacijskih procesa. tradicionalnih elemenata, koristeći pri tome moderan izraz, bitno utječe na formiranje kulturnog identiteta Notepad ‘Unblock’ was originated from both i prepoznatljivosti proizvoda. personal and collective experience in facing a problem of creative expression. It has been designed This project by Tamara Petruša is characterised as a handy sketch pad and a notepad for writing by the original approach to the kitchen design down observations from immediate environment according to the modern design trends and and it has been intended for a vast array of users. contemporary understanding within the context Through instructions and tasks throughout the pages, of modern habitation. While keeping the formal users are gradually faced with the challenges of qualities such as functionality, Tamara has their personal potential concerning their visual and successfully integrated kitchen into the living space textual interpretation of diverse concepts. It is a fully in original fashion by means of the elements hanging harmonised piece of work both in terms of design on the wall that resemble picture frames. This and conceptually and it is directly applicable within has resulted in a warm feeling in what is basically different educational processes. a minimalistic design. Subtle transformation of traditional elements, using modern expression, significantly affects the formation of cultural identity and recognition of the product.

318 319 godišnjak studija dizajna 13. / 14. Godišnje nagrade i priznanja school of design annual review 13 / 14 Annual Awards and Acknowledgements

nagrada studija dizajna nagrada studija dizajna Diplomski studij, Industrijski dizajn Diplomski studij, Vizualne komunikacije annual awards at the school of design annual awards at the school of design Graduate study, Industrial Design Graduate study, Visual Communications luka jelaska andrija mudnić inkluzivna monoskija / an inclusive monoski tonpoton mentor Mladen Orešić mentor Ivan Doroghy asistent / assistant Sanja Bencetić, Andrea Hercog assistant Tomislav Vlainić Diplomski rad Luke Jelaske primjer je dizajna kao Predmet ovog rada je oblikovanje pomoćnog alata kreativne, inovativne i humane djelatnosti odgovorne u formi aplikacije za mobilne uređaje ciji je cilj prema čovjeku i prema društvu. Rad se odlikuje olakšati i unaprijediti proces učenja glazbene teorije visokom kvalitetom na nekoliko razina: postavljanjem i prakse u djece, te im dodatno približiti svijet glazbe. i preispitivanjem kriterija za razumijevanje osoba sa Rad je nastao na temelju istraživanja postojeće invaliditetom, inkluzivnim pristupom i tehničkom prakse unutar glazbene edukacije, uz neposrednu inovacijom. Rezultat dizajnom ne stigmatizira suradnju s glazbenim pedagozima. Implementacijom korisnike – osobe sa invaliditetom, već im pruža vizualnog jezika video igara u područje podučavanja mogućnost za poboljšanje kvalitete života i glazbe i glazbene pismenosti, ovaj rad svojom potencira njihove mogućnosti s ciljem punopravnog konceptualnom i vizualnom konzistencijom pruža sudjelovanja u društvu. značajne praktične mogućnosti. Svojim karakterom ovaj rad istovremeno predstavlja i primjer kako se Graduation thesis of Luka Jelaska is an example dizajnom može doprinijeti humanizaciji suvremene of the design as a creative, innovative and human informatičke tehnologije. activity responsible for individual users and the society. The work is characterised by high quality at The subject of this work is the design of auxiliary several levels: by setting and reviewing the criteria for tools in the form of application for mobile understanding of people with disabilities, inclusive telephones aiming to facilitate and enhance approach and technical innovation. The result the process of earning of the the theory and exceeds the expected quality of work in the sense practice of music among children and make that its design does not stigmatise users – persons them betteracquainted with the world of music. with disability. It provides the opportunity to improve Tonpoton originated from the research of existing the quality of life and reinforces their physical practiceswithin music education in direct co- abilities with a view to full participation in society. operation with music pedagogues. This piece of work, throughits conceptual and visual consistency, provides significant practical potential through the implementation of the visual language of video games in the area of music teaching and music literacy. Moreover, through its character, it simultaneously provides an example of how to use design to achieve humanisation of contemporary IT.

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priznanje studija dizajna Preddiplomski studij, Industrijski dizajn acknowledgements at the school of design Undergraduate study, Industrial Design maja jandrić twool mentor Mladen Orešić komentor Zlatko Kapetanović asistent / assistant Andrea Hercog

twool Priznanje Studija dizajna u području produkt dizajna na preddiplomskom studiju, pripala je projektu Twool, setu alatki za kućno vrtlarenje, studentice Maje Jandrić. Posebnost projekta, osim što predstavlja primjer kvalitetno osmišljenog i oblikovanog uporabnog predmeta, je u tome što je nastao u suradnji s realnim naručiocem, proizveden je i plasiran na globalno tržište. Projekt također upučuje na neograničene mogućnosti koje pruža suradnja Studija dizajna s realnim okruženjem u svrhu poticanja gospodarskog rasta i razvoja. twool The recognition of the School of Design in the field of product design at the undergraduate level of the studies won the Twool Project, a set of tools for home gardening by the student Maja Jandrić. The uniqueness of the project, as an example of well thought and designed utility product, is the fact that it was developed, manufactured and distributed on the global market in cooperation with the real client. The project also shows limitless possibilities of cooperation between the School of Design and the real sector, aiming to encourage.

Prof. Stipe Brčić, voditelj Studija dizajna, s dobitnicima Godišnjih nagrada i Priznanja Studija dizajna Prof. Stipe Brčić, Head of the School of Design, with the winners of the School of Design’s annual awards and recognitions.

Prof. mr. sc. Zlatko Kapetanović, predsjednik Povjerenstva za dodjelu Godišnjih nagrada i Priznanja Studija dizajna, prof. Stipe Brčić, voditelj Studija dizajna i moderatorica cerominije dodjele Marta Badurina, studentica 6. semestra preddiplomskog studija smjera industrijski dizajn. Prof. MSc Zlatko Kapetanović, President of the Commision for the School of Design’s awards and recognitions, prof. Stipe Brčić, Head of the School of Design and Marta Badu- rina, the moderator of ceremony, student of the 6th semester in the industrial design undergraduate programme.

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Projekti Projects

Sekcija Projekti Godišnjaka Studija dizajna 2013. / 2014. namije- The section entitled Projects in the Yearbook 2013 / 2014 of the njena je rastućem i sve značajnijem segmentu djelovanja studija: School of Design covers both the expanding and the increasingly izvannastavnim i vanrednim projektima kojima se studij nastoji important aspects of the activity of the School, including extra- osmisliti i afirmirati kao značajna platforma za kontinuirani curricular and additional projects, striving to provide identity razvoj kulture i društvene prakse dizajna u cjelini, redovito s to the School as a significant platform for continuous cultural naglaskom na specifični lokalni industrijski i socijalni kontekst, growth and the overall social practice of design, emphasising po mogućnosti u okvirima Zagreba kao doma Studija i javnog the specific local industrial and social context. Zagreb has been prostora kojemu je prijeko potreban kreativni zamah i disci- presented as the principal location of the School and the public plinirani istraživački, znanstveni i projektantski rad. U sklopu domain where creative impetus, disciplined research, scientific svojih projekata, Studij dizajna surađuje s brojnim relevantnim and project work are imperative. The School of Design co-ope- institucijama i udrugama ne samo u Hrvatskoj, a prioritet je rates with a large number of related institutions and associations što potpunije i učinkovitije upoznavanje studenata s realnim both in Croatia and globally through its vast array of projects okruženjem u kojem će nakon diplome profesionalno djelovati, and its priority consists in comprehensive and efficient presen- kako bi se što bolje pripremili na njegove mogućnosti, odnosno tation of the real environment to the students and enhancement ograničenja. Projekti postupno izazivaju sve veće zanimanje of their professional activity following their graduation from the laičke i stručne javnosti i mogu se okarakterizirati kao koncept School, preparing them in the best possible way for the oppor- koji predstavlja smisleno i izazovno ulaganje u budućnost. tunities and constraints they are about to face. The projects are increasingly attracting the attention of both the professionals and the enthusiasts and may be described as a meaningful and challenging investment in the future.

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Radionica ‘Prostori učenja Workshop ‘Learning Spaces u tranziciji’ in Transition’

Cilj radionice bio je razvijanje konkretnih projektnih arhitekton- The specific objective of the workshop is development of arc- skih i dizajnerskih rješenja koja će unaprijediti postojeće prostore hitecture and design solutions which will enhance the existing učenja, korištenjem arhitektonskih i dizajnerskih alata. Potreba learning facilities through the use of architecture and design za takvom intervencijom izvire iz društveno-ekonomskog kon- tools. The requirement for this type of intervention originates teksta i depopulacije koja rezultira neadekvatno iskorištenim i from the socio-economic context and the depopulation resulting neopremljenim prostorima osnovnog obrazovanja. in inadequately exploited and unequipped learning facilities for fundamental education. Upoznajući se s iskustvom UNICEF-ovih intervencija u pogođe- nim područjima diljem svijeta, studenti Arhitektonskog fakul- Following an introduction to the experiences of UNICEF interven- teta i Studija dizajna svojim su prijedlozima ukazali na moguća tions in crises affected areas globally, students of the Faculty of poboljšanja prostora učenja i izvedivih rješenja u odabranim Architecture and the School of Design put forward proposals to konkretnim sredinama. Djelovanje UNICEF-a u području obra- enhance the learning facilities and proposed feasible solutions zovanja i reagiranja u kriznim situacijama počiva na uvjerenju da in specific selected areas. The idea behind the UNICEF activities Mia Roth Čerina je obrazovanje osnovno ljudsko pravo. Pri tom je interes djeteta in the area of education and in crisis situations is the belief that okosnica planiranja i odlučivanja. Pristup oblikovanju prostora education is a fundamental human right, with interests of the za učenje također ima uporište u ostvarivanju prava na prostor child being considered as a pivotal issue throughout planning učenja koji je siguran, zdrav i poticajan. and decision-making. The idea behind the approach to design of the learning premises is also in the exercising of the right to Carlos Vasquez Arhitekti, dizajneri i nastavnici imaju inherentnu društvenu odgo- safe, healthy and encouraging learning facilities. vornost prema nastojanju da se temeljno pravo na obrazovanje adekvatno realizira. Potrebno je garantirati pristup obrazovanju Architects, designers and teachers have an inherent social res- (tj. prostoru u kojem se ono realizira) i pri tom postaviti pitanje: ponsibility for striving to adequately implement the fundamen- Kakvi prostori učenja su potrebni? Podrazumijeva se da je pris- tal right to education. Learning facilities need to be provided tupačnost (raspoloživost) prostora u koje interveniramo jednako considering the issue of the fundamental requirements? what važna kao i sama kvaliteta obrazovanja. Cilj je bio također razviti type of facilities are required? It is implied that the accessibility alate za rješavanje lokalno-specifičnih problema primjenjivih u (availability) of the facilities we are dealing with is equally impor- Hrvatskoj kao zemlji koja još uvijek rješava posljedice Domovin- tant as the nature of education in itself. Moreover, the objective skog rata i u kojoj brojne sredine u lokalnim zajednicama nemaju was to develop tools for the tackling of locally-specific problems adekvatne prostore učenja i obrazovanja. which are applicable in Croatia, as a country still dealing with the problems and the consequences of the Homeland War and Radionica ima ambiciju razvijanja dugoročne metode poboljša- where a large number of places in local communities still lack vanja i revitalizacije prostora učenja u tranziciji, primjenjivih na adequate learning and education facilities. Prof. mr. sc. Zlatko Kapetanović & Carlos Vasquez Asistent / Assistant Ivana Fabrio postojeće, no danas substandardne školske zgrade malih hrvatskih općina za koje treba razviti niz arhitektonskih, dizajnerskih The workshop is striving to develop long-term methods for the i komunikacijskih rješenja. Stručnjaci iz Škole narodnog zdravlja improvement and revitalisation of learning facilities during pomogli su u pripremi istraživanja a dr.sc. Ksenija Vitale upoznala the transition period, applicable to the currently sub-standard je polaznike radionice sa zdravstvenim i ekološkim aspekima school facilities in small Croatian municipalities which require a problema. Radionici je prethodila detaljna izrada arhitektonskog vast array of architectural, design and communication solutions. snimka stanja u pet područnih škola Požeško-slavonske županije Experts from the School of Public Health provided assistance koju su izradili studenti Arhitektonskog fakulteta Sveučilišta in the preparation of the research and Ksenija Vitale, PhD. in- u Zagrebu. Nakon toga su mentori bili u studijskom obilasku troduced the workshop participants to the health and environ-

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navedenih škola. Prikupljeni podaci su temeljito analizirani radi mental aspects of the problem. A comprehensive overview of stvaranja slike o stvarnim potrebama i problemima koje treba the current architectural state performed in five local schools in rješavati u cilju poboljšanja kvalitete ne samo nastave, nego i Požega-Slavonia County by the students of the Zagreb-based ukupne kvalitete života lokalnih zajednica. Na temelju prove- Faculty of Architecture preceded the workshop and subsequently denog terenskog istraživanja i rezultata istraživanja sastavljeni the stated schools were visited by mentors. The collected data su projektni zadaci za svaku lokaciju posebno, nakon čega je underwent a comprehensive analysis in order to provide an uslijedilo detaljno upoznavanje studenata s ciljevima radionice, accurate idea of the actual requirements and problems which metodama rada i projektnim zadacima. need to be addressed striving to enhance the quality both of the teaching and of the total quality of life in the local communities. Za ovu je radionicu izabrano pet osnovnih škola kao oglednih Project tasks were created based on the conducted field research primjera iz Požeško-slavonske županije: Područna škola Trešta- and the research results specifically for each location, followed novci / Osnovna škola Mladost, Jakšić; Područna škola Tekić / Os- by a detailed introduction of the students with the workshop novna škola Mladost, Jakšić; Područna škola Trapari / Osnovna objectives, methods of work and project tasks. škola Mladost, Jakšić; Područna škola Toranj / Osnovna škola Ivan Goran Kovačić, Velika; Područna škola Skenderovci / Osnovna Five elementary schools have been opted for this workshop škola Dragutina Lermana, Brestovac. Pet grupa studenata (od as role models from Požega-Slavonia County: District school kojih se svaka sastoji od studenata diplomskog studija arhitek- Treštanovci / Elementary school Mladost, Jakšić; District sc- ture i industrijskog dizajna) komentorirali su nastavnici Arhitek- hool Tekić / Elementary school Mladost, Jakšić; Distrcit scho- tonskog fakulteta i Studija dizajna u Zagrebu pod supervizijom ol Trapari / Elementary school Mladost, Jakšić; District school Carlosa Vasqueza iz UNICEF-a. Toranj / Elementary school Ivan Goran Kovačić, Velika; District school Skenderovci / Elementary school Dragutina Lermana, Svaka grupa reagirala je na stvarnu situaciju u pojedinoj školi Brestovac. Five groups of students (comprising of students of the te istovremeno svoje odluke i rješenja koordinirala s drugim Postgraduate Study of Architecture and Industrial Design) were grupama. Područna Škola Treštanovci (Osnovna škola Mladost co-mentored by the professors of the Zagreb-based Faculty iz Jakšića) bila je tema ‘narančastog’ tima koji su sačinjavali of Architecture and the School of Design supervised by Carlos studenti: Dora Lončarić (af), Petra Vrdoljak (sd), Ana Armano Vasquez with UNICEF. Linta (sd) i Maja Milojević (af). Područna škola Tekić, bila je tema ‘žutog’ tima koji su sačinjavali studenti: Lucija Nićeno Each group reacted on the real situation in a specific school and (sd), Viktorija Jagodić (af), Samra Rahmanović (af), Niko Crn- simultaneously co-ordinated their decisions and solutions with čević (sd) i Ana Šolić (sd). Područna škola Trapari, bila je tema other groups. District school Treštanovci (Elementary school kojom se bavio ‘zeleni’ tim u sastavu: Ivona Miloš (sd), Nikola Mladost from Jakšića) was the principal topic of the orange team Arambašić (af), Ivan Vukmanović (sd) i Pero Vuković (af). Po- comprising of the following students: Dora Lončarić (Faculty of dručna škola Toranj (Osnovna škola Ivan Goran Kovačić, Velika) Architecture)), Petra Vrdoljak (School of Design), Ana Armano bila je tema kojom se bavio ‘magenta’ tim u sastavu: Stanislav Linta (School of Design) and Maja Milojević (Faculty of Archite- Kostić (af), Petra Jelaska (sd), Nika Dželalija(af) i Aleksandar cture). District school Tekić was the principal topic of the yellow Matijašević (af). Područna škola Skenderovci (Osnovna škola team comprising of the following students: Lucija Nićeno (School D. Lermana, Brestovac) bila je tema kojom se bavio ‘plavi’ tim u of Design), Viktorija Jagodić (Faculty of Architecture), Samra sastavu: Nikola Brlek (af), Iva Martinis (af), Martina Birkić (sd) i Rahmanović (Faculty of Architecture), Niko Crnčević (School of Ena Priselec (sd). Radionica je započela uvodnim predavanjem Design) and Ana Šolić (School of Design). District school Trapari Carlosa Vasqueza i razgovorima s mentorima Naredna dva dana was at the centre of attention of the green team comprising of odvijao se intenzivan grupni rad na Arhitektonskom fakultetu the following students: Ivona Miloš (School of Design), Nikola

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(petak 25.10-nedjelja 27.10). Završne prezentacije i razgovori Arambašić (Faculty of Architecture), Ivan Vukmanović (School održani su na Arhitektonskom fakultetu u nedjelju 27.10.2013. of Design) and Pero Vuković (Faculty of Architecture). District school Toranj (Elementary school Ivan Goran Kovačić, Velika) Rezultati radionice prikazani su 12. prosinca 2013. na izložbi u was the selected topic of the magenta team which comprised Glavnom uredu UNICEF-a u New Yorku, uz telekonferenciju u ko- of the following students: Stanislav Kostić (Faculty of Archite- joj su sudjelovale mentorice radionice Ivana Fabrio i Mia Roth Če- cture), Petra Jelaska (School of Design), Nika Dželalija (Faculty rina. Predstavljanje radionice održano je i u Požeško-slavonskoj of Architecture) and Aleksandar Matijašević (Faculty of Arc- županiji 12. veljače 2014., kojom je prilikom uz mentore govorio hitecture). District school Skenderovci (Elementary school D. i dekan Arhitektonskog fakulteta prof. mr.sc. Boris Koružnjak. Lermana, Brestovac) was the principal topic of interest of the blue team comprising of: Nikola Brlek (Faculty of Architecture), Rezultati ove radionice prikazani su u publikaciji koja je objav- Iva Martinis (Faculty of Architecture), Martina Birkić (School ljena i promovirana početkom 2014. godine a njihov značaj of Design) and Ena Priselec (School of Design). The workshop najbolje opisuju riječi koje je u uvodu publikacije napisao arhitekt commenced with the introductory lecture by Carlos Vasquez Carlos Vasqez supervizor radionice: ‘... zahvalnost mentorima i and the conversations with the mentors. During the following studentima na njihovoj golemoj velikodušnosti, viziji, spremnosti two days the participants became involved in committed work i sposobnosti zamišljanja novih mogućnosti. Prije godinu dana at the Faculty of Architecture (Friday 25th October-Sunday 27th ne bismo ni pomislili koliko se uopće može naučiti iz ovakvog October). The final presentations and conversations were held Voditelj Studija dizajna / dr. sc. Ksenija Vitale / associate professor iznimnog događaja. Godinu dana poslije, veoma sam sretan što at the Faculty of Architecture on Sunday 27th October 2013. Head of the School of Design sam se našao na samom raskrižju takvog događaja, zajedno s prof. Stipe Brčić / associate professor tako talentiranom grupom ljudi.’ The results of the workshop were presented on 12th December 2013 at the exhibition in the New York-based UNICEF Headqu- arters, in addition to the teleconference with the participation of the workshop mentors Ivana Fabrio and Mia Roth Čerina. The presentation of the workshop was held also in Požega-Slavonia County on 12th February 2014, and, in addition to the mentors, dekan / dean prof. Boris Koružnjak, M.A. Sc. Dean of the Faculty of Architecture, prof. mr. sc. Boris Koružnjak / MA delivered a speech.

Furthermore, the results of the workshop were presented in a journal which was published and presented at the beginning of 2014 and their significance was also pointed out in the introduction to the journal written by the acrhitect Carlos Vasqez, the supervisor of the workshop: ‘... gratitude to both the mentors and the students for their magnanimity, vision, preparedness and the aptitude of devising new opportunities. A year ago we would not have believed how much can be learnt from such an exceptional event. One year later I can express my utmost satisfaction to have participated in such an extraordinary event with such a talented group of people’

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Organizatori Organisers UNICEF UNICEF Sveučilište u Zagrebu Arhitektonski fakultet University of Zagreb Faculty of Architecture Sveučilište u Zagrebu Arhitektonski fakultet Studij dizajna University of Zagreb Faculty of Architecture School of Design

Partner Partner Sveučilište u Zagrebu Medicinski fakultet, University of Zagreb Škola narodnog zdravlja Andrija Štampar School of Public Health Zagreb School of Medicine

Supervizor radionice Workshop supervisor Carlos Vasquez, arhitekt Carlos Vasquez, architect Sekcija za obrazovanje UNICEF, Glavni ured Education Section UNICEF, Headquarters

Mentori radionice Workshop mentors Ivana Fabrio, docent. Arhitektonski fakultet, Studij dizajna Ivana Fabrio, Assistant Professor, Zlatko Kapetanović, prof. Arhitektonski fakultet, Studij dizajna Faculty of Architecture, School of Design Vanja Rister, docent. Arhitektonski fakultet Prof. Zlatko Kapetanović, Mia Roth-Čerina, docent. Arhitektonski fakultet Faculty of Architecture, School of Design Vanja Rister, Assistant Professor, Faculty of Architecture Mia Roth-Čerina, Assistant Professor, Faculty of Architecture

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9. kradu 9. kradu – kazališna revija – Theatre Review

kradu (Kazališna Revija Akademije Dramske Umjetnosti) je KRADU (Theatre review of the Academy of Dramatic Arts) is a bijenalna manifestacija nastala iz potrebe studenata Akademije biannual event that originated from the requirements of the da svoje radove pokažu i izvan redovnog obrazovnog procesa, students at the Academy to present their work beyond their široj kazališnoj javnosti. Ono što ulijeva život u dramski tekst regular educational process to broader theatre audiences. je interpretacija glumca. Pauzama, spuštanjem i povisivanjem The actors’ interpretations breathe life into the lines of a the- tonaliteta, dramski tekst na pozornici izlazi iz papira i umjesto atrical text. The script comes alive on the stage through the niza napisanih riječi postaje živim likom, a ponekad dobiva i pauses and higher or lower pitch tones and occasionally even sasvim drugo značenje. Vizualni identitet za deveti Kradu na- assumes a completely new meaning. The idea behind the visual stao je na ideji da se dramski tekst stavi u prvi plan; prikazati identity for the 9th KRADU was to highlight the script; to show zvuk dramskog teksta kako ga izgovara glumac na pozornici. the sounds of the script as it is being spoken by the actor on Naglašene interpunkcije na svim tekstovima pružaju moguć- stage. Emphasis through punctuation provides the opportunity nost slobodne interpretacije. Nastaje višeznačnost teksta kroz for diverse interpretations, resulting in polysemy of the text thro- jednostavnost vizuala. Tri Kradu u logotipu imaju tri različita ugh visual simplicity. Three Kradu review magazine logos imply značenje, postignuta minimalističkom intervencijom interpu- three different meanings, achieved by minimalist intervention nkcijskim znakovima, a za svaku predstavu napravljen je plakat through punctuation. Moreover, a poster has been created for usklađen s logom manifestacije. Tako se ne promovira se samo each theatrical performance matching the theme of the logo kazališna revija, već i svaki redatelj, glumac i sudionik svake for a specific event. Consequently, theatre review magazine, as predstave općenito. well as each stage director, actor and participant in general are being promoted simultaneously. Interpunkcija, kao nositelj vizualnog identiteta iskorištena je i u svrhu ‘gerilskog’ oglašavanja. Otisnute su naljepnice kojima Punctuation, conveying visual identity, is being used for the svatko može modificirati prostor koji ga okružuje, a u isto vri- purpose of guerilla advertising. Furthermore, stickers that can jeme informirati druge o nadolazećoj reviji. Programska knjižica be used by anyone to adapt the ambience, while simultaneously ključan je element vizualnog identiteta. Kako bi se uklopila s informing people of upcoming events. The programme booklet konceptom ‘velike predstave’ kojoj sudionici nisu samo glumci, is a crucial feature of visual identity. It has been presented as a već i gledatelji, osmišljena je kao scenarij koji obuhvaća sve do- script presenting all the events and providing guidelines for the gađaje na reviji, te daje upute posjetiocima gdje i što pogledati. visitors on where to go and what to pay attention to, as well as Promotivne torbe također djeluju u istoj namjeri: svaka nosi po aiming to adapt to the concept of a ‘big performance’ in which barbara bjeliš, ivana hrabar, tena kelemen mentori Stipe Brčić, Nenad Dogan, Ivan Doroghy, jedan citat, sukladan s plakatima, te tako onaj tko ju nosi dobiva participants comprise of both the actors and the audience. Pro- asistenti / assistants Luka Borčić, Romana Kajp, Tomislav Vlainić vlastiti ‘glas’ u predstavi. motional bags are also intended for the same purpose: each bag kradu vizualni identitet / kradu visual idenitity presenting a quote, matching the posters and hence the person carrying it gets their own ‘voice’ in the performance.

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alma šavar, anta bučević ovo je samo privremeno / this is only temporary

hrvoje dominko, zrinka horvat komšiluk naglavačke / neighbourhood upside-down

matija gulič gospoda glembajevi / messrs glembaj

ana somek, slavica farkaš ukroćena goropadnica / taming of the shrew

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iris klarić, mario jekić matea brkić, dora lugarić sva lica kim jong-una ni tu, ni tamo / all the faces of kim jong-un / neither here, nor there

katarina ratkaj dva pečena jaja. na oko. / two poached eggs lana grahek, tihomir filipec pa može se i tako reći / well, one could put it that way, too

tea pavić, martin peranović uže / rope

338 339 godišnjak studija dizajna 13. / 14. projekti school of design annual review 13 / 14 projects

Radionica ‘Mapping the city’ ‘Mapping the city’ Workshop – ‘dnk Zagreba’ – ‘dna Zagreb’

Na inicijativu dvojice nizozemskih dizajnera Christiana Degena Upon the initiative of two Dutch designers Christian Degen i Marca Andrewsa iz Andrewsdegen studija, Studij dizajna je and Marc Andrews from Andrews:degen studio, the School of organizirao četverodnevnu studentsku radionicu. Tema radio- Design organised a four-day student workshop. The topic of the nice je bio grad Zagreb i njegova okolica. Svaki student sudionik workshop was the City of Zagreb and its outskirts Each partici- radionice istraživao je grad iz različitih (osobnih) kuteva, tragao pant in the workshop explored the city from different (personal) za interesantnim pričama, kontrastima, problemima, mitovima, perspectives, searching for interesting stories, problems, myths, prošlošću, sadašnjošću, budućnošću, te na osnovu rezultata the past, the present, the future, and, based on the results of iztraživanja odabranim komunikacijskim sredstvima oblikovao the research, provided a commentary, a suggestion or a project svoj komentar, sugestiju ili projekt kao drugačiji oblik komuni- using a preferred method of communication and providing a kacije grada. different form of the communication of the city

Rad je organiziran u nekoliko faza – U prvoj fazi sudionici su The work was organised in several phases – the first phase: select morali pronaći temu od društvenog značaja za grad. Potaknuti a topic of social interest for the city. Encourage reflection on na razmišljanje o specifičnostima urbanih mikrosredina, o njiho- specific features of urban microenvironments, about their needs vim potrebama ili o tipovima ponašanja i stavovima stanovnika. or types of behaviour and the attitudes of citizens. Explore and Istražiti i definirati moguće probleme i naznačiti moguća rješenja. define potential problems and indicate possible solutions. Create Kreirati imidž i moguće kampanje ili intervencije u javnom pro- an image and possible campaigns or interventions in the public storu da bi ukazali i potakli na promjenu u ponašanju ili stavu space in order to encourage changes in behaviour or attitude obraćajući se specifičnoj ciljnoj skupini. Pokušati implementirati addressing a specific target group. Attempt to implement their svoj vizual/intervenciju u realnom životnom okruženju ili napra- visual/ intervention against the real life environment or make a viti skicu da bi prikazali kako bi to funkcioniralo u određenom sketch to show the functioning against a specific urban context. urbanom kontekstu. U drugoj fazi trebalo je istražiti odabrani the second phase: explore a selected city quarter, a broader so- kvart, širu društvenu zajednicu, ulicu, zgradu itd. Zatim definirati cial community, street, building, etc. Define the reasons behind razloge odabira, potencijale odabranog prostora, opasnosti, mo- the selection: the potential of the selected space, the dangers, gućnosti itd. Definirati moguće promijene, načine komuniciranja the opportunities, etc. Define the likely changes, methods of i poticanja promjena razgovorima i dokumentiranjem. Pokušati communication and of encouraging change through conversa- Sudionici s voditeljima radionice ‘Mapping the city’ (u zadnjem redu Christian Degen i Marc Andrews). pronaći rješenja u realnom životnom okruženju. U trećoj fazi je tion and documentation. Attempt to find a solution in the real ‘Mapping the city’ student workshop participants trebalo istražiti grad u širem kontekstu. Promišljati specifičnosti life environment. the third phase: Explore the city in the broader with workshop leaders Christian Degen i Marco grada Zagreba kroz njegove mikrocjeline, osobito u odnosu context. Consider the specific features of the City of Zagreb Andrews (back row). prema Europi i svijetu. Rezultati radionice predstavljeni su u through its micro units, primarily in the relationship towards formi časopisa (u tiskanoj i digitalnoj verziji). Europe and the world. The results of the workshop have been presented in the form of a magazine (both in the print and in the digital version).

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Časopis je prigodno nazvan ‘Kaj kava’ koji u nazivu objedinjuje Consequently, the magazine is entitled “Kaj kava” (What coffee specifičnu govornu poštapalicu i kultni pojam koji je dio sva- – in Zagreb jargon) which integrates a specific spoken prop- kodnevnog rituala a prezentira rezultate višednevnog rada su- word and the cult notion which is a part of a daily ritual. The dionika radionice prikazanih u formi skica, fotografija, ilustracija, magazine presents the results of a several-day-long work of prijedloga kampanja, dizajnerskih rješenja ili instalacija u pro- the workshop participants shown in the form of sketches, pho- storu. Naslovnica i ime časopisa rezultat su timskog rada svih tographs, illustrations, campaign proposals, design solutions or sudionika radionice. spatial installations. The cover and the name of the magazine are a result of teamwork of all the participants in the workshop. Svaki student je kreirao najmanje jedan spread časopisa (dvije stranice) u kojem je predstavio svoje razmišljanje o odabranom Each student created at least one spread of the magazine (two problemu i projekt mogućeg pristupa u rješenjavanju uočene i pages) in which they presented their stance on the selected odabrane teme. Radionica je održana u sklopu programa obi- problem and the project of a possible approach to solving the lježavanja obljetnice 25. godina Studija dizajna, a na radionici je identified and the selected topic. The workshop was held during sudjelovalo 13 studenata Studija dizajna: Ena Begčević, Martina the programme marking the 25th anniversary of the School of Sunek, Paula Šobat i Vita Vrebac, s prve godine, Dora Kasun, Otto design with participation of 13 School of Design students: Ena Kušec, Sara Pavleković Preiss, Gala Marija Vrbanić i Pavlek Borjan Begčević, Martina Sunek, Paula Šobat and Vita Vrebac, first s druge godine, Jana Obradović, s treće godine i Anta Bučević, year students, Dora Kasun, Otto Kušec, Sara Pavleković Preiss, Slavica Farkaš i Ana Somek s prve godine Diplomskog studija. Gala Marija Vrbanić and Pavlek Borjan – second year students, Jana Obradović, a third year student and Anta Bučević, Slavica Iskustva s ove radionice sudionici su okarakterizirali kao izuzetno Farkaš and Ana Somek first year students from the Undergra- poticajna koja bi trebala pomoći u koncipiranju budućih radionica duate Study. u programskom i tehničkom smislu kao i njihovog snažnijeg uklapanja u postojeći nastavni proces. Radionicu je dijelom The experiences acquired during this workshop will undoubted- financijski pomogla Ambasada Kraljevine Nizozemske a vodite- ly provide assistance in outlining the future workshops both ljima radionice smještaj je sponzorski omogućio Chillout Hostel. concerning the programme and the technical issues, as well as their stronger integration in the existing teaching process. This workshop was partly financed by the Embassy of the Kingdom of the Netherlands and the workshop leaders’ accommodation was provided through the sponsorship by the Chillout Hostel.

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Natječaj za znak A Tender for the Logo to mark 25th 25. obljetnice Studija dizajna Anniversary of the School of Design

Krajem siječnja 2014. organiziran je otvoreni studentski natječaj By the end of January of 2014 the School of Design organised za prijedlog idejnog rješenja znaka obljetnice 25. godina Studija a student tender for the proposal of the conceptual design of dizajna. Na natječaj je stiglo je 11 prijava a profesori i asistenti s the logo to mark the 25th anniversary of the School of Design. vizualnih komunikacija te studentski predstavnici, većinom su Professors and assistants at Visual Communications department glasova izabrali prijedlog Valentine Sunek i Paole Šobat za ko- of the Study of Design together with student representatives načnu realizaciju.Ono što ovaj izbor čini osobit je to što se radi unanimously selected the solution proposed by the first year o studenticama prve godine Preddiplomskog studija. Odabrani students Valentina Sunek and Paula Šobat amongst a dozen prijedlog karakterizira jednostavnost u pristupu, s minimalnim of submitted solutions. It is important to stress the fact that brojem elemenata koji ne narušavaju osnovnu strukturu znaka the selected solution was provided by first year students of the Studija dizajna, niti ne dominiraju nad njim, što u konačnici Undergraduate Study programme. The specific features of the umnogome olakšava primjenu u raznim medijima ali izvedbu u selected solution are simplicity and legibility with a minimum različitim tehnikama. number of features that do not alter the fundamental structure of the visual features of the existing symbol and the logo of valentina sunek, paula šobat the School of Design and they are not dominant over it, which znak ‘25. godina studija dizajna’ / logo ‘25th Anniversary eventually significantly facilitates its application in diverse media, of the School of Design’ as well as its creation using different techniques.

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Radionica ‘Ajd nacrtaj neš´ 1’ – u suradnji s nenad ocvirek franka tertinjak ana somek igepa plana papiri dvorac / castle cvrčak i mrav / the ant and the cricket matovilka / rapunzel Tvrtka IGEPA Plana papiri d.o.o. jedan od najznačajnijih domaćih distributera papira, organizirao je u suradnji sa Studijem dizajna studentsku radionicu čiji je cilj bio oblikovanje kalendara za 2014. godinu. Radionicu na kojoj je sudjelovalo desetak studenata vodila je asistentica Inja Kavurić Kireta na predmetu Ilustracija. Tema radionice bila je oblikovanje dvanaest autorskih listova kalendara, različitih likovnih senzibiliteta i pristupa, nastalih tijekom rada na spomenutoj radionici. Promocija kalendara održana je na Studiju dizajna kojoj su pored studenata sudionika radionice prisustvovali i predstavnici tvrtke IGEPA Plana papiri, te predstavnci profesora i asistenata.

Workshop ‘Let Draw Something´ 1’ – in Co-operation with igepa plana papiri The Company IGEPA Plana Papiri Ltd, one of the most prominent local paper distributors, organised in co-operation with the School of Design, a student workshop whose objective was the development of design for the Calendar for 2014. A dozen students participated at the workshop headed by Inja Kavurić Kireta on the subject of Illustrations. The topic of the workshop was the development of design of twelve pages of the calendar, of diverse visual arts sensitivity and approaches originated from the work during the workshop in question. The calendar promotion was held at the School of Design with participation of the representatives of the company IGEPA Plana Papiri, representatives of professors and students, as well as the participating students.

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Radionica ‘Ajd nacrtaj neš´ 2’ Alumni matea brkić znak ‘alumni studija dizajna’ – u suradnji s ‘Lega Lega’ Studija dizajna / logo ‘School of Design Alumni’ Nakon gostujućeg predavanja u studenome 2013. godine, pokre- 2014. godine, povodom obilježavanja 25. obljetnice svoga dje- nuta je radionica u suradnji sa Lega Lega. Bila je to vrlo intenzivna lovanja, Studij dizajna Arhitektonskog fakulteta Sveučilišta u radionica od mjesec dana u kojoj su studenti svih godina imali Zagrebu pokrenuo je inicijativu za osnivanje ALUMNI organizacije zadatak na vrlo osoban i neopterećen način iskazivali svoju kre- diplomiranih studenata Studija dizajna. Razlozi osnivanja ove ativnost. Cilj je bio potpuno slobodno, bez ograničenja u temi organizacije su uspostavljanje i održavanje veza između Studija ili tehnici, napraviti ilustracije u dobijene blokove. Blokovi su dizajna i njegovih nekadašnjih studenata. Neki od primarnih ci- potom izloženi u Lega Lega Shopu u Masarykovoj gdje su publika ljeva osnivanja ove organizacije su promocija i unapređenje dje- i stručni žiri glasali za najbolji. Izloženo je 28 blokova. Izložba latnosti Studija dizajna Arhitektonskog fakulteta kao institucije. Studija dizajna, kolegija ilustracije, pod vodstvom profesorice Poticanje istraživačkih, stručnih i praktičnih aktivnosti članova Inje Kavurić Kirete, je plod suradnje Lega Lega na projektu ‘Ajd ALUMNI SD-a, razvijanje suradnje između Studija dizajna i tvrtki, nacrtaj neš´ 2’. Studenti, njih 28, svih godina kolegija Ilustracije organizacija ili institucija u kojima danas rade nekadašnji stu- i Crtanja, su crtali u Lega-Lega crtaće blokove što god su po- denti, te uspostavljanje kontakata s ALUMNI klubovima srodnih željeli, u tehnici koju su odabrali, te na taj način pokazali svoju visokoškolskih ustanova u zemlji i inozemstvu. Uz punu svijest kreativnost i stil crtanja. Izložba u trajanju od mjesec dana se o složenosti uspostave takve organizacije, započet je proces održala u Lega Lega shopu za vrijeme koje se moglo glasati za stvaranja liste kontakata diplomiranih dizajnera. najboljeg ilustratora. Alumni of the ‘‘Let Draw Something´ 2’ Workshop School of Design – In Co-operation with ‘Lega Lega’ In 2014 the School of Design at the Faculty of Architecture of the Following a visiting lecture in November 2013, a workshop in University of Zagreb launched the initiative for the foundation co-operation with Lega Lega was launched. It was a highly of the Alumni Association to mark the 25th anniversary of its intensive one-month workshop in which students of all the operation. The idea behind the foundation of this association grades of the course had the assignment to express their cre- is establishing and maintaining connections between the Sc- ativity in a very personal and an unhindered way.The objective hool of Design and its Alumni. Some of the principal reasons was to provide illustrations within the blocks received through behind the foundation of this organization are promotion and entirely free and unhindered techniques or topics. The blocks enhancement of the activity of the School of Design at the were subsequently exhibited in Lega Lega Shop in Masarykova Faculty of Architecture as an institution. Moreover, it is aiming Street where the public and the professional adjudication panel to encourage research, professional and practical activities of voted for the best work. 28 blocks were exhibited. The exhibition Alumni Association members, develop co-operation between the provided by the School of Design, Illustration course, under the School of Design and businesses, organisations or institutions guidance of the professor Inja Kavurić Kireta, was the result of employing the School of Design Alumni, as well as to establish co-operation on the project ‘Come on, draw something 2 (Ajd contacts with Alumni clubs of the related higher education nacrtaj neš´ 2)’. 28 students from all the grades of the course institutions both in Croatia and globally. Hence, the process of entitled Illustration and Drawing, participated in the drawing creation of a contact list of our alumni was initiated, irrespective of lega-lega blocks, drawing anything they chose to, using any of full awareness of the complexity of the establishment of such preferred techniques in order to express their creativity and an organization. drawing style. A one-month-exhibition was held in lega lega shop and throughout the exhibition there was an opportunity to vote for the best illustrator.

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Drvene igračke Drvene igračke – Izložba u galeriji – Izložba u galeriji ‘Bernardo Bernardi’ Gradskog muzeja Sisak Drvene igračke, inspirirane tradicionalnim igračkama hrvatske Nastavno na prezentaciju u Zagrebu, izložba drvenih igračaka nematerijalne baštine, bile su sadržaj izložbe Studija dizajna u inspiriranih tradicionalnim igračkama hrvatske nematerijalne galeriji Bernardo Bernardi Pučkog otvorenog učilišta u Zagrebu baštine preselila se je u svibnju 2014. god. u galeriju Gradskog tijekom ožujka 2014. god. Osmišljene i izvedene od studenata muzeja u Sisak. Kako je program galerije sustavno obrađivanje 2. semestra, igračke su pokušale prezentiralti stavove i odgo- lokalnih tradicijskih vrijednosti kroz povijest, još ne tako dav- vore na uvijek aktualna pitanja odnosa prema tradiciji, baštini i no, jakog indusrtijskog i gospodarskog središta, predstavljanje identitetu. Time rješenja nisu samo puka dorada poznatih tradi- Studija dizajna ovom izložbom bio je zanimljiv kontrast kroz cijskih proizvoda, već su u duhu promicanja stvarnih vrijednosti pristup i reinterpretiranje ‘malih’ stvari u tehnološkom smislu, ali nematerijalne baštine, inovativna interpretacija suvremenih neprocijenjivih u stvaranju identiteta i suvremenog promaknuča oblikovnih i tehnoloških, ali i pedagoških pristupa.Izložba je sa nematerijalne baštine. velikim zanimanjem prihvaćena od posjetitelja, kako potencijalnih korisnika – djece, tako i odraslih, posebno onih iz kulture i pedagogije, a sve su iscrpno pratili i mediji. Wooden toys – Exhibition at the City Wooden toys Museum Sisak Gallery – Exhibition at the Following a presentation held in Zagreb, the wooden toys exhibition inspired by traditional toys in the Croatian intangible ‘Bernardo Bernardi’ gallery heritage moved in May 2014 to the City Museum Sisak Gallery. Wooden toys inspired by traditional toys of the Croatian in- Since the gallery programme comprises of systematic treatment tangible heritage, were presented at the exhibition organized of local traditional values throughout the history of what until by the School of Design at the Bernardo Bernardi gallery of recently was considered a strong industrial and economic centre, the Public Open University in Zagreb in March 2014. Designed the presentation of the School of Design with this exhibition and made by the students of the 2nd semester, the toys were provided an interesting contrast through the approach and intended to present the attitudes and the responses to funda- interpretation of ‘tiny’ items in the technological sense, yet in- mental issues such as attitude towards tradition, heritage and valuable in the creation of identity and contemporary promotion identity. Consequently, the solutions provided transcend the of immaterial heritage. mere improvement of traditional products, but they are intended to promote real values of intangible heritage, an innovative interpretation of contemporary design and technology, as well as pedagogy-oriented approaches. The exhibition arouse intense interest among the visitors, both among the potential users – children, and adults, primarily among those involved in culture and pedagogy. The exhibition received substantial media coverage.

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Događanja Events

U poglavlju ‘Događanja’ predstavljene su važnije aktivnosti The most significant extracurricular activities organized at the koje su se odvijale tijekom aktualne akademske godine a nisu School of Design during the past academic year are presented in usko povezane s redovnom nastavom na Studiju dizajna. Na- the ‘Events’ chapter. This sections shows record of major events stojalo se zabilježiti važnije događaje u kojima su sudjelovali that included participation of current students and professors, aktualni studenti i nastavnici, bilo da je riječ o promociji novih like the new graduates’ promotions, exhibitions, presentations diplomanata, o izložbama, promocijama ili nekim drugim stru- or other professional events. It is important to reach the wider kovnim manifestacijama. Predstavljanje značajnijih aktivnosti public through promotion of such events, as they reflect the široj javnosti važno je jer one izražavaju strukovnu mobilnost i professional flexibility of both students and professors. Such studenata i profesora. One imaju važnu ulogu i u neformalnom activities play key role in creating informal liaisons with other povezivanju Studija dizajna sa drugim strukovnim institucijama professional institutions and initiatives, which is indispensable i inicijativama što je također iznimno važno za napredak kulture for the development of the culture of design in this environment. dizajna na ovim prostorima. What needs to be pointed out is that such activities comple- Valja istaći kako se takvim aktivnostima nadopunjuje nastavni ment the curricular program and open students to possibilities program što studentima otvara mogućnost za usvajanje soci- of acquiring social skills necessary for their future professional jalnih vještina, važnih za buduću profesionalnu karijeru. careers.

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prvostupnici / promoted baccalaurates Bjeliš Barbara Bošnjak Elizabeta Goreta Matej Promocije Grčević Borna Aaron Habjan Klasja Promocija nove generacije diplomiranih dizajnera u 2014. godini Herceg Ana imala je za Studij dizajna posebno značenje. 2014. je godina u Hrabar Ivana Jandrić Maja kojoj je Studij dizajna bilježio 25 godina svoga djelovanja, što Kasač Paula je ovoj promociji dalo posebno mjesto u odnosu na sve pret- Kelemen Tena hodne.Promocija je održana 18. prosinca, u velikoj predavaonici Martinjak Vitomira Mrkša Laura Arhitektonskog fakulteta, pred brojnim bivšim i sadašnjim stu- Murgić Marinko dentima, rodbinom i prijateljima. Prisutnima su se u svečanoj Nakić-Vojnović Zita i emotivnoj atmosferi obratili dekan Arhitektonskog fakulteta Njegovanović Nataša Obradović Jana prof. mr. sc. Boris Koružnjak i voditelj Studija dizajna prof. Stipe Br- Perković Vanja čić. Promotor diplomanata bio je prof. mr. sc. Zlatko Kapetanović. Petruša Tamara Prša Josipa Šare Tihana Tintor Hana Graduation Ceremony Vavra Viktoria Lea The graduation ceremony of degree holders in design in 2014 Večerić Valentino Vujasić Ana was attributed particular importance for the School of Desi- Žic Lara gn. Namely, the School of Design marked its 25th anniversary in 2014, which highlighted the importance of this graduation magistri dizajna / promoted master’s degree holders ceremony in relation to all the previous years. The graduation Anić-Kaliger Marta ceremony was held on 18th December, in the large hall of the Armano Linta Ana Faculty of Architecture, before a large number of both current Bachrach-Krištofić Tessa Bilandžić Dora students and alumni, their parents and relatives, as well as Cvijetić Marko their friends. Against the backdrop of a dignified and emo- Draganja Vinka tional ambience, the attendees were addressed by the Dean Erceg Vedran Franić Andrea of the Faculty of Architecture, the professor Boris Koružnjak, Gerovac Ema M.Sc and the Head of the School of Design, the professor Stipe Hrastovec Marko Brčić. The promoter of the graduates was the professor Zlatko Jelaska Luka Jelaska Petra Kapetanović, M.Sc. Koletić Jurica Marinović Daria Milovčić Dina Mudnić Andrija Ružić Marija Sekulić Ana Sever Anamaria Tkalčec Željka Tretinjak Franka Ursić Ozana Vrbos Ivor Vukmanić Ivan Zorko Stjepan

dodiplomski studij – diplomirani dizajneri / promoted graduates Čular Iva Voditelj Studija dizajna / Dumić Balvan Martina Head of the School of Design Dupalo Jasmina prof. Stipe Brčić / associate professor Klobučar Ana Obranović Borna 354 Zalukar Hrvoje 355 godišnjak studija dizajna 13. / 14. događanja school of design annual review 13 / 14 events

Izložbe uz START UP Exhibitions accompanying konferenciju u Rijeci START UP Conference in Rijeka

Od 29. – 31.10. 2013. Grad Rijeka je u organizirao konferenciju From 29th to 31st October 2013 the City of Rijeka organised a na temu START UP za mlade dizajnere, na kojoj je sudjelovalo start up conference for young designers with participation of prof. Mladen Orešić i nekoliko diplomiranih dizajnera sa Stu- the professor Mladen Orešić and several School of Design gra- dija dizajna, a Studij se je uz učešće studenata kao slušatelja duates. Moreover, the School of Design was presented through prezentirao i izložbom studentskih radova selektiranih sa svih an exhibition of student work selected from all the semesters semestara. Nastup Studija je prezentirao edukativni proces dok of the study programme to student audience. The School of su bivši studenti prezentirali svoje profesionalne projekte koje su Design presented the educational process, while former students poduzetnički doveli do proizvodnje i komercijalizacije. Izložba je presented their professional projects on which they co-operated bila izložena dva tjedna u galeriji Kortil, a potom je premještena u with entrepreneurs and which subsequently resulted in producti- trgovački centar Tower gdje je trajala još mjesec dana. Uz veliku on and commercialisation. The exhibition was presented for two posječenost u galerijskom prostoru, pravi interes se pokazao u weeks at Kortil gallery and was subsequently moved to Tower trgovačkom okruženju gdje takvi projekti i proizvodi po prirodi Shopping Centre where it lasted for one more month. In addition stvari pripadaju. Uz to. cijela manifestacija je u konačnici urodila to great interest the exhibition arouse at the gallery premises, dodijelom besplatne START UP edukacije za dvoje studenata Stu- the exhibition arouse immense interest at the shopping centre dija dizajna koji dolaze iz Rijeke, a razmjena iskustva i pogleda na which is the appropriate setting for such projects and products. implementaciju dizajna u gospodarstvo pokazati će se korisnim Moreover, the entire event finally resulted in awarding free u sljedećim najavljenim akcijama. start up scholarships for two students of the School of Design coming from Rijeka, whereas the exchange of experiences and Iz uvodnika kataloga konferencije – ‘Neke dobre stvari događaju attitudes on implementation of design in economy will prove se provođenjem pametnih strategija, neke sasvim slučajno, a ova effective in the following activities announced. izložba je rezultat susreta nekoliko promišljenih nastojanja kako se aktivno uključiti u odgovorno i nezavisno osiguranje kvalitete Catalogue editorial – ‘Several good things result from imple- osobnog života pa kroz to i zajednice. Spontano su se prepoznali mentation of smart strategies, some occur accidentally and inicijativa poticanja mladih za poduzetništvom, praksa edukacije this exhibition is the result of combination of several carefully kreativnosti usmjerena na senzibilitet za društveni, gospodarski planned efforts on how to become actively involved in res- i kulturološki trenutak i iskustvo individualnog snalaženja u ponsible and independent personal life and improvement of its okruženju neprepoznatljive perspektive. quality and consequently also in community life. The initiative to encourage youth to venture into entrepreneurship, practice Grad Rijeka sa izraženom brigom za razvoj i edukaciju mladih dao of creative education focused on sensibility to social, economic je inicijativu, a Studij dizajna sa praksom educiranja studenata u and cultural issues, as well as experience of individuals acting suradnji sa gospodarskim i društvenim subjektima to je prihvatio within the environment of unrecognisable perspective have kao i dizajneri profesionalci koji su iskusili probleme uvođenja been identified spontaneously. proizvoda na tržište. Izložba tako, uz Konferenciju START UP kojoj se pridružuje, ima izvrstan spoj informiranja, usmjeravanja The City of Rijeka with its extreme care for youth education and i motiviranja mladih ljudi na pragu profesionalnog života. development launched the initiative, while the School of Design, due to its practices in student education in co-operation with Izložbu čine tri cjeline podijeljene na studentske projekte (Studij economic and social entities, accepted the initiative, as well dizajna / Nove nade), potencijalne proizvode (START UP / Pogon as professional designers who have experienced the problems novih ideja) i proizvode za koje su dizajneri sami organizirali encountered upon product launch. Consequently, the exhibition, proizvodnju i distribuciju (3u1 / Dizajner – Poduzetnik). as well as the start up Conference, both provide an excellent combination of informing, directing and motivating young people who are preparing to commence their professional lives. 356 357 godišnjak studija dizajna 13. / 14. događanja / Izložbe uz START UP konferenciju u Rijeci school of design annual review 13 / 14 events / Exhibitions accompanying START UP Conference in Rijeka

Selekcija nema namjeru postavljati kvalitativne standarde već The exhibition comprises of three units divided into student joj je svrha prezentirati potencijale kreativnog promišljanja na projects (School of Design / New potential), potential products raznim nivoima edukacije i rezultate te edukacije u profesional- (start up / Production of new ideas) and products for which the nom radu. Čini se da svi izloženi proizvodi, kako oni studenata designers organised production and distribution by themselves prve godine Studija, kao i oni studenata Diplomskog studija (3IN1 / Designer-entrepreneur). The selection is not intended to dizajna mogu biti uz bok prikazanim realiziranim proizvodima set quality standards, as it aims to present the potential of cre- završenih dizajnera koje inaće možemo vidjeti na policama ative thinking at diverse educational levels, as well as the results prestižnih trgovina pa i onog globalno prisutnog. Ono što im je of this specific education achieved in professional work. All the zajedničko, nastali su slijedom istog intelektualno-kreativnog exhibited products appear to keep abreast with the presented procesa kojeg zovemo dizajn, a ono što ih čini izuzetnim je da products that were implemented by professional designers and uz originalnost i inovativnost donose i smisao koji ih određuje can normally be found on the shelves of prestigious stores, as well u odnosu na kontekst nastajanja. as with those present on the global market. Nevertheless, they all have one thing in common – they were created through the Taj proces, specifične metode, znanja i vještine stjecane kroz same intellectual and creative process called design. Moreover, Studij dizajna dale su plodnu podlogu za osobnu nadogradnju what makes them extraordinary is that, in addition to originality koju u ovom slučaju nudi Grad Rijeka i nadamo se da će to biti in- and innovativeness, they convey a specific meaning that defines spiracija mnogim koji još nisu usmjerili svoj život, a kandidatima them in relation to the context against which they were created. Start up edukacije otvoriti mogućnosti uspješnog poduzetničkog djelovanja. Razmjena praktičnih i teoretskih iskustava koristiti The process, the specific methods, the knowledge and the skills će i organizatorima i sudionicima kao i gostima, a nadam se acquired throughout the School of Design study programmes da će ova izložba posebno potaknuti zanimanje proizvodnih i provided a fertile background for personal development that was trgovačkih gospodarstvenika na suradnju sa dizajnerima. Naime, in this case provided by the City of Rijeka and we are hoping it will pozitivna iskustva sa firmama i obrtnicima koji su sudjelovali u all inspire people who have not yet decided on a direction to take nastanku nekih rješenja svjedoče o prijeko potrebnom uspo- in their lives. Moreover, it will present an opportunity for Start-up stavljanju razumijevanja i povjerenja što je presudno za efika- education candidates to venture into a successful business activity. san, kontinuiran i održiv razvoj. Zahvaljujem se Gradu Rijeci na Exchange of both practical and theoretical experiences will be mogućnosti prezentiranja radova studenata Studija dizajna kao beneficial for organisers, participants and visitors and I hope this i njihovih starijih kolega profesionalaca s uvjerenjem da smo exhibition will primarily arouse interest among entrepreneurs in- sudionici građenja nove perspektive za dizajn, gospodarstvo, volved in manufacturing and trade in co-operation with designers. društvo. Također se zahvaljujem firmama i obrtnicima sa kojima Positive experiences with businesses and artisans participating in smo surađivali na izradi studentskih projekata kao i kolegici the creation of several solutions presented at the exhibition point Svjetlani Despot na organizaciji i postavu izložbe.’ out the requirement to establish confidence and deepen understanding, as these are imperative for effective, permanent and sustainable development. I would hereby like to express my gratitude to the City of Rijeka for providing an opportunity to present the work of the students at the School of Design, as well as their more experienced colleagues who are already professionals. I believe we are witnessing the creation of new prospects for design, as well as for economy and society. I would also like to thank the businesses and artisans we co-operated with during the implementation of students’ projects, as well as the colleague Svjetlana Despot for the organisation and the display of the exhibition.’ 358 359 godišnjak studija dizajna 13. / 14. događanja school of design annual review 13 / 14 events

Gostujuća predavanja na Studiju dizajna Tijekom akademske godine 2013. / 2014., na Studiju dizajna CANGRY CANKAYA LEGA LEGA NARCISA VUKOJEVIć I LANA CAVAR održano je čak petnaest vanrednih predavanja gostujućih pre- – DESIGNER ON THE ROAD – A BICYCLE, A GORILLA, A MUFFIN, – Iskopavanja ‘Hello I’m Cagri Cankaya, a designer on the road. AN OWL AND A BUDDHA Projekt Iskopavanja, započet prije tri godine, bavi davača, ne računajući zasebni izvanredni edukativni program This is my latest project and it’s about a world trip Against the backdrop of the philosophy of design se pretraživanjem, prevrednovanjem i tumačenjem Migranti u Europi, čime je ovakav tip izvannastavnih aktivnosti without money. I want to compete it only with of always innovative, sincere and above all useful djela iz povijesti hrvatskog dizajna u vremenskom napokon postao uobičajena praksa na studiju. Predavanja su power of design. To achive this goal I have left my products, Lega Lega has been spreading its positive razdoblju od 1950. do 1990. godine. Prvo izdanje, current job. Travelling the world with the aim of energy for seven years, expanding its circle of friends Sudi knjigu po koricama, tematiziralo je naslovne zajedničkim snagama organizirali studenti i predavački kadar; participating in many design projects will give a and colleagues (playing with words: the Croatian stranice knjiga izdanih od hrvatskih nakladnika. a teme su se kretale u rasponu od praktičnih pitanja rješavanja unique opportunity to give the real living example word kolega – lega: colleague), happy blog users, Drugo izdanje, Znakovi proizvodnje – proizvodnja dizajnerskih i umjetničkih problema, kao i planiranja buduće for the young designers. I want to show that a as well as users of planners, those who opted for znakova, tematizira vizualna identitetska obilježja, talented designer can earn on his living by his great T-shirts, posters, bags, pads and the funny pant zaštitne znakove uglavnom proizvodnih poslovnih karijere i opstanka u struci, preko zanimljivih tehničkih aspekata design skills and it is the core of my project. I need leg cuffs for cyclists. Why they are fond of bicycles, subjekata koji su djelovali na području Hrvatske u produkcije dizajnerskih rješenja, pa sve do širih humanističkih the helps of all designers and design offices for this retro styles and manuscript typography, how they zadanom razdoblju. Riječ je o izboru više od tisuću sagledavanja društvene uloge dizajnera i dizajnerica sada i ovdje. journey. My professional skills allow me to work with create illustrations and why they have quoted naslovnica knjiga – artefakata i oko dvije stotine different companies, involved in illustrations, graphic primarily Frank Zappa and Buddha were the issues zaštitnih znakova rekonstruiranih prema izvornim Predavanja su redovito bila popraćena naročitim zanimanjem design, games software development, marketing we managed to find out upon socialising with these predlošcima pronađenima u različitim arhivskim ne samo studenata i profesora, već i posjetitelja namjernika, a agencies, graphic studios, different magazines and young lecturers, some of whom originated from the materijalima. Osim oblikovne / estetske komponente, gotovo je svako predavanje popraćeno plakatima u koheren- journals, advertising agencies, etc. I’m open for any School of Design. možda se značajnijim čini pokušaj kontekstualizacije job about design on my way.’ izabranog vizualnog materijala prema povijesnom tnom identitetskom ključu, koje su, naravno, dizajnirali studenti. VLATKO čERIć vremenu i prostoru i pronalaženja eventualnih CANGRY CANKAYA – ALGORITMI U VIZUALNIM UMJETNOSTIMA intertekstualnih veza sa suvremenom praksom – DESIGNER ON THE ROAD Ovo zanimljivo predavanje prikazalo je metodu hrvatskog dizajna. Visiting Lecturers at the ‘Hello I’m Cagri Cankaya, a designer on the road. programibilnog stvaranja slika i animacija luka recher This is my latest project and it’s about a world trip (algoritamska umjetnost). U uvodu se ukratko NARCISA VUKOJEVIć AND LANA CAVAR School of Design dizajn plakata / poster design without money. I want to complete it only with the osvrnulo na značaj i jedinstvene mogućnosti softvera – Excavations power of design. To achieve this goal I have left u funkcioniranju suvremenog društva. Prikazane se The project entitled Excavations was launched The academic year 2013 / 2014 saw a series of fifteen lectures my current job. Travelling the world with the aim značajke algoritamske umjetnosti, primjeri radova three years ago and it deals with the overview, held by visiting lecturers, in addition to extracurricular educa- of participating in many design projects will give a poznatih umjetnika u tom području te primjer reassessment and interpretation of works unique opportunity to give the real living example for razvoja jedne teme / tehnike rada te njenih vizualnih throughout the history of Croatian design during tional programme entitled Migrants in Europe which establi- the young designers. I want to show that a talented rezultata. Komentirana je kompleksnost algoritama i the period ranging from 1950 to 1990. The first shed this type of extracurricular programme at the School of designer can earn his living by his great design skills slika te estetika slike. Mogućnosti programskih jezika issue, ‘Don’t Judge a Book by its Cover’, addressed Design. The lectures were organised jointly by the lecturers and and it is the core of my project. I need the help of u stvaranju umjetničkih i dizajnerskih radova prikazali the issue of the covers of books published by all designers and design offices for this journey. My su se na primjeru open source softvera Processing Croatian publishers. The second issue, ‘Signs of the students and the topics covered comprised of practical professional skills allow me to work with different razvijenog na Media Lab-u na Massachussets production – production of signs’, deals with the issues, tackling of designer and art-related problems, ranging companies, involved in illustration, graphic design, Institute of Technology (MIT). topic of visual identity features and trademarks from planning and professional survival, through vital technical games software development, marketing agencies, primarily of business entities involved in graphic studios, different magazines and journals, VLATKO čERIć manufacturing that operated in Croatia during a aspects in the production of designer solutions to broader hu- advertising agencies, etc. I’m open for any job about – ALGORITHMS IN VISUAL ARTS particular period of time, comprising of a selection of manistic stances on designer roles in the contemporary world. design on my way.’ This interesting lecture presented the method of over one thousand book covers – artefacts, as well The lectures arouse substantial interest amongst the students, programmable creation of images and animations as around two hundred trademarks reconstructed LEGA LEGA (algorithmic art). The introduction provided a based on the original templates found in diverse the professors and the remaining audience and nearly each – BICIKL, GORILA, MUFFIN, SOVA I BUDDHA brief overview of the importance and the unique archival materials. In addition to a design / aesthetic lecture was accompanied by a poster designed by students in Vodeći se filozofijom oblikovanja uvijek svježih, opportunities of software for the functioning features, the attempt at contextualisation of the a coherent identity key. iskrenih i nadasve korisnih proizvoda Lega Lega već of the contemporary society. Specific features selected visual material against the backdrop sedam godina širi svoju pozitivnu energiju stvarajući of algorithmic art have been presented, as well of historical and spatial setting, as well as the time sve širi krug prijatelja, kolega, lega, sretnih as examples of works of acclaimed artists in this identification of potential intertextual connections korisnika blokova, rokovnika, majica, plakata, vrećica, field, as well as an example of development of a with the contemporary practices in Croatian design podložaka i onih smiješnih biciklističkih držača za topic / work method and its visual results. Moreover, appear to have a significant role. nogavice. Zašto vole bicikle, retro stilove i rukopisnu the complexity of algorithms, images and image tipografiju, kako kreiraju ilustracije te zašto su citirali aesthetics have been commented on. Opportunities baš Franka Zappu i Buddhu doznali smo na druženju of the programming languages in the creation sa ovim mladim predavačima, od kojih su neki of artistic and design work were presented using proizašli upravo sa Studija dizajna. the example of open source software Processing developed in Media Lab at Massachusetts Institute of Technology (MIT).

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IVAN ANTUNOVIć MIHO KAROLY SANDRA USKOKOVIć MIROSLAV HUZJAK MARKO PRPIć ZETS – Samoizdavanje – Priprema i tisak: – URBOGLIFI: urbane figure memorije – Patterns in drawing – Zetsologija Samoizdavanje naziv je predavanja u sklopu kojeg tehničko tehnološki elementi Razumijevanje, pravilno iščitavanje, nezavisno Patterns, clichés or stereotypes are normally used Njegov nakit od lanaca za bicikle upao je u oči autor predstavlja odabir radova nastalih u samizdat U dizajnerskom procesu faza realizacije projekta razvijanje i njegovanje kulture vrednovanja to refer to expression deprived of originality or prije nekoliko godina, a zatim su usljedile majice s domeni, na relaciji dizajner – glazbenik. Uz osvrt na jednako je važna kao i faza kreativnog projektiranja. urboglifa kao materijalnih svjedočanstava individuality of the author using it and opting for ilustracijama neobičnih zečeva, flatty project i avatari, vizualni odabir pilot-izdanja kao i onih realiziranih u Naučiti pravilno pripremiti dizajnerski projekt doprinosi razumijevanju, osvještavanju i očuvanju a reckless and unlived system of communication upečatljivi logo, da bi se sve zaokružilo kolektivom razdoblju od 1998 do 2014, Ivan je kazao i riječ-dvije podrazumijeva poznavati niz tehničkih specijalnosti nematerijalne baštine, kulture življenja, odnosno through signs. Opting for a pattern liberates its koji udružuje, podržava i promovira autore raznih o svojim uzorima, čiji primjeri oblikovnog djelovanja što je bila tema ovog predavanja. Bilo je riječi o urbane memorije kao cjeline, a time ujedno i user from the effort of deliberation and thinking. umjetničkih profila. Kako Marko Prpić Zets usklađuje do danas ostaju za njega nepresušan izvor inspiracije. sustavima boja, definiranjima i provjeri ispravnosti prepoznavanju, vrednovanju, i razvitku nematerijalne It is conformism which separates us from our sve svoje interese i izričaje kao grafiter, ilustrator i otiska; o ISO standardima te o ispravnom baštine grada i njegovog integralnog identiteta. own real personality and immerses us into a calm modni dizajner, kako kao art direktor u reklamnoj IVAN ANTUNOVIć postavljanju parametara separacije u Adobe paketu, Urboglifi jesu komunikativni protoci ili fluksi (Gilles stagnant water of mediocrity. Patterns are created agenciji i jedan od voditelja Boonike povezuje to – Self-publishing te o suradnji dizajnera sa proizvođačima ambalaže, Deleuze i Felix Guattari), a njihovo otvaranje jest at the earliest age (around the age of 3 or 4) when iskustvo sa kreativnim tržištem te koji su mu daljnji Self-publishing is the title of the lecture during nacrtima i tehnologijama pakiranja. Drugi dio logika koja djeluje u današnjem urbanom prostoru tj. the child is provided information such as ‘this is the planovi i želje doznali smo na zajedničkom druženju which the author presented a selection of work predavanja bio je posvećen vrstama tiska ambalaže logika dijaloga, nužna za produkciju urbanosti. way to draw.’ by an insufficiently educated parent. dan prije Sudnjeg Dana. created in the domain of self-publishing, between te doradnim tehnikama tiska. Tijekom predavanja bili Patterns in drawing per se are not dangerous, the designer and the musician. In addition to a su prikazani probni otisci i njihovi gotovi primjeri. SANDRA USKOKOVIć but they impregnate a person to accept a MARKO PRPIć ZETS visual overview of pilot editions, as well as those – URBAN GLYPHS: urban figures of memory stereotypic behaviour. – Zetsology created during the period ranging from 1998 to MIHO KAROLY Understanding, correct reading through, independent His ornaments made from bicycle chains caught 2014, Ivan said a few words about his role models – Print preparation: development and enhancement of the evaluation 10. KORALJKA VLAJO attention several years ago and were followed by whose design work he considers as an inexhaustible technical and technological features culture of urban glyphs as material evidence which – Proizvod kao povod T-shirts with illustrations of unusual rabbits, flatty source of inspiration to date. The phase of project implementation is equally contributes to the deepening of understanding, U sklopu predavanja autorica je predstavila tri project and avatars, an impressive logo to finalise important as the phase of creative design raining of the awareness and intangible heritage projekta istraživanja povijesti domaćeg dizajna. it all by a collective that brings together, supports MAJA MESIć throughout the design process The correct protection, the living culture, or urban memory Riječ je o izložbama koje se fokusiraju na (nekad) and promotes authors of diverse artistic profiles. We – Poduzetništvo u dizajnu preparation of a design project implies the insight as a whole, and simultaneously recognition, velike hrvatske tvornice – Jugokeramiku, Rade aimed to find out in what way Kako Marko Prpić Zets Boya bojice su proizvod koji malo više od godinu dana into a vast array of specific technical features and evaluation and development of intangible heritage Končar i Nevu. Povijest domaćeg dizajna uglavnom synchronises all his interests and his expression as a egzistira na domaćem, ali i stranom tržištu. Kako od that was the principal topic of this lecture. The of a city and its integral identity. Urban glyphs are je neistražena i svaka od ovih izložbi otkrila je niz graffiti creator, illustrator and a fashion designer, as ideje stvoriti poduzetničku viziju i proizvod koji je lecture addressed the issues of the system of colours, communicational flows or fluxes (Gilles Deleuze and novih dizajnerskih imena i proizvoda. Međutim, art director in an advertising agency and one of the održiv, te kroz koje sve procese na putu realizacije the definitions and the verification of faultlessness Felix Guattari) and their opening shows the logic in tvrtke i proizvodi povod su i za dodatna slojevita managers of Boonika brings together this experience proizvoda ova mlada poduzetnica, naša bivša of print; ISO standards and the proper setting of the current urban space i.e. the logic of dialogues, istraživanja metoda prizvodnje, društvenopoltičkih with the creative market and about his future plans studentica prošla, bila je glavna tema ovog predavanja. parameters for separation in Adobe package, as indispensable for the production of urbanity. odnosa, rodnog pitanja u industrijskoj proizvodnji, i during our socialising on a day before Doomsday. well as of co-operation among designers and koječega drugoga. MAJA MESIć packaging producers, and those involved in drafts MIROSLAV HUZJAK – Entrepreneurship in design and packaging technologies. The second part of the – šablone u crtežu KORALJKA VLAJO Boya colours are a product that has been on both lecture was dedicated to types of packaging print Šablonama, klišejima ili stereotipovima nazivamo – Product as an Incentive the domestic and the global market for slightly and finishing print techniques. Both the trial print izričaj koji nema originalnost niti individualnost The lecture included a presentation of three projects more than a year. How to transform an idea into and the final print were presented during the lecture. autora koji ga koristi, već upotrebljava nepromišljen of research in the field of history of domestic design an entrepreneurial vision and a sustainable product, i neproživljen sustav znakovne komunikacije. through exhibitions focusing on (formerly) large and the processes during the implementation of a Posezanje za šablonom oslobađa njenog korisnika Croatian factories – Jugokeramika, Rade Končar product followed by this former student of School of napora za razmišljanjem. To je konformizam koji nas and Neva. History of domestic design is primarily design were the principal topics of this lecture. odvaja od vlastite prave osobnosti i uranja u mirnu unexplored and each of the exhibitions revealed a stajaćicu prosječnosti. Šablone nastaju u najranijoj large number of new designer names and products. dobi (već oko 3-4 godine) kada dijete uz nedovoljno Nevertheless, the companies and the products are educiranogodgojitelja ili roditelja dobiva informacije an incentive for additional multi-faceted research of ‘ovako se crta’ Šablona u crtežu nije opasna sama po the methods of production, socio-political sebi, ali ona impregnira osobu da prihvati i šablonski način ponašanja.

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MARKO PAVLOVIć NIKA GRABAR Nik Orosi – Od studentskog zadatka do – KONTRADIKCIJE I IZVOđENJA – NO LOGO / JUST TASTE: globalnog proizvoda Predavanje se bavilo pitanjem materijalne kulture, Management for dreams! Predavanje je obuhvatilo rad na njegovim fetišizma objekata i masovne proizvodnje na The lecture is a brief description of activity, from najpoznatijim radovima, igračkama Oblo™ Spheres području dizajna i arhitekture u kontekstu tranzicije a dream to the challenges of reality, from big i Logiq Tower™. Marko započinje rad na igrački kroz interpretaciju slovenskog omladinskog filma commercial brands to the establishment of a system Oblo 2007. na prvoj godini Studija dizajna po Sreća na uzici iz godine 1977. Kakav svijet je krojilo for the creation of one’s own brand, from design to mentorstvom prof. Mladena Orešića. Studentski društvo tada u kontekstu jednog ljubljanskog kvarta? redesign. The process of learning is being followed zadatak je zahvaljujući brojnim nagradama i U tom kvartu danas ne možemo govoriti o istom through one’s own mistakes during work and their publikacijama 2010. privukao investitora i postao zajedničkom prostoru. Međutim, možemo govoriti o correction, followed by identification of shortcomings globalni proizvod.Marko Pavlović se u predavanju modernizaciji i o odnosu prema potrošačkoj kulturi on the market and in the work of ‘big’ companies and osvrnuo na put od ideje preko koncepta do gotovog u kontekstu traženja održivog načna razvoja i novih finally finding one’s own place in the Sun (as there is (globalnog) proizvoda; načina rada, promociju oblika djelovanja. always room for quality). Challenges of the modern idejnog rješenja, zaštitu proizvoda, pregovaranje world and advertising were described, as well as s investitorom i licenciranje. Podijelio je s nama NIKA GRABAR testing of a completely guerrilla method of work. svoja iskustva o razvoju proizvoda, izazovima i – CONTRADICTIONS AND PERFORMANCES očekivanjima, kao i o poslovnim rezultatima. The lecture addressed the issue of material culture, ANA žAJA PETRAK commodity fetishism and mass production in the – RUžMARIN ZA KAMPRADA MARKO PAVLOVIć area of design and architecture against the backdrop Izazvati pažnju, pobuditi emocije i stvoriti snažnu – From a Student Assignment of transition through interpretation of the Slovenian vezu sa gledateljem poseban je izazov, a kada se to a Global Product youth film Luck on a leash dating back to 1977. What pritom potiču svi osjeti doživljaj može postati The lecture included his work on his best known kind of world was created by society at the time nezaboravno iskustvo. Kako je povezala ljubav prema work: toys Oblo™ Spheres and Logiq Tower™. in the context of a city quarter of Ljubljana? It is uživanju u delicijama i ilustraciju, kako je svijet postao Marko commenced his work on the toy Oblo 2007 impossible to talk about common area in this quarter njezino igralište te kako su se u društvu ljubitelja during his first year at the School of Design under today. Nevertheless, we can talk about modernisation fine hrane i kapljice našli Ingvar Kamprad, Jamie the mentorship of the professor Mladen Orešić. and the relationship with consumer culture against Oliver i chef lanca Carluccio’s restorana doznali smo Due to many awards and publications, in 2010 his the backdrop of search for a sustainable method of u druženju sa dizajnericom i ilustratoricom Anom student’s assignment caught the attention of an development and new types of activity. Žajom Petrak, koja je proizašla sa Studija dizajna. investor and became a global product. During his lecture Marko Pavlović elaborated on the path Nik Orosi aNA žAJA PETRAK from an idea through a concept and finally leading – NO LOGO / JUST TASTE: Menadžment za snove – ROSEMARY FOR KAMPRAD to the final (global) product; the method of work, Predavanje je kratak opis djelovanja, od sna do Catching attention, emotional awakening and conceptual design promotion, product protection, izazova stvarnosti, od velikih komercijalnih brendova creation of a strong bond with the viewer is a negotiation with the investor and licensing. do uspostavljanja sustava za stvaranje svoga brenda, special challenge and, in addition to simultaneously He shared with us his experiences on project od dizajna do redizajna. Prati se proces učenja kroz inciting all the senses, can become an unforgettable development, challenges and expectations, as well osobne greške u radu i injihovo spravljanje, potom experience. During our socialising with the designer as on business results. uočavanje manjkavosti na tržištu i u radu ‘velikih’ and illustrator Ana Žaja Petrak, a former student at tvrtki te naposljetku pronalazak ‘mjesta pod suncem’ the School of Design, we found out how she brought (jer za kvalitetu uvijek ima mjesta). Opisuju se izazovi together her fondness of enjoyment in delicacies and modernoga svijeta i oglašavanja te isprobavanja illustration, how the world became her playground potpuno ‘gerilskoga’ načina rada. and how Ingvar Kamprad, Jamie Oliver and Carluccio’s restaurant chain found their way into a company of enthusiasts of good food and drink.

Marko Pavlović

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Dan D 2014. Day D 2014 – Dizajn na rubu – Design and Beyond

Na izložbi organiziranoj u okviru ove manifestacije, predstavilo A large number of students of the School of Design brought to- se pored mladih dizajnera iz Makedonije, Slovenije, Srbije, Bosne i gether in several different groups, in addition to young designers Hercegovine i veliki broj studenata Studija dizajna organiziranih u from Macedonia, Slovenia, Serbia, Bosnia and Herzegovina, were nekoliko različitih grupa. Svoje projekte nastale izvan nastavnog presented at the exhibition organised during this event. Their programa predstavile su grupa BOKTE / Anta Bučević, Tea Pavić, projects created outside of the curriculum were presented by the Martin Peranović, Alma Šavar, grupa ELEMENTI / Grgo Petrov, group BOKTE / Anta Bučević, Tea Pavić, Martin Peranović, Alma Maja Patafta, Lea Vavra, Maja Jandrić, Ana Toth, Slavica Farkaš, Šavar, group ELEMENTI / Grgo Petrov, Maja Patafta, Lea Vavra, Vanessa Šerka, Stjepan Lučevnjak, Katarina Ištef, Teo Drempetić Maja Jandrić, Ana Toth; Slavica Farkaš, Vanessa Šerka, Stjepan Čonkić, Irena Bastijanić, Marta Haraminčić. Na izložbi su takodjer Lučevnjak, Katarina Ištef; Teo Drempetić Čonkić, Irena Bastijanić, sudjelovale grupe NJI3 / Tessa Bachrach Krištofić, Dina Milovčić Marta Haraminčić. Also the following groups participated at the i Franka Tretinjak, PUCE / Petra Jelaska, Ema Gerovac, Ozana exhibition: NJI3 / Tessa Bachrach Krištofić, Dina Milovčić and Ursić, te grupa vk 2011 / Zita Nakić Vojnović, Barbara Bjeliš, Franka Teretinjak, PUCE / Petra Jelaska, Ema Gerovac, Ozana Klasja Habjan, Ivana Hrabar, Tena Kelemen, Rebecca Mesarić, Ursić and the group vk 2011 / Zita Nakić Vojnović, Barbara Bjeliš, Jana Obradović,Josipa Prša, Donat Radas, Hana Tintor, Matej Klasja Habjan, Ivana Hrabar, Tena Kelemen, Rebecca Mesarić, Vučković, Ana Vujasić, Lara Žic, Dominik Markušić. Jana Obradović, Josipa Prša, Donat Radas, Hana Tintor, Matej Vučković, Ana Vujasić, Lara Žic and Dominik Markušić. Druga nagrada dodijeljena je projektu grupe BOKTE koji je žiri prepoznao kao otvorenu i inkluzivnu platformu, koja poziva ljude The project by the group BOKTE received the second award. It da se pridruže i sudjeluju u njegovom razvoju i uređivanju. Rad was identified by the judging panel as an open and inclusive se odvijao u stvarnom vremenu, pred publikom, pa tako i pred platform which invites people to join and participate in its deve- samim žirijem koji ga je mogao slobodno i neposredno iskusiti. lopment and enhancement. The work was performed during the time of leisure, before an audience and before the judging panel U programu Dana D, svojim su predavanjima sudjelovali i na- who was given the opportunity to inspect it freely and directly. stavnici Studija dizajna: Ivana Fabrio s temom Prostori učenja u tranziciji i Mladen Orešić s temom Dizajner i obrtnik. Na The professors at the School of Design – Ivana Fabrio covering okruglom stolu Vizualna pismenost u redovnom obrazovanju, the topic Learning potential in transition and Mladen Orešić with pored ostalih sudionika sudjelovali su i nastavnici Studija dizajna, Designer and Craftsperson – participated in the Day D program- Ivana Fabrio, Mladen Orešić i Feđa Vukić. Nekoliko studenata me delivering their lectures. In addition to other participants, the Studija dizajna, sudjelovalo je i na različitim radionicama orga- professors at the School of Design – Ivana Fabrio, Mladen Orešić niziranima u okviru programa Dana D. and Feđa Vukić also participated in the roundtable discussion entitled Visual literacy in regular education. Several students of the School of Design participated in diverse workshops organised within the Day D programme.

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Tjedan dizajna Design Week

Tjedan dizajna je nova manifestacija sa konceptom okupljanja, Design week is a new event and the idea behind it is to bring povezivanja i prezentiranja kreativnih snaga u području indu- together, connect and present the creative potential in the area strijskog i produkt dizajna, održana u Zagrebu, 23. – 27. travnja of industrial and product design. It was held in Zagreb, from 2014., u galeriji Lauba. Nastala je putem programske participacije 23rd to 27th April 2014 in Lauba gallery. It originated through a niza organizacija, tvrtki i inicijativa što uključuje i sudjelovanje participation of a vast array of organisations, companies and Studija dizajna sa izložbom studentskih radova i predavanjem initiatives, including the participation of the School of Design prof. Mladena Orešića. Izložbom je prikazan pregled radova through its exhibition of student work and the lecture delivered nastalih u suradnji Studija sa gospodarstvom što je rezultat by the professor Mladen Orešić. The exhibition provided an višegodišnjeg nastojanja Studija da unaprijedi edukativni proces overview of the work created due to co-operation between prema usvajanju znanja i stjecanju iskustava u realnom okruže- the School of Design and businesses. This co-operation resulted nju i okolnostima, ali i prema implementaciji dizajna u razvojne from long-term effort of the School of Design to enhance its strategije gospodarskih subjekata sa proizvodnom djelatnošću. educational process by focusing on acquisition of knowledge Iskustva provođenja tih suradnji je bila i tema predavanja prof. and gaining experiences against real environment, as well as Orešića s naročitim naglaskom na suradnju sa Hrvatskom obrt- on implementation of design into development strategies of ničkom komorom koja je rezultirala nizom projekata od kojih je business entities involved in production. The experience of im- nekoliko u realizaciji, a neki su postali povod za uspostavljanje plementation of this co-operation was the topic of the lecture trajnije suradnje studenata i obrtnika. delivered by the professor Orešić with particular emphasis on co-operation with the Croatian Chamber of Trades and Crafts which resulted in a broad range of projects, several of which are currently being implemented and the remaining projects have encouraged the establishment of long-term co-operation between students and artisans.

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Feđa Vukić Feđa Vukić Posjet veleposlanice – Promocija knjige – ‘City as an identity system’ Nizozemske Studiju dizajna ‘Grad kao identitetski sustav’ book promotion Povodom početka rada radionice Maping the Knjigu je promovirala dr.sc. Daniela Angelina Jelinčić, The book was promoted by Daniela Angelina Jelinčić, city – DNK Zagreba, u neformalni posjet Studiju recenzentica, doc. Mia Roth Čerina, urednica i autor PhD, book reviewer, Mia Roth Čerina, Assistant dizajna došla je Njena Ekselencija Veleposlanica knjige,dr.sc. Feđa Vukić. Prisutnima se obratio i Professor and editor and the author Feđa Vukić, Kraljevine Nizozemske gospođa S. Ronner-Grubačić dekan Arhitektonskog fakulteta.mr.sc.prof. Boris PhD., Boris Koružnjak, M.Sc, Dean of the Faculty of u pratnji Nataše Galo Samac, Senior Press and Koružnjak i voditelj Studija dizajna, prof. StipeBrčić. Architecture and Stipe Brčić, professor and Head of Cultural Officer iz istog veleposlanstva. Tom su Knjiga ‘Grad kao identitetski sustav’ nastala je the School of Design addressed the audience. The prilikom Studij dizajna uvaženim gošćama predstavili slijedom teorijsko-kritičke analize zamisli “brendingu” idea behind the book entitled ‘City as an Identity Prof. Feđa Vukić i prof. Ivan Doroghy. S programom zajednice (place branding, citybranding) kojem se System’ was theoretical and critical analysis of the radionice upoznali su ih voditelji radionice Marc argumentirano kao alternativa nude pozicija i termin concept of community branding (place branding, Andrews i Christian Degen. Iskreno impresionirane ‘identitetski sustav’. Ta je tema uporište za shvaćanje city branding) which have been provided an rezultatima Studija dizajna, obje su gošće izrazile da će ta drugačija vizura dovesti do učinkovitijeg alternative term ‘identity system’ based on a vast spremnost za budućom redovnijom i značajnijom uočavanja i shvaćanja zatečenog identiteta te do array of arguments. Moreover, the topic provides suradnjom Veleposlanstva Kraljevine Nizozemske i utemeljenja sustavne metodologije projektiranja the foundation for the stance that a different view Studija dizajna na nekim budućim projektima identiteta zajednice. Grad je u knjizi osnovna will contribute to a more effective identification jedinica kroz koju se motri društvena zajednica kao and a deeper insight of the given identity, as well Marko Hrastovec The Ambassador of the sustav koji ima svoje kulturno-povijesno naslijeđe, as to the creation of a systematic methodology – Potez, slovo, pismo Kingdom of the Netherlands svoju aktualnu stvarnost i psihosocijalnu dinamiku of identity design of the community. The city is Samostalna izložba Marka Hrastovca rijedak je slučaj visits the School of Design te svoje mitove. No i svaka bi regija ili moderna the fundamental unit in this book through which u domaćoj dizajnerskoj praksi iz nekoliko razloga. Her Excellency Ambassador of the Kingdom of nacionalna država mogle biti primjerom za primjenu social community is monitored, as a system with Prije svega ona je stigla kao posljedica nagrade the Netherlands S. Ronner-Grubačić accompanied ovako teorijski zasnovane metodologije. Toj je its cultural and historical heritage, its actual reality, ICOGRADA EXCELLENCE AWARD koju je Hrastovec, by Nataša Galo Samac, Senior Press and tvrdnji argument već dvadesetak godina uvedena psychosocial dynamics and its myths. Nevertheless, tada student Diplomskog studija dizajna, osvojio za Cultural Officer, with the same Embassy, paid an praksa stvaranja identitetskih komunikacijskih any region or modern nation-state could provide rad As I Lay Dying, na izložbi hrvatskog dizajna 11 / 12 informal visit to the School of Design to mark the programa kojom pojedine zajednice u zemljama an example for the use of such theoretical u studentskoj selekciji. Ova iziožba je također dokaz commencement of the workshop entitled Mapping razvijene demokracije potiču razvojne projekte i methodology. The idea behind this statement are visokih rezultata koje Hrastovec, kao predstavnik the City – DNA Zagreb. Professors Ivan Doroghy vlastitu međunarodnu kompetitivnost.Autor tvrdi the practices of creation of identity communication svoje generacije, postigao unutar discipline and Feđa Vukić presented the School of Design to i temeljito argumentira da u lokalnim tranzicijskim programmes that were introduced some twenty Oblikovanje pisma. Marko Hrastovac njome ne ističe the reputable visitors, while workshop leaders Marc uvjetima (kakvi su aktualni u Hrvatskoj) nije years ago through which individual communities samo svoj visoki kreativni potencijal već njome daje Andrews and Christian Degen introduced them to moguće posveprenijeti teoriju i metodiku stvaranja in developed democracies encourage development i svoj značajan doprinos popularizaciji ove discipline the workshop programme. Both visitors were utterly identitetskog sustava grada iz konteksta čije su projects and own international competitiveness. unutar domaće dizajnerske prakse. impressed with the results achieved by the School of povijesne i kulturalne pretpostavke bitno drukčije od The author claims and provides comprehensive Design and expressed their preparedness for a more onih prisutnih i važnih u Hrvatskoj. Stoga predlaže arguments concerning the fact that in local Marko Hrastovec regular and a more significant co-operation between novu teoriju za drukčiji metodologijski pristup transitional circumstances (such as those currently – ‘Line, letter, typeface’ the Embassy of the Kingdom of the Netherlands and lokalnim zajednicama (gradovima, regijama) zemalja in Croatia) it is not possible to entirely transfer the The Independent Exhibition by Marko Hrastovec is a the School of Design in the forthcoming future. u demokratskom razvoju (poput Hrvatske) u kojima theory and the methodology of the creation of rare case in the local designers practice for a variety je i stvaranje identitetskog sustava (kao kritički identity system of a city from the context where of reasons. It is primarily a consequence of ICOGRADA nadomjestak za ‘branding’) jedan od mogućih alata u historical and cultural prerequisites are substantially EXCELLENCE AWARD which was won by Hrastovec for poticanju i razvoju demokratskog dijaloga u društvu. different from those currently existing fundamental his work As I Lay Dying while he was still a student A bez tog dijaloga nema ni shvaćanja zatečenog for Croatia. Consequently, he proposes a new theory at the Postgraduate Study of Design, at the student identiteta ni učinkovito projektiranog identitetskog for a different methodological approach to local design exhibition 2011 / 2012 for students’ works. razvojnog programa za zajednicu. communities (cities, regions) of the developing Moreover, this exhibition presents the excellent democratic countries (such as Croatia) in which results achieved by Hrastovec, as a representative the creation of an identity system (as a critical of his generation, in the category Typeface Design. substitute for branding) is one of the potential tools Marko Hrastovec points out his high creative in encouraging and development of democratic potential and is significantly contributing to the dialogue in society. This dialogue is crucial for the popularisation of this category within the domestic insight into the given identity and for the creation design practice. of an effectively designed identity development programme for the community.

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prof. nikola đurek prof. ivan doroghy marko hrastovec matea brkić Severin Filek na Studiju dizajna 17. rujna 2014. Studij dizajna posjetio je gospodin Severin Filek, direktor Design of Austria. Dolazak gospodina Fileka organiziran je tijekom njegova posjeta Zagrebu, u kojem je boravio radi otvaranja izložbe austrijskog dizajna u galeriji Dizajn centra Hrvatske gospodarske komore. Domaćin gospodinu Fileku bio je profesor Goroslav Keller, koji je gosta upoznao s radom i rezultatima Studija dizajna. Nakon kraće razmjene iskustava o važnosti, ulozi i razvoju dizajnerske edukacije, vidno impresioniran rezultatima Studija dizajna tijekom 25. godina postojanja, gospodin Filek je izrazio nadu za uspostavu tješnje suradnje između Studija dizajna i Austrijskih dizajnerskih škola. Severin Filek bio je između ostalog predsjedavajući BEDA, ureda europske dizajnerske asocijacije, gostujući profesor dizajna u Austriji i zvan nje, te autor brojnih stručnih tekstova posvećenih dizajnu.

Severin Filek at the School of Design Severin Filek, Director of Design Austria, visited the School of Design on 17th September 2014. The arrival of Severin Filek was organised during his visit to Zagreb where he stayed to mark the occasion of the opening of an exhibition of Austrian design Sarajevo 100 Missouri State University. Rezultati projekta, preko Sarajevo 100 based Academy of Fine Arts, the Novi Sad-based at the gallery of the Design centre at the Croatian Krajem 2013. godine Udruženje primjenjenih 200 plakata koji su na najrazličitije autorske načine At the end of 2013 the Association of Applied Academy of Arts, the Cetinje-based Faculty of Fine Chamber of Economy. The professor Goroslav umjetnika i dizajnera Bosne i Hercegovine, interpretirali temu Sarajevo 100 bilo je tijekom Artists and Designers of Bosnia and Herzegovina, Arts, the Zagreb-based School of Design at the Keller hosted Mr Filek and introduced him to the Umjetnička Akademija u Sarajevu i Department 2014. godine izloženo na nekoliko izložbi. Tijekom the Sarajevo-based Academy of Arts and the Faculty of Architecture and the representatives of work and the results achieved by the School of of Art and Design of Missouri State University, mjeseca lipnja 2014. plakati su izloženi u sarajevskoj Department of Art and Design of Missouri State the Department of Art and Design of Missouri State Design. Following a brief exchange of experiences pokrenuli su projekt Sarajevo 100. Naziv projekta galeriji Collegium Artisticum, tijekom mjeseca srpnja University launched a project Sarajevo 100. The University. The project results, over 200 posters on the importance, the role and the development proizašao je iz ideje da se obilježe tri najznačajnija u prostorima Villa Mediterranee u Marseju te u idea behind the project title was to mark three interpreting the topic of Sarajevo 100 in a vast of education in the area of design, Mr Filek, notably događaja u posljednjih sto godina grada listopadu kao dio 13 International Poster Biennial most important events during the last one hundred array of methods, were exhibited throughout 2014 impressed with the results of the School of Design Sarajeva; stota godišnjica atentata na austrijskog u Meksiku. U studenom 2014. plakati su izloženi u years in the history of the city of Sarajevo: The at several exhibitions.In June 2014 the posters were throughout 25 years of its existence, expressed his prestolonasljednika Franca Ferdinanda, trideseta MSU Department of Art and Design. U studentskoj hundredth anniversary of the assassination of the exhibited at the Sarajevo-based gallery Collegium hopes for the establishment of closer co-operation godišnjica od održavanja 14. Zimskih olimpijskih selekciji ovog projekta sudjelovalo je i dvoje Austrian heir to the throne Franz Ferdinand, the Artisticum, in July 2014 in Villa Méditerranée between the School of Design and Austrian schools igara, sjećanje na trogodišnji period okupacije studenata Studija dizajna, Matea Brkić studentica thirtieth anniversary of the 14th Winter Olympic premises in Marseille and in October as a part of of design. Severin Filek has also been the President of Sarajeva 1992. – 1995. Organizatori su pozvali prve godine Diplomskog studija i Marko Hrastovac Games, Remembrance of the three-year period of 13th International Poster Biennial in Mexico. In BEDA, the Bureau of European Design Associations, preko 200 najznačajnijih svjetskih dizajnera, uz student druge godine Diplomskog studija dizajna. occupation of Sarajevo 1992 – 1995. The organisers November 2014 the posters were exhibited in the a visiting professor of design in Austria and desetak dizajnera i studenata dizajna iz regije, da Studij dizajna bio je u ovom projektu zastupljen i invited over 200 reputable international designers, Department of Art and Design at the Zagrbe-based elsewhere, as well as the author of a large number of svojim idejnim rješenjima plakata izraze temu i plakatima dvojice nastavnika Studija dizajna, prof. in addition to a dozen of designers and students Museum of Contemporary Art. Two students at the professional texts dedicated to design. tako sudjeluju u obilježavanju tri najznačajnija Ivana Doroghya i prof. Nikole Đureka. of design from throughout the region, to provide School of Design participated in the student work događaja tijekom burnih sarajevskih stotinu godina their conceptual design of the poster on the specific selection – Matea Brkić – a first year student of the prošlog stoljeća. Projekt je naišao na veliki odaziv topic and participate in the marking of the thee Postgraduate Study and Marko Hrastovac, a second jer su se među pozvanima odazvali svi značajni crucial events over the last one hundred years in year student of the Postgraduate Study of Design. svjetski dizajneri poput Miltona Glasera, Jonathana the history of the city of Sarajevo during the last The School of Design was presented in this project Barnbrooka, Shina Matsunage, Paula Davisa i drugih. century. The project saw a massive response due to through posters designed by two professors of the Pored svjetskih dizajnera pozivu na sudjelovanje the fact that all the most reputable international School of Design – prof. Ivan Doroghy and prof. odazvali su se i studenti i nastavnici, predstavnici designers had been invited such as Milton Glaser, Nikola Đurek. dizajnerskih i umjetničkih fakulteta iz regije. Tako su Jonathan Barnbrook, Shin Matsunage and Paul Davis, u projektu sudjelovali predstavnici Likovne akademije to name a few. Students and professors, as well u Sarajevu, Akademije umjetnosti u Novom Sadu, as representative of both Faculties of Design and Fakulteta umjetnosti na Cetinju, Studija dizajna Faculties of Arts throughout the region accepted the Arhitektonskog fakulteta Sveučilišta u Zagrebu invitation to participate in addition to international i predstavnici Department of Art and Design of designers. Hence representatives of the Sarajevo-

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nataša njegovanović ana šolić nataša njegovanović nataša njegovanović a mala pauza nakon treninga? – može! svjetlo – sjena / light – shadow kako na nebu, tako i na zemlji pjesma o smrti / song of death / how about a short break after training? – sure! / as in heaven, so on earth

Lenovo YOGA My Way photo-contest Međunarodni fotografski natječaj Lenovo Yoga My Way održan je u trideset i devet zemalja unutar četiri tjedna s četiri tematska zadatka, pod sponzorstvom tvrtke Lenovo. U finale natječaja uvršteno je ukupno dvadeset fotografija od kojih je sedam nagrađeno glavnom nagradom: putovanjem u London i Lenovo Yoga uređajem.

GLAVNA NAGRADA The get comfortable challenge / Izazov udobnosti A mala pauza nakon treninga? – Može!

Lenovo YOGA My way photo-contest PDP konferencija 2014 PDP Conference 2014 International photography contest entitled Lenovo Yoga My Way was held in 39 PDP je trodnevna međunarodna konferencija na kojoj PDP is a three-day international conference comprising of countries during four weeks covering four thematic topics under the sponsorship se održava serija predavanja renomiranih autora i a series of lectures delivered by reputable professionals and of the company Lenovo. Twenty photographs were included in the closing of the stručnjaka iz oblasti koje grade akronim u nazivu authors creating the acronym that is actually the name of contest of which 7 were grand prize winners consisting of a journey to London manifestacije – tiskarstva, dizajna i fotografije the event – print, design, photography. The Conference PDP and a Lenovo Yoga device. (print, design, photography). Tema Konferencije PDP 6 / BEYOND – addressed the following issues: trends in print, 6 / BEYOND – propituje sljedede korake u tiskarstvu, dizajnu design and photography: the future of print, how to enhance GRAND PRIZE WINNER i fotografiji: što je bududnost tiskarstva i na koji način a graphic product, what transcends graphic design, in what The get comfortable challenge grafički proizvod može biti unaprijeđen, što je to što je way can photography be innovative and what direction may How about a short break after training? – Sure! više od grafičkog dizajna te na koji način fotografija može it take in the future? In addition to lectures, biti inovativna i u kojem smjeru bi se mogla razvijati ova the event includes workshops, exhibitions and presentations umjetnička grana? Pored predavanja, na manifestaciji se of students’ work. A vast array of work to be selected for the održavaju radionice, izložbe i prezentacije studentskih student exhibition of posters and photographs arrived from radova. Za studentsku izložbu plakata i fotografije raspisan Austria, Germany, Brazil, Denmark, India, China, Great Britain, je natječaj na koji je pristigao veliki broj radova iz Austrije, Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Nemačke, Brazila, Danske, Indije, Italije, Kine, Velike Macedonia and Serbia. Out of 250 posters and a total of 1508 Britanije, Slovenije, Hrvatske, Bosne i Hercegovine, Crne photographs, 49 best posters and 123 best photographs Gore, Makedonije i Srbije. Od 250 plakata i ukupno 1508 were selected, of which 44 were individual photographs, fotografija, izabrano je 49 najboljih plakata i 123 najbolje while the remaining photographs were divided into 29 fotografije od kojih su 44 pojedinačne fotografije, a ostale series of photographs. A selection panel was established for su podijeljene u 29 serija fotografija. Stručni izborni žiri iz ‘Photography’ comprising of Jelena Vorgučin, Jelena Vladušić oblasti ‘Fotografija’ činili su Jelena Vorgučin, Jelena Vladušić and Aleksandar Ramadanović. Individual photographs by i Aleksandar Ramadanović. U kategoriju pojedinačne the following students were included in the category of fotografije, uvršteni su radovi studentica Ane Šolić (1. individual photographs: Ana Šolić (1st year of undergraduate godina diplomskog studija) i Nataše Njegovanović (3. study programme) and Nataša Njegovanović (3rd year of godina preddiplomskog studija). undergraduate study programme).

374 375 godišnjak studija dizajna 13. / 14. vijeća, povjerenstva,godišnjak studija programski dizajna odbori 13./14. school of design annual review 13 / 14 council,school committes,of design annual programme review board 13 / 14

Vijeća, povjerenstva, programski odbori Councils, Committees, Programme Board

376 377 godišnjak studija dizajna 13. / 14. vijeća, povjerenstva, programski odbori school of design annual review 13 / 14 council, committees, programme board

članovi vijeća studija dizajna predstavnici studenata preddiplomskog studija programski odbor povjerenstvo za pripremu i provedbu school of design council members student representatives undergraduate programme programme committee razredbenog postupka na preddiplomskom studiju doc. Josip Baće / assistant professor 1. godina / 1st year prof. dr. sc. Bojan Baletić / PhD, full professor committee for admission to undergraduate programme prof. dr. sc. Bojan Baletić / PhD, full professor Vita Vrebac prof. Stipe Brčić / associate professor doc. mr. sc. Sanja Bencetić / MSc, assistant professor doc. mr. sc. Sanja Bencetić / MSc, assistant professor 2. godina / 2nd year prof. Nenad Dogan / associate professor asist. Luka Daniel Borčić / teaching assistant v. pred. mr. sc. Neda Borić / MA, senior lecturer industrijski dizajn Iva Vučemilović Grgić prof. Ivan Doroghy / associate professor doc. Damir Bralić / assistant professor prof. Stipe Brčić / associate professor vizualne komunikacije Petra Grubišić doc. mr. sc. Ivana Fabrio / assistant professor prof. Stipe Brčić / associate professor doc. Neda Cilinger / assistant professor prof. dr. sc. Tomislav Filetin / PhD, full professor Sanja Bušić rd prof. Nenad Dogan / associate professor 3. godina / 3 year prof. mr. sc. Zlatko Kapetanović / MSc, associate professor prof. Nenad Dogan / associate professor prof. Ivan Doroghy / associate professor industrijski dizajn Matija Sviben izv. prof. dr. sc. Anka Mišetić / PhD, associate professor prof. Ivan Doroghy / associate professor v. asist. dr. sc. Krešimir Dragičević / PhD, lecturer vizualne komunikacije Dominik Markušić prof. Mladen Orešić / associate professor doc. dr. sc. Nikola Đurek / associate professor doc. dr. sc. Nikola Đurek / associate professor izv. prof. dr. sc. Feđa Vukić / PhD, associate professor doc. mr. sc. Ivana Fabrio / assistant professor doc. mr. sc. Ivana Fabrio / assistant professor predstavnici studenata diplomskog studija izv. prof. Boris Ileković / associate professor prof. dr. sc. Tomislav Filetin / PhD, full professor student representatives graduate programme povjerenstvo za obranu diplomskog asist. Romana Kajp / teaching assistant v. asist. dr. sc. Morana Fudurić / PhD, lecturer 1. godina / 1st year rada na diplomskom studiju dizajna asist. Tin Kadoić / teaching assistant prof. Teufik Galijašević / associate professor industrijski dizajn Petra Vrdoljak committee for the graduation theses and final examination in prof. mr. sc. Zlatko Kapetanović / MSc, associate professor prof. dr. sc. Ivica Grbac / PhD, full professor vizualne komunikacije Matea Brkić graduation programme doc. Vedran Kasap / assistant professor doc. dr. sc. Tatjana Haramina / associate professor 2. godina / 2nd year Industrijski dizajn / industrial design asist. Inja Kavurić Kireta / teaching assistant izv. prof. Stanko Herceg / associate professor industrijski dizajn Ozana Ursić doc. mr. sc. Ivana Fabrio / assistant professor prof. Mladen Orešić / associate professor asist. Andrea Hercog / teaching assistant vizualne komunikacije Andrea Franić prof. mr. sc. Zlatko Kapetanović / MSc, associate professor asist. Tomislav Vlainić / teaching assistant izv. prof. Boris Ileković / associate professor izv. prof. dr. sc. Anka Mišetić / PhD, associate professor izv. prof. dr. sc. Feđa Vukić / PhD, associate professor izv. prof. dr. sc. Janez Indof / PhD, associate professor dekan prof. Mladen Orešić / associate professor doc. dr. sc. Sonja Jamnicki / associate professor dean izv. prof. dr. sc. Feđa Vukić / PhD, associate professor povjerenstvo za ocjenu sposobnosti vizualnog mišljenja i likovnog izv. prof. dr. sc. Tanja Jurčević-Lulić / PhD, associate professor prof. mr. sc. Boris Koružnjak / MA + članovi koji se imenuju u odnosu na temu rada izražavanja (1. i 2. selekcijski krug) pred. Tin Kadoić / lecturer committee for assessing visual thinking and artistic expression asist. Romana Kajp / teaching assistant Vizualne komunikacije / visual communications (1st and 2nd rounds of selection process) voditelj studija dizajna prof. Stipe Brčić / associate professor prof. mr. sc. Zlatko Kapetanović / MSc, associate professor head of the school of design doc. mr. sc. Sanja Bencetić / MSc, assistant professor doc. Vedran Kasap / assistant professor prof. Nenad Dogan / associate professor prof. Stipe Brčić / associate professor prof. Ivan Doroghy / associate professor prof. Stipe Brčić / associate professor asist. Inja Kavurić Kireta / teaching assistant prof. Nenad Dogan / associate professor prof. dr. sc. Goroslav Keller / PhD, full professor doc. dr. sc. Nikola Đurek / associate professor tajnik izv. prof. Stanko Herceg / associate professor prof. Ivan Doroghy / associate professor v. pred. Zlatko Klanac / senior lecturer university secretary doc. dr. sc. Nikola Đurek / associate professor pred. dr. sc. Ivana Knez / PhD, lecturer izv. prof. dr. sc. Feđa Vukić / PhD, associate professor dipl. iur. Deanka Hirjan / J.D. + članovi koji se imenuju u odnosu na temu rada doc. mr. sc. Ivana Fabrio / assistant professor prof. dr. sc. Melita Kovačević / PhD, full professor izv. prof. Boris Ileković / associate professor prof. dr. sc. Dorian Marjanović / PhD, full professor voditelj ispostave studija dizajna prof. Mladen Orešić / associate professor izv. prof. dr. sc. Anka Mišetić / PhD, associate professor povjerenstvo za obranu diplomskog head of the school of design branch office rada na dodiplomskom studiju asist. Tomislav Vlainić / teaching assistant prof. dr. sc. Milan Opalić / PhD, full professor Višnja Krajnović prof. Mladen Orešić / associate professor committee for holding and assessing undergraduate programme interviews povjerenstvo za provođenje i ocjenu intervjua asist. Mario Petrak / teaching assistant voditelj u studentskoj referadi studija dizajna na preddiplomskom studiju izv. prof. dr. sc. Marijan Palmović / PhD, associate professor assistant in the school of design’s student administration office Produkt dizajn / Product design committee for admission to undergraduate programme pred. Jelena Parizoska / lecturer Sanja Bušić prof. dr. sc. Ivica Grbac / PhD, full professor prof. dr. sc. Jurica Pavičić / PhD, full professor doc. dr. sc. Tatjana Haramina / associate professor prof. Stipe Brčić / associate professor pred. dr. sc. Ivana Podnar / PhD, lecturer prof. mr. sc. Zlatko Kapetanović / MSc, associate professor prof. Ivan Doroghy / associate professor pred. Nives Sertić / lecturer izv. prof. dr. sc. Anka Mišetić / PhD, associate professor doc. mr. sc. Ivana Fabrio / assistant professor v. pred. mr. sc. Nikoleta Sudeta / MA, senior lecturer prof. Mladen Orešić / associate professor viši pred. mr. sc. Kamenov Krunoslav / AFA, senior lecturer prof. dr. sc. Mladen Šercer / PhD, full professor izv. prof. dr. sc. Feđa Vukić / PhD, associate professor prof. mr. sc. Zlatko Kapetanović / MSc, associate professor prof. Mladen Orešić / associate professor doc. dr. sc. Marija Šimić Horvath / associate professor grafički dizajn / graphic design doc. dr. sc. Vatroslav Škare / associate professor izv.prof.dr.sc. Milan Pelc / PhD, associate professor prof. Stipe Brčić / associate professor izv. prof. dr. sc. Feđa Vukić / PhD, associate professor asist. mr. sc. Roberto Vdović / MSc, teaching assistant prof. Nenad Dogan / associate professor asist. Tomislav Vlainić / teaching assistant prof. Ivan Doroghy / associate professor povjerenstvo za pripremu i provođenje razredbenog izv. prof. dr. sc. Feđa Vukić / PhD, associate professor izv. prof. Stanko Herceg / associate professor doc. dr. sc. Dragan Žeželj / associate professor postupka na diplomskom studiju v.pred.dr.sc. Tomislav Kosić / PhD, senior lecturer committee for admission to graduate programme asist. Hrvoje Živčić / teaching assistant izv.prof.dr.sc. Milan Pelc / PhD, associate professor doc. dr. sc. Ivica Župčić / associate professor doc. mr. sc. Sanja Bencetić / MSc, assistant professor pred. Veljko Žvan / lecturer prof. Stipe Brčić / associate professor prof. Nenad Dogan / associate professor prof. Ivan Doroghy / associate professor doc. dr. sc. Nikola Đurek / associate professor doc. mr. sc. Ivana Fabrio / assistant professor prof. mr. sc. Zlatko Kapetanović / MSc, associate professor prof. Mladen Orešić / associate professor asist. Tomislav Vlainić / teaching assistant izv. prof. dr. sc. Feđa Vukić / PhD, associate professor 378 379 godišnjak studija dizajna 13. / 14. godišnjak studija dizajnaregistar 13./14. school of design annual review 13 / 14 school of design annual reviewarchive 13 / 14

Registar Archive

380 381 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

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nastavnici upisani na sveučilišni upisani na sveučilišni dodiplomski sveučilišni sveučilišni preddiplomski sveučilišni diplomski nagrade i priznanja / teaching staff preddiplomski studij diplomski studij studij – diplomanti studij – prvostupnici studij – magistri studija dizajna / students enrolled in the / students enrolled in the / pre-bologna graduates / university undergraduate / university graduate / awards and acknowledgement university undergraduate studies university graduate studies studies – bachelors studies – masters at the school of design

Baće Josip Podnar Ivana Badurina Marta Benusi Dorja Čular Iva Bjeliš Barbara Anić-Kaliger Marta godišnja nagrada Baletić Bojan Sertić Nives Begčević Ena Birkić Marta Dumić Balvan Martina Bošnjak Elizabeta Armano Linta Ana preddiplomski studij Bencetić Sanja Sudeta Nikoleta Bertina Matea Bošković Maja Dupalo Jasmina Goreta Matej Bachrach-Krištofić Tessa / annual award Borić Neda Šercer Mladen Bolfan Bruno Brkić Matea Klobučar Ana Grčević Borna Aaron Bilandžić Dora undergraduate programme Brčić Stipe Šimić Horvath Marija Čaldarović Dora Bučević Anta Obranović Borna Habjan Klasja Cvijetić Marko Cilinger Neda Škare Vatroslav Čotić Karla Crnčević Niko Zalukar Hrvoje Herceg Ana Draganja Vinka Tamara Petruša Dogan Nenad Vdović Roberto Dragaš Tea Dominko Hrvoje Hrabar Ivana Erceg Vedran projektiranje – industrijski dizajn Doroghy Ivan Vlainić Tomislav Dundović Luka Farkaš Slavica Jandrić Maja Franić Andrea design course – industrial design Dragičević Krešimir Vukić Feđa Horvatić Dorja Filipec Tihomir Kasač Paula Gerovac Ema Klasja Habjan Đurek Nikola Žeželj Dragan Jurina Viktoria Grahek Lana Kelemen Tena Hrastovec Marko projektiranje – vizualne komunikacije Fabrio Ivana Živčić Hrvoje Karač Mihovil Gulič Matija Martinjak Vitomira Jelaska Luka design course – visual communications design Filetin Tomislav Župčić Ivica Kezić Maja Horvat Zrinka Mrkša Laura Jelaska Petra Fudurić Morana Žvan Veljko Kikerec Ana Jekić Mario Murgić Marinko Koletić Jurica godišnja nagrada Galijašević Teufik Kovačević Petra Karača Antonio Nakić-Vojnović Zita Marinović Daria diplomski studij Grbac Ivica Voditelj radionice / Kovačić Filip Klarić Iris Njegovanović Nataša Milovčić Dina / annual award Haramina Tatjana Workshop facilities manager Maltar Matej Kolar Igor Obradović Jana Mudnić Andrija graduate programme Herceg Stanko Ivica Turčić Marelić Klara Kostić Stanislav Perković Vanja Ružić Marija Hercog Andrea Milas Mirjam Kutleša Dorotea Petruša Tamara Sekulić Ana Luka Jelaska Ileković Boris industrijski dizajn voditelj / head Milčić Rafael Lugarić Dora Prša Josipa Sever Anamaria industrial design Indof Janez Brčić Stipe Modraković Tanja Nićeno Lucija Šare Tihana Tkalčec Željka Jamnicki Sonja Nikolić Anja Novak-Mikulić Ruđer Tintor Hana Tretinjak Franka Andrija Mudnić Jurčević-Lulić Tanja Novak Karla Pavić Tea Vavra Viktoria Lea Ursić Ozana dizajn vizualnih komunikacija Kadoić Tin visual communications rial design Redža Vilim Peranović Martin Večerić Valentino Vrbos Ivor Kajp Romana Rubinić Lucija Perić Luka Vujasić Ana Vukmanić Ivan Kapetanović Zlatko godišnja priznanja Sunek Valentina Ratkaj Katarina Žic Lara Zorko Stjepan Kasap Vedran / annual acknowledgements Šantić Paula Reicher Luka Kavurić Kireta Inja Keller Goroslav Šmuc Eva Pavelić Adriana Maja Jandrić Šobat Paula Pavičić Karlo Marko Hrastovec Klanac Zlatko Knez Ivana Tadić Josipa Roškar Janja Vrebac Vita Spetić Franka grupa autora Kovačević Melita group of authors Marjanović Dorian Vuri Ivona Somek Ana Mišetić Anka Zaher Klara Šavar Alma Matea Brkić Opalić Milan Šolić Ana Maja Subotić Špoljar Matija studij dizajna Orešić Mladen school of design Petrak Mario Vrdoljak Petra Palmović Marijan Boris Dundović Parizoska Jelena Marko Mihaljević Pavičić Jurica Ivo Žarko Alen Žunić arhitektonski fakultet faculty of architecture

Vlasta Đurina Vedrana Gudek filozofski fakultet faculty of humanities and social sciences

Marina Paulenka akademija dramske umjetnosti academy of dramatic arts

382 383 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

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Bačić Marcel Stergaršek Stanko Bartolić Dina Armano Linta Ana Čurković Iva Bošković Maja Bosazzi Laura godišnja nagrada Baće Josip Sudeta Nikoleta Bašić Miran Bachrach-Krištofić Tessa Glavaš Karla Brkić Marta Čurčija Vina preddiplomski studij Bakliža Darko Šercer Mladen Burić Tin Bilandžić Dora Kržišnik Borna Gustav Brkić Matea Dobrečević Mario / annual award Baletić Bojan Tadej Sonja Cvijanović Stela Crnek Vidović Kristina Bučević Anta Dujmenović Sandro undergraduate programme Bencetić Sanja Tonković Zdenko Cvitanović Mikela Cvijetić Marko Buntić Matko Furač Aleksandra Bogner Andrija Vdović Roberto Fuzul Nikolina Draganja Vinka Crnčević Niko Gašparović Marija Niko Crnčević Borić Neda Vlainić Tomislav Grubišić Petra Erceg Vedran Dominko Hrvoje Goričanec Ana projektiranje – industrijski dizajn Borčić Luka Daniel Vračan Dalibor Huljev Katarina Franić Andrea Đukić Andrej Granić Martina design course – industrial design Bralić Damir Vukić Feđa Huskić Sandra Gerovac Ema Grahek Lana Hrvatin Iva Alma Šavar Brčić Stipe Waldgoni Renata Jurčević Matea Gulič Matija Grubišić Hrvoje Jukić Marina projektiranje – vizualne komunikacije Bukovčan Miljenko Zečević Slaven Kasun Dora Hrastovec Marko Horvat Zrinka Kipke Branka design course – visual communications design Čorkalo Biruški Dinka Žiljak Vilko Kentrić Stančić Nikolina Jelaska Luka Ivanović Nina Leskovar Vlatka Dabanović Aleksandra Živčić Hrvoje Košćica Juraj Jelaska Petra Jekić Mario Maglov Sandra godišnja nagrada Dogan Nenad Župčić Ivica Kovačević Michelle Antonia Jurković Nikica Komazlić Dorja Paliska Karla diplomski studij Doroghy Ivan Žvan Veljko Kušec Otto Karača Antonio Kostić Stanislav Peraić Filip / annual award Đurek Nikola Laušin Morana Koletić Jurica Kutleša Dorotea Samošćanec Kazimir graduate programme Đurić Nemec Dubravka Voditelj radionice / Lesar Dunja Miloš Ivona Mioković Lovro Stančev Marina Fabrio Ivana Workshop facilities manager Leustek Iva Milovčić Dina Nićeno Lucija Šerka Vanessa Vlatka Leskovar industrijski dizajn Filetin Tomislav Ivica Turčić Lončar Elizabeta Novak-Mikulić Ruđer Ocvirek Mijatović Nenad Šestak Tomislav industrial design Filipović Nikola Močević Monika Perić Luka Pavelić Adriana Turčinović Made Geiger Zeman Marija Voditelj / Head Nemec Helena Reicher Luka Pavičić Karlo Tušek Sanja Karla Paliska dizajn vizualnih komunikacija Grbac Ivica Brčić Stipe Pavlek Borjan Priselec Ena Prgomet Kristina Vargović Mihovil visual communications rial design Hajsig Božica Pavleković Preis Sara Roškar Janja Ratkaj Katarina Vugrinski Kristina Haramina Tatjana Petrov Grgo Subotić Maja Somek Ana Herceg Stanko Piškorić Ena Tkalčec Željka Spetić Franka Hrnčević Juraj Salarić Petra Tretinjak Franka Šavar Alma Ileković Boris Šarko Lidija Ursić Ozana Šolić Ana Jerneić Željko Udovičić Mladen Vrbos Ivor Špoljar Matija Jurčević-Lulić Tanja Vrbanić Gala Marija Vukmanić Ivan Šuran-Pulig Marina Jurković Miljenko Vučemilović-Grgić Iva Vrdoljak Petra Justić Siniša Vučić Mirko Kadoić Tin Zoričić Jasna Kajp Romana Kamenov Krunoslav Kapetanović Zlatko Kasap Vedran Kavurić Kireta Inja Kauzlarić Zlatko Keller Goroslav Klanac Zlatko Korper Žemva Dina Kosić Tomislav Marjanović Dorijan Milčić Diana Miletić Geran Marko Mišetić Anka Morsan Boris Opalić Milan Orešić Mladen Pap Klaudio Pavičić Jurica Pavlović Roberta Pelc Milan Srića Velimir

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nastavnici upisani na sveučilišni upisani na sveučilišni dodiplomski sveučilišni sveučilišni preddiplomski sveučilišni diplomski / teaching staff preddiplomski studij diplomski studij studij – diplomanti studij – prvostupnici studij – magistri / students enrolled in the / students enrolled in the / pre-bologna graduates / university undergraduate / university graduate university undergraduate studies university graduate studies studies – bachelors studies – masters

Bačić Marcel Pap Klaudio Balen Juraj Anić-Kaliger Marta Borković Karolina Armano Ana Cvetković Matija Baće Joško Pavičić Jurica Bitunjac Marina Dobrečević Mario Gelić Svjetlana Bachrach-Krištofić Tessa Đurkesac Dora Bakliža Darko Pelc Milan Bjeliš Barbara Dujmenović Sandro Klemens Vedran Bilandžić Dora Levak Ivan Baletić Bojan Rendić Miočević Marija Bošnjak Elizabeta Gašparović Marija Lončarić Igor Crnek Vidović Kristina Mijatović Marina Bencetić Sanja Srića Velimir Franjić Iva Granić Martina Ljubić Dolores Cvijetić Marko Prgomet Petra Bogner Andrija Stergaršek Stanko Gelo Martina Hrvatin Iva Mikulandra Morana Erceg Vedran Rotter Sanja Borić Neda Sudeta Nikoleta Goreta Matej Jukić Marina Zelić Matija Farkaš Slavica Ciliga Hana Borčić Ian Šercer Mladen Gudiček Karmela Marinović Daria Filipec Tihomir Filipčić Livija Borčić Luka Daniel Štorga Mario Habjan Klasja Mudnić Andrija Franić Andrea Jukčić Jelena Bralić Damir Tadej Sonja Hrabar Ivana Paliska Karla Gerovac Ema Juza Marija Brčić Stipe Tonković Zdenko Jandrić Maja Peraić Filip Gregorina Josipa Klemenčić Mia Bukovčan Miljenko Vdović Roberto Japundžić Hana Ružić Marija Gregurić Rajko Krištofić Bojan Čorkalo Dinka Vlainić Tomislav Kelemen Tena Sekulić Ana Hrastovec Marko Nejašmić Nera Dabanović Aleksandra Vranić Zvonko Markušić Dominik Sever Anamaria Jankov Iva Perić Katarina Deković Damir Vukić Feđa Mesarić Rebecca Stančev Marina Jelaska Luka Predragović Luka Dogan Nenad Waldgoni Renata Mrkša Laura Šerka Vanessa Jelaska Petra Šoša Goran Doroghy Ivan Zečević Slaven Nakić-Vojnović Zita Šestak Tomislav Jurković Nikica Tizaj Marija Đurek Nikola Žeželj Dragan Njegovanović Nataša Šimić Andrea Jurov Ena Šimeg Željko Đurić Nemec Dubravka Žiljak Vilko Obradović Jana Turčinović Made Karača Antonio Fabrio Ivana Župčić Ivica Oršanić Fran Vargović Mihovil Kasumović Leila Filetin Tomislav Žvan Veljko Prelec Maja Vilipić Marko Knezić Anja Filipović Nikola Prša Josipa Koletić Jurica Geiger Marija Voditelj radionice / Sviben Matija Lugarić Dora Grbac Ivica Workshop facilities manager Šaban Ivan Markovac Iva Hajsig Božica Ivica Turčić Šljaka Toni Milovčić Dina Haramina Tatjana Tintor Hana Mirošević Kristina Herceg Stanko Voditelj / Head Trošić Marina Novak-Mikulić Ruđer Hrnčević Juraj Brčić Stipe Uremović Marko Pavić Tea Ileković Boris Vavra Viktoria Lea Perić Luka Jakulić Marina Večerić Valentino Priselec Ena Jerneić Željko Vučković Matej Reicher Luka Juras Ivan Vujasić Ana Roškar Janja Jurčević Tanja Subotić Maja Jurković Miljenko Tkalčec Željka Justić Siniša Tretinjak Franka Kadoić Tin Ursić Ozana Kamenov Krunoslav Vrbos Ivor Kapetanović Zlatko Vrkaš Orin Ivan Kasap Vedran Vukmanić Ivan Kavurić Kireta Inja Kauzlarić Zlatko Keller Goroslav Klanac Zlatko Korper Žemva Dina Kosić Tomislav Kovačić Neven Marjanović Dorijan Milčić Diana Miletić Geran Marko Mišetić Anka Morsan Boris Munger Marcela Opalić Milan Orešić Mladen

386 387 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2010 / 2011

Bačić Marcel Pavičić Jurica Barić Valentina Anderlon Sanda Barbarić Petra Anić-Kaliger Marta Bogovac Mia Baće Joško Pelc Milan Birkić Marta Bosazzi Laura Bastaić Saša Dobrečević Mario Boljar Hrvoje Bakliža Darko Rendić Miočević Marija Bošković Maja Ćurčija Vina Đukić Zoran Gašparović Marija Burazin Anamaria Baletić Bojan Srića Velimir Brkić Matea Filipčić Livija Jelinčić Ante Gobin Luka Dizdar Bor Bencetić Sanja Stergaršek Stanko Bučević Anta Furač Aleksandra Pavlović Jan Granić Martina Mastrović Keti Bogner Andrija Sudeta Nikoleta Buntić Matko Jukčić Jelena Plahtan Andrej Gulič Matija Matković Katarina Borčić Ian Šercer Mladen Crnčević Niko Juza Marija Rak Marijana Hrvatin Iva Mihaljević Niko Borčić Luka Daniel Štorga Mario Đukić Andrej Krištofić Bojan Sabljić Branimir Jukić Marina Milički Petra Borić Neda Tadej Sonja Falica Vedran Leskovar Vlatka Serdarušić Mislav Kolar Igor Milovac Maša Bralić Damir Tonković Zdenko Grahek Lana Maglov Sandra Škalić Vedrana Marinović Daria Pećirko Tihana Brčić Stipe Vdović Roberto Grčević Borna Aaron Nejašmić Nera Volf Kristina Mudnić Andrija Rimac Ana Bukovčan Miljenko Vlainić Tomislav Grubić Sara Predragović Luka Vucić Luka Paliska Karla Vinković Leopold Čorkalo Dinka Vranić Zvonko Herceg Ana Samošćanec Kazimir Zadro Ante Peraić Ika Zlatec Katarina Dabanović Aleksandra Vukić Feđa Horvat Zrinka Šimeg Željko Peraić Filip Deković Damir Waldgoni Renata Ivanović Nina Šoša Goran Ružić Marija Dogan Nenad Zečević Slaven Jekić Mario Tizaj Marija Sekulić Ana Doroghy Ivan Žeželj Dragan Kostić Stanislav Tušek Sanja Sever Anamaria Đurek Nikola Žiljak Vilko Kutleša Dorotea Vinski Ivor Šerka-Kustec Vanessa Đurić Nemec Dubravka Župčić Ivica Martinjak Vitomira Zorko Stjepan Šneler Hana Fabrio Ivana Mioković Lovro Tomić Ana Maria Filetin Tomislav Voditelj radionice / Nićeno Lucija Turčinović Made Filipović Nikola Workshop facilities manager Perković Vanja Vargović Mihovil Geiger Marija Ivica Turčić Petruša Tamara Vilipić Marko Grbac Ivica Prgomet Kristina Vranko Hannah Hajsig Božica Voditelj / Head Radas Donat Vučić Mia Haramina Tatjana Kapetanović Zlatko Šare Tihana Herceg Stanko Šavar Alma Hrnčević Juraj Škiljić Lovro Ileković Boris Šolić Ana Jakulić Marina Špoljar Matija Jerneić Željko Vrdoljak Petra Juras Ivan Žic Lara Jurčević Tanja Jurković Miljenko Justić Siniša Kamenov Krunoslav Kapetanović Zlatko Kasap Vedran Kauzlarić Zlatko Keller Goroslav Klanac Zlatko Korper Žemva Dina Kosić Tomislav Kovačić Neven Marjanović Dorijan Milčić Diana Miletić Geran Marko Mišetić Anka Morsan Boris Munger Marcela Opalić Milan Orešić Marijan Orešić Mladen Pap Klaudio

388 389 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2009 / 2010

Bačić Marcel Pap Klaudio Armano Ana Baron-Brljević Sarah Bauer Tina Anderlon Sanda Bonačić Marita Baće Joško Pavičić Jurica Bachrach-Krištofić Tessa Bogovac Mia Beus Maja Balen Nevena Cvitić Filip Bakliža Darko Pelc Milan Bilandžić Dora Burazin Anamaria Blakšić Vlatka Bosazzi Laura Dević Dario Baletić Bojan Rendić Miočević Marija Cvijetić Marko Ciliga Hana Blažinčić Petra Cipriš Darija Ileš Dragana Bencetić Sanja Srića Velimir Dominko Hrvoje Cvetković Matija Bogešić Marko Ćurčija Vina Ivančić Kristina Bogner Andrija Stergaršek Stanko Farkaš Slavica Dizdar Bor Bojko Irina Filipčić Livija Ivašić Dino Borčić Ian Sudeta Nikoleta Franić Andrea Đurkesac Dora Brčić Bernardo Furač Aleksandra Lemac Matea Borčić Luka Daniel Šercer Mladen Gerovac Ema Goričanec Ana Bronić Matea Jelačić Vanessa Lana Lugonja Kristina Borić Neda Štorga Mario Gregorina Josipa Kipke Branka Cuculić Helena Jukčić Jelena Matas Maja Bralić Damir Tadej Sonja Grubišić Hrvoje Klemenčić Mia Frgačić Lucija Juza Marija Miloloža Krešimir Brčić Stipe Tonković Zdenko Hrastovec Marko Levak Ivan Hudina Lana Kolar Maja Nigoević Negra Bukovčan Miljenko Vdović Roberto Jelaska Petra Mastrović Keti Jovanovac Marko Leskovar Vlatka Orbanić Ana Čorkalo Dinka Vlainić Tomislav Karača Antonio Matković Katarina Kadoić Tin Maglov Sandra Oršolić Jasmina Dabanović Aleksandra Vodopija Mirjana Kasač Paula Mihaljević Niko Klasić Jelena Maltar Sonja Tevšić Ana Deković Damir Vranić Zvonko Kirasić Krešimir Mijatović Marina Klemenčić Nina Matijević Petra Večenaj Andrija Dogan Nenad Vukić Feđa Koletić Jurica Milički Petra Komparak Draga Nanut Ivan Zelmanović Jaša Doroghy Ivan Waldgoni Renata Komazlić Dorja Milovac Maša Korper Žemva Nikša Predragović Luka Živčić Hrvoje Đurek Nikola Zečević Slaven Lugarić Dora Pećirko Tihana Kovačić Ana Samošćanec Kazimir Đurić Nemec Dubravka Žeželj Dragan Markovac Iva Prgomet Petra Kovačić Mia Šimeg Željko Fabrio Ivana Žiljak Vilko Milovčić Dina Rimac Ana Magić Ivan Šoša Goran Filetin Tomislav Župčić Ivica Pavelić Adriana Rođaković Romana Marić Mia Tantegl Danko Filipović Nikola Pavičić Karlo Vinković Leopold Mazinjanin Damir Tizaj Marija Geiger Marija Voditelj radionice / Perić Luka Vugrinski Kristina Pavlek Gordana Topić Dinko Grbac Ivica Workshop facilities manager Prgomet Pavao Zlatec Katarina Rede Vedran Tušek Sanja Hajsig Božica Ivica Turčić Ratkaj Katarina Rukavina Petra Zorko Stjepan Herceg Stanko Roškar Janja Segulin Petra Hrnčević Juraj Voditelj / Head Somek Ana Sivački Bojan Ileković Boris Kapetanović Zlatko Spetić Franka Sokolean Maja Indof Janez Subotić Maja Stipišić Tanja Jakulić Marina Šuran Pulig Marina Šećerkadić Samir Jerneić Željko Tretinjak Franka Tomljenović Elvis Juras Ivan Ursić Ozana Veljača Ivan Jurčević Tanja Vukmanić Ivan Vučenik Marko Jurković Miljenko Vujčić Alan Justić Siniša Vuletić Ivona Kamenov Krunoslav Zeman Andrea Kapetanović Zlatko Kasap Vedran Kauzlarić Zlatko Keller Goroslav Klanac Zlatko Korper Žemva Dina Kosić Tomislav Kuduz Ivan Marjanović Dorijan Milčić Diana Miletić Geran Marko Mišetić Anka Morsan Boris Muftić Osman Munger Marcela Opalić Milan Orešić Marijan Orešić Mladen

390 391 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2008 / 2009

nastavnici upisani na sveučilišni upisani na sveučilišni dodiplomski sveučilišni sveučilišni preddiplomski / teaching staff preddiplomski studij diplomski studij studij – diplomanti studij – prvostupnici / students enrolled in the / students enrolled in the / pre-bologna graduates / university undergraduate university undergraduate studies university graduate studies studies – bachelors

Alfirević Ivo Pap Klaudio Anić-Kaliger Marta Boljar Hrvoje Barabaš Edita Baron-Brljević Sarah Bačić Marcel Pavičić Jurica Crnek Vidović Kristina Bonačić Marita Bjelić Tanja Bogovac Mia Bakliža Darko Pelc Milan Dumbović Petra Cvitić Filip Drezgić Bojan Burazin Anamaria Baletić Bojan Rendić Miočević Marija Dvornik Antonija Dević Dario Friščić Marija Čanak Robert Bencetić Sanja Stergaršek Stanko Erceg Vedran Ileš Dragana Giunio Andro Đurkesac Dora Bičanić Antun Sudeta Nikoleta Filipec Tihomir Ivančić Kristina Glažar Ivana Goričanec Ana Bogner Andrija Šercer Mladen Gašparović Marija Ivašić Dino Juraić Helena Huber Marina Borić Neda Štorga Mario Gobin Luka Lemac Matea Miletić Maja Kipke Branka Bralić Damir Tadej Sonja Granić Martina Lugonja Kristina Miličić Mirko Klemenčić Mia Brčić Stipe Tkalec Stjepan Gulič Matija Matas Maja Mojaš Nora Krištofić Bojan Bukovčan Miljenko Tonković Zdenko Havranek Filip Miloloža Krešimir Morasi Piperčić Simon Levak Ivan Čorkalo Dinka Vdović Roberto Hrvatin Iva Nigoević Negra Mudnić-Cerineo Petar Mastrović Keti Dabanović Aleksandra Vlainić Tomislav Jankov Iva Orbanić Ana Orlandini Katarina Matković Katarina Deković Damir Vranić Zvonko Jelaska Luka Oršolić Jasmina Plasajec Željka Mihaljević Niko Dogan Nenad Vukić Feđa Jukić Marina Perić Katarina Plužarić Vilim Mijatović Marina Doroghy Ivan Waldgoni Renata Jurković Nikica Rotter Sanja Poljanec Ana-Marija Milički Petra Đurek Nikola Žeželj Dragan Jurov Ena Tevšić Ana Raos Matija Miloš Ivona Đurić Nemec Dubravka Žiljak Vilko Kasumović Leila Večenaj Andrija Sirotić Martina Milovac Maša Fabijanić Nenad Marinović Daria Zelmanović Jaša Smrekar Dino Pavlović Marko Fabrio Ivana Voditelj radionice / Matulina Kai Ana Živčić Hrvoje Steković Nikolina Pećirko Tihana Filetin Tomislav Workshop facilities manager Mirošević Kristina Šoša Jelena Plečko Aleksandar Filipović Nikola Ivica Turčić Mudnić Andrija Štromar Lidija Prgomet Petra Grbac Ivica Murgić Marinko Telenta Lena Rimac Ana Hajsig Božica Voditelj / Head Novak Petar Tomčić Marija Rođaković Romana Herceg Stanko Kapetanović Zlatko Novak-Mikulić Ruđer Toplak Ivo Vinković Leopold Hrnčević Juraj Paliska Karla Vinski Ivor Ileković Boris Pavlinić Nikola Vugrinski Kristina Indof Janez Peraić Ika Zlatec Katarina Jakulić Marina Reicher Luka Jerneić Željko Ružić Marija Juras Ivan Sever Anamaria Jurčević Tanja Tkalčec Željka Jurković Miljenko Turčinović Made Justić Siniša Vargović Mihovil Kamenov Krunoslav Vučić Mia Kapetanović Zlatko Kasap Vedran Kauzlarić Zlatko Klanac Zlatko Korper Žemva Dina Kosić Tomislav Kuduz Ante Kuduz Ivan Lapaine Božidar Marjanović Dorijan Milčić Diana Miletić Geran Marko Mišetić Anka Morsan Boris Muftić Osman Munger Marcela Opalić Milan Orešić Marijan Orešić Mladen

392 393 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2007 / 2008

nastavnici upisani na sveučilišni dodiplomski sveučilišni sveučilišni preddiplomski / teaching staff preddiplomski studij studij – diplomanti studij – prvostupnici / students enrolled in the / pre-bologna graduates / university undergraduate university undergraduate studies studies – bachelors

Alfirević Ivo Pelc Milan Anderlon Sanda Abramović Janja Bobanović Sikirica Duga Bačić Marcel Rendić Miočević Marija Babić Sonja Bilić Zlata Boljar Hrvoje Bakliža Darko Rogić Ivan Bosazzi Laura Boras Želimir Bonačić Marita Baletić Bojan Stanković Tino Ćurčija Vina Brknjač Andrea Ciliga Hana Bencetić Sanja Stergaršek Stanko Dobrečević Mario Budor Dora Cvitić Filip Bogner Andrija Sudeta Nikoleta Filipčić Livija Cvahte Siniša Dević Dario Borić Neda Štorga Mario Furač Aleksandra Čendak Katarina Ileš Dragana Bralić Damir Tadej Sonja Gregurić Rajko Čukelj Ivana Ivančić Kristina Brčić Stipe Tkalec Stjepan Ilić Ana Čule Maja Ivašić Dino Bukovčan Miljenko Tonković Zdenko Jelačić Vanessa Lana Ćuk Zoran Knežević Aleksandra Čorkalo Dinka Vdović Roberto Jukčić Jelena Deskar Ana Lemac Matea Dabanović Aleksandra Vlainić Tomislav Knezić Anja Dolečki Luka Lugonja Kristina Deković Damir Vranić Zvonko Kolar Igor Draganić Maja Matas Maja Dogan Nenad Vukić Feđa Leskovar Vlatka Forster Petra Miloloža Krešimir Doroghy Ivan Waldgoni Renata Maglov Sandra Guina Toni Nigoević Negra Đurek Nikola Žeželj Dragan Matijević Petra Jakulić Marina Orbanić Ana Đurić Nemec Dubravka Žiljak Vilko Ocvirek-Mijatović Nenad Jovetić Nives Oršolić Jasmina Fabijanić Nenad Pavić Tea Jurin Lea Perić Katarina Fabrio Ivana Voditelj radionice / Peraić Filip Kaučić Maja Rotter Sanja Filipović Nikola Workshop facilities manager Predragović Luka Klarić Vedran Šerić Martina Grbac Ivica Ivica Turčić Priselec Ena Knez Matija Tevšić Ana Hajsig Božica Samošćanec Kazimir Knežević Vedrana Večenaj Andrija Herceg Stanko Voditelj / Head Šerka Kustec Vanessa Kos Anamarija Zelmanović Jaša Hrnčević Juraj Kapetanović Zlatko Šimeg Željko Kurti Toni Živčić Hrvoje Ileković Boris Šneler Hana Maltar Mihaela Indof Janez Šoša Goran Mikuš Carmen Jerneić Željko Tantegl Danko Mrazek Ana Juras Ivan Tizaj Marija Peko Nikoleta Jurčević Tanja Tomić Ana Maria Perković Ana Jurković Miljenko Topić Dinko Prizmić Damir Justić Siniša Tušek Sanja Rakočević Vanja Kamenov Krunoslav Vranko Hannah Raukar Goran Kapetanović Zlatko Vrkaš Orin Ivan Senjak Jelena Kasap Vedran Sporiš Marija Kauzlarić Zlatko Ščavničar Karolina Klanac Zlatko Šesnić Marko Korper Žemva Dina Šmidt Ana Kosić Tomislav Topić Matea Kuduz Ante Topolnjak Andreja Kuduz Ivan Turković Goran Lapaine Božidar Vučković Mia Ljuljka Boris Zver Tajana Marjanović Dorijan Župić Ana Mikić Krešimir Milčić Diana Mišetić Anka Morsan Boris Muftić Osman Munger Marcela Opalić Milan Orešić Marijan Orešić Mladen Pap Klaudio Pavičić Jurica

394 395 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2006 / 2007 2005 / 2006

nastavnici upisani na sveučilišni dodiplomski sveučilišni nastavnici upisani na sveučilišni dodiplomski sveučilišni / teaching staff preddiplomski studij studij – diplomanti / teaching staff preddiplomski studij studij – diplomanti / students enrolled in the / pre-bologna graduates / students enrolled in the / pre-bologna graduates university undergraduate studies university undergraduate studies

Alfirević Ivo Pap Klaudio Baron-Brljević Sarah Bačun Nina Alfirević Ivo Orešić Mladen Bajc Matija Azinović Eva Bačić Marcel Pavičić Jurica Bogovac Mia Boban Petar Bačić Marcel Pap Klaudio Balen Nevena Bielen Hrvoje Baće Joško Pelc Milan Burazin Anamaria Bratović Roberta Baće Joško Pavičić Jurica Bobanović Sikirica Duga Bilušić Aleksandra Bakliža Darko Reberski Siniša Cipriš Darija Gobac-Bandur Nikolina Bakliža Darko Pelc Milan Boljar Hrvoje Bobić Sanja Baletić Bojan Rendić Miočević Marija Đurkesac Dora Golik Linda Bičanić Antun Reberski Siniša Bonačić Marita Bratinčević Ivana Bogner Andrija Rogić Ivan Goričanec Ana Grakalić Maja Bogner Andrija Rendić Miočević Marija Ciliga Hana Čizmić Petra Bojčetić Nenad Stanković Tino Gospodarić Vedran Hrnčir Korina Bojčetić Nenad Rogić Ivan Cvitić Filip Fabijanić Jana Borić Neda Stergaršek Stanko Huber Marina Kajp Romana Borić Neda Serdarević Izvorka Čanak Robert Filipović Melita Bralić Damir Sudeta Nikoleta Juza Marija Kazinoti Karlo Brčić Stipe Stanković Tino Dević Dario Golić Antonija Brčić Stipe Sviličić Blaž Kipke Branka Kostović Ljubica Bukovčan Miljenko Stergaršek Stanko Ileš Dragana Hripko Boris Bukovčan Miljenko Štorga Mario Klemenčić Mia Letica Tena Cuculić Vanja Sudeta Nikoleta Ivančić Kristina Jalšovec Nenad Čorkalo Dinka Tadej Sonja Kolar Maja Mesić Maja Čorkalo Dinka Sviličić Blaž Ivašić Dino Jelić Nikolina Dabanović Aleksandra Tkalec Stjepan Krištofić Bojan Orešić Dina Dabanović Aleksandra Štorga Mario Kapuđija Sara Kalenski Lidija Deković Damir Tonković Zdenko Maltar Sonja Pamuković Ivana Deković Damir Tadej Sonja Knežević Aleksandra Kraljević Nera Dogan Nenad Vdović Roberto Matković Katarina Pogačnik Bruno Dogan Nenad Tkalec Stjepan Lemac Matea Krtalić Angelina Doroghy Ivan Vranić Zvonko Mihaljević Niko Pokos Roman Doroghy Ivan Tonković Zdenko Levak Ivan Kunej Ana Đurek Nikola Vranković Nikola Mijatović Marina Rašić Marko Đurek Nikola Vranić Zvonko Lugonja Kristina Lavrić Sandra Đurić Nemec Dubravka Vukić Feđa Milički Petra Skender Martina Đurić Nemec Dubravka Vranković Nikola Mastrović Keti Morožin Iva Fabijanić Nenad Waldgoni Renata Miloš Ivona Tomičić Miran Fabijanić Nenad Vukić Feđa Matas Maja Mrva Miroslav Fabrio Ivana Žeželj Dragan Milovac Maša Turković Tomislav Fabrio Ivana Waldgoni Renata Miličević Ana Novosel Lidija Filipović Nikola Žiljak Vilko Nanut Ivan Vrabec Vedrana Filipović Nikola Žeželj Dragan Miloloža Krešimir Paškvan Branimir Grbac Ivica Pavlović Marko Zlonoga Petra Grbac Ivica Žiljak Vilko Nigoević Negra Pavković Ivo Hajsig Božica Voditelj radionice / Pećirko Tihana Hajsig Božica Orbanić Ana Raduka Mirna Herceg Stanko Workshop facilities manager Prgomet Petra Herceg Stanko Voditelj radionice / Oršolić Jasmina Siladi Krešimir Horvat Sanja Ivica Turčić Rimac Ana Horvat Sanja Workshop facilities manager Perić Katarina Strinavić Tatjana Hrnčević Juraj Rođaković Romana Hrnčević Juraj Ivica Turčić Plečko Aleksandar Šestan Kristina Ileković Boris Voditelj / Head Sekulić Ana Ileković Boris Putina Tarna Šunjerga Antonio Indof Janez Kapetanović Zlatko Veljačić Antonija Indof Janez Voditelj / Head Rotter Sanja Udovičić Mirta Jerneić Željko Vilipić Marko Jerneić Željko Brčić Stipe Šerić Martina Uglješić Vesna Juras Ivan Vinković Leopold Juras Ivan Tevšić Ana Vuksanović Silva Jurčević Tanja Vinski Ivor Jurčević Tanja Večenaj Andrija Žuljević Ivana Jurković Miljenko Vugrinski Kristina Jurković Miljenko Zelmanović Jaša Jurković Nada Zlatec Katarina Jurković Nada Zorko Stjepan Justić Siniša Justić Siniša Živčić Hrvoje Kamenov Krunoslav Kamenov Krunoslav Kapetanović Zlatko Kapetanović Zlatko Kasap Vedran Kasap Vedran Kauzlarić Zlatko Kauzlarić Zlatko Klanac Zlatko Klanac Zlatko Kosić Tomislav Koržinek Marko Kuduz Ante Kosić Tomislav Kuduz Ivan Kuduz Ante Lapaine Božidar Kuduz Ivan Ljuljka Boris Lapaine Božidar Marjanović Dorijan Ljuljka Boris Mikić Krešimir Marjanović Dorijan Milčić Diana Mikić Krešimir Mišetić Anka Milčić Diana Morsan Boris Mišetić Anka Muftić Osman Morsan Boris Munger Marcela Muftić Osman Opalić Milan Munger Marcela Orešić Marijan Opalić Milan Orešić Mladen Orešić Marijan

396 397 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2004 / 2005 2003 / 2004

nastavnici Upisani dodiplomski sveučilišni nastavnici Upisani dodiplomski sveučilišni / teaching staff / enrolled studij – diplomanti / teaching staff / enrolled studij – diplomanti / pre-bologna graduates / pre-bologna graduates

Alfirević Ivo Pavičić Jurica Bauer Tina Balaić Marin Alfirević Ivo Pap Klaudio Abramović Janja Anić-Ivičić-Gradina Bosiljka Bačić Marcel Pavlić Davor Blakšić Vlatka Borovnjak Ivana Bačić Marcel Pavičić Jurica Barabaš Edita Cvetković Morana Baće Joško Pelc Milan Blažinčić Petra Bralić Damir Baće Joško Pavlić Davor Bastaić Saša Dobranić Dunja Bakliža Darko Reberski Siniša Brčić Bernardo Budić Vendi Bakliža Darko Pelc Milan Bilić Zlata Gjurček Sven Bičanić Antun Rendić Miočević Marija Bronić Matea Čipin Jana Bičanić Antun Reberski Siniša Bojko Irina Ivanov Samel Bogner Andrija Rogić Ivan Ćurković Iva Despot Filip Bogner Andrija Rendić Miočević Marija Budor Dora Jančar Klara Bojčetić Nenad Serdarević Izvorka Dumbović Petra Đaković Iva Bojčetić Nenad Rogić Ivan Čule Maja Kapetanović Ivan Tvrtko Borić Neda Stergaršek Stanko Đukić Zoran Eškinja Maja Borić Neda Serdarević Izvorka Dolečki Luka Korlaet Matej Brčić Stipe Sudeta Nikoleta Frgačić Lucija Glavor Željko Brčić Stipe Stergaršek Stanko Drezgić Bojan Kovač Aleksandar Bukovčan Miljenko Sviličić Blaž Gelić Svjetlana Gotovuša Tihana Bruketa Davor Sudeta Nikoleta Friščić Marija Kurtić Dragana Cuculić Vanja Štorga Mario Glavaš Karla Grubišić Mirna Bukovčan Miljenko Sviličić Blaž Glažar Ivana Lukač Jelena Čorkalo Dinka Tadej Sonja Hudina Lana Hrkač Ana Čorkalo Dinka Tadej Sonja Juraić Helena Mikulić Klara Deković Damir Tkalec Stjepan Jelinčić Ante Hržina Iva Deković Damir Tkalec Stjepan Jurin Lea Nedeljković Zrinka Dogan Nenad Tonković Zdenko Jovanovac Marko Juras Luka Dogan Nenad Tonković Zdenko Kaučić Maja Pancer Alica Doroghy Ivan Vranić Zvonko Kadoić Tin Kos Monika Doroghy Ivan Vranić Zvonko Klisurić Ivan Pašić Ines Dvorski Krunoslav Vranković Nikola Klemenčić Nina Kovačević Lina Dvorski Krunoslav Vranković Nikola Kos Anamarija Petak Ana Đurić Nemec Dubravka Vukić Feđa Komparak Draga Pavlinek Nika Đurić Nemec Dubravka Vukić Feđa Kurti Toni Poturica Nina Fabijanić Nenad Waldgoni Renata Korper Žemva Nikša Perić Saša Fabijanić Nenad Waldgoni Renata Marić Mia Romić Ivana Fabrio Ivana Žeželj Dragan Lončarić Igor Radaić-Došen Ivona Fabrio Ivana Žeželj Dragan Miletić Maja Rukovanjski Davor Filipović Nikola Žiljak Vilko Obranović Borna Radovanović Ivana Filipović Nikola Žiljak Vilko Miličić Mirko Skenderović Senka Frank Filip Gordon Pavlek Gordana Ravnjak Jelena Frank Filip Gordon Mojaš Nora Sladić Iva Grbac Ivica Voditelj radionice / Pavlović Jan Salopek Zlatka Grbac Ivica Voditelj radionice / Morasi Piperčić Simon Šunjić Zoran Hajsig Božica Workshop facilities manager Plahtan Andrej Šrajer Jakov Hajsig Božica Workshop facilities manager Orlandini Katarina Videc Petra Herceg Stanko Ivica Turčić Rukavina Petra Volfand Marija Herceg Stanko Ivica Turčić Partić Dominik Zafron Marijan Horvat Sanja Stipišić Tanja Vrban Gordan Horvat Sanja Perković Ana Zavacki Sonja Hrnčević Juraj Voditelj / Head Šoša Jelena Vučić Mia Hrnčević Juraj Voditelj / Head Rakočević Vanja Zec Barbara Ileković Boris Brčić Stipe Volf Kristina Vulić Ivana Ileković Boris Brčić Stipe Raos Matija Indof Janez Vrbos Ivor Indof Janez Raukar Goran Jerneić Željko Vučenik Marko Jerneić Željko Sirotić Martina Juras Ivan Vuletić Ivona Juras Ivan Sivački Bojan Jurčević Tanja Zadro Ante Jurčević Tanja Sporiš Marija Jurković Miljenko Zeman Andrea Jurković Miljenko Steković Nikolina Jurković Nada Jurković Nada Škalić Vedrana Justić Siniša Justić Siniša Topić Matea Kamenov Krunoslav Kamenov Krunoslav Toplak Ivo Kapetanović Zlatko Kapetanović Zlatko Veljača Ivan Kauzlarić Zlatko Kauzlarić Zlatko Vučković Mia Koržinek Marko Koržinek Marko Zalukar Hrvoje Kosić Tomislav Kosić Tomislav Žvorc Danka Kramer Erika Kramer Erika Kuduz Ante Kuduz Ante Kuduz Ivan Kuduz Ivan Lapaine Božidar Kurilj Paula Ljuljka Boris Lapaine Božidar Marjanović Dorijan Ljuljka Boris Mikić Krešimir Marjanović Dorijan Milčić Diana Mikić Krešimir Morsan Boris Milčić Diana Muftić Osman Morsan Boris Munger Marcela Muftić Osman Opalić Milan Munger Marcela Orešić Marijan Opalić Milan Orešić Mladen Orešić Marijan Pap Klaudio Orešić Mladen

398 399 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2002 / 2003 2001 / 2002

Alfirević Ivo Pavlić Davor Barbarić Petra Babić Ivana Alfirević Ivo Pap Klaudio Bačun Nina Bagić Maja Bačić Marcel Reberski Siniša Benasić Marija-Terezija Banek Ana Bačić Marcel Pavlić Davor Beus Maja Bilić Petra Baće Joško Rendić Miočević Marija Bjelić Tanja Banić Ana Baće Joško Reberski Siniša Bilušić Aleksandra Blasin Barbara Bakliža Darko Rogić Ivan Boras Želimir Baranović Vesna Bakliža Darko Rendić Miočević Marija Bratović Roberta Bogdanić Mirta Bičanić Antun Stergaršek Stanko Cuculić Helena Bilić Dora Bičanić Antun Rogić Ivan Gobac-Bandur Nikolina Decker Lovorka Bogner Andrija Sudeta Nikoleta Čendak Katarina Cuculić Vanja Bogner Andrija Stergaršek Stanko Golik Linda Frank Filip-Gordon Bojčetić Nenad Sviličić Blaž Deskar Ana Čizmić Maja Bojčetić Nenad Sudeta Nikoleta Grakalić Maja Galić Ana Borić Neda Štorga Mario Draganić Maja Deverić Vito Borić Neda Sviličić Blaž Hrnčir Korina Grgurević Tina Brčić Stipe Tadej Sonja Dvornik Antonija Đogić Ivona Brčić Stipe Štorga Mario Ivezić Tina Grgurević Lea Bruketa Davor Tkalec Stjepan Forster Petra Đurić Krešimir Bruketa Davor Tadej Sonja Kajp Romana Hraste Ivna Bukovčan Miljenko Tonković Zdenko Giunio Andro Franekić Elena Bukovčan Miljenko Tkalec Stjepan Kazinoti Karlo Jelić Marina Čorkalo Dinka Vranić Zvonko Guina Toni Galić Renata Čorkalo Dinka Tonković Zdenko Knez Matija Jonjić Silvia Deković Damir Vranković Nikola Jakulić Marina Gjergja Vjekoslav Deković Damir Vranić Zvonko Kostović Ljubica Kovačević Ivana Dogan Nenad Vukić Feđa Jovetić Nives Gugić Ana Dogan Nenad Vranković Nikola Kovačić Ana Križan Ivan Doroghy Ivan Waldgoni Renata Klarić Vedran Jurišić Jagoda Doroghy Ivan Vučković Krešimir Kovačić Mia Marović Moniroz Dvorski Krunoslav Žeželj Dragan Klasić Jelena Kasap Vedran Dvorski Krunoslav Vukić Feđa Krtalić Angelina Momčilović Ivana Đurić Nemec Dubravka Žiljak Vilko Knežević Vedrana Korica Duška Đurić Nemec Dubravka Vulin Ante Letica Tena Mujezinović Ivian Kan Fabijanić Nenad Kržišnik Borna Gustav Kuharić Luka Fabijanić Nenad Waldgoni Renata Magić Ivan Paschenko Olexander Filipović Nikola Voditelj radionice / Ljubić Dolores Kurnik Irena Filipović Nikola Žeželj Dragan Mesić Maja Uravić Veronika Grbac Ivica Workshop facilities manager Mazinjanin Damir Marinac Nives Grbac Ivica Žiljak Vilko Mudnić-Cerineo Petar Vlahović Ines Hajsig Božica Ivica Turčić Morić Mihovil Marković Jelena Hajsig Božica Pamuković Ivana Vrcelj Davor Herceg Stanko Mrazek Ana Matoš Bojan Herceg Stanko Voditelj radionice / Pavković Ivo Vučičević Božidarka Horvat Sanja Voditelj / Head Peko Nikoleta Müller Tina Horvat Sanja Workshop facilities manager Plužarić Vilim Hrnčević Juraj Brčić Stipe Saftić Lidija Sudar Siniša Hrnčević Juraj Ivica Turčić Pogačnik Bruno Ileković Boris Senjak Jelena Šestan Blanka Ileković Boris Poljanec Ana Marija Indof Janez Sokolean Maja Šiško Nikola Indof Janez Voditelj / Head Rak Marijana Jerneić Željko Ščavničar Karolina Šobot Miroslava Ivančević Radovan Vulin Ante Rede Vedran Juras Ivan Šesnić Marko Tutnjević Ljiljana Jerneić Željko Skender Martina Jurčević Tanja Šmidt Ana Vicković Ana Jurčević Tanja Vrečko Primož Jurković Miljenko Tomčić Marija Vučičević Antica Jurković Miljenko Zelić Matija Jurković Nada Topolnjak Andreja Vukmanović Maša Jurković Nada Zlonoga Petra Justić Siniša Turković Goran Zelić Tvrtko Kamenov Krunoslav Zver Tajana Kamenov Krunoslav Vucić Luka Kapetanović Zlatko Kapetanović Zlatko Župić Ana Kauzlarić Zlatko Kauzlarić Zlatko Keller Goroslav Keller Goroslav Kolaček Zdenko Koržinek Marko Koržinek Marko Kosić Tomislav Kosić Tomislav Kramer Erika Kramer Erika Kuduz Ante Križ Filipović Davorka Kuduz Ivan Kuduz Ante Kurilj Paula Kuduz Ivan Lapaine Božidar Kurilj Paula Ljuljka Boris Lapaine Božidar Marjanović Dorijan Ljuljka Boris Mikić Krešimir Marjanović Dorijan Milčić Diana Mikić Krešimir Morsan Boris Milčić Diana Muftić Osman Morsan Boris Munger Marcela Muftić Osman Opalić Milan Munger Marcela Orešić Marijan Opalić Milan Orešić Mladen Orešić Marijan Pap Klaudio Orešić Mladen

400 401 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

2000 / 2001 1999 / 2000

Alfirević Ivo Pap Klaudio Bobić Sanja Bručić Irena Alfirević Ivo Reberski Siniša Balaić Marin Berc Ana Bačić Marcel Pavlić Davor Bogešić Marko Čačić Antonia Bačić Marcel Rendić Miočević Marija Bešlić Nina Blažinčić Ivo Baće Joško Reberski Siniša Borovnjak Ivana Čale Mirena Baće Joško Rogić Ivan Boban Petar Božić Goran Bakliža Darko Rendić Miočević Marija Bratinčević Ivana Dešković Aleksandar Bakliža Darko Stergaršek Stanko Čular Iva Brajević Tamara Bičanić Antun Rogić Ivan Cvahte Siniša Gamulin Damir Bičanić Antun Sudeta Nikoleta Dumić Martina Cavar Lana Bogner Andrija Stergaršek Stanko Čizmić Petra Gjakun Maja Bogner Andrija Sviličić Blaž Đaković Iva Fabrio Ivana Borić Neda Sudeta Nikoleta Čukelj Ivana Grbac Mirna Borić Neda Štorga Mario Filipović Melita Janota Mirela Brčić Stipe Sviličić Blaž Dupalo Jasmina Havelka Jelena Brčić Stipe Tkalec Stjepan Gotovuša Tihana Jelić Ana Bruketa Davor Štorga Mario Eškinja Maja Hercog Jelenko Bukovčan Miljenko Tomičić Davor Hrkač Ana Jonke Sven Bukovčan Miljenko Tadej Sonja Eškinja Šime Hrust Nataša Čorkalo Dinka Tonković Zdenko Hržina Iva Jurinec Antonija Čorkalo Dinka Tkalec Stjepan Golić Antonija Meglajec Irena Deković Damir Vranić Zvonko Kirasić Krešimir Kojundžić Franka Deković Damir Tonković Zdenko Grancarić Krešimir Mesić Filip Dogan Nenad Vranković Nikola Kirin Iskra Koržinek Marko Dogan Nenad Vranić Zvonko Herić Ozren Mikluš Lidija Doroghy Ivan Vukić Feđa Klobučar Ana Kraljević Tomislav Doroghy Ivan Vranković Nikola Kalenski Lidija Miličić Ivana Dvorski Krunoslav Vulin Ante Kralj Branimir Kunić Sanjin Dvorski Krunoslav Vukić Feđa Kos Monika Novak Dubravka Đurić Nemec Dubravka Waldgoni Renata Kunej Ana Malčić Ivona Đurić Nemec Dubravka Vulin Ante Kraljević ¸Nera Pap Tamara Fabijanić Nenad Žeželj Dragan Mikulandra Morana Manestar Tena Fabijanić Nenad Waldgoni Renata Lavrić Sandra Polić Sanja Filipović Nikola Žiljak Vilko Morožin Iva Maričić Irena Filipović Nikola Žeželj Dragan Maltar Mihaela Roksandić Dean Grbac Ivica Mrva Miroslav Nosso Petra Grbac Ivica Žiljak Vilko Martinović Ana Stagličić-Balen Antun Hajsig Božica Voditelj radionice / Novosel Lidija Novak Morana Hajsig Božica Mikuš Carmen Stastny Iva Herceg Stanko Workshop facilities manager Nujić Marko Paulić Željko Herceg Stanko Voditelj radionice / Orešić Dina Šlat Zrinka Hrnčević Juraj Ivica Turčić Paškvan Branimir Pecnik Mihaela Horvat Sanja Workshop facilities manager Rašić Marko Uroda Toni Ileković Boris Pavlinek Nika Pete Danijel Hrnčević Juraj Ivica Turčić Sabljić Branimir Vidović Mislav Indof Janez Voditelj / Head Pokos Roman Pišek Nikolina Ileković Boris Segulin Petra Žiljak Ivana Ivančević Radovan Vulin Ante Prizmić Damir Podnar Anamarija Indof Janez Voditelj / Head Serdarušić Mislav Jerneić Željko Radovanović Ivana Podnar Nikolina Ivančević Radovan Vulin Ante Strinavić Tatjana Jurčević Tanja Raduka Mirna Pojatina Ana Jerneić Željko Szomi Istvan Jurković Miljenko Salopek Zlatka Radeljković Nikola Jurčević Tanja Šećerkadić Samir Jurković Nada Siladi Krešimir Radulić Sanja Jurković Miljenko Šunjerga Anonio Justić Siniša Šestan Kristina Serdarević Izvorka Jurković Nada Telenta Lena Kamenov Krunoslav Videc Petra Slunjski Kristina Justić Siniša Tomljenović Elvis Kapetanović Zlatko Volfand Marija Šolić Sunčica Kamenov Krunoslav Turković Tomislav Kauzlarić Zlatko Vučić Mia Tkalec Renata Kapetanović Zlatko Udovičić Mirta Keller Goroslav Vučičević Antica Vlainić Tomislav Kauzlarić Zlatko Uglješić Vesna Kolaček Zdenko Vujčić Alan Vukojević Narcisa Keller Goroslav Vrabec Vedrana Kosić Tomislav Zlatunić Zlatko Kolaček Zdenko Vuksanović Silva Kramer Erika Koržinek Marko Žuljević Ivana Kranjčević Eduard Kosić Tomislav Križ Filipović Davorka Kramer Erika Kuduz Ante Križ Filipović Davorka Kuduz Ivan Kuduz Ante Kurilj Paula Kuduz Ivan Lapaine Božidar Kurilj Paula Ljuljka Boris Lapaine Božidar Marjanović Dorijan Ljuljka Boris Mikić Krešimir Marjanović Dorijan Milčić Diana Mikić Krešimir Morsan Boris Milčić Diana Muftić Osman Morsan Boris Munger Marcela Muftić Osman Nevžala Maja Munger Marcela Opalić Milan Opalić Milan Orešić Marijan Orešić Marijan Orešić Mladen Orešić Mladen Pap Klaudio

402 403 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

1998/ 1999 1997 / 1998

Alfirević Ivo Orešić Marijan Anić-Ivičić-Gradina Bosiljka Babić Jelena Alfirević Ivo Opalić Milan Azinović Eva Anžek Romina Alfirević Gorjana Orešić Mladen Beara Sandra Bilić Dubravka Alfirević Gorjana Orešić Marijan Babić Ivana Baus Marko Bačić Marcel Pap Klaudio Bielen Hrvoje Boban Ivana Bačić Marcel Orešić Mladen Banek Ana Bogunović Mia Baće Joško Reberski Siniša Borković Karolina Bočvarov Saša Bakliža Darko Pap Klaudio Banić Ana Botteri Aron Bakliža Darko Rendić Miočević Marija Bralić Damir Bubić Koraljka Bauer Goran Reberski Siniša Baranović Vesna Bruketa Davor Bauer Goran Rogić Ivan Budić Vendi Canki Iva Bičanić Antun Rek Vesna Cvetković Morana Denić Zrinka Bičanić Antun Stergaršek Stanko Čipin Jana Čavar Maja Bogner Andrija Rendić Miočević Marija Čizmić Maja Dolić Jadranka Bogner Andrija Sudeta Nikoleta Despot Filip Đuroković Dražen Bojčetić Nenad Rogić Ivan Ćuk Zoran Dragun Silvana Bojčetić Nenad Sviličić Blaž Dobranić Dunja Flegar Diana Borić Neda Stergaršek Stanko Dalić Anđelko Zoran Drašković Darko Borić Neda Tkalec Stjepan Fabijanić Jana Garojević Goran Brčić Stipe Sudeta Nikoleta Franekić Elena Galeta Karlo Brčić Stipe Tomičić Davor Galić Renata Golik Gordana Bukovčan Miljenko Šerman Karin Gjergja Vjekoslav Garaj Vanja Bukovčan Miljenko Tonković Zdenko Grubišić Mirna Hinšt Nikolina Čorkalo Dinka Štorga Mario Gjurček Sven Glavić Lara Čorkalo Dinka Vranić Zvonko Jančar Klara Ivičević-Bakulić Ivan Deković Damir Terze Zdravko Gotovac Ivo Goreta Jasna Deković Damir Vranković Nikola Jelić Nikolina Janković Tea Dogan Nenad Tkalec Stjepan Gugić Ana Iričanin Dario Dogan Nenad Vukić Feđa Kapetanović Ivan Tvrtko Jelić Tomislav Doroghy Ivan Tomičić Davor Ivanov Samel Lepčin Igor Doroghy Ivan Vulin Ante Korica Duška Jovanović Mila Dvorski Krunoslav Tonković Zdenko Jurišić Jagoda Madunić Vladimir Dvorski Krunoslav Waldgoni Renata Korlaet Matej Kljajić Tanja Đurić Nemec Dubravka Vranić Zvonko Klemens Vedran Makvić Iva Đurić Nemec Dubravka Žiljak Vilko Kurtić Dragana Koporčić Nataša Fabijanić Nenad Vranković Nikola Kovačević Lina Marković Ivica Fabijanić Nenad Lukač Jelena Marušić Nela Filipović Nikola Vukić Feđa Kurnik Irena Mićin Anisa Filipović Nikola Voditelj radionice / Mikulić Klara Matovina Krešimir Grbac Ivica Vulin Ante Marinac Nives Miljak Cvijeta Grbac Ivica Workshop facilities manager Petak Ana Modrinić Srđana Hajsig Božica Waldgoni Renata Nedeljković Zrinka Mulabegović Elma Hajsig Božica Ivica Turčić Plasajec Željka Mosner Iva Herceg Stanko Žiljak Vilko Pancer Alica Petrović Kristijan Herceg Stanko Radaić Ivona Penava Zrinka Barbara Hrnčević Juraj Pašić Ines Poturić Igor Hrnčević Juraj Voditelj / Head Skenderović Senka Petrak Mario Ileković Boris Voditelj radionice / Poturica Nina Rošin Stjepko Ileković Boris Vulin Ante Smrekar Dino Rajki Tina Indof Janez Workshop facilities manager Pružek Tanja Sobotinčić Igor Indof Janez Šrajer Jakov Stanišljević Igor Ivančević Radovan Ivica Turčić Ravnjak Jelena Stilinović Bojan Ivančević Radovan Tutnjević Ljiljana Steiner Danko Jerneić Željko Rukovanjski Davor Šerbetić Nikolina Jerneić Željko Vrban Gordan Szigeti Vladimir Jović Matko Voditelj / Head Saletović Mirna Švob Radovan Jović Matko Zavacki Sonja Vidović Hrvoje Jurčević Tanja Šmidihen Edo Sladić Iva Uhlik Ivana Jurčević Tanja Zec Barbara Zovko Maja Jurković Miljenko Sudar Siniša Vranješ Igor Jurković Miljenko Zmaić Goran Josip Zubčić Vesna Jurković Nada Šaban Jelena Vučić Ivana Jurković Nada Žaja Ana Justić Siniša Šmidt Kristina Justić Siniša Kamenov Krunoslav Šunjić Zoran Kamenov Krunoslav Kapetanović Zlatko Vukmanović Maša Kapetanović Zlatko Kauzlarić Zlatko Vulić Ivana Kauzlarić Zlatko Keller Goroslav Keller Goroslav Kolaček Zdenko Kolaček Zdenko Kosić Tomislav Kosić Tomislav Kramer Erika Kramer Erika Kranjčević Eduard Kranjčević Eduard Kranjčević Stanka Križ Filipović Davorka Križ Filipović Davorka Kuduz Ante Kuduz Ante Kuduz Ivan Kuduz Ivan Lapaine Božidar Lalić Tomislav Ljuljka Boris Lapaine Božidar Marjanović Dorijan Ljuljka Boris Mikić Krešimir Marjanović Dorijan Milčić Diana Mikić Krešimir Morsan Boris Milčić Diana Muftić Osman Morsan Boris Munger Marcela Muftić Osman Nevžala Maja Munger Marcela Opalić Milan Nevžala Maja

404 405 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

1996/ 1997 1995 / 1996

Alfirević Ivo Rek Vesna Bagić Maja Ajanović Amra Alfirević Ivo Rek Vesna Biondić Sanja Brčić Tihoni Alfirević Gorjana Rendić Miočević Marija Bilić Dora Ausenak Daria Alfirević Gorjana Rendić Miočević Marija Blasin Barbara Cupec David Bačić Marcel Rogić Ivan Bilić Petra Bajto Maja Bačić Marcel Rogić Ivan Bogdanić Mirta Ferlin Mauricio Bakliža Darko Stergaršek Stanko Bošnjak Darin Baletić Ana Bakliža Darko Stergaršek Stanko Božić Goran Fotak Helena Bauer Goran Sudeta Nikoleta Bručić Irena Borovac Aleksandar Bauer Goran Sudeta Nikoleta Dešković Aleksandar Galić Klara Bičanić Antun Šerman Karin Cuculić Vanja Brajdić Aljoša Bičanić Antun Tadej Sonja Fabrio Ivana Glavaš Boris Bogner Andrija Terze Zdravko Deverić Vito Brežanski Alan Bogner Andrija Terze Zdravko Gaćina Joško Husnjak Davor Bojčetić Nenad Tkalec Stjepan Donadini Mladen Ceraj-Cerić Iva Bojčetić Nenad Tkalec Stjepan Galić Ana Ivaniš Goran Brčić Stipe Tomičić Davor Đogić Ivona Ćavar Petar Krešimir Brčić Stipe Tomičić Davor Gotovac Sarah Janković Danijela Bukovčan Miljenko Tonković Zdenko Đurić Krešimir Dragašević Lana Bukovčan Miljenko Tonković Zdenko Havelka Jelena Jurinec Ksenija Čorkalo Dinka Vranić Zvonko Frank Filip-Gordon Erben Marko Čorkalo Dinka Vranić Zvonko Hraste Ivna Kezić Ada Deković Damir Vranković Nikola Gjakun Maja Farčić Gabrijela Deković Damir Vranković Nikola Jalšovec Nenad Kličinović Tea Dogan Nenad Vukić Feđa Grgurević Lea Golubić Kristina Dogan Nenad Vukić Feđa Juras Luka Kolendarić Ana Doroghy Ivan Vulin Ante Hripko Boris Jelavić-Mitrović Nikolina Doroghy Ivan Vulin Ante Jurinec Antonija Koprivnjak Lovorka Dvorski Krunoslav Waldgoni Renata Jonjić Silvia Jerić Mirna Dvorski Krunoslav Waldgoni Renata Karić Dalida Kordić Andrea Đurić Nemec Dubravka Žiljak Vilko Kasap Vedran Juričić Darko Đurić Nemec Dubravka Žiljak Vilko Kovač Aleksandar Lazanja Branimir Fabijanić Nenad Kocijan Elizabeta Kaćunić Tomislav Jurica Fabijanić Nenad Kuharić Luka Lokin Iva Filipović Nikola Voditelj radionice / Marić Krešimir Katić Tanja Filipović Nikola Voditelj / Head Kurelac Iva Majstorović Antonija Grbac Ivica Workshop facilities manager Marović Moniroz Klarica Ivana Grbac Ivica Šmidihen Edo Lončar Ana Marčetić-Marinović Ljubica Hajsig Božica Ivica Turčić Meglajec Irena Kovačić Neven Hajsig Božica Maričić Irena Markoč Marina Herceg Stanko Mesić Filip Kramarić Goran Herceg Stanko Marković Jelena Mataković Katica Hrnčević Juraj Voditelj / Head Mihelčić Mirna Krasić Sandra Hrnčević Juraj Matoš Bojan Matičević Ana Ileković Boris Šmidihen Edo Mujezinović Ivian Kan Krile Maro Ileković Boris Mikluš Lidija Milovanović Andrea Indof Janez Müller Tina Krpina Lana Indof Janez Miličić Ivana Milutin Romana Ivančević Radovan Mustafa-Kamal Mariam Leiner Ulla Ivančević Radovan Momčilović Ivana Mioč Marijana Jerneić Željko Novak Dubravka Lujanac Tonka Jerneić Željko Pap Tamara Ortynski Berislav Jović Matko Paschenko Olexander Malnar Tatjana Jović Matko Paulić Željko Palijan Davorin Jurčević Tanja Pohl Martin Marinović Ana Jurčević Tanja Puljić Jurana Pavlica Sanja Jurković Miljenko Polić Sanja Mokos Željka Jurković Miljenko Roksandić Dean Peko Ivana Jurković Nada Šestan Blanka Pavičić Marina Jurković Nada Romić Ivana Radović Romina Kamenov Krunoslav Tolić Dinko Prižmić Saša Kamenov Krunoslav Skender Lana Rukavina Branimir Kapetanović Zlatko Uravić Veronika Roller Sara Kapetanović Zlatko Stastny Iva Sazunić Nela Kauzlarić Zlatko Vicković Ana Sinković Nikola Kauzlarić Zlatko Šlat Zrinka Sinovčić Elza Keller Goroslav Vlahović Ines Stepić Robert Keller Goroslav Šobot Miroslava Stanić Marko Kosić Tomislav Zelić Tvrko Storić Marijana Kosić Tomislav Tomac Danko Stubičar Saša Kramer Erika Žiljak Ivana Šebalj Viola Kramer Erika Valek Monika Thumm Luka Kranjčević Eduard Štimac Goran Kranjčević Eduard Vidović Mislav Tkalec Zrinka Kranjčević Stanka Šuper Dražen Kranjčević Stanka Vrcelj Davor Zagorac Predrag Križ Filipović Davorka Križ Filipović Davorka Vučičević Božidarka Zekušić Irena Kuduz Ante Kuduz Ante Vukojević Narcisa Zubak Morana Kuduz Ivan Kuduz Ivan Zafron Marijan Žiljak Jana Lalić Tomislav Lalić Tomislav Lapaine Božidar Lapaine Božidar Ljuljka Boris Ljuljka Boris Marjanović Dorijan Marjanović Dorijan Mikić Krešimir Mikić Krešimir Morsan Boris Morsan Boris Muftić Osman Muftić Osman Munger Marcela Munger Marcela Opalić Milan Opalić Milan Orešić Marijan Orešić Marijan Orešić Mladen Orešić Mladen Pap Klaudio Pap Klaudio Reberski Siniša Reberski Siniša

406 407 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

1994/ 1995 1993 / 1994

Alfirević Ivo Rendić Miočević Marija Berc Ana Baković Miranda Ajduković Dejan Šerman Karin Ajanović Amra Barišić Arni Alfirević Gorjana Rogić Ivan Čačić Antonia Benjak Krešimir Alfirević Ivo Taboršak Dragutin Alujević Saša Bencetić Sanja Bačić Marcel Stergaršek Stanko Čale Mirena Čoporda Ratko Bakliža Darko Terze Zdravko Anžek Romina Bogdanović Jasmina Bakliža Darko Sudeta Nikoleta Flegar Diana Dakić Tatjana Bogner Andrija Tkalec Stjepan Babić Jelena Božek Suzana Bauer Goran Terze Zdravko Gamulin Damir Dezotti Sanda Bojčetić Nenad Tomičić Davor Ban Ivan Ivanković Ivana Bičanić Antun Tkalec Stjepan Golik Gordana Dubovečak Vesna Bosner Željko Tonković Zdenko Baranović Franka Kapicl Renata Bogner Andrija Tomičić Davor Gorički Saša Fabekovec Marijo Brčić Stipe Vaništa Josip Bilić Dubravka Kavurić Inja Bojčetić Nenad Tonković Zdenko Grabovac Mirjana Franković Orsat Bukovčan Miljenko Vranić Zvonko Blažinčić Ivo Kolumbić Antun Brčić Stipe Vaništa Josip Grbac Mirna Glinska Adrianna Beata Dogan Nenad Vranković Nikola Boban Ivana Komarica Borjan Bukovčan Miljenko Vranić Zvonko Grgurević Tina Kirinić Sanja Doroghy Ivan Vulin Ante Bogunović Mia Kortizija Martina Čorkalo Dinka Vranković Nikola Hrust Nataša Krpan Dino Đurić Nemec Dubravka Waldgoni Renata Bralić Vedran Marjanović Sonja Deković Damir Vukić Feđa Iveta Danijel Krpić Nives Fabijanić Nenad Žiljak Vilko Brkić Vera Matušić Terezija Dogan Nenad Vulin Ante Janota Mirela Maksimovski Saša Filipović Nikola Cavar Lana Mikulić Melina Doroghy Ivan Waldgoni Renata Juretić Ivan Matek Tomislav Grbac Ivica Voditelj / Head Decker Lovorka Milošević Aleksandra Dvorski Krunoslav Žiljak Vilko Keller Robin Patrlj Ana-Marija Hajsig Božica Šmidihen Edo Drašković Darko Pečenko Marina Đurić Nemec Dubravka Koporčić Nataša Puškarić Mirjana Herceg Stanko Garojević Goran Reljan Tamara Fabijanić Nenad Voditelj / Head Kraljević Tomislav Puškarić Vesna Homadovski Aleksandar Glavić Lara Šaban Janislav Filipović Nikola Šmidihen Edo Križan Ivan Radovniković Veljko Hrnčević Juraj Janković Tea Šimetić Daniela Grbac Ivica Kunić Sanjin Soviček Jadranka Ileković Boris Jelić Marina Turčin Nada Hajsig Božica Mandić Lučiano Šoštarić Tanja Indof Janez Jonke Sven Herceg Stanko Manestar Tena Vlajo Koraljka Ivančević Radovan Jovanović Mila Hrnčević Juraj Novak Morana Zglavnik Dubravka Jerneić Željko Kljajić Tanja Ileković Boris Pecnik Mihaela Jović Matko Kožul Maja Indof Janez Podnar Anamarija Jurčević Tanja Kraljević Ivan Ivančević Radovan Podnar Nikolina Jurković Miljenko Lukaček Ivan Jerneić Željko Pojatina Ana Kamenov Krunoslav Makvić Iva Jurčević Tanja Rajki Tina Kapetanović Zlatko Marković Ivica Jurković Miljenko Serdarević Izvorka Kauzlarić Zlatko Matovina Krešimir Jurković Nada Slunjski Kristina Keller Goroslav Mićin Anisa Kamenov Krunoslav Stagličić-Balen Antun Kincl Branko Miljak Cvijeta Kapetanović Zlatko Stanišljević Igor Kolaček Zdenko Modrinić Srđana Kauzlarić Zlatko Šimunić Lana Kosić Tomislav Mosner Iva Keller Goroslav Špoljar Damir Kramer Erika Mulabegović Elma Kosić Tomislav Tkalec Renata Kranjčević Eduard Nosso Petra Kramer Erika Zlatunić Zlatko Kranjčević Stanka Petrović Kristijan Kranjčević Eduard Zovko Maja Kuduz Ante Pišek Nikolina Kranjčević Stanka Kuduz Ivan Popović Vincezo Križ Filipović Davorka Lalić Tomislav Radeljković Nikola Kuduz Ante Lapaine Božidar Radulić Sanja Kuduz Ivan Ljuljka Boris Stasiow Željka Lalić Tomislav Marjanović Dorijan Steiner Danko Lapaine Božidar Mikić Krešimir Šerbetić Nikolina Ljuljka Boris Morsan Boris Tomičić Miran Marjanović Dorijan Munger Marcela Uhlik Ivana Mikić Krešimir Opalić Milan Uroda Toni Morsan Boris Orešić Marijan Vidović Hrvoje Muftić Osman Orešić Mladen Villi Iva Munger Marcela Pap Klaudio Vlainić Tomislav Opalić Milan Rek Vesna Vlatko Maro Orešić Marijan Rendić Miočević Marija Zubčić Vesna Orešić Mladen Rogić Ivan Žaja Ana Pap Klaudio Semenski Damir Reberski Siniša Stergaršek Stanko Rek Vesna Sudeta Nikoleta

408 409 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

1992 / 1993 1991 / 1992

nastavnici Upisani nastavnici Upisani / teaching staff / enrolled / teaching staff / enrolled

Ajduković Dejan Taboršak Dragutin Babaja Iva Alfirević Gorjana Tkalec Stjepan Arula Dalibor Alfirević Ivo Tkalčec Emilija Bednjanec Darko Alfirević Ivo Uršić Božidar Ausenak Daria Bakliža Darko Tkalec Stjepan Belinić Ivica Alfirević Izidor Vaništa Josip Bajto Maja Bogner Andrija Tomičić Davor Brajević Tamara Bakliža Darko Vranić Zvonko Baletić Ana Bosner Željko Vaništa Josip Bruketa Davor Božić Željko Vranković Nikola Baus Marko Božić Željko Vranić Zvonko Bubić Koraljka Brčić Stipe Vulin Ante Borovac Hrvoje Brčić Stipe Vranković Nikola Canki Iva Doroghy Ivan Waldgoni Renata Brajdić Aljoša Bukovčan Miljenko Vulin Ante Čavar Maja Đurić Nemec Dubravka Žiljak Vilko Brčić Tihoni Dogan Nenad Waldgoni Renata Denić Zrinka Filipović Nikola Ceraj Iva Doroghy Ivan Žiljak Vilko Dolić Jadranka Grbac Ivica Voditelj / Head Cupec David Đurić Nemec Dubravka Đuroković Dražen Hajsig Božica Šmidihen Edo Ćirić Tanja Fabijanić Nenad Voditelj / Head Freškura Mladen Homadovski Aleksandar Dragašević Lana Filipović Nikola Šmidihen Edo Garaj Vanja Hrnčević Juraj Dragun Silvana Grbac Ivica Grubić Mario Indof Janez Duljković Mina Hajsig Božica Hajon Ivo Ivančević Radovan Đekić Siniša Herceg Stanko Hinšt Nikolina Jurković Miljenko Galeta Karlo Homadovski Aleksandar Hlupić Vlatka Kamenov Krunoslav Golubić Kristina Hrnčević Juraj Ivanda Roko Kapetanović Zlatko Hercog Jelenko Ileković Boris Ivičević-Bakulić Ivan Kauzlarić Zlatko Iričanin Dario Indof Janez Jelić Tomislav Keller Goroslav Ivaniš Goran Ivančević Radovan Jerić Mirna Kincl Branko Jelavić-Mitrović Nikolina Jurković Miljenko Jukić Renato Klanac Zlatko Jelić Ana Kamenov Krunoslav Knapić Andrea Kosić Tomislav Juričić Darko Kapetanović Zlatko Knezović Suzana Kramer Erika Katić Tanja Kauzlarić Zlatko Kolanović Dubravka Kranjčević Eduard Klarica Ivana Keller Goroslav Koržinek Marko Kranjčević Stanka Kovačić Neven Kincl Branko Kovačević Ivana Kuduz Ante Krasić Sandra Klanac Zlatko Kuduz Ana Kuduz Ivan Krile Maro Kodrnja Zoran Madunić Vladimir Kurilj Paula Krpina Lana Kosić Tomislav Malčić Ivona Lapaine Božidar Lazanja Branimir Kramer Erika Milin Marija Marjanović Dorijan Leiner Ulla Kranjčević Eduard Nadilo Antonija Meštrović Matko Letica Ana Kranjčević Stanka Pavičić Marina Mikić Krešimir Ljubičić Igor Kuduz Ante Peraić Anastazija Morsan Boris Malnar Tatjana Kuduz Ivan Pete Danijel Muftić Osman Marinović Ana Lapaine Božidar Petrak Mario Munger Marcela Mataković Katica Ljuljka Boris Roller Sara Opalić Milan Mokos Željka Marjanović Dorijan Szigeti Vladimir Orešić Marijan Peko Ivana Medić Berislav Šolić Sunčica Orešić Mladen Soviček Jadranka Meštrović Matko Štokić Dario Paro Frane Stanić Marko Mikić Krešimir Šunk Davor Rek Vesna Storić Marijana Morsan Boris Švob Radovan Rendić Miočević Marija Šiško Nikola Muftić Osman Zidić Antun Juraj Rogić Ivan Šuper Dražen Munger Marcela Semenski Damir Thumm Luka Opalić Milan Stergaršek Stanko Tkalec Zrinka Orešić Marijan Sudeta Nikoleta Uglješić Nebojša Orešić Mladen Šutej Miroslav Vučić Ivana Paro Frane Taboršak Dragutin Zubak Morana Rek Vesna Tkalčec Emilija Žiljak Jana Rendić Miočević Marija Rogić Ivan Semenski Damir Stergaršek Stanko Sudeta Nikoleta

410 411 godišnjak studija dizajna 13. / 14. registar school of design annual review 13 / 14 archive

1990/ 1991 1989 / 1990

nastavnici Upisani nastavnici Upisani / teaching staff / enrolled / teaching staff / enrolled

Alfirević Ivo Taboršak Dragutin Aralica Višeslav Pečenko Marina Alfirević Ivo Tkalčec Emilija Baković Miranda Maksimovski Saša Bakliža Darko Tkalčec Emilija Benjak Krešimir Penava Zrinka Barbara Bakliža Darko Uršić Božidar Barišić Arni Marjanović Sonja Brčić Stipe Tkalec Stjepan Bernardić Branko Perić Saša Brčić Stipe Vaništa Josip Boban Daniela Markoč Marina Đurić Nemec Dubravka Uršić Božidar Bočvarov Saša Poturić Igor Filipović Nikola Vranić Zvonko Bogdanović Jasmina Marušić Nela Glavina Ivan Vaništa Josip Bogeljić Sonja Preglej Maja Glavina Ivan Vulin Ante Botteri Aron Matušić Terezija Gorjana Alfirević Vranić Zvonko Borovac Aleksandar Rapaić Milan Hajsig Božica Waldgoni Renata Božek Suzana Mikulić Melina Grbac Ivica Vulin Ante Brknjač Andrea Reljan Tamara Hrnčević Juraj Brežanski Alan (Milosavljević) Bencetić Sanja Hajsig Božica Waldgoni Renata Čoporda Ratko Rošin Stjepko Ivančević Radovan Voditelj / Head Cerovec Višnja Barbara Mortigjija Vinka Hrnčević Juraj Ćavar Petar Krešimir Rukavina Branimir Jecić Stjepan Šmidihen Edo Dakić Tatjana Nuhbegović Elmedin Ivan Doroghy Voditelj / Head Dubovečak Vesna Sabljić Ante Jurković Miljenko Dezotti Sanda Prižmić Saša Ivančević Radovan Šmidihen Edo Erben Marko Savić Sanja Kamenov Krunoslav Dobrinić Bianka Puhalović Damir Izidor Alfirević Fabekovec Marijo Sinković Nikola Kapetanović Zlatko Drakula Nataša Puškarić Mirjana Jecić Stjepan Farčić Gabrijela Sinovčić Elza Kauzlarić Zlatko Ferlin Mauricio Puškarić Vesna Jurković Miljenko Fotak Helena Stilinović Bojan Keller Goroslav Franković Orsat Radović Romina Kamenov Krunoslav Galić Klara Stubičar Saša Klanac Zlatko Glavaš Boris Radovniković Veljko Kapetanović Zlatko Glavor Željko Šebalj Viola Kramer Erika Glinska Adrianna Beata Sazunić Nela Kauzlarić Zlatko Glogolja Krešimir Štimac Goran Kranjčević Eduard Hristov Dubravko Sobotinčić Igor Keller Goroslav Goreta Jasna Tireli Dorian Kranjčević Stanka Ivanković Ivana Stepić Robert Klanac Zlatko Husnjak Davor Trstenjak Ljiljana Kuduz Ante Jedrejčić Zoran Šaban Janislav Kramer Erika Janković Danijela Turčin Nada Kuduz Ivan Jeić Kristina Šimetić Daniela Kranjčević Eduard Jurinec Ksenija Vlajo Koraljka Kurilj Paula Ježina Srećko Šiško Diana Kranjčević Stanka Kožarić Filip Vodopija Željka Lapaine Božidar Jovičić Zrinka Šoštarić Tanja Kuduz Ante Krpan Dino Vranješ Igor Ljubičić Boris Kačunić Tomislav Jurica Šutej Šimun Kuduz Ivan Krpić Nives Zglavnik Dubravka Ljuljka Boris Kapicl Renata Zagorac Predrag Kurilj Paula Kulović Bojana Žalig Tihomir Mikić Krešimir Kavurić Inja Zekušić Irena Lapaine Božidar Kumanović Dinko Žinić Nikola Mohorovičić Andre Kezić Ada Ljubičić Boris Lalović Damjan Morsan Boris Kirinić Sanja Mikić Krešimir Lokin Iva Muftić Osman Kličinović Tea Mohorovičić Andre Lujanac Tonka Munger Marcela Kolendarić Ana Morsan Boris Majstorović Antonija Orešić Marijan Kolumbić Antun Muftić Osman Mamula Srđan Orešić Mladen Komarica Borjan Munger Marcela Marčetić-Marinović Ljubica Rek Vesna Koprivnjak Lovorka Opalić Milan Matek Tomislav Rendić Miočević Marija Kordić Andrea Orešić Marijan Matičević Ana Rogić Ivan Kortizija Martina Orešić Mladen Milošević Aleksandra Sudeta Nikoleta Kramarić Goran Paro Frane Milovanović Andrea Šutej Miroslav Labura Svebor Rek Vesna Milutin Romana Taboršak Dragutin Lepčin Igor Rendić Miočević Marija Mioč Marijana Rogić Ivan Ortynski Berislav Semenski Damir Palijan Davorin Stergaršek Stanko Patrlj Ana-Marija Sudeta Nikoleta Pavlica Sanja Šutej Miroslav Payer Ira

412 413 godišnjak studija dizajna 13. / 14. school of design annual review 13 / 14

Impressum

uređuje urednički kolegij partneri studija dizajna Zahvaljujemo tvrtki Fedrigoni na sponzorstvu kojim / edited by editorial board / partners of the school of design je potpomogla izdavanje Godišnjaka Studija dizajna. prof. Stipe Brčić / We thank the Fedrigoni Company for its sponsorship in support prof. Nenad Dogan of the publishing of the Annual review of the School of Design. prof. Ivan Doroghy Akademija dramske umjetnosti / Academy of Dramatic Art doc. dr. sc. Nikola Đurek doc. mr. sc. Ivana Fabrio Chillout Hostel Zagreb izv. prof. Stanko Herceg izv. prof. Boris Ileković Europska komisija / European Commission asist. Tin Kaodić prof. mr. sc. Zlatko Kapetanović Fakultet elektrotehnike i računarstva asist. Inja Kireta Kavurić / Faculty of Electrical Engineering and Computing prof. Mladen Orešić izv. prof. dr. sc. Feđa Vukić Galerija Bernardo Bernardi / Bernardo Bernardi Gallery asist. Hrvoje Živčić Hrvatska obrtnička komora / Croatian Chamber of Trades and Crafts glavni urednik / Editor-in-Chief prof. Ivan Doroghy Hrvatska radio televizija / Croatian Radiotelevision pomoćnica glavnog urednika Hrvatsko dizajnersko društvo / Croatian Designers Association / assistants to editor-in-chief asist. Romana Kajp Igepa Plana papiri suradnice / colaborators Klara Home & Gardening LTD Paula Šobat Vita Vrebac Kuhinje Knapić / Knapić Kitchen Sets tekstovi / texts Meranija Labin prof. Stipe Brčić prof. Ivan Doroghy Papirus d.o.o. prof. mr. sc. Zlatko Kapetanović prof. Mladen Orešić Pučko otvoreno učilište Zagreb / Public Open University Zagreb prijevod / translation Sveučilište u Zagrebu / University of Zagreb Lućana Banek Scuderia Zagreb art direktor / art director prof. Nenad Dogan unicef prijelom / layout Veleposlanstvo Kraljevine Nizozemske Dora Kasun / Embassy of the Kingdom of the Netherlands in Zagreb fotografije / photography Zrinka Horvat Borna Aron Grčević Arhiv Studija dizajna priprema / prepress Kaligraf tisak / printing Printera

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