Godisnjak Annual Review 2014 2015

Godinjak
Studija
dizajna
School of
Design
Annual
Review
1
izdava
Sveuilite u Zagrebu
Arhitektonski fakultet
Studij dizajna
Godinjak
publisher
University of Zagreb
Faculty of Architecture
School of Design
za izdavaa
Voditelj Studija dizajna
prof. Stipe Bri
for the publisher

Studija
dizajna
Head of School of Design
Professor Stipe Bri
Sva prava pridrana. Niti jedan dio ove publikacije ne
School of
smije se reproducirati ni na koji elektronski i mehaniki
nain bez pisane dozvole izdavaa.
All rights reserved. No part of this publication may be

reproduced in any form by any electronic or mechan-
ical means without permission in writing from the
Design
publisher.
ISSN 18487823
Annual
Review
Zagreb, 2016.
2 3
preddiplomski studij/undergraduate programme
Sadraj Contents
predgovor _7 preface _7
godinje nagrade i priznanja _9 annual awards and acknowledgements _9
preddiplomski studij _19 undergraduate programme _19
diplomski studij/graduate programme

ciljevi _20 Objectives _20
projektiranjeindustrijski dizajn _23 design courseindustrial design _23
projektiranjevizualne komunikacije _61 design coursevisual communications design _61
tipografija _121 typography _121
likovni program _147 visual arts programme _147
fotografija i film _165 photography and film _165
osnove interaktivnih medija _181 basics of interactive media _181
studenti preddiplomskog studija _191 Undergraduate programme students _191
izvedbeni program _199 curriculum outline _199
diplomski studij _207 graduate programme _207

ciljevi _208 Objectives _208
industrijski dizajn _211 industrial design _211
dizajn vizualnih komunikacija _227 visual communications _227
projektiranje pisma _243 font design _243
film i video _249 film and video _249
interaktivni mediji _257 interactive media _257
dizajn interakcija _263 Interaction Design _263
diplomski radovi _271 graduation thesis _271
studenti diplomskog studija _317 Graduate Programme Students _317
izvedbeni program _323 curriculum outline _323
projekti _329 projects _329

dogaanja _359 events _359
vijee, povjerenstva, programski odbor _381 council, committees, programme board _381
In memoriam Dr.sc. Edo midihen, In memoriam Edo midihen, phd,
professor emeritus _384 professor emeritus _384
registar _387 archive _387
impresum _422 impressum _422
4 5
godinjak studija dizajna 2014./2015.
school of design annual review 2014/2015
Predgovor Foreword
prof. stipe bri
voditelj studija dizajna
head of the school of design
Roen 1948. godine u Osijeku. 1971. diplomirao slikar- Born in 1948, in Osijek. In 1971 graduated from the U ovoj, dvadesetestoj godini Studija dizajna svoje obrazova- In this 26th anniversary of the School of Design, 29 students have
stvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Academy of Fine Arts in Zagreb, Painting Department, nje uspjeno je zavrilo 29 prvostupnica i prvostupnika te 34 successfully completed their Bachelor degree program and 34
prof. Miljenka Stania. Od 1968. do 1972. stalni suradnik in the class of Prof. Miljenko Stani. From 1968 to
u ateljeu arh. Vjenceslava Richtera. Od 1977. do 1989. 1972 was a permanent associate with the architect magistrice i magistara dizajna. Jo jedna diploma je obranjena students have completed their Master degree program. One of
lan autorskog tima Vizualne komunikacije Centra za Vjenceslav Richters studio. From 1977 to 1989 acted po starom (predbolonjskom) sustavu. Istodobno, 32 studen- them graduated from the former pre-Bologna study program.
industrijsko oblikovanje CIO. 1983. lan-osniva Dru- as an authoring member of the visual communica- tica i studenata upisalo je preddiplomski, a njih 28 diplomski Currently 32 students are enrolled in the Bachelor degree pro-
tva dizajnera Hrvatske. Od 1985. do 1989. predsjednik tions design team at the Industrial Design Centre (CIO).
Drutva dizajnera Hrvatske. 1990. osniva vlastiti stu- In 1983 became a co-founding member of the Croa- studij dizajna. gram and 28 in the Master degree program. Although the reor-
dio Norma International. Od 1986. do 1988. lan radne tian Designers Society (HDD). From 1985 to 1989 held Iako organizacijska tranzicija jo nije zavrena, Studij die punim ganization of the School of Design is still in process, professional
grupe za osnivanje i izradu okvirnog programa Studija the position of President of the Croatian Designers pluima. I ovaj Godinjak o tome svjedoi. U nastavi su posti- work and activities are in full swing. This publication presents
dizajna na Sveuilitu u Zagrebu na kojem, po osnivanju Association (HDD). In 1990 established his own studio,
1989. godine, postaje predava na kolegiju Projektiranje. Norma International. From 1986 to 1988 acted as a gnuti vrijedni rezultati. Onim najboljim dodijeljene su ve tra- the activities that we took part in and the results that we have
Od 2002. do 2006. voditelj Studija dizajna. Od 2004. member of the working group in charge of founding dicionalne godinje nagrade i priznanja. achieved. Our high-quality professional training has resulted in
do 2005. koordinator radne grupe za izradu studij- of the School of Design and drafting of its educational Istodobno, Studij je ostvario niz zanimljivih suradnji, radionica i the traditional annual rewards that went to some of our most
skog programa u sklopu bolonjske reforme i koautor programme framework. After the Schools foundation
izvedbenog programa iz kolegija Projektiranje/vizu- in 1989 he became a lecturer in Visual Communica- projekata. Tako je uspjeno nastavljena suradnja izmeu naih successful students. We have established some effective colla-
alne komunikacije 16 (preddiplomski studij) i Dizajn tions Design. From 2002 to 2006 he was Head of the studenata i studenata Akademije za dramsku umjetnost na boration, held some interesting workshops, and carried out some
vizualnih komunikacija 14 (diplomski studij). Od 2011. School of Design. From 2004 to 2005 acted as coor- projektu FRKA. major projects.
godine voditelj Studija dizajna. dinator of the working group in charge of the educa-
tional programme draft within the Bologna reform S udrugom RODA u enskoj kaznionici Poega realizirana je izu- We have continued fruitful collaboration between our students
of higher education, and a co-author of the Visual zetno vrijedna radionica Reetke nisu prepreke. I ove godine u and the students from the Academy of Dramatic Art who are
Communications Design 16 (undergraduate level) suradnji sa kolom narodnog zdravlja Andrije tampara i Arhi- jointly working on FRKA project. Together with Roda Associa-
and the Visual Communications Design 14 (grad-
uate level) courses educational programmes. As of tektonskim fakultetom organizirana je UNICEF-ova radionica tion we held a workshop Prison bars are not an obstacle in the
2011 he has been holding the position of Head of the Prostori uenja u tranziciji. womens penitentiary in Poega. In collaboration with the School
School of Design. Za Strategije obrazovanja, znanosti i tehnologije Republike of Public Health Andrija tampar and the Faculty of Architecture
Hrvatske Studij je izradio projekt vizualnog identiteta i komu- we organized a UNICEF workshop Study facilities in transition.
nikacijskog sustava Nove boje znanja. Our School is responsible for the visual identity of the project
Zapaeno je sudjelovanje Studija na Danu D, Tjednu dizajna i New colours of knowledgeStrategy of Education, Science and
Smotri Sveuilita. Technology of the Republic of Croatia.
Ove godine u Frankopanskoj 12 otvorena je Galerija Studija diza- We actively took part on D Day, Design Week, and University
jna, kao novi komunikacijski kanal vrlo vaan kako za internu of Zagreb Fair.
tako i za eksternu komunikaciju. The Gallery of the School of Design was opened this year at 12,
Na kraju, zahvaljujem studenticama i studentima, nastavnicima Frankopanska st. as a new communication channel which is
i suradnicima na uloenom trudu i postignutim rezultatima. important both for the internal and the external communication.
Zahvalu dugujemo i Arhitektonskom fakultetu s dekanom I express my gratitude to all the students, professors and colla-
prof.mr.sc. Borisom Korunjakom na elu te Fakultetskom borators for their efforts and the achieved results. We also owe
vijeu koje je u svom radu podravalo interese Studija dizajna. sincere gratitude to the Faculty of Architecture headed by Prof.
Boris Korunjak, M.Sc., and all teaching staff who supported the
Prof. Stipe Bri, School of Design and its interests.
voditelj Studija dizajna
Prof. Stipe Bri
Head of the School of Design
6 7
Godinje nagrade i priznanja

Annual Awards and Acknowledgements
8 9
godinjak studija dizajna 2014./2015. godinje nagrade i priznanja
school of design annual review 2014/2015 annual awards and acknowledgements
Godinje nagrade i priznanja Awards presented by the

studija dizajna u 14./15. godini School of Design 2014/2015
Treu godinu zaredom, Studij dizajna dodjeljuje nagrade i pri- For the third consecutive year the School of Design has been
znanja najboljim studentskim projektima, nastalima u okviru awarding the best student projects developed within the regular
redovnoga nastavnog programa na oba usmjerenja: Projekti- teaching programme in both departments: DesignIndustrial
ranje, industrijski dizajn i Projektiranje, vizualne komunikacije. Design and DesignVisual Communications.
Nagrade i priznanja dodjeljuju se odvojeno, za preddiplomski Awards and recognition are conferred separately for the Under-
i diplomski studij te se tako dodatno motivira studente, pro- graduate and for Graduate Study Programme and hence students,
fesore i asistente za snaniji kreativni angaman u rjeava- professors and assistants are additionally motivated to be more
nju projektnih zadataka predvienih nastavnim programima. deeply creatively involved in providing solutions to terms of refe-
Dodjela nagrada i priznanja ima takoer za cilj stvaranje poti- rence included in the teaching programmes.
cajnog okruja, kao vanog motivirajueg imbenika za potica- Moreover, the conferring of awards and recognition is also inten-
nje i razvoj kreativnosti. Izbor najboljih radova podrazumijeva ded to provide a more encouraging environment, as an important
valorizaciju i samih nastavnih programa u kojima su nastali ti motivating factor for the encouragement and development of
radovi te stoga omoguuje generacijske usporedbe. creativity. The selection of the best works also implies a valori-
injenica da je ovo ve trea godina kako Studij dizajna dodje- sation of teaching programmes in which they were created and
ljuje nagrade i priznanja, potvruje da je proces nominacije, it hence provides the opportunity for generational comparisons.
izbora i dodjele postao sastavnim dijelom i odreeni vrhunac The fact that this is the third year in which the School of Design
jednogodinjega obrazovnog ciklusa. has been conferring the awards and recognition confirms the
Nagraeni radovi izloeni su u novotvorenoj Galeriji Studija fact that the process of nomination, selection and presentation
dizajna, to znai znaajniju afirmaciju nagraenih radova i nji- of awards has become an integral part of a one-year educati-
hovih autora u irem profesionalnom i drutvenom kontekstu. onal cycle and is considered as its pinnacle.
To drugim rijeima znai i da nagraeni radovi prestaju biti The awarded works have been exhibited at the recently opened
tek dijelom internoga obrazovnog procesa te da inom jav- School of Design Gallery, implying a more significant affirmation
nog izlaganja postaju dostupniji javnosti. of the awarded works and their authors in the broader profes-
Za Studij dizajna to predstavlja i svojevrsni in otvaranja, a sional and social context.
time i put k snanijoj afirmaciji u sredini u kojoj djeluje. In other words, this implies the fact that the awarded works
Sam in dodjele nagrade valjalo bi snanije javno predstaviti i stop being merely a part of the internal educational process
marketinki iskoristiti ne samo za popularizaciju ovog Studija, and through their public exhibition they become more availa-
ve i same dizajnerske struke kao jednog od vanijih imbe- ble to the public.
nika za ekonomski i iri opedrutveni razvoj. This is considered as an act of opening of the School of Design Voditelj Studija dizajna prof.Stipe Bri, predsjednik Povjerenstva za
and hence a path towards a stronger affirmation in the envi- dodjelu nagrada prof.mr.sc.Zlatko Kapetnovi i studentica Marta
ronment in which it operates. Baturina, voditeljica sveanosti dodjele Nagrada i Priznanja SD-a
Head of the School of DesignStipe Bri, Professor; President
Nevertheless, the presentation of the award needs to be provi- of the Awards Commision Zlatko Kapetanovi, MSc, Professor and
ded a more vigorous presentation to the public and used from student Marta Baturina, presenter at the award and acknowledge- Dobitnice Valentina Sunek, Dorja Benussi i Zrinka Horvat
the aspect of marketing not only for the popularisation of this ment presentation ceremony of the School of Design Award winners Valentina Sunek, Dorja Benussi and Zrinka Horvat
School, but also of the design profession, as one of the funda- Djeli slavljenike atmosfere nakon dodjele Nagrada i priznanja Prof.Mladen Orei, studentica Valentina Sunek i asistentica Andrea Hercog
mental factors in the broader economic and social development. Festive atmosphere after award and acknowledgement presentation Mladen Orei, Professor; Valentina Sunek, student and Andrea
Hercog, Teaching Assistant
Prof. Stipe Bri i studentica Zrinka Horvat

Stipe Bri, Professor and Zrinka Horvat, student
10 11
godinja nagrada studija dizajna godinja nagrada studija dizajna

annual awards at the school of design annual awards at the school of design
Preddiplomski studij/ProjektiranjeIndustrijski dizajn Preddiplomski studij / ProjektiranjeVizualne komunikacije
Undergraduate programme / Industrial Design Studio Undergraduate programme / Visual Communications Studio
Valentina Sunek Grgo Petrov

Zipka Sway Moj pervi abecedarij
Cradle Sway slikovnica, samoinicirani projekt
My First Alphabet Picture book
mentor: Mladen Orei
asistentica/assistant: Andrea Hercog Self Initiated Project
mentor: Nenad Dogan
asistentica/assistant: Romana Kajp
Rjeenje zipke Sway inovativno integrira funkcionalne i oblikovne Sve zapaenija devastacija materinjeg jezika tuicama, dovela je u
znaajke traene od klijenta Noona s kojim je provedena suradnja pitanje opstojnost i vrijednost hrvatskih dijalekata to se osobito
na razvoju namjetaja za bebe. Inteligentnim rjeenjem konstrukcije osjeti kod mlaih populacija. Nepostojanje suvremenih, moderno obli-
omoguuje se sklopivost, prenosivost i podesivost, a pri tome oblikovanih materijala za uenje kajkavskog narjeja najmlaeg uzrasta,
kovno odaje mekani, topli i zatitniki dojam, primjeren namjeni te bio je motiv za ovaj rad. Moj pervi abecedarij je ilustrirana knjiica
tim znaajkama originalno rjeava specifine situacije i potrebe suvre- kajkavske abecede, edukativnog karaktera, namijenjena prvenstveno
menih mladih roditelja. Rjeenje se takoer odgovorno odnosi prema najmlaim uzrastima, koja bi trebala potai djeji interes za zaviajni
okoliu kroz projektirani dui ivotni vijek proizvoda, to se nasto- jezik, socio-kulturni identitet i zaviajnu batinu. Stilski i vizualno
jalo postii kvalitetnim izborom materijala i tehnologije, ali i obliko- ujednaen, ovaj fizikim opsegom mali projekt, uspjeno sjedinjuje
vanjem koje ne podlijee modnim trendovima. Ukupnost pozitivnih vjetine suvremenog dizajna s potrebom da se steene vjetine stave
znaajki rjeenja je rezultirala i odlukom tvrtke Noona o nastavku u funkciju rjeavanja konkretnih drutvenih problema.
razvoja zipke te njena realizacija i komercijalizacija.
Increasing devastation of the native language by the loaned words
The cradle Sway innovatively integrates the functional and design and phrases from other languages, which is present especially in
characteristics required by the Noon Company, for which the fur- younger population, is questioning the viability and value of Croa-
niture for babies project was developed. Intelligent solution allows tian dialects. This project was motivated by the lack of contemporary,
design possibilities, portability and scalability. The shape gives a soft, modern educational materials of kajkavian dialect for the youngest
warm and protective impression appropriate for the purpose. These generation. Moj pervi abecedarij (My first alphabet) is illustrated edu-
characteristics successfully address specific situations and needs of cational booklet of kajkavian alphabet, aimed especially at the young-
contemporary young parents. This design is environmentally responsi- est age groups, which should stimulate childrens interest in native
ble by the products longer life span, achieved by the quality of mate- language, socio-cultural identity and local heritage. Although small
rials, technology, and design which is not a subject to fashionable in volume, this stylish and visually uniformed project successfully
trends. The overall positive characteristics of this cradle design led combined the skills of contemporary design with the need to put the
to the companys decision to further develop, realize acquired skills in the function of resolving concrete social problems.
and commercialize this cradle.
12 13
godinja nagrada studija dizajna godinja nagrada studija dizajna

annual awards at the school of design annual awards at the school of design
Diplomski studij / Industrijski dizajn Diplomski studij / Dizajn vizualnih komunikacija
Graduate programme/Industrial Design Graduate programme/Visual Communications Design
Dorja Benussi Zrinka Horvat

Senzomotorno stimulativna edukacijska oprema Taktilna slikovnica za slijepu djecu
Diplomski rad Diplomski rad
Sensorimotoric stimulating educational equipment/Graduation thesis Tactile Picture Book for blind children/Graduation thesis
mentor:Mladen Orei mentor:Stipe Bri
komentorice/co-mentor: Ivana Fabrio, Rea Fulgosi-Masnjak suradnica/associate: Karla Paliska
Obavljena istraivanja pokazala su velik manjak kvalitetno oblikovanih didaktikih sredstava za

slijepu djecu. Projekt Taktilna slikovnica, pokuaj je da se ukae na mogue rjeenje ovog pro-
blema, a realiziran je uz konzultacije i u suradnji sa strunjacima koji se bave ovim problemom.
Koritenjem odgovarajuih taktilnih materijala, koji aktiviraju i razvijaju osjetilo opipa i osjetilo
sluha slijepog djeteta, realiziran je projekt koji svojim plemenitim ciljem, praktinim znaenjem,
vjetinom oblikovanja i izvedbe, znatno odskae od uobiajenog izbora tema za diplomski rad.
The performed studies have shown a great lack of well designed didactic materials for blind chil-
dren. The project Tactile Picture Book is an attempt to point out the possible solution to this prob-
lem. It included consultation and cooperation with experts who deal with this problem. The use of
appropriate tactile material, which trigger and develop the sense of touch and the sense of hear-
ing of a blind child, resulted in the project whose noble cause, practical significance, design skills
and performance, significantly stands out from the usual choice of topics for graduation thesis.
Set stolica i pisai stol su inovativni proizvodi opreme senzomotorno stimulativnih edukacijskih prostora kojima
se potie senzorna integracija i motoriki razvoj. Iako poetno namijenjeni terapijskim ustanovama dizajnirani
su da se mogu koristiti za svu djecu, jer interakcija s prostorom i opremom podjednako utjee na njihov rast
i razvoj, kao i na koncentraciju i sposobnost pamenja i uenja. Proizvodi donose originalna oblikovna i funk-
cionalna rjeenja, koja su rezultat nove konceptualne postavke i kriterija proizalih iz opsenog istraivanja i
konzultiranja sa strukom. Posebna panja posveena je odnosu korisnika i predmeta s obzirom na specifinost
zahtjeva, a izborom materijala i tehnologija potvruje se odgovoran odnos i prema okoliu. Koncept i rjeenja
donose nove vrijednosti i doprinos razumijevanju stvarnih potreba u svom podruju i pri tome postaju realan
potencijal za daljni razvoj i realizaciju.
Set of chairs and the desk is an innovative set of products designed as equipment for sensorimotoric stimu-
lation of educational spaces that encourage sensory integration and motor ic development of children. The
design was initially intended for the therapeutic use for all children, because the interaction with the space and
equipment equally affects their growth and development, as well as their concentration, memory and learning
ability. Products are originally designed. The functional solutions are led by the new conceptual preferences
and criteria resulting from the extensive research and consultation with experts. Special attention was paid to
the respect of users and items due to specific requirements. The choice of materials and technology confirms
the responsible attitude towards the environment. The concept and the solution brings new value and contrib-
ute to understanding the real needs in this field, and thereby becomes a realistic potential for further develop-
ment and implementation.
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godinje priznanje studija dizajna

annual acknowledgement at the school of design
Preddiplomski studij/ProjektiranjeIndustrijski dizajn
Undergraduate programme / Industrial Design Studio
Grupi autorica/Group of authors
Dina Bartoli
Elizabeta Bonjak
Ivana Hrabar
Katarina Huljev
Maja Jandri
Monika Moevi
Laura Mrka
Helena Nemec
Nataa Njegovanovi
Iva Udovii
Lea Vavra
Petra Vrdoljak
Reetke nisu prepreke U suradnji s udrugom Roda, Studij dizajna je organizirao i realizirao radionicu participativnog dizajna i socijalne
Radionica inkluzije u enskoj kaznionici Poega. Nastavnice i studentice Studija, aktivistice udruge Roda i zatvorenice iz
Kaznionice su tijekom 5-dnevne radionice zajedniki osmislile i izradile uzorke za 8 proizvoda (s ambalaom i
Prison Bars Are Not Obstacles/Workshop vizualnim komunikacijama) namijenjenih bebama i roditeljima, koji e se proizvoditi u Kaznionici, a prihod od
kojih e sluiti za pokrivanje trokova puta djece i omoguivanje susreta s majkama koje slue zatvorsku kaznu.
mentorice (voditeljice radionice) Proizvodi se odlikuju proienom funkcionalnou i tehnologinou izrade prema stvarnim mogunostima.
mentors (workshop leaders) Svojom funkcijom i pojavnou osvjeuju neke predrasude o majkama i spolno odreenim ulogama roditelja,
Sanja Benceti, Andrea Hercog, Izvorka Juri, te potiu razvijanje bliskosti izmeu roditelja i djece. Takoer sadre visoku emotivnu dodanu vrijednost, kroz
Ivana Zanze (Udruga Roda/Roda Association) koju osvjeuju problem razdvojenosti majki i djece u ranoj dobi.
In cooperation with the association Roda School of Design organized and realised the workshop of participa-
tory design and social inclusion in the penitentiary for women, in Poega. Mentors and students of the School of
Design together with the activists from the association Roda and penitentiary inmates, during the 5-day work-
shop jointly designed and developed patterns of 8 products (packaging and visual communications) intended
for babies and their parents, who will be produced in the penitentiary.The profit from this project will be used
to cover the travel expenses for children visiting their parents sentenced to prison. The products are charac-
terized by functionality and are technologically sound.The products functions and shapes surpass some preju-
dices and raise awareness of mothers and gender roles of parents, encouraging the development of closeness
between parents and children.They also contain high emotional added value raising awareness of the problem
of separation of mothers and children at an early age.
Sudionice radionice Reetke nisu prepreke:

Participants at the workshop Bars are not Obstacles:
Elizabeta Bonjak, Nataa Njegovanovi, Maja Jandri, Monika Moevi,
Lea Vavra, Dina Bartoli, Katarina Huljev, Petra Vrdoljak, Ivana Hrabar
16 17
Preddiplomski studij

Undergraduate program
18 19
godinjak studija dizajna 2014./2015. ciljevi
school of design annual review 2014/2015 objectives
Ciljevi Objectives
Struka je na Studiju dizajna promatrana kao interdisciplinarna, Design profession is at the School of Design considered as an Studenti ve tijekom preddiplomskog studija kontinuirano Undergraduate students continuously co-operate in project
kreativna, inovativna i intelektualna djelatnost usmjerena na interdisciplinary, creative, innovative and intellectual activity surauju na projektantskim zadacima sa stvarnim gospodar- tasks with economic and social entities, as well as in extracu-
uspostavu naela promiljenoga, odrivog i ekoloki osvijete- striving to comply with the principles of planned, sustainable skim i drutvenim subjektima u okviru semestralnih projekata rricular activities: workshops, tenders, exhibitions and in current
nog razvoja s ciljem stvaranja i njegovanja identiteta, huma- and environmentally friendly development, humanisation of tijekom redovne nastave te u izvannastavnim aktivnostima regional and international events, which enables comprehensive
nizacije tehnologije i permanentnog poboljavanja kvalitete technology and continuous improvement of the quality of life poput radionica, natjeaja, izlobi i sudjelovanja u aktualnim advancement of the process of design in real conditions, keeping
ivota i rada, te prema odgovornom pronalaenju odgova- and work, and it is primarily focused on responsible selection of regionalnim i meunarodnim dogaanjima. Time je omogu- abreast of current trends and events, as well as inclusion of stu-
rajuih rjeenja komunikacijskih problema u gospodarskom, adequate solutions to communication problems in economic, eno cjelovito usavravanje procesa dizajniranja u uvjetima dents in the processes of professional development.
drutvenom i kulturnom segmentu drutva. Kao takav, dizajn social and cultural aspect of society. Design is one of the prin- suvremenoga realnog okruja, aktivno praenje aktualnosti i Following the completion of the undergraduate study of design
je promatran kao jedan od temeljnih imbenika pri stjecanju cipal features in achieving competitiveness and recognisability ukljuivanje studenata u procese razvoja struke. the students acquire competences in the field of design creation
konkurentnosti i prepoznatljivosti u globalnoj gospodarskoj in the global economic and cultural exchange. Zavretkom preddiplomskog studija dizajna studenti stjeu in compliance with the definition by icsid and icograda, such as
i kulturnoj razmjeni. During the three-year undergraduate study of design students kompetencije za suradnike poslove na podruju dizajner- independent performance of simple tasks concerning design of
Tijekom trogodinjega preddiplomskog studija dizajna studenti acquire knowledge and competencies for work in project teams skog stvaralatva prema definiciji ICSID-a i ICOGRADA-e, poput objects or systems and co-operation in interdisciplinary, research,
stjeu znanja i sposobnosti za rad u projektnim timovima na on ideas and creation of planning design tasks in material and samostalnog izvoenja jednostavnih projektantskih zadataka developmental, scientific and artistic teams. Moreover, following
osmiljavanju i oblikovanju projektantskih zadataka dizajna communication environment. The principal objective of an under- dizajna predmeta i sustava, suradnje u razvojno-istraiva- the completion of undergraduate study, students acquire com-
predmetne i komunikacijske okoline. Cilj preddiplomskoga graduate cycle is the creation of competent professionals to meet kim poslovima i projektima, zatim suradnja u specijalistikim petencies for enrolment in graduate study.
obrazovnog ciklusa je stvaranje kompetentnih strunjaka za human requirements in the real environment. The interdiscipli- istraivanjima i u interdisciplinarnim razvojnim, istraivakim,
zadovoljavanje stvarnih ljudskih potreba u realnom okruju. nary feature of design is implemented in the curriculum thro- znanstvenim i umjetnikim timovima. Zavretkom ovog studija
Interdisciplinarni karakter dizajna je uspjeno implementiran ugh theoretical and methodological, basic technical and tech- stjeu se takoer i kompetencije za upis diplomskog studija.
u nastavni program pomou teorijsko-metodikih, osnovnih nological, as well as social, artistic, practical and project-related
tehnikih i tehnolokih te drutvenih i umjetnikih, odnosno areas as fundamental preconditions of the profession. The use of
onih praktino-projektantskih podruja koja ine bitne zada- creative imagination is encouraged to enhance development of
tosti struke. Ciljano koordiniranim kombiniranjem teorijskih i personality required for innovative creation trough co-ordina-
praktino-projektantskih predmeta potie se svestrani razvoj ted combination of theoretical and practical-planning courses
kreativne imaginacije u cilju razvoja sposobnosti za inovativno in two specialist areas of study at the School of Design: indu-
stvaralatvo u dva specijalistika podruja koja Studij dizajna strial design and visual communications design. Industrial design
prua: industrijski dizajn i dizajn vizualnih komunikacija. Pod- at the undergraduate study includes a broad range of practical
ruje industrijskog dizajna na preddiplomskom studiju uklju- work ranging from design of various items and furniture design
uje raspon strukovnih vjebi od dizajna raznovrsnih predmeta, and furniture system design. On the other hand, visual commu-
dizajna namjetaja i njihovih sustava, dok podruje dizajna nications design involves the design of elements and systems for
vizualnih komunikacija ukljuuje dizajn elemenata i sustava the press and electronic media. During the first year of study the
za tiskovne i elektronike medije. Tijekom prve godine studija students become acquainted with fundamental general standards
studenti usvajaju temeljna opa naela dizajna i informacije of design and the information essential for their selection of a
potrebne za izbor usmjerenja. U kasnijim fazama produbljuju specific study programme. Subsequently, throughout the study,
opa znanja i vjetine i stjeu specifina znanja u odabranim the students enrich their general knowledge and acquire new skills,
podrujima specijalizacije. as well as specific knowledge in their selected study programme.
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godinjak studija dizajna 2014./2015. godinjak studija dizajna 2014./2015.preddiplomski studij
school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme
Projektiranje Design Course

Industrijski dizajn Industrial Design
ProjektiranjeIndustrijski dizajn temeljni je strukovni kole- Industrial Design Studio is the fundamental vocational course
gij koji se provodi kroz sve tri godine preddiplomskog studija. extending throughout the three years of undergraduate study.
Tijekom prve godine studija studenti usvajaju osnovna zna- During the first year of study students acquire basic knowledge
nja i vjetine temeljem kojih izabiru usmjerenje. Na drugoj i and skills based on which they subsequently select the pro-
treoj godini studija studenti svladavaju projektantske programme. During the second and third year they become acqu-
cese u cilju stjecanja odgovarajuih kompetencija. Sloenost ainted with planning processes aiming to acquire the required
projektantskih zadataka postupno raste tijekom semestra, a competencies. The complexity of planning tasks increases gra-
studenti u njima primjenjuju znanja i vjetine iz odgovaraju- dually through semesters and students are required to apply the
ih predmeta drutveno-humanistika, umjetnika, tehnika knowledge and skills in social and humanistic area, as well as
i komunikacijskog podruja. the area of arts, technology and communications.
Na poetku obrazovnog procesa u okviru predmeta Projek- At the commencement of the educational process during the
tiranje studenti svladavaju temeljna predznanja u struci. U tu course Studio the students acquire the fundamental backgro-
svrhu analiziraju, estetski razmatraju i stvaraju trodimenzio- und required. Consequently, they analyse, examine aspects of
nalne oblike na funkcionalnoj i simbolikoj razini kao temeljne aesthetics and create three-dimensional items at functional
sposobnosti u industrijskom dizajnu. U nastavku obrazovnog and symbolic level as vital competencies in industrial design.
procesa usvajaju metode kritike analize i kreativne sinteze u Subsequently throughout the educational process students are
cilju osposobljavanja za osmiljavanje kreativnih i inovativnih introduced to methods of critical analysis and creative synthe-
rjeenja. Pri tome primjenjuju osnovne metode istraivanja sis in order to acquire competencies in providing creative and
odnosa proizvoda, korisnika i okoline u aktualnim drutvenim, innovative solutions. Moreover, fundamental methods of rese-
tehnolokim i gospodarskim okolnostima. arch of relationship between products, users and the environ-
Zavrnim radom preddiplomskog studija studenti pokazuju ment against the backdrop of current social, technological and
svoje sposobnosti, znanja i vjetine potrebne za samostalno economic circumstances.
projektiranje proizvoda i njihovih sustava. Izradom multime- The graduation thesis upon completion of the undergraduate
dijalne prezentacije zavrnog rada dokazuju svoje sposobnosti study shows students competencies, knowledge and skills requ-
u predstavljanju svojih zamisli kao sastavnog dijela kompe- ired for independent planning of products and their systems. In a
tencija koje preddiplomski studij daje. multimedia presentation of their graduation thesis students show
their competencies in presentation of their ideas as a vital consti-
tuent of competencies acquired during the undergraduate study.
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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,1.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,1st semester
prvi semestar amin bajrektarevi dora doko jovana vlaisavljevi

mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio
Analiza prostornih struktura asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog
U prvom zadatku studenti trebaju analizom prirodnoga i pred-

metnog okolia svakodnevnog ivota uoiti i istraiti naela
prostornog oblikovanja te iskoristiti ta saznanja za vlastitu
interpretaciju predmeta pomou prostorne kompozicije.
Cilj zadatka je potaknuti studente na analitiko promatranje
vlastitog okruja iz kojeg e crpiti ideje za oblikovanje, upo-
znajui zakonitosti kompozicije trodimenzionalnih oblika putem
analize plohe, volumena, mrene konstrukcije, materijala, tek-
sture i svjetla. Prijeko je potrebno istraiti percepciju tih zna-
ajki te ih artikulirati kao alate u oblikovanju.
Tijek zadatka obuhvaa biljeenje zapaanja i razvijanje ideja
skicama i predmodelima te konanu samostalnu izradu pro-
storne forme koja predstavlja studentovu interpretaciju istra-
enih fenomena.
first semester Sjeckalica Happy Chop

Spatial structure analysis Razmiljanjem o funkciji sjeckalice proizala je kompozi-
cija inspirirana kretnjom njezinih otrica odnosno otiscima
In the first assignment students need to identify and explore koje ostavljaju. Dinamika pokreta postignuta je asimetri-
the principles of spatial design through analysis of natural and nom formom koja se sastoji od pet trokuta rastvorenih u
prostoru, od kojih se svaki nadovezuje na onaj prethodni.
built environment in our everyday lives and subsequently use
Fotoaparat Vadiep
their insights in their own interpretation of objects through a Happy Chop chopping machine
Predmet je inspiriran fotoaparatom. Izravna je interpretacija blende Inspiracija za nastajanje ove forme bile su kretnje vadiepa i prije-
spatial composition. fotoaparata i objektiva zajedno prikazujui pokret zooma kroz razli- nos energije iz ruke korisnika na glavu vadiepa kroz spiralnu otricu The idea behind the composition was inspired by a reflec-
The specific objective of the assignment is to encourage stu- ite stupnjeve. koja naposljetku zakretanjem probija pluteni ep. Redukcija sredita tion on the function of the chopping machine and of the
i crna sjajna pozadina svojim refleksima pridaju dinamici i doivljaju movements of its blades or the marks they leave. Move-
dents to become involved in analytical observation of objects ment dynamics has been achieved through an asymmetric
Still camera rotacije jer iz svakog kuta gledanja nastaje drukiji privid kretanja.
in their own environment which will provide them with ideas for Konana forma takoer asocira na probijeni pluteni ep kao negativ form comprising of five triangles opened up in space each
The object has been inspired by a still camera. It is a direct interpre- of which adds to the previous one.
design, whilst becoming acquainted with composition rules of tation of the blend and the lens combined, showing the movement kretnje otrice vadiepa.
three-dimensional shapes through analysis of surface, volume, of the zoom through diverse levels.
Corkscrew
net-like construction, materials, texture and lighting. Analysis of
The inspiration for the creation of this form were the movements of
the perception of these features is fundamental and they need the corkscrew and the energy transfer from the hand of the user into
to be expressed as tools in the design process. the upper part of the corkscrew through its worm which eventually
The course of the assignment comprises of notation of observa- pierces through a cork by turning. The reduction of the centre and
the shiny black background with their reflexes add to the dynamics
tions and idea development through sketching and pre-models and the rotation experience, since different angles of observation
and the final independent creation of a spatial form which pre- create different impressions of the movements. The final form also
sents the students interpretation of the phenomena explored. reminds of the pierced cork as the negative image of the movement
of the corkscrew worm.
24 25
veronika kova jan marin ljubica golubi stella grabari

mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
asistentica/assistant: Sanja Benceti asistentica/assistant: Sanja Benceti asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog
Patentni zatvara Moka aparat za kavu Sat

Nastala forma je proizala iz analize specifinog zvuka koji proizvodi patentni zatva- Predmet inspiriran Mokom nastao je analizom oblika, rotacijom elemenata te zani- Analiza predmeta te redukcija njegove forme rezultirala je zaklju-
ra pri zatvaranju ili otvaranju. Poput naega vidljivog svijeta i naa auditivna oko- mljivim volumenima i njihovim nainom slaganja. Ideja ispijanja kave, jutarnjih rituala kom da su najbitniji segmenti sata njegove kazaljke koje kruei oko
lina odreena je zakonitostima i redom. Istraivanjem meuovisnosti zvuka i tiine i funkcija kave, navela me da dinamian karakter predmeta ukomponiram u finalnu svojeg sredita ostavljaju zamiljene koncentrine krunice. Predmet
utvren je odnos punih elemenata i praznine. Kako je zvuk rezultat pokreta, stoga ideju. Fluidna forma asocira na rukovanje predmetom, a jasna linija rotacije odvojila je sastavljen od est elemenata. U sreditu je kugla koja predstavlja
i oblikovana forma svoj puni potencijal dobiva tek pokretom. je pravu funkciju predmeta i dala mu apstraktan prikaz uza zadravanje karaktera. Vrtne kare pojedinca, a on se nalazi okruen s pet krunih elemenata od kojih
Polazina toka za izradu ove forme bile su vrtne kare. Prouava- svaki idui obuhvaa prethodnog i predstavlja jednu od dimenzija
Zipper Moka coffee machine njem pokreta koji se dogaa radei njima izdvojeno je est karak- (toka, linija, ploha, prostor i vrijeme).
The created form originated from the analysis of a specific sound made by a zip- The object inspired by Moka was designed following an analysis of the forms, teristinih faza tog pokreta. Kut malih i velikih krunih ploha pro-
per upon zipping or unzipping. Our auditory environment is regulated by laws and through rotation of its features and interesting volumes and the way they are porcionalno se smanjuje ili poveava ovisno o tome zatvaramo li ili Clock
order in the same way as our visible world. Through exploration of interdepend- arranged. The idea of drinking coffee, morning rituals and the function of cof- otvaramo vrtne kare. The analysis of the object and the reduction of its form resulted in the
ence between sound and silence a relationship has been identified between solid fee made me incorporate the dynamic character of the object into the final idea. conclusion that the most important features of the clock are its hands
features and the void. Since sound is the result of movement, the designed form The fluid form reminds of the running of the machine, whilst a clear rotation line Garden shears that leave imaginary concentric circles whilst circulating around its
reaches its full potential only upon movement. points out the actual function of the object and gives it an abstract image in addi- The starting point for the creation of this form were garden shears. centre. The object comprises of six features. There is a sphere at its
tion to retaining its character. Six typical phases of the movement were identified following a centre which stands for an individual who is surrounded by five cir-
research of the movement made whilst using garden shears. The cular features each of which includes the previous one and represents
angle of small and large circular surfaces is proportionally reduced one of the dimensions (a point, a line, a surface, space and time).
or increased depending on whether we open or close garden shears.
26 27
prvi semestar ela mesledi leonarda komen jovana vlaisavljevi

mentorica: Ivana Fabrio mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio
Novi ivot odbaenih predmeta asistentica/assistant: Sanja Benceti
Tema zadatka bila je prenamjena odbaenih, isluenih i zastar-

jelih predmeta. Cilj zadatka je bio spoznaja i artikulacija simbo-
like vrijednosti predmeta, te spoznaja sprege njihove uporabe i
znaenja, a svrha usvajanje osnova analize postojeih predmeta
kroz funkcionalne, tehnike i tehnoloke aspekte. Pored toga,
studenti su razmatrali simboliki znaaj odabranih predmeta u
kulturolokom i sociolokom smislu razdoblja njihovog kori-
tenja. Koritene su metode transformiranja odbaenih pred-
meta, dajui im time novi razlog postojanja u skladu s novim
uvjetima. Transformirani predmeti su dobili novu vrijednost
koja u njihovoj originalnoj pojavi i nainu koritenja najee
nije bila prisutna, niti svjesno ugraena. Radi se o namjerno
ugraenim elementima semantikih funkcija. Naroita panja
bila je posveena ekspresivnoj funkciji, tj. emotivnom doiv-
ljaju s ciljem ispitivanja mogunosti transformacije odbae-
nog i isluenog u poeljno i korisno, radi kreiranja uvjeta za Stalak za vino
njihovo trajnije postojanje. Stalak za vino zadrao je svoju funkciju odlaganja dok
je, umetanjem drvenih ploica, ve postojei pravilni
raster forme stalka postao multifunkcionalna polica.
first semester Namijenjena je stvarima koje lako gubimo, a esto tre-
bamo te su nam na ovaj nain uvijek pri ruci.
A new life of discarded objects Wine rack
The topic of this assignment was the transformation of dis- Koveg The wine rack retained its function of storage, whilst
carded, worn out and outdated objects. The objective was to the existing regular grid of the rack was transformed
Nae intime, udobnost i toplina dnevne sobe materijalizirane su sva- into a multifunctional shelf through insertion of wooden
gain insight and express a symbolic value of objects, as well kodnevnim uporabnim predmetima. Lijepo je sve to staviti u koveg boards. It is intended for objects that are easily lost, yet
as to explore the connection between the objects usage and i ponijeti sa sobom. used frequently and hence they are always within reach.
its meaning. The purpose was to adopt basic skills in analy- Stalak za eire
Suitcase
zing the existing objects through functional, technical and Dizajn je proizaao iz zakljuka da ne postoji mjesto koje slui samo
Our intimacy, the comfort and the warmth of the living room mate- za odlaganje eira te kako njima esto mjesto oduzmu neki drugi
technological aspects. Students were also analyzing symbolic rialised in everyday objects. It is nice to put them all into a suitcase odjevni predmeti. Od ostatka kiobrana i stalka za boino drvce
meaning of selected objects in cultural and social discourse and take them with you. nainjen je stalak za eire koji naglaava reprezentativnost eira i
of the particular period of time of their use. Methods of tran- time poveava uestalost njegova noenja.
sformation of the discarded objects were applied in order to Hat rack

give the objects new reasons for their existence according to The design originated from the conclusion that there is no place that
the present conditions. The transformed objects were given is intended exclusively for hats and what was originally intended as
the new values which, in their original appearance and usage a hat rack is frequently used for hanging other clothing items. A hat
rack was made from umbrella pieces and a Christmas tree stand. The
mostly were not present, nor were they consciously built in. hat rack emphasises the presentability of hats and it hence contrib-
These values present deliberately applied emotional experience utes to a higher frequency of their use.
aiming to explore possibilities of transforming the discarded
and worn out into a desirable and useful, in order to create
conditions for their more durable existence.
28 29
stella grabari petra pikor ljubica golubi erika filipan

mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog
Radio Jadran Camera obscura Sanjke za plac

Radio Jadran iz 1950-ih preoblikovan je u policu za CD-ove inspiriranu Camera obscura nainjena je od mlinca za kavu/papar. U ladicu se Ideja je proizala iz sjeanja na dogaaj
jukeboxom. Dodane su noge koje odiu stilskim razdobljem pede- u tamnoj komori umee fotopapir koji se kasnije razvija u kemikali- iz djetinjstva kada su potrgane i odba-
setih, a unutar radija takoer je dodana i programirana led rasvjeta jama. Svjetlost ulazi kroz rupicu veliine desetine milimetra. Duljina ene stare sanjke ponovo vraene u istu
uz koju dolazi i daljinski upravlja. U tamnijim prostorima rasvjeta sa ekspozicije snimanja ovisi o vremenskim prilikama, tj. koliini svjetla. funkciju. Iako se sanjke vie ne koriste u
stranje strane projicira svjetlosnu mreu na zid. Ugraeni su i zvu- prvotne svrhe, uspomena iz djetinjstva
nici na koje se moe spojiti bilo kakav ureaj koji ima utor za slualice. Kodak Brownie hologram Camera obscura bila je povod da se sanjkama da nova
Slavni Kodak Brownie nekada je predstavljao revoluciju u proizvodnji fotoaparata. Camera obscura is made from a coffee/pepper grinder. A photo- funkcija. Nakon dvadeset godina sanjke
Radio Jadran Njegova masovna proizvodnja i laka dostupnost predoavali su tehnoloki napre- graphic paper is inserted into the drawer in camera obscura and it is su postale sanjke za plac.
Radio Jadran from the 1950s was transformed into a CD rack inspired dak ranog 20.st. Danas, u 21.stoljeu, tehnologija napreduje naglo i kako bih poka- later developed using chemicals. The light enters through a tiny hole
by jukebox. Legs have been added reminding of the 1950s style, whilst zala iskorak te razliku izmeu revolucionarnog tada i danas, stari Kodakov Brownie the size of one tenth of millimetre. The length of the exposure time Sledge for the market place
a programmable led light was added within the radio in addition to a pretvoren je u projektor holograma. depends on the weather, primarily on the amount of light. The idea behind it originated from a child-
remote control. In dark premises the lighting at the back projects a hood memory when the broken and dis-
luminous flux onto the wall. The loudspeakers have also been installed Kodak Brownie hologram carded old sledge was repaired and its
and hence any device with a headphone socket can be connected. The once popular Kodak Brownie used to be considered a revolutionary camera. function was restored. Irrespective of
Its mass production and easy availability showed the technological progress in the the fact that the sledge is not used for
early 20th century. Currently, in the 21st century, the technology has been abruptly its original purpose, it assumed a new
advancing and hence aiming to illustrate the breakthrough and the difference function. After twenty years the sledge
between what used to be revolutionary at the time and the currently revolution- was transformed into a sledge for the
ary, Kodak Brownie was transformed into a hologram projector. market place.
30 31
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester
drugi semestar
Oblikovanje proizvoda prema zadanim
parametrima
Didaktika igraka inspirirana veronika kova ela meseldi
mentor: Mladen Orei mentor: Zlatko Kapetanovi
hrvatskom batinom asistentica/assistant: Sanja Benceti
U drugom se semestru studenti susreu s dizajnom proizvoda

u cilju usvajanja predznanja za formativni razvoj i odabir smjera.
U tom smislu se od studenata oekuje usvajanje osnova diza-
jnerskog procesa, kroz koji analiziraju i procjenjuju kriterije za
kreiranje vlastitog rjeenja. Izvode ga na kompleksnoj razini
s jasnim uporabnim i simbolikim vrijednostima te vizualno
usklaen. Zadatak je bio igraka inspirirana hrvatskom bati-
nom, a proveden je u suradnji s udrugom Povucizakulturu.
Rezultirao je idejnim rjeenjima koja potiu razvoj novih vje-
tina i doivljaja igre, uz poticanje djejeg samopouzdanja,
inventivnosti i kreativnosti. Nekoliko studentskih rjeenja je
izabrano za razradu i implementaciju na trite.
second semester Bestijarij

Product design according to specified Bestijarij je igraka inspirirana vjerovanjima u ivotinje i izvanzemaljska bia u koja
se pretvaraju. U dvodimenzionalnom prikazu stvaraju se motivi potrebni za prianje
parameters pria, dok se u prostoru stvaraju ivotinje. Na taj nain ostvarena je metamorfoza,
preobrazba jednih oblika u druge. Takoer, apstraktni oblici omoguuju vlastitu
A didactic toy inspired by Croatian interpretaciju uz minimalnu indikaciju motiva.
heritage Bestiary
Bestiary is a toy inspired by belief in animals and extra-terrestrial beings into which
During the second semester students address the issue of product they transform. The two-dimensional layout creates motifs needed for telling tales,
design, aiming to acquire prior knowledge for formative deve- whilst animals are created in real space. Consequently, a metamorphosis is achieved,
lopment and the selection of programme. Hence, students are a transformation of some forms into other forms. Moreover, abstract forms enable
own interpretation with a minimal indication of motifs.
expected to master the basics of design process through which
they analyse and assess the criteria for the creation of their own Bzzbzz
solution. They provide it at a complex level with clear operating Bzzbzz je drutvena, didaktika i prostorna igra inspirirana sui-
votom pela i ljudi. Ideja vodilja je bila prevesti univerzalne vrednote
and symbolic values and visually harmonised. The assignment koje se mogu nai u pela na jezik igre. Tijekom procesa stvaranja
was to design a toy inspired by Croatian heritage and it was teilo se povezivanju elemenata signalizacije, logikog zakljuiva-
performed in co-operation with Povucizakulturu Association. It nja i snalaenja u prostoru te socijalizacije. Oblik igrake proizaao
je iz izgleda pelinjeg saa, odnosno pravilnih esterokutnih oblika.
resulted in conceptual design that encourages the development Bzzbzz je predvien za djecu predkolskoga i kolskog uzrasta.
of new skills and the experience of the game, whilst encoura-
ging childs self-confidence, inventiveness and creativity. Several Bzzbzz
students solutions were selected for further development and Bzzbzz is a social interactive and a didactic game played in real
life environment inspired by co-habitation of humans and the bees.
implementation on the market. The idea behind it was to translate the universal values present
amongst the bees into the language of the game. The toy was aimed
to connect signalisation features, logical conclusions, spatial navi-
gation, as well as socialisation throughout the process of creation.
The toy shape originated from the honeycomb form, comprising of
regular hexagon shapes. Bzzbzz is intended for pre-school and
school children.
32 33
andreja lovrekovi jovana vlaisavljevi

asistentica/assistant: Sanja Benceti
Nop Znatieljna nit

Igraka se temelji na vjetini pletenja tako da djeca svojim tijelima Znatieljna nit didaktika je igraka nastala ugledanjem na hrvatsku
postaju alat i izmicanjem u prostoru na razne naine pletu kroz igru. tradiciju tkanja, tkalakih stanova te tkanja tapiserija. Temeljei se na
Nop se sastoji od predvjebe za najmlau dob, to e im kasnije samu tehniku zadrao se princip i proces tkanja koji je vrlo pogodan za
olakati snalaenje u ostalim igrama, zatim od prikaza nekih naina razvoj motorikih sposobnosti i strpljenja. Djeci prua slobodu stva-
pletenja te vezanja vorova. To im sve kasnije moe posluiti i u dru- ranja te potie istraivaki pristup igranju. Razumljiva kruna forma
gim igrama. Ovom igrom stjeu se razne kompetencije: usmjerenje nudi mogunost vie vrsta tkanja, a to su kruno, paralelno i 3D tka-
panje u kretanju kroz prostor, koncentracija, motorika, interakcija s nje, od kojih svaka razvija djeju kreativnost i preciznost.
drugom djecom, uspostavljanje pozitivnih veza te osjeaja za drugu
djecu i odrasle u prostoru. Curious thread
Curious thread is a didactic toy inspired by the Croatian weaving
Nop tradition, weaving looms and tapestry weaving. The fundamental
The game is based on knitting skills and hence childrens bodies are weaving principles and processes were used focusing primarily on
transformed into tools and they knit by diverse movements through the technique, aiming to develop motor skills and patience. Children
space they knit whilst playing. Nop comprises of a warm-up exer- are provided the liberty of creation, whilst being encouraged to adopt
cise for the youngest children and it is intended to subsequently help research approaches to playing. A comprehensible circular form pro-
them grasp other games, as well as of presentation of several knit- vides the opportunity of several types of weaving, such as circular,
ting techniques and knot tying. They can use all that in other games. parallel and 3D weaving, each of which is intended to develop child
Through this game children acquire diverse competencies: focusing creativity and accuracy.
their attention on spatial movement, concentration, motor skills,
interaction with other children, establishment of positive relation-
ships and evocation of feelings for other children and adults.
34 35
erika filipan antonija jurina

mentorica: Ivana Fabrio mentor: Mladen Orei
Kamni
Ova djeja igraka inspirirana je tradicionalnom hrvatskom suho-
zidnom gradnjom bez vezivnih sredstava. Igraka je zapravo slagai
sustav koji se sastoji od komadia manjih i veih drvenih elemenata
nepravilnog volumena to podsjeaju na nepravilnost i neujednae-
nost kamena u prirodi. Ideja je bila da igraka potakne djecu na pre-
poznavanje oblika razliitih elemenata i usmjeri njihovu pozornost
na zadatak - slaganje/ gradnje sloenijih kompozicija.
iulin Kamni
Igraka je inspirirana tradicionalnim nainima pohrane This childrens toy has been inspired by traditional Croatian dry
kruha na drvenom stalku na kojem se uvao kruh za stone wall construction without the use of binding material. The
itav tjedan, a koji ga je istodobno titio od glodavaca. toy is actually a construction system comprising of pieces of differ-
Cilj igre je da djeca suradnjom zadre stalak u ravno- ent-sized components of irregular volume that remind of irregularity
tei, a da se pritom rijee svih kolutova. and unevenness of natural stone. The toy is intended to encourage
children to recognise different shapes of construction components
iulin and direct their attention to the assignmentsuperimposing and
The toy was inspired by traditional ways of storing construction of complex compositions.
bread on a wooden stand where bread was stored
throughout the week and in this way it was also pro-
tected from rodents. The object of the game is that
children maintain the balance of the stand through
co-operation and simultaneously get rid of all the rings.
36 37
karla kocijan paula kova

mentor: Mladen Orei mentor: Mladen Orei
Pagus
Razvitkom igrake inspirirane pakom ipkom eljela se zadrati tradicionalna
vrijednost praktinog rada te segment slobode stvaranja vlastitog uzorka danim
materijalima. Na taj se nain potie kreativnost i otvara mogunost skupnog rada.
Konanom interpretacijom ostvaruje se 3D forma i moderna verzija pake ipke.
Pagus
The design of a toy inspired by Pag lace was aiming to retain the traditional value
of practical work and the aspect of freedom to create ones own lace pattern using
the available material. Consequently, creativity was encouraged and the opportu-
nity for group work was provided. Through the final interpretation a 3D form was
obtained and a modern version of Pag lace.
Zvutka
Zvutka je igraka inspirirana hrvatskim narodnim nonjama i plesovima. Oblik je
nastao stilizacijom lutke i zvrka, iz ega je i izvedeno ime. Uza Zvutku u kutiji se
nalaze ablone za oslikavanje priloenih tkanina koje predstavljaju haljine odno-
sno nonje. Na ablonama su osnovni motivi koji se pojavljuju na svim hrvatskim
narodnim nonjama. Oslikavanjem igraka postaje personalizirana, razliita od
svake druge igrake te vrste.
Zvutka
Zvutka is a toy inspired by Croatian folk costumes and dances. The design was cre-
ated through a stylisation of a doll and a spinning top after which it was named.
In addition to Zvutka the box includes patterns for ornamentation of the enclosed
fabric for dresses or folk costumes. The patterns comprise of the basic motifs used
in all Croatian folk costumes. The toy becomes personalised and unique through
ornamentation.
38 39
ljubica golubi roko jurjevi

mentorica: Ivana Fabrio mentor: Mladen Orei
Motko Crobro
Igraka Motko inspirirana je grafizmima vezova sa sveanih ili sva- Igraka Crobro inspirirana je sitom koje se koristi za prosijavanje
kodnevnih nonji iz cijele Hrvatske. Na drvenu jelovu plou ubadaju brana prije same izrade kruha ili kolaa. Iz igrake se oitava pokret
se drveni tipli (klinovi) obojani crveno, od kojih su neki zaobljeni a koji se koristi za prosijavanje brana kroz sito, a i same kuglice aso-
neki uglati. Zatim se oko njih namotava crvena ili crna vuna, to tvori ciraju na prosijano brano, koje su razliite po svojoj veliini. Naziv
zanimljive oblike. Za igru je potrebna koncentracija, a igraka pobolj- Crobro proizlazi iz latinske rijei cribro, to znai sito.
ava motoriku kod djece i razvija kreativnost. Takoer, djeca mogu
izmisliti i svoje ornamente, a mogunosti je bezbroj! Crobro
The toy named Crobro has been inspired by a sieve for sifting flour
Motko just before making bread or cakes. The toy reflects the movement
The toy named Motko has been inspired by graphisms of embroidery used upon sifting flour through a sieve and the tiny balls of diverse
from traditional folk costumes used in festive or everyday occasions sizes remind of sifted flour. The name Crobro was derived from a
throughout Croatia. Rounded or angled wooden spikes have been Latin word cribro which stands for a sieve.
stuck into a fir board. Subsequently, a red or a black wool has been
wrapped up around them, creating interesting shapes and forms. The
game requires concentration and the toy improves motor skills of
children and increases their creativity. Moreover, children can design
their ornaments and there is an immense array of combinations!
40 41
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,3rd semester
trei semestar
Re/dizajn proizvoda josipa tadi matea bertina luka dundovi
mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
Proizvodi jednostavne strukture asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Upisom treeg semestra studenti odabiru usmjerenje. Na Indu-

strijskom dizajnu taj semestar posveen je stjecanju osnovnih
znanja i vjetina za formativni razvoj u podruju dizajna proi-
zvoda. Radi razumijevanja imbenika dizajna studenti koriste
osnovne metode informiranja i istraivanja o dizajnu i za dizajn
te usvajaju standarde projektantske dokumentacije. Kritiki
usporeuju svojstva aktualnih proizvoda i analiziraju imbenike
dizajna u kontekstu drutvenoga i tehnolokog razvoja kako bi
planirali upute, zahtjeve i mjerila za dizajn ili redizajn proizvoda.
Koristei osnovne metode kreativnog promiljanja, dizajnirali
su proizvode svakodnevne uporabe, a u ovome semestru to je
bio izbor izmeu visee vaze, kantice za zalijevanje i bokala s
aama. Projekt je proveden u suradnji s tvrtkom Klara Gar- Bloo
dening i rezultirao je visoko doraenim idejnim rjeenjima od Kantica za zalijevanje cvijea Bloo sastoji se od dva dijela. Gornji
dio ima tanku mlaznicu koju je pri upotrebi mogue zaokrenuti te
kojih su neki izabrani za daljnju razradu i realizaciju. time kantica poprima potpuno novu formu. Dok se ne koristi, dio s
mlaznicom se zatvara, a time se smanjuje prostor koji ona zauzima.
third semester Bloo
Product redesign A watering can named Bloo comprises of two parts. The upper part
has a narrow spout that can be twisted and hence the watering can
Simple structured products changes its form entirely. Whilst the watering can is not being used
the part with the spout can be closed, which considerably reduces
the amount of space it requires.
Upon enrolling the third semester students decide on their specific
study programme. At the Industrial Design Department the third FlexyPot Awave
semester is dedicated to acquisition of basic knowledge and skills Komplet sadri tri sklopive, fleksibilne, visee teglice Visee tegle za biljke s oputajuim uzorkom valova na
required for formative development in the field of product design. razliitih veliina. Ovaj sustav omoguuje prilagodbu sklopivim modulima lagane su za postavljanje. Njihovim
Basic methods of informing and research on and for design are irokom spektru komercijalnih teglica raznolikih rasklapanjem dobiju se tri ukrasne posude u dimenzi-
promjera. Namijenjen je uporabi u unutarnjem i jama koje prihvaaju standardne komercijalne teglice
used by the students in order to gain insight into design features vanjskom prostoru. Mogunost kombiniranja razli- od 5 ina, 6 ina i 7 ina. Kada se ne koriste mogu se
and they are acquainted with the standards of design documen- itih kontrastnih boja omoguuje prilagodbu razno- ponovno sklopiti i postaviti jedna unutar druge kako
tation. Moreover, they critically compare the features of actual likim ambijentima. ne bi zauzimale nepotreban prostor.
products and analyse design factors in the context of social FlexyPot Awave
and technological development in order to plan the instructions, The set comprises of three foldable, flexible, hanging Hanging flower pots with a relaxing wave-like orna-
the requirements and the measurements for design or redesign flower pots of diverse sizes. This system enables the ment on foldable modules can easily be placed. Upon
of products. Using the basic methods of creative thinking, the adaptation to a broad range of commercial pots of unfolding them one gets three ornamental pots whose
diverse diameters. It is intended for both indoor and dimensions are suitable for standard commercial 5,
students designed products that are used every day and in this outdoor use. The possibility of combination of diverse 6 or 7inch plant pots. When they are not being
semester they had the opportunity to select between a han- contrasting colours enables adaptation to different used, the flower pots can be folded again and placed
ging vase, a watering can and a jug with glasses.The project was ambiances. one inside the other in order to reduce the amount of
space they require.
implemented in co-operation with the company Klara Gardening
and it provided highly sophisticated conceptual design some of
which was selected for further development and implementation.
42 43
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,3rd semester
paula anti marta badurina matej maltar viktorija jurina

mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Leemo Waca Geba

Klara Leemo je set vreva i est aa jednostavnoga, geometriziranog oblika, izra- Waca je kantica za zalijevanje cvijea zapremnine 0,5 l. Svojim speci- Skulpturalna forma kantice za zalijevanje proizala je iz inspiracije
en od visokootporne plastike. Njegov oblik i dimenzije omoguuju ergonomsko finim i kompaktnim dizajnom savreno se uklapa u male stambene prirodnim vodenim oblicima te njezine funkcije kao svagdanjega
koritenje svim uzrastima, ali i utedu prostora pohranom aa unutar samog vra. prostore. Izraena je od PP plastike i dolazi u nekoliko boja. uporabnoga i svagdanjega vidljivog predmeta.
Komplet se proizvodi u tri boje.
Waca Geba
Leemo Waca is a watering can with 0.5 l capacity. Due to its specific and The sculptural form of the watering can was inspired by natural
Klara Leemo is a set of jugs and six glasses of a simple, geometric shape, made compact design it fits perfectly into confined residential premises. It watery shapes and its function as an everyday use objects and
from highly resilient plastic. Its form and dimensions enable ergonomic use for all is made from PP plastic and is available in several colours. objects visible every day.
ages, as well as saving space through storage of glasses within the jug. The set is
available in three colours.
Mona
Mona je set koji se sastoji od vra i est aa. Vr je oblikovan s dva elementa koji
spajaju minimalistiki i organski dizajn, karakteristian za Klara Gardening. Oko
osnovnoga valjkastog oblika omotan je plat koji formira izljevno mjesto i drak
te u tlocrtu stvara listoliki oblik vra. Drak ispunjava silikonski umetak koji omo-
guuje ugodnije koritenje. ae stanjenjem stijenke pri dnu prate oblik vra. ae
je mogue pohraniti unutar vra i uvrstiti ih epom. ep sadri aicu u koju je
mogue staviti ae dok je vr ispunjen tekuinom.
Mona
Mona is a set comprising of a jug and six glasses. The jug comprises of two ele-
ments that combine minimalist and organic design characteristics of Klara Gar-
dening. Around the basic cylinder shape there is a wrapping that forms a mouth
and a handle and creates a leaf-like shape of a jug in the bottom view. The han-
dle is filled with silicone which makes the use more comfortable. The narrowing
of the bottom of the glasses reminds of the shape of the jug. The glasses can be
placed inside the jug and secured with a cap. The cap contains a small container
into which glasses can be placed whilst the jug is filled with liquid.
44 45
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,4th semester
etvrti semestar
Dizajn za poznatoga korisnika matej maltar eva muc
mentor: Zlatko Kapetanovi mentor: Mladen Orei
Oprema za dojenad asistentica / assistant: Sanja Benceti asistentica / assistant: Andrea Hercog
Okvirna tema zadatka na 4. semestru je dizajn za poznatoga

korisnika, skupinu ili segment trita s ciljem upoznavanja i
koritenja osnovnih metoda informiranja i istraivanja te pro-
cjene njihovih potreba, elja i mogunosti. Ue podruje je
bilo oprema za dojenad, a odnosilo se na osnovne proizvode:
kreveti, zipka, prematalica i hranilica.
Na osnovi analize imbenika dizajna i identificiranih zakona,
propisa i standarda relevantnih za projekt, studenti su uz pri-
mjenu metoda i tehnika kreativnog promiljanja dizajnirali pro-
izvode jednostavne strukture i jasne upotrebne vrijednosti i
izraajnosti. Posebna pozornost usmjerena je na integriranje
uputa o potrebama i mogunostima potencijalnog proizvoaa.
Zadatak je formiran i proveden u suradnji s tvrtkom Noona, a
Elevate Zola
rezultirao je s petnaestak rjeenja od kojih je zipka Sway stu-
Elevate je zidni sustav namjetaja koji omoguuje prilagodbu ele- Zola je jednostavna zidna previjalica i ujedno radni stol.
dentice Valentine Sunek izabrano za daljnju razradu i realizaciju. menata ovisno o potrebama korisnika. Sustav je originalno proiza- Zauzima vrlo malo prostora i jednostavna je za kori-
ao iz ideje stola koji raste s djetetomod previjalice do radnog tenje. Zbog svoje neutralnosti i jednostavnosti lako se
stola koji se moe namjestiti prema visini. Meutim, dodavanjem uklapa u raznovrsne interijere. Kada vie nije potrebna
fourth semester novih elemenata, kao i neutralnim izgledom sustava, mogunosti za previjanje djeteta, Zola se pretvara u pisai stol.
uporabe su se proirile.
User specific design Zola
Elevate
Baby equipment Elevate is a wall mounted furniture system that enables adaptation
Zola is a simple wall mounted baby changing table
and simultaneously also a desk. It requires consider-
of its items based on user needs. The idea behind the system origi- ably little space and it is easy to use. Due to its neu-
The general topic of the assignment during the 4th semester nally was the idea of a table that grows along with the child from trality and simplicity it fits easily into diverse interiors.
is user-specific design, design for a specific group or market baby changing table to a desk whose height can be adjusted. Never- When it is no longer needed for baby changing Zola
segment aiming to introduce and use the basic methods of theless, by adding new items, as well as by the neutral appearance can be transformed into a desk.
of the system, its use potential has been extended.
informing and research and the assessment of the specific needs,
wishes and possibilities. Baby equipment was narrowly addres-
sed, concerning the basic products: beddings, cradles, changing
tables and booster seats.
Based on the analysis of design factors and identified laws, regu-
lations and standards relevant for the project, students designed
simple structured products of obvious practical value and expre-
ssiveness using the techniques and methods of creative thinking.
A special attention was paid to integration of instructions on the
requirements and the capacity of the potential producer.
The assignment was formed and performed in co-operation
with the company Noona resulting in some fifteen solutions,
one of which was a cradle named Sway designed by the stu-
dent Valentina Sunek and it was selected for further develop-
ment and implementation.
46 47
valentina sunek
mentor: Mladen Orei klara mareli paula anti
asistentica / assistant: Andrea Hercog mentor: Mladen Orei mentor: Mladen Orei
godinja nagrada studija dizajna / annual awards at the school of design asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Sway RoTable Krevet(i)

Sway svojim jednostavnim elementima prua djetetu Ploha na kojoj se previja dijete na visini je 90 cm, gdje se Krevet(i) se moe koristiti ve od roenja djeteta, ako se madrac
leprav i ugodan san. Rjeenje omoguuje i sklopi- nalazi i spremnik za spuvu i ostale prijeko potrebne stvari. podigne na najviu razinu. Kada dijete pone samostalno sjediti (6
vost te je idealno za male prostore i spavae sobe. Spremnik i njegov poklopac rotiraju, a rotacijom spremnika mjeseci), radi njegove sigurnosti madrac se sputa na najniu razinu.
Mogunost prenoenja omoguuju jednostavan pri- postie se vie prostora na plohi za previjanje. Poklopac tako Ogradica je sastavljena od est meusobno povezanih dijelova od
stup i dranje djeteta nou blizu roditeljske postelje. moe sluiti kao dodatni prostor za odlaganje stvari tijekom kojih se jedan moe skinuti kada dijete pone samostalno ulaziti i
Kvalitetnim izborom materijala i tehnologije rjeenje previjanja. Previjalica se kasnije koristi kao radni stol. Utori izlaziti iz krevetia. Ovaj kreveti raste zajedno s djetetomjed-
se odgovorno odnosi prema okoliu jer je predvien na plohi za previjanje omoguuju promjenu visine s 90 na nostavnim razvlaenjem krevetia dobivamo sasvim novu postelju
dui ivotni vijek proizvoda. 75 cm, tj. na visinu radnog stola. koja se jo dugo moe koristiti.
Sway RoTable A (tiny) bed

Sway with its simple features enables the child to sleep The surface where a baby is changed is 90 cm high and it A (tiny) bed can be used from the childs birth if the mattress is raised
comfortably whilst swaying. The solution provides the also comprises of a container for the sponge and for other to the highest level. When the baby is able to sit independently
opportunity of folding and is ideal for confined spaces indispensable items. The container and its lid can be rotated (6 months), the mattress is adjusted to the lowest height level to
and bedrooms. The possibility of transfer enables a and hence more space can be obtained on the baby changing increase the childs safety. The bed rail comprises of six intercon-
simple approach and keeping the child by the parents surface. Consequently, the lid can be used as an additional nected parts of which one can be replaced when the child begins
bed. Due to its choice of high quality material and space for disposal of things during the changing of the baby. to get in and out of bed independently. This bed grows along with
technology the solution is environmentally friendly, The changing table can subsequently be used as a desk. The the childby simple extension of the bed one gets an entirely new
since the expected product life cycle is longer-term. slots on the changing surface enable the change of height bed for long-term use.
from 90 cm to 75 cmthe perfect height for a desk.
48 49
matea bertina josipa tadi lucija rubini

mentor: Zlatko Kapetanovi mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica/assistant: Sanja Benceti asistentica / assistant: Andrea Hercog asistentica/assistant: Sanja Benceti
Trona
Karakter hranilice poiva na sustavu preklapanja etiri glavna elementa koji ine
konstrukciju i omoguuju lako rukovanje i pohranjivanje u prostoru. Trona prati
rast djeteta tako da se transformira u djeji stolac te na taj nain ostaje prisutna
tijekom cijelog djetinjstva.
Trona
The idea behind this baby high chair is the system of combining of four principal
features that make up the construction and enable easy use and storage. Trona
follows the growth of the child by transforming into a childs chair and it hence
remains present throughout the childhood.
Nana
Djeji visoki stolac Nana raste zajedno s djetetom jo od najranije dobi. Dijago-
nalno usmjerenim kliznim sustavom naslona postie se simultano mijenjanje visine
naslona te dubine sjedita. Djeji visoki stolac pomicanjem naslona te samog sjedi-
ta postupno mijenja funkciju u sjedalicu za odrasle, ali se ponovno, prema potrebi,
moe vratiti u funkciju hranilice za najmlae.
Djeji visoki stolac
Koncept ovog stolca razvijen je zbog problema s kratkotrajnim kori- Nana
tenjem djejeg pokustva. Djeji visoki stolac koristi se samo neko- Nana baby high chair grows along with the baby from the earliest age. The changes
liko mjeseci djetetova ivota te se nakon toga njegova funkcija gubi. of the height of the back of the chair and seat depth are achieved due to its diag-
Sjedalo i naslon mogue je pomicati i tako prilagoavati stolac razli- onal slide system of the back of the chair. Through moving the back of the chair
itim uzrastima. the baby high chair gradually changes its function and is transformed into adult
booster seat, yet it can again be restored to function as a baby high seat if required.
Baby high chair
The concept of this chair has been developed due to the issue of
short-term use of baby furniture. Baby high chair is used only for
several months of a babys life and then it loses its function. The seat
and the back of the chair can be moved and hence the chair can be
adapted to diverse age groups.
50 51
peti semestar
Dizajn sloenog proizvoda katarina huljev dina bartoli
mentor: Mladen Orei, Zlatko Kapetanovi mentor: Mladen Orei, Zlatko Kapetanovi
Stolac asistent / assistant: Andrea Hercog asistent / assistant: Andrea Hercog
Stolac kao vjenu temu dizajna esto obraujemo na 5. seme-

stru radi usvajanja irih znanja i vjetina u podruju dizajna pro-
izvoda. Uz razvijanje razumijevanja uloge dizajna u drutvenom,
kulturolokom i gospodarskom smislu, od studenata se oe-
kuje upoznavanje naela odrivosti, ekologinosti i etinosti.
Primjenom metoda i tehnika informiranja, istraivanja i ekspe-
rimentiranja te oblikovanja zakljuaka, studenti su definirali
upute, zahtjeve i mjerila za pretpostavljeni smjer razvoja, uz
oekivano razumijevanje i integriranje tehniko-tehnolo-
kih mogunosti i ogranienja proizvodnje u realnom okruju.
Oekivani rezultati bila su rjeenja koja uz konceptualnu jasnou
i tehniku usklaenost imaju primjerenu upotrebnu vrijednost
i izraajan karakter.
fifth semester
Complex product design
Chair
Chair is an eternal topic of design that is frequently addressed
during the 5th semester aiming to acquire wider knowledge and
skills in the field of product design. In addition to the enhancement
of understanding of the role of design from the social, cultural
and the economic aspect of design, students are expected to gain
insight into the principles of sustainability, ecology and ethics.
Through application of methods and techniques of informing,
research and experimenting, as well as shaping of conclusions,
students defined the instructions, requirements and measures
for the assumed direction of development, in addition to the
expected insight and integration of technical and technological
opportunities and constraints of production in real environment. Inspiracija za dizajn bili su secesijski i barski stolci. Savijanjem drva Stolac spaja tri elementa: naslon koji se produenim dijelovima osla- The chair combines three features: the back that leans on the legs
The expected results were solutions that, in addition to con- postie se jednostavnost, kompaktnost i fluidnost konstrukcije. Ovaj nja na noge, a ujedno i na rubove sjedala. Elementi se meusobno and also on the edges of the seat with its elongated parts. The fea-
ceptual clarity and technical harmonisation, have an adequate je stolac izraen od etiri dijela svijenog drva, koji se meusobno spa- podupiru formirajui trokut, najstabilniji geometrijski lik, dajui stolcu tures support one another forming a triangle which is the most stable
jaju zupastim spojem drva, to je ujedno i estetski privlaan element. stabilnost i vrstou. Brezina perploa ini konstrukciju laganom, a geometric shape and accounts for the stability and strength of the
practical value and an expressive character. sama toplina materijala u kontrastu je s geometrijskim, jednostavnim chair. The construction is lightweight due to birch plywood, whilst
The inspiration for the design were secessionist and bar stools. Sim- linijama, gotovo plohama i minimalnim krivuljama kojima se nastoji the warmth of the material is in contrast with the geometric, sim-
plicity, compactness and construction fluidity were obtained through postii otvorenost i trodimenzionalnost. ple lines, almost surfaces and minimal curves made aiming to obtain
bending wood. This stool has been made from four parts of bent openness and three-dimensionality.
wood that are integrated through a toothed wood junction, which
is simultaneously also aesthetically appealing.
52 53
monika moevi iva vuemilovi-grgi

mentor: Mladen Orei, Zlatko Kapetanovi mentor: Mladen Orei, Zlatko Kapetanovi
asistent / assistant: Andrea Hercog asistent / assistant: Andrea Hercog
Stolac je lagan i prozraan a drvo kao prirodni materijal daje mu toplinu. U nacrtu paralelne ver- Dizajn je inspiriran japanskim drvenim stolcima te industrijskim i kolskim stolcima. Kombinacije
tikalne linije nogu i donjeg dijela naslona vizualno izduuju formu. Kut stranjih noga prua sta- mekoga zakrivljenog drva i hladnih, otrih, metalnih ipki ine stolac zanimljivim i dinaminim, a
bilnost konstrukciji, a suprotan kut naslona balansira cijelu formu. Minimalistinost ovih dijelova djeluje prozrano i lagano. Materijali od kojih je izraen su sirovi i nisu dalje obraivani. Naslon i
omoguuje naslonu i sjedalu od perploe da dou do izraaja. Karakter samom stolcu daje hori- sjedalo su od borovine, a noge od nehrajueg elika. Zbog svoga laganoga, prozranog izgleda
zontalni linijski uzorak koji je dobiven rezanjem perploe CNC tehnologijom. i svjetline stolac nije nametljiv u prostoru.
The chair is lightweight and airy and wood as a natural material accounts for its warmth. Parallel The design was inspired by Japanese wooden chairs and industrial and school chairs. Combinations
vertical lines of the legs and the bottom part of the back visually elongate the form in the design of soft curved wood and cold, sharp, metal bars make the chair interesting and dynamic, whilst
plan. The angle of the back legs provides stability to the construction, whilst the opposite angle appearing airy and lightweight. The materials used are raw and have not been processed any fur-
of the back of the chair provides balance to the entire form. Minimalism of these parts highlight ther. The back of the chair and the seat are made from pinewood, whilst the legs are made from
the back and the seat made from plywood. A horizontal linear pattern, specific for this chair, was stainless steel. Due to its light, airy appearance and the brightness the chair is highly unobtrusive.
obtained through cutting plywood using CNC technology.
54 55
esti semestar
Sustav proizvoda juraj balen lidija arko
mentor: Mladen Orei mentor: Mladen Orei
Rasvjeta asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Zavrni rad usmjerenja Industrijski dizajn preddiplomskog

studija sloeni je projekt sustava proizvoda. Tema u ak. g.
2014./2015. bila je podruje dizajna sustava rasvjete. Zadatak
je obuhvatio uoavanje i istraivanje stvarnih potreba, kon-
teksta, potencijala i problema u izabranom podruju, uz defi-
niranje i analizu svih imbenika dizajna.
Cilj ovog zadatka je bio usvajanje procesa projektiranja sustava
proizvoda u stvarnoj, aktualnoj drutveno-gospodarskoj oko-
lini, usvajanje interdisciplinarnog pristupa u suradnji s nosite-
ljima odgovarajuih kolegija i primjena i prezentacija steenih
znanja, vjetina i sposobnosti samostalnog djelovanja.
Na temelju uoenih potreba i problema koji proizlaze iz real-
nih mogunosti, studenti su razvili nekoliko sustava rasvjetnih
tijela razliitih svojstava i namjena, koristei pri tome suvre-
menu, ali i stvarno dostupnu tehnologiju.
sixth semester
System of products
Lighting
The final paper in undergraduate study programme at the depar-
tment of Industrial design is a complex project of product system.
The topic for the academic year 2014/2015 was the area of
lighting system design. The assignment comprised of identifi-
cation and analysis of actual needs, the context, the potential
and the problems in the selected area, in addition to providing
a definition and analysis of all the features of design.
Sustavom rasvjete za kuanstvo cilj je bio ostvariti interakciju kori- Sustav rasvjete projektiran je na nain da on sam bude proizvod. Takvim pristupom
The specific objective of this assignment was adoption of the pro- snika i pojedinog rasvjetnog tijela tako da se time kontrolira koliina i oblikovanju otvara se mogunost individualnog prilagoavanja rasvjetnih tijela pro-
cess of design of a system of products against the backdrop of usmjerenost svjetlosti. Vanjska ovojnica je nepropusna, odnosno svaki storu i potrebama korisnika. Jednostavnost pri sklapanju profila omoguuje stvaranje
real, actual socio-economic environment, adoption of an inter- element proputa svjetlo s gornje i donje strane, ime se uz pomo igre svjetla i sjene, odnosno svjetleih i nesvjetleih ploha. Jednostavnost oblika tako-
klizanja postie upravljanje. Sve lampe sustava izvedene su iz istoga er prua priliku za razigranost kod oblikovanja samoga rasvjetnog tijela u prostoru.
disciplinary approach in co-operation with the directors of the ukupnog rasvjetnog tijela koje dolazi u tri veliine te se prua mogu-
corresponding courses and application and presentation of the nost odabira bilo koja tri ili vie segmenata za pojedinu svjetiljku. The lighting system has been designed aiming to be considered as a product. This
acquired knowledge, skills and the ability to act independently. approach to design provided the opportunity of individual adaptation of lighting
The objective was to establish interaction between the user and an fixtures to the premises and the user needs. Simplicity upon profile development
Based on the identified requirements and problems arising from individual lighting fixture trough a system of household lighting, aim- provided the opportunity for a game between light and shadow or luminous and
the real opportunities, students developed several systems of ing to control the quantity and the focus of the light emitted. The non-luminous surfaces. Moreover, the simplicity of forms provided the opportunity
lighting fixtures of diverse properties and intended use, using exterior shell is impermeable, since each feature lets in light both for playfulness upon the design of the lighting fixture in specific premises.
on the top and on the bottom which is all managed through sliding.
contemporary, yet actually available technology. All the lamps in the system derive from the same lighting fixture which
is available in three sizes and provides the opportunity to select any
three or more segments for an individual lamp.
56 57
iva vuemilovi grgi katarina huljev

asistentica / assistant: Andrea Hercog asistentica/assistant: Sanja Benceti
Koncept rasvjete je zasnovan na refleksijama koje svjetlo stvara odbi- Inspiracija je, osim iz specifinih tehnikih moguno-
jajui se od kupole pod razliitim kutovima i udaljenostima. Cilj je sti LED tehnologije, proizala iz geometrijskih i origami
stvoriti atmosfersku rasvjetu koja je prilagodljiva prostoru i korisniku. formi koje nastaju vrlo jednostavnopresavijanjem, te
Rasvjetno tijelo ima viestruku mogunost rotacije te se tako oda- daju vrlo zanimljive, ponekad i vrlo kompleksne oblike.
bire smjer svjetlosti u prostor. Zamiljeno je da se od jednostavnog plata, u nekoliko
presavijanja, dobiju razliite forme koje e izgledati
The concept of lighting was based on reflexions created by the light zanimljivo i primamljivo iz raznih kutova i kada se ne
reflecting from the dome under diverse angles and distances. The koriste. Modificiranjem kuta presavijanja i poetnog
objective was to create atmospheric lighting adaptable to the space plata nastalo je konano rjeenje od etiri rasvjetna
and the user. The lighting fixture has multiple possibility of rotation tijela: dvije razliite visilice, stolno rasvjetno tijelo te
and it hence selects the direction of its light emitted into the space. zidno rasvjetno tijelo.
In addition to specific technical potential of LED tech-

nology, the inspiration for this project derived from
geometric and origami forms that are considerably
easily createdby folding and result in particularly
interesting, at times even highly complex forms. The
idea behind it was to obtain diverse appealing forms
through multiple folding of a simple shell which will
look attractive from diverse angles even when they are
not being used. The final solution comprising of four
lighting fixtures was obtained through modification
of the folding angle and the initial shell: two different
pendant lights, a desk lamp and a wall light.
58 59
Projektiranje Visual
Vizualne Comunications
komunikacije Studio
Kolegij ProjektiranjeVizualne komunikacije osnovni je for- The course DesignVisual Communications is a fundamental
mativni kolegij u podruju dizajna vizualnih komunikacija, koji formative course in the area of visual communications design
se u sve tri godine studija odvija u nekoliko faza. Tijekom prve which comprises of several stages during the three-year under-
godine studente se upoznaje s temeljnim predznanjima struke graduate study programme. During the first year of the under-
i najosnovnijim vjetinama procesa dizajniranja, nakon ega graduate study programme students are provided with the fun-
biraju daljnje usmjerenje kako bi tijekom druge dvije godine damental background to the design profession and the basic
svladavali specifine vrste projektantskih zadataka, ime se skills of the design process. Subsequently, students can decide
stjeu neophodne profesionalne kompetencije. on the area of their orientation in order to master the specific
Pojedini zadaci i projekti na kolegiju slijede jedan za drugim design tasks during the next two years of the undergraduate
postajui sve sloeniji, te ih studenti rjeavaju uz nunu pri- study programme and acquire core professional competencies.
mjenu znanja i vjetina steenih na informativnim kolegijima, Specific tasks or projects during the course become increasingly
to ukljuuje vjetine likovnog izraavanja (raznolike varijante complex and students complete them using the knowledge and
crtakih i grafikih disciplina), upoznavanje povijesnog razvoja skills acquired during informative courses which implies the use
tiskarstva i tipografije te njihovih razliitih zakonitosti i izra- of visual expression skills (diverse drawing and graphic design
ajnih mogunosti; zatim ovladavanje osnovama fotografskog disciplines), introduction to the historical development of prin-
snimanja i uenje temeljnih principa oblikovanja interaktivnih ting industry and typography, as well as to their diverse rules
web-sadraja. Naravno, tu je i kontinuirano obrazovanje u teo- and their expressive potential. In addition, the course focuses
riji i povijesti dizajna te povijesti umjetnosti, to u studenata on mastering the basics of photography shooting and introdu-
potie dugorono razvijanje humanistike kulture potrebne ction to the basic principles of interactive web content design.
svakom akademskom graaninu, u skladu s osnovnim etikim Furthermore, students are provided continuous education in the
i estetskim vrijednostima i mjerilima struke. theory and the history of design, as well as in the history of art,
Tijekom druge i tree godine studija studenti usvajaju osnovne which encourages long-term development of humanist culture
vjetine oblikovanja informacijskih sustava kako bi upoznali of fundamental importance for academic population in accor-
formalne zakonitosti semantikih elemenata i postupke arti- dance to the basic ethical and aesthetical values and professi-
kulacije struktura znaenja u procesu vizualnog komunicira- onal standards.
nja. Ui se projektiranje komunikacijskih sustava u suvreme- During the second and the third year of the undergraduate study
nim drutvenim zajednicama te se upotpunjuju znanja koje the students acquire the fundamental skills of information system
kompetencije studenata ine dostatnim da mogu funkcioni- design in order to bec0me acquainted with formal regulations of
rati kao samostalni izvoai projekata. kolovanje zavrava semantic features and the procedures of articulation of seman-
izradom interaktivne prezentacije, to podrazumijeva kom- tic structures throughout the process of visual communication.
pleksnu simulaciju jasnoga i preciznog predstavljanja vlasti- Moreover, students focus on design of communication systems
tih projektnih zamisli potencijalnim klijentima i suradnicima. in contemporary communities and deepen their knowledge to
S formativnim predmetom projektiranja povezani su i infor- be able to become independent project developers.
mativni kolegiji, posebice u pojedinim specifinim podrujima
koja pomau sadrajno kompletiranje preddiplomskog studija.
60 61
godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,1.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,1st semester
prvi semestar andreja lovrekovi antonija jurina ljubica golubi lucija novosel luka palestrina mazi
Analiza grafikih struktura mentor: Nenad Dogan
mentor: Nenad Dogan
mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assist.: Tomislav Vlaini
mentor: Ivan Doroghy
asistent/assist.: Tomislav Vlaini
Artikulacija 2d oblika Toka / Point Mrea / Grid Linija / Line Toka / Point Linija / Line
U ovom se zadatku studenti vizualnih komunikacija upoznaju s

osnovama metodologije dizajnerskog promiljanja: potrebno je
usvojiti analitiki pristup promatranja okoline te metode ana-
lize i sinteze zbilje koristiti u razvijanju ideja prema vizualnim
elementima iz neposrednog fizikoga okruja. Cilj zadatka je
na temelju struktura predmeta i materijala prikupljenih foto-
grafiranjem projektirati jednostavne vizualne forme sastavljene
od osnovnih grafikih elemenata (toka, linija, mrea), jasnoga
i dosljednog ritma te vrstog i skladnoga grida, s kojim se stu-
denti u ovom zadatku prvi put susreu.
first semester
Analysis of Graphic Structures
Articulation of 2d Shapes
Throughout this task students of visual communications are intro-
duced to methodology basics of designers reasoning: analytical
approach to ones environment is fundamental, as well as using
the methods of analysis and synthesis of reality for the deve-
lopment 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 cre-
ate 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.
62 63
prvi semestar
Znak
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki roko jurjevi
osnovnih grafikih elemenata (u to je ukljuena i uporaba mentor: Nenad Dogan
boje) te njihovoj sintezi sa sadrajem triju zadanih i povezanih asistentica/assistant: Romana Kajp
pojmova u seriju znakova prepoznatljive i efektne simbolike. Vrti, kola, fakultet

Day-Care Centre, School, University
Oblikujui grafike znakove koji simboliziraju odreene sadr-
aje, studenti ue vizualno interpretirati jednostavne sustave
znaenja, to je jedna od osnovnih vjetina u kasnijem pro-
jektiranju kompleksnije vizualne komunikacije.
marijana imag
first semester mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini
Sign Elektropromet, elektrocentar, elektroservis
Electrical equipment trading,
Signalising in Simbolising Electrical installation services,
Appliance repairs and electrical equipment services
Functionality
This task focuses on the study of formal features of the basic
graphic elements (which includes the use of colours), as well as paula kova
mentor: Nenad Dogan
their synthesis with the content of three specified and connected asistentica/assistant: Romana Kajp
concepts into a series of signs of a recognisable and effective Hardver, softver, mrea
symbolism. Students are provided an insight into visual inter- Hardware, Software, Network
pretation of straightforward semantic systems through design
of graphic signs which symbolise specific.
ivana baanek
mentor: Stipe Bri
Vrti, kola, fakultet
Day-Care Centre, School, University
mirta filipovi
mentor: Stipe Bri
Vodoprivreda, vodoopskrba, vodoinstalacije
Water resources management,
Water supply, Plumbing
64 65
prvi semestar
Tipografski znak (logotip)
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki ljubica golubi
tipografskih elemenata (slova) i njihove povezanosti sa sim- mentor: Stipe Bri
bolikim vrijednostima odabranog pojma te njihovoj sintezi

u oblikovanju tipografskog znaka, prepoznatljivoga i vizualno
atraktivnoga simbolikog izraza. Oblikujui logotip za odre-
enu temu studenti ue vizualno interpretirati jednostavne
sadraje odabirom postojee odgovarajue tipografije i spe- veronika kova
cifinim meuodnosom tipografskih elemenata unutar oda- mentor: Nenad Dogan
branog pojma.
first semester
Typographic sign (logo) andreja lovrekovi
Labelling in symbolising functionality mentor: Nenad Dogan
This assignment focuses on analysis of formal features of typo-

graphic design elements (letters) and their correlation with sym-
bolic values of the selected concept and their synthesis in the
design of a typographic sign of a recognisable and visually appe-
karla kocijan
aling symbolic expression. Through design of a logo for a specific mentor: Nenad Dogan
topic students learn about visual interpretation of simple con- asistentica/assistant: Romana Kajp
tent through a selection of existing corresponding typography
and a specific interrelationship amongst typographic elements
within a selected concept.
jovana vlaisavljevi
roko jurjevi
mentor: Nenad Dogan
ivana baanek
mentor: Stipe Bri
66 67
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,2nd semester
drugi semestar
Informacijska jedinica
Oblikovanje plakata luka palestrina mazi ivana baanek antonija jurina
mentor: Ivan Doroghy mentor: Nenad Dogan
zadanog sadraja asistent/assistant: Tomislav Vlaini
mentor: Stipe Bri
Ovim se zadatkom znatno proiruje oekivani dijapazon izra-

ajnih sredstavapored osnovnih grafikih elemenata, od
studenata se sada trai kompetentna uporaba tipografije te
koritenje ilustracije i/ili fotografije u interpretaciji odabra-
nog sadraja, odnosno u dizajnu logotipa i plakata odree-
nog dogaanja u sferi kulture. Ovo je prvi zadatak u kojem na
temelju konkretnog briefa studenti moraju iscrpno analizirati
subjekt dizajna te sintezom prikupljenih podataka i steenih
spoznaja razraditi odgovarajuu strategiju vizualne komuni-
kacije. Kako je ovdje rije o tradicionalnom, statinom tiska-
nom mediju, pred studentima je takoer i izazov njegovoga
osvjeavanja u kontekstu sve snanije dominacije digitalnih
interaktivnih medija.
second semester
Information unit Tjedan suvremenog plesa
Design of Poster with Tjedan suvremenog plesa meunarodni je festival suvre-
menog plesa. Vizual plakata nastao je isticanjem dina-
specific Content mike plesnih pokreta koji su simboliki predstavljeni
jednostavnim potezima perom.
This task significantly expands the expected range of the means
of expressionin addition to basic graphic elements, students Dance Week Festival
are required to become competent in the use of typography, as Dani Orisa 13 Dance Week Festival is an international festival of con- Queer Zagreb Festival
Plakat za 13. po redu Dane Orisa vizualno je oblikovan tako da naglasi temporary dance. The poster visual was created through Queer Zagreb Festival propituje drutvene norme i vrijednosti te
well as to use illustration and/or photography during the inter- highlighting of the dynamics of dance moves that were
temu arhitekture. Informacije o dogaaju postavljene su perspektivno osvjeuje i osnauje queer identitet. Ideja plakata temelji se na pre-
pretation of the specified content, or achieve competence in the kako bi ostvarili iluziju prostora suvremene arhitekture. symbolically presented through simple strokes of the pen. ispitivanju osobnog identiteta, spolnosti i rodnosti. Intervencijom na
logo design and the design of posters on a specific event in the prikazu skulpture Afrodite, simbolom klasine ljepote, simboliki je
cultural sphere. It is the first task in which students are required Days of Oris 13 iskazano vlastito vienje queer zajednice.
to comprehensively analyse the subject of design based on a The poster for the 13th edition of Days of Oris event was visually
designed to point out the topic of architecture. The information about Queer Zagreb Festival
specific brief and hence develop an adequate strategy of visual the event was arranged into a visual perspective aiming to create Queer Zagreb festival explores social norms and values and raises
communication through synthesis of collected data. Since in this the illusion of a venue of contemporary architecture. awareness and strengthens queer identity. The idea behind the poster
case they are dealing with traditional static print media, students was to explore personal identity, sexuality and gender awareness.
The intervention on the illustration of the statue of Aphrodite, a
are also faced with a challenge of its revival against the increa- symbol of classical beauty, symbolically expressed own perception
singly vigorous dominance of digital interactive media. of queer community.
68 69
leonarda komen petra pikor ljubica golubi ivan klanac

mentor: Nenad Dogan mentor: Ivan Doroghy mentor: Stipe Bri mentor: Nenad Dogan
asistentica/assistant: Romana Kajp asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp
One Take Film Festival Pssst! Festival nijemog filma

One Take Film Festival meunarodni je festival filmova snimljenih u Nijemi film u najirem smislu oznauje svaku filmsku snimku koja u
jednom kadru, bez klasinoga montanog postupka. Rjeenje plakata sebi ne sadri audiosnimak. U elji za prikazivanjem te znaajke za
temelji se na koritenju fotografije domina tijekom njihova padanja, plakat Festivala nijemog filma odabrana je scena iz filma The Artist.
kao metafore sukcesivne kretnje. Univerzalni znak mute sugerira da scena nema zvuk, to je i glavna
znaajka filmova ovog festivala.
One Take Film Festival
One Take Film Festival is an international festival of films shot in one- Pssst! Silent Film Festival
Plakat Human Rights Film Festival 2015. Festival Perforacije Silent film in the broadest sense refers to any film that does not
take, without classical interruptions. The poster design was based on
the use of a photograph of the dominoes falling down, to provide a Plakat je koncipiran kao tipografski prikaz transparentnosti informa- To je festival izvedbenih umjetnosti i performansa. Za vizualno rjee- include a sound recording. Consequently, aiming to point out this
metaphor of successive movement. cija. Izloeni velikoj koliini informacija, odabiremo ih prema vlastitom nje iskoriten je detalj renesansne slike Sveti Sebastijan Andree Man- specific feature, a scene from the silent film entitled The Artist was
izboru. Nisu sve jednako uoljive, stoga je i naslov festivala postav- tegne. Tema iz kranske ikonografije o svecu i mueniku podsjea selected for the poster announcing Silent Film Festival. The univer-
ljen u razliitim jainama tona u meusobnom preklapanju kako bi na estu manipulaciju ljudskim tijelom i spolnou te na aktualne sally used sign for mute suggests that there is no sound included,
se prikazao sloen proces iitavanja. probleme u odnosu religije i politike. which is the principal feature of the films presented at this festival.
Poster for Human Rights Film Festival 2015 Perforations Festival

The idea behind the poster is to provide a typographic illustration of It is a festival of performing arts and performances. The visual design
the transparency of information. We are exposed to a huge amount of includes a detail of the Renaissance painting St. Sebastian by Andrea
information and we hence select them according to our preferences. Mantegna. A topic from Christian iconography about a Saint and a
They are not equally noticeable and hence the name of the festival martyr reminds of frequent manipulation of human body and sexu-
has been written in diverse tone intensities that mutually overlap ality and the current problems in the relationship between religion
in order to show the complexity of the process of reading it all out. and politics.
70 71
drugi semestar
Predmet / informacija
Povezivanje predmeta luka palestrina mazi ana pavii leonarda komen
mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Nenad Dogan
i znaenja (odnos) asistent/assistant: Tomislav Vlaini asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp
Prvi dodir studenata s marketinkom sferom dizajnerske struke

dogaa se upravo u ovom zadatku. Potrebno je dizajnirati vizu-
alni identitet zadanog proizvoda (najee prehrambenog) i
cjelokupan specifini informacijski sustav njegove ambalae,
to podrazumijeva ne samo izraavanje do sada upoznatim
sredstvima u fazi vizualne sinteze, ve i iscrpnu poetnu ana-
lizu znaajki proizvoda, njegove pozicije na tritu i odnosa s
konkurencijom te prepoznavanje odgovarajue ciljne skupine
potroaa kojima je proizvod namijenjen. Prema rezultatima
takvog istraivanja studenti moraju sami artikulirati projek-
tni zadatak i koncipirati idejno rjeenje koje e posluiti kao
temelj konkretnoga dizajnerskog postupka.
second semester
Item / Information
Connection between Objects Ultra Plus: Sardina
Budui da je srdela omiljena i jeftina vrsta ribe, redizajn je morao biti
and Meaning (Relationship) jednostavan i privlaan, a karakterom blizak najiroj ciljanoj skupini,
s naglaskom na hrvatsku tradiciju ribarenja. Novom ambalaom cilj
The first encounter of students with the sphere of marketing je bio istaknuti svjeinu, okus i koliinu proizvoda, kako bi se razli-
kovao od slinih na tritu.
is the specific objective of this task. Students are required to
design a visual identity of a specific product (generally a food Ultra Plus: Sardine
Solana Pag: Krupna morska sol
product) and the entire specific information system of its pac- Since sardines are a favourite and a budget-friendly fish species, the
Rjeenje za vizualno oblikovanje ambalae morske soli Solane Pag redesign had to be simple and attractive, whilst also close to the
kaging, which implies using the means of expression studied thus proizlazi iz ideje da se na ambalai prikae proces proizvodnje soli, broadest target group with emphasis on the Croatian fishing tra-
far in the phase of virtual synthesis, as well as providing a com- tonije, kristalizacija od morske vode do zavrnog proizvoda. Na dition. The new packaging was intended to point out the freshness,
prehensive initial analysis of product features, its market posi- ambalai primjeujemo kristale koji gradiraju od tamnoplave boje the taste and the quantity of products, aiming to be easily recog-
mora do bijele, boje soli. nised on the market.
tion and the relationship with the competition and identification
of the target market. According to the results of this research, Pag Salt Works: Coarse sea salt
students need to independently articulate the project task and The idea behind the solution for visual design of the packaging for
create a conceptual design to be used as the basis during the sea salt produced by Pag Salt Works is to present the process of Zagrebake pekarne Klara: pageti br. 7
salt production on the packaging, i.e., from its crystallisation from Ambalaa je oblikovana tako da bude razumljiva i da potroau omo-
specific design process. seawater to the end product. Crystals ranging from dark blue col- gui, u to kraem vremenu, povezivanje ambalae sa sadrajem. Ilu-
our of the sea to white, the colour of salt, appear on the packaging. stracija prikazuje kontinuiranu liniju koja proizlazi iz oblika pageta i
interpretira njegovu glavnu znaajku: duljinu. Karakteristino za pa-
gete je i nain konzumiranja, namatanjem na vilicu. Ambalaa je zami-
ljena kao vilica oko koje se okretanjem namata ilustracija pageta.
Klara Bakery Zagreb: Spaghetti No. 7

The idea behind the packaging design was to make it comprehensi-
ble and to enable consumers to make an instantaneous connection
between the packaging and its content. The illustration shows a con-
tinuous line originating from the shape of spaghetti and interprets its
principal feature: length. The way of eating spaghetti is also typical,
by winding it up on a fork. The packaging is designed as a fork to be
turned and around which one winds up the illustration of spaghetti.
72 73
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester
trei semestar
Informacijske strukture
Odnos teksta i slike u karla novak karla oti
mentor: Stipe Bri mentor: Nenad Dogan
sustavu (layout) asistentica/assistant: Romana Kajp
U ovom je zadatku cilj dizajnirati standarde prijeloma godinjeg

izvjea (promotivne broure) za odreeni poslovni subjekt.
Rije je o tiskanom mediju koji uglavnom nije namijenjen kraj-
njim korisnicima proizvoda i usluga subjekta, ve njegovim
postojeim i potencijalnim partnerima i suradnicima, to e
rei kako pri dizajnu valja voditi rauna o specifinim zakoni-
tostima komunikacije takvim medijem. Prilika je to za studente
da se okuaju u zadatku uobiajenom u radu profesionalnog
studija za dizajn ili marketinke agencije, te da dokau svoju
kreativnost u zadatku prilino ograniene autorske slobode,
to e ambicioznijima svakako znaiti izazov vjetog mane-
vriranja meu zahtjevima razliitih strana ukljuenih u projekt, Godinje izvjee: Saponia
u realnom trinom kontekstu. Saponia je vodea deterdentsko-toaletna industrija s tradicijom duom od 118
godina. Njihova vizija je svakodnevno unaprjeenje ivota razvijanjem kulture
istoe i zdravlja. Kljuna rije koja je misao vodilja ovoga koncepta je proces ie-
third semester nja/ proiivanje. Elementi kojima je prikazan koncept su obojene upljine slova
koje predstavljaju nekakvu neistou te tekuina koja se razlijeva po stranicama te
Information structures ispire tu neistou i ostavlja ist i proien tekst.
Relationship between the Text and Annual report: Saponia

Saponia is the leading detergent and toiletries industry with a tradition of over 118
the Photograph in the Layout years. Its vision is improvement of life on a daily basis through focus on the culture
of cleanliness and health. A key word and a leitmotif of this concept is the process
The specific objective of this task is to create standards of annual of cleaning/purification. The features used to illustrate the concept are coloured
report layout (or a promotional brochure) for a particular busi- cavities in letters which stand for some kind of dirt and a liquid is pouring over
the pages and washing away this dirt, leaving a purified and a consolidated text.
ness 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 implying Godinje izvjee: Pogon Jedinstvo
that design needs to comply with the specific rules of communi- Pogon Jedinstvo je centar za nezavisnu kulturu i mlade u Zagrebu koji
djeluje kao neprofitna ustanova. Zalae se za aktivno sudjelovanje
cation in this form of media. It provides an opportunity for stu- mladih u kulturnim i drugim aktivnostima poput koncerata, predstava,
dents to become involved in a customary work of a professional radionica i sl. Za formu izvjea izabran je plakat kao najei medij
design studio or a marketing agency and display their creativity kojim se Pogon obraa svojoj publici. Format plakata je B1 na kojem
je prikazano cijelo godinje izvjee. Ono je podijeljeno na nekoliko
in a task where the authors freedom of expression is rather limi- poglavlja od kojih je najvee posveeno godinjem programu, a pre-
ted. Consequently, this task is an immense challenge for ambi- kriva cijelu poleinu plakata.
tions students as it implies skills of manoeuvring between the
Annual report: Unity Factory
requirements of diverse parties involved in the project against
Unity Factory is a centre for independent culture and youth in Zagreb
the real market circumstances. operating as a non-profit organisation. It advocates active partici-
pation of youth in cultural and other activities such as concerts, per-
formances, workshops, etc. The annual report is in form of a poster,
since it is considered as the commonest medium through which the
Factory addresses its audiences. The poster is in B1 format and it
presents the entire annual report. It is divided into several chapters
the largest of which is dedicated to annual programme and it covers
the entire back of the poster.
74 75
vita vrebac
mentor: Stipe Bri
Godinjak Arhitektonskog fakulteta

S obzirom na tip sadraja Godinjaka AF, mrea je
bila kljuna toka u konceptu. Razvedena je i prua
mogunost koritenje nacrta i fotografija u razliitim
dimenzijama. Format omoguuje precizan prikaz teh-
nikih crtea i naglaava monumentalnost arhitekture.
Sadraj zahtijeva jasno vizualno razdvajanje dijelova pa
su oblikovane tri zasebne knjige. Korice knjiga su bijele,
a zajedno ih dri jednostavna mapa, simboliki podsjet-
nik na mape koje su neophodne studentima arhitekture.
Faculty of Architecture Zagreb Yearbook

Considering the type of content of Faculty of Archi-
tecture Zagreb Yearbook, the grid is the fundamen-
tal point of the entire concept. It is indented for and
provides the opportunity of using a design plan and
photographs in different dimensions. The format ena-
bles an accurate illustration of technical drawings
and it points out the monumentality of architecture.
The content requires clear visual separation of parts
and hence three separate books were designed. Book
covers are white and they have been bound together
by a simple folder - a symbolic reminder of folders
which are indispensable for students of architecture.
ena begevi Godinje izvjee za HEP Annual report for HEP

mentor: Nenad Dogan Hrvatska elektroprivreda (HEP grupa) nacionalna je tvrtka koja se bavi proizvod- HEP Group is the national company involved in generation and distribution of elec-
asistentica/assistant: Romana Kajp njom i distribucijom elektrine energije te opskrbom plina. Temeljne vrijednosti tric power and gas supply. Its core values are competitiveness, innovativeness and
su kompetentnost, inovativnost i odgovornost prema okoliu. Glavni cilj rjeenja environmental responsibility. The specific objective of the solution is to commu-
je komunikacija tih vrijednosti na uinkovit nain, a inspiracija za to pronaena je nicate the previously mentioned values in an effective way, whilst the inspiration
u prirodi i primjerima biomimikrije. Biomimikrija je oponaanje prirode suvreme- originates from the Nature and the examples of biomimicry. Biomimicry is emu-
nom tehnologijom, pomou koje moemo dizajnirati i razvijati nove tehnologije. lation of the Nature using cutting-edge technology with which new technologies
can be designed and developed.
76 77
dorja horvati
mentor: Nenad Dogan
Godinje izvjee: Gradske knjinice

Osnovna ideja je prezentirati knjinicu raznim formatima i nainima
oblikovanja tiskovinadepnim knjigama, katalozima, novinama.
Raznolikim formatima i pristupima oblikovanja stranica sugerirana
je knjievna heterogenost, ali i dodatnih aktivnosti koje danas nude
gradske knjinice. Knjievna djela dolaze u raznim oblicima, ovisno
o karakteru i vremenu nastanka. Ideja je doarati dinaminost knji-
evnosti, tj. ponudu gradske knjinice tijekom etiriju pristupa obli-
kovanja stranice.
Annual report: City Libraries mirjam milas

The idea behind was to present the library in diverse formats and mentor: Ivan Doroghy
design techniques used in publicationspaperback books, cata- asistent/assistant: Tomislav Vlaini
logues, newspapers. Diverse formats and approaches imply liter-
ary heterogeneity, as well as additional activities organised by City Godinje izvjee: SUVAG Osijek
Libraries. Literary work has a broad range of forms, depending on Poliklinika SUVAG u Osijeku odabrana je za temu godinjeg izvjea zbog svojih spe-
the type and the period of creation. The objective was to point out cifinih djelatnosti, rad s osobama sa slunim, govornim i jezinim potekoama.
the dynamism of literature, i.e. the programmes provided by City Misao vodilja ovog projekta, pitanje to je i postoji li jedna prava stvarnost, pred-
Libraries throughout four approaches to page design. stavljena je posebnim oblikovanjem naslova pojedinih poglavlja, koja samo naizgled
djeluju jasno i shvatljivo. Naslovi pokazuju kako i na koji nain osobe s disleksijom,
disgrafijom i diskalkulijom doivljavaju svijet oko sebe, ime se nastojalo osvijestiti
i informirati veinu o svakodnevnim preprekama s kojima se takve osobe susreu.
Annual report SUVAG Osijek

The Osijekbased SUVAG Polyclinic was selected as the topic of the annual report
due to its specific activities, work with hearing-impaired people, as well as people
with speech and language disorders. The idea behind this projectthe question of
whether there is a true reality and what it ishas been presented through a spe-
cial design of several chapter titles which only appear to be clear and intelligible.
The titles illustrated the way people suffering from dyslexia, dysgraphia and dyscal-
culia experience the world around them, aiming to raise the awareness and inform
the public on everyday obstacles encountered by such people.
78 79
trei semestar
Informacijske strukture ena begevi dorja horvati
mentor: Nenad Dogan mentor: Nenad Dogan
Oblikovanje informacijske mape asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp
Ovaj se zadatak izravno nadovezuje na prethodnisada je

potrebno dizajnirati promotivni korporativni kalendar u dva-
naest listova za isti poslovni subjekt. Nuno je analizirati karak-
teristike ovog tiskanog medija, njegove najee namjene i
metode komunikacije vrijednosti subjekta te odrediti ciljne
skupine koje e od takvog kalendara imati koristi, kako infor-
mativne, tako i estetske. Svakako, kalendar se obraa irem
krugu ljudi nego godinje izvjee, stoga je to slobodniji i
fleksibilniji medij komunikacije, ali nuno je pronai kreativni
balans izmeu originalne dizajnerske interpretacije subjekta i
punog ispunjavanja svrhe medija koji je naposljetku ipak pro-
motivni materijal.
third semester
Information Structures
Design of an Information Folder
This task is a direct continuation of the previously described task
it focuses on design of a 12-sheet promotional corporate calendar
for the same business entity. Features of this print media need
Converse Garden: Kalendar
to be analysed, as well as its general use and the communica-
U stoljetnoj tradiciji tvrtka Converse All Star malo je mijenjala bazini Uz dvanaest mjeseci kalendara, korisnik dobiva dvanaest razliitih
tion methods of the advantages of the business entity. Moreover, dizajn klasinih tenisica. Jedino to se promijenilo su raznoliki uzorci paketa sa sjemenkama zainskog bilja. Ideja je motivirati i educirati
target market needs to be identified which will primarily benefit boja koji odgovaraju aktualnim stilovima. Vodei se time, koncept se korisnike o vanosti i prednosti vlastitog uzgoja zdrave prehrane.
from this calendar, both concerning information and aesthetics. zasniva na interpretaciji iste tenisice kroz stilove razliitih umjetnika Kalendar osim paketa sa sjemenjem sadri i sve prijeko potrebne
i dizajnera kao svojevrsni oma njihovu radu. informacije o uzgoju i koritenju biljaka te njihov ilustrativni prikaz.
The calendar is intended for wider audiences than the annual
report and hence there is more freedom and flexibility in this Converse Garden: Calendar
communication media. Nevertheless, a creative balance needs During its one hundred year long tradition the company Converse All In addition to twelve months of the calendar, the user also gets
to be achieved between the original designers interpretation Star has only insignificantly altered the basic design of classic sneak- twelve diverse packages with herb seeds. The idea behind was to
ers. It has only changed diverse colour patterns to match the current motivate and educate the users on the importance and the advan-
of the business entity and fully meeting the objectives of the styles. Hence, the concept is based on the interpretation of the same tages of growing your own healthy food. In addition to the packages
media which is still considered merely as promotional material. sneaker through different styles adopted by artists and designers as of seeds, the calendar also provides all the indispensable information
a kind of homage to their work. on growing and the use of herbs and their illustrated presentation.
80 81
mirjam milas anja nikoli

mentor: Ivan Doroghy mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini asistent/assistant: Tomislav Vlaini
Zdrava hrana
Propitkujui temu o zdravoj hrani nizom neobinih fotografija odabra- Smoothie Factory
noga sezonskog povra, cilj je i fotografijom istaknuti njihove nada-
sve zanimljive detalje. Popratnim se tekstovima objanjava ime je Smoothie je slatko pie napravljeno od svjeega mik-
pojedina namirnica bogata, koja su blagotvorna svojstva te kako se sanog voa, povra, a nekada i od okolade i raznih
tijekom povijesti mijenjala njezina upotreba i znaenje. dodataka. Njihova se konzumacija smatra vrlo zdra-
vom i ponekad se koristi kao nutricionistiki ispravna
Healthy food zamjena nekog obroka. Za oblikovanje listova kalen-
dara odabrano je 12 sezonskih smoothija, gdje je broj
Questioning the issue of healthy food through a vast array of unu- mjeseca sloen od voa potrebnog za konkretan recept.
sual photographs of selected seasonal vegetables, we were aiming to Kalendar sadri tri zimska, tri ljetna, tri proljetna i tri
point out their specifically interesting features through photographs. jesenska smoothie recepta.
The accompanying texts provide explanations on the nutrient values
of individual ingredients, as well as their benefits and the way their Smoothie Factory
use and importance changes throughout history.
Smoothie is a sweet beverage made from fresh mixed
fruits, vegetables and sometimes even chocolate and
different supplements. They are considered extremely
healthy and hence they are at times used as a nutrition-
ally correct meal replacement. 12 seasonal smoothies
have been selected for calendar design and the num-
ber of the month has been made from fruits required
for a specific smoothie recipe. The calendar includes
three winter, three summer, three spring and three
autumn smoothie recipes.
82 83
tanja modrakovi paula obat

mentor: Ivan Doroghy mentor: Stipe Bri
Knjinica grada Zagreba Zagreb City Library Pliva zdravlje

Kalendar za Knjinicu grada Zagreba osmiljen je kao Calendar for Zagreb City Library was designed as an Koncept kalendara je osuvremeniti njegovo koritenje budui da kao tiskani pro-
uporabni predmet. Dvanaest bookmarka (straninika) article for daily use. Twelve bookmarks, as twelve izvod zbog sve vee digitalizacije polako izumire. Uz klasian prikaz datuma na
kao dvanaest prijedloga za knjigu, oblikovani su kako bi proposals for a book, have been designed aiming to kalendaru su prikazane biljke ije su peludne aktivnosti najvee tijekom aktualnog
probudili elju za itanjem i odgovorili na pitanje: to arouse interest in reading and to provide an answer to mjeseca. Koritenjem pametnog telefona i proirene stvarnosti otvara se novi sloj
itati idui mjesec? Svaki mjesec predstavlja jednu knjigu, the question: What to read next month? It presents informacija u kojima korisnik stvara profil u kojem odabire svoju lokaciju te biljke
a na poleini bookmarka nalazi se kalendar koji ima i a new book each month and on the back of the book- za koje eli pratiti peludnu prognozu. Aplikacija se koristi tako da se odskenira
funkciju notesa za zabiljeke tijekom itanja, podsjet- marks there is a calendar intended as a notepad for datum na kalendaru, pri emu se dobiva prognoza za taj dan na zaslonu mobitela.
nika na datum kada je knjiga posuena i kada je treba taking notes while reading, a reminder of a date when
vratiti te kao osobna uspomena na proitano djelo. the book was borrowed and when it has to be returned Pliva health
and as a personal remembrance of the book read. The idea behind the calendar is to modernise its use since it is slowly losing its
importance as a printed product as a result of increasing digitalisation. In addi-
tion to the classical provision of dates, the calendar also provides information on
the plants whose pollination activities are the greatest during the current month.
A new layer of information is provided through smartphone use and augmented
reality where the user creates a profile in which they select their location for the
plants on whose forecast of pollination dates they wish to be regularly informed on.
The app is used by scanning the date on the calendar and hence one is provided
the forecast for that day on the mobile phone screen.
84 85
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,4th semester
etvrti semestar
Informacijski sustav
Oblikovanje vizualnog identiteta dorja horvati
mentor: Nenad Dogan
i signalistike asistentica/assistant: Romana Kajp
Ova kompleksna vjeba podrazumijeva dizajn sustava vizu-

alnog identiteta odreenog subjekta i skupine pravila koja ga
reguliraju.To podrazumijeva izradu cjelokupnog prirunika gra-
fikih standarda vizualne komunikacije. Subjekti obuhvaaju
institucije, tvrtke i udruge mahom iz vladinog ili nevladinog
sektora, koje djeluju primarno u sferi javnog dobra. Zadatak
nakon analize subjekta i istraivanja njegovog socijalnog, poli-
tikog i ekonomskog aspekta, podrazumijeva dizajn znaka i
logotipa, definiranje njihovog odnosa, odabir karakteristine
tipografije, definiranje sustava boja i dizajn svih korporativ- Puko otvoreno uilite grada
nih aplikacija u kojima se ogleda primjena osnovnog vizualnog Velike Gorice
identiteta. Signalistika obuhvaa dizajn informacijskog sustava Puko otvoreno uilite grada Velike
Gorice je ustanova za obrazovanje i kul-
i pojedinanih elemenata za oznaivanje i komunikaciju u pro- turu koja nudi razne edukativne i kulturne
storima javnog sadraja. programe. Karakteristian vizualni kod
istodobno oznauje rad Uilita na tri
postojea odjela (podruja) i spaja ih
fourth semester preklapanjem u prozraan motiv. Time
je stvoren dinamian, otvoren znak koji
Information System poziva na druenje i komunikaciju. Jasni
geometrijski oblici predstavljaju odjele,
Design of Visual Identity and dok je svaki sektor djelatnosti Uilita
prikazan umanjenim multipliciranim i
2 2
Signalistics strogo umreenim geometrijskim likovima.
Public Open University of the city

2
This complex task implies design of visual identity system for a

of Velika Gorica
specific entity and the set of rules regulating it. Hence, students 1
Public Open University of the city of Velika

need to become involved in the creation of the entire manual Gorica is an institution for education
0
-1
of graphic standards of visual communication. Diverse entities and culture that provides a vast array
comprising of institutions, companies and associations both from of educational and cultural programmes.
A characteristic visual code simultaneously
the public and the non-governmental sector operating primarily illustrates the operation of the Open
for the public benefit. It is a demanding task which, following University in three existing departments
the analysis of the entity and the research on its social, political (fields) and brings them together through
overlapping into a translucent motif.
and economic aspects, requires design of a sign and a logo, the Consequently, a dynamic, open logo
study of their relationship, a selection of a specific typography was created that invites for socialising
and the design of all corporate applications showing the appli- and communication. Clear geometric
shapes represent departments, whilst each
cation of a basic visual identity. Signalistics includes information sector of activity of the Open University
system design and its separate components for signalling and has been illustrated through diminished
communication in public areas. multiple and connected geometric shapes.
86 87
karla novak
mentor: Stipe Bri
Etnografski muzej Zagreb Ethnographic Museum Zagreb

Rjeenje vizualnog identiteta Etnografskog muzeja u The idea behind the visual identity solution for Ethno-
Zagrebu inspirirano je tradicionalnim hrvatskim teto- graphic Museum Zagreb was inspired by traditional
vaama. Nekad su se ljudi tetovirali kako bi oznaili Croatian tattoos. People used to get tattoos in order
pripadnost nekoj vjeri ili narodu, danas to ine iz tren- to show their belonging to a specific religion or nation-
dovskih razloga. Prikaz odnosa tradicije i suvremenosti ality, whilst they are currently getting them to keep
ilustrira djelatnost ovog muzeja, a to je predstavljanje abreast of trends.The illustration of the relationship
odnosa prolosti i sadanjosti u segmentu nemateri- between the traditional and the contemporary pre-
jalne kulture. sents the activity of this museum and it is the pres-
entation of the relationship between the past and
the present in the segment of non-material culture.
vita vrebac
mentor: Stipe Bri
Dom zdravlja Centar u Zagrebu

Identitet Doma zdravlja nuno mora biti itak najirem spektru korisnika. Stoga je i prepoznatljivi motiv gr-
koga kria iskoriten kao temelj oblikovanja vizualnog identiteta. Dom zdravlja je ustanova je koja se bavi lijee-
njem manje kritinih sluajeva te funkcionira kao podrunica s mnogo specijalizacija. U identitetu se naglaava
pojam centra kao lokacije i dijela naziva ustanove, ali i kao sredinji dio sustava koji predstavlja ljudsko tijelo.
Signalistika je jasna i itka, razvijena u loginu seriju, a strateki je smjetena na kljuna mjesta unutar zgrade.
Central Health Centre in Zagreb

The identity of the Health Centre needs to be intelligible to the widest range of users. Hence, the recognisable
motif of a Greek cross has been used as the basis for the design of its visual identity. Health Centre is an insti-
tution involved in treating less critical cases and it functions as a branch with a large number of specialisations.
The concept of central both as a location and a part of the name of the institution, as well as the central part
of the system that stands for human body has been pointed out. The signalistics is clear and legible, developed
into a logical series and it has been strategically located at focal points within the building.
88 89
mirjam milas
Umjetnika akademija Osijek paula obat

Inspiriran slubenim motom institucije mentor: Stipe Bri
Poticajno, provokativno, kreativno mje-
sto studiranja kreiran je novi vizualni
identitet koji svojim oblikom sugerira
iskorak, slobodu i mogunost nadilae-
nja poznatoga, uobiajenog naina raz-
miljanja. Potreba za generikim znakom i
njegove tri izvedenice proizala je iz broja
odsjeka unutar Akademije. Razliitost je
postignuta akcentiranjem osnovnoga
gradivnog elementa znaka, pravokutne
strelice. Znak se rotira za 26, ime je
postignuta dinamika vizualnog identiteta. Arheoloki muzej
Koncept je proizaao iz pojmova vezanih
The Academy of Arts in Osijek uz arheologiju, fragmentarnost i slojevi-
Inspired by the official motto of the insti- tost. Slojevitost se iitava u obliku znaka
tution that reads Stimulating, provoca- koji se sastoji od tri sloja, pri emu svaki
tive, creative place for study a new visual nosi jednu primarnu boju. Preklapanjem
identity has been created which through slojeva i mijeanjem boja dobivamo nove
its form suggests a breakthrough, free- vrijednosti, kao to u arheologiji istra-
dom and the opportunity to transcend ujui i skupljajui dolazimo do novih
the known and the usual way of think- vrijednosti i informacija. Za signalistiku
ing. The requirement for a generic logo su preuzete boje iz znaka, primarne su
and its three derived forms was based odabrane za katove s glavnim zbirkama,
on the number of departments within a sekundarne za sekundarne sadraje.
the Academy. The diversity has been
achieved through highlighting of the Archaeological Museum
basic construction feature of the logo, The idea behind the project originated
a small rectangular arrow. The logo is from the concepts linked with archaeol-
rotated by 26, aiming to provide visual ogy, fragmentariness and stratification.
identity dynamics. The stratification is shown in the form of
a logo comprising of three layers where
each of them is in one primary colour.
Through overlapping of layers and mix-
ing of colours one gets new values, in
a similar way in which in archaeology
one gets new values and collects infor-
mation through research and collection.
Concerning signalistics, colours have
been taken from the logo, the primary
colours have been selected for the floors
with the principal collections, whilst the
secondary colours are intended for sec-
ondary content.
90 91
peti semestar
Komunikacijski sustav nikolina fuzul elizabeta lonar
Identitet skupine proizvoda asistent/assistant: Tomislav Vlaini
Vjeba projektiranja identiteta skupine proizvoda naprednija

je i zahtjevnija varijanta posljednje vjebe iz drugog semestra
studija. Dok je tada bilo potrebno oblikovati vizualni identitet
pojedinanoga prehrambenog proizvoda i dizajnirati informa-
cijski sustav njegove ambalae, sada se to mora uiniti za sku-
pinu od tri povezana proizvoda iz istog sektora te ih predsta-
viti kao jedinstvenu robnu marku koju student treba osmisliti
i dizajnirati prema nekoj postojeoj. Svaki se proizvod mora
isticati vlastitim identitetom, ime se pak ne smije nakoditi
koherentnosti krovnoga vizualnog identiteta robne marke.
Naravno, samostalnoj izradi projektnog zadatka prethodi
analitiko istraivanje subjekta i trita koje je neizostavni
dio ovakvog posla, uobiajen u buduoj profesionalnoj praksi.
fifth semester
Communication System
Identity of a Group of Products
The task of designing the identity of a group of products is both
a more advanced and a more demanding task compared with Ekozona Pivo Mikkeller
the last task during the second semester of undergraduate study. Ekozona je robna marka viega cjenovnog ranga koja predstavlja niz Oblikovanje ove ambalae temelji se na ideji da se pivu Mikkeller
Whilst the latter focused on designing the visual identity of indi- prirodnih proizvoda ija je znaajka ekoloki uzgoj te bogatstvo viso- da prepoznatljiv i zanimljiv izgled, potujui pritom karakter svake
vidual food products and design of the information system of its kovrijednih hranjivih sastojaka. Analizom proizvoda unutar brenda pojedine vrste piva. To je postignuto jednostavnim ilustracijama koje
zakljueno je kako upravo jasno definirana skupina potroaa uvje- nenametljivo izraavaju osobnost svakog okusa, a cijeloj liniji proi-
packaging, the current task requires the same whilst focusing tuje odreen smjer u oblikovanju proizvoda. Informiranje o zdravim zvoda daju upeatljiv izgled.
on three related products in the same sector and presenting sastojcima proizvoda bila je kljuna ideja pa je infografikom prika-
them as a unique brand which needs to be created by the stu- zana tablica hranjivih vrijednosti koja je sastavni dio svake ambalae. Mikkeller Beer
dent and designed in accordance with an existing brand. Each The idea behind the design of this packaging was to provide Mik-
Ekozona (Ecozone) keller beer with a recognisable and an interesting appearance, pay-
product needs to be provided with its own identity, yet it needs Ekozona (Ecozone) is a higher price bracket brand that presents a ing special attention to the specific features of each beer type. That
to be coherent with the framework visual identity of the brand. vast array of natural products whose specific feature is ecological was achieved through simple illustrations that discreetly express the
Independent work on the project task is preceded by analytical farming and abundance of high-valued nutritional ingredients. The personality of each taste and give an impressive appearance to the
analysis of products within the brand showed that a clearly defined entire line of products.
research of the entity and market research which are both cru- group of consumers dictates the orientation of product design. The
cial in this type of work and customary in the future professio- specific objective was to provide information on the healthy nutri-
nal life of the student. tional ingredients of the products and hence a nutrition facts table,
as an integral component of the packaging, has been presented
using infographics.
92 93
iva leustek dora kasun

Zaini Kotnyi Kotnyi seasoning Zaini Nadalina Nadalina seasoning

Zaini Kotnyi namijenjeni su i amaterima i profesi- Kotnyi seasoning is intended both for cooking enthu- Pod zainima podrazumijevamo dijelove biljaka koji The seasoning comprises of ground herbs that are
onalnim kuharima te su vie od obinog dodatka jelu. siasts and for professional chefs and are more than a se zbog svog sadraja okusa ili mirisa koriste u pri- used in preparation of all types of dishes due to their
Zaini daju karakter svakom jelu to je znaajka koja simple food additive. Seasoning gives a specific char- pravljanju svih vrsta hrane kako bi je se oplemenilo. taste or smell and in order to enhance their flavour.
je u osnovi glavna ideja u oblikovanju ovog rjeenja. acter to each dish and this feature was the main idea Zaini su tijekom povijesti imali znaajnu gospodarsku, Throughout history seasoning has played an impor-
Znaajke zaina te naini kako se koriste povezan je s behind the design of this solution. Seasoning features politiku ali i kulturnu ulogu. Svaki zain vezan je uz tant economic, political and cultural role. Each type
dijakritikim znakovima koji su razliitog oblika (toke, and ways they are used were connected with diacriti- specifinu kulturu, obiaje ili tradicije te kazuje svoju of seasoning is linked with a specific culture, customs
crtice, kvaice, kruii i sl.), a dodaju se nekom slovu za cal marks of diverse forms (full stops, hyphens, carons, priu. Neke prie su svima poznate, a druge tek treba or traditions and it has a story to tell. Some stories
odgovarajui izgovor, kao to se i zain dodaje jelu radi small rings, etc.) and they are added to a letter in order doznati i istraiti. Ilustracije asociraju upravo te prie are widely known, whilst others have yet to be learnt
postizanja posebnoga, karakteristinog okusa. Koliina to show a specific way of pronouncing it, the same koje su ispriane na poleini ambalae. and explored. The illustrations remind of the specific
vizualnih elemenata je minimalna radi lakega i breg as seasoning is added to dishes to achieve a special stories told on the back of the packaging.
itanja informacija. characteristic taste. The quantity of visual features is
minimum, aiming to increase the speed of reading and
help in reading the information.
94 95
otto kuec miran bai

Keap, senf i majoneza

Keap, senf i majoneza izrazito su popularni proizvodi koje povezu-
jemo s brzom hranom, brzim nainom ivota, popularnom i urba-
nom kulturom. Idejni koncept ove pojmove prikazuje prepoznatlji-
vim vizualnim jezikom, specifinim za dio prometnih oznaka poput
boja semafora. Asocijacija na brzinu postignuta je trodimenzionalnim
dijelovima etiketa koji na simboliki nain upuuju na izlaz iz uobia-
arulje General Electric General Electric light bulbs jenog. Veza s potencijalnom skupinom postignuta je jednostavnim,
arulje pretvaraju mrak u svjetlo i predstavljaju poma- Light bulbs transform darkness into light and are con- duhovitim intervencijama u imenima proizvoda.
galo vano za svakodnevni ivot. Pozitivna simbolika sidered important in everyday life. The conceptual
svjetla u osnovi je idejnog rjeenja ambalae. Funkci- design of the packaging is primarily based on positive Ketchup, mustard and mayo
onalna vanost ove ambalae je informiranje korisnika symbolism of light. The importance of this packag- Ketchup, mustard and mayo are extremely popular products linked
o prednostima suvremenih arulja za to su iskori- ing from the functional aspect is to inform the user with fast food, a fast-paced life, popular and urban culture. The con-
teni piktogrami koji zamjenjuju velike koliine teksta i of the advantages of modern light bulbs and hence ceptual outline presented these concepts using a recognisable visual
svode podatke na one najosnovnije. Sukladno karakteru pictograms have been used to replace large quanti- language, specific for some traffic signs such as traffic lights colours.
proizvoda koriteni su ekoloki prihvatljivi materijali, ties of text and present only the crucial information. The association of speed was achieved through three-dimensional
a tisak je jednobojan. In accordance with the specific features of the prod- parts of labels that in a symbolic way show the exit from the ordinary.
uct ecologically acceptable materials have been used A connection with the potential group has been achieved through
and the print is monochrome. simple, witty interventions in product names.
96 97
peti semestar
mladen udovii
Komunikacijski sustav mentor: Nenad Dogan
michelle antonia kovaevi komentor/comentor: Veljko van
Oglaavanje mentor: Stipe Bri asistentica/assistant: Romana Kajp
Kao i u prethodnim semestrima, i sada je drugi zadatak nepo- Lino

sredno povezan s prvim, ali ovaj put se istim subjektom bavi itne kaice Linohrana je primarno namijenjena
drugi student, s ciljem oblikovanja oglaivakih sredstava za dojenadi i maloj djeci, no ciljana skupina su roditelji.
skupinu proizvoda, to je standardni dio promotivnog procesa. Ta injenica odreuje oblikovanje serije oglasa za koji
se koristi vizualni jezik blizak djeci, dok se tekstualni
Zadatak je teak utoliko to student sve elemente oglaivake dio oglasa obraa roditeljima. Djecu se motivira na igru
kampanje mora osmisliti sam (na temelju prethodno dizaj- likovima koje dobivaju otvaranjem kutije, s kojima mogu
niranog vizualnog identiteta robne marke)naslov i slogan, uz pomo roditelja osmisliti vlastite prie. Motivi ilu-
stracija su predmeti koje dijete najee nalazi za sto-
slikovne elemente (fotografiju ili ilustraciju), seriju plakata i lom za vrijeme jela poput lica i tanjura,
oglasa te cjelovitu strategiju implementacije tih oglasa u javni
prostor, takoer prema rezultatima samostalno provedenog Lino
istraivanja. Tako je student istodobno i marketinki stru- Lino cereal puree is a food product intended primar-
ily for suckling infants and babies, with parents as the
njak, i dizajner, i copywriter, i ilustrator, a mentori i asistenti target group. This fact defines the design of a series
nalaze se u ulozi svojevrsnih art direktora. Cilj zadatka usvo- of advertisements where the visual language used is
jiti je osnove svih vjetina koje se u marketinkoj praksi sma- familiar to children, whilst the textual aspect of the
advertisement addresses the parents. Children are
traju neizostavnima. motivated to play through the characters they get
upon opening the packaging which they can subse-
quently use to invent their own stories with the help
fifth semester of their parents. The motifs of illustrations are objects
children most frequently see on the table, such as
Communication System spoons and plates.
Advertising
As in previous semesters, the second task is directly connected
with the first task, yet this time another student needs to deal
with the same entity in order to design advertising methods for
a group of products which is a standard constituent in a pro-
motional process. It is a demanding task since students need to
independently design all the features of the advertising cam- Nescafe instant
paign (based on the previously designed visual identity of the Nescafe instant je kava namijenjena ciljanoj skupini okupiranoj sva-
brand)the title and the slogan, graphic elements (photography kodnevnim brojnim obvezama. Osnovne znaajke ovog proizvoda su
and illustration), a series of posters and advertisements, as well brzina i jednostavnost pripreme uz ugodan okus. Brzina je simboliki
prikazana linijama oitavanja (loading bar) u dvije boje, gdje bijela
as the entire strategy for implementation of the advertisements boja predstavlja vrijeme pripreme, a smea vrijeme uivanja. Koriten
in public space in accordance to the results of independently slogan Gotovo dok kae Nes pojaava naglasak na brzinu, a jedno-
conducted research. Hence, students are simultaneously both stavnost je prikazana reducirano oblikovanim oglasom.
marketing experts and designers, copywriters and illustrators, Nescafe instant

whilst mentors and assistantants have a role of some kind of Nescafe instant is intended for a target group involved in a large
art directors. The specific objective of the task is to master the number of everyday obligations. Basic features of this product are
basics of all the fundamental skills in marketing. speed and the simplicity of preparation, as well as agreeable flavour.
The speed has been symbolically shown through a loading bar in two
colours, where white stands for preparation time and brown for the
time of coffee enjoyment. The slogan that reads Ready until you say
Nes additionally points out the preparation speed, whilst the simplic-
ity has been shown through a reduced design of the advertisement.
98 99
nikolina fuzul borjan pavlek

komentor/comentor: Veljko van komentor/comentor: Veljko van
asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp
Kviki
Dizajn ambalae Kviki zamiljen je tako da se u mlaim
potroaima potakne znatielja i asocijacija na druenja
i popularne djeje igre. Svima znana djeja igra skrivaa
bila je osnovni motiv pa su i likovi na ambalaama stav-
ljeni u taj kontekst. Skrivanjem likova iza ploha eljelo se
zaintrigirati potencijalne kupca, a sloganom Pik, spas
za mene potaknuti na traenje skrivenih likova, ime
na simbolian nain poinje igra. Tako se igra skrivaa
seli na billboarde i citylighte, dok se pik koji spaava
nalazi na polici u trgovini.
Kviki
The idea behind Kviki packaging design was to arouse
curiosity amongst young consumers, as well as to
elicit associations to socialising and popular childrens
games. The basic motif was the well-known game
hide-and-seek and hence the characters on the pack-
aging were put into this context. The idea of the char-
acters hiding behind the level surfaces was aiming to
arouse interest of the potential buyers, whilst the slo-
gan Safe was intended to encourage them to start
Ketchup, majoneza i senf Ketchup, mayo and mustard looking for the hidden characters which, in a symbolic
way, was intended to start the game. Hence, the game
Prouavanje popularne kulture i moderne komunikacije The study of the popular culture and modern com- of hide-and-seek has been transferred to billboards
internetom, dovelo je do ideje da se iskoristi poznati znak munication over the Internet resulted in the idea to and city lights, whilst the means to be Safe is to be
ljestvi (hashtag #) koji se proirio po svim drutvenim use the popular hashtag # that has spread through- found on the store shelf.
mreama, a oznauje kljunu rije kojom se filtriraju out social networks and it stands for the crucial word
objave i informacije. Koritenje hashtaga na simboli- through which posts and information are filtered. The
an nain izrazilo je razmjenu informacija, duhovitost use of hashtag expressed information exchange in a
i neformalizam mladih. Uz taj znak koritene su foto- symbolic way, as well as the wit and the informality of
grafije proizvoda s dodatnim ilustrativnim intervenci- youth. Besides the hashtag, photographs of the prod-
jama koji su povezani s naslovima oglasa. ucts were used with additional illustrational interven-
tions linked with the ad titles.
100 101
petra grubii
mentor: Ivan Doroghy nikolina kentri stani
komentor/comentor: Veljko van mentor: Stipe Bri
Adria Dorina
Cilj kampanje je staviti naglasak na likovnu izraajnost proizvoda Jednostavna komunikacija izraava pristupanost proizvoda. Nije
koja ih u kombinaciji s aromom ini drugaijima. Svaki kolai ili nuno informirati o samome proizvodu jer su kvalitete i znaajke
okolada, nastala runim radom, poput maloga je umjetnikog djela, potroau ve dobro poznate. U obraanju prvenstveno mladim
posebna, slobodnog poteza, bez imitacija. Okus umjetnosti je slogan, ljudima poruka nije doslovna i izravna, ve je svojevrsna igra rijei.
a na svakom oglasu nalazi se tekst oblikovan kao informacija ispod Komunikacija poinje izrazom nikad..., a nastavlja se izrazom uvi-
izloka u muzeju. Sastojci su zamijenili likovnu tehniku, umjetnik je jek..., ime se izaziva privid proturjenosti pa poruka izdvaja kam-
Adria, a sam proizvod tretiran je kao umjetniko djelo, prikazan uve- panju i proizvod od uobiajene prakse u oglaivanju.
anim fragmentom i uokviren raskonim okvirom poput umjetnine.
Dorina
Adria Straightforward communication expresses product affordability.
The campaign is aiming to point out the visual expressiveness of Information on the product is not required, since the product fea-
the products that makes them different in combination with the tures and its quality is well-known. The message intended primarily
flavour. Each cookie or chocolate that was handmade is like a sep- for young people is not literal and direct, but it is a specific word play.
arate artwork, special, expressing its freedom and original. The slo- Communication commences with the word never and it proceeds
gan that reads The flavour of art and each advertisement includes with always, which creates the illusion of contradiction and hence
a text designed as a museum label providing the information about the message makes the difference and both the campaign and the
a museum exhibit. The ingredients replaced the visual art technique product differ from common advertising practices.
and the artist is Adria, whereas the product has been treated as art-
work, shown through augmented fragment and framed in a lavish
frame like real artwork.
102 103
esti semestar
Komunikacijski sustav
Komunikacija autorskoga mladen udovii borjan pavlek
umjetnikog sadraja asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp
Pri kraju svog preddiplomskog studija, student se vraa pla-

katu kao jednom od najzahvalnijih medija vizualne komunika-
cije, kako bi izraajnim sredstvima dizajna interpretirao tuu
autorsku cjelinu kazaline predstave, ime postaje sudionik u
kolektivnom stvaralakom procesu karakteristinom za kaza-
lite. Cilj je oblikovati seriju plakata za promociju tri teatarska
sadraja odabrana iz repertoara jednoga kazalita, pri emu
valja podjednako voditi rauna o bazinom potivanju literar-
nog predloka predstava, odraavanju specifinosti redatelj-
skih pristupa, a treba imati na umu i da serija plakata mora
odraavati i originalni karakter kazalita, odnosno funkcionirati
kao element njegova vizualnog identiteta, onako kako ga vidi
student. Pravi izazov za zavrnu godinu trogodinjeg studija!
sixth semester
Communication of Authors
Artistic Content
By the end of the undergraduate studies, students focus on
posters yet again, as the most gratifying visual communication
media, in order to use all the means of expression available in Kazalite Gavella Teatar EXIT
design to interpret another authors theatre performance which Rije je o vizualno dojmljivoj predstavi koju obiljeavaju nadrealnost, Exit je privatno gradsko alternativno kazalite koje se u neto vie od
slojevitost i iluzija. To je pria o prevrtljivosti i igranju ljudskim sudbi- dvadeset godina postojanja uspjelo pozicionirati na kartu zagreba-
transforms them into participants in a collective creative pro- nama. U predstavi se odvija preobrazba likova pod utjecajem arolije. kih kazalita. Obiljeavaju ga provokativne i britke predstave, to je
cess specific for the theatre. The objective is to design a series Za plakat je koritena slika isprepletenih ruku koje osvjetljenje ini u oblikovanju plakata izraeno jasno prikazanom sintezom dvaju ele-
of posters for the promotion of three featured theatre contents siluetu magarca. Silueta je ilustrativna intervencija kojoj je dodan menata u znak/piktogram. Jedan element za oblikovanje piktograma
prikaz sazvijea, to zajedno ini bijeli cvijet kojim se Puk vilenjak preuzet je iz predstave, dok je drugi simplificirani grafiki oblik koji u
selected from the repertoire of one theatre where the literary koristi kako bi izazvao aroliju. kombinaciji s prvim daje potpuno novo znaenje. Koritena crvena
work which the performances are based on needs to be fully con- podloga naglauje snagu teatarskog izraza Teatra Exit.
sidered and respected. Moreover, one needs to be fully aware of Gavella Theatre
It is a visually impressive performance whose features are the surreal, EXIT Theatre
the fact that the series of posters needs to reflect the original
stratification and illusions. It is a story about fickleness and playing Exit is a private alternative theatre that has managed to establish
features of the theatre in question and operate as a feature of its with human destinies. Character transformation takes place through- itself in the city. It has been operating for over two decades. It fea-
visual identity as perceived by the student. It is a true challenge out the performance under the influence of magic. The poster pre- tures provocative and acute performances which has been shown
for the final year students of the three-year study programme. sents the image of hands entwined that form the silhouette of a don- through the design of its poster through a clearly presented synthe-
key as a result of exposure to backlight. The silhouette is an illustra- sis of two features to make a sign/pictogram. One feature for picto-
tive intervention to which a presentation of a constellation has been gram creation was taken over from a performance, whilst the other
added creating a white flower which Puk, the elf, uses to make magic. is a simplified graphic form which, combined with the first feature,
conveys an entirely new meaning. The red background points out
the strength of theatrical expression of Exit Theatre.
104 105
gala marija vrbani iva leustek

mentor: Nenad Dogan mentor: Stipe Bri
Teatar &TD Teatar &TD &TD Theatre

Kazalite &TD je eksperimentalno i avangardno kazalite. Sukladno tome plakati su Potop je predstava koja donosi potekoe jedne obitelji Deluge is a performance illustrating the difficulties
oblikovani upotrebom eksperimentalne fotografije i tipografije koja slui kao ilu- tijekom dvije vremenski razliite, ali istodobno prikazane encountered by a family during two plots which have
stracija i stilski objedinjuje sva tri plakata. U odabranim su se predstavama esto radnje. Na plakatu je paralelnost radnji simbolizirana a different timeline, but have been presented simul-
neki pojmovi preklapali i time dolazili u sukob pa je preklapanje postalo sastavni satom koji se iitava kada se dvije radnje (potopljena taneously. The parallel plots have been presented on
dio plakata. Neki dijelovi vizualnog rjeenja ostavljeni su da izgledaju nedovreno, prolost i sadanjost) sagledaju kao cjelina. Ko rukom the poster through a symbolism of a clock that is to
a time i sukladno duhu kazalita. Svi plakati imaju tri zajednika elementa koji se odneseno predstava je o tri prijatelja koji se svaki na be read when two plots (the submerged past and
sadrajno mijenjaju, prikazujui tako karakter predstave. svoj nain mui s vlastitim, ali i tuim emocijama. U the present) appear as a unity. Like blown away is
duhu predstave, na plakatu je na ironian nain prika- a performance about three friends who tackle their
&TD Theatre zan zahod koji simboliki postaje sredstvo rjeavanja own, as well as someone elses emotions each in their
&TD Theatre is an experimental and an avant-garde theatre. Consequently, its problema, odnosno otputanja tenzija i frustracija likova. own way. Hence, the poster ironically presents a toilet
posters have been designed through experimental photography and typography that symbolically becomes a means for solving prob-
used as illustration and aiming to stylistically integrate the three posters. Consid- lems, i.e. for releasing the tensions and frustrations
ering the frequent overlapping and even clashing of some concepts in the selected of the characters.
performances, overlapping has become an integral component of the poster. Some
aspects of the visual solution have been intentionally made to appear unfinished,
aiming hence to match the spirit of this theatre. All the posters have three com-
mon features that change concerning the content in order to present the charac-
ter of the performance.
106 107
helena nemec dora kasun

ZKM
Glavna tema predstave Sada je, zapravo, sve dobro
ZKM-aje neosjetljivost sredine na probleme poje-
dinca koji ne upravljaju svojim sudbinama. Plakat je
komponiran tako da se moe postaviti na dvije strane,
ime njegov poloaj simboliki odreuje poloaj lika. U
predstavi Kolumbo tema je sukob individualca s vizijom
i banalnosti mase. Plakat ima etiri dijela koji funkcio-
niraju i kao kompozicija koja sugerira kolektivno kru-
enje i izgubljenost.
Mala scena ZKM

Mala scena malo je i nezavisno djeje kazalite. Predstave imaju relativno jedno- The main topic of the performance entitled Actually,
stavnu radnju, a minimalistika scenografija odaje dojam rune izrade. Ta obiljeja Everythings all Right Now by ZKM is the indifference of
prikazana su istim vektorskim plohama, iju strogost razbijaju bijeli detalji, ski- the others to the problems faced by individuals who do
coznoga i crtakog poteza. Naslovi su izvedeni digitaliziranom runom kaligrafijom not manage their own destinies. The poster has been
to naglauje zaigrani djeji karakter kazalita. designed to be presented on both sides, which symbol-
ically defines the position of the character. The topic
Mala scena of the performance entitled Columbus is the conflict
Mala scena is a small and an independent childrens theatre. The performances between an individual with a vision and the banality of
have a relatively simple plot, whilst its minimalist scenery creates the impression the masses. The poster comprises of four parts which
of being handmade. These features have been shown through pure vectorial sur- function also as a composition that implies both col-
faces, whose rigidity has been mitigated by white details of a sketchy drawing. Dig- lective socialising and forlornness.
itised hand calligraphy has been used for the titles aiming to point out the playful
childish aspect of the theatre.
108 109
dunja lesar nikolina fuzul

Teatar &TD
Koncept oblikovanja polazi od injenice da se pred prolaznika s kojim
plakat komunicira postavi odreeni vizual i njime izazove interes za
kazalinu predstavu. Fokus je na motivima iz svakodnevice koji su
esta tema mnogih predstava. Ilustracije prikazanim vizualnim ele-
Gavella mentima navode gledatelja na promiljanje o predstavi, a indirektno
Tema predstave Bojim se da se sada poznajemo je prekid veze. Plakatom se nastojalo i o vlastitoj svakodnevnici.
simboliki prikazati ponovno stvaranje osobnog identiteta nakon prekida, slaganje
vlastite slike, ali i prazninu i zadanost navikom. Predstava Amadeus temelji se na &TD Theatre
Salierijevu monologu o Mozartu nakon njegove smrti. Tema odbrojavanja otkucaja The idea behind the design was to place a specific visual before the
vremena do smrti velikog glazbenika izraena je spojem lijesa i kazaljke metronoma. passer-by whom the poster addresses and hence to arouse interest
in the theatrical performance. The focus is on everyday motifs that
Gavella are a frequent topic of a large number of performances. Illustrations
The topic addressed in the performance Im afraid we know each other now is a with the presented visual features encourage the public to think about
breakup of a relationship. The poster was aiming to symbolically present the crea- the performance and indirectly also about their own everyday life.
tion of a personal identity after a breakup, the creation of ones own image, as well
as the emptiness and the predetermination of habits. The performance Amadeus is
based on Salieris monologue on Mozart after his death. The topic is a countdown
of the passage of time until the death of a great musician expressed through the
image of a coffin and the pointer of the metronome.
110 111
esti semestar
Komunikacijski sustav u
grgo petrov
odgovarajuim medijima mentor: Nenad Dogan
Multimedijalna prezentacija godinja nagrada studija dizajna / annual awards at the school of design
Zavrni zadatak preddiplomskog studija po prvi put dopu-

ta studentima da sami osmisle i odaberu sadraj kojim e se
baviti i koji e istraivati koristei znanja i vjetine steene u
prethodnim godinama studija. Sada se od studenata trai da
se jasno postave prema struci, definiraju svoju poziciju i arti-
kuliraju vlastite stavove u kontekstu suvremenih vizualnih
komunikacija te da se postave i prema problemu ili podruju
koje su odabrali. Projektni zadatak moe se temeljiti na osob-
noj promociji ili na promiljanju odreenog fenomena u stu-
dentovoj okolini, ali zavrna prezentacija mora biti ostvarena
u medijima i izraajnim sredstvima koji najbolje komuniciraju
kako individualnost studenta, tako i kompleksnost odabra-
nog problema. Poticaj je to studentima da na pojave i pro-
bleme oko sebe reagiraju u skladu sa svojim ivotnim pozivom.
sixth semester
in the relevant Media
Multimedia Presentation
The final task in the undergraduate study programme allows
students to select and create the content of personal interest Moj pervi abecedarij
which they will focus on and explore using the knowledge and Moj pervi abecedarij ilustrirana je knjiica kajkavske abecede edu-
kativnoga karaktera, namijenjena prvenstveno najmlaim uzrastima.
skills acquired during the previous years of undergraduate study. Cilj je potaknuti djecu i mlade na zanimanje za vlastiti jezik, soci-
Students need to assume responsibility towards their profession, okulturni identitet i batinu, usvajajui rijei te duh svojstvenoga
define their position and articulate their attitudes within the con- govora. Nedostupnost suvremenih, moderno oblikovanih sredstava
namijenjenih mladima za uenje kajkavskog narjeja bio je osnovni
text of contemporary visual communications, as well as express motiv za ovaj projekt.
their attitudes about the problem or the selected area. The project
task can be based on personal promotion or reflexion on a speci- My first abecedarium
fic phenomenon encountered in student milieu. Nevertheless, the My first abecedarium is an illustrated educational booklet of kajka-
vian alphabet, intended primarily for the youngest readers. The spe-
final presentation needs to be created using the media and the cific objective is to arouse interest amongst children and youth in
means of expression which can adequately communicate both their own language, sociocultural identity and heritage, aiming to
students individuality and the complexity of the selected issue. learn the words and gain insight in the spirit of a typical language.
Non-availability of contemporary, modern tools intended for youth
It is an incentive for students to deal with occurrences and issues for the learning of kajkavian dialect was the principal motive for the
encountered in their milieu in accordance to their profession. implementation of this project.
112 113
miran bai helena nemec

Dubrovnik
Grad Dubrovnik odreen je vlastitom
prolou i zbog toga teko funkcionira
kao suvremena socijalna sredina. Cilj
ovog projekta je potaknuti komunikaciju
meu graanima, afirmirati istraivanje
te osvijestiti ljude o postojanju problema
u razumijevanju grada. Projekt se sastoji
od niza naljepnica koje ironinim tonom Ne podcjenjuj depresiju
upozoravaju, ali i propituju stavove gra- Projekt se sastoji od sustava plakata za podizanje svijesti, edukaciju i razbijanje stigme
ana o svome gradu. Skup naljepnica koje o depresiji. Odluka je bila pokazati karakter ovog problema koritenjem ilustracija u
graani lijepe po javnim povrinama ini negativu, ime se simboliki izraavaju negativni osjeaji s kojima se depresivni ljudi
plakat koji postavlja pitanje o tome to susreu. Svaka od ilustracija predstavlja jedan aspekt bolesti s kojim se treba nositi,
je Dubrovnik danas. unutranji psihiki i fiziki, te vanjski aspekt odnosom okoline prema tom problemu.
Dubrovnik Do not underestimate depression

The City of Dubrovnik has been defined The project comprises of a system of posters intended to raise awareness, provide
by its own past and it hence faces diffi- education and break the stigma around depression. The intention was to show the
culties in functioning as a modern social character of this problem through the use of negatives of illustrations, which sym-
environment. The specific objective of bolically expressed negative feelings faced by people suffering from depression. Each
this project was to encourage commu- illustration shows one aspect of the disease which needs to be tackled, both the
nication amongst the citizens, establish internal concerning the psychical and the physical aspects, as well as the external
research and raise awareness about the aspect concerning the attitude of the others towards this problem.
problems in the understanding of the city.
The project comprises of a vast array of
stickers that issue a warning using an
ironic tone, yet they also question the
citizens attitudes about their city. The
poster comprises of a set of stickers
to be affixed on public surfaces by the
citizens and a question has been posed
on what Dubrovnik is in this moment.
114 115
matej vukovi otto kuec

mentor: Stipe Bri mentor: Stipe Bri
Tema dana
Sustav longboarding signalizacije

vraanje igre u svakodnevnicu
Skate daska dnevno Longboarding je rekreacijski sport velike popularnosti.
Izmislili su ga kalifornijski surferi kojima je bilo potrebno
Proces rada tijekom studija odvija se unu- kopneno vozilo koje oponaa kretanje daskom po valo-
tar komotnih vremenskih okvira. Vie nego vima. Vonja ovisi o kvaliteti podloge, to u Zagrebu
dovoljno je vremena kako bi se pomno predstavlja problem zbog mnogih oteenih nogos-
isplanirao projekt, provelo detaljno istra- tupa i drugih prepreka. Projekt izrade upozorenja na
ivanje, osmislio koncept te realizirao prepreke, ilustracijama vezanima uz morsku mitologiju,
finalni rad. Samoiniciranim projektom longboarding duhovito vraa u kontekst vodenog sporta.
nastojalo se ispitati vlastite kapacitete
skraujui trajanje zadatka na jedan dan. Longboarding signalisation system
Tematski je rad vezan uz projekt obliko- the return of games into everyday life
vanja kalendara, projektiranjem grafike
za jednu skate dasku dnevno. Longboarding is a highly popular recreational sport.
It was invented by Californian surfers who needed a
A Skateboard per day land vehicle that would imitate the movement of their
surfboard whilst riding the waves. The ride depends on
The process of work throughout the study surface quality, which is a problem in Zagreb due to a
takes places within an easy going time large number of damaged sidewalks and other obsta-
frame. There is more than sufficient time cles. The project of the creation of warnings about
available in order to comprehensively plan obstacles, illustratively linked with sea mythology, wit-
a project, conduct a detailed research, tily puts longboarding in the context of water sports.
develop a concept and implement the
final solution. The self-initiated project
was aiming to analyse own capacities
reducing the duration of the assignment
to one day. The work is thematically
linked with a calendar design project,
through the design of a graphics for one
skateboard per day.
116 117
dora kasun sara pavlekovi preis

Anatomija projekta Obiteljsko stablo

Publikacija predstavlja pregled vlastitih dizajnerskih pristupa trima Projekt je zamiljen kao prostor pohranjivanja i sistematizacije obi-
donekle slinim projektima. Analizom vlastitoga kreativnog pro- teljske povijesti koja proima faktografske podatke i usmenu predaju.
cesa i mapiranjem postupaka, nastojalo se osvijestiti probleme koji Zamiljeno je da knjigu posjeduje jedna osobe dok svaki lan obitelji
se pojavljuju tijekom procesa kako bi ih prepoznali i izbjegli u slje- moe dodati svoj dio povijesti. Uvez omoguuje ubacivanje skupljenih
deem procesu. Poseban naglasak je stavljen na temu originalnosti podataka koje se provodi u etiri kategorije na razliitim formatima
kao sastavni, a vjerojatno i kljuni element dizajnerskog postupka. papira. Obiteljsko stablo gradi se naljepnicama koje sadre imena
novih lanova obitelji s dogaajima povezanih s njima.
Anatomy of a project
The publication provides an overview of own design approaches to A family tree
three fairly similar projects. The analysis of own creative process and The idea behind the project was to provide room for storage and sys-
the mapping of actions were intended to raise awareness about the tematisation of family history that permeates fact-oriented informa-
problems that appear throughout the process in order to be recog- tion and word-of-mouth. The book is supposed to be owned by one
nised and avoided during the next process. A special emphasis was person, whilst each family member can add their own part of family
put on the topic of originality, as an integral and probably also a history. The binding enables the insertion of the collected informa-
crucial feature of design process. tion in four categories on diverse paper sizes. The family tree is built
through stickers that contain the names of new family members
along with the events linked with them.
118 119
Tipografija Typography
Cilj tipografskih kolegija na preddiplomskom studiju je stvaranje Typography courses during the undergraduate study programme
osnovnoga, upotrebljivog fundusa znanja o tipografiji. Studenti are intended to create a basic and applicable background knowledge
se upoznavaju s osnovnim terminima (tipografija, pismo, font, on typography. Students are introduced to fundamental concepts
mjerne jedinice...), osnovnom klasifikacijom pisama (serifni / (typography, typeface, font and units of measure, to name a few),
neserifni; konstrukcija translacije i ekspanzije; naslovna pisma the basic classification of typeface (serif / sans-serif; constru-
i pisma za tekui tekst...), osnovnim parametrima manipula- ction of translation and expansion; headline fonts and fonts for
cije (horizontalni pokretspacing, kerning, tracking, veliina body text, etc.), fundamental parameters of manipulation (hori-
pismate vertikalni pokretprored i veliina pisma) i povi- zontal scalingspacing, kerning, tracking, typeface sizeand
jeu tipografske discipline. Studenti se takoer upoznavaju vertical scalingletter spacing and typeface size) and history
s osnovama tipografskog sloga, proporcijama, formatima i of typography as a discipline. Students are also introduced to
hijerarhijom teksta. fundamentals of typographic syllable, proportions, formats and
Nastava se provodi preteno u obliku niza praktinih vjebi typographic hierarchy.
koje tipografsku disciplinu opisuju iz oba smjeramakrotipo- Courses comprise primarily of a broad range of practical assign-
grafskog (rad sa slovima, mree, formati) i mikrotipografskog ments that present typography at two levelsthe macrotypo-
(analiza slovnih oblika i njihove konstrukcije, crtanje slovnih graphy level (work with glyphs, grid systems, formats, etc.) and
znakova i cijelih pisama). Nakon usvajanja uobiajenih rjeenja the microtypography level (analysis of glyph forms and their con-
za uobiajene probleme (pravila) od studenata se oekuje i kri- struction, drawing of glyphs and entire typefaces). Following the
tiki stav te mogunost inteligentnog odstupanja od pravila. acceptance of common solutions for the usual problems (rules)
Nakon uvodnih predavanja i preteno tehnikih vjebi s prve students are expected to assume a critical stance and show the
godine, studenti se na drugoj i treoj godini susreu s kom- ability of smart divergence from the rules.
pleksnijim zadacima poput oblikovanja knjiga, asopisa te After the introductory lectures and primarily technical assign-
digitalnog pisma. ments during the first year, in their second and third year of
Uz aktivno povezivanje znanja usvojenih prethodnih godina, study students are faced with more complex assignments such
od studenata se oekuje da do kraja preddiplomskog studija as design of books, magazines and digital fonts.
svakoj vrsti dizajnerskog problema/projekta mogu pristupiti In addition to the active integration of all the knowledge acqui-
tipografski i potencijalno ga iskljuivo tako i rijeiti. red during the previous years, students are expected to be able to
address any type of design issue from the stance of typography
and potentially solve it in this way by the time they have com-
pleted the undergraduate study programme.
120 121
godinjak studija dizajna 2014./2015. preddiplomski studij/tipografija,1.semestar
school of design annual review 2014/2015 undergraduate programme/typography,1st semester
prvi semestar
Kaligrafija ivana baanek karla kocijan stella grabari
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Pisanje irokim perom demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
Kaligrafija je grana vizualne umjetnosti koja se bavi pisanjem

kao likovnom formom i predstavlja temelj znanja o slovnim
oblicima. Pisanjem irokim perom studenti se upoznaju s logi-
kom kontrasta, konstruktivnim elementima slova, proporcijama
te neposredno svladavaju ritam unutar rijei i izmeu rijei
(spacioniranje) te izmeu redaka (prored). Usavravanje teh-
nike pisanja u ovoj vjebi nije samo sebi svrhom, ve su zna-
nja steena pisanjem izravno primjenjiva u svemu to uklju-
uje slova, od projektiranja logotipa, informacijskih sustava
do knjiga i asopisa.
first semester
Broad nib pen calligraphy
Calligraphy is a branch of visual art that addresses writing as a
visual arts form and is considered as fundamental knowledge
of glyph forms. Through the use of a broad nib pen students
are introduced to the logic of contrast, constructive features
of glyphs, proportions and they indirectly master the rhythm
within words and between words (word-spacing) and between
the lines (line spacing). Perfecting the writing techniques in this
assignment is not an end in itself, since the knowledge acqui-
red through writing is directly applicable wherever glyphs are
involved from the design of logos and information systems to
the design of books and magazines.
ela meseldi
mentor: Hrvoje ivi
demonstrator: Lana Grahek
122 123
school of design annual review 2014/2015 undergraduate programme/typography,2nd semester
drugi semestar veronika kova klara bili ana pavii paula kova
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Izrada vlastitog monograma demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
Monogram je znak sastavljen od dva ili vie slova, inicijala

osobe ili kompanije te se poput klasinog logotipa koristi za
raspoznavanje i oznaivanje. Monogram ima dugu povijest
(od kovanog novca i plemikih oznaka do tiskara, izdavaa
i umjetnika), a do danas se njegova upotreba zadrala pri-
marno kao inaica logotipa. Ovim uvodnim zadatkom stu-
denti se osmiljavanjem i iscrtavanjem vlastitog monograma
upoznavaju s crtanjem Bzierovim krivuljama, ogranienjima
pri reprodukciji ovisno o mediju te smislenom povezivanju
forme i sadraja (vlastite osobnosti).
second semester
Creation of ones own monogram
Monogram is a sign comprising of two or more letters, the initials
of a person or a company and is used as a classical logotype for jovana vlaisavljevi erika filipan monika hodak ela meseldi
identification and labelling. Monogram has a long history (from mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
coins and aristocratic emblems to printing offices, publishers and demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
artists), whilst it is currently used primarily as a version of logo.

In this introductory assignment students are introduced to drawing
with Bzier curves through design and drawing of their own
monogram, as well as the limitations upon reproduction depen-
ding on the media and meaningful integration of form and con-
tent (of their own personality).
124 125
school of design annual review 2014/2015 undergraduate programme/typography,3rd semester
trei semestar
Crtanje serifnih slova luka dundovi rafael mili mirjam milas vita vrebac
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
i njihovih izvedenica demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
Poetna toka ovog zadatka je runo crtanje jedne rijei seri-

fnim slovima srednjega kontrasta. Stilska obiljeja slova ostav-
ljena su na slobodu studentima, dokle god se pridravaju
osnovnih pravila o konstrukciji i proporcijama slova. Rije se
potom digitalizira, oblici dorauju te se prelazi na dizajniranje
jo etiri varijacije proizale iz poetnog crtea: visoki kon-
trast, niski kontrast, sans te slobodna interpretacija. U ovoj
vjebi se od studenata oekuje svladavanje osnova oblikovanja
pismadosljednost u proporcijama slova, debljinama poteza,
vrsti detalja. Razliitim varijacijama vjebom se pokuava pota-
knuti istraivanje slovnih oblika i proirenje shvaanja tipo-
grafskih sustava i njihovo potencijalno koritenje.
third semester
Drawing of serif typefaces and
their derived forms
The initial task is drawing of a word using serif alphabet letters
of medium contrast. Students are free to decide on the stylistic
features of the letters, providing they comply with the basic rules
on construction and proportions of the letters. The word is sub-
sequently digitized, the forms are improved and four additional
variations originating from the initial drawing are designed: high
contrast, low contrast, sans and free interpretation. Students are
expected to master the basics of letter designconsistency in
proportions of letters, thickness of lines and the type of detail.
Through diverse variations the assignment is striving to enco-
urage the research on letter forms and raise awareness of typo-
graphic systems and their potential use.
126 127
trei semestar
karla oti mirjam milas
Prezentacija pisma mentor: Hrvoje ivi mentor: Hrvoje ivi
Uobiajen nain prezentacije pisma jest knjiica koja predstav- Hello!

lja pismo u punom opsegu i u razliitim tipografskim situaci- Naziv pisma te njegova prilagodljivost raznim jezicima
jama. Radi se o svojevrsnoj osobnoj iskaznici pisma koja sadri bili su poticaj da se promotivni materijal za predstav-
ljanje ovog pisma oblikuje poput avionskog pisma,
podatke o samom pismu, njegovu dizajneru, izdavau fonta, specifino iscrtkanog ruba. Svako pismo vezano je
pripovijest o nastanku... Ona sadri potpun pregled porodice uza zemlju iji jezik u pisanom obliku ima neku poseb-
(prikaz svih karakteristinih slovnih znakova svakog pojedi- nost (dijakritike, naglasci, uestalost verzala). Pismo se
otvara u mali plakat na kojemu su prikazana obiljeja
nog reza, ligatura, alternacija i ostalih specifinosti), prepo- tipografskog pisma.
ruke za uporabu (prikaz rezova u razliitim veliinama, prore-
dima i poravnanjima, prikaz blokova teksta za rezove koji su Hello!
namijenjeni slaganju kontinuiranog teksta) i ostale tehnike The name of the typeface and its adaptability to diverse
languages provided an encouragement to opt for design
podatke. Takoer, to je i pria o pismu ispriana na zanimljiv, of the promotional material for the presentation of this
originalan i prikladan nain. Oblikovanje knjiice moe biti typeface using the form of a specifically marked air
vrlo eksperimentalno ali i tradicionalno u pristupu i konanom mail. Each typeface is linked with the country whose
written language has some specific features (diacrit-
rezultatu, pod uvjetom da su sadrani svi obvezni elementi te ical marks, stress marks, frequency of capital letters).
da postoji jasna stilska poveznica knjiice i odabranog pisma. Upon opening the letter is transformed into a small
poster that presents typeface features.
third semester
Type Specimen
The common way to present a typeface is a booklet intended
to comprehensively present the typeface in diverse typographic
situations. It is a specific identity card of a typeface providing
information on the typeface, its designer, font publisher and a
story of its origin, to name a few. The booklet includes a com- Archer
prehensive overview of the typeface family (an overview of all Specimen se nalazi na karticama koje s jedne strane sadravaju opis
the characteristic glyphs of each specific graphic style, ligatures, jednog od rezova Archera ili opisuje obiljeja fonta, a s druge strane
prikaz je tog reza ili njegove znaajke. Strane na kojoj su prikazi rezovi
alternations and other specific features), recommendations for mogu se sloiti u plakat. Kartice su nale inspiraciju u karticama za
use (an overview of graphic styles in diverse sizes, line spacing kuhanje s receptima jer je cijeli font izvorno osmiljen za asopis
and alignments, an overview of text blocks for graphic styles Martha Stewart Living koji se bavio receptima za kuhanje kao i upu-
tama za ureenje kuanstva te rukotvorstvom.
intended for the composition of the body text) and other tech-
nical information. Moreover, it is also a story about a typeface Archer
told in an interesting, original and adequate way. Booklet design Specimen is presented on cards that on one side provide a description
needs to be considerably experimental and simultaneously also of one of Archer styles or describe font features, whilst on the other
side an overview of this style has been provided or its features. The
traditional in its approach and in the final result, providing all card sides presenting the styles can be used to form a poster. The cards
the mandatory features have been included and there is a clear were inspired by recipe cards, since the font was created for Martha
stylistic link between the booklet and the selected typeface. Stewart Living magazine that provides cooking recipes and home
decorating tips, as well as handicraft.
128 129
paula obat eva muc

mentor: Hrvoje ivi mentor: Hrvoje ivi
Meta Optical Character Recognition

Font Meta je humanistiko pismo njemakog tipografa Erika Spieker- Umjesto klasinog predstavljanja nekog pisma, u sluaju ove publi-
manna. Budui da se sastoji od serifne i sans serifne verzije, koncept kacije odabrana tema je optiko prepoznavanje znakova, kao pod-
je bio potencirati tu dualnost samom formom specimena. Oblikovan loga za nastanak i razvoj OCR fonta. Knjiica prua kratki povijesni
kao dva spojena plakata, presavijanjem i rotacijom stvaraju se etiri pregled te kasnije prolazi kroz temeljne procese nune za prepo-
verzije lica plakata kojima se mogu prikazati usporedno znaajke seri- znavanje slova i znakova od strane raunala. U pokuaju to boljeg i
fnog i sans serifnog pisma ili po elji samo jednog od njih. doslovnog objanjenja tih procesa, neki su od njih prikazani korite-
njem slojeva paus-papira kako bi se to bolje prikazala njihova kro-
Meta nologija i metodinost.
Meta font is a humanist-style typeface designed by the German type
designer Erik Spiekermann. Since it comprises of a serif and a sans- Optical Character Recognition
serif version, the intention was to emphasise this duality through a Instead of the classical presentation of a typeface, this publication
specimen form. Designed as two combined posters, four versions of opted for optical character recognition as the basis for the creation
poster sides have been created through folding and rotation, aimed and development of OCR font. The booklet provides a brief histori-
at simultaneous presentation cal overview and subsequently presents basic processes required for
character and letter recognition by the computer. Aiming to provide
the best literal explanation of these processes, some of them were
presented using layers of tracing paper in order to provide a better
overview of their chronology and methodology.
130 131
school of design annual review 2014/2015 undergraduate programme/typography,4th semester
etvrti semestar
Oblikovanje pisma po zadanim
paula obat eva muc luka dundovi
parametrima mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Za ovu vjebu od studenata se oekuje poznavanje anatomije

slova, vrsti kontrasta te osnovne vjetine crtanja slova. Na
temelju nasumino odabranih parametara (konstrukcija, kon-
trast, proporcije, debljina i vrsta poteza...) studenti crtaju skice
jedne rijei. Nasumini parametri omoguuju nove i neoeki-
vane situacije te uvjetuju studente da crtaju izvan svojih navika.
Poetne skice posluit e kao predloak za razvoj cijelog pisma.
Kada je dizajn pisma definiran, slova se digitaliziraju (skeniraju
te iscrtavaju pomou Bzierovih krivulja) i oblikuju u funkci-
onalan digitalni font.
fourth semester
Typeface design according to specific
parameters
Students are expected to gain an insight into the anatomy of
letters, types of contrast and the basic skills of letter drawing.
Based on randomly selected parameters (construction, contrast,
proportions, thickness and type of lines, to name a few) students
draw sketches of one word. Randomly selected parameters ena-
ble new and unexpected situations and encourage students to
draw outside the box. The initial sketches will provide a tem-
plate for typeface design. Upon defining the typeface design, the
letters are digitised (scanned and drawn using Bziers curves)
and designed into a functional digital font.
vita vrebac
mentor: Hrvoje ivi
132 133
etvrti semestar
klara zaher
Tipografska hijerarhija i struktura mentor: Hrvoje ivi
Zadatak je oblikovati imaginarni asopis proizvoljne tematike.

Naglasak je na tipografskom tretmanu sadraja koji izlazi iz
graenja unutarnje logike asopisa, uspostavi hijerarhija teksta,
mree, rubrika te navigacije. Ovaj sloen zadatak spaja sadraj
i formu to potie studente na kritiko razmiljanje, istrai-
vanje i komunikacijski jasnu artikulaciju teme kojom se bave.
fourth semester
Typographic hierarchy and structure
The assignment comprised of the design of an imaginary maga-
zine addressing an arbitrary issue. It is important to highlight
the typographic feature of the content arising from the internal
Filma
logic of the magazine, text hierarchies, the grid, the sections and
Koncept asopisa Filma temelji se na predstavljanju specifinih film-
navigation. This complex assignment merges the form and the skih postupaka. Svaki od njih je analiziran, objanjen te reinterpretiran
content, encouraging critical thinking, research and clear topic odgovarajuim dizajnom u tiskanoj formi. Rezultat toga je eksperi- luka dundovi
articulation and communication amongst students. mentalan i razveden prijelom asopisa koji na simbolian nain ocr- mentor: Hrvoje ivi
tava logiku filmskog razmiljanja.
Filma
The idea behind the magazine Filma is based on the presentation
of specific film procedures. Each of them was analysed, explained
and reinterpreted through a corresponding design in print form. It
all resulted in an experimental and dissociated layout of the mag-
azine that in a symbolic way shows the logic of thinking from the
aspect of film creation.
ArtWork
ArtWork je zamiljen kao mjesenik koji okuplja novosti iz svijeta suvremene umjet-
nosti te predstavlja itateljima dogaanja, projekte i manje poznate umjetnike. Pri-
jelom se prilagouje vrsti sadraja bila to izvjea s izlobi, razgovori s umjetnicima
ili reprodukcijama umjetnikih ostvarenja. Ne bi li se istaknula informativna uloga
teksta, slike koje slijede tekst su akromatske, a ukupan dojam je blii nekoj vrsti
readera nego klasinog asopisa.
ArtWork
The idea behind the monthly magazine ArtWork is to provide news from the world
of contemporary art and present events, projects and less well-known artists. The
layout is adapted to content typedepending on whether we are dealing with
exhibition reports, conversations with artists or art reproductions. Aiming to point
out the informative role of the text, the photos that follow are achromatic and the
overall impression is closer to a type of reader rather than a classical magazine.
134 135
vita vrebac paula obat

mentor: Hrvoje ivi mentor: Hrvoje ivi
Drag Mag Drag Mag Filmograf

Drag Mag je asopis koji tematizira drag kulturu koja se primarno Drag Mag is a magazine about drag culture which is primarily divided asopis je osmiljen kao mjesenik kina Tukanac te temama prati filmove na reper-
dijeli na Young i Oldschool. Posljedino tome, asopis je koncipiran into Young and Oldschool. Consequently, the magazine covers both toaru. Sadraj je razvrstan po kategorijama koje se pojavljuju u rasporedu projekcija,
na jednakom zastupanju oba anra to je ostvareno dijeljenjem na genres, which has been achieved through its division into two related, kao npr. In memoriam, Kratki utorak, Restrospektiva ili Tjedan stranog filma. Kazalo,
dva povezana, ali suprotna segmenta. Svaki od njih poinje s jedne yet opposing segments. Each of them commences from one side kao glavni nositelj koncepta, organizirano je kao isjeci slika koje se tek u potpunosti
strane to znai da asopis ima dvije jednakovrijedne naslovne stra- which means that the magazine comprises of two equally impor- rastvore (analogija otvaranja filmskog platna) kada se doe na odreeni lanak.
nice i smjera itanja. Young dio koristi slobodniji prijelom koji vizu- tant front covers and two reading directions. Young has a freer lay-
alizira injenicu da se radi o mladoj generaciji Queensa koje se refe- out which visualises the fact that we are dealing with a young gen- Filmograph
riraju na avangardnu modu. Oldschool dio je prelomljen na tradicio- eration of Queens focusing on avant-garde fashion. Olschool has a This is a monthly magazine of Tukanac cinema and the topics addressed accom-
nalniji nain, po uzoru na kultne modne asopise, to je pak vezano more traditional layout, inspired by cult-status fashion magazines, pany the films on the cinema repertoire. The content has been divided into catego-
uz kulturu balova i vougeanja. Young i Oldschool susreu se u sredini which is linked with the culture of balls and vogue. Young and Old- ries that appear in film screening schedule, such as for example In memoriam, Short
asopisapovezuje ih zajednika duplerica koja objanjava osnovne school merge in the middle of the magazinethey have a common Tuesday, Retrospective or International Film Week. The Index, as the principal bearer
pojmove drag terminologije. centre-fold which explains the basic concepts of drag terminology. of the concept, has been designed as clippings of photographs which are completely
opened only upon reaching a specific article (analogy of the opening of the film screen).
136 137
peti semestar
Digitalizacija i reinterpretacija dunja lesar miran bai donat radas
mentor: Nikola urek mentor: Nikola urek mentor: Nikola urek
postojeeg pisma demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
Revival postojeeg, a nedigitaliziranog pisma vee vee stu-

dente uz tipografsku tradiciju i upuuje ih na istraivanje
tipografske povijesti s naglaskom na hrvatsko tipografsko
nasljee. Rekonstrukcija i nadogradnja naenog pisma odvija
se u dvije faze. Prva se bavi analizom zateenih formi te kre-
iranjem to vjernije digitalne inkarnacije pisma, dok u drugoj
studenti oblikuju vlastitu, subjektivnu reinterpretaciju i nje-
govu nadogradnju.
fifth semester
Digitisation and reinterpretation
of an existing typeface
Revival of the existing, yet non-digitised typeface takes stu-
dents back to typographic tradition and encourages them to
conduct a research on the history of typography with a special
highlight on the Croatian typographic heritage. The reconstru-
ction and upgrade of the existing typeface is performed in two
phases. The first presents an analysis of the existing forms and
the creation of a faithful digital version of the typeface, whilst
in the second phase students design their own, subjective rein-
terpretation and the upgrade. Manon Quentin RTZ
Tipografija Manon je revival fonta pronaenog kao naslov na naslov- Quentin je pismo nastalo kao spoj dva zasebna pisma: pismo starog RTZ je geometrijsko eksperimentalno
noj stranici libreta za operu Manon, knjizi koja datira iz godine 1910. logotipa tvrtke Badel i iscrtanih slova s naslovnica knjiga iz Jugosla- pismo bazirano na dizajnu logotipa Radi-
Ostatak abecede razvijen je prema manje kontrastnoj verziji prona- vije. Preuzete su odreene znaajke iz oba pisma, poput svojstvenih otelevizije Zagreb iz 1971., kojeg je obli-
enoj unutar stranica libreta. Zbog visokoga kontrasta, ovo serifno krivulja te oblika pojedinih znakova i prilagoene jedne drugima, kako kovao slovenski arhitekt, kipar i dizajner
pismo preteno je namijenjeno za koritenje u naslovima. Visoki bi rezultat bio to ujednaenije i funkcionalnije pismo. Joe Brumen. Na temelju geometrijskih
kontrast i pucanje slova (nestajanje najtanjih dijelova) pri manjim principa postavljenih u izvornom logo-
veliinama inspiriralo je dvije stencil verzije pisma. Quentin tipu, razvijen je sustav pisama koje slijede
Quentin is a typeface created as a combination of two separate type- istu konstrukciju, ali manipuliraju dimen-
Manon faces: the typeface used in the former logo of the company Badel zijama pojedinih elemenata.
Manon typography is a revival of the font that was found as the and lined letters from front covers of books from former Yugosla-
title on the front page of Manon opera libretto, a book dating back via. Features of both typefaces have been included, such as spe- RTZ
to 1910. The remainder of the alphabet was designed based on a cific curves and design of separate glyphs and it has been mutually RTZ is a geometric experimental type-
lower contrast version found throughout the pages inside the libretto. adapted, aiming to design a homogeneous and functional typeface. face based on logo design of the Zagreb
Due to high contrast, this serif typeface is primarily intended for Radiotelevision dating back from 1971,
headlines. High contrast and breaking of letters (disappearance designed by the Slovenian architect, sculp-
of the thinnest parts) in smaller sizes inspired two stencil versions tor and designer Joe Brumen. Based
of the typeface. on geometric principles defined in the
original logo, a system of typefaces has
been developed that follows an identi-
cal construction, yet they manipulate
the dimensions of individual features.
138 139
peti semestar
Tipografska linearnost miran bai
mentor: Nikola urek
i eksponencijalnost demonstrator: Lana Grahek
Knjiga, definirana u tradicionalnom smislu, klasini je medij Na rubu pameti

i ima svoju sintaksu, tj. ima u dobroj mjeri utvrene obrasce, Glavno pitanje Krleina romana Na rubu pameti jest pitanje ljudskog morala te
odnose i pravila prenoenja informacija, koje valja potovati. postoji li uope. U ovoj interpretaciji, tekui tekst je prelomljen tradicionalno,
odnosno reprezentira rigidnost i nebitnost socijalne veine koju Krlea osuuje, a
Ona mora prenijeti informacije primjereno i optimalno. Stu- svi dijelovi teksta koji opisuju radikalne misli ili ideje glavnog lika tretirani su poput
denti oblikuju izabrano djelo u eksperimentalnoj interpretaciji, neke vrste proglasa, odnosno optube na raun moralno bolesnog drutva te su
svjesno odmiui od tradicionalnoga kanona oblikovanja knjiga. otisnute bijelo na bijelo, kao neka vrsta cenzure koju i sam lik prolazi te ga je teko
proitati. Taj dio teksta je reljefno izdignut od samog papira i slui kao neka vrsta
Svrha zadatka je propitivanje poloaja knjige u digitalnom testa itatelja jer je nuno iarati stranice knjige da bi se proitalo, odnosno prekr-
dobu u kojem su informacije digitalizacijom postigle razinu iti tradicionalne konvencije odnosa prema knjizi.
kompresije koja znatno nadilazi mogunosti knjige, a i njezina
On the Edge of Reason
funkcija najpopularnijeg prijenosnika znanja (tu ulogu preu-
The principal issue addressed in Krleas novel On the Edge of Reason is the issue
zimaju internet i televizija) je poljuljana. I pored toga, zbog of human morality and the issue of its existence. In this interpretation the layout of
svoje formalne sagledivosti, analognosti i izradi po ovjeko- the body text is traditional, aiming to show the rigidity and unimportance of social
voj mjeri, knjiga je zadrala kredibilitet. U tom smislu je i cilj majority which is criticized by Krlea, whilst all the text segments that describe
radical thoughts or ideas of the principal character have been treated as a type of
zadatka eksperimentalne interpretacije istraiti njezina medij- proclamation or accusation of a morally ill society and have been printed white
ska ogranienja i upotrijebiti ih kao prednosti kojima e do on white, as a type of censorship undergone by the main character who is hence
izraaja doi njezini neupitni spoznajni potencijali. hard to grasp. This text segment has been raised from the paper in a relief form
and is intended as a specific test for the reader, since the books need to be scrib-
bled over in order to become legible, that is traditional conventions of relationship
fifth semester towards books need to be violated.
sara pavlekovi preis

Typographic linearity and mentor: Nikola urek
exponentiality demonstrator: Lana Grahek
Drava
Book, defined in a traditional sense, are classical media with their
Kao edukativno zanimljiv nain itanja Platona, Drava je iskomunicirana kroz dru-
own syntax, i.e. with considerably well-defined patterns, relations tvenu igru. Dinamika igre funkcionira na naelu rasprave uz pomo koje je cilj stvoriti
and rules of information transfer that need to be complied with. idealnu dravu. Glavne kartice sadre dijaloge iz knjige. Egzistencijalno filozofska
They need to convey information in an appropriate and optimal pitanja koja se u svojoj biti ne mijenjaju, bez obzira na vrijeme postavljanja, stavljaju
igraa u poloaj da mora sam razmisliti o odgovoru, a ne ga samo proitati. Kon-
way. Students design a selected work upon experimental inter- tekst vremena utjee da odgovor ne mora biti isti, no to je sliniji Platonovu, prije
pretation, consciously departing from the traditional canons of se stvara idealna drava. S obzirom na to da nitko sam sebi nije dovoljan, svatko bi
book design. The specific objective of the assignment was to se trebao pridravati svoje drutvene uloge, pravedno raditi svoj posao te se sta-
lei ne smiju mijeati. Likovi u igri su vladari, vojnici i robovi, a cilj je da svaki igra
analyse the role of books against the backdrop of a digital era doe do poloaja u dravi koji pripada odreenom liku.
in which information has achieved a level of compression thro-
ugh digitisation which considerably transcends the potential of The Republic
books, whilst the role of books as the most popular knowledge Aiming to provide an educational and interesting way of reading the Republic by
Plato, the book has been communicated through a social game. The dynamics of
transmitter has been taken over by the Internet and television. the game functions according to the principle of debate, aiming to help in the cre-
Moreover, due to their formal layout, analogousness and their ation of an ideal Republic. The main cards contain the dialogues from the book.
being practical, books have retained their credibility. Hence, the Existential philosophical questions whose essence never changes, irrespective of the
time of occurrence, make the player think of the answers rather than merely read-
objective of experimental interpretation was to explore the limi- ing them. The time context impacts on the answers, yet the greater the similarity
tations of books as media and transform them into advantages between the players answer and Platos answer, the sooner the ideal Republic will be
to point out their indisputable cognitive potential. established. Since no one is self-sufficient, everyone should comply with their social
role, duly perform their duties and, in addition, social classes must not be mixed.
The characters in the game are rulers, soldiers and slaves and each player needs to
reach the position in the Republic that is appropriate for each character.
140 141
otto kuec
mentor: Nikola urek
demonstrator: Lana Grahek
Zombie Survival Guide Zombie Survival Guide

Knjiga je zamiljena kao prirunik za preivljavanje u post-apokaliptinom svijetu, The idea behind the book was to provide a survival guide in a post-apocalyptic
s naglaskom na obranu od zombija, fantastinih stvorenja koja su dio popularne world with particular emphasis on the defence from zombies, fantasy creatures
kulture. Sadraj je ironian, no napisan ozbiljnim tonom, ime se nastojalo knjigu that are part of a popular culture. The content is ironic, yet it has been written
uini zanimljivom i posebnom. Taj ozbiljan i realistian pristup u prijelomu teksta using a serious tone, aiming to make the book interesting and special. This approach,
naglaen je i doveden do ekstrema. Posebna pozornost posveena je praktino- that is both serious and realistic, has been highlighted in the layout of the text and
sti: stranicu s popisom opreme mogue je istrgnuti i objesiti na zid, dok se pregled brought to the extreme. A special attention was paid to practicality: a page with a
oruja i alata rastvara u vee dimenzije radi preglednosti. Poglavlje koje nabraja list of equipment can be torn out and put on the wall, whilst the overview of tools
kategorije i znaajke zombija u prijelomu dobiva palani registar radi lakega i breg and equipment was brought to large-scale dimensions to provide a greater clar-
dunja lesar snalaenja u hitnim situacijama. ity. The chapter that lists the categories and the features of zombies is provided
mentor: Nikola urek a thumb index in the layout in order to assure easier and a more efficient coping
demonstrator: Lana Grahek with emergency situations.
Nepodnoljiva lakoa postojanja

Oblikovanjem knjige ideja suprotstavljanja lakoe i teine prikazana je
na nekoliko razina. Za razliku od uobiajene forme knjige kao objekta,
u ovom sluaju se dogaa inverzja te su korice izraene od perja, a
stranice od neuobiajeno debelog papira. Poigravanje sa suprotno-
stima nastavlja se i oblikovanjem teksta, gdje svako poglavlje kompo-
zicijom teksta, debljinom i veliinom slova pokuava doarati dojam
teine ili lakoe. Paginacija je namjerno naglaena te se koristi kao
simbol prolaznosti vremena, tijeka knjige i ivota likova.
The Unbearable Lightness of Being

Through the design of the book the idea of opposition of lightness
and heaviness has been shown at several levels. As opposed to the
customary form of the book as an object, in this case an inversion
has occurred where the book covers have been made from feathers
and its pages from unusually thick paper. Playing with the oppo-
sites continues also through text design where each chapter by text
composition, thickness and size of the letters is intended to create
an impression of lightness or heaviness. Pagination has been inten-
tionally highlighted and is used as a symbol of ephemerality of time,
the course of the book and the lives of its characters.
142 143
esti semestar dunja lesar dunja lesar miran bai

mentor: Nikola urek mentor: Nikola urek mentor: Nikola urek
Iscrtavanje slova demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek
Iscrtavanje slova je pisanje graenjem oblika slova koji ne ovisi

o sredstvu kojim se pie, ve je rezultat retuiranja poteza
i postupnog poboljavanja njegove kvalitete. U konanom
rezultatu nema razlike izmeu iscrtanih slova i tipografskog
pisma, osim to je kod prvog svaki slovni znak spremljen na
svoju poziciju u fontu (digitalnom ili analognom), dok iscrtana
slova ine nerazdvojivu cjelinu (poput logotipa). Iscrtavanje
slova esto se koristi kod projekata koji zahtijevaju tipografsku
specifinost, ali nemaju velik uporabni opseg. Iscrtana slova
mogu biti ekspresivna i odvana s obzirom na to da nastaju
na temelju konkretnih projektantskih zahtjeva i jasno predvi-
ene, ograniene uporabe (to je rijetko sluaj s tipografskim
pismima iroke namjene). U ovom zadatku studenti odabiru
nekoliko naziva proizvoda raznih kategorijaod brendova
pia, naslova knjiga, filmova ili pak imena muzikih sastava
te istrauju koji slovni oblici najbolje odraavaju znaenje i
kontekst odabranog naziva.
sixth semester
Hand-drawn typography
Hand-drawing of letters implies writing through construction of
letter design which does not depend on the writing tools, as it
is a result of retouching the lines and gradual improvement of
quality. The final result does not show any differences between
the hand-drawn letters and the typeface, except that in the for-
mer each glyph has been placed in its own position in the font
(digital or analogous), whilst the hand-drawn letters make an
inseparable unity (like a logo). Hand-drawn letters are frequently
used for projects that require typographic specificity, yet their
scope of use is rather limited. Moreover, hand-drawn letters can
be both expressive and brave since they are created based on
specific design requirements and clearly designated, limited use
(which is seldom the case with broadly used typefaces). In this
task students select several names for products of diverse cate-
goriesfrom beverage brands, book titles, films or music band
names and analyse the type of glyph which will most adequa-
tely convey the meaning and the context of the selected name.
144 145
Likovni Visual Arts

program Programme
CRTANJE 1, 2, 3, 4Kolegij zapoinje vjebama crtanja po pro- drawing 1, 2, 3, 4The course commences with observational
matranju, polazei od proporcije oblika, perspektive, prostora i drawing practice, from shape and proportions, perspective, space
kompozicije slike. U drugom semestru izvode se vjebe crtanja and picture composition. The programme focuses on drawing
po sjeanju, uz razvijanje osobnosti likovnog izraza. U treem from memory and the development of identity of visual expre-
semestru razvija se sposobnost crtake istoe, likovnoga i ssion. The third semester develops the skills of purity of drawing,
grafikog izraza tehnikomasocijativne memorije. U etvr- visual and graphic expression through the technique of associa-
tom semestru komparativno vrednovanje oblikovanja pripada tive memory. In the fourth semester the comparative evaluation
crtakom, tonskom, rasteriranom, modelacijskom i koloristi- of design belongs to drawing, tonal, raster image, modelling and
kom zadatku unutar primarno likovnog izraavanja. Ekspresija, coloristic assignment within visual arts expression. Expression,
stilizacija, konstrukcija ili redukcija su u funkciji imaginacije stylisation, construction or reduction are in function of imagi-
slobodnog i zadanog crtea. nation during the free-topic and the assigned-topic drawing.
GRAFIKE TEHNIKE 1, 2Studenti vjebama prouavaju spe- GRAPHIC TECHNIQUES 1, 2Students study the specific visual lan-
cifian vizualni jezik pojedine grafike tehnike te sagledavaju guage of individual graphic techniques and get a broader over-
iru sliku o nainu, primjerenosti i svrsi koritenja odreene view of the ways, the appropriateness and the scope of use of
tehnike u kontekstu vremena i stupnju razvoja vizualnih komu- a specific technique in the context of time and according to the
nikacija. Kombinirajui razliite tehnike, izraavaju svoje ideje development level of visual communications. Students express
i otiskuju ih na razliitim materijalima te analizraju proces their ideas and print them on different materials. The process of
vizualnog razmiljanja, metodom povezivanja vizuala i pri- visual thinking is analysed through a method of matching visu-
padajuih pojmova. als and the corresponding concepts.
PLASTINO OBLIKOVANJE 1, 2Teme kolegija su upoznavanje VISUAL DESIGN 1, 2Course topics comprise of introduction to fea-
osnovnih elemenata plone i prostorne kompozicije, njihova tures of planar and spatial composition, their application in design
primjena u procesu projektiranja te analiza meuodnosa ele- and analysis of interrelation between elementary forms and gene-
mentarnih formi i generiranje prostorne iz plone kompozi- ration of spatial from planar composition. Possibilities of creation
cije. Kreativnom dekompozicijom i transformacijom zadane of a new form using diverse visual techniques are explored through
forme istrauju se mogunosti stvaranja nove forme raznim creative decomposition and transformation of an assigned form.
likovnim tehnikama. NUDE 1, 2The programme of this elective course focuses on
AKT 1, 2Proporcije ljudskog tijela te prijenos trodimenzionalnog human proportions and the transformation of a 3D model into a
modela u dvodimenzionalni crte raznim likovnim tehnikama 2D drawing. Human body is positioned in space and its interre-
predstavlja sadraj izbornog kolegija. Crteom se pozicionira lation with articles of daily use is presented. The objective of the
ljudsko tijelo u prostoru i prezentira u meuodnosu s uporabnim course is to develop the ability to create an original drawing as
predmetima. Cilj kolegija je razviti sposobnost stvaranja autor- an independent interpretation of the topic of human body.
skog crtea kao samostalne interpretacije teme ljudskog tijela. ILLUSTRATION 1, 2The course focuses on the introduction to the
ILUSTRACIJA 1, 2Tema kolegija je upoznavanje pojma i zna- concept of illustration and its meaning in visual communications
enja ilustracije u vizualnoj komunikaciji. Poznavanje osnov- and on insight into the basic features, the scope of application,
nih elementata i podruja primjene, odnos forme i sadraja, te the relationship between form and content and the applica-
odnos i primjena ilustracije s ostalim oblicima vizualnih komu- tion of illustrations with other forms of visual communications.
nikacija. Istrauju povijesne stilove i suvremene trendove, a Historical and contemporary styles are explored and a critical
predavanjima i vjebama razvijaju kritiki odnos, oblikovne i attitude is developed through lectures and practical classes with
tehnike vjetine i osobni vizualni jezik. a focus on design, technical skills and a personal visual language.
146 147
godinjak studija dizajna 2014./2015. preddiplomski studij / likovni program
school of design annual review 2014/2015 undergraduate programme / visual arts programme
ivana baanek ljubica golubi

crtanje 1/drawing 1 crtanje 1/drawing 1
mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Kljuevi Stolac
Crtaka analiza trodimenzionalnog Studija trodimenzionalnog modela
modela kroz kontraste i raster Tehnika: olovka
Tehnika: olovka, tu Chair
Keys Drawing analysis of a three-dimen-
Drawing analysis of a three-dimensional model studija trodimenzional-
sional model through contrast and raster nog modela
Technique: pencil, drawing ink Technique: pencil
luka palestrina mazi

crtanje 1/drawing 1
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Stolacskica
Studija trodimenzionalnog pred-
meta Tehnika: flomaster
Chairrough draft
Drawing analysis of a three-dimen-
sional model
Technique: felt tip pen
petra pikor ivana baanek martina petric luka palestrina mazi

crtanje 1/drawing 1 crtanje 1/drawing 1 crtanje 1/drawing 1 crtanje 1/drawing 1
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Teksturaskica Tekstura Fotoaparat Fotoaparatskica
Mrtva priroda, crtaka analiza trodimenzionalnog Mrtva priroda, crtaka analiza trodimenzionalnog Crtaka analiza trodimenzionalnog modela Crtaka analiza trodimenzionalnog modela
modela kroz teksturu, skica modela kroz teksturu Tehnika: olovka, drvena bojica Tehnika: flomaster, marker
Tehnika: olovka Tehnika: olovka Still camera Still camerarough draft
Texturerough draft Texture Drawing analysis of a three-dimensional model Drawing analysis of a three-dimensional model
Still life, drawing analysis of a three-dimensional Still life, drawing analysis of a three-dimensional Technique: pencil, colour pencils Technique: felt tip pen, marker
model through texture, rough draft model through texture
Technique: pencil Technique: pencil
148 149
morana lauin
crtanje 1/drawing 3
Dizajnerski predmet
M. Vignelli, ajnici
Tehnika: drvena bojica
Designed object
M. Vignelli, teapots
Technique: colourpencils
mirjam milas
crtanje 1/drawing 3
Dizajnerski predmet
V. Panton, stolci
Tehnika: olovka
Designed object
V. Panton, chairs
Technique: pencil
nina stupar leonarda komen

crtanje 1/drawing 2 crtanje 1/drawing 2
mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Kvadrati Soba
Teorija boja, hommage kvadratu Crtaka vjeba sobe u perspektivi po zadanom tlocrtu,
Tehnika: drvena bojica slobodno interpretirano tonskom obradom filip kovai
Squares Tehnika: tu, drvena bojica crtanje 1/drawing 3
Theory of colours, Hommage to the square Room mentor: Boris Ilekovi
Technique: colour pencils Drawing exercise of a room in one-point perspective asistentica/assist: Inja Kavuri Kireta
based on a specified ground plan, free interpretation Utinica
through tonal finishing Afirmiranje asocijativnogspremitaanonimnim predmetom
Technique: drawing ink, colour pencils kao polaznom pretpostavkom u crtakom procesu
Tehnika: olovka
Power socket
Affirmation of an associativestoragethrough an anony-
mous object as an initial assumption in the drawing process
Technique: pencil
150 151
karla novak
crtanje 1/drawing 4
Muzika akademija
Crte arhitektonske kompozicije
u urbanom kontekstu
Tehnika: olovka, drvena bojica,
flomaster
Music Academy
Drawing of the architectural
composition in an urban context
Technique: pencil, colour pencil,
felt tip pen
petra kovaevi
crtanje 1/drawing 4
Panton
Teorija boja, hommage Verneru Pantonu
Tehnika: akrilne boje
Panton
Theory of colours, Hommage to Verner Panton
Technique: acrylic paint
lucija rubini
crtanje 1/drawing 3
dorja horvati
Osam alica crtanje 1/drawing 4
Vizualna analiza likovnih tehnika mentor: Boris Ilekovi
Tehnika: olovka, tu, flomaster, tempera, drvena asistentica/assist: Inja Kavuri Kireta
bojica, akvarel, paper-cutting, kola
Interijer
Eight cups Fotografija interijera, istraivanje elemenata
Visual analysis of visual arts techniques kompozicije i prijenos u crte
Technique: pencil, drawing ink, felt tip pen, tempera, Tehnika: olovka
colour pencils, watercolour, papercutting, collage
Interior
Interior photography, research on composi-
tion features and use in drawing
Technique: pencil
152 153
ana pavii ana pavii veronika kova

plastino oblikovanje 1 / theory of form 1 plastino oblikovanje 1 / theory of form 1 plastino oblikovanje 2 / theory of form 2
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Raspodjela kvadrata 1 Raspodjela kvadrata 2 Kocka i kugla (fotke crtea i modela)
Vjeba izrade kompozicije tonskom raspodjelom Vjeba izrade uveane kompozicije tonskom raspodjelom plohe Vjeba izrade kompozicije dekompozicijom zadanih formi kugle i kocke
plohe kvadrata kvadrata Tehnika: olovka, drvena bojica, gipsani model
Tehnika: olovka Tehnika: olovka Kocka i kugla cube and sphere (photos of drawings and models)
Division of the surface of the square 1 Division of the surface of the square 2 Creating a composition through decomposition of the assigned shape
Creating a composition through a tonal division Creating an enlarged composition through a tonal division of a sphere and a cube
of the surface of the square of the surface of the square Technique: pencil, colour pencil, plaster model
Technique: pencil Technique: pencil
154 155
anja nikoli morana lauin anja nikoli morana lauin

crtanje akt 1 / figure drawing 1 crtanje akt 1 / figure drawing 1 crtanje akt 2 / figure drawing 2 crtanje akt 2 / figure drawing 2
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Sjedea figura Stojea figura Skulptura gliptoteka Skulptura
Studija ljudske figure koja sjedi Studija ljudske figure koja stoji, kroki Studija ljudske figure kroz skulpturu Studija ljudske figure kroz skulpture, kroki
Tehnika: olovka Tehnika: olovka Tehnika: olovka tehnika: olovka
Seated nude figure Standing figure Sculpture glyptotheque Sculpture
A study of a seated nude male figure A study of a standing human figure, croquis A study of a human figure through sculpture A study of a human figure through sculpture, croquis
Technique: pencil Technique: pencil Technique: pencil Technique: pencil
morana lauin
crtanje akt 1 / figure drawing 1
Ruka s ruem
Studija ruke s uporabnim predmetom
Tehnika: olovka, drvena bojica
A hand with a lipstick
Astudy of a hand with a usable item
Technique: pencil, colour pencil
156 157
grgo petrov grgo petrov mikaela cvitanovi nikolina fuzul nikolina fuzul
grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques
mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak
Sitotisak/Mesh Screen Printing Proces otiskivanja sitotiska/Screen Printing Process Metoda povezivanja vizuala i pojmova/ Proces otiskivanja linoreza/Linocut Printing Process Linorez/Linocut
Visual Thinking Techniques
nikolina fuzul grgo petrov

grafike tehnike/graphic techniques grafike tehnike/graphic techniques
mentor: Mario Petrak mentor: Mario Petrak
Metoda povezivanja vizuala i pojmova/ Metoda povezivanja vizuala i pojmova/
Visual Thinking Techniques Visual Thinking Techniques
158 159
likovne vjebeilustracija 1 / art studioillustration 1

mladen udovii dina bartoli

ilustracija 1 / illustration 1 ilustracija 1 / illustration 1
mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Inicijali Six word story
Odnos ilustracije i tipografije/letteringa, inicijali Vizualni jezik, naracija
Tehnika: tu, vektorska ilustracija Tehnika: kombinirana tehnika, digitalna ilustracija
Initials Six word story
Relationship between illustration and Visual expression, narration
typography/lettering, initials Technique: combined techniques, digital illustration
Technique: drawing ink, vector illustration
monika moevi
ilustracija 1 / illustration 1
mentor: Inja Kavuri Kireta
Osjetisinestezija
gala marija vrbani Forma i sadraj, osjeti/sinestezija
ilustracija 1 / illustration 1 (koje je boje ponedjeljak?)
mentor: Inja Kavuri Kireta Tehnika: drvena bojica, suha pastela
Kaligram Sensessynesthesia
Odnos ilustracije i tipografije/letteringa, kaligram Form and content, senses/synesthesia
Tehnika: vektorska ilustracija (what colour is Monday?)
Calligram Technique: colour pencil, soft pastel
Relationship between illustration and typogra-
phy/lettering, a calligram
Technique: vector illustration
mikela cvitanovi
Kaligram nikolina fuzul katarina huljev
Odnos ilustracije i tipografije/letteringa, kaligram ilustracija 1 / illustration 1 ilustracija 1 / illustration 1
Tehnika: tu, vodena boja mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Calligram Kaligram Fotografija
Relationship between illustration and typogra- Odnos ilustracije i tipografije/letteringa, kaligram Odnos ilustracije i fotografije
phy/lettering, a calligram Tehnika: tu Tehnika: kola
Technique: drawing ink, watercolour
Calligram Photography
Relationship between illustration and typography/lettering, a calligram Relationship between illustration and photography
Technique: drawing ink Technique: collage
160 161
grgo petrov grgo petrov

ilustracija 2 / illustration 2 ilustracija 2 / illustration 2
mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Paradoks Karakter i aplikacije
Vizualni jezik: jezine figure (paradoks) Vizualni jezik: nositelj prie i pria,
Tehnika: tu Grodeus
Paradox Tehnika: vektorska ilustracija
Visual expression: linguistic figures Character and applications
(paradox) Visual expression: the protagonist
Technique: drawing ink and the story, Grodeus
helena nemec
Karakter i aplikacije
Vizualni jezik: nositelj prie i pria,
U visine
otto kuec Tehnika: tu, akvarel
ilustracija 2 / illustration 2 Character and applications
mentor: Inja Kavuri Kireta Visual expression: the protagonist
Karakter i aplikacije and the story, To the Heights
Vizualni jezik: nositelj prie i pria, Charlie Technique: drawing ink, watercolour
miran bai Tehnika: kombinirana tehnika
ilustracija 2 / illustration 2 Character and applications
mentor: Inja Kavuri Kireta Visual expression: the protagonist and the story,
Retro Charlie
Istraivanje umjetnikih stilova (retro) Technique: combined techniques
Tehnika: vektorska ilustracija
Retro
Exploring art styles (retro)
Technique: vector illustration nikolina fuzul
Karakter i aplikacije
Vizualni jezik: nositelj prie i pria, Transforumcija
Tehnika: vektorska ilustracija
Character and applications
Visual expression: the protagonist and the story, Transforumcija
162 163
Fotografija Photography
i film and film
Sposobnost predoavanja stvarnosti fotografijom i razvija- The ability to express the reality through photographs and the
nje fotografskog umijea imaju vanu ulogu u obrazovanju development of photography skills have a vital role in the educa-
budueg dizajnera. Na Studiju dizajna se fotografija izuava tion of the future designer. Photography is taught at the School
kao samostalna vizualna umjetnost, a ujedno je i osnova za of Design as an independent visual art which is simultaneously a
bolje izraavanje u kreativnim dizajnerskim projektima. U oba prerequisite for improved expression in creative design projects.
preddiplomska kolegija studenti se pod mentorskim vodstvom During both undergraduate courses students under the men-
Stanka Hercega bave slobodnim fotografskim temama, ali i torship of Stanko Herceg deal with free photography themes,
zadanim vjebamaprimijenjenom fotografijom. Na kole- as well as a range of predefined assignmentsapplied photo-
giju fotografija studenti druge godine poinju fotografirati graphy. During the photography course, second year students
analognim fotoaparatom, ue o teorijskim osnovama teh- start taking photographs using an analogue camera and they
nike fotografiranja i o kompoziciji fotografske slike. Nakon to are provided the theoretical basis of photography techniques
su svladali osnove fotografskog znanja, studenti se tijekom and on photography composition. Following the acquisition of
tree godine susreu sa sloenijim postupcima fotografskog the fundamentals of photography skills, during the third year of
izraavanja. Na kolegiju fotografija i film 1 i 2 se u praktinom study students are faced with increasingly complex methods of
programu pouava o filmskom svjetlu i boji, a u teorijskom se photographic expression. The courses on photography and film
dijelu ui o osnovama filmske teorije. Zadane vjebe ukljuuju 1 and 2 and their practical classes programme include learning
fotografiranje u uvjetima postojeeg svjetla i u kontroliranim about film lighting and colours, while the theoretical part com-
svjetlosnom uvjetima fotografskog studija, pomou profesi- prises of fundamentals of film theory. The assignments include
onalne umjetne rasvjete. taking photographs against the existing lighting conditions, as
well as under controlled conditions in a photographic studio and
professional artificial lighting.
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godinjak studija dizajna 2014./2015. preddiplomski studij/fotografija,4.semestar
school of design annual review 2014/2015 undergraduate programme/photography,4th semester
mirjam milas mirjam milas

mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Poznati predmet/Familiar object Akt/Nude
anja nikoli
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Pejza/Landscape
166 167
valentina sunek matea bertina

Arhitektura/Architecture Portret/Portrait
klara zaher
Poznati predmet/Familiar object
luka dundovi
Reportaa/Reportage
lucija rubini
Arhitektura/Architecture
168 169
dora aldarovi josipa tadi

Portret/Portrait Akt/Nude
lucija rubini dora aldarovi

Pejza/Landscape Reportaa/Reportage
170 171
godinjak studija dizajna 2014./2015. preddiplomski studij/fotografija i film,5.i 6.semestar
school of design annual review 2014/2015 undergraduate programme/photography and film,5th and 6th semester
dina bartoli tin buri

Koloristiki trozvuksekundari/Coloristic three tone chord secondary colours Koloristiki trozvuktercijari/

Coloristic three tone
chordtertiary colours

Mijeano svjetlo/Mixed light

Zasiene boje/Saturated colours
172 173
otto kuec helena nemec

Inspirirano umjetnikim djelom/Inspired by a work of art Portret u studiju/Portrait in the studio
sara pavlekovi preis nikolina kentri

Svjetlo ive/Mercury light Svjetlo arulje/Light bulb light
174 175
dunja lesar ana vuko

Stolac u studiju/A char in Sjeverno svjetlo/Northern light
the studio
gala marija vrbani dora kasun

Koloristiki trozvukprimari/ Visoki tonski klju/High key
Coloristic three tone chord
primary colours
176 177
gala marija vrbani borjan pavlek

Akt u studiju/Nude in the studio Akt u studiju/Nude in the studio
michelle kovaevi matea jurevi

Akt u studiju/Nude in the studio Portret u studiju/Portrait in the studio
178 179
Osnove Basics of
interaktivnih medija Interactive Media
Kolegij Osnove interaktivnih medija fokusiran je na teoriju i The course entitled Fundamentals of Interactive Media focused
praksu dizajna vizualnih komunikacija unutar podruja interaktiv- on theory and practice of visual communications design within
nih medija. Utjecaj novih digitalnih tehnologija sve vie mije- the area of interactive media. The impact of new digital tech-
nja nain na koji se izraavamo, na koji komuniciramo te kako nologies is increasingly changing the way we express ourse-
doivljavamo svijet oko sebe. lves, the way we communicate and the way we experience the
S obzirom na to da se naa komunikacija u potpunosti promi- world around us.
jenila u posljenjih nekoliko godina, uloga dizajnera u promi- Considering the fact that our communication has undergone
ljanju i oblikovanju tih interaktivnih sadraja i prezentacija od comprehensive changes during the last several years, the role of
izuzetne je i stalno rastue vanosti. Predavanjima, vjebama designers in reflexion and design of these interactive contents
i projektima kolegij ima za cilj kod studenata pobuditi razu- and presentations is of extreme and continuously increasing
mijevanje i interes za ovo podruje koje je u stalnom razvoju. importance. The specific objective of the course was to dee-
Na koji se nain to podruje dizajna razlikuje od tradicionalnih pen students insight and arouse their interest in this continuo-
medija te kako u tom kontekstu pristupiti promiljanju i obli- usly developing area. Moreover, the course addressed the issue
kovanju interaktivnih sadraja, teme su kojima se kolegij bavi. of how this design area differs from the traditional media and
Kolegij studentima nastoji prenijeti praktina znanja, tehnike i how to approach the reflexion and design of interactive con-
vjetine koje im pomau u samostalnom projektiranju suvre- tent in this context.
menih interaktivnih rjeenja. The course was aiming to transfer practical knowledge, tech-
niques and skills intended to help students in independent design
of contemporary interactive solutions.
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godinjak studija dizajna 2014./2015. preddiplomski studij/osnove interaktivnih medija,3.semestar
school of design annual review 2014/2015 undergraduate programme/basics of interactive media,3rd semester
trei semestar
tanja modrakovi
Mobilna aplikacija mentor: Tin Kadoi
Na prvom semestru Uvoda u interaktivne medije studenti

se bave promiljanjem i projektiranjem mobilnih aplikacija.
Zadatak je odabran djelomino zbog njegovih ogranienja,
formata, veliine ekrana te tipova interakcija, no veim dije-
lom zbog sveprisutnosti tog medija u naem svakodnevnom
ivotu i okolini. Mobilne aplikacije omoguuju iskoritavanje
specifinih tehnikih znaajki ureaja poput geolokacijskih
mogunosti, akcelerometra i iroskopa.
third semester
Mobile Application
During the first semester of the course entitled Introduction
to Interactive Media students reflected on mobile applications
and their design. The assignment was selected partly due to its
constraints, its format, the size of its screen and types of inte-
ractions, yet primarily due to the omnipresence of this media in
our everyday lives and the environment. Mobile apps enabled
the use of specific technical features of devices such as geolo-
cation potential, accelerometer and gyroscope.
Galdra
Galdra je aplikacija kojom korisnik istrauje nove i zani-
mljive lokacije na temelju osobnog izbora. Funkcionira
putem hashtagova pomou kojih je mogue odabrati
destinacije i interese, a aplikacija ih slae u kombinacije.
Galdra je ujedino i blog na kojem korisnik postavlja vla-
stite putopise, a omoguuje i opciju repostanja zani-
mljivih lokacija, ime se olakava traganje za drugim
odreditima. Aplikacija je namijenjena prvenstveno za
otkrivanje i spremanje lokacija, odabranih prema osob-
nim korisnikovim interesima.
Galdra
Galdra is an app through which users explore interest-
ing new locations based on personal choice. A resource
supporting this function is a hashtag through which
destinations and interests can be selected and the app
arranges them into groups. Galdra is simultaneously
also a blog in which the users post their own trave-
logues and it also provides the option of reposting
interesting locations, which facilitates the search for
other destinations.The app is primarily intended for
identifying and saving of locations selected according
to users own interests.
182 183
josipa tadi luka dundovi

mentor: Tin Kadoi mentor: Tin Kadoi
Start-add Start-add
Aplikacija je vezana uz problem svakodnevne organi- The app addressed the issue of daily planning of notes. Doba Doba
zacije biljeki. Temelji se na principu dodavanja novih It is based on the principle of adding new notes and Oznaivanje vremena u obliku vremenske lente omo- Using a timeline to label time helps in keeping abreast
biljeki i brisanju starih koje se automatski, bez obzira deleting the old ones which, irrespective of their cat- guuje lake praenje obveza, dogaaja i podsjetnika of the obligations, events and reminders that are intu-
radi li se o jednima i drugima, slau u mreu. egory, are organised in a grid. kojima se intuitivno upravlja potezom prsta. Omogu- itively managed by finger moves. An unlimited number
eno je unoenje neogranienog broja dogaanja ili of events or obligations can be entered and the app
obveza, a aplikacija e ih sloiti po redu prilikom vra- will arrange them in the adequate order upon returning
anja na poetak vremenske lente. Osim kao vremen- to the start of the timeline. In addition to providing a
ska lenta, aplikacija nudi i uobiajen prikaz obveza u timeline, the app also provides an overview of obliga-
obliku kalendara i popisa. tions in the form of a calendar and a list.
184 185
paula anti vita vrebac

Noted @tm
Ovo je aplikacija za pisanje i pohranjivanje biljeki. Jed- Aplikacija omoguuje dijeljenje snimaka snimljenih
nostavna je za koritenje i osmiljena kao pomo pri tijekom aktualnih dogaanja meu korisnicima inter-
organizaciji obveza. Korisnicima omoguuje sortiranje neta. Korisnik odabire snimku nainjenu na odabranom
biljeki po kategorijama, uz prikaz prema mjesenom dogaaju te je razmjenjuje pomou ove aplikacije, uz
izlistu i uz kalendarski prikaz. dodavanje imena lokacije te naziva dogaaja. Dogaaji
koji su najposjeeniji bit e najzastupljeniji na home
Noted screenu, a aplikacija je sastavljena kao sredstvo aku-
It is an app for writing and saving notes. It is simple mulacije aktualnih dogaanja radi registracije novih
to use and it is intended to help in the planning of tzv. hip lokacija koje se nalaze u odabranom gradu.
obligations. Users can arrange their notes according
to categories, providing an overview according to a @tm
monthly list and a calendar overview. The app enables video footage sharing amongst Inter-
net users during actual events. The user selects a video
footage made on a specific event and shares it using
this app and adding location and event names. The
most popular events will be highlighted on the home
screen. The app is intended to provide a means of
accumulation of actual events, aiming to register new
hip locations in a selected city.
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school of design annual review 2014/2015w undergraduate programme/basics of interactive media,4th semester
etvrti semestar
vita vrebac luka dundovi
Web mentor: Tin Kadoi mentor: Tin Kadoi
Drugi semestar fokusira se na medij web-stranica. Polazi se

od definiranja subjekta, istraivanja potreba korisnika i ciljeva
web-stranice, definiranja informacijske arhitekture, wirefra-
meova pa sve do zavrne fazevizualnog dizajna. Subjekti
za projekt birani su iz servisne kategorije (KBC,AKZ,Hrvatska
lutrija),dravnih institucija (ministarstva, tz, galerije) te dobro-
tvornog rada (Suza, Zaklada Civilno drutvo).
fourth semester
Web
The second semester focused on the media of website. Firstly,
the issue was defined, which was followed by analysis of user
requirement and website objectives, defining of information arc-
hitecture, wireframes and the final phasevisual design. Subje-
cts for the project were selected from the category of services
(Clinical Hospital Centre, Zagreb Bus Terminal, Croatian Lottery),
state institutions (ministries, tourist boards, galleries) and cha-
rity work (Suza, Civil Society Foundation). Moderna galerija Ministarstvo kulture
Dizajn web-stranica za Modernu galeriju osmiljen je Ministarstvo kulture je sredinje tijelo dravne uprave
kao jednostavan i pregledan online prostor u kojem se koje potie kulturno djelovanje i promovira razliite kul-
daje primat pregledavanju izlobi i kupovini ulaznica. turne projekte na dravnoj razini. Internetske stranice
Web-stranicama prevladavaju reprodukcije umjetni- toga tijela trebale bi slijediti tu svrhu. Njihov korisnik
kih djela te se na poetnoj stranici infintie scrollom morao bi brzo i jednostavno doi do eljenih infor-
mogu pregledavati izlobe, od najaktualnijih do onih macija. Najnovije i najvanije informacije trebale bi se
ve zatvorenih. Detaljne informacije o svakoj izlobi odmah vidjeti te biti popraene slikom i piktogramima.
mogu se dobiti klikom na odabranu izlobu na poetnoj Daljnjom navigacijom kroz stranicu korisnik bi pristu-
web-stranici, nakon ega se otvara stranica posveena pio detaljnijim podacima koji ga zanimaju.
odabranoj izlobi, s prikazom jednog od dva mogua
layouta koji ovise o koliini teksta i slika koje kustosi Ministry of Culture
napiu i priloe odabranoj izlobi. The Ministry of Culture is a central government admin-
istrative entity which encourages cultural activities
Modern gallery and promotes diverse culture projects at the state
Website design for Modern Gallery comprises of a level. Consequently, its website needs to be designed
straightforward and schematic online venue where the in accordance with this scope. Its users need to be pro-
focus has been placed on viewing exhibitions and ticket vided the information effectively and in a simple way.
purchase. Website abounds with art reproductions and The most recent and the most important information
the homepage provides the opportunity for exhibition needs to be visible instantly and it needs to be accom-
viewing through infinite scrolling, ranging from the panied by photographs and pictograms. Upon further
most actual ones to those that have already closed. navigation through the website the users would access
Comprehensive information on each exhibition can comprehensive information of their special interest.
be accessed by clicking to a selected exhibition on
the website and hence the site dedicated to this spe-
cific exhibition is opened, providing an overview of
one of the two possible layouts which depends on
curatorial text quantity written and posted on the
selected exhibition.
188 189
Studenti
Preddiplomskog studija
Undergraduate programme
students
godinjak studija dizajna 2014./2015. studenti preddiplomskog studija
school of design annual review 2014/2015 undergraduate programme students
1. godina 1stYear
Preddiplomskog studija Undergraduate Programme
Josip Andrei Ivana Baanek Amin Bajrektarevi Darian Baklia Klara Bili Dora Doko Erika Filipan Mirta Filipovi Ljubica Golubi Stella Grabari Monika Hodak Sandra Huski
Antonija Jurina Roko Jurjevi Ivan Klanac Karla Kocijan Leonarda Komen Paula Kova Veronika Kova Andreja Lovrekovi Jan Marin Lucija Mati Ela Meseldi Tanja Modrakovi
Lucija Novosel Luka Palestrina Mazi Ana Pavii Martina Petric Petra Pikor Lucija Sever Nina Stupar Marijana imag Tea Taneski Jovana Vlaisavljevi
192 193
2.godina 2dYear 2.godina 2dYear

Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications
Marta Badurina Matea Bertina Dora aldarovi Tea Draga Luka Dundovi Viktoria Jurina Ena Begevi Bruno Bolfan Mikela Cvitanovi Karla oti Iva Franji Dorja Horvati
Mihovil Kara Ana Kikerec Filip Kovai Morana Lauin Matej Maltar Klara Mareli Petra Kovaevi Mirjam Milas Rafael Mili Anja Nikoli Karla Novak Ena Pikori
Monika Moevi Vilim Reda Lucija Rubini Valentina Sunek Paula anti Eva muc Paula obat Vita Vrebac Ivona Vuri Klara Zaher
Josipa Tadi Iva Vuemilovi-Grgi Mirko Vui
194 195
3.godina 3rdYear 3.godina 3rdYear

Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Juraj Balen Dina Bartoli Stela Cvijanovi Sara Grubi Karmela Gudiek Katarina Huljev Miran Bai Marina Bitunjac Tin Buri Nikolina Fuzul Martina Gelo Petra Grubii
Kai Ana Matulina Maja Prelec Petra Salari Matija Sviben Ivan aban Lidija arko Matea Jurevi Dora Kasun Nikolina Kentri Stani Juraj Koica Michelle Antonia Otto Kuec
Kovaevi
Toni ljaka Jasna Zorii Dunja Lesar Iva Leustek Elizabeta Lonar Dominik Markui Rebecca Mesari Helena Nemec
Fran Orani Borjan Pavlek Sara Pavlekovi Preis Grgo Petrov Donat Radas Mladen Udovii
Gala Marija Vrbani Matej Vukovi
196 197
Preddiplomski studij
Izvedbeni program
Undergraduate Programme
Curriculum Outline
199
godinjak studija dizajna 2014./2015. preddiplomski studij/izvedbeni program
school of design annual review 2014/2015 undergraduate programme/curriculum outline
preddiplomski studij undergraduate programme

1.godina First Year
Izvedbeni program / Curriculum Outline 1.semestar / 1st semester 2.semestar / 2nd semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants
Pred. Vjebe ects Pred. Vjebe ects

Predmeti / Courses Lectures Exercises Credits Lectures Exercises Credits
ProjektiranjeIndustrijski dizajn 1, 2 15 45 4 15 45 4 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 1, 2 prof. Mladen Orei / associate professor doc.mr.sc. Ivana Fabrio / assistant professor
ProjektiranjeVizualne komunikacije 1, 2 15 45 4 15 45 4 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 1,2 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor
Crtanje 1, 2 / Drawing 1, 2 0 30 3 0 30 2 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Kompozicija 1, 2 / Composition 1, 2 15 15 2.5 15 15 2.5 pred. Nives Serti / lecturer
Plastino oblikovanje 1, 2 / Theory of Form 1, 2 15 15 3 15 15 2 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Vizualna kultura 1, 2 / Visual Culture 1, 2 30 0 2.5 30 0 2.5 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. Fea Vuki / PhD, associate professor
Povijest pisma i tipografije / History of Type and Typography 15 15 2 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / teaching assistant
Teorija tipografije 1 / Theory of Typography 1 15 15 2 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / 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 pred. Jelena Parizoska / lecturer
3D modeliranje i vizualizacija / 3D Modeling and Visualization 15 15 2 prof.dr.sc. Bojan Baleti / PhD, full professor asist.mr.sc. Roberto Vdovi / 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 imi Horvath / associate professor
390 30 420 30
Tjelesna i zdravstvena kultura 1, 2 / Physical Training 1, 2 0 30 0 30 pred.dr.sc.Vlatka Wertheimer / PhD, lecturer
200 201

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

Zajedniki 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 Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Povijest umjetnosti 1, 2 / Art History 1, 2 30 0 3 30 0 3 pred.dr.sc. Ivana Podnar / PhD, lecturer
Metodologija dizajna / Design Methodology 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Fotografija / Photography 15 30 3 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Engleski za dizajn 3, 4 / English for Design 3, 4 15 15 2 15 15 2 pred. Jelena Parizoska / lecturer
Tehnike prezentiranja pomou raunala 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 pred.dr.sc.Vlatka Wertheimer / PhD, lecturer
Predmeti smjera industrijski dizajn

Courses in the Industrial Design Programme
ProjektiranjeIndustrijski dizajn 3, 4 15 45 6.5 15 45 6.5 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 3, 4 prof. Mladen Orei / associate professor doc.mr.sc. Sanja Benceti / MSc, assistant professor
Konstruiranje pomou raunala / Computer Aided Design 15 30 3.5 prof.dr.sc. Dorian Marjanovi / PhD, full professor
Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Osnove konstrukcija / Introduction to Engineering Design 15 15 2 prof.dr.sc. Milan Opali / PhD, full professor doc.dr.sc. Dragan eelj / 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 upi / associate professor
Strojarske konstrukcije / Mechanical Engineering Design 30 15 2.5 izv.prof.dr.sc. Tanja Jurevi-Luli / PhD, associate professor
165 14.5 180 14.5
Izborni predmetiindustrijski 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 Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoi / lecturer
Grafiki materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
Grafiki proizvodi / Graphic Products 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
30 2.5 75 5
Predmeti smjera vizualne komunikacije
Courses in the Visual Communications Programme
ProjektiranjeVizualne komunikacije 3, 4 15 45 6.5 15 45 6.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 3, 4 prof. Nenad Dogan / associate professor doc. Tomislav Vlaini / teaching assistant
Teorija tipografije 2, 3 / Theory of Typography 2, 3 15 15 3 15 15 3 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / teaching assistant
Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoi / lecturer
Grafiki materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
Grafiki proizvodi / Graphic Products 30 15 2.5 pred.dr.sc. Kreimir Dragievi / 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 Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
30 2.5 30 2.5
202 203

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

Uvod u povijest dizajna / Introduction to Design History 30 0 3 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Marketing 1, 2 / Marketing 1, 2 30 0 2 30 0 2 prof.dr.sc. Jurica Pavii / PhD, full professor v.asist.dr.sc. Morana Fuduri / PhD, lecturer
Psihologija za dizajnere / Psychology for Designers 30 0 2 izv.prof.dr.sc. Marijan Palmovi / PhD, associate professor
Urbana sociologija / Urban Sociology 30 15 2.5 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Socijalna ekologija / Social Ecology 30 15 2 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Estetika 1, 2 / Estetics 1, 2 15 15 2.5 15 15 2 pred. Veljko van / lecturer
Osnove intelektualnog vlasnitva / Introduction to Intellectual Property* 30 0 2
135 10 165 10
ProjektiranjeIndustrijski dizajn 5, 6 15 75 8 15 75 8 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 5, 6 prof. Mladen Orei / 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 upi / associate professor
Konstrukcije proizvoda iz plastike / Plastic Products Engineering 15 15 3 doc.dr.sc. Tatjana Haramina / associate professor
Elementi arhitektonskog projektiranja 1, 2 / Architectural Design Elements 1, 2 15 30 3 15 30 3 doc. Robert imetin / associate professor
180 14 165 14
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 asist.Pavel Posavec
Likovne vjebeilustracija 1, 2 / Art StudioIllustration 1, 2 15 30 2.5 15 30 2.5 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Tehnike prezentiranja pomou raunala 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.art.Ivana Knez / PhD, / lecturer
Kolegij sa Sveuilita / Courses at the University (free choice) 45 0 2.5 45 0 2.5
90 6 90 6
ProjektiranjeVizualne komunikacije 5, 6 15 75 8 15 75 8 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 5, 6 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
Oglaavanje 1, 2 / Advertising 1, 2 15 30 2.5 15 30 2.5 pred. Veljko van / 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 asist.Pavel Posavec
180 14 180 14
Izborni predmetivizualne komunikacije
Dizajn fonta i kaligrafija 1, 2 / Font Design and Calligraphy 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek / associate professor
Tehnike prezentiranja pomou raunala 2 / Computer Presentation Techniques 2 15 30 2.5 doc. Vedran Kasap / assistant professor
Likovne vjebeilustracija 1, 2 / Art StudioIllustration 1, 2 15 30 2.5 15 30 2.5 izv. prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Scenografija 1, 2 / Stage Design 1, 2 30 15 3.5 30 15 3.5 pred.dr.art.Ivana Knez / PhD, / lecturer
Grafike tehnike 1, 2 / Graphic Techniques 1, 2 0 30 2.5 0 30 2.5 pred.Mario Petrak / teaching assistant
Kolegij sa Sveuilita / Courses at the University (free choice) 45 0 2.5 45 0 2.5
90 6 90 6
* Kolegij je realiziran u prethodnoj ak.godini

204 205
Diplomski studij
Graduate programme
godinjak studija dizajna 2014./2015. diplomski studij
school of design annual review 2014/2015 graduate programme
Ciljevi Objectives
Suvremenim tokovima tehnolokog razvoja nastaju novi gos- New economic and social relationships at the global and the Kompetencije magistara dizajna koje se stjeu zavretkom Postgraduate study programme focuses on critical and creative
podarski i drutveni odnosi na globalnoj i lokalnoj razini ostva- local level are continuously established due to technological ovog studija ukljuuju takoer i sposobnost samostalnog zami- research, analysis and consideration from the design stance of the
rujui uvjete za modernizaciju materijalne proizvodnje i komu- development, creating the conditions for modernisation of mate- ljanja i provoenja projekata kao rezultata teorijsko-istrai- existing and the future relationships, which include the subjects
niciranja, a time i drutva u cjelini. Ujedno se stvara potreba za rial production and communication and subsequently the entire vakog rada, stvaranja koncepata i strategija razvoja dizajna on methodology and planning. Consequently, stereotypical scope
nastajanjem novih disciplina dizajna. U tom kontekstu dizajn society. Design is considered to be an intellectual activity which s ciljem unapreivanja drutvenih i gospodarskih sustava, te of design disciplines has been expanded, providing the condi-
je definiran kao intelektualna djelatnost koja ukljuuje razvoj includes the development of living and social scenarios, systems, za preuzimanje strateke i proaktivne uloge na akademskoj i tions for analysis of methods and the nature of design activity,
ivotnih i drutvenih scenarija, sustava, usluga, te kreiranje services and creation of experiences and strategies at a business, strukovnoj razini. the mode of production and the form of communication. Edu-
doivljaja i strategija na poslovnoj, strukovnoj i drutvenoj occupational and social level. In accordance with the previously Program diplomskog studija je, dakle, temeljen na kritikom cational methods primarily focus on acquisition of experiences
razini. U skladu s navedenim naelima, sadraj diplomskog mentioned principles, the curriculum of graduate studies has been i kreativnom istraivanju, preispitivanju i dizajnerskom pro- in theory and critical analysis, modern technologies and mate-
studija je osmiljen na tako da studente potie na kritiko created in order to encourage students to critically observe the miljanju postojeih i buduih odnosa u sprezi s teorijsko rials, as well as methods and processes of project implementa-
sagledavanje tehnolokoga, drutvenoga i ljudskog okruja technological, social and human environment as the basis for metodolokim i projektantskim predmetima. Tako konci- tion with economic and social entities.
kao temelja za ostvarivanje vlastitih dizajnerskih zamisli. Takva implementation of their design projects. Consequently, the defi- piranim sadrajem nadilaze se stereotipni okviri disciplina
definicija dizajna podrazumijeva svladavanje vjetina potrebnih nition of design implies acquisition of skills required for the rese- dizajna i stvaraju se uvjeti za preispitivanje metoda i prirode
za istraivanja usmjerena prema novim, modernijim metodama arch, primarily focusing on new, innovative methods in the per- dizajnerskog djelovanja, naina produkcije i oblika komuni-
u koncipiranju ivotnih okolnosti, za razumijevanje gospodar- ception of living circumstances and in gaining a comprehensive kacije. Obrazovne metode se primarno odnose na stjecanje
stva, drutva i kulture na globalnoj i lokalnoj razini, te za pri- insight into the economy, society and culture at the global and iskustava studenata u teoriji i kritikoj analizi, na poznavanju
mjenu naela odrivog razvoja u ekolokom, gospodarskom the local level, as well as implementation of standards of sustai- suvremenih tehnologija i materijala, te na metode i procese
i kulturolokom smislu. nable development in the fields of ecology, economy and culture. realizacije projekata s gospodarskim i drutvenim subjektima.
Diplomski studij dizajna, ulazei u nova podruja poput pri- The postgraduate study programme of design covers new fields
mjerice dizajna interakcija, doivljaja i dogaanja i dizajna u of interest such as interaction design, events and experience
interaktivnim medijima omoguuje studentima da se u okvi- design, as well as interactive media design and consequently
rima odabranih disciplina osposobljavaju za rad u kreativnoj enables students to acquire competencies required for work in
industriji, za suradnju i voenje interdisciplinarnih timova, za creative industry, for co-operation and management of inter-
osmiljavanje i provoenje sloenih strategija, te za samo- disciplinary teams, for creation and implementation of complex
stalno i meudisciplinarno djelovanje. strategies, as well as for independent and interdisciplinary action.
Competencies of master degree holders in design acquired upon
the completion of this study programme include also the abi-
lity of independent creation and implementation of projects as
a 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.
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school of design annual review 2014/2015 school of design annual review 2014/2015graduate programme
Industrijski Industrial
dizajn design
Diplomski studij dizajna osposobljuje studente da kroz razu- Postgraduate study of design trains students to develop new rela-
mijevanje drutvenoga, kulturolokoga i tehnolokoga kon- tionships and strategies in order to ennoble life and promote their
teksta razvijaju nove odnose i strategije s ciljem humaniziranja line of work through a comprehensive insight into social, cultural
ivota i unapreenja struke. Studenti usvajaju metode uprav- and technological context. Students acquire deep insight into met-
ljanja projektnim procesima i timovima, te provode sloena hods of project management and management of project teams
istraivanja socijalnih, gospodarskih i tehnolokih aspekata. and conduct complex research of social, economic and technolo-
Pored samostalno iniciranih projekata, studenti sudjeluju i u gical aspects. In addition to individually initiated projects, students
projektima koji proizlaze iz suradnje s konkretnim gospodar- participate in projects originating from co-operation with specific
skim, drutvenim, javnim i privatnim subjektima, nastojei pri economic, social, public and private entities, striving to implement
tome implementirati istraivane fenomene u razvoj konceptu- the analysed phenomena into the development of conceptual inno-
alnih inovacija u domeni proizvoda, sustava, usluga i strategija. vation in the domain of products, systems, services and strategies.
Tijekom prve godine diplomskog studija studenti usvajaju During the first year of postgraduate study students acquire
spoznaje o suvremenim tehnologijama i drutvenim proce- knowledge on modern technologies and social processes which
sima uslijed kojih nastaju nove mogunosti i potrebe, koje provide new opportunities and create new requirements which
implementiraju u procese dizajniranja i vizije novog razvoja. they subsequently implement into the design processes and
Studentima je omogueno da individualnim radom uz odgo- into their visions of new development. Students are provided
varajui odabir mentora, komentora i vanjskih suradnika, kao the opportunity to formulate their own preferences for specific
i odabirom izbornih predmeta, ovisno o odabranom podruju fields of industrial design through individual work and a selection
istraivanja, formuliraju vlastite sklonosti prema pojedinim of a mentor, co-mentor, external partners and elective subjects
podrujima industrijskog dizajna. depending on the selected area of research.
Druga godina je zavrna godina diplomskog studija koja sadri The second and the final year of postgraduate study comprise
dva segmenta zavrnog radamagistarske diplome: u treem of two aspects of the masters thesis: during the third semester
semestru studente se potie na samostalni teorijski i istrai- students are encouraged to conduct individual theoretical and
vaki rad kao temelj za izradu zavrnog projekta. Pri tome research work as a basis for the creation of the final project.
istrauju odabrano podruje, to predstavlja teorijsku pod- They conduct research on the selected area which provides the
logu rada te paralelno provode istraivanja i analize teme- basis for theoretical work, whilst simultaneously conducting
ljem kojih stvaraju baze podataka za projektantski dio rada. research and analyses based on whose results they create data-
Nakon prihvata elaborata studenti u etvrtom semestru pri- bases for practical work in planning. During the fourth seme-
stupaju izradi projektnog dijela diplomskog rada kojim doka- ster and following the acceptance of the project plans students
zuju svoje strukovne sposobnosti: samostalno voenje pro- commence project implementation as a constituent part of the
jekata, upravljanje procesima razvoja dizajna i komuniciranje final thesis to show their results and acquired competencies:
s drugim strukama u procesu dizajna, u skladu s predvienim independent project management, management of processes of
kompetencijama diplomskog studija dizajna. design development and communication with other occupations
during design process in accordance to the specific competen-
cies acquired during the postgraduate design study programme.
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school of design annual review 2014/2015 graduate programme/industrial design,1st semester
prvi semestar
Dizajn u realnom okruju lea vavra
mentor: Zlatko Kapetanovi
Tema zadataka u 1. semestru diplomskog studija je vlastita afir- asistentica / assistant: Ivana Fabrio
macija u realnom okruju, s ciljem usvajanja procesa dizajna na
razini inovativnog koncepta. Pri tome je naroita pozornost
usmjerena prema razvoju samostalnosti tijekom svih faza pro-
cesa dizajna, od snalaenja u stvarnom okruju, vjetina voe-
nja projekta i razvojnog tima, upravljanja procesima razvoja
dizajna, do istraivanja i artikuliranja vlastitih stavova dizajnom.
Studenti su, u skladu s osobnim sklonostima i interesima
te prema stvarno raspoloivim resursima, definirali teme i
potrebna istraivanja u realnom drutvenom, gospodarskom
i tehnolokom kontekstu i kroz aspekte povijesnog razvoja,
aktualnog stanja i predvianja budueg razvoja. Na temelju
svojih spoznaja studenti su trebali samostalno odrediti ciljeve,
kriterije i zahtjeve za dizajn te stvoriti koncepte na temelju
vlastitih stavova, rezultirajui funkcionalno i oblikovno inova-
tivnim proizvodima, njihovim sustavima i uslugama.
first semester
Design in real environment
The topic of the assignment in the 1st semester of the graduate
study programme is ones own affirmation in the real environ-
ment, whilst striving to master the design process at the inno-
vative concept level. The principal attention is focused towards
the development of independence throughout the phases of the
design process, from dealing with the real environment, the skills
of managing projects and development teams, design develop-
ment process management, to research and expression of ones
own attitudes through design.
Students defined the topics and the required research in real
social, economic and technological context in accordance with
their own interests and inclinations and through aspects of Problemi gradskog azila za naputene pse Problems faced by the city dog shelter
historical development, the actual situation and predictions of Istraivanjem problema pasa lutalica i azila u gradu na primjeru sklonita Dumovec, Following a research conducted in Dumovec dog shelter addressing the issue
utvreno je da sklonitu nedostaje prostora i sredstava za stvaranje boljih uvjeta. of stray dogs in the city and the available dog shelters, the conclusion has been
future development. Based on the insights gained students had Potrebno je informiranje graana o azilu, poticanje na udomljavanje i donacije. Rje- reached that the dog shelter lacks both space and the resources in order to provide
the task to independently define their objectives, criteria and enje se temelji na odnosu i interakciji ovjeka i psa to bi tebalo potaknuti senzibi- better conditions. The general public needs to be informed about the dog shelter
design requirements and create concepts based on their own litet i osvjeivanje ljudi o azilima. Intervencijama u parkovima i parkovima za pse, and encouraged to adopt dogs and give donations. The solution focuses on the
poticalo bi se irenje informacija i razgovor o problemu. Doniranje bi bilo pota- relationship and the interaction between humans and dogs, aiming to encourage
attitudes, resulting in functional and innovative design of pro- knuto nagradama za donatore, to bi pomoglo prijenos poruku javnosti. Aktivno- sensitivity and raise awareness about dog shelters. Interventions in parks and dog
ducts, their systems and services. sti u parku bi se izvodile, lopticama i poslasticama namijenima psima, uz koritenje parks are intended to encourage the dissemination of information and the discus-
jednostavnih instrumenata i interaktivne ploe. Prijedlog predvia koritenje lako sion about this issue. Donations would be encouraged through prizes for donators
dostupnih i pristupanih materijala u izradi elemenata. which would help in conveying the message to the public. The activities in the park
would be performed using balls and dog treats, as well as simple devices and an
interactive board. The solution includes the use of easily available and accessible
materials in the creation of components.
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laura mrka valentino veeri

asistentica / assistant: Andrea Hercog asistentica / assistant: Ivana Fabrio
Cloud
Vlak
Propitivanjem novih potreba unutar stambenog prostora, nametnulo se rjeenje koje poiva na
otvorenom prostoru kao sve eem obliku organizacije stambenog prostora. Razliite funkcije Vlak se sastoji od etri vagona, svaki duine 25 metara i irine 3 metra.
prostora, trae mogunost transformacije sadrajnih elemenata. Prijedlog Cloud modularnog je Prvi i zadnji vagon ujedno su i lokomotive. Srednja dva vagona nami-
karaktera, to omoguuje kreiranje razliitih atmosfera unutar stambenog prostora. Sastoji se od jenjena su putnicima koji putuju due i sjede, dok je prvi i zadnji vagon
drvenog postolja i etiri tapa. Udobnost se postie poplunom koji se rasprostire preko drvene namijenjen putnicima koji putuju na kraim relacijama i veinom stoje.
konstrukcije. Ovisno o zahtjevima korisnika mogue je stvoriti individualnu ahuru za pojedinca, Ti vagoni imaju manje sjedala od ostalih, postavljena su uza zid vlaka,
sjedalicu za dvoje ili prostranu povrinu za vei broj ljudi. Oblik i funkcija proizvoda postie se a imaju prostor za odlaganje bicikala. est vrata u prvom i osam u
ubadanjem tapova u predviene utore u postolju kao i privrivanjem popluna pomou depova drugom vagonu omoguuju brz izlazak i ulazak putnika. U sredini
koje sadri na poleini. Cloud ostavlja dojam prozranoga, udobnog elementa koji funkcionalno drugoga i treeg vagona nalazi se prostor pridvien za ljude u inva-
objedinjuje kako velike tako i male prostore. lidskim kolicima. Rukohvat je izmaknut na dva mjesta da se dobije
to vea duljina prihvata. U vlaku i izvan vlaka nalazi se ukupno 50
Cloud OLED ekrana koji slue prikazivanju informacija.
Through a scrutiny of new needs arising within the residential premises, a solution has been pro- A train
vided based on open space as an increasingly frequent organisational form of residential prem-
ises. Diverse spatial functions require the opportunity of transformation of content components. The train comprises of four cars whose length is 25 meters and width
The solution entitled Cloud has modular features, which enables the creation of diverse ambi- 3 meters. The first and the last car are also locomotives. Two cen-
ances within the residential premises. It comprises of a wooden platform and four rods. Com- tral cars are intended for long distance passengers who normally sit
fort is achieved with a quilt that is spread across the wooden construction. Depending on user during the ride, whilst the first and the last car is intended for stand-
requirements a separate cocoon for an individual can be provided, a seat for two or a spacious ing passengers travelling short distances. These cars have a smaller
surface for a larger number of people. The form and the function of the product is achieved number of seats and they are placed by the train walls. They also
through placement of rods into specific slots in the platform, as well as through fastening of the have bicycle spaces. Six doors in the first and eight in the second car
quilt fabric with the pockets on its back. Cloud leaves the impression of an airy and comfortable enable fast passenger exchange. At the centre of the second and of
component that functionally integrates both large and confined spaces. the third car a wheelchair space has been provided. Handrail has been
removed at two points aiming to provide more room for wheelchair
passengers. The train is provided with a total of 50 OLED screens
intended for information display both in its interior and exterior.
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nataa njegovanovi elizabeta bonjak

Projekt Studija dizajna pri Arhitektonskom fakultetu Sveuilita u Zagrebu i

Kreativne radionice uenika gimnazije
Osnovni cilj Projekta bilo je poticanje razvoja urbane kulture i kritikog promiljanja svakodne-
vice grada. Autor projekta zamilja Grad Poegu kao mjesto koje aktivno ivi na kulturno-dru-
tvenom planu, a svojim sadrajem zadovoljava sve ciljne skupine graana: kao mali grad s razvi- Djeja soba
jenom urbanom kulturom, proaktivnim graanstvom, jasno definiranim lokalnim identitetom i
pametno iskoritenim resursima. Privlaan je za ivot kako lokalnom stanovnitvu tako i gostima Prilagodljivi namjetaj prati rast i razvoj djece od tree godine ivota pa sve do tinejderske dobi, a moguim
koji ga imaju prilike upoznati. U skladu s ciljevima projekta, osmiljen je niz akcija unutar svake transformacijama otvara mogunosti za igru, brze i jednostavne promjene poloaja. Krevet standardnih dimen-
faze Projekta (Detekcija, Negacija, Valorizacija, Afirmacija), na granici street arta i performansa, zija obogaen je dodatnom konstrukcijom koja omoguava razne transformacije prostora. Rotirajua ploha pre-
provedenih unutar javnog prostora i u interakciji s graanima. tvara se u plou za crtanje, slikanje i sline aktivnosti. Prostor ispod kreveta sadri ladicu za pohranu igraaka i
prizmi presvuenih tkaninom, koje mogu posluiti kao objekti za sjedenje, leanje pa ak i kao tobogani te uz
druge elemente unutar sobe initi razliite kompozicije koje dijete prilagoava svome svijetu igre. Stol dvijema
A project implemented by the School of Design at the Faculty of Architecture of the pozicijama omoguava promjenu visine te veliine radne povrine pa se na taj nain prilagoava uzrastu djece.
University of Zagreb and the Creative Workshop of grammar school students
The specific objective of the project was to encourage the development of urban culture and Childrens room
critical thinking about the urban daily routine. The project author imagined the city of Poega as Flexible furniture is adapted to growth and development of children from the age of three to their teenage
a place with active life from a cultural and social aspect. Its content meets the needs of all the years and play opportunities are provided through potential transformations and fast and simple changes of
targeted groups of citizens; it is a small town with a developed urban culture, proactive citizens, position. A standard-dimension bed has been enhanced by an additional construction that enables diverse spa-
a clearly defined local identity and a smart use of resources. It provides an appealing life both for tial transformations. Through rotation of a plane surface it can be transformed into a board used for drawing,
the local community and the visitors who get the opportunity to become acquainted with it. A painting and similar activities. The space under the bed contains a drawer for the storage of toys and uphol-
vast array of activities within each project phase has been provided in accordance with project stered prisms that can be used for sitting, lying and even as slides and, in addition to other furniture compo-
objectives (detection, negation, valorisation, affirmation), on the boundary between street art nents within the room. Moreover, they can form diverse compositions which can be adapted by the child to
and performance, performed within the public space in interaction with the citizens. their own world of play. Due to its two positions the desk can adjust its height and the size of its work surface
and is hence adapted to childrens age.
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school of design annual review 2014/2015 graduate programme/industrial design,2nd semester
drugi semestar
Dizajn u kontekstu razvoja tehnologije nataa njegovanovi
mentor: Mladen Orei
LED rasvjeta asistentica / assistant: Ivana Fabrio
Tema zadatka u drugom semestru je dizajn u kontekstu razvoja

tehnologije, a akademske godine 2014/2015. vezan je za LED
rasvjetu. Studenti su istraivali na koji nain e razvoj LED teh-
nologije promijeniti nain na koji percipiramo i koristimo artifici-
jelnu rasvjetu. Kako i u kojoj mjeri sveprisutan razvoj tehnologije
mijenja poimanje dizajna i nastaje li potreba za postavljanjem
drukijih ciljeva i metodologija dizajna, samo su neka pitanja
kojima su se bavili studenti. Osim propitivanja uloge dizajna i
potrebe za razvojem novim uvjetima primjerenijih metodolo-
gija u kreativnom postupku, studenti su propitivali i mogue
ishode svojeg djelovanja: to je sve mogue postii i kakav utje-
caj, naroito na doivljajnoj razini, moe imati njihovo ekspe-
rimentiranje, odnosno razmatranje kreativnih potencijala koje
razvoj tehnologije prua. Cilj zadatka je upoznavanje konteksta
razvoja tehnologija kao vanog za postavljanje i izvedbu projekta
te osmiljavanje rjeenja koja potiu razvoj novih tehnologija ili
primjene postojeih tehnologija na nove naine.
second semester
Design in the context of technology
development
LED lighting
The topic of the assignment was design in the context of tech-
nology development and in the academic year 2014/2015 it was Rasvjeta budunosti
linked with LED lighting. The impact of the development of LED Rasvjeta budunosti integrirana je u arhitekturu. Zidovi obloeni svjetlosnim tapetama omoguuju apsolutnu
technology on the way artificial lighting is used was explored. fleksibilnost rasvjete i njezinu personalizaciju. Zamiljeni sustav pokreu ovjek i priroda. Efekti prirodnih pojava
In what way and to what extent the omnipresent technological poput vjetra i kie, prenose se u interijer kada senzori detektiraju njihovo postojanje u eksterijeru. Svjetlosne
simulacije takvih pojava ovjek moe i sam odabrati, ako za njima osjeti potrebu. Aktiviranje pojedinih svjetlo-
development changes the perception of design and the need of snih zona koje odgovaraju odreenim aktivnostima, mogue je uiniti pokretom, dodirom i suvremenom tehno-
different objectives and design methodologies were some of the logijom (aplikacije na pametnim telefonima). Poloaj izvora svjetlosti, njegova povrina, intenzitet i boja, posve
topics addressed. Students analysed also the potential outcomes su prilagodljivi trenutnim potrebama.
of their activities: what can be achieved and the extent of the Future lighting
impact of experimentation, primarily at the experiential level, or Future lighting solutions have been integrated into architecture. Walls coated with LEDembedded wallpaper
consideration of creative potential resulting from technological ensure absolute lighting flexibility and its personalisation. The system is activated by man and the Nature. The
development. The objective of the assignment is to gain insight effects of natural phenomena, such as the wind and the rain, are transferred indoors when the sensors have
detected their appearance outdoors. Lighting simulation of such phenomena can be independently selected if
into the context of technological development that is funda- needed. The activation of specific lighting zones corresponding with specific activities can be performed through
mental for project setup and implementation and planning of the movement, touch and modern technology (smartphone apps). Light source position, its surface, intensity and
solutions aimed at enhancement of development of new tech- colour are entirely adaptable to current requirements.
nologies or use of the existing technologies in innovative ways.
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laura mrka valentino veeri

mentor Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Ivana Fabrio asistentica / assistant: Andrea Hercog
monika daki
mentor Mladen Orei
asistentica / assist. Ivana Fabrio
Svjetlosna signalizacija na raskrijima

Cilj projekta je maksimalno iskoristiti mogunosti i prednosti novih
tehnologija LED svjetla i optike u novom sustavu svjetlosne signa-
lizacije na raskrijima. Mogunost koju tehnologija Google glassa
omoguuje je da novi semafori budu istih dimenzija kao i postojei
ali uz pet puta veu vidljivost. Nove tehnologije omoguavaju vidlji-
vost semafora iz onoga kuta koji je zaista potreban. Google glass je
ekran koji omoguava prikazivanje razliitih informacija kao to su
putokazi i znakovi. Navedena tehnologija omoguava da se signali-
zacija za pjeake postavi na kolniku. Animirani oblici na semaforima
osim bojom prepoznatljivo su vizualno kodirani ime se i daltonisti
mogu snalaziti na raskriju.
Traffic-lights at thecrossroads
The project is intended to maximally exploit the potential of new
LED lighting technologies and optics in a new system of traffic lights
Temporal motion light signalisation at crossroads. Google glass technology provides the
Tema je LED rasvjeta u kontekstu razvoja tehnologija. Krenuvi od spoznaje kako svjetlost dolazi iz opportunity for traffic lights to retain their current dimensions, albeit
prirode, a da umjetna rasvjeta predstavlja svojevrsnu ekstenziju prirodnog svjetla, uoeno je da je increasing their visibility fivefold. The new technologies enable the
sam ovjek s vremenom naruio ravnoteu izmjene svjetla u unutarnjem prostoru. Osnovna ideja visibility of traffic signals from the required angle. Google glass is a
koncepta bila je ostvariti prijeko potrebnu koliinu svjetla unutarnjeg prostora, koja imitira pri- screen that enables the display of diverse information such as road
rodnu izmjenu svjetla, sjene i tame. Kreirani sustav sastoji se od elastine polupropusne LED tkanine signs and sign posts. This technology makes possible the placement
razapete po stropu koja mehanikim pomicanjem i izmjenom propusnosti svjetla simulira prirodni of the signalisation for pedestrians on the road surface. The animated
protok svjetla. Na taj se nain u interijeru nastavlja prirodan tijek izmjene svjetla i sjene, dana i noi. signals on traffic lights have been provided with a recognisable visual
code, in addition to their diverse colours, which makes it possible
Temporal motion light even for the colour blind persons to find their way at the crossroads.
The topic is LED lighting in the context of technological development. Having realised that light
originates from the Nature and artificial lighting is an extension of natural light, a conclusion
was made that humans have in time disrupted the balance of alternation of light in the interior.
The fundamental idea behind it was to provide the indispensable quantity of light in the interior
that imitates the natural alternation of light, shadow and darkness. The created system comprises
of elastic and semi-permeable LED cloth stretched out on the ceiling that simulates the natural
flow of light through mechanical movement and alternation of permeability of light. Consequently,
the natural process of alternation of light and darkness, days and nights continues in the interior.
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tamara petrua elizabeta bonjak

asistentica / assistant: Ivana Fabrio asistentica / assistant: Andrea Hercog
New Light on Light

Projekt se temelji na kombinaciji svjetla s njenom komplementarnom vrijedno-
umrakom. Svjetlost se oslobaa iz mraka, pri emu je mrak vaan gradivni ele-
ment. Oslobaanje se odvija pomicanjem i transformiranjem ploha, zidova i raznih Transformacija svjetla
elemenata u stambenom prostoru. Bit projekta je da ne koristimo prekida pri
paljenju svjetla, ve da dopustimo svjetlosti da se postupno oslobaa pomicanjem Osmiljen je sustav osvjetljenja koje se transformira ovisno o potrebama i eljama
strukturalnih elemanata prostora. Projekt nas navikava i podsjea na postojanje nei- korisnika. Jedan izvor svjetla koji je u prostoru nenapadan i nevidljiv, zadovoljava
zbjenih suprotnosti koje nadopunjuju jedna drugu, svjetlost i mrak. potrebe ope, funkcionalne, ambijentalne i akcentne rasvjete. Pametne aluminijske
folije transformiraju se iz potpune plonosti do izrazito dekorativnih formi. Termo-
New Light on Light kromna boja ini ugaeno rasvjetno tijelo gotovo nevidljim u prostoru, a paljenjem
ona lagano nestaje proputajui svjetlo na eljenim dijelovima. Tehnologija uprav-
The idea behind the project is the combination of light with its complementary ljanja pomou Leap Motiona korisniku olakava koritenje sustavom upravljama
valuedarkness. Light is liberated from darkness, yet darkness is an important con- gestikulacijom koja je bliska i prirodna ovjeku.
stituent feature. The liberation occurs through movement and transformation of
plane surfaces, walls and diverse features in residential premises. The project aims Transformation of light
to avoid using the light switch upon turning on the light, as it strives to let the light
liberate itself freely through the movement of the structural features of the premises. A lighting system that can be transformed depending on user requirements or
The idea behind is to remind us and help us in getting used to the existence of the wishes has been built. It is an unintrusive and invisible lighting source that meets
inevitable opposites, light and darkness, that are complementary one to another. the requirements of general, functional, ambient and accent lighting. Smart alu-
minium foils are transformed from full flatness to extremely decorative forms. The
turned off light fitting is almost invisible in space due to its thermochromic colour
which slowly disappears upon turning the light fitting on and hence emits light to
desired spots. The use of Leap Motion technology helps the user through the oppor-
tunity to use gesticulation that is both familiar and natural.
222 223
lea vavra monika daki

mentor: Zlatko Kapetanovi mentor Mladen Orei
Light my way
U dananjem ubrzanom ritmu ivota esto nismo svjesni njegova utjecaja na vlastiti organizam. Intuitivno osje-
amo da taj nekontrolirani ritam utjee na nae tijelo i njegovo funkcioniranje, i to najee gomilanjem stresa.
Pitanje postavljeno u ovom projektu je moe li nas jednostavan podraaj potaknuti na reakciju, kao to priroda
utjee na organizme i bioritam. Mogui odgovor je svjetlo, kao signal i sustav rasvjete, potpuno uklopljen u
postojee granice prostora (strop, zidovi). Osim osnovnog sadri i sekundarno svjetlo (pokretano senzorima)
koje suptilno alje signale o granicama i tijeku vremena.
Light my way
Against the backdrop of the currently accelerated pace of life we are frequently unaware of its impact on our
body. We intuitively feel that this unnatural pace impacts on our body and its functioning, most frequently
through the piling up of stress. The project addresses the issue of whether we can be encouraged to react to a
simple stimulus, in a similar way in which the Nature impacts on living organisms and the biorhythm. A possible
answer is light, both as a signal and a lighting system, completely integrated in the existing spatial constraints
(the ceiling, the walls). In addition to the basic lighting, it also includes a secondary lighting (controlled by sen-
sors) that sends signals on spatial constraints and the flow of time in a subtle way.
Malo letee rasvjetno tijelo
Tehnologija dronova spojena s mogunostima LED rasvjete prua osvjetljenje u razliitim pozicijama i za razliite potrebe. Kori-
tenjem WiTricity tehnologije beinog napajanja, trajanje leta je produeno na beskonano dok smo u blizini dosega napajanja.
Pomou touch-sensitive povrine, jednostavnim potezima direktno na tijelu lampice definira se intenzitet i irina snopa svjetla
koja nam je potrebna. Lampica moe letjeti u prostoru ili stajati samostalno na nekoj povrini, primjenjiva je u mnogim situa-
cijama, a kroz interakciju smo povezani s njom. Ona pamti nae pokrete i postaje nae malo osobno svjetlo.
A small flying light fitting

The drone technology combined with LED lighting potential provides lighting in diverse positions in order to meet different
requirements. Through the use of WiTricity wireless charging technology, the flight times have been extended to endless whilst
near the charging range. The intensity and the width of the lighting beam required is defined using touch-sensitive surface,
through simple moves directly on the body of the lamp. The small lamp can fly in space or be placed independently on a sur-
face. It can be used in a large number of situations and one is connected with it through interaction. Moreover, it tracks ones
moves and becomes ones small personal light.
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Dizajn vizualnih Visual

komunikacija communications
Zvanje magistra dizajna, koje studenti stjeu po zavretku The title of a Master of Design (M.A. in Design) which is obtained
diplomskog studija, prua im kvalifikacije za samostalno voe- by the students upon the completion of the postgraduate study
nje projekata i upravljanje procesima razvoja dizajna. Na zada- programme provides them with qualifications for independent
cima projektiranja vizualnih komunikacija naglaava se spo- project development and management of design development
sobnost snalaenja u kontekstu realnog okruja, uz obvezno processes. The tasks of visual communications design highlight
usvajanje znanja i vjetina znanstveno utemeljenoga i kritikog the ability of succeeding against the backdrop of real environ-
promatranja zbilje, im se izlazi iz uih okvira struke. Studenti ment, in addition to mandatory acquirement of knowledge and
odabiru teme ili probleme od neposrednoga subjektivnoga ili skills of the scientific and critical approach to reality which trans-
opega drutvenog interesa te ue artikulirati svoja opaanja cends the professional boundaries. Students select the topics
i stavove izraajnim sredstvima dizajna, ali i potaknuti i formi- or issues of immediate subjective or general interest and learn
rati javni diskurs drutvenih skupina posredstvom inovativne to articulate their observations and attitudes with expressive
vizualne komunikacije. U procesu ovladavanja svim aspektima methods of design, as well as the skill to initiate and maintain
dizajna svaki student magistarski kandidattrebao bi indi- a conceptual thread through public discourse amongst social
vidualnim radom s mentorom i odabirom izbornih kolegija arti- groups through innovative visual communications. During the
kulirati vlastite sklonosti i otkriti mogunosti svoga daljnjeg process of achievement of mastery in all the aspects of design
razvoja, pri emu se podrava i potie suradnja sa studentima each studenta candidate for a Masters Degreeneeds to
i strunjacima iz razliitih disciplina povezanih s dizajnom, u articulate their own preferences and the potential of their further
duhu temeljnog karaktera studija. development during their individual work with a mentor, whilst
Zavrna godina studija temelji se na dva povezana segmenta they are simultaneously encouraged to co-operate with other
zavrnog rada, odnosno magistarske diplome. Prvi segment students and experts in diverse disciplines related to design in
podrazumijeva samostalni teorijski i istraivaki rad kao pre- accordance to the fundamental features of the postgraduate
dradnju za projekt, kada studenti moraju kompetentno pre- study programme.
poznati i obraditi odreeni/e problem(e), u skladu sa standar- The final year of the postgraduate study programme is based on
dima akademskog pisanja znanstvenih radova. two interrelated aspects of the final thesis or the Masters the-
Rezultati istraivanja u prvom semestru zavrne godine su tzv. sis. The first aspect implies independent theoretical and research
teorijska teza i istraivaki elaborat koji ukljuuju sve relevan- work as prerequisites for the project when students are requi-
tne imbenike pripreme za projekt, a koji je nastavak istrai- red to identify and tackle a specific problem using the required
vanja u realnom kontekstu. U drugom, posljednjem semestru, competencies and in compliance with the standards of acade-
studenti izrauju diplomski projekt kojim pokazuju steenu mic writing of scientific papers.
razinu snalaenja u struci, to podrazumijeva samostalno The results of the research during the first semester of the final
voenje projekta i komuniciranje s drugim strukama u pro- year are the so called theoretical thesis and the research study
cesu dizajna. Izborni predmeti na ovoj godini studija usko su which imply all the relevant features of the preparation for the
vezani uz svladavanje samostalnog djelovanja u dizajnu. Pro- project, which is a continuation of the research in the real context.
jekt i teorijska teza/istraivaki elaborat razlikuju kompeten-
cije magistra dizajna od prvostupnika te se smatraju jednako
vanim elementima diplome i krajem formativnog dijela edu-
kacije na ovoj razini u struci.
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godinjak studija dizajna 2014./2015. diplomski studij/dizajn vizualnih komunikacija,1.semestar
school of design annual review 2014/2015 graduate programme/visual communications,1st semester
prvi semestar ivana hrabar

Dizajn u kontekstu realnog okruja asistent/assistant:Tomislav Vlaini
Prvi zadatak na diplomskom studiju dizajna razrauje i pro-

dubljuje znanja i vjetine steene pri kraju preddiplomskog
studija, a istovremeno slui kao odreeni uvod u proces rada
na zavrnom diplomskom projektu. Cilj zadatka je usmjeriti
senzibilitet studenata prema prepoznavanju aktualnih tema
i problema u podruju suvremenih vizualnih komunikacija,
masovnih medija i digitalnih tehnologija, u irem drutvenom,
ekonomskom i politikom kontekstu. Po odabiru tematskog
podruja koje e obraivati, studenti se opredjeljuju za neku Agenda
od komunikacijskih formi ili neki anr dizajna iz iroke palete Agenda je naziv asopisa o beskunitvu i drugim srodnim socijal-
aktualne vizualne kulture. Izbor ukljuuje tiskane medije, kor- nim temama, a nastao je kao rezultat suradnje studenata i udruga
porativni dizajn i signalistiku, ambalau te sustave vanjskog za pomo potrebitima. Agenda bi trebala biti platforma putem koje
bi se razliite udruge spojile u mreu i tako uinkovitije djelovale na
oglaavanja, sve do interaktivnih digitalnih tehnologija na razli- javnost i svoje tienike. Stalnim angairanjem studenata dobivala
itim platformama. Vano je koristiti alate vizualnih komuni- bi se dodatna vrijednost radi koje bi asopis bio poeljan za itanje,
kacija u artikulaciji prepoznatih problema, inovativnom izraza razliku od nekih slinih izdanja koja ostaju u rukama beskunika,
neproitani i nepoeljni kod veine prolaznika. Agenda bi trebala
avanju vlastitih stavova, s ciljem poticanja i usmjeravanja imati vrstu konstrukciju kako oblikovnu tako i sadrajnu. Teme se
javnog odnosa o odreenim temama. trebaju podudarati sa zadanim planom, a autori posebno naglasiti.
asopis je ujedno prilika za stjecanje vrijednog iskustva na podruju
novinarskih izraza, posebno fotografije te dizajna i nain za promo-
first semester ciju buduih djelatnika kao i prezentaciju njihovih vjetina i uradaka.
Sudjelovanjem u ovome projektu pomae se najpotrebitijima izrav-
Design against the Backdrop nim prinosom kao i posljedinim djelovanjem na osvjeivanju jav-
nosti od koje se oekuje potpora.
of Real Environment Agenda
The first task during the new section of studies on the one hand Agenda is the name of the magazine on homelessness and other
elaborates and deepens the knowledge and skills acquired by the related social issues. It was created as a result of co-operation
between students and associations providing help to those in need.
end of the undergraduate studies and on the other hand is used Agenda is intended as a platform through which diverse associa-
as an introduction into the production of a postgraduate thesis tions would be brought together into a network and hence have a
during the final year of postgraduate studies. The objective is to more effective impact both on the public and their protgs. Value
added would be generated through a continuous student involve-
make the students focus upon recognition of the current topics ment that would make the magazine more appealing to the readers,
and issues in the area of contemporary visual communications, as opposed to some similar publications available to the homeless
mass media and digital technologies, as well as within the wider which remain unread and unattractive to most passers-by. Agenda is
designed to have a solid structure both concerning the form and the
social, economic and political context. Following their decision content. The topics need to be in harmony with the specific plan and
on the topic area tackled in the task, students opt for a form of the authors need to be particularly highlighted. The magazine simul-
communication or a design genre amongst a vast array of topics taneously provides the opportunity to gain valuable experience in
the area of journalism jargon, primarily concerning photography and
and genres in the current visual culture, ranging from print media, design. Moreover, it is a method of promotion of future employees
to corporate design and signalistics, packaging in industry or in the and the presentation of their skills. The participation in this project
service sector and out-of-home advertising to interactive digital is intended to help the needy through direct contribution and also
through consequential impact on raising awareness of the public
technologies using diverse platforms. The use of visual communi- from which support is expected.
cations tools is fundamental in the articulation of the identified
problems and in innovative expression of ones attitudes aiming
to encourage and focus the public discourse upon specific topics.
228 229
martina uki klasja habjan

asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp
Studi Studi Slikovnica Carevo novo ruho Picture book The Emperors New Clothes
Aplikacija Studi namijenjena je studentima i mladim osobama koji u The app named Studi is intended for students and young people who Pokuala sam oblikovati slikovnicu koja bi mogla biti zanimljiva djeci razliite dobi, I have attempted to design a picture book that would appeal to children of diverse
mjesto studiranja ili boravka dolaze iz drugih gradova i tee se sna- come from another city to the place where they study or currently ali i roditeljima koji e priu pripovijedati najmlaima. Slikovnice bez teksta potiu age groups, as well as to the parents who will be telling the story to the youngest
laze u gradu. Svrha ove aplikacije je da bude svojevrsni suvremeni reside and they hence encounter difficulties in finding their way sudjelovanje i pounije su od uobiajenih. Pria Carevo novo ruho, Hansa Christiana ones. Wordless picture books encourage participation and are more educational
gradski vodi iji e sadraj biti primijenjen individualnim zahtjevima through the new city. The app is intended as a contemporary city Andersena, zanimljiva je svim naratajima, svakom na svoj nain. Mlaima e tako compared with the ordinary picture books.The story entitled The Emperors New
i potrebama korisnika. Ona omoguuje auriranje podataka, lociranje guide whose content will be tailored to meet individual needs and biti jasno da je rije o prijevari budalastog cara, a stariji e proitati drutvenu satiru, Clothes by Hans Christian Andersen is appealing across different generations in its
samoga korisnika i filtriranje sadraja, a nudi informacije o pojedinim requirements of its users. It enables data update, locating the user pasivnost mase i tatinu vladajuih.Tijekom deset prizora priu nose praznine jer own specific way. The youngest ones will grasp the fact that it is about the decep-
lokacijama uslunih i drutvenih djelatnosti te razne detalje koji su uz and content filtering, whilst simultaneously providing information on likovi nisu nacrtani ve izrezani, ime slikovnica postaje taktilna i vizualna igra okre- tion of the foolish Emperor, whilst the adults will see it as a social satire, address-
njih vezani, kao to su radno vrijeme, kontakt, okvirne cijene, najbri specific locations where service and social activities are provided, as tanja i odgonetavanja. Metafora negativnih formi vidljiva je u raspadanju careva ing the issue of the passivity of the masses and the vanity of rulers. Throughout
put do odredita te popis slinih podataka i aktivnosti. Putem primi- well as diverse details linked with these activities, such as opening ruha lanano povezanih prizora - gumbi s poetka postaju bradavice gologa cara, the ten scenes the story is told by empty spaces, as the characters have not been
jenjenog programa Studi korisnik moe doi do informacije, primje- hours, contact information, approximate prices, the fastest routes to a kasnije oi djeaka koji gleda kroz cara i prozre ga u svojoj jednostavnosti i iskre- drawn but have been cut out, due to which the picture book became a tactile and
rice, gdje se dobro okrijepiti, gdje se nalazi najblia fotokopiraonica, different destinations and a list of similar information and activities. nosti. Time se potvruje nepostojanje ruha koje je i samo praznina, privid, pria, ili a visual game of turning pages and guessing. The metaphor of the negative forms
koja ljekarna radi nedjeljom naveer i slino. Informacije koje sadri The programme Studi provides the user with information on where to u sluaju cara i lanih krojaa, zavodljiva la. is visible in the disintegration of the Emperors clothes in a sequence of intercon-
pomno su odabrane i svrstane u osam kategorija: hrana, zabava, stu- find good refreshment, as well as on the whereabouts of the nearest nected scenes what initially appeared as buttons is transformed into the nipples
dij, kultura, prijevoz, smjetaj, sport i zdravlje. photocopying services and on chemists open on Sunday evenings, to of the naked Emperor, whereas subsequently it is transformed into the eyes of a
name a few. The information provided has been carefully selected boy who is looking through the Emperor and seeing through him, expressing his
and grouped into eight categories: food, entertainment, studies, cul- own simplicity and sincerity. Hence, the inexistence of the clothes has been con-
ture, transport, accommodation, sports and health. firmed and becomes only a void, an illusion, a story or in the case of the Emperor
and the fake weavers, only an appealing lie.
230 231
lovro miokovi vitomira martinjak

suradnica/associate: Karla Paliska asistent/assistant:Tomislav Vlaini
Kreativko
Suoenje s vlastitim strahom od kreativnog izraavanja
potaklo je istraivanje o kreativnom izraavanju i kogni-
tivnom razvoju pojedinca. Istraivanje je pokazalo da
se najee takav strah poinje razvijati ve polaskom
u osnovnu kolu. Istraivanje je takoer pokazalo da se
najplodonosnije kreativno izraavanje odvija u opute-
nom okruenju. Iz toga je proizala je ideja drutvene
igre za uzrast djece od 8 do 10 godina. Igra je namije-
njena za 3 do 8 igraa a odvija se pomou ploe, figurica
i tetraedra (kockice). Zahtijeva etiri vrste izraavanja:
crtanje, prianje prie, glumu i pjevanje. Cilj je igre prvi
doi do zagonetke i rijeiti je. Igrai se kreu s vanjskih,
najveih polja, prema unutranjosti do sredita. U sre-
ditu je polje sa sve etiri boje i upitnikom, a predstavlja
cilj na kojem se uzima zagonetka. Kako igrai prolaze
tijek igre i pomiu se po poljima, susreu se s raznim
zadacima koji zahtijevaju razliite vrste kreativnog
izraavanja. to su blie sredini, zadaci su sve sloeniji.
A creative child
The research on creative expression and cognitive
development of an individual originated against the
backdrop of facing ones own fear of creative expres-
sion. The research has shown that this type of fear
most frequently originates upon attending elemen-
Sjeanja grada Virovitice tary school. Moreover, the research has shown that
Web-platforma Sjeanja grada Virovitice zapoeta je kao pokuaj vizualizacije the most prolific creative expression occurs in relaxed
novoga vizualnog identiteta grada Virovitice. Poevi prilino otro o zadanoj temi, ambience. Consequently, the idea for a board game for
naiao sam na brojne prepreke. Tako osnovni ciljpodizanje svijesti graana grada children aged 8 to 10 originated. The game is intended
i na taj nain poticanje njihove sposobnosti rasuivanja o gradu koji naizgled pro- for 3 to 8 players and it comprises of a playing board,
pada, ali istodobno ima toliko toga za ponuditi, od bogate povijesti do raznovrsne figurines and dice. It encourages four types of expres-
kulturenije bio ostvariv u kontekstu vizualnog identiteta. Bilo je premalo pro- sion: drawing, telling a story, acting and singing.The
stora u kojem bih mogao djelovati i potaknuti sugraane na istraivanje i shvaa- object of the game is to be the first to reach the puz-
nje problema odumiranja grada, njegove vizure i manjka identiteta.Tako je nastala zle and solve it. Players move from the exterior and
zamisao o sustavu koji bi prikupljao sjeanja graana grada Virovitice i u isto vri- the largest fields towards the interior to the centre.
jeme im doputala interakciju i sudjelovanje u raspravama tuih ili svojih sjeanja. The centre comprises of a field with the four colours
and a question mark and it is at only the finish that
Memories of the city of Virovitica a player can get the puzzle. As the players progress
The web platform Memories of the city of Virovitica was launched as an attempt through the game and move across the playing fields
of visualising a new visual identity of the city of Virovitica. At the beginning I was they encounter diverse tasks that encourage different
adhering strictly to the assigned topic, yet I encountered a vast array of obstacles. types of creative expression. The closer the players are
Hence, the specific objectivecomprising of raising awareness of the citizens and to the centre, the more complex the tasks.
encouraging their ability to reason on the city that appears to be falling into ruin, yet
simultaneously providing a vast array of programmes, ranging from its rich history
to cultural diversitywas not implementable in the context of visual identity. The
available room was insufficient for any activities that would encourage the citizens
to explore and grasp the issue of the dying out of the city, of its skyline, as well as
its lack of identity. That was the idea behind the system that would collect mem-
ories of the citizens of Virovitica and simultaneously enable them to interact and
participate in discussions on their own or someone elses memories.
232 233
school of design annual review 2014/2015 graduate programme/visual communications,2nd semester
drugi semestar
Dizajn u kontekstu razvoja lara ic
komunikacijskih medija asistent/assistant: Tomislav Vlaini
Od studenta se oekuje osmiljavanje multimedijalne dru-

tveno angairane kampanje o odreenoj temi, koja omoguuje
kvalitetnu dvosmjernu komunikaciju u procesu informiranja
javnosti o odreenom problemu i usmjeravanja drutvenog
potencijala za njegovo rjeavanje. Sadraj i forma su u kore-
laciji, pa je cilj zadatka originalno interpretirati klasine oblike
medijskih kampanja, uza zadravanje nekih njihovih karakte-
ristinih elemenata, poput naslova kampanje, slogana i slino.
Zadatak podrazumijeva kompetentno preliminarno istraivanje
i kontinuiranu suradnju s kolegama iz drugih struka, u duhu
interdisciplinarnog karaktera dizajnerske profesije i edukacij-
skog 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 multi-
media and a socially-involved campaign on a given topic, implying
that form (in the broad sense) precedes the selection of the topic,
as acquisition of skills of agitation and persuasion is considered
fundamental, as well as quality two-way communication in the Dobri duh Good Spirit
process of informing the public on a specific issue and directing Dobri duh kampanja je za poticanje na prijavu obitelj- Good Spirit is the campaign intended to encourage the
skog nasilja. Ciljana skupina ove kampanje su susjedi. reporting of domestic violence. The target group of this
the social potential towards providing a solution. Form and con- Oni kao najei svjedoci obiteljskog nasilja (koji nemaju campaign are the neighbours. They, as the most fre-
tent are correlated and hence the objective of the task is ori- emocionalnu ili rodbinsku povezanost sa rtvama ili quent witnesses of domestic violence (those without
ginal interpretation of classical forms of media campaigns, yet poiniteljima) ine skupinu kojoj problemi poput straha emotional or family links with the victims or the per-
od poinitelja predstavljaju najveu prepreku za pri- petrators), are the group which is frequently deferred
through preservation of some of their distinctive features, such javu obiteljskog nasilja u svojoj okolini. Rjeenje tog from reporting domestic violence in their environment
as campaign title and slogans, to name a few. The task explores problema nalazi se u poveavanju anonimnosti svje- primarily due to their fear from the perpetrators.The
both research and the creative potential of students against the doka koji prijavljuju, ali i zadravanju vjerodostojnosti solution to this problem can be provided through retain-
iskaza. Radi toga iskoritena je praksa online komuni- ing witness anonymity, as well as through retaining
backdrop of considerably limited formal postulates which is the kacije s policijom koja odnedavno postoji i u Hrvatskoj. the credibility of their testimony. Consequently, online
most common context of activity during subsequent professi- Razvijena je web-platforma pod nazivom Dobri duh communication with the police was resorted to that
onal life and work. Moreover, the task implies competent preli- koja omoguuje anonimnu prijavu obiteljskog nasilja. has since recently been available in Croatia. A web
Sama kampanja sastoji se od serije plakata i stickera platform named Good Spirit has been developed that
minary research and continuous co-operation with colleagues (naljepnica). Plakati su smjeteni u zajednikim prosto- enables anonymous reporting of domestic violence.
from other lines of work providing the given topic requires it, in rima zgrade, a kraj njih se nalaze stickeri na kojima je The campaign consists of a series of posters and stick-
line with interdisciplinary features of design profession and edu- lozinka pojedine zgrade za anonimnu prijavu, kao i QR ers. The posters have been placed in the building in
kod koji automatski vodi na web-platformu za prijavu. the facilities intended for common use, whilst beside
cational programme during the graduate study. them there are stickers providing a password of the
specific building for anonymous reporting, as well as
QR code that automatically leads to the web platform
for reporting of violence.
234 235
klasja habjan
ivana hrabar mentor: Nenad Dogan
mentor: Ivan Doroghy komentor/comentor: Veljko van
Ko/pilot
Kampanja za promicanje volonterstva u Domu za nezbrinutu djecu,
i to meu studentima koji su dovoljno stari da mogu biti uzor djeci,
ali dovoljno mladi da ih mogu razumjeti. Kampanja se odvija u ana-
lognoj i digitalnoj sferi. Putem drutvenih mrea dijele se eljoplovi
(zrakoplovi koji u sebi nose elje i potrebe djece), i to preporueno
putem internetske stranice ko/pilota koja slui kao spremnik elja. Spreavanje umskih poara
Sudjelovati se moe ukljuivanjem u akciju, tj. volontiranjem ili samo Cilj je kampanje, koja se sastoji od plakata i knjiice, privui pozornost na zabavan
prosljeivanjem poruke. Prosljeivanje je time jednako vano jer ima nain i ukazati na nepredoivost kobnih posljedica umskih poara. Vrijednosti i
ulogu filtra i elja i osoba koje ih mogu ispuniti. Rezultat tako zami- mjerne jedinice, koje su inae teko zamislive, poput hektara ili povrinskih metara,
ljene kampanje je pronalazak pojedinca koji dijeli iste interese kao i prenesene su u svakodnevni ivot, u poznate predmete ili mjesta. Time je znaenje
odreeno dijete ili mu svojim znanjem moe pomoi. Cijelim putem uma preneseno u globalne motiveneostvaren potencijal produkata drvne indu-
kampanja informira o nainima pomoi te tako rjeava nedoumicu strije (olovke, knjige, kue...), ili u lokalne motivedonekle predoive urbane povr-
kod potencijalnih volontera koji bi htjeli pomoi, ali ne znaju kako. ine (trg, obala, naseljeni otok) kako bi se brojke uklopile u prepoznatljiv i poten-
cijalno emotivniji kontekst. U trenutku kada kampanja izazove fascinaciju, izaziva
Co-pilot i razmiljanje koje pak vodi k opreznijem djelovanju u kritinim situacijama koje bi
The campaign intended for promotion of volunteering at the Home mogle dovesti do poara. Poeljno je i da mlai djeluju na starije (na roditelje) te da
for Abandoned Children amongst students who are old enough to be zapamte, ne brojeve ili uobiajene strahovite prizore goruih uma, ve ilustracije,
role models to the children, yet young enough to understand them. podsjetnike da su ume oko nas i kad nisu u vidokrugu.
The campaign is implemented both in the analogue and in the dig-
ital sphere.Wishplanes (airplanes carrying childrens wishes and Forest fire prevention
needs) are distributed through social networks, primarily through The idea behind the campaign comprising of posters and a library is to attract atten-
the co-pilots website that is used as a pool of wishes. Participa- tion in an amusing way and point out the extent of disastrous consequences of
tion is through involvement in the initiative through volunteering forest fires. The values and measurement units that are normally hard to imagine,
or simply by forwarding the message. Forwarding of the message such as hectares or square meters, have been placed in the context of real life
is attributed equal importance, since it filters wishes and the people to well-known objects or places. Consequently, the meaning of forests has been
able to fulfil them. The result of the campaign created in this way transferred to global motifsunrealised potential of wood industry products (pen-
is to find an individual who shares the same interests as a specific cils, books, houses, etc.) or into local motifsreasonably familiar urban spaces (a
child or the one that is able to help them using their knowledge. The square, a seashore, an inhabited island) aiming to place the figures into an iden-
campaign continuously provides information on ways to help and tifiable and potentially a more emotional context. Whilst the campaign arouses
hence solves the dilemma amongst the volunteers who are aiming fascination, it also encourages reasoning that leads towards a more considerate
to help, yet they do not know how. action in critical situations that may result in a fire. It is recommendable that the
young encourage the elders (and the parents) to memorise not the numbers or the
usual terrifying forest fire scenes, but to focus on illustrations and reminders that
we are surrounded by forests even when we cannot see them.
236 237
borna aron grevi

mentor: Nenad Dogan vanja perkovi
komentor/comentor: Veljko van mentor: Stipe Bri
asistentica/assistant: Romana Kajp suradnica/associate: Karla Paliska
Care like no one watches

Care like no one watches kampanja je za spreavanje klimatskih
promjena, usmjerena na urbane Europljane uzrasta 2045 godina.
Istraivanje meu tom populacijom pokazalo je kako je ona svjesna
problematike klimatskih promjena, ali diskurs o njoj postao joj je
naporan i uzaludan. Zakljuak je da se kampanja treba fokusirati na
rjeenja umjesto na probleme. Ova kampanja nudi rjeenja postav-
ljajui zadatke koji su jednostavni, jeftini ili besplatni i ne trae od nas
nemogue. To su ona rjeenja za koje je primarno potrebno da nam
je do njih stalo. Snaga kampanje je u uvaavanju promjena ponaa-
nja koje zbog najmanjega iskrenoga unutarnjeg motiva donose sjeme
veih rezultata od najvee, ali neiskrene i neodrive geste. O rjee-
njima se komunicira putem proizvoda koji utjelovljuju njezinu misiju
jer se samom njihovom uporabom umanjuju klimatske promjene.
Na primjer, keramika alica za kavu za van odgovor je na uestalu
potronju papirnatih aa u poslovnom svijetu i na sebi nosi poruku
ciljanu za taj poslovni kontekst.
Care like no one watches

Care like no one watches is the campaign intended to prevent cli-
mate change, focusing primarily on urban Europeans aged 20 to 45.
The research conducted amongst this population showed that the
awareness of the importance of climate change issues, yet the dis-
course tackling these issues have been viewed as tedious and point-
Manje oruja, manje tragedija The less weapons, the less tragedy less. A conclusion has been reached that the campaign needs to focus
Kampanja je nastala kao inicijativa da se sprijei neadekvatno odbacivanje starog The campaign is intended as an initiative to prevent inadequate disposal of old on the solutions rather than on the problems.This campaign pro-
oruja. Koriteni motivi povezani s ponaanjem djece (djeja zaigranost, znatielja) weapons. The used motifs linked with child behaviour (child playfulness, curiosity) vides solutions through tasks that are straightforward, affordable or
slue kao emotivni okida koji bi trebao osvjestiti neodgovorne osobe koje to ine. are an emotional trigger intended to raise awareness of irresponsible people dis- free of charge and they do not require us to do the impossible. The
Kampanja bi ih trebala potai da shvate da svojim postupkom ugroavaju ivot sebi, posing of weapons in an inadequate way. Moreover, the campaign is intended to fundamental aspect of these solutions is that we care about them.
svojoj obitelji i drugima. Plakati su osmiljeni kao simboliki izraz odbaenog oruja encourage them to realise that their conduct endangers their own lives, as well as The power of the campaign is in the acknowledgement of changes
djejim pogledom; ono to je nama oruje, djetetu nesvjesnom opasnosti odbaeno the lives of their families and other people.The posters have been designed as a in behaviour which resulting from the tiniest sincere motive yield
oruje esto djeluje poput igrake. Kombinacijom realne slike oruja s elementima symbolic expression of discarded weapons seen through the eyes of a child; what results far better than the largest, insincere and unsustainable gesture.
igrake, stvaramo upeatljiv vizual kao snaan a istovremeno jednostavan komu- we see as weapons, children frequently perceive as toys. A truly impressive visual The solutions are communicated through products that embody the
nikacijski motiv. Dio kampanje je mrena stranicu koja sadri sve prijeko potrebne work was created through a combination of a realistic picture of weapons and mission of the campaign, as through the use of such products cli-
informacije o kampanji pa se tako i sama prijava oruja moe obaviti putem interneta. features of toys providing a powerful, yet simultaneously a simple communica- mate changes are reduced. For example, a ceramic to go coffee cup
Korisnik moe poslati zahtjev s fotografijom, ako nije siguran o kakvom se oruju tion motif. Another aspect of the campaign is a website that provides all the fun- is the response to frequent consumption of paper cups in the busi-
radi te se tako mogu pravodobno obavijestiti pirotehniarske slube. damental information on the campaign and hence the weapons can be reported ness world and implies a message targeted to this business context.
over the Internet. The user can send a request with a photograph in case they
are not sure of the type of weapon in question and hence pyrotechnicians can be
informed in due time.
238 239
zita naki-vojnovi hana tintor

asistent/assistant: Tomislav Vlaini komentor/comentor: Veljko van
Oivi me Resuscitate me Kampanja za darivanje krvi Blood donor campaign

Oivi me, mobilna je igra nastala kao dio zamiljene kampanje za osvjeivanje jav- Resuscitate me is a mobile game developed as a part of an imaginary campaign Ideja kampanje jest obratiti se mladima odgovaraju- The idea behind the campaign is to address young
nosti o vanosti poznavanja postupka reanimacije srca. Oivi me je javno zdrav- intended to raise public awareness of the importance of familiarity with the pro- im tonom i njihovim jezikom. Njezin je cilj pokrenuti people in an appropriate manner and usingtheir lan-
stvena kampanja kojom se eli podii razina svijesti graana te educirati javnost o cess of cardiopulmonary resuscitation. Resuscitate me is a public health campaign one koji pronalaze loa opravdanja kako ne bi darivali guage. It is aiming to encourage those who continu-
vanosti poznavanja jednostavnih postupaka oivljavanja osobe koja doivi srani striving to raise public awareness and educate the public on the importance of krv, ponukati ih da se sami preispitaju da bi, na kraju, ously find bad excuses in order not to be blood donors,
zastoj. U okviru kampanje odravaju se brojne radionice, predavanja i okupljanja, a familiarity with simplified CPR method for a person in cardiac arrest. A large num- pristupili darivanju ove dragocjenosti za spas ivota. make them analyse themselves in order to eventually
istoimena aplikacija slui kao popratni medij za mlau populaciju (srednjokolci i ber of workshops, lectures and gatherings are included in the campaign, whilst the Opravdanja zbog kojih mladi ne daruju krv, kao nedo- become involved in this important act to save lives.
djeca pri kraju osnovne kole). Sadraj ovog primijenjenog programa tematski prati eponymous application is intended as an accompanying media for the young (sec- statak vremena ili strah, fotografijom su raskrinkana, Excuses due to which young people are not blood
ciljeve kampanje, a svojim zabavnoedukativnim pristupom ukljuuje mlade u ondary school students and higher grade elementary school pupils). The content a tekst poruuje da izmotavanja i opravdanjanema. donors, such as lack of time or fear, have been exposed
daljnji razvoj kampanje. Aplikacija se sastoji od nekoliko razina interaktivnih igara of this specific programme thematically accompanies the objectives of the cam- Mladenakim, duhovitim i pomalo ironinim jezikom, through photography, whereas the text stresses that
u kojima korisnik, (ne)svjesno ponavljajui odreene radnje i motorike uzorke, ui paign, whilst through its both entertaining and educational approach it involves kampanja se izravno obraa promatrau. Tjera ga da there are actually no excuses or justifications con-
ili se podsjea na korake koje je prijeko potrebno pravilno provesti pri oivljavanju the young in further campaign development. The app comprises of several levels se pronae u izjavi i na fotografiji, a zatim odgovara na cerning this issue. Using the witty and slightly sarcastic
srca u stvarnom okruju. Radnje poput pritiskanja, puhanja, pozicioniranja i balan- of interactive games in which the user, (un)consciously repeating specific actions njemu blizak, ali ne i arogantan nain. Takvi se dijalozi language, popular among young people, the campaign
siranja ureaja asocijativno su povezane s postupkom oivljavanja, ime se dodatno and motor patterns, learns or is reminded of steps that need to be duly performed inae esto uju u razgovorima mladih, oni su pomalo directly addresses the beholder. It makes them identify
potie vjeba i motorika te povezivanje teorijskog znanja s praktinim iskustvom. upon resuscitation in real environment. Actions such as pressing, blowing in air, cinini i nesavreni, ali prijateljski nastrojeni. their own excuses and find their own reflection in the
positioning and balancing devices have been linked with the resuscitation process photography and it hence provides answers in a famil-
through a range of associations, which additionally encourages practice and mobil- iar, albeit not an arrogant manner. Such dialogues are
ity, as well as a combination of theoretical knowledge and practical experience. most frequently heard amongst young people who are
slightly cynical and imperfect, yet friendly.
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Projektiranje Font
pisma Design
Na diplomskom studiju tipografsko obrazovanje provodi se Throughout the Graduate Study Programme an insight into typo-
primarno na kolegiju Projektiranje pisma. Za razliku od pred- graphy is provided primarily during the course entitled Typeface
diplomskih tipografskih kolegija koji se na brojnim vjebama design. As opposed to typography courses during the Undergra-
bave irokim spektrom tipografskih situacija, na diplomskom duate Study Programme which address a vast array of typograp-
studiju je teite na produbljivanju odreenih gledita discipline. hic situations during a large number of practical classes, during
Svladavanjem nastavnih sadraja kolegija studenti e stei the Graduate Study Programme the focus is placed on gaining
sposobnosti tipografskog oblikovanja s naglaskom na cje- a deeper insight into specific aspects of this discipline.
lovito promiljanje procesa oblikovanja pisma i oblikovanja s Through mastery of the course content students will acquire
pismom. Kolegij se temelji na istraivakom radu i specijaliza- typographic design skills with a special emphasis on comprehen-
ciji u podruju oblikovanja pisma te zavrno fontova. sive consideration on the typeface design process and the design
Studenti svladavaju metodologiju i proces oblikovanja pisma using the specific typeface. The course is based on research and
uzimajui u obzir tipografsku tradiciju kao i predviene namjene specialisation in typeface design and eventually in font design.
i medije reprodukcije. Steena znanja i vjetine predstavljaju Students learn methodology and on typeface design process by
kvalitetnu osnovu za profesionalno bavljenje ovim dijelom taking into account typographic tradition, as well as the designa-
dizajnerske struke, ali i za samostalno unapreenje vlastitih ted purposes and reproduction media. The acquired knowledge
sposobnosti u tom podruju. and skills provide a quality background for professional involve-
ment in this aspect of design, as well as for independent enhan-
cement of ones own skills in this field.
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prvi i drugi semestar

vanja perkovi ana vujasi
Tipografsko istraivanje mentor: Nikola urek mentor: Nikola urek
Vjeba se protee u oba semestra te je podijeljena na dva

dijela: istraivanje i produkcija. Studenti su slobodni sami
izabrati tipografsku temu kojom se ele baviti ili vrstu pisma
kakvo ele oblikovati. Od njih se oekuje da do kraja zim-
skog semestra putem istraivanja i testiranja postave idejno
rjeenje projekta. Ljetni semestar je primarno posveen radu
na izvedbenom rjeenju.
Iako postoji tendencija da rezultati kolegija budu autorska
pisma, medij i format zavrnog rjeenja nisu definirani.
first and second semester

Typographic Research
Practical work lasts for two semesters and has been divided into
two parts: research and production. Students are free to choose
a typographic topic they would like to become involved in or the
type of typeface they would like to design. They are expected to
conduct research and testing and provide a preliminary design
of the project by the end of the winter semester. The summer Pismo Jukeboxdizajn glazbenih simbola
semester is primarily dedicated to focus on working design. Cilj projekta bio je dizajn notacije, glazbenih simbola za razne stilove glazbe. Pismo
sadri nekoliko razliitih rezova koji prenose osobnost glazbe, tako da ve i sam
Irrespective of the tendency of original typefaces to be presen- notni zapis ostavlja vizualni dojam glazbenog stila. Inspiracija za projekt dolazi od
ted as course results, the media and formats used in the final pisama koja se obino povezuju uz odreene stilove glazbe, na omotima albuma,
work have not been defined. ploa, plakata i drugih popratnih glazbenih materijala. Rezovi se mogu koristiti i u
kombinaciji pa se na taj nain moe naglasiti npr. refren ili solo dionica. Za pojedine
glazbene simbole postoji i po nekoliko alternacija. Idealna namjena ovog pisma bila
bi koritenje u nekom od softvera za biljeenje glazbe kao to su Sibelius ili Finale.
Jukebox typefacemusical symbol design

North The objective of the project was musical notation design, as well as musical sym-
North je sans serifno pismo primarno namijenjeno uporabi u konti- bol design for diverse musical styles. This typeface comprises of several differ-
nuiranom tekstu. Nastalo je translacijskom konstrukcijom te je izve- ent graphic styles that conveys the musical identity and hence the mere musical
deno iz rukopisa. Izlomljeni detalji i nesavrene forme prate rukopisne notation creates a visual impression of a musical style. The idea behind the pro-
nesavrenosti i daju mu arm koji ga ini pogodnim i za natpisnu upo- ject originated from typefaces that are normally linked with specific musical styles,
trebu. Uz neto manje izlomljenih formi, verzali stilom prate kurente, those on album and record sleeves, as well on posters and other accompanying
a proporcije su im na tragu renesansnih serifnih pisama. music materials. Styles can also be used in combination and hence the chorus or
a solo section can be particularly highlighted. Some musical symbols have several
North alternations. The ideal purpose of this typeface would be to use it in some musical
notation software such as Sibelius or Finale.
North is a sans serif typeface primarily intended for use in body
text. It has been translated into construction and has been derived
from handwriting. The fragmented details and imperfect forms fol-
low the imperfections of handwriting and provide it with a charm
which makes it adequate for use in headlines. Capital letters have a
slightly smaller quantity of fragmented forms and they follow the
lower-case letters with their style. Their proportions resemble the
Renaissance serif typefaces.
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klasja habjan barbara bjeli

mentor: Nikola urek mentor: Nikola urek
hrvoje dominko
mentor: Nikola urek
FloraFauna
Ovim projektom oblikovano je pismo prilagoeno djeci tako da im olaka uenje
slova igrom povezivanja sa ivotinjama, iji naziv zapoinje tim slovom. Odgoneta-
vanjem ivotinja djeca pamte oblik i zvunost pojedinih slova kao i nazive ivotinja
koje dotada nisu poznavali. Pismo ima dva stila, biljni (flora) i ivotinjski (fauna), a
osim edukativne uloge, prigodno je i za naslove, logotipe ili za izradu djejih igara
poput onih pogaanja ili rebusa.
FloraFauna
This project provided a typeface adapted to children, aiming to help them in their
learning of the alphabet through a game of association with animals whose names
begin with a specific letter. Through guessing the names of animals children mem-
orise the design and the sound of individual letters, as well as animal names that Grease Malia
had previously been unknown to them. The typeface has two styles: flora and Grease je pismo bazirano na potezima kista (brush lettering). Sastoji Malia je natpisno pismo koje u sebi nosi logiku rukom pisanih slova i slobodnih formi
fauna, and, in addition to its educational role, it is also effective in headlines, logos se od tri stila: script, serif i sans. Grease script je standardno rukopi- nastalih potezima kista ili markera. Njezina primjena je iskljuivo dekorativna jer ovo
or for the creation of childrens games such as guessing games or rebus puzzles. sno pismo, grease serif potezima kista nadodaje serifne forme te gre- pismo najbolje funkcionira na veim dimenzijama, naslovima te na manjim kolii-
ase sans, neserifno pismo s pojednostavljenim potezima i minimalno nama teksta. Ovo pismo dobro se slae s jednostavnim niskokontrastnim geome-
vidljivim utjecajem kista. Rezovi se mogu koristiti odvojeno ili kombi- trijskim pismima te zbog suprotnosti u konstrukciji Malia na tako najbolje dolazi
nirati, budui da su nastali na istoj osnovi te se vizualno nadopunjuju. do izraaja i unosi slobodniji duh u tipografske kompozicije.
Grease Malia
Grease is a font based on brush lettering. It comprises of three styles: Malia is a headline font with a logic of hand-drawn letters and free forms created
script, serif and sans. Grease script is a standard hand-drawn font, upon brush or marker lettering. Its application is exclusively decorative, since this
grease serif adds serif forms through brush lettering and grease sans, font functions best on higher dimensions, headlines and smaller text quantities.
a sans-serif font with simplified lines and minimally visible brush This font can be effectively combined with simple low-contrast geometric type-
impact. Styles can be used separately or combined, since they were faces and, due to contrariness in construction, Malia can best be noted in this way,
designed on the same basis and are visually complementary. permeating typographic compositions with its free spirit.
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Film Film
i video and Video
Film i video je teorijsko-praktini kolegij u okviru kojeg se Film and video is a theoretical-practical course within which stu-
studenti usmjeravaju na temeljne znaajke filmskog i video dents are provided a basic insight into film and video creativity.
stvaralatva. Cilj kolegija je studentima pruiti teoretska i The objective of the course is to provide students with theoretical
praktina filmska znanja te im ponuditi mogunost vizual- and practical knowledge on film and give them the opportunity
nog promiljanja i kreativnog izraavanja filmskim izraajnim for visual thinking and creative expression through expression
sredstvima u mediju koji je est pratitelj njihove profesije. methods used in film - the media that is frequently used in their
Rezultat autorskog djelovanja studenata su filmske vjebe profession. The result of original student work are filmmaking
koje sami realiziraju. exercises done independently by the students.
U prvom semestru studenti su mogli birati izmeu sljedeih During the first semester students were given the opportunity
vjebi: izrade kratkog dokumentarnog autobiografskog ili sni- to choose among the following exercises: the making of a short
manja biografskog filma o voljenoj osobi. documentary autobiographical film or the making of a biograp-
Ovisno o smjeru diplomskog studija, u drugom su seme- hical film about a loved one.
stru studenti industrijskog dizajna snimali videospot a stu- Depending on the department of the graduate study programme
denti vizualnih komunikacija reklamu za drutveno korisnu ili students had enrolled in, during the second semester students of
humanitarnu kampanju, koju su prethodno osmislili i razradili Industrial Design made a video clip, whereas students of Visual
na kolegiju Kreativna komunikacija pod mentorstvom profe- Communications made an advertisement for a socially responsi-
sora Veljka vana. ble or a humanitarian campaign, previously designed and deve-
loped during the course entitled Creative communication under
the mentorship of the professor Veljko van.
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klasja habjan
Transmisija Transmission martina uki Lucija Lucija

Biografski film A biographical film mentor: Stanko Herceg Biografski film A biographical film
asistent/assistant: Pavel Posavec Lucija je svestrana umjetnica koja se bavi kiparstvom, Lucija is a many-sided artist involved in sculpture,
Film je portret Stanislava Habjana kroz rijei koje je napisao iz per- The film provides a portrait of Stanislav Habjan through the words he
spektive djeaka. Rijei koje je autor postavio na zidu galerije Forum, had written from the perspective of a boy. The words placed by the slikarstvom, fotografijom i glumom. Film prikazuje njen painting, photography and acting. The film depicts
otkrivaju spoj prolosti i sadanjosti priom o ocu i sinu. Naziv prie author on the wall of Forum Gallery show a connection between the stvaralaki proces kombinacijom dokumentarnih i stu- her during the process of creation through a combi-
i filma je Transmisija, kao odnos materijalnoga i duhovnog, naslje- past and the present through a story about a father and a son. Both dijskih snimki u kojma umjetnica glumi samu sebe. Film nation of documentary and studio films in which the
ivanja i davanja, a simboliki je prikazana okretanjem pedala prili- the story and the film are entitled Transmission, aiming to portray je snimljen u dva razliita formata kako bi se razdvo- artist acts herself. The film has been made in two dif-
kom vonje bicikla. the relationship between the material and the spiritual world, as well jio glumaki od dokumentaristikog pogleda na temu. ferent formats in order to separate the actors and the
as between the inheritance and giving and it has been symbolically documentary stance on the topic.
shown through the turning of the pedals during cycling.
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mateo grubii ana vujasi

Kampanja za razmjenu odjee

Promidbeni film
Film poziva na sudjelovanje u organiziranoj razmjeni odjee. enska odjea jar-
kih boja progovora ljudskim glasom prepriavajui dogaaje iz vlastite prolosti.
Svaki komad odjee ima svoju priu: trenirka je zaboravljena zbog nove, majica
je razdvojena od hlaa, haljina je diva zapostavljena nakon prekida veze. Tijekom
trajanja filma prie postaju tunije, kadrovi postaju bri, a film poprima sumorniji
dokumentaristiki ton. Tekst na kraju poziva gledatelje da razmisle o svom odnosu
prema odjei i dou na razmjenu. U zadnjem kadru prikazan je sretan ivot odjee
nakon razmjene. Koncept i scenarij razraen je u suradnji s kolegicom Anom Vuko
na kolegiju Kreativna komunikacija.
Campaign for clothing swap

A promotional film
The film is an invitation to participate in an organised clothing swap event. Womens
clothes in dazzling colours tell tales from their own past. Each piece of clothing has
a tale to tell: a track suit was forgotten because of a new one, a Tshirt was sepa-
rated from the trousers, whereas a dress is a diva neglected because of a breakup.
The stories become increasingly sad throughout the film, the shots become faster,
while the tone of the film becomes gloomier and transforms into a documentary.
The closing text invites the viewers to consider their relationship with clothes and
participate in the clothing swap. The final shot portrays the happy life of clothes
after the swap. The concept and the scenario have been developed in co-operation
with the colleague Ana Vuko during the course entitled Creative communication.
Noni Grandpa
Biografski film A biographical film
Portret djeda (nonia) inspiriran je slikovitou i ivopisnosti njego- The portrait of a grandfather (grandpa) was inspired by picturesque-
vog naina pripovijedanja i opisivanja dogaaja iz ivota. Razne foto- ness and vividness of his way of narration and the description of the
grafije i snimke iz obiteljske kolekcije vizualno pridonose priama i events that marked his life. Diverse photographs and recordings
zaokruuju film kao formu dokumentiranja prolosti koja bi inae from the family collection give a visual contribution to the stories
vremenom izblijedila u sjeanjima. and enhance the film as a form used for documentation of the past
that would otherwise fade away from the memory.
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maja jandri andrej uki

ArchiveYou Make Me Feel

Glazbeni spot
Sadraj scena iz spota preuzeta je iz pjesme iji stihovi govore o
melankoliji i nostalgiji. Kadrovi su montirani na nain da se rezovi
podudaraju s promjenama tempa u pjesmi.
ArchiveYou Make Me Feel

A music video
The theme of the video was inspired by the song lyrics that speak
about melancholy and nostalgia. The shots were edited in such a
way that the cuts between the scenes match the tempo changes
within the song.
Trophy JumpNoob rophy JumpNoob

Glazbeni spot A music video
Noob je dinamina pjesma mladoga zagrebakog pop-punk banda. Noob is a dynamic song by a young pop-punk band from Zagreb. The
Stihovi pjesme govore o uzastopnim osobnim neuspjesima. Spot song lyrics tell a tale of successive personal failures. The sound of
zvukom podsjea na ameriku teen kulturu, a radnja je smjetena the music video reminds of American teen culture and it takes place
na kolsko igralite za vrijeme natjecanja u tranju. Glavni junak je on a school playground during a running race. The main character
prikazan na komian nain kako, usprkos trudu, neslavno zavrava has been portrayed in a comic way, while daydreaming of a vic-
svoju utrku, a sanjari da je pobijedio. tory, irrespective of having ended the race in an unsatisfactory way.
254 255
Interaktivni mediji Interactive Media

Oblikovanje User experience
korisnikog iskustva design
Sveobuhvatni dizajnerski projekti danas neminovno ukljuuju Comprehensive design projects currently inevitably include also
i segment digitalnih medija. Na diplomskom studiju od stu- the digital media segment. During the Graduate Study Programme
denata se trai izlaenje iz granica iskljuivo vizualnog obli- students needed to transgress the boundaries of exclusively visual
kovanja k razumijevanju procesa dizajniranjaod strategije design and focus on gaining insight into design processfrom
do izrade samog prototipa. strategy to prototype creation.
Tijekom oba semestra studenti prolaze cijeli proces obliko- Throughout both semesters students were introduced to the
vanja korisnikih iskustavaod definiranja strategije, obliko- entire process of user experience designfrom strategy defini-
vanja sadraja i strukture, dizajniranja wireframea te na kraju tion, content and structure design, wireframe design and even-
vizualnog oblikovanja samog projekta. tually to visual design of the project.
Metode i teme kojima se studenti bave su: informacijska arhi- Methods and topics addressed by the students included: infor-
tekura, dizajnersko istraivanje, definiranje persona i korisni- mation architecture, design research, defining of personas and
kih scenarija, izrada wireframeova i prototipa, dizajn style gui- user scenarios, wireframe and prototype creation, as well as
des, moodboards itd. design of style guides and mood boards, etc.
Na prvome semestru studenti promiljaju, projektiraju, obli- During the first semester students reflected on, designed and cre-
kuju i izrauju prototipove mobilne aplikacije. Tema zadatka ated mobile app prototypes. The topic of the assignment was Joy
bila je veselje (engl. Joy) koji su studenti interpretirali nizom and students interpreted it through a vast array of diverse apps
razliitih aplikacija od kojih se neke bave temom fotografije some of which address the issue of photography (and sharing
(i dijeljenja fotografije s najbliima), kalendara itd. photographs with the loved ones) and calendars, to name a few.
Fokus u projektnom zadatku bio je na situacijama u kojima Project task focused on situations in which users would interact
e korisnici biti u interakciji s aplikacijom te na tome kako bi with the application and on a typical user flow over one day.
izgledao tipian user flow u jednome danu. The assignment during the second semester primarily focused
U okviru zadatka drugog semestra pozornost je bila usre- on website. In the context of digital design website as a media
dotoe na web-stranicu. U kontekstu digitalnog oblikovanja is currently still the most present in our society. Subjects were
web-stranica kao medij i dalje je najprisutniju u naem drutvu. selected through public voting as national internet centres whose
Subjekti su birani javnim glasovanjem kao nacionalna inter- online presence is currently insufficiently exploited.
netska sjedita koja trenutno imaju nedovoljno iskoritenu Students had the opportunity to select subjects from the cate-
online prisutnost. gory of services (Clinical Hospital Centre, Zagreb Bus Terminal,
Studenti su mogli birati subjekte iz servisne kategorije (KBC, Croatian Lottery), state institutions (ministries, tourist boards,
AKZ, Hrvatska lutrija), dravnih institucija (ministarstva, tz, galleries) and charity work (Suza, Civil Society Foundation).
Galerija) te dobrotvornog rada (Suza, Zaklada Civilno drutvo).
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josipa pra martina uki

Joy Joy aplikacija

Joy je aplikacija koja se fokusira na na doivljaj sree u svakodnevnom ivotu. esto tome osjeaju ne obraamo Aplikacija Joy namijenjena je enama od 25 do 40 godina ivota, koje zbog dnevne prezauzetosti ne stignu ui-
dovoljno pozornosti zbog prenatrpanoga dnevnog rasporeda i ubrzanog naina ivota. Budui da je veina nas vati i opustiti se. Prua im mogunost biljeenja dnevnih i mjesenih obveza i razdvajanja neodgodivih rutinskih
fokusirana na svakodnevno posjeivanje drutvenih mrea, aplikacija nam nudi pregled svih klikova na jednome obaveza od oputajuih sadraja. Ona omoguuje mjerenje dnevne odnosno mjesene koliine radosti. Tako-
mjestu. Otkriva dnevni, tjedni, mjeseni i godinji raspored, upozorava na skoranja dogaanja koja su nam bitna, er, predlae korisniku sadraje koji bi ga mogli opustiti i razveseliti te prua mogunost dijeljenja dnevnoga i
poput druenja, sastanaka, roendana i slino, skreui pozornost na ugodne trenutke. Pokazuje i stupanj sree mjesenog rasporeda s drugim korisnicima Joya.
koji smo taj dan doivjeli kako bismo toga bili svjesni i obratili tome vie pozornosti. Aplikacija nas upozorava na
nadolazee sretne dogaaje da bismo vie uivali u njima. Aplikacija je prvotno namijenjena mladim majkama i Joy app
zaposlenim enama, a popraena je njenim pastelnim tonovima kako bi omoguila osjeaj blaenstva i smirenja. The app named Joy is intended for women between the age of 25 to 40 who do not manage to relax and
enjoy themselves due to their packed daily schedule. It provides them the opportunity to write down daily and
Joy monthly obligations and separate pressing routine obligations from entertainment. Moreover, it enables the
Joy is an app that focuses on the experience of joy in everyday life. One frequently does not pay sufficient atten- measurement of daily or monthly amount of joy. In addition, it suggests programmes that may relax or provide
tion to this sensation due to ones packed daily schedule and a hasty lifestyle. Since most of us are focused on joy to the user, as well as the opportunity of sharing their daily or monthly schedules with other users of Joy.
visiting social networks on a daily basis, the app provides a comprehensive overview of all the clicks. In addi-
tion, it provides a daily, weekly, monthly and annual schedule, pointing out important forthcoming events, such
as socialising events, meetings and birthday parties, to name a few, stressing the most agreeable moments.
Moreover, it shows the level of joy experienced on a specific day aiming to point it out and make one pay more
attention to it. The app attracts attention to forthcoming joyful events striving to make us enjoy them more.
It is primarily intended for young mothers and working women, featuring calming pastel colours which aim to
create a sensation of bliss and calmness.
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school of design annual review 2014/2015 graduate programme/interactive media,2nd semester
borna aaron grevi mateo grubii

martina uki
mentor: Tin Kadoi
Autobusni kolodvor Zagreb Zagreb Bus Terminal Redizajn web-stranice tvrtke Jadrolinija Jadrolinija website redesign
Postojea stranica Autobusnog kolod- The existing Zagreb Bus Terminal is packed Web-stranica Jadrolinije, drutva za linijski pomorski The website of Jadrolinija, a company providing mari-
vora u Zagrebu pretrpana je svakojakim with diverse textual and visual informa- prijevoz putnika i tereta, redizajnirana je prema potre- time transport services of both passengers and goods,
tekstualnim i slikovnim informacijama tion lacking the required classification bama korisnika koji eli to bre i jednostavnije kupiti has been redesigned to meet the requirements of users
bez neophodne klasifikacije prema nji- according to their level of importance. kartu za plovidbu. Na poetnoj stranici nalazi se inte- who aim to purchase tickets in a fast and straightfor-
hovoj vanosti. Osnovna ideja projekta The basic idea of the project is to select raktivna karta, povezana s widgetom za pretraivanje ward way. The home page provides an interactive map,
je ciljno odabrati slikovne i tekstualne both the visual and textual information reda plovidbe. Dizajnirana je s ciljem to jednostavni- connected with a widget for browsing of the sailing
informacije vezane uz hrvatske turistike linked with the Croatian tourist destina- jeg snalaenja meu rutama koje povezuju hrvatsku schedule. It has been designed aiming to simplify find-
destinacije, uvesti jednostavan sustav tions and to introduce a straightforward obalu i otoke. Na poetnoj stranici korisniku su, uz ing a way amongst the routes connecting the Croa-
navigacije koji bi kretanjem web-su- navigation system that would create novosti, prikazane i povoljne ponude s fotografijama tian coast and the islands. In addition to the news, the
eljem omoguio doivljaj putovanja. travel experience through movement atraktivnih lokacija koje ga mogu potaknuti na pro- home page also provides favourable options with a
on the web interface. mjenu plana putovanja. photo gallery of beautiful places, aiming to make the
users change their travel itineraries.
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Dizajn interakcija Interaction Design
Predmet Dizajn interakcija integrira steena znanja studenata The course Interaction Design 1 integrates the knowledge acqu-
industrijskog dizajna i vizualnih komunikacija iz podruja psi- ired by Industrial Design and Visual Communications students in
hologije, sociologije, antropologije, ergonomije, konstrukcija, the areas of psychology, sociology, anthropology, ergonomics,
tipografije, interaktivnih medija, pokretne grafike i animacije... construction, typography, interactive media, motion graphics
te ih koristi u oblikovanju sve uestalijih situacija u kojima u and animation, to name a few and uses them to address the
doticaj dolaze ovjek i manje ili vie kompleksni mehaniki i/ increasingly frequent situations where people are faced with
ili digitalni sustavi u realnom i virtualnom okruju. more or less complex mechanical and/or digital systems in real
Tehnologija i tehnika koja se sve ee koristi u interpretaciji and virtual environments.
informacija i pruanju usluga, bilo da se radi o vremenu dolaska The technology and the techniques increasingly frequently used
javnog prijevoza, prijavama putnika (check in) u zrakoplovnim in the interpretation of information and provision of services,
lukama, kupnji ulaznica, uplati i isplati novca, prezentiranju irrespective of whether this is concerning the public transpor-
znanstvenoga, kulturno-umjetnikoga, popularnoga, poslov- tation schedules, passenger check in at airports, ticket purc-
noga ili komercijalnog sadraja i sl., zahtijeva multidisciplinarni hase, in-payment and out-payment, presentation of scientific,
pristup u kreiranju takvih interakcija te odreenu razinu infor- culture and arts, popular, business or commercial contents, to
miranosti o podrujima koja su ukljuena u dizajn tih sustava. name a few, primarily highlight the importance of multidiscipli-
Predmet Dizajn interakcija obuhvaa edukaciju putem istra- nary approach for the creation of such interactions and provi-
ivanja i projektiranja meuodnosa ovjeka i jednostavnijih sion of a certain level of information on the areas included in
ili sloenijih mehanikih ili digitalnih sustava u realnom i vir- the design of such systems.
tualnom okruju. The course Interaction design 1 includes education through research
Dizajn interakcija 1 orijentira se prema analizi postojeih rje- and design of interaction between humans and more or less com-
enja u realnom okruju, s naglaskom na redizajnu problema- plex mechanical or digital systems in real or virtual environments.
tinih situacija s kojima se svakodnevno susreemo. Interaction design 1 focuses on the analysis of existing solutions
Dizajn interakcija 2 bavi se unaprjeenjem odnosa ovjeka i in real environment, highlighting the redesign of difficult situa-
raunalnih i/ili mehanikih sustava istraivanjem i kontekstua- tions one encounters on a daily basis.
lizacijom novih materijala i tehnologija te konceptualizacijom Interaction design 2 is involved in the enhancement of the intera-
buduih drutvenih odnosa. ction between humans and computer and/or mechanical systems
through research and contextualisation of new materials and
technologies, as well as through conceptualisation of future
social relations.
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school of design annual review 2014/2015 graduate programme/interaction design,1st semester
prvi semestar
Cirkus Centrifuga
ana vujasi, lovro miokovi, mateo grubii, matej goreta, nataa njegovanovi
set interaktivnih uila za objanjavanje mentori: Vedran Kasap i Tin Kadoi
fizikalnog pojma centrifuge

Centrifugalna sila pojavljuje se pri krunom gibanju; to je ona
sila koja nastoji odbaciti tijelo od sredita gibanja odnosno sila
reakcije na centripetalnu silu (onu silu koja prisiljava tijelo da
se giba oko nekog sredita.)
S obzirom na to da se centrifugalna sila pojavljuje u brojnim
prilikama, osmiljen je set uila koji pomae u uoavanju nje-
zine prisutnosti u naizgled neoekivanim situacijama. Ne bi li
se sam proces uenja uinio zanimljivijim, a tako i uinkovitijim,
osmiljena je i koreografija s uilima u ulozi cirkuskih rekvizita,
koja korisnika navodi da se i sam u njima okua i tako stekne
znanje puno trajnije od teorijski usvojenog, a to centrifugalno
iskustvo naui prepoznati u svakodnevnim situacijama.
first semester
Circus Centrifuga
A set of interactive learning tools
intended to explain the physical concept
of centrifugation
Centrifugal force appears upon circular motion; it is the force
drawing a rotating body away from the centre of the rotation
or the force of reaction to the centripetal force (the force that
makes a body move around some central point).
Since centrifugal force appears in a large number of occasions, a
set of learning tools has been provided aiming to help in identi-
fying its presence in apparently unexpected situations. In order
to make the learning process more interesting and hence also
more effective, a choreography has been provided with learning
tools playing the role of circus paraphernalia that invite the user
to try them and hence acquire knowledge with long-term reten-
tion as opposed to theoretical knowledge and to learn to identify
the centrifugal experience in everyday situations.
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prvi semestar
Prostorna instalacija u funkciji
viktorija lea vavra, zita naki vojnovi, vanja perkovi, klasja habjan, monika daki
interpretacije fizikalnog pojma sile trenja mentori: Vedran Kasap i Tin Kadoi
Objekt je dizajniran kao modularni sustav interpretacijskih

jedinica koji funkcioniraju kao uilo pomou kojeg djeca razu-
mijevaju osnovne fizikalne principe i pojmove vezane za silu
trenja. Prolaenjem kroz poligon koji integrira statiko i dina-
miko trenje, kotrljanje te trenje fluida, korisnici istodobnim
podraajem nekoliko osjetila povezuju doivljeno s apstrak-
tnim znanjem o interpretiranom pojmu. Igrom i potaknutom
kreativnou upijaju slojevito prezentirane informacije.
U interakciji s nekoliko jednostavnih mehanikih pomagala
primjenjuju saznanja o trenju kako bi se uspjeno kretali obli-
kovanim prostorom.
first semester
Spatial installation intended to
interpret the physical concept of
friction force
The object has been designed as a modular system of interpre-
tation units functioning as a learning tool through which chil-
dren are provided an insight into the basics of the principles and
concepts of physics concerning the issue of friction force. Users
connect the experience with the abstract knowledge on the inter-
preted concept upon passing through a polygon that integrates
static and dynamic friction, rolling and fluid friction, through sti-
muli to several senses. They are happy to learn gradually pre-
sented information through games and encouraged creativity.
Upon interaction with several simple mechanical tools they apply
the acquired knowledge on friction in order to successfully move
through a specific space.
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prvi semestar
Interaktivni nutricionistiki tanjur
Color full/set posua za
maja jandri, borna aaron grevi, zita vojnovi naki, martina uki, nataa njegovanovi
uravnoteenu prehranu mentori: Vedran Kasap i Tin Kadoi
Set se sastoji od tanjura, zdjela, aa i alica koji u kontaktu

s hranom reagiraju obojenjem, prikazujui tako nutritivnu
raznolikost hrane. Osnovna zamisao ovog proizvoda jest na
intuitivan i zabavan nain poticati korisnika na raznovrsniju,
a time i zdraviju prehranu odnosno, odabirom hrane stvoriti
itav spektar boja na obodima posua.
Ciljanu skupinu ine svi pojedinci koji nastoje uravnoteiti svoju
prehranu i uiti o njoj na jednostavniji i oputeniji nain, to
ovaj set ini osobito korisnim za djecu svih uzrasta.
first semester
Interactive nutrition plate
Color full / a set of dinnerware for a
balanced diet
The set comprises of plates, bowls, glasses and cups that react
upon contact with food by changing their colour, aiming to show
the nutritional diversity of food. The idea behind this product
was to encourage the user to opt for a greater food variety in
an intuitive and entertaining way or to create the entire visible
spectrum on the dinnerware through a selection of the right food.
The target groups comprises of all the individuals striving to
have a more balanced diet and learn about it in a simpler and a
more relaxed way, which makes this set of dinnerware particu-
larly useful for children of all age groups.
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Diplomski Graduation
radovi Theses
Diplomski rad se temelji na cjelovitoj obradi utvrenih tema, a A graduation thesis is based on comprehensive approach to speci-
sastoji se od dva dijela: istraivako-teorijskog dijela i projek- fic topics and comprises of two sectionsthe theory section and
tnog dijela. Tijekom 3. semestra diplomskog studija studenti the project section. During the three semesters of the postgra-
istrauju i analiziraju odabrane teme kako bi bili u moguno- duate study students explore and analyse the selected topics in
sti stvoriti teorijski temelj za projektni dio kojeg realiziraju order to provide a theory section as the idea behind the project
tijekom 4. semestra i brane ga pred ispitnim povjerenstvom section which is consequently implemented during the fourth
imenovanim na Vijeu Studija dizajna. semester and presented before the exam commission appoin-
Ovim radom student treba dokazati posjedovanje kompeten- ted at the Council of the School of Design.
cija i postizanje ishoda uenja pri rjeavanju problema iz pod- The thesis shows student competences and study results in pro-
ruja koja su bila sadraj njegova studija te koritenje teorij- blem solving related to the field of interest, as well as imple-
skog i praktinog znanja steenog tijekom studija. mentation and use of both theoretical and practical knowledge
U podruju industrijskog dizajna diplomski radovi u akadem- acquired throughout the course of studies.
skoj godini 2014./2015. ukljuivali su podruja poput dizajna The theses in the field of industrial design during the academic
proizvoda i njihovih sustava, dizajna urbane opreme, razvoja year 2014/2015 included the topics such as product and pro-
turistikih proizvoda/suvenira, stvaranja novih koncepata duction system design, urban equipment design, development
prostornih zahvata u povijesnim gradskim jezgrama s ciljem of tourism products/souvenirs, creation of new concepts of
isticanja lokalnih vrijednosti i podruje dizajna za izvanredne spatial intervention in historical town nuclei to enhance local
situacije, dok je nekolicina diplomskih radova bila temeljena monuments and design in extraordinary circumstances, whilst
na podruju dizajna interakcija i doivljaja. several graduation theses covered the topics of experience and
U podruju vizualnih komunikacija diplomski radovi u aka- interaction design.
demskoj godin 2014./2015. ukljuivali su irok raspon tema The graduation theses in visual communications during the aca-
od obrazovanja, kulture, medija, turizma pa sve do sporta. demic year 2014/2015 covered a vast array of topics ranging
Zajednika znaajka veine odabranih tema je izbor interak- from education, culture, the media and tourism to sports. The
tivnih medija kao dominantnog oblika komuniciranja s oda- common feature of most selected topics was the choice of inte-
branom ciljnom skupinom. Tek nekolicina diplomskih radova ractive media as the principal form of communication with the
ukljuuje klasine medije komunikacije. selected target group. Only several graduation theses covered
the classical communication media.
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school of design annual review 2014/2015 university graduate studies/masters
sveuilini diplomski studij

Magistri
university graduate studies
Masters
Benussi Dorja Matea Brki Slavica Farka Antonio Karaa
Senzomotorno stimulativna edukacijska oprema Specifine kvalitete usluga u gradu Zagreba kao kljuan Uloga i funkcija bajki Uloga dizajna u digitalnoj distribuciji i prodaji glazbe
Sensorimotor Stimulation Educational Equipment element za razvoj kreativnog turizma odnos vizualnoga i narativnog The role of design in digital distribution and music sales
mentor: Mladen Orei Dizajn i destinacija/harmonizacija turizma The role and the function of fairy tales mentor: Ivan Doroghy
komentorice/comentors: Ivana Fabrio, Rea Fulgosi-Masnjak komentor/comentor: Tomislav Vlaini
godinja nagrada studija dizajna / annual awards at the school of design Specific quality of services provided in the city of Zagreb as a the relationship between the visual and the narrative
key feature for the development of creative tourism mentor: Nenad Dogan
Design and destination/harmonisation of tourism komentorica/comentor: Romana Kajp Iris Klari
Marta Birki
mentor: Nenad Dogan Informacijska platforma otoka Braa
Bademi kao sredstvo revitalizacije sredine Ravnih kotara komentorica/comentor: Romana Kajp Tihomir Filipec Information platform of the island of Bra
Almonds as an instrument for revitalisation of Ravni Kotari region
Kreator/Creator mentor: Ivan Doroghy
mentor: Zlatko Kapetanovi Anta Buevi komentor/comentor: Tomislav Vlaini
komentorica/comentor: Sanja Benceti mentor: Stipe Bri
Djeji strahovi/vizualizacija, verbalizacija i edukacija suradnica/associate: Karla Paliska
Set za preivljavanje straha / Strahovnica i Strahoslov Stanislav Kosti

Luka Daniel Bori
Childrens fears/visualisation, verbalisation and education Matija Guli Milosca
Arhiva radionica A fear survival kit / Strahovnica (Fear picture book) and Uloga vizualnih komunikacija u religiji Set posuda za spremanje hrane
portal za metodoloko arhiviranje procesa Strahoslov (Fear alphabet book) primjena u finskom paganizmu Milosca
dizajnerskih radionica mentor: Nenad Dogan The role of visual communications in religion A Set of Food Storage Containers
Archives workshop komentorica/comentor: Romana Kajp
application in Finnish paganism mentor: Zlatko Kapetanovi
a portal for methodological archiving of design komentorica/comentor: Sanja Benceti
mentor: Nenad Dogan
workshop process Niko Crnevi komentorica/comentor: Romana Kajp
komentorice/comentors: Ivana Fabrio, Sanja Benceti Emotivni dizajn Dorotea Kutlea
komentor/comentor: Tomislav Vlaini posjedovanje i osjeaji Zrinka Horvat Uradi sam u javnom prostoru
Emotional Design Taktilna slikovnica za slijepu djecu DoItYourself In Public Premises
Maja Bokovi Possession And Feelings A tactile picture book for blind children mentor: Zlatko Kapetanovi
mentor: Mladen Orei mentor: Stipe Bri
Urbani dizajn komentorica/comentor: Ivana Fabrio komentorica/comentor: Sanja Benceti
unaprjeenje prostornih kvaliteta i funkcija grada suradnica/associate: Karla Paliska Sanja Kuzmanovi
Urban design godinja nagrada studija dizajna / annual awards at the school of design Antimuzej Vladimira Dodiga Trokuta
Vidovi Kristina Crnek
enhancement of urban spatial quality and functions Web arhiv
mentor: Zlatko Kapetanovi Zaboravljena zimnica
Mario Jeki Antimuseum by Vladimir Dodig Trokut
Forgotten winter wood
Videoigra kao motivacija u svladavanju gradiva Web archives
komentorica/comentor: Sanja Benceti matematike u osnovnoj koli mentor: Ivan Doroghy
komentor/comentor: Darko Schneider
Video game as a motivation to learn Mathematics subject komentor/comentor: Tomislav Vlaini
Hrvoje Dominko matter in elementary school
mentor: Nenad Dogan
Online baza urbanog jezika govornih podruja u Hrvatskoj komentorica/comentor: Romana Kajp
An online basis of urban language of speaking areas in Croatia
komentor/comentor: Tomislav Vlaini
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school of design annual review 2014/2015 university graduate studies/masters
dodiplomski sveuilini studij

Diplomanti
Graduate University Study Programme
The Graduates
Dora Lugari Ena Priselec Maja Suboti Mirna Saletovi
Problem miastenije gravis u Republici Hrvatskoj Suvremena prezentacija tradicijske kulture Edukacija mladih o vizualnoj kulturi Vizualni identitet opg-a
The issue of Myasthenia gravis in the Republic of Croatia Contemporary presentation of traditional culture slikovnica kao sredstvo odgoja i obrazovanja obiteljsko poljoprivredno gospodarstvo Saletovi
mentor: Ivan Doroghy mentor: Mladen Orei Raising awareness of young people on visual culture Visual identity of family farms
komentor/comentor: Tomislav Vlaini komentorica/comentor: Ivana Fabrio picture books as educational resources Saletovi family farm
mentor: Nenad Dogan mentor: Ivan Doroghy
komentorica/comentor: Romana Kajp komentor/comentor: Veljko van
Ivona Milo Katarina Ratkaj
Kulturni krajobraz bakarskih prezida Interaktivni mediji u obrazovanju
Cultural landscape of Balkan partition walls Interactive media in education Alma avar
mentor: Mladen Orei mentor: Ivan Doroghy Georgievics de Abadia
komentorica/comentor: Ivana Fabrio komentorica/comentor: Marina Gabelica Georgievics de Abadia
Lucija Nieno komentor/comentor: Tomislav Vlaini
Janja Rokar
Fleksibilno stanovanje
Flexible housing Unaprjeenje iskustva posjetitelja glazbenih festivala Matija poljar
mentor: Zlatko Kapetanovi kroz dizajn Autonomna vozila u kontekstu urbanog transporta
Experience Enhancement of Music Vestival Visitors Through Autonomous Vehicles in the Context of Urban Transportation
Design mentor: Mladen Orei
Tea Pavi
mentor: Mladen Orei komentorica/comentor: Ivana Fabrio
Fragmenti komentorica/comentor: Ivana Fabrio
enski antifaistiki Zagreb
Petra Vrdoljak
Fragments Ana Somek
Womens antifascist Zagreb ivot na margini
Naini zbrinjavanja i oivljavanja naputenih gradskih uloga dizajna u poboljanju kvalitete ivota beskunika
mentor: Stipe Bri
suradnica/associate: Karla Paliska prostora Zagreba Life on the Margins
Methods of management and revitalisation of abandoned The Role of Design in The Improvement of the Quality of
urban spaces in Zagreb Life of Homeless Persons
Martin Peranovi
mentor: Nenad Dogan mentor: Mladen Orei
Holo/Holo komentorica/comentor: Romana Kajp komentorica/comentor: Ivana Fabrio
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp
Franka Speti
Inkluzivna didaktika igraka
Luka Peri
Inclusive Didactic Toy
Selfmonitoring mentor: Zlatko Kapetanovi
platforma za pacijente na antikoagulacijskoj terapiji komentorica/comentor: Sanja Benceti
Self-monitoring
platform for patients on anticoagulation therapy
mentor: Stipe Bri
suradnica/associate: Karla Paliska
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school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester
dorja benussi
mentor: Mladen Orei
komentorice/comentors: Ivana Fabrio, Rea Fulgosi-Masnjak
godinja nagrada studija dizajna / annual awards at the school of design
Senzomotorno stimulativna edukacijska oprema Sensorimotor Stimulation Educational Equipment

Set stolaca i pisai stol osnovni su dijelovi opreme senzomotorno A set of chairs and a desk are fundamental parts of the equipment
stimulativnih edukacijskih prostora, ali i ostalih prostora namijenje- of sensorimotor stimulation educational premises, as well as other
nih boravku djece. Umirivanje i bolja koncentracija kljune su smjer- premises intended for the accommodation of children. Calming down
nice za prikazane stolce, dok su praktinost i prilagodljivost okosnica and enhanced concentration are the fundamental features of the
oblikovanja stola. Suptilno umirivanje dubokim pritiskom tkanine presented chairs, whereas practicality and adaptability are crucial
sjedita i mogunost izolacije mogu uvelike unaprijediti praenje for desk design. Subtle calming down through deep pressure on the
nastave, posebice kod osjetljive djece s problemima niskoga neu- cloth of the chair and the possibility of isolation can substantially
rolokog praga. Mogunost ljuljanja i poskakivanja, s druge strane, improve the concentration during the lectures, primarily amongst
mogu pomoi pretjerano aktivnom djetetu da zadovolji svoje osjetne sensitive children with issues of low neurological threshold. On the
potrebe ili potaknuti dijete sa slabom registracijom osjeta. Inkluzivni other hand, the possibility of rocking and jumping can considerably
pristup u dizajnu senzomotorno stimulativnog namjetaja temelji se help hyperactive children to meet their sensory needs or encourage
na prilagoavanju djeci s tekoama, a ovakve znaajke namjetaja children with sensory processing disorder. The inclusive approach
pozitivno utjeu i na raspoloenje svakog djeteta. to sensorimotor stimulation furniture design is based on adapta-
tion to challenged children, whilst its features positively affect also
childrens mood.
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niko crnevi
mentor: Mladen Orei
komentorica/comentor: Ivana Fabrio
Emotivni dizajn Emotional Design

Posjedovanje i osjeaji Possession and feelings
Set jednostavnih svakodnevnih proizvoda proizlazi iz istraivanja A set of straightforward and everyday products originated from a
ljudske potrebe za posjedovanjem materijalnih predmeta, odnosno research on the human need to possess material objects, or the anal-
odnosa izmeu ovjeka i njegovih predmeta, uvjetovanog nainom ysis of the relationship between people and their belongings, against
ivota, okolnostima i kulturom konzumerizma, u suprotnosti s moder- the backdrop of the lifestyle, the circumstances and the culture of
nim pokretom ivotnog minimalizma. Uzimajui u obzir analogiju consumerism, as opposed to the modern movement of minimalist life-
meuljudskih odnosa i odnosa s materijalnim predmetima osnovna style. Taking into account the analogy of interpersonal relationships
ideja je prianje poune prie kroz poznanstva s predmetima. Korite- and the relationship with material objects, the idea behind the work
nje takvih predmeta korisnik ui o sebi, svom odnosu s predmetima was to tell an illuminating story through acquaintance with objects.
koje posjeduje te ih ima mogunost ponovno promisliti i reevaluirati. Following the use of such objects the user learns about themselves,
Suptilna edukacija i podizanje svijesti o stvarima koje uzimamo zdravo their relationship with objects they possess and they have the possi-
za gotovo pomak je u shvaanju koje nas usmjerava na stazu logi- bility to reconsider and re-evaluate them. A subtle raising awareness
nog promiljanja svoga posjeda, a time i interakciju tih predmeta s of the objects we normally take for granted is a move that directs us
naim ivotom, ivotom ljudi oko sebe, ali i prirode. towards a path of logical consideration of our own possession, as
well as the interaction of such objects with our lives, the lives of the
people around us, as well as the life of Nature in general.
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stanislav kosti
komentorica/comentor: Sanja Benceti
Milosca Milosca
Set posuda za spremanje hrane A Set of Food Storage Containers
Projekt se temelji na ispreplitanju elemenata seoske kulture Slavonije The project is based on interweaving of the features of rural culture
i Baranje, ukljuujui lokalne materijale, obrtnike vjetine, obiaje i of Slavonia and Baranja, including local materials, craft skills, cus-
karakter lokalnog stanovnitva, a posebno na tradicionalnom feno- toms and the character of the local population, primarily concern-
menu i gesti iskazivanja gostoljubivosti prema gostu kroz poklanja- ing the traditional phenomenon and the gesture intended to show
nje hranemiloeprilikom odlaska. Set se sastoji od modularnih hospitality towards the guests by giving food gifts upon departure
glinenih posuda s drvenim poklopcima te platna pomou kojega se namedmiloe. The set comprises of modular clay food storage
posude zaveu u sveanj za noenje, po uzoru na platneni sveanj u containers with wooden covers and a piece of cloth with which
koji se nekada vezala hrana kada se odlazilo u polje na etvu. Platno the containers can be tied together for easy carrying, similar to a
slui i kao stolnjak tijekom konzumiranja hrane. Uz to sadri grazam linen parcel for carrying food which was used by agricultural work-
proizaao iz karakteristine tehnike tkanja, s 12 linearnih graka koje ers when working in the fields. The piece of cloth is simultaneously
prikazuju mjesece u godini s istaknutim datumima i mjestima u kojima used as a tablecloth upon food consumption. Moreover, it contains
se odravaju sajmovi ili godinja dogaanja. Na taj nain posjetitelj a graphism that originates from a specific weaving technique, with
nakon to razmota posudice s hranom moe iitati informacije u 12 linear graphics representing the months of a year with highlighted
koje doba godine moe posjetiti odreene aktivnosti. dates and venues of fairs or other annual events. Consequently, upon
unpacking the food containers, the visitor is provided the informa-
tion on the dates and venues that may be of interest so they can
participate in activities they select.
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dorotea kutlea
Uradi sam u javnom prostoru DoItYourself In Public Premises

Projekt preispituje i potie mogunosti samostalne graanske par- The project analyses and encourages opportunities of independ-
ticipacije u javnom prostoru grada odnosno njegovu (pre)oblikova- ent participation of citizens in the public space of the city in its (re)
nju, te odnos dizajna i suvremenih uradi sam trendova i fenomena designing and the relationship between design and the contempo-
u urbanim prostorima. Osmiljeni set je poetni paket jednostavnih rary doityourself trends and other phenomena in urban premises.
funkcionalnih proizvoda za potencijalne takozvane urbane hakere, The designed set is the initial baseline of simple functional products
kojima je dodatna zadaa motivacija graanstva na kontinuirano for potential so-called urban hackers. Moreover, they are intended
interveniranje u gradskim prostorima. Radi se o slobodnoj knji- to motivate the public to continuously intervene in urban spaces. It
nici koja potie na razmjenu i itanje knjiga i tiskovina u parkovima, is a free library that encourages the exchange and reading of books
potom o spremniku za vreice namijenjenom vlasnicima pasa kojeg and publications in parks, as well as a dispenser for bags intended
graani sami pune, malom oglasniku za stupove gdje pojedinci mogu for dog owners, free ads for columns where individuals can place
postaviti svoje oglase, te kukici na koju se moe ovjesiti odjea, kruh their ads and a small hook for hanging clothes, bread or bottles for
ili boce za pojedince kojima je to potrebno. Proizvodi su podrani u those who find it indispensable. Moreover, there is a specialised in
HACKER mobilnom aplikacijom koja potie pojedince na samostalno HACKER mobile app intended for independent and continuous inter-
i kontinurano interveniranje u svoju okolinu kroz natjecanje i komu- vention of individuals in their environment through competition and
nikaciju s ostalim korisnicima. communication with other users.
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janja rokar
mentor: Mladen Orei
Unaprjeenje iskustva posjetitelja glazbenih Experience Enhancement of Music Vestival Visitors

festivala kroz dizajn Through Design
Projekt obuhvaa dizajn proizvoda i doivljaja namijenjenih posjetite- The project comprises of design of products and experiences intended
ljima glazbenog festivala na otoku Obonjanu, uzimajui u obzir spe- for the visitors of the music festival on the island of Obonjan, taking
cifinosti manifestacije, lokacije i korisnika. Prva skupina proizvoda je into account the specific features of this event, the location and the
namijenjena unapreenju uvjeta i iskustva kampiranja, potie pove- users. The first set of products is intended to improve the conditions
zivanje s prirodom i koritenje prirodnih materijala i resursa: spre- and the experience of camping, foster the bonding with Nature and
mnik vode za tuiranje na otvorenom, ogledala i jastuke za spavanje the use of natural materials and resources: outdoor water storage
punjene slamom ili drugim dostupnim materijalom. Druga skupina tank, mirrors and pillows filled with straw or other available material.
proizvoda su ujedno i suveniri, pri emu svaki nosi i dodatna zna- The other set of products comprises of souvenirs and each product
enja i vrijednosti kao to su briga za zdravlje, elegancija u funkcio- has additional implications and values such as health care, elegance
nalnosti te potreba za socijalizacijom i interakcijom: boca za vodu, in functionality and a need for socialisation and interaction: a water
prijenosna svjetiljka i analogni zvunik za mobitel koji ujedno slui i bottle, a portable lamp and an analogue loudspeaker for mobile
kao udaraljka. Trea skupina je instalacija u koju posjetitelji umeu phone that can simultaneously be a percussion instrument. The third
prazne plastine ae te grade objekt, ime se potie svijest o brizi set of products comprises of an installation where the visitors dispose
za okoli, smanjuje koliina otpada, daje osjeaj sudjelovanja i dopri- their empty glasses and hence construct a facility, aiming to raise
nosa te prua vizualnu atrakciju. environmental awareness, reduce the amount of waste, create the
feeling of participation and contribution and provide visual attraction.
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franka speti
Inkluzivna didaktika igraka

Temeljni cilj projekta je smanjenje diskriminacije meu djecom i uka-
zivanje na ljepotu razliitosti, odnosno poticanje socijalne inkluzije
osoba s invaliditetom od najranije dobi. Rjeenje je didaktika igraka
namijenjena razvoju i poticanju motorikih i umnih sposobnosti, kre-
ativnosti i inovativnosti, te poticanju i razvijanju pozitivnih karakteri-
stika osobnosti djece 8-10 godina. Set se sastoji od osnovnih eleme-
nata kruga, kvadrata I trokuta izrezanih od furnirske ploe s utorima
koje se meusobno povezuju slamkama i konopcima razliitih duljina.
Set se moe koristiti na razliite naine: za obraivanje gradiva na
nastavi ili za igru; pojedinano, u paru ili u skupini. Time se potie
individualni rad koji je bitan radi donoenja samostalnih odluka kao
i timski rad koji je vaan inbenik socijalizacije koja se odraava na
sve ostale aktivnosti bilo u razredu ili izvan njega. Set takoer nudi
mogunost nadogradnje od strane nastavnika, a prema u odree-
noj nastavnoj cjelini.
Inclusive Didactic Toy

The specific objective of the project is to reduce the discrimination
amongst children and highlight the beauty of diversity through
encouragement of social inclusion of disabled people from the ear-
liest age. The solution is provided through a didactic toy intended to
develop and encourage motor and intellectual abilities, creativity and
innovativeness, as well as to encourage and develop positive per-
sonality traits of children aged between 8 and 10. The set comprises
of fundamental features of a circle, a square and a triangle cut out
from a veneered board, with slots that are mutually connected with
straws and ropes of diverse lengths. The set can be used in various
ways: for presentation of coursework or for playing; individually, in
pairs or in groups. This encourages individual work which is impor-
tant for independent decision-making, as well as team work which
is an important feature of socialisation and impacts on all the other
activities, both inside and outside the classroom. Moreover, the set
provides the teacher with the opportunity of upgrade depending on
the specific teaching unit.
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matija poljar
mentor: Mladen Orei
Autonomna vozila u kontekstu urbanog transporta Autonomous Vehicles in the Context of Urban Transportation
Projekt se temelji na preispitivanju postojeeg prometnog sustava u The project is based on reassessment of the existing transportation
urbanim sredinama i mogunosti suvremene tehnologije autonomne system in urban environment and the opportunities of modern tech-
vonje, te predstavlja inovativni koncept poboljanja prometa na svim nology of autonomous driving and represents an innovative concept
razinama. Temeljni cilj projekta je usmjeriti razvoj vozila prema demo- of transportation improvement at all levels. The specific objective of
kratinoj upotrebi koja e poboljati promet za sve stanovnike urba- the project is to direct the development of vehicles towards a demo-
nih sredina. Projektno rjeenje je javni, umreeni sustav autonomnih cratic use that will improve transportation for all urban community
vozila koja korisnici ne posjeduju, ve koriste prema potrebi, ulazei inhabitants. The solution provided by the project is a public network
u sustav preko stanica na ulicama ili mobilnih aplikacija putem kojih of autonomous vehicles that are not owned by the users, as they are
se doziva vozilo. U sreditu projekta je dizajn javnoga autonomnog used only when needed, whilst the system can be accessed through
vozila koje je namijenjeno za opisani nain koritenja. stops on the streets or mobile apps through which a vehicle is called.
The project focuses on the design of public autonomous vehicles
intended for the previously described method of use.
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petra vrdoljak
mentor: Mladen Orei
ivot na margini Life on the Margins

uloga dizajna u poboljanju kvalitete The Role of Design in The Improvement of the Quality of
ivota beskunika Life of Homeless Persons
Nedostatak osobnog ivotnog prostora kao osnovni problem besku- A lack of personal space as a fundamental issue for the homeless
nika uzrokuje tri nova vea problema: nemogunost ostvarivanja results in three serious problems: the impossibility to exert their
graanskih prava, zadovoljavanja osnovnih ivotnih potreba i emo- civil rights, to meet their basic needs and reach emotional fulfil-
cionalnog ostvarenja, pri emu se rad se pokazao kao kljuni aspekt. ment, where work proved to be imperative. The project is based on
Projekt se temelji na suradnji beskunika i dizajnera u svrhu osmilja- co-operation between the homeless and designers aiming to create
vanja proizvoda koje bi beskunici mogli izraivati i ijom bi prodajom products that could be made by the homeless and ensure their basic
mogli osigurati sredstva za ivot. Osmiljeni proizvodi nisu sami sebi resources through their sale. The products are not an end in itself,
svrhom, ve nose jasnu poruku o onima koji su ih izradili (besku- since they convey a clear message on those who made them (the
nicima), ime e se kupci s vremenom upoznavati s problematikom homeless). Hence, the buyers will in time become acquainted with
beskunitva i postati senzibilniji prema toj drutvenoj skupini. Svaki the issue of homelessness and their sensitivity towards this social
proizvod pria jednu priu, odnosno referira se na jedan od problema group will be raised. Each product tells a story or addresses one of
beskunitva, koji su detektirani kroz suradnju s beskunicima, iz nji- the problems of homelessness identified throughout the co-operation
hovih konkretnih iskustava: papue i sjenilo nose simboliku doma i with the homeless and originates from their concrete experiences:
udobnosti, a podmetai simboliku druenja i socijalizacije. e.g. the slippers and the lampshade are symbols of home and com-
fort, whereas table mats are a symbol of socialising and socialisation.
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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester
zrinka horvat
mentor: Stipe Bri
godinja nagrada studija dizajna / annual awards at the school of design
Taktilna slikovnica za slijepu djecu A tactile picture book for blind children
Teorijsko i vizualno istraivanje teme pokazalo je da veina posto- Theoretical and visual research of the topic showed that most exist-
jeih taktilnih slikovnica nije u potpunosti prilagoena slijepoj djeci. ing tactile picture books are not entirely adapted to blind children.
Iako se u obzir uzima nedostatak vida, esto se zanemaruje nedo- Irrespective of the fact that lack of vision has been considered, lack
statak vidne memorije kao kljune odrednice ove skupine. Stoga je of visual memory is frequently ignored although it is a fundamental
glavna ideja ovoga rada bila osmisliti taktilne slike koje e motive iz feature of this group. Hence, the principal idea behind this work was
prie uprizoriti prvenstveno kroz haptiku interakciju i zvuk, umje- to create tactile images that will present the motifs from the story
sto uobiajenim vizualnim stereotipima. Slikovnica je projektirana primarily through haptic interaction and sound, rather than using
kao set voluminoznih ali laganih ploa, ime je osiguran dovoljan the usual visual stereotypes.The picture book has been designed as
fiziki prostor za interaktivnost razliitih taktilnih slika unutar jed- a set of voluminous, albeit lightweight boards that ensured suffi-
nake krune forme. Kako bi dizajn ukljuivao i slabovidnu djecu, kori- cient physical space for interactivity of diverse tactile images within
tene su kontrastne boje te je uz brajicu uveden i uveani tisak. Za the identical circular form. In order to adapt the design to the vis-
potrebe projekta napisana je posebna pria. Zavrni model testirala ually impaired children, colour contrast enhancement was used and
su slijepa i slabovidna djeca u Centru za odgoj i obrazovanje Vinko enlarged print was introduced in addition to Braille font. A special
Bek u Zagrebu, pokazavi velik entuzijazam za taktilne slike i pozi- story had been written as an integral part of this project. The final
tivnu reakciju na cjelokupno rjeenje. version was tested by blind and visually impaired children from the
Zagreb-based Vinko Bek Centre for Education and Rehabilitation,
who showed immense enthusiasm for tactile images and positive
reactions to the comprehensive solution.
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martin peranovi
mentor: Nenad Dogan
Holo Holo
Na drugoj strani naeg monitora nalazi se prostrana nova granica On the other side of our monitor there is a spacious boundaryuntamed,
neukroena, nestabilna i nezaustavljiva. Holo nudi usluge pretrai- unstable and unstoppable. Holo provides the services of browsing,
vanja, komunikacije, informiranja i transakcija na temelju naih dosa- communication, informing and transactions based on ones brows-
danjih pretraga te pretraga ljudi koje poznajemo. Holo prepoznaje u ing history and the browsing history of the people we are acquainted
svakom trenutku tko smo, gdje smo, to radimo, ali takoer i pred- with. Holo identifies us continuously, locates us, identifies our activ-
via, na temelju naih financijskih stanja i osoba s kojima se viamo, ities and it also predicts our future, based on our financial situation
nau budunost te nam servira generirane manipulativne sadraje i and the situation of the people we socialise with and it provides us
pretpostavke u obliku oglaavanja koje je teko zaobii jer smo i sami with generated manipulative content and postulates in the form of
dio njih. U sustavu Holo etika i moral su u konfliktu s konzumeriz- advertising that can hardly be avoided as we are their integral part.
mom. Korisnici su lieni svakog oblika privatnosti do krajnjih granica In the Holo system the ethics and morality are in conflict with con-
te oglaavanje postaje novi oblik drutvenosti. sumerism. Users are deprived of any form of privacy to the utmost
limit and advertising is transformed into a new form of sociability.
294 295
iris klari
Informacijska platforma otoka Braa Information platform of the island of Bra

Informacijska platforma otoka Braa, IP:Bra, kroz sferu informacij- Information platform of the island of Bra, IP:Bra, studies and pre-
skog dizajna prouava i prezentira demografsku i gospodarsku sliku, sents the demographic and the economic picture, cultural, historical
kulturnu, povijesnu i prirodnu batinu te stanje drutvene i kulturne and natural heritage, as well as the situation of the social and cultural
infrastrukture ovog otoka. Osmiljena je kao mrena platforma inte- infrastructure of this island through the sphere of information design.
raktivnoga grafikog suelja gdje korisnik ima punu kontrolu filtrira- The idea behind it is a web platform with an interactive graphic
nja i selekcije informacija te mogunost nadzora rasporeda i prikaza interface where the user has full control of filtering and selection
podataka. Funkcionira kao web-aplikacija koja putem internetske of information and the opportunity to monitor the positioning and
baze podataka filtrira one informacije koje se odnose na otok Bra, presentation of data. It functions as a web application that through
stvarajui tako vlastiti fond podataka koji se neprestano nadograuje. internet database filters the information concerning the island of
Dizajnirana kao responzivno web-sjedite, objedinjuje doivljaj pri Bra, creating its own database that is being continuously upgraded.
pregledavanju ovog sadraja te prilagouje doivljaj njegova kori- It has been designed as a responsive web centre, combining the
tenja odreenoj tehnolokoj platformi (raunalo, tablet, mobitel). experience upon browsing through this content and it adapts the
Oekivani rezultat je stvaranje potpunije slike otoka to daje toan experience of its use to a specific technological platform (PC, tablet,
uvid u neiskoritenost otokih resursa te na taj nain potie pove- mobile phone). The expected result is the creation of a comprehen-
anje kvalitete ivljenja i poslovanja. sive picture of the island that provides an accurate insight into the
unexploited island resources and it hence encourages enhancement
of the quality of life and doing business.
296 297
tihomir filipec
mentor: Stipe Bri
Kreator
Kreator je drutvena igra edukativnoga karaktera namijenjena mladima. Igra je
proizila iz istraivanja o problemima i nedovoljnoj zastupljenosti astronomije u
obrazovanju. Astronomija je znanost koja obuhvaa sve prirodne predmete u cje-
linu te je djeci jedno od najzanimljivijih podruja. Kako je djeci puno lake shvatiti
astronomske teme koje se lako vizualiziraju, igra se temelji na nebeskim tijelima,
njihovim znaajkama i meusobnim odnosima. Svrha igre je izgraditi vlastiti Sunev
sustav koji je podoban za nastanak ivota. Igru ine odnosi elemenata koji stva-
raju i elemenata koji unitavaju uvjete za razvoj ivota na nekom planetu. Potie
kreativnost, razmiljanje i znatielju, a ujedno pouava kakve vrste zvijezda i pla-
neta postoje, kako planeti utjeu jedni na druge, to sve dovodi u opasnost razvoj
ivota te jo mnogo toga.
Creator
Creator is an interactive game with educational features intended for young people.
The game resulted from a research on insufficient presence of astronomy and the
problems concerning this issue throughout education. Astronomy is a science that
encompasses all the natural subjects and hence children find it extremely interest-
ing. Since it is much easier for children to comprehend astronomy topics that can
easily be visualised, the game is based on celestial bodies, their features and their
mutual relationships. The object of the game is to build ones own Solar system
that provides a suitable site for the origin of life. The game comprises of relations
between the components that ensure the necessary conditions and the compo-
nents that annihilate the conditions needed on a habitable planet. It encourages
creativity, thinking and curiosity, whilst simultaneously informing on the existing
types of stars and planets, as well as on interrelationships between the planets and
the features threatening the development of life forms, to name a few.
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matea brki
mentor: Nenad Dogan
Specifine kvalitete usluga u gradu Zagreba kao kljuan element

za razvoj kreativnog turizma
Dizajn i destinacijaharmonizacija turizma
U radu se propitkuje i vizualizira identitetski sustav grada Zagreba te njegova pro-
storna i povijesna struktura u obliku 2d plohe. Konceptualna ideja bila je stvoriti
alternativni vodi grada Zagreba personaliziranoga karaktera koji trai stalnu inte-
rakciju i sudjelovanje u oblikovanju doivljaja i iskustava. Takvom istraivakom
interakcijom s prostorom i 2d plohom kao medijem, gdje e ostati zapisani osje-
aji, zanimljivi trenuci i doivljaji, stvara se struktura koja e posve personalizirano
odrediti priu putovanja pojedinca. Ovaj medij prerasta u materiju s kojom je autor
sentimentalno vezan te koju e rado u ivotu s vremena na vrijeme prelistati, prisje-
ajui se na taj nain svojih osjeaja i dogaaja. Emocije koje nastaju intervencijom
na ovoj plohi te dodavanje svog zapisa u posve neogranienoj formi, postaju nedo-
dirljiva i nematerijalna svojstva nekog putovanja. A to su doivljaji koji su esto skupi,
a s vremenskim odmakom postaju vrijedni te ostaju u sjeanju kao novo iskustvo.
Specific quality of services provided in the city of Zagreb as a key

feature for the development of creative tourism
Design and destinationharmonisation of tourism
The project analyses and visualises the identity system of the city of Zagreb and
its spatial and historical structure in the form of a two-dimensional surface. The
idea behind it was to create an alternative city guide of Zagreb with personalised
character features that requires continuous interaction and participation in the
shaping of the experiences and occurrences. A structure has been created that
will define the story of an individuals journey and be entirely personalised against
the backdrop of this exploratory interaction with space and the two-dimensional
surface as a medium recording the feelings, interesting moments and experiences.
This medium will be transformed into a content with which the artist has a senti-
mental bond and will hence be glad to look through it occasionally, remembering
in this way their feelings and occurrences. The emotions evoked through the inter-
vention on this surface and the provision of ones own entry in an entirely unlim-
ited form will be transformed into intangible and immaterial features of a journey.
These experiences and occurrences are normally expensive, yet in time they are
attributed a new value and remain impressed on the memory as new experiences.
300 conet aperferuptae ve ihilitat qui di a eat lautatu reperia quis minctiur? 301
sanja kuzmanovi
komentor/comentor: Darko Schneider
Antimuzej Vladimira Dodiga Trokuta Antimuseum by Vladimir Dodig Trokut

Web arhiv Web archives
Ideja digitalizacije i web arhiviranja Antimuzeja proizala je iz elje da se zbirka koja broji vie The idea of digitisation and web archiving of Antimuseum originated from the
od pola milijuna predmeta, meu kojima ima i vrijednih umjetnikih djela, ouva od propadanja. wish to preserve the collection comprising of over half a million objects including
Koncepcija digitalizacije zbirke temelji se na njezinoj kategorizaciji. Za ovaj diplomski rad zbirka valuable works of art.The concept of digitisation of the collection is based on its
je razvrstana na jedanaest osnovnih sekcija. Kako je Antimuzej dinamini projekt, daljnja razrada categorisation. For the purpose of this graduation thesis the collection has been
omoguila bi da se kategorije i sadraj unutar njih nadopunjava i mijenja CMS sustavom (Con- divided into eleven fundamental sections. Since Antimuseum is a dynamic project,
tent management system) koji omoguuje upravljanje sadrajem na mrenoj stranici. Kategorije: a further elaboration would provide the opportunity to expand and alter the cat-
etnomitologija, svakodnevnica, No Art, mistini predmet, moda, erotika, industrijska arheologija, egories and their content using a Content management system that would ena-
predmeti prirode, dizajn, igre i igrake, turizam. Vizualni identitet web arhiva temelji se na algo- ble content management on the website. Categories: ethnomytology, everyday
ritamskom znaku koji e interakcijom korisnika mijenjati svoj izgled, to potkrepljuje ideju dina- life, No Art, a mystical object, fashion, erotics, industrial archaeology, objects of
minog muzeja koji mijenja i ponitava samoga sebe. Posebnost je znaka to iz logotipa postupno nature, design, games and toys and tourism. The visual identity of the web archives
(korisnikom intervencijom) prelazi u znak i obratno. Estetika znaka preuzeta je iz No Art radova is based on a sign of the algorithm that will change its appearance through user
Vladimira Dodiga Trokuta. Cjelokupan dojam web arhiva jednostavan je i pristupaan korisniku, interaction which substantiates the idea of a dynamic museum that changes and
a predmeti na bijeloj pozadini plijene pozornost svojom zanimljivou. Web arhiv prikazivat e abolishes itself. A specific feature of the sign is the fact that it is gradually (through
V.D.Trokuta kao linost, nain na koji ivi u stanu-muzeju, undercammeri, kabinetu i laboratoriju user intervention) transformed from a logotype into a sign and vice versa. The aes-
udesa, trenutno malom stanu u uem centru Zagreba gdje se nalazi dio zbirke. thetics of the sign has been based on No Art works by Vladimir Dodig Trokut. The
overall impression of the web archives is that it is straightforward and accessible for
users, whilst the objects placed against a white background attract attention due
to their intriguing features. The web archives will present V.D.Trokut as a person-
ality, the way he lives in an apartment-museum, the undercammera, a study and
a laboratory of miracles, currently located in a small flat in the immediate centre
of Zagreb where a part of the collection is located.
302 303
tea pavi
mentor: Stipe Bri
Fragmenti: Fragments:
enski antifaistiki Zagreb Womens antifascist Zagreb
Svrha ovog projekta bio je vratiti prie antifaistikih The objective of this project is to recall the stories of
borkinja u kolektivnu memoriju Zagreba te ih ponovno antifascist women fighters into the collective memory
uspostaviti kao dio identiteta zajednice, koristei nove of Zagreb and revive them yet again as an integral part
tehnologije i interaktivne medije. Njihove se prie kazuju of the community identity, using new technologies and
kretanjem i skupljanjem fragmenata kroz prostor. Umje- interactive media. Their stories are told through move-
sto prenamjene ve zauzetoga fizikog prostora (npr. ment and collecting fragments through space. Instead
imenovanje ulica), zauzimaju se mjesta vana za prie of the reallocation of the occupied physical space (e.g.
samih heroina te se mimo politike vlasti proiruju pri- naming streets), they point out the places that are of
padajuim detaljima iz njihovih ivota (tekst, fotogra- importance for the stories told by the heroines and
fija, video).Takoer, otvara se prostor za sudjelovanje: are enriched by details from their lives beyond polit-
demokraciju i razgovor o prolosti te mogunosti ljudima ical power (text, photography, video, etc.). Further-
da podre takav eksperimentalni model memorijalnog more, room for participation opens up:democracy
sustava. Posjetitelji sudjeluju u projektu ostavljanjem and discussions about the past and the opportunities
i dijeljenjem sadraja. Fotografije proirenoga, hibrid- for people to provide support to such an experimen-
nog prostora, geotagirane na tonu lokaciju, putem tal model of memorial system. The visitors participate
drutvenih mrea mogu mijenjati fiziku sliku grada u in the project through providing and sharing content.
virtualnom prostoru, a njihovim dijeljenjem poveava Photographs of extended, hybrid space, geotagged
se zanimanje za projekt i iitavanje pria iz fizike to an exact location, can change the physical image
okoline na nov nain. of the city through social networks in virtual space,
whilst interest in the project is aroused through shar-
ing and the stories from the physical environment are
perceived in entirely new ways.
304 305
mario jeki
mentor: Nenad Dogan
Videoigra kao motivacija u svladavanju gradiva Video game as a motivation to learn Mathematics
matematike u osnovnoj koli subject matter in elementary school
Ovaj se diplomski rad bavi problemom niske razine obrazovanja u This graduation thesis addresses the issue of low level of knowledge
podruju matematike u osnovnoj koli u Republici Hrvatskoj. Izrazito acquisition in the area of Mathematics in elementary school in the
zabavnim i interaktivnim medijem, videoigrom, nastoji se motivirati Republic of Croatia. We are aiming to motivate and encourage chil-
i ukljuiti djecu u rjeavanje matematikih zadataka.Temeljni kon- dren to become involved in Math problem solving through a video
cept projekta je stvaranje videoigre pod nazivom Odiseja te njezino game, as an extremely entertaining and interactive medium. The prin-
dijeljenje u osam nastavaka, meusobno povezanih kontinuiranom cipal concept behind the project is the development of a video game
priom. Svaki nastavak prati odreenu kolsku godinu i nastavni pro- entitled Odyssey and its eight sequels mutually connected through
gram matematike za tu godinu. Primjerice, Odiseja 3 prati nastavni a story. Each sequel is intended for a specific academic year and the
program matematike za trei razred osnovne kole. Igra koristi priu, Maths syllabus for that year. For example, Odyssey 3 is intended for
likove, zvukove, glazbu i ostale popratne elemente kako bi se to vje- Maths syllabus for the third grade of elementary school. The game
rodostojnije doarao novi imaginarni svijet te da bi dijete to lake uses a story, characters, sounds, music and other accompanying fea-
zaronilo u novo arobno okruje. Takva okolina stvara pozitivne tures aiming to faithfully present a new imaginary world and help
emocije i osjeaj samopouzdanja u svladavanju novih, izazovnih pre- children to plunge into a new magical environment. Such environ-
preka i zadataka kako bi se uspjeno stiglo do cilja, putem trenirajui ment encourages positive emotions and the feeling of self-respect
kognitivne vjetine igraa. in overcoming new, challenging obstacles and tasks aiming to suc-
cessfully achieve the goal, whilst simultaneously practising cogni-
tive skills of the players.
306 307
alma avar
Georgievics de Abadia Georgievics de Abadia

Tema ovoga diplomskog rada bila je analiza osobne obiteljske povijesti radi materi- The topic of this graduation thesis was the analysis of a personal family history
jalizacije i ouvanja obiteljskog naslijea. Rezultat projekta je knjiga Georgievics de aiming to materialise and preserve the family heritage. The project resulted in a
Abadia gdje su prezentirani svi sauvani materijalni dokazi tog naslijea (obiteljsko book entitled Georgievics de Abadia where all the preserved material evidence of
stablo, dokumenti, fotografije, pisma, prie pojedinaca...), tvorei tako svojevrsnu this heritage has been presented (family tree, documents, photographs, letters and
obiteljsku arhivu vizualne grae koja svjedoi o ivotima ljudi u prolosti, a see sve personal stories, to name a few), creating specific family archives of visual mate-
do druge polovine 17. stoljea. Sintezom infografskih i narativnih komponenata obi- rial that testifies of the lives of people in the past, reaching as far as the second
teljsku priu nastoji se predstaviti kao odreeni kronoloki slijed, postavljen u kon- half of the 17th century. Through a synthesis of infographic and narrative compo-
tekst povijesnih, politikih i kulturnih zbivanja kako bi se postigla ira slika povijesti nents the family story is being presented as a specific chronological sequence, in
obitelji i ouvala kao svojevrsni dokument vremena. Kao inspiracija, ali i izvor veine the context of historical, political and cultural events, aiming to provide a broader
grae za projekt, posluilo je postojee genealoko istraivanje iz 60-ih godina 20. picture of a family history and preserve it as a document of a specific period of time.
stoljea, sauvano u obliku rukopisa koji su, gotovo doslovno, stranica kraeg for- The project was primarily implemented against the backdrop of the existing genea-
mata. Samim time knjiga zapravo ima dvostruku namjenuprezentacije obiteljske logical research from 1960s, preserved in a manuscript form comprising almost liter-
povijesti kao subjekta istraivanja kao i dokumentacije samog procesa istraivanja. ally of a page in short format. Hence, the intended use of the book is dualto pres-
ent the family history as a subject of research and to document the research process.
308 309
maja suboti
mentor: Nenad Dogan
Edukacija mladih o vizualnoj kulturi Raising awareness of young people on visual culture
Slikovnica kao sredstvo odgoja i obrazovanja Picture books as educational resources
Istraivanja pokazuju da je edukacija o vizualnoj kulturi neprimjerena The research has shown that education on visual culture is inappro-
kod svih dobnih skupina koje ulaze u sustav obrazovanja. Problem priate throughout all the age groups involved in the educational sys-
koji izrasta iz toga je drutvo koje vizualnu kulturu ne poznaje pa ne tem. Consequently, the society created through such a system has no
moemo ni oekivati drutvo koje e u kulturi i sudjelovati. Ciljana insight into visual culture and hence it cannot be expected to par-
skupina ovog projekta su djeca vrtike dobi, stoga je medij komuni- ticipate in it. The target group of this project comprises of children
kacije slikovnica. Slikovnicom nas vodi pas Mirka koji pomae djetetu attending kindergarten, hence the communication medium opted
razumjeti vizualne pojmove i elemente. Izraena je u dvije inaice, kao for is picture book. The dog named Mirka takes us through the pic-
klasina slikovnica te slikovnica unutar koje su provedeni kodovi koji ture book helping the child to comprehend the visual concepts and
pomou aplikacije pokreu animaciju zadanog pojma. Touchscreen the features. It has been created in two versions, as a classic pic-
suelje omoguuje djetetu da intuitivno koristi sve funkcije i rukom, ture book within which there are codes that through an application
tj. prstima ostvaruje interakciju sa slikovnicom. Pri oblikovanju ovoga activate the animation of a specific concept. Touchscreen interface
primijenjenog programa voena je briga o minimalnim veliinama enables the child to intuitively use all the functions and with their
koje su prihvatljive za ruku kako bi dijete bez tekoa moglo listati hand or fingers interact with the picture book. During the develop-
slikovnicu ili aktivirati animaciju. Koritena tipografija dizajnirana je ment of this applied programme attention has been paid to minimal
za lake itanje osobama s disleksijom. size that is acceptable for a childs hand in order to go through the
picture book or activate the animation easily. The used typography
has been designed to facilitate reading for dyslexic people.
310 311
dora lugari
Problem miastenije gravis u Republici Hrvatskoj The issue of Myasthenia gravis in the Republic of Croatia
Miastenija gravis je autoimuna neuromuskulaturna (ivano-miina) Myasthenia gravis is an autoimmune neuromuscular disease that
bolest koja izaziva teku slabost svih miia u tijelu. Uzrok nastanka causes severe weakness in all the muscles. The cause of the dis-
bolesti je nepoznat, a najee se javlja kod mlaih ena i starijih ease is unknown and it most frequently affects young women and
mukaraca. U Republici Hrvatskoj je oko 300 oboljelih registriranih elderly men. There are around 300 registered patients suffering from
pacijenata. Istraivanje je pokazalo kako je izrazito bitno obolje- this disease in the Republic of Croatia. The research has shown the
lima pruiti uvid u sve procese kroz koje e proi i pripremiti ih na extreme importance of providing those affected with an insight into
mogue situacije i probleme koji e ih u ivotu s miastenijom gravis all the processes they are about to go through and prepare them
pratiti. Osim pravodobnog informiranja bolesnika i upoznavanja ljudi for potential situations and the problems they are about to encoun-
s miastenijom openito, kao glavni smjer projekta iskristaliziralo se ter throughout their lives due to myasthenia gravis. In addition to
poboljanje komunikacije meu oboljelima. Budui da je izvora infor- informing the patients in due time and providing an insight on myas-
macija mnogo, one su loe strukturirane i nerijetko slabo dostupne. thenia in general, the project focused primarily on improvement of
Medij odabran za realizaciju je mrena stranica o miasteniji gravis communication amongst those affected. Against the backdrop of a
koja istodobno funkcionira kao forum za poboljanje komunikacije plethora of information sources, it is badly structured and frequently
i razmjene informacija. hardly available. The medium opted for is a website on myasthenia
gravis that simultaneously functions as a forum for improvement
and exchange of information.
312 313
slavica farka
mentor: Nenad Dogan
Uloga i funkcija bajki The role and the function of fairy tales
Odnos vizualnoga i narativnog The relationship between the visual and the narrative
Teorijskim istraivanjem potvrena je velika uloga bajke u razvoju i Theoretical research has confirmed the importance of the role of
odgoju djeteta. Vizualnim istraivanjem pojavnosti bajke u razlii- fairy tales in the development and the upbringing of children. Fol-
tim medijima dola sam do zakljuaka koji upuuju na razliitu funk- lowing visual research of appearance of fairy tales in diverse media
ciju njezine vizualizacije. No osnovni problem je da se s vremenom I reached conclusions that show diverse functions of their visualis-
mijenjala struktura bajke, to je poljuljalo njezinu ulogu u drutvu i ation. Nevertheless, the fundamental problem is that the structure
odrazilo se na vizualno tako da forma vie ne slijedi funkciju. Rezultat of fairy tales has changed over time which adversely affected their
diplomskog rada je drutvena igra koja je dizajnirana tako da njezini role in society and their visual aspect and hence the form no longer
elementi i pravila zapravo ine formulu za stvaranje bajki u izvornom follows the function.The result of the graduation thesis is a family
obliku. Drutvena igra kao medij pokazala se kao idealno rjeenje za game designed in such a way that its features and rules actually pro-
interpretaciju ove teme jer je njezin nain konzumacije vrlo blizak vide a formula for the creation of fairy tales in their original form.
onome kako je izvorna bajka funkcionirala u usmenoj predaji: oko nje A family game as a medium proved to be the ideal solution for the
se okuplja i drui, s njom se igra i dijeli radost, njome se ui i spoznaje. interpretation of this topic, since its method of consumption is close
Igra je kooperativna i temelji se na pripovijedanju, igranju uloga, to the way original fairy tales used to function in oral tradition: they
memoriji te kombiniranju modularnih elemenata igre koji su meu- brought people together and made them socialise, play and share
sobno ovisni. their joy, as well as learn and acquire new knowledge.The game is
co-operative and based on narration, role play, memory and com-
bining of modular interdependent features of the game.
314 315
Studenti
Diplomskog studija
Graduate Programme
Students
godinjak studija dizajna 2014./2015. studenti diplomskog studija
school of design annual review 2014/2015 graduate programme students
1. godina 1stYear 1. godina 1stYear

Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Dorja Benusi Elizabeta Bonjak Monika Daki Andrej uki Matej Goreta Ana Herceg Barbara Bjeli Luka Daniel Bori Borna Aaron Grevi Mateo Grubii Klasja Habjan Ivana Hrabar
Maja Jandri Igor Kolar Laura Mrka Nataa Njegovanovi Adriana Paveli Tamara Petrua Sanja Kuzmanovi Vitomira Martinjak Lovro Miokovi Zita Naki-Vojnovi Vanja Perkovi Josipa Pra
Viktoria Lea Vavra Valentino Veeri Luka Reicher Hana Tintor Martina Uki Ana Vujasi Ana Vuko Lara ic
318 319
godinjak studija dizajna 2014./2015. studenti diplomskog studija
school of design annual review 2014/2015 graduate programme students
2.godina 2dYear 2.godina 2dYear

Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Marta Birki Maja Bokovi Niko Crnevi Kristina Crnek Vidovi Stanislav Kosti Dorotea Kutlea Matea Brki Anta Buevi Hrvoje Dominko Slavica Farka Tihomir Filipec Lana Grahek
Ivona Milo Lucija Nieno Karlo Pavii Ena Priselec Janja Rokar Franka Speti Matija Guli Zrinka Horvat Mario Jeki Antonio Karaa Iris Klari Dora Lugari
Ana oli Matija poljar Petra Vrdoljak Tea Pavi Martin Peranovi Luka Peri Katarina Ratkaj Ana Somek Maja Suboti
Alma avar
320 321
Diplomski studij
Izvedbeni program
Graduate Programme
Curriculum Outline
godinjak studija dizajna 2014./2015. diplomski studij/izvedbeni program
school of design annual review 2014/2015 graduate programe/curriculum outline
diplomski studij graduate programme

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

Sociologija kulture / Sociology of Culture 30 15 3 izv.prof.dr.sc. Anka Mieti / 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. Fea Vuki / PhD, associate professor
Umjetnost danas / Art Today 30 0 2 pred.dr.sc. Ivana Podnar / PhD, lecturer
Znanstvenoistraivake metode / Scientific Research Methodology 15 15 2 izv.prof.dr.sc. Anka Mieti / 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 Kadoi / lecturer
Teorija medija 1, 2 / Media Theory 1, 2 30 0 2 30 0 2 pred. Veljko van / lecturer
210 12 195 12
Industrijski dizajn 1, 2 / Industrial Design 1, 2 15 60 7.5 15 60 7.5 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Sanja Benceti / MSc, assistant professor
prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Robert imetin / associate 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 ercer / PhD, full professor
150 14.5 165 14.5
Film i video 1, 2 / Film and Video 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Kreativni laboratorij / Creative Lab 12 18 2 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 45 0 3.5 45 0 3.5
45 3.5 45 3.5
Dizajn vizualnih komunikacija 1, 2 / Visual Communications 1, 2 15 60 7.5 15 60 7.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
Kreativna komunikacija i drutvo 1, 2 / Creative Communication and Society 1,2 15 30 3.5 15 30 3.5 pred. Veljko van / lecturer
120 11 120 11
Projektiranje pisma 1, 2 / Font Design 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek / associate professor
Interaktivni mediji 1, 2 / Interactive Media 1, 2 15 30 3.5 15 30 3.5 pred. Tin Kadoi / 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 asist.Pavel Posavec
Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Robert imetin / associate professor
Kreativni laboratorij / Creative Lab 12 18 2 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 45 0 3.5 45 0 3.5
90 7 90 7
324 325
godinjak studija dizajna 2014./2015. diplomski studij/izvedbeni program
school of design annual review 2014/2015 graduate programe/curriculum outline
diplomski studij rgraduate programme

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

Teorija i povijest dizajna 3 / Theory and History of Design 3 30 0 6 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Upravljanje dizajnom / Design Management 30 0 3 doc.dr.sc. Vatroslav kare / associate professor
Socijalni dizajn / Social Design 15 15 2.5 doc.mr.sc. Ivana Fabrio / assistant professor
90 11.5
Industrijski dizajn 3 15 75 13.5 prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
Industrial Design 3 prof.Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Industrijski dizajnDiploma 0 210 20 prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
Industrial Design Graduation Thesis prof.Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Diplomaobrana / Graduation ThesisPresentation 10
90 13.5 210 30
Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc. mr. sc. Sanja Benceti / MSc, assistant professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 30 0 2.5
60 5
Dizajn vizualnih komunikacija 3 15 75 13.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Visual Communications 3 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
Dizajn vizualnih komunikacijaDiploma 0 210 20 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Visual CommunicationsGraduation Thesis prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
Diplomaobrana / Graduation ThesisPresentation 10

90 13.5 210 30
Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 30 0 2.5
60 5
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godinjak studija dizajna 2014./2015. godinjak studija dizajna 2014./2015.
school of design annual review 2014/2015 school of design annual review 2014/2015
Projekti Projects
Poglavlje Godinjaka koje slijedi namijenjeno je prezentaciji The ensuing chapter of the Yearbook aims to present the spe-
onog dijela sadraja rada Studija dizajna koji se organizira u cific area of work of the School of Design that was organised
suradnji s brojnim dravnim i kulturnim institucijama, obra- in co-operation with a large number of state-owned and cul-
zovnim ustanovama, gospodarskim subjektima i udrugama. tural institutions, educational institutions, economic entities
Sveobuhvatan raspon tema i pitanja na kojima rade nastav- and associations. A vast array of topics and issues addressed
nici i studenti iz realnog su okruja, to studentima omogu- both by professors and students was from the real environment,
uje upoznavanje i usvajanje vjetina prijeko potrebnih za rad which provided the students with the opportunity to gain insight
s potencijalnim klijentima. Studiju dizajna pak otvara prostor to and acquire the skills indispensable for work with potential
za snanije povezivanje s realnim okruenjem u kojem djeluje. clients. On the other hand, the School of Design was provided
Vano je ovdje istaknuti kako pozitivna iskustva iz ovih sve- the opportunity to establish a stronger connection with the real
stranih suradnji promoviraju dizajn i dizajnersku struku u irem environment in which it operates.
drutvenom kontekstu, kao vaan imbenik u gospodarskom It is important to highlight that positive experiences resulting
rastu i razvoju. from the previously mentioned co-operation were striving to
Neke od tema iz ovih projekata postale su dio redovnoga promote design and design profession in a broader social context,
nastavnog programa, a to je bez sumnje obogatilo standar- as an important factor of economic growth and development.
dnu pedagoku praksu. Some of the topics addressed in the previously mentioned proje-
cts have become integrated in the regular curriculum, which has
absolutely enriched the standard pedagogical practices.
328 329
godinjak studija dizajna 2014./2015. projekti
school of design annual review 2014/2015 projects
Filmske srijede Film Screenings on HAI!Didaktika igraka

Wednesdays inspirirana hrvatskom batinom
Filmske srijede poele su s odravanjem Films Screenings on Wednesdays is the Projekt je proveden sa studentima drugog semestra
u ljetnom semestru 2014./2015. u sklopu event that was launched during the sum- u suradnji s udrugom Povucizakulturu. Tema je obli-
predmeta Vizualna kultura 2. Cilj njihova mer semester 2014/2015 within the course kovanje didaktikih igraaka za djecu predkolske i
pokretanja je da se filmskim medijem entitled Visual Culture 2. The objective kolske dobi koje potiu interaktivno iskustvo igre,
objasne i interpretiraju teorijska gledi- was to explain and provide interpretations inspirirane hrvatskom batinom. Na temelju opirnog
ta ovog predmeta. Studentima su bile of theoretical attitudes expressed in this istraivanja razvojnih vjetina koje proizlaze iz igre,
zadane problemske teme, a odabir fil- course through the media of film. Students hrvatske batine i postojeeg asortimana igraaka na
mova bio je preputen njihovom slobod- were assigned topics to address and they tritu, postavljanji su kriteriji za oblikovanje. Cilj je
nom izboru. Time je postignuta visoka were free to select the films. Hence, stu- oblikovati igrake koje potiu razvoj novih vjetina i
motiviranost studenata koji su postali dents were highly motivated and became doivljaja igre, uz potacanje djejeg samopouzdanja,
sukreatori nastave. Kritike analize fil- co-creators of the course. Two key features inventivnosti i kreativnosti. Kolekcija novonastalih
mova studentima su pokazale dva kljuna were highlighted through critical analyses igraaka interpretira razliite vrijednosti hrvatske
elementa: neiscrpne mogunosti inter- of films: immense possibilities of the inter- batine, od mitologije, naina ivota i navika, do
pretacije svijeta kroz umjetnost pokret- pretation of the world through the art of suivota ovjeka s prirodom. Projekt je rezultirao s
nih slika te legitimnost njihovih subjek- moving images and the legitimacy of their tridesetak idejnih rjeenja od kojih je desetak iza-
tivnih pogleda. subjective stances. brano za realizaciju i komercijalizaciju pod zajed-
Film i biopolitika analizirani su filmom Film and bio-policy were analysed in the nikim brendom HAI!Hrvatska autentina igraka.
Jastog (2015.,r.Yorgos Lanthimos,.); dru- film entitled The Lobster (2015, by Yorgos
tvena konstrukcija identiteta problem- Lanthimos); the issue of social construction
ski je sagledana filmom Djeca tranzi- of identity was addressed in the film Chi-
HAI!A didactic toy inspired
cije (2014.,r.Matija Vukigostovao ldren of Transition (2014, by Matija Vuk- by Croatian heritage
na nastavi); odnos fikcije i stvarnosti ivisited the classes); the issue of the
The project was implemented with students enrolled at
te stvaralakog procesa i egzistencije relationship between fiction and reality
the second semester and in co-operation with Povuci-
istraeni su filmom Sinegdoha New York and the creative process and the existence
zakulturu Association. The topic was design of didactic
(2008.,r.Charlie Kaufman,), a film 24 was explored in the film entitled Synecdo-
toys for pre-school and school-aged children, intended
City (2008.,r.7Zhangke Jia) pokazao je che New York (2008, by Charlie Kaufman,),
to encourage interactive experience of playing, inspi- Autori/ Authors:
ulogu arhitekture kao pokazatelja dru- whilst the film entitled 24 City (2008, by
red by Croatian heritage. Design criteria were defined idejne zaetnice projekta / project idea generators:
tvene, politike te individualne ljudske Zhangke Jia) showed the role of archite-
following a comprehensive research of development mr.sc. Inga Seme Stojnovi, M.Sc.
transformacije. S obzirom na pozitivne cture as an indicator of social, political and prof. Tijana Vidovi, prof.
skills arising from playing, Croatian heritage and the
rezultate ovakvog modela uenja, u planu individual human transformation. voditelji projekta / project managers:
currently available toy product range on the mar-
je nastavak takve prakse i idue akadem- Considering the positive results achieved Udruga Povucizakulturu / Povucizakulturu Association
ket. The objective was to design toys that encourage Tanja Tandara, projektna menaderica u kulturi / Culture Project Manager
ske godine. through this learning model, we are planning
the development of new skills and the experience of Studij dizajna / School of Design
to continue with these activities also thro- prof. Mladen Orei, prof.
playing, in addition to encouraging childs self-confi-
ughout the forthcoming academic year. doc. Ivana Fabrio, Assistant Professor
dence, inventiveness and creativity. The collection of
mentori / mentors:
newly created toys interprets diverse values of Cro- doc. Sanja Benceti, Assistant Professor
atian heritage, ranging from mythology, lifestyle and doc. Ivana Fabrio, Assistant Professor
habits to coexistence between humans and nature. prof. Zlatko Kapetanovi, prof.
prof. Mladen Orei, prof.
The project resulted in around thirty conceptual design
solutions and 10 solutions were selected for imple-
mentation and commercialisation under the name
HAI! Authentic Croatian Toy.
330 331
frka/Filmska revija Kazaline akademije

Suradnja Akademije dramske dora kasun i gala marija vrbani
mentor: Nanad Dogan
umjetnosti i Studija dizajna asistenti/assist.: Romana Kajp, Tomislav Vlajini
Na Akademiji dramske umjetnosti odrana je jedanaesta po

redu FRKAFilmska revija Kazaline akademije. Radi se o bije-
nalnoj reviji studentskih filmova koji su nastali u Akademijinoj
produkciji i u kojoj sudjeluju studenti svih studija Akademije
dramske umjetnosti.
Zanimljivost ovog projekta nalazi se u injenici da u njemu, kao i
u projektu KRADUKazalinoj reviji Akademije dramske umjet-
nosti, sudjeluju i studenti Studija dizajna Arhitektonskog fakulteta,
kojima je povjerena izrada prijedloga vizualnog identiteta projekta.
Prijedloge su izradile tri skupine studenata 5. semestra smjera
vizualnih komunikacija pod mentorstvom profesora Nenada
Dogana i asistenata Romane Kajp i Tomislava Vlainia.
Oputena atmosfera ove revije studentskih filmova potaknula
je autore da odabranim vizualnim jezikom sugeriraju opije-
nost dobrim filmovima.
FRKA/Academy of Dramatic Art

Student Film Festival
Co-operation between the Academy of
Dramatic Art and the School of Design Odabrano je i realizirano rjeenje Dore Kasun i Gale Marije Vrbani.
U obrazloenju idejnog rjeenja autorice su istaknule da su eljele
The eleventh consecutive FRKA a review of the Academy of Dra- iskomunicirati neformalnu i leernu atmosferu festivala, koristei
klasine elemente dramskog tekstadijalog i didaskalije. Plakati,
matic Artwas held. It is a biennial review of student films that majice, pozivnice i ostali promidbeni materijali postali su svoje-
were produced at the Academy through participation of students vrsni scenarij festivala, koji su posjetitelji mogli postupno otkrivati,
from all the study programmes at the Academy of Dramatic Art. tumaiti i nadopunjavati.
It is important to highlight the fact that students at the School The solution provided by Dora Kasun and Gala Marija Vrbani was
of Design of the Faculty of Architecture participated in this pro- opted for and also implemented. In the explanation to the conceptual
ject, as well as in the project entitled KRADUAcademy of Dra- design the authors pointed out their focus on informal and relaxed
festival ambience, using classical features of dramatic textdia-
matic Art Student Theatre Festival and they were allocated the logue and stage directions. Posters, T-shirts and other promotional
task to provide suggestions for the visual identity of the project. materials have become a specific festival scenario that was gradu-
The suggestions were provided by three groups of students at ally revealed, interpreted and expanded by the visitors.
the 5th semester of Visual Communications study programme
under the mentorship of the professor Nenad Dogan and assi-
stants Romana Kajp and Tomislav Vlaini.
The relaxed ambience of this student film review encouraged
the authors to suggest an inebriation with good films using
appropriate visual language.
332 333
sara pavlekovi preis, tin buri otto kuec, miran bai

mentor: Nanad Dogan mentor: Nanad Dogan
asistenti/assist.: Romana Kajp, Tomislav Vlajini asistenti/assist.: Romana Kajp, Tomislav Vlajini
Sara Pavlekovi Preis i Tin Buri predstavili su drugi pri- Trei prijedlog izradili su studenti Otto Kuec i Miran
jedlog koji se temelji na injenici da filmske projekcije Bai. Istaknuli su da je cilj njihova projekta bila prenijeti
prate odline zabave i druenja. miljenja mladih filmaa o hrvatskoj filmskoj industriji
te na duhovit nain pokazati kako je upravo izostanak
Sara Pavlekovi Preis and Tin Buri presented the sec- glamura i kia holivudskog tipa snaga ovog festivala.
ond proposal based on the fact that film screenings are
followed by excellent parties and socialising. Other suggestions were provided by the students Otto
Kuec and Miran Bai. They stressed that the specific
objective of their project was to present the opinions
of young filmmakers concerning the Croatian film
industry and in a witty way point out the absence of
a Hollywood style glamour and kitsch as the main
strength of this festival.
334 335
klasja habjan zita naki vanja perkovi hana tintor lovro miokovi
mentor: Nenad Dogan mentor: Ivan Doroghy mentor: Stipe Bri mentor: Nenad Dogan mentor: Stipe Bri
asistentica/assistant: Romana Kajp asistent/assistant:Tomislav Vlajini suradnica/associate: Karla Paliska asistentica/assistant: Romana Kajp suradnica/associate: Karla Paliska
vitomira martinjak ivana hrabar martina uki

mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Nenad Dogan
asistent/assistant:Tomislav Vlajini asistent/assistant:Tomislav Vlajini asistentica/assistant: Romana Kajp
336 337
radionica Workshop
mladen udovii grgo petrov
Ajd nacrtaj ne 3 Cmon, draw something 3 mentorica: Inja Kavuri Kireta mentorica: Inja Kavuri Kireta
Do what you love what you do what you love what you do what you love... Design is a living organism
Umjetnika bojanka Izvan granica Art colouring book Outside the borders Tehnika: tu / indian ink Tehnika: flomaster / felt tip pen
Tijekom ljetnog semestra 2015. godine odrana je trea radi- The third edition of the workshop entitled Cmon, draw somet-
onica pod nazivom Ajd nacrtaj ne. Tema radionice, koju hing was held during the summer semester of 2015. The topic of
je vodila asistentica Inja Kavuri Kireta, bile su umjetnike the workshop headed by the assistant Inja Kavuri Kireta were
bojanke za odrasle. art colouring books for adults.
Radilo se o zanimljivom projektu ija tema je trenutno veoma It was an interesting project whose topic is currently addressed
aktualna i kojom se bave mnogi ilustratori diljem svijeta. by a large number of illustrators throughout the world.
Iako je rije o naoigled jednostavnoj formi izraavanja s kojom Irrespective of the apparently simple form of expression which
smo se svi susretali kao djeca, ovaj je projekt stavio pred sudi- we all came across during childhood, this project presented the
onike izazov kako u sadrajnom tako i u izvedbenom smislu. participants with the challenge both concerning content and
Rije je o tome da bojanke nisu u osnovi namijenjene iskljuivo performance. Colouring books are not exclusively intended for
djeci te svojim sadrajem esto korespondiraju s aktualnim children and their content frequently tackles the current social
drutvenim zbivanjima. Tako shvaene bojanke nisu nuno events. Colouring books envisaged in this way do not necessary
odraz zahtjeva irokog trita kojem se nude stereotipna i reflect the requirements of a broader market which is normally
uglavnom nevjeto ilustrirana rjeenja. Autori takvih bojanki provided with stereotype and primarily clumsily illustrated solu-
iskazuju svoju kreativnost, senzibilitet i nadasve profesional- tions. The authors of such colouring books express their creati-
nost, koristei teme izvan uobiajenih. vity, sensibility and especially their professionality through the
Studenti su sadrajem bojanki pokuali odgovoriti na pitanje use of unusual topics.
o tome to je to dizajn, a raznolikou likovnih interpretacija Students have attempted to provide a definition of design thro-
i komentara ukazali su na irinu razumijevanja i primjene diza- ugh the content of the colouring books, whilst pointing out the
jna te njegovu interdisciplinarnost. depth of understanding and the scope of design application, as
Osim studenata kolegija Ilustracija, u radionici su sudjelovali well its interdisciplinarity through diversity of graphic interpre-
i drugi zainteresirani studenti Studija dizajna. tations and comments.
Rezultati radionice prezentirani su na Danu D 2015. godine, a In addition to students attending the course entitled Illustrations,
pobudili su veliko zanimanje posjetitelja. other students at the School of Design interested in this topic
also participated in the workshop.
Workshop results were presented during Day D 2015 arousing
immense interest amongst the visitors.
anta buevi
mentorica: Inja Kavuri Kireta
We cant pay you, but we can put your name on our website
Tehnika: flomaster / felt tip pen
338 339
anja nikoli bruno bolfan mikela cvitanovi ana vujasi

mentorica: Inja Kavuri Kireta mentorica: Inja Kavuri Kireta mentorica: Inja Kavuri Kireta mentorica: Inja Kavuri Kireta
Change your point of view Contrast, the absurdity and subjectivity of life, death and the ephemerality of time Design as a divine creature Filters are mostly made of glass
Tehnika: tu / indian ink Tehnika: flomaster, marker / felt tip pen, marker pen Tehnika: flomaster, kemijska olovka / felt tip pen, ballpoint pen Tehnika: olovka, flomaster / pencil, felt tip pen
petra grubii hana tintor

mentorica: Inja Kavuri Kireta mentorica: Inja Kavuri Kireta
Different kinds of visual elements in space fight tooth, claw To me design is a game and playing is what I like best
and nail to get our attention Tehnika: tu / indian ink
Tehnika: flomaster / felt tip pen
340 341
Voters Voice
izborni kolegij elective course Mobilni ureaj/token za izraavanje politike volje i glasovanje na izborima
Voters Voice
Kreativni laboratorij Creative lab A mobile device/token for expression of political will and voting at elections
U akademskoj godini 2014./15. poelo je izvoenje izbornoga The elective course entitled Creative Laboratory was introdu-
kolegija Kreativni laboratorij na diplomskom studiju, a u surad- ced at the Graduate Study Programme in co-operation with the
nji s Fakultetom elektrotehnike i raunarstva, Muzikom aka- Faculty of Electrical Engineering and Computing, the Academy
demijom, Likovnom akademijom i Ekonomskim fakultetom. of Music, the Academy of Fine Arts and the Faculty of Econo-
Kolegij je napredna edukacijska praksa u interdisciplinarnom mics during the academic year 2014/2015. The course is consi-
podruju a didaktiki je rad zasnovan na manjem dijelu teorije dered as advanced educational practice in interdisciplinary area
i veem udjelu projektnog rada u satnici. and didactic work is based on some theory and a larger share
Nositelj kolegija na Studiju dizajna je dr.sc.Fea Vuki, izv.prof., of project work.
a vanjska suradnica u izvedbi nastave Karla Paliska, diplomi- The course director at the School of Design is Fea Vuki, Ph.D.,
rana dizajnerica. Associate Professor and external consultant for the course is
Ukupno je kolegij upisalo 35 studenata s pet sastavnica Sveu- Karla Paliska, a Bachelor of Design.
ilita u Zagrebu, a nastava je izvedena u modulu koji je trajao A total of 35 students enrolled in the course from five facul-
tijekom zimskog semestra i rezultat nastave je est projekata. ties of the University of Zagreb and the classes were organised
U radu na projektima sudjelovali su timovi od kojih je svaki into a module that lasted throughout the winter semester and
sastavljen od studenata sa svih navedenih fakulteta i studijskih it resulted in six projects. Student teams comprising of students
programa kako bi se osigurali ishodi uenja koji (izmeu osta- from the previously mentioned Faculties and Study Programmes
lih) podrazumijevaju: aktivno i inovativno reagiranje u nepo- participated in project work, aiming to ensure study results that
znatoj okolini, prikupljanje i kritiko analiziranje informacija u included: active and innovative reaction in unfamiliar environ-
interdisciplinarnom kontekstu, graenje kulture povjerenja u ment, collection and critical analysis of information in interdis-
tuu ekspertizu, pokazivanje inicijative i voenje heterogenih ciplinary context, creation of culture of confidence in someone Planit
timova te provoenje kreativne sinteze u projektnim zadacima. elses expertise, showing initiative and management of heteroge- Online servis za poticanej urbanog vrtlarstva
Sa Studija dizajna u izvoenju nastave sudjelovali su studenti: neous teams and implementation of creative synthesis in project Planit
Maja Jandri, Laura Mrka, Vanja Perkovi, Nataa Njegova- tasks, to name a few. Students from the School of Design that Online service to encourage urban gardening
novi i Viktoria Lea Vavra. participated were: Maja Jandri, Laura Mrka, Vanja Perkovi,
Nataa Njegovanovi and Viktoria Lea Vavra.
Projekti koji su nastali u prvoj godini izvoenja nastave na ovom kolegiju:
Projects developed during the first year of teaching of this course were as follows:
madlab
Prijenosni indikator alergena u hrani na osnovi ramanoskopije
Portable food allergen indicator based on ramanoscopy
go2
Mobilna aplikacija za personalizirano pretraivanje dogaanja u gradu i socijalizaciju
Mobile app intended for personalised browsing of urban events and socialisation
planit
Online servis za poticanje urbanog vrtlarstva
Online service to encourage urban gardening
dame i gospodo
Bonton 2.0, udruga za promicanje kulture meuljudskih odnosa
Bonton 2.0, an Association for Promotion of Culture of Interpersonal Relationships
voters voice
Mobilni ureaj/token za izraavanje politike volje i glasovanje na izborima.
A mobile device/token for expression of political will and voting at elections
loancheckpeertopeer
Servis za posuivanje manjih financijskih iznosa.
Service for smallscale financial lending and borrowing.
342 343
Oblikovanje vizualnog identiteta i Design of the visual identity and the

komunikacijskog sustava za projekt communication system for the project
Nove boje znanja entitled New Colours of Knowledge
Strategija obrazovanja znanosti i Strategy of Education, Science and
tehnologije Republike Hrvatske Technology of the Republic of Croatia
Ministarstvo znanosti, obrazovanja i sporta RH povjerilo je Stu- The Ministry of Science, Education and Sports of the Republic of
diju dizajna posao oblikovanja vizualnog identiteta i komuni- Croatia en-trusted the School of Design the task of design of both
kacijskih sredstava za provedbu Strategije obrazovanja, zna- the visual identity and the communication system for the imple-
nosti i tehnologije. mentation of the Strategy of Education, Science and Technology.
Radi se o sadraju koji promovira provedbu strategije dugoro- It is a content that promotes the implementation of the stra-
nog promiljanja o mjestu obrazovanja i znanosti u Hrvatskoj, tegy of long-term deliberation on the importance of education
stvaranju inovativnog drutva i gospodarstva prilagodljivog and science in Croatia, the creation of innovative society and
izazovima koji stoje u budunosti. the economy adaptable to future challeng-es.
Projekt je podrazumijevao izradu cjelovitog koncepta obliko- The project implied the implementation of the comprehensive
vanja Strategije, koji je ukljuivao kreiranje krovnog imena za design system of the Strategy, including the coining of an umbrella
masovnu komunikaciju, oblikovanje osnovnih elemenata vizu- term for mass communi-cation, design of basic features of visual
alnog identiteta, oblikovanje plakata i oglasa, oblikovanje bro- identity, design of posters and an-nouncements, brochure design,
ura, izradu informacijske strukture i oblikovanje web suelja. creation of information structure and web in-terface design. The
Cjelokupni angaman na izradi vizualnog identiteta zaokru- overall involvement in visual identity design was conclud-ed
en jeizradom pet viralnih/web animacija iji je cilj bio infor- in the creation of five viral/web animations whose aim was to
miranje javnosti o osnovnim premisama i ciljevima Strategije. inform the public about the fundamental premises and objecti-
Projektu je prethodio cijeli niz uvodnih radnji poput analize i ves of the Strategy.
strukturiranje sadraja Strategije, definiranje specifinih vri- The project was preceded by a vast array of introductory activities
jednosti i poruka te odgovarajueg tona komunikacije. Sve faze such as analyses and the structuring or the content of the Stra-
projekta provedene su u uskoj suradnji i konzultacijama s Poseb- tegy, defining the specific values and messages and finding the
nim strunim povjerenstvom Vlade RH za provedbu Strategije. appropriate tone of communica-tion. All the phases of the pro-
Na ovom zahtjevnom projektu angairan je kreativni tim koji ject were implemented in close co-operation and through con-
je vodila diplomirana dizajnerica Karla Paliska. lanovi tima bili sultation with the Special Expert Committee of the Govern-ment
su: Tea Pavi, Martin Peranovi, Luka Reicher i Martina Uki, of the Republic of Croatia for the implementation of the Strategy.
svi studenti diplomskog studija dizajna. A creative team led by Karla Paliska, B.Design, participated in this
Uspjenost ove suradnje ima viestruko znaenje kako za challenging project. The team comprised of Tea Pavi, Martin
studente koji su u njoj sudjelovali tako i za Studij dizajna jer Peranovi, Luka Reicher and Martina Uki, students enrolled at
je ona pokazala da Studij ima kreativne kapacitete sposobne Graduate Study Programme of Design.
za oblikovanje i najkompleksnijih sadraja kao i primjerene The success of this co-operation is manifold both for the stu-
tehnike uvjete. dents who par-ticipated in it and for the School of Design, as it
showed that the School of Design is provided with creative capa-
cities that have the potential to design even the most complex
content, as well as with adequate technical condi-tions.
344 345
radionica workshop
Prostori uenja u tranziciji 2 Learning Spaces in Transition 2
U svom drugom izdanju, radionica Prostori uenja u tranziciji 2, The second edition of the workshop entitled Learning Spaces
nastavlja se na iskustvo prve suradnje UNICEF-a, kole narod- in Transition 2, saw the continuation of the experience of the
nog zdravlja Andrija tampar, Studija dizajna i Arhitektonskog first co-operation between UNICEF, Andrija tampar School of
fakulteta u razvijanju metoda i alata za rjeavanje lokalno-spe- Public Health, the School of Design and the Faculty of Archite-
cifinih problema prostora obrazovanja u hrvatskim ruralnim cture in the development of both methods and tools for addre-
sredinama. Upoznajui se s iskustvom UNICEFovih intervencija ssing locally specific problems of learning spaces in the Croatian
u pogoenim podrujima diljem svijeta, studenti Arhitekton- rural regions. Students at the Faculty of Architecture and the
skog fakulteta i Studija dizajna doprinijeli su zbiru moguih School of Design gained insight into the UNICEF interventions
koncepata tranzicijskih prostora uenja i izvedivih rjeenja. in diverse affected areas throughout the world and they hence
Depopulacija mnogih krajeva Hrvatske dovela je do manje contributed to a vast array of potential concepts of learning
intenzivnog koritenja niza prostora namijenjenih osnovnom spaces in transition and feasible solutions.
obrazovanju, od kojih mnogi ostaju naputeni i bez svog pri- Depopulation of a large number or regions in Croatia resulted in
marnog sadraj. Postojea mrea podrunih kola predstav- less intensive use of a broad range of spaces intended for elemen-
lja meutim, znaajnu vrijednost i potencijal aktivacije rural- tary learning, many of which still remain abandoned and depri- Dekan Arhitektonskog fakulteta prof. mr. sc. Boris
nih zajednica. ved of their primary content. Nevertheless, the existing network Korunjak uvodnom rijeju otvara prezentaciju radova
U prvom izdanju radionice Prostori uenja u tranziciji promi- of regional schools is considered of particular value and shows s radionice
Dean of the Faculty of Architecture Boris Korunjak,
ljala su se rjeenja kojima se nastojala obogatiti i unaprijediti the potential of involvement of rural communities. MSc, Professor holding the opening speech prior to the
redovna nastava uz istovremeno zadravanje znaaja kole i The first edition of the workshop entitled Learning Spaces in Tran- presentation of works from the workshop
kreiranja novog fokusa lokalne zajednice. sition focused on solutions aimed at enriching and enhancement
Prof. Mladen Orei, doc.Tomislav Vlaini, asist. Romana
Drugo izdanje radionice bavilo se redefiniranjem obrazovne of regular classes whilst simultaneously retaining the significance Kajp, doc.Vanja Rister (AF) i prof.dr.sc.Fea Vuki
uloge i pitanjima socijalne integracije u etiri podrune kole of school and the creation of new focus in the local community. Mladen Orei, Professor; Tomislav Vlaini, Assistant
Sisako-moslavake upanije: Grabotani, Donja Graenica, The second edition of the workshop addressed the issue of re-de- Professor, Romana Kajp, Teaching Assistant, Vanja Ris-
ter Assistant Professor (Faculty of Architecture) and
Gradusa i Gornja Letina. Spomenute kole razliite su prema fining the educational role and social integration issues in four Fea Vuki, Ph.D, Professor
okolnostima u kojima djeluju ili kontekstu u kojem se nalaze, regional schools in Sisak-Moslavina County: Grabotani, Donja
te je svaka od njih posluila kao studija sluaja specifinog Graenica, Gradusa and Gornja Letina. These schools differ con- Predrag uri (Srbija), Adnan Pai (Bosna i Hercegovina),
Hakan Saglam (Turska), Vlatko P. Korobar (Makedonija)
problema za koju su kreirane strategije ugraivanja novih cerning the circumstances in which they operate or the context Predrag uri (Serbia), Adnan Pai (Bosnia and
znaenja i obrazovnih funkcija. in which they are placed and hence each of them was used as a Herzegovina), Hakan Saglam (Turkey), Vlatko P. Koro-
U pet timova sudjelovalo je trideset studenata preddiplom- case study for a specific problem and strategies were created for bar (Macedonia)
skog i diplomskog studija arhitekture, industrijskog dizajna i the integration of new significance and educational functions.
vizualnih komunikacija, pri emu se zajedniki radilo na kon- Thirty students enrolled at the Undergraduate and those at the
cipiranju moguih rjeenja specifinih situacija, a razrada je Graduate Study Programme of Architecture, Industrial Design
integralno obuhvatila sve participativne discipline. Strunjaci and Visual Communications participated divided into five teams.
iz kole narodnog zdravlja Andrija tampar bili su savjetnici They worked jointly to provide potential solutions for specific
oko zdravstvenih i ekolokih aspekata problema. situations and the elaboration integrated all participating dis- Prof. Mladen Orei, doc.Tomislav Vlaini, asist. Romana Kajp, doc.Vanja Rister (AF)
i prof.dr.sc.Fea Vuki
ciplines. Experts from Andrija tampar School of Public Health Mladen Orei, Professor; Tomislav Vlaini, Assistant Professor, Romana Kajp,
acted as consultants concerning the health and environmental Teaching Assistant, Vanja Rister Assistant Professor (Faculty of Architecture) and
aspects of the issues. Fea Vuki, Ph.D, Professor
Predrag uri (Srbija), Adnan Pai (Bosna i Hercegovina), Hakan Saglam (Turska),
Vlatko P. Korobar (Makedonija)
Predrag uri (Serbia), Adnan Pai (Bosnia and Herzegovina), Hakan Saglam
(Turkey), Vlatko P. Korobar (Macedonia)
346 347
Sudionici radionice po timovima bili su:

Workshop participants grouped into teams
comprising of:
Gradusa 1
Arhitektonski fakultet/Faculty of Architecture:
Jere Kuzmani, Valentina Kreki i Antonija Vlai
Studij dizajna/School of Design:
Niko Crnevi, Maja Jandri i Dominik Markui
Gradusa 2
Sven Sori, Dino Mikovi i Sara Jurini
Nataa Njegovanovi, Laura Mrka i Slavica Farka
Donja Graenica
Tsvetan Sirakov, Hana Golubovac i Irma muc
Dorja Benussi, Toni ljaka i Anta Buevi
Gornja Letina
Borna Pavii, Petra Radi i Tamara Reli
Lucija Nieno, Matej Goreta, Dora Kasun i Dunja Lesar
Grabotani
Monika Prini, Karla Sren i Monika Tomi
Ana oli, Janja Rokar i Ana Somek
Mentori radionice:
Workshop mentors:
Mia Roth erina i Vanja Rister
Ivana Fabrio, Tomislav Vlaini i Romana Kajp.
Konzultanti/Consultants:
kola narodnog zdravlja/School of Public Health:
dr.sc. Ksenija Vitale i dr.sc. Aleksandar Dakula.
Fotodokumentacija:
Photo documentation:
Domagoj Kuni
Doc. Ivana Fabrio predstavlja skupinu Donja Graenica; Skupina Gradusa 1;

Ivana Fabrio, Assistant Professor representing Donja Graenica group; Gradusa 1 group;
Toni ljaka (SD), Dorja Benussi, (SD) Anta Buevi (SD), Irma muc (AF), Tsvetan Niko Crnevi (SD), Maja Jandri (SD), Jere Kuzmani (AF), Valentina
Sirakov (AF) Hana Golubovac (AF) Kreki (AF), Antonija Vlai (AF), Dominik Markui (SD)
Skupina Donja Letina; Skupina Gradusa 2;

Donja Letina group; Gradusa 2 group;
Matej Goreta (SD), Borna Pavii (AF), Tamara Reli (AF), Lucija Nieno (SD), Petra Laura Mrka (SD), Slavica Farka (SD), Nataa Njegovanovi (SD), Dino
Radi (AF), Dunja Lesar (SD), Dora Kasun (SD) Mikovi (AF), Sara Jurini (AF) i Sven Sori (AF)
348 349
Osnivanje Galerije Studija dizajna Opening of the School of Design Gallery

Tijekom akademske godine 2014./2015. u novoiznajmljenom The School of Design Gallery was opened during the acade-
prostoru u dvoritu Frankopanske 12 otvorena je Galerija mic year 2014/2015 in the newly rented premises in the yard at
Studija dizajna. Otvaranjem Galerije Studij dizajna stvorio je 12 Frankopanska Street. The opening of the School of Design
mogunost da javnosti izravno predstavi dosege svoga peda- Gallery provided the opportunity to present the scope of its
gokog djelovanja. Izlobe su to studentskih projekata iz razli- pedagogical activity to the public. Student project exhibitions
itih podruja promocije, ali ne samo studenata nego i cijelog from diverse fields promote both the students and the School
Studija, a time i dizajnerske struke. Relativno dobro tehniki of Design in general, as well as design profession. A relatively
opremljen prostor Galerije omoguuje organiziranje i drugih technically well-equipped Gallery premises provide the oppor-
dogaanja poput razliitih radionica i tematskih prezentacija. tunity to organise other events such as diverse workshops and
Galerija Studija dizajna, iako malena prostorom, ima golemo thematic presentations.
znaenje za Studij dizajna to e se u budunosti jo vie Irrespective of its confined premises, the Gallery has a huge
potvrditi. Mogunost javne prezentacije studentskih proje- significance for the School of Design which will receive further
kata, a posredno i nastavnih programa, sigurno e u nekom confirmation in the future.
smislu utjecati i na postupni redizajn tema unutar pojedinih The opportunity for public presentation of student projects and
podruja kojima se bavi Studij dizajna. indirectly also of the curricula will certainly impact on a gradual
Koliko ova Galerija znai za promociju dizajnerske struke u redesign of the topics within the specific fields addressed by the
domaim okvirima govori i injenica da je ona jedna od malo- School of Design.
brojnih izlagakih prostora u nas koja e se sustavno baviti The importance of the gallery for the domestic promotion of
strukom. Samo je pitanje vremena kada e postati prostor raz- design profession is highlighted by the fact that it is one of a
mjene razliitih iskustava drugih domaih i stranih dizajnerskih few galleries in Croatia that will be systematically dealing with
pedagokih praksi. U tom smislu bit e neophodno organizirati design profession. It is only a matter of time before it becomes
provedbeni tim koji moe stvoriti struni programski okvir i the venue for exchange of diverse experiences of other dome-
osigurati njezino kontinuirano djelovanje. stic and foreign design pedagogical practices. Consequently,
an implementation team will be required intended to provide
a professional programme and ensure its continuous activities.
350 351
radionica
Slova u fizikom okruju
Jedan od najrelevantnijih tipografa 20. stoljea Eric Gill je Studenti arhitekture tijekom realizacije
svojedobno rekao: Slova su stvari, a ne slike stvari. U vrijeme dijela projekata
Students of architecture during the
olovnog sloga to je bilo jasnije nego to je danas kada se dizajn implementation of some projects
pisma (i grafiki dizajn openito) doivljava primarno kao Sven Sori (AF) i Hrvoje Spudi (AF)
digitalna aktivnost. Kako bi razvili neto drugaiji senzibilitet
od digitalnog, u radionici smo naglasak dali fizikom aspektu
slova. Svaki student je odabrao nekoliko slova koja je potpuno
slobodno dizajnirao, a sva slova skupljena zajedno ine jednu
cjelovitu abecedu, stilski izrazito raznoliku. Slova su potom
izrezana iz perploe te putem jednostavne tehnike visokog
tiska preslikana na papir. Kao rezultat nastaje serija analogno
otisnutih plakata, drveni klieji slova te funkcionalni zajedniki
font jedne generacije studenata.
Radionica je odrana uz potporu studenata arhitekture Hrvoja
Spudia i Svena Soria koji djeluju pod nazivom This Town
Needs Posters.
Workshop
Letters in physical environment
One of the most relevant typographers of the 20th century Eric
Gill once stated: Letters are objects, rather than images of obje-
cts. At the time of hot type that was clearer than it currently is
when typeface design (and graphic design in general) are con-
sidered primarily as a digital activity. In our workshop, we have
focused on the physical aspect of letters, aiming to provide a sli-
ghtly different sensibility compared with the digital. Each student
selected several letters that they designed with full freedom and
all the letters together create an integral alphabet with excep-
tional stylistic diversity. The letters were subsequently cut out
from plywood and, using a simple relief printing technique, they
were copied on paper. Consequently, this resulted in a series of
posters in analogous print, wooden clichs of letters and a fun-
ctional common font of one student generation.
The workshop was supported by architecture students Hrvoje
Spudi and Sven Sori who operate under the name This Town
Needs Posters.
352 353
dina bartoli, elizabeta bonjak, ivana hrabar, maja jandri,

katarina huljev, monika moevi, laura mrka, helena nemec,
nataa njegovanovi, iva udovii, lea vavra, petra vrdoljak,
radionica Workshop mentoricevoditeljice radionice/mentorsworkshop leaders:
Sanja Benceti, Andrea Hercog, Izvorka Juri, Ivana Zanze (RODA)
Reetke nisu prepreke Bars are not obstacles godinje priznanje studija dizajna /annual acknowledgement at the school of design
Studij dizajna i udruga Roda koja se zauzima za dostojanstvenu In co-operation with Roda Association, an association that
trudnou, roditeljstvo i djetinjstvo u Hrvatskoj, zajedniki su stands up for dignity of women during pregnancy, parenting
organizirali i realizirali radionicu u enskoj kaznionici Poega. and childhood in Croatia, the School of Design organised a
Nastavnice i studentice Studija, aktivistica udruge Roda i zatvo- workshop of participative design and social inclusion in the pre-
renice iz Kaznionice su tijekom radionice, koja je trajala od 4. mises of Womens Penitentiary in Poega. Professors and tea-
do 8. svibnja 2015., osmislile i izradile uzorke grupe proizvoda chers from the School of Design, activists of Roda Association
s pripadajuom ambalaom i drugim sredstvima komunika- and prisoners from the Penitentiary jointly created and made
cije namijenjenih maloj djeci i roditeljima. Zamiljeno je da se models of eight products (along with the packaging and accom-
ti proizvodi proizvedu u Kaznionici, iji e prihod od prodaje panying visual material) during a five-day workshop (from 4th
biti namijenjen za pokrivanje putnih trokova kako bi djeci to 8th May 2015). The products, intended for infants and their
bio omoguen susret s majkama koje slue zatvorsku kaznu. parents, will subsequently be produced at the penitentiary. The
Kako bi se to bolje upoznale i shvatile potrebe i specifinosti revenues generated through the sale of these products will be
mladih roditelja i trudnica kao ciljane skupine za proizvode i used for the settlement of travel expenses for children whose
komunikacije koje e biti dizajnirane na radionici, netom prije mothers are serving their sentence at the penitentiary in order
radionice studentice su obavile istraivanja, te su odrane pre- to enable their reunion.
zentacija udruge Roda i njezinih ciljeva, predavanje o sigurno- Aiming to deepen the insight into the needs and specific featu-
sti proizvoda za djecu i fokus-grupa s roditeljima. res of young parents and pregnant women as a target market
Na samoj radionici u Kaznionici su intenzivno osmiljavane for the products and the communication methods to be desi-
ideje za potencijalne proizvode i komunikaciju, doraivale gned at the workshop, students conducted research prior to the
ideje i izraivali uzorci proizvoda. workshop and Roda Association delivered a presentation of its
Cilj radionice je bio osmisliti kvalitetne proizvode, koji e ispu- goals. Moreover, a presentation was delivered on the safety of
niti stvarne potrebe onih koji ih kupuju i koriste. Osim proi- childrens products and a focus group was held with parents.
zvoda, na radionici su osmiljene i vizualne komunikacije samih During the workshop at the penitentiary ideas were intensively
proizvoda i cijelog projekta. Socijalni i emotivni aspekt pro- developed and perfected for potential products and communi-
jekta spontano su prerasli u komunikaciju kojim se ele osvje- cation and product samples were made.
stiti predrasude i potaknuti razumijevanje temeljeno na uni- The workshop was intended to provide high quality products
verzalnoj potrebi roditelja i djece za zajednitvom i bliskou. to meet the requirements of those buying and using them. In
Osim dragocjenog odmaka od zatvorske svakodnevnice, ova- addition to the products, design for the visual communication
kve radionice zatvorenicama nude konkretne informacije o of the products and for the entire project was provided during
dizajnu, osobno iskustvo sudjelovanja u procesu dizajna, te the workshop. The social and the emotional aspect of the project
razumijevanje naina i vrijednosti izraavanja vlastite krea- were spontaneously transformed into communication intended
tivnosti kroz dizajn. to raise awareness of the prejudices and encourage the under-
standing based on the universal need of both parents and chil-
dren for togetherness and closeness.
In addition to the valuable distance from the daily routine at the
penitentiary, such workshops provide the inmates with informa-
tion on design, as well as a personal experience of participation Gore desno/jedna od mentorica projekta Izvorka Juri i studentica Ivana Hrabar,
in design process and insight on the methods and the value of sudionica projekta
Top right corner/one of the meontors of the project Izvorka Juri and the stu-
expressing ones creativity through design. dent Ivana Hrabar, participant in the project
354 355
Gore lijevo/studentice
Top left corner/students
Petra Vrdoljak, Nataa Njegovanovi i Laura Mrka
Gore desno/studentice
Top right corner/students
Katarina Huljev, Monika Moevi i Dina Bartoli
Dolje lijevo/studentice
Bottom left corner/students
Maja Jandri i Viktoria Lea Vavra
356 357
Dogaanja Events
Ovo poglavlje Godinjaka predvieno je za informacije o izlo- This chapter of the Yearbook is intended to provide informa-
bama, promocijama, prezentacijama, seminarima i mnogim tion on exhibitions, promotions, presentations, seminars and a
drugim oblicima djelovanja nastavnika i studenata Studija large number of other types of activities performed both by the
dizajna u okviru struke, ali izvan redovne nastave. professors and the students of the School of Design within the
Znatan dio zabiljeenih zbivanja odvijao se u prostoru Gale- scope of design profession, as well as extracurricular activities.
rije Studija dizajna, to potvruje oekivanja kako e Galerija A large part of the recorded events were held at the premises of
odigrati vanu ulogu i biti nezaobilazna toka u promociji the School of Design Gallery, which confirmed the expectations
studija, studentskih postignua i dizajnerske struke openito. that the School of Design Gallery would play an important role
Takoer, iz priloga koji su prireeni moe se zapaziti kako and become a vital venue for the promotion of the studies, stu-
studenti Studija dizajna redovito sudjeluju na mnogobrojnim dent achievements and design profession in general.
izlobama hrvatskog dizajna, a za svoje projekte nerijetko Moreover, it can be noted that students at the School of Design
osvajaju nagrade i priznanja. Sve to dodatno ojaava status regularly participated in a large number of Croatian design exhi-
Studija dizajna Arhitektonskog fakulteta kao vodee obra- bitions and that they frequently received awards and recognition
zovne institucije na podruju dizajna u nas. for their projects. Hence, the status of the School of Design at
the Faculty of Architecture, as a leading educational institution in
the field of design in Croatia, has been additionally strengthened.
358 359
godinjak studija dizajna 2014./2015. dogaanja
school of design annual review 2014/2015 events
Promocija magistara,
prvostupnika i diplomiranih
dizajnera u akademskoj godini prvostupnici dizajna
/BACCALAUREATE DEGREE
magistri dizajna
/masters degree holders
2014./2015. HOLDERS in design
U dvorani Arhitektonskog fakulteta odrana je 17. prosinca, 2015. Juraj Balen Dorja Benusi
godine promocija magistara, prvostupnika i diplomiranih dizaj- Dina Bartoli Marta Birki
nera za akademsku 2014. / 2015. godinu. Baccalaurea cum laude Luka Daniel Bori
Prvostupnica s pohvalom
Na poetku ceremonije moderator, prof.dr.sc. Zlatko Kapetanovi, Bacalaureate Honors Maja Bokovi
pozdravio je prisutne diplomante, roditelje, profesore Studija Miran Bai Matea Brki
dizajna i dekana Arhitektonskog fakulteta Sveuilita u Zagrebu, Marina Bitunjac Anta Buevi
prof.mr.sc. Borisa Korunjaka. Tin Buri Niko Crnevi
Nakon prigodnih uvodnih rijei dekana Arhitektonskog fakulteta, Stela Cvijanovi Krsistina Crnek Vidovi
skupu se obratio voditelj Studija dizajna prof. Stipe Bri, istiui Nikolina Fuzul Hrvoje Dominko
doprinos Studija u razvoju suvremenog hrvatskog dizajna. Karmela Gudiek Slavica Farka
Svaka poimenina promocija popraena je gromoglasnim pljeskom Katarina Huljev Tihomir Filipec
prisutnih roditelja, prijatelja i kolega, a ceremonija je zakljuena Matea Jurevi Matija Guli
neizostavnim Gaudeamusom. Nikolina Kentri Stani Zrinka Horvat
Sveanost promocije nastavljena je neformalnim druenjem u Antonia Michelle Kovaevi Mario Jeki
predvorju dvorane. Otto Kuec Antonio Karaa
Dunja Lesar Iris Klari
Dominik Markui Stanislav Kosti
Graduation ceremony of masters degree holders, Kai Ana Matulina Dorotea Kutlea
Baccalaureate degree holders and graduate degree Rebecca Mesari Sanja Kuzmanovi
holders in the academic year 2014 / 2015 Monika Moevi Dora Lugari
Helena Nemec Ivona Milo
The graduation ceremony of masters degree holders, Baccalaure- Borjan Pavlek Lucija Nieno
ate degree holders and graduate degree holders in the academic Sara Pavlekovi Preis Tea Pavi
year 2014 / 2015 was held on 17th December 2015 at the Faculty Maja Prelec Martin Peranovi
of Architecture hall. Donat Radas Luka Peri
At the beginning of the ceremony the moderator Zlatko Kape- Matija Sviben Ena Priselec
tanovi, PhD, prof. greeted the graduates, parents and professors Ivan aban Katarina Ratkaj
at the School of Design and Boris Korunjak, M.Sc, Dean of the Lidija arko Janja Rokar
Faculty of Architecture attending the ceremony. Toni ljaka Ana Somek
Following the introductory address by the Dean of the Faculty Gala Marija Vrbani Franka Speti
of Architecture, the professor Stipe Bri, Head of the School of Iva Grgi Vuemilovi Maja Suboti
Design pointed out the contribution of the School of Design to Alma avar
the development of contemporary Croatian design. Matija poljar
Each degree holder was greeted with the thunderous applause Petra Vrdoljak
by the parents, friends and colleagues and the ceremony ended
with the unavoidable hymn Gaudeamus Igitur.
The graduation ceremony continued with an informal socialising diplomirani dizajneri
for all the attendees at the hall lobby. /GRADUATE DEGREE HOLDERS
Mirna Saletovi Dolje lijevo/prof.dr.Boris Korunjak i prof.Stipe Bri

estitaju prvostupnicima
Bottom left corner/professor Boris Korunjak, Ph.D
and professor Stipe Bri congratulating the Bacca-
laureate degree holders
Gore desno/prvostupnica....
Top right corner/Baccalaureate degree holder....
Dolje desno/prvostupnik Tin Buri

Bottom right corner/Baccalaureate degree holder
Tin Buri
360 361
Stanko Herceg, izloba Konferencija u Etiopiji

Pogled s prozora / The Affordable
Fotografije i isti film & the Profitable
Tijekom listopada 2015. u Galeriji Klovievi dvori odr- Od 10. do 12 studenog 2014. u Etiopiji je odrana ference. She delivered a lecture on social housing
ana je izloba fotografa, filmskog snimatelja i preda- meunarodna konferencija o dostupnom stanova- and presented projects developed at the Faculty of
vaa na Studiju dizajna, Stanka Hercega. Izloba se nju pod nazivom The Affordable & the Profitable, u Architecture whilst addressing this topic. The pro-
odrala u sklopu ciklusa Snapshot / Brzo okidanje, a organizaciji instituta eitm (Ethiopian Institute of fessor Zlatko Kapetanovi participated in the con-
nosi naslov Pogled s prozora / Fotografije i isti film. Technology, Mekelle University). ference as a representative of the School of Design
Samostalnu izlobu uglednoga hrvatskog fotografa Na konferenciji su nastupilii: prof. Lawrence Vale (mit and delivered a lecture on sustainable design and
i filmskog snimatelja, Stanka Hercega, u Galeriji Klo- Boston), Nicole Baron (Bauhaus University, Weimar, on the programme and methods of work adopted
vievi dvori, trebalo bi, izmeu ostaloga, sagledati Njemaka), prof. Abadi Teklehaimanot (Mekelle at the School of Design.
kao sloenu i nedvojbenom sjetom protkanu priu, Universiti, Etiopija), Manuela Graetz (Ministarstvo Our representatives participated also in the criti-
baziranu na promiljenom i dosljedno provedenom urbane izgradnje u Etiopiji), Andrea E. Neri (Mekelle cal analysis of student work addressing the topic
dualizmu. Prije svega, rije je o dvostrukoj posveti University), prof. Nabeel Hamdi (Oxford Brooks, V. of urban equipment in a workshop led by Michaele
izlobe: Josephu Nicphoru Nipceu i Marini Vicu- Britanija), prof. Alenka Deli (Arhitektonski fakultet Solnicke from the Czech Republic.
lin; o prolom i sadanjem vremenu; o paralelnoj Zagreb), prof. Zlatko Kapetanovi (Studij dizajna), Moreover, the issue of the possibility of co-oper-
realizaciji u mediju fotografije i filma, o kadrovima Andrej Doen (Mekelle University). ation between the two universities was tackled in
snimljenim iz zraka i sa zemlje, o trajanju i trenutku. Na ovome skupu sudjelovala je i predstavnica Arhi- several discussions resulting in a General Agreement
Radei svoj videofilm, Stanko je bio inspiriran prvom tektonskog fakulteta Sveuilita u Zagrebu, Alenka on Cultural and Scientific Co-operation, signed in
nastalom fotografijom koju je u mjestu Le Gras Deli, s predavanjem o socijalnom stanovanju te this occasion.
blizu Vosagesa, u pokrajini Lorraine, snimio francu- prikazala projekte koji u okviru ove teme nastaju
ski kemiar Joseph Nicphore Nipce 1826. godine. Stanko Herceg na Arhitektonskom fakultetu. Prof. Zlatko Kapeta-
Videosnimanje bez objektiva jo se nedavno nije Exhibition novi sudjelovao je kao predstavnik Studija dizajna
moglo tehniki postii, ali zahvaljujui elektronikom A View from the Window / Photographs s predavanjem o odrivom dizajnu te o programu i
ipu izuzetne osjetljivosti, koji registrira i minimalni and Plain Film nainu rada ovoga studija.
dotok svjetla, eksperiment se pokazao uspjenim. Nai predstavnici sudjelovali su i u kritikoj analizi
An exhibition by Stanko Herceg, a photographer, a This Stankos hommage, was appropriately perme-
Stanko je svoju Impresiju izlazeeg sunca snimao studentskih radova, nastalih o temi urbane opreme u
cinematographer and a lecturer at the School of ated with emotions and discreet poetics appearing
80 minuta, te je zahvaljujui zrnatoj slici, kao nei- radionici pod vodstvom Michaele Solnicke iz Repu-
Design was held in October 2015 in Klovievi Dvori from an impressive delicate photography, which has
zbjenom rezultatu takva naina snimanja, postigao blike eke.
Gallery. The exhibition was held within the cycle been pointed out by sound recording.
slinu vizualnost i atmosferu kao i Nipce gotovo Takoer, voeni su razgovori o mogunostima uspo-
Snapshot/ Brzo okidanje and it was entitled A View Herceg, being primarily a photographer by vocation,
dvjesto godina prije. Taj Stankov hommage, kao to i stave suradnje izmeu dvaju sveuilita, iji je rezul-
from the Window / Photographs and Plain Film.
dolikuje posveti, nije proao bez emocija i diskretne reached out also for the photographic lenses whilst tat Opi sporazum o kulturnoj i znanstvenoj suradnji,
The independent exhibition by a reputable Croa- filming and he took a series of photographs from
poetike koji proviruju iz dojmljive i njene slike, a potpisan tom prigodom.
tian photographer and cinematographer, Stanko the same position. Furthermore, Stanko could not
naglaene su i zvunim zapisom.
Herceg, held in Klovievi Dvori Gallery, should be resist the temptation to provide also an en face view
Po svojoj vokaciji prvenstveno fotograf, Herceg je
also considered as a complex story permeated by after what he did from birds eye view. Hence, he
snimajui film posegnuo i za fotografskim objek-
an indisputable melancholy, based on wilful and mingles with the city crowds and with next-door- Conference in Ethiopia
tivom te je s iste pozicije nainio seriju fotografija. The Affordable & the Profitable
coherently implemented dualism. The exhibition neighbours telling their stories which he is aiming
Nije ostalo samo na tome jer Stanko nije mogao
was dedicated to Joseph Nicphore Nipce and to discreetly reveal through his sophisticated stance.
odoljeti da ono to je zabiljeio ptijim pogledom An international conference on affordable housing
Marina Viculin. It addressed the issue of past and The life on the streets presented through camera
ne sagleda i en face, te se sputa meu aktere grad- entitled The Affordable & the Profitable organised
present time, of parallel actualisation in the media lenses differs significantly from ones perception of
ske vreve, meu ljude iz kvarta koji imaju svoju priu, by the Ethiopian Institute of Technology, Mekelle
of photography and film, of aerial photography and it whilst simply passing it by and participating in it.
a koju nam on svojim istananim okom diskretno University, was held in Ethiopia from 10th to 12th
shots taken on land, of duration and the moment. Preface to the exhibition taken from the preface
otkriva. ivot ulice sagledan kroz objektiv bitno je November of 2014.
During his work on video film, Stanko was inspired by Mladen Lui
drugaiji od onoga kakvog ga doivljavamo prola- The professor Lawrence Vale (MIT Boston), Nicole
by the first photograph taken in Le Gras near Vosges,
zei tom ulicom i sudjelujui u njemu. Baron (Bauhaus University, Weimar, Germany), the
in the province of Lorraine, by the French chemist
Predgovor izlobi preuzet je iz predgovora Mla- professor Abadi Teklehaimanot (Mekelle Univer-
dena Luia Joseph Nicphore Nipce in 1826. Video shooting sity, Ethiopia), Manuela Graetz (Ministry of Urban
without the lens was not technically possible until Construction in Ethiopia), Andrea E. Neri (Mekelle
recently, yet the experiment proved successful due University), the professor Nabeel Hamdi (Oxford
to the extremely sensitive electronic chip, which reg- Brooks, Great Britain), the professor Alenka Deli
isters even a minimal influx of light. The filming of (the Faculty of Architecture Zagreb), the profes-
Stankos Impression of a Rising Sun took 80 minutes sor Zlatko Kapetanovi (the School of Design) and
and due to grainy photograph, as an inevitable result Andrej Doen (Mekelle University) participated at
of this shooting method, he achieved visual effects the conference.
and the atmosphere considerably resembling those Alenka Deli, a representative of the Zagreb-based
achieved by Nipce almost two hundred years ago. Faculty of Architecture also participated in this con-
362 363
Dan D 2015.
Studij dizajna na izlobi
Dana D Day D 2015.
School of Design at the Day D exhibition
Projects presented during the sixth edition of Day
Projekti prezentirani tijekom estog izdanja Dana D,
u prostorima bive vojne bolnice u Zagrebu, prikazali
D, in the Zagreb-based premises of the Old Military
su aktualni presjek dijela aktivnosti Studija dizajna
Hospital, provided an overview of the activities of
zagrebakoga Arhitektonskog fakulteta.
the School of Design at the Zagreb-based Faculty
Rije je o projektima kojima se nastoji uspostaviti
of Architecture.
kontinuirana suradnja Studija dizajna kao predstav-
The presented projects aimed to establish a contin-
nika akademske zajednice s gospodarskim imbe-
uous co-operation between the School of Design as
nicima na unapreenju, razvoju, prezentaciji i pla-
a representative of the academic community and
the economic entities on promotion, development,
smanu konkurentnih, odrivih proizvoda.
presentation and sale of competitive and sustain-
Iako su radovi nastali na vie kolegija koje su kreirali
able products.
studenti s razliitih godina, sve njih povezuje elja
za jasnom artikulacijom dizajnerskog stava.
Irrespective of the fact that the works were created
U vremenu kada se uloga dizajna u drutvu simbo-
during several courses and by students enrolled at
liki primjereno prezentira u prostoru bive bolnice,
diverse years of the study programme, they were all
prigoda je podsjetiti se da postoji alternativa takvom
aiming to clearly express design attitudes.
klinikom stanju duha.Against the backdrop of the times when the role
Svjesni svoje uloge krovne edukacijske ustanove u
of design in society is symbolically adequately pre-
sented in the premises of the Old Military Hospital,
podruju dizajna, Studij dizajna veinu svojih ostva-
the fact that there are alternatives to this clinical
renih studentskih projekata koristi kako bi informi-
state of the spirit.
rao iru javnost o drutvenoj ulozi i znaenju dizajna.
Aware of its role of the umbrella educational insti-
Kontinuirano unapreuje program studiranja kako
tution in the field of design, the School of Design
na istraivako-teorijskom tako i na praktinom
podruju, s posebnim naglaskom na ishode uenja
uses most of its projects to inform the broader pub-
koji e studentima osigurati kompetencije za uin-
lic on the social role and the significance of design.
Moreover, it continuously improves the study pro-
kovit ulazak u profesionalan ivot. S jedne strane iri
se i umreuje lepeza razumijevanja aktualnih i novih
gramme, both concerning the research and theo-
podruja djelovanja dizajna i dizajnera, a s druge
retical fields, as well as from a practical aspect, with
se nastoji sustavno osigurati iskustvo sudjelova-
a special emphasis on learning outcomes that will
nja i voenja stvarnih projekata u realnom okruju.
ensure that students gain competencies required for
Program Studija dizajna temelji se na jedinstvenom
effective commencement of their professional lives.
stavu da je dizajn sredinji imbenik inovativne huma-
On the one hand, the insight into the current and
the new fields of design is being deepened, whilst
nizacije tehnologije te bitan dio kulturne i gospodar-
on the other hand we are aiming to systematically
ske razmjene, a dizajner je svojim radom u stalnom
dijalogu sa irom zajednicom.
provide the experience of participation and man-
Upravo taj jasan stav, bez obzira radi li se o produkt
agement of projects in real environment.
dizajnu ili vizualnim komunikacijama, obiljeio je prvih
The School of Design study programme is based on
25 godina neprestanog djelovanja Studija dizajna.
a unique attitude that design is the central factor of
innovative humanisation of technology and hence an
important aspect of cultural and economic exchange,
whilst designers are in continuous dialogue with the
broader community through their work.
This clearly expressed attitude, both in project design
and in visual communications, has marked the first 25
years of continuous activity of the School of Design.
364 365
Dizajn i obr(a)t Summit HKKKKI

Novi ivot odbaenih Izloba Studija dizajna i panel rasprava
predmeta Dizajn vs drvo
U galeriji Bernardo Bernardi Centra za kulturu Pu- asignment was to gain knowledge about, and to Prvi hrvatski skup kreativnih i kulturnih industrija odrao se 21. i 22. svibnja u
kog otvorenog sveuilita u Zagrebu je tijekom trav- articulate symbolic values of objects, as well as to Muzeju suvremene umjetnosti u Zagrebu. Tema je bila Gospodarstvo stvara-
nja 2015. godine odrana izloba radova studenata understand connections between the usage and the nja. Inicijator, Hrvatski klaster konkurentnosti kreativnih i kulturnih industrija,
prve godine preddiplomskog studija dizajna. Zadatak meaning of the object. Transformed objects were u suradnji s Hrvatskom udrugom poslodavaca, organizirali su niz predavanja,
je bio prenamjena odbaenih, isluenih i zastarje- given a new value which has not been, or at least panel rasprava i izloaba radi informiranja i poticanja razvoja kulturnih/krea-
lih predmeta, osmiljen sa svrhom da studenti prve wasnt consciously present in their original designs tivnih industrija koje imaju izuzetan porast u svijetu i postaju znaajne sastav-
godine preddiplomskog studija usvoje osnove analize and ways they were used. The elements of seman- nice ukupnog razvoja.
postojeih predmeta. Analizom je trebalo obuhva- tic functions were deliberately added in their rede- Studij dizajna sudjelovao je s izlobom najuspjenijih projekata nastalih u okviru
titi funkcionalne, tehnike i tehnoloke aspekte, ali signed features. In doing so, special attention was studijskog programa, ali i u suradnji s raznim proizvodnim tvrtkama kao i dru-
i simboliki znaaj odabranih predmeta u kulturo- dedicated to the expressive function, or emotional tvenim institucijama. Tako su predstavljena viegodinja nastojanja u usmje-
lokom i sociolokom smislu razdoblja u kojem su experience, in order to explore the possibilities of ravanju kreativnog potencijala koji nastaje na ovome Studiju prema stvarnim
egzistirali. Na temelju svojih spoznaja, studenti su transforming the rejected and worn out object in the gospodarskim, kulturnim i drutvenim potrebama.
svladali metode transformiranja odbaenih pred- desirable and usefull one. Students were exploring U okviru rasprave Dizajn vs drvo sudjelovali su predstavnici dizajnerske struke:
meta na tako da im daju novi razlog postojanja u to what extent is possible to build in the pleasure Mladen Orei, profesor Studija dizajna i Nikola Radeljkovi u ime Hrvatskoga
skladu sa novim uvjetima. Cilj zadatka je bio spo- of using such transformed objects, in order to make dizajnerskog drutva, a drvni sektor su zastupali: Toni Kurti (Spin Valis) i Marijan
znaja i artikulacija simbolike vrijednosti predmeta, condition for their longer existance. Kavran (hdk). Tema rasprave i zakljuci su bili posveeni potrebi uspostavljanja
te spoznaja sprege uporabe i znaenja predmeta. The exhibition was supported by the Croatian Min- djelotvornije suradnje struke i proizvodnog sektora, pri emu se od proizvodnje
Transformirani predmeti su dobili novu vrijednost istry of Culture and the Narodne novine print. oekuje jasnije strateko usmjeravanje razvoja putem dizajna.
koja u njihovoj originalnoj pojavi i nainu koritenja
najee nije bila prisutna, ili nije bila svjesno ugra-
ena. Radi se o namjerno ugraenim elementima The Summit HKKKKI
semantikih funkcija. Pri tome je naroita panja Exhibition by the School of Design and a panel discussion
bila posveena ekspresivnoj funkciji, tj. emotivnom entitled Design vs wood
doivljaju s ciljem ispitivanja mogunosti transfor-
macije odbaenog i isluenog u poeljno i korisno. The first Summit of the Croatian Competitiveness Cluster of Creative and Cul-
Studenti su u svojim rjeenjima nastojali razmatrati tural Industries was held on 21st and 22nd May at the Zagreb-based Museum
do koje mjere je mogue ugraditi element uitka u of Contemporary Art. The main topic addressed was The Economy of Crea-
koritenju tako transformiranog predmeta, kako bi tion. The initiator Croatian Competitiveness Cluster of Creative and Cultural
stvorili uvjete za njihovo trajnije postojanje. Industries in co-operation with the Croatian Employers Association organised
Izloba je realizirana uz potporu Ministarstva kul- a vast array of lectures, panel discussions and exhibitions aiming to inform
ture Republike Hrvatske i tiskare Narodnih novina. and encourage the development of cultural and creative industries that have
seen an exceptional increase at the global level and are becoming important
components of the overall development.
The School of Design participated through the exhibition of the most success-
Design and crafts ful projects developed within the study programme, as well as in co-opera-
The New Life of Discarded Items tion with social institutions and with diverse companies involved in production.
In April 2015 in the gallery Bernardo Bernardi of the Hence, long-term effort concerning the channelling of the creative potential
Center for Culture at the Open University Zagreb, unleashed at the School of Design in order to meet the economic, cultural and
was held the exhibition of the first year of under- social requirements was presented.
graduate students design projects. The asignment The following representatives of design profession participated in the dis-
was to redesign discarded, worn out and obsolete cussion entitled Design vs wood: Mladen Orei, a professor at the School of
items, designed specifically for the first-year stu- Design and Nikola Radeljkovi on behalf of the Croatian Designers Association,
dents of undergraduate studies, aiming to adopt a whilst the wood sector was represented by Toni Kurti (Spin Valis) and Marijan
basic analysis skills including functional, technical Kavran (Croatian Wood Cluster). The topic of the discussion and the conclu-
and technological aspects, as well as the symbolic sions reached were dedicated to the requirement of establishment of a more
significance of selected objects in a cultural and soci- effective co-operation between the design profession and the production sec-
ological context of the period in which they existed. tor, where production is expected to provide a clearer strategic development
Based on their research students explored how to channelling through design.
transform discarded objects in order to give them
a new reason to be used, and in compliance with
the new conditions of present time. The goal of this
366 367
Predstavljanje knjige
Savska 25:
arheologija modernosti
u prostoru Studentskog Book presentation Savska 25,
Archaeology of Modernity in Student
Knjiga Knjiga
centra Centre premises The Other Design History The Other Design History
The book entitled Savska 25, Archaeology of Moder-

U knjizi Savska 25, arheologija modernosti u pro- Studij dizajna je u sunakladnitvu s Upi2Mbooksom
The School of Design and Upi 2M Books have co-pub-
storu Studentskog centra komunicira se o vrijedno-
nity in Student Centre Premises highlights the values of objavio knjigu The Other Design History, autora
lished the book entitled The Other Design History by
stima kulture stvarane u Zagrebu u prostoru tro-
the culture created in Zagreb in the area resembling a dr.sc.Fee Vukia, izv.prof. Knjiga saima gotovo
the author Fea Vuki, Ph.D., Associate Professor.
kuta izmeu eljeznikih pruga, a identificiranog
triangle located between the railways, currently iden- dvadesetogodinje autorovo bavljenje vanim prino-
The book provides a summary of almost a twen-
tified as Savska Street 25.
jo i danas adresom Savska ulica 25. sima teoriji dizajna iz hrvatskoga lokalnoga konteksta
ty-year long period during which the author has
Knjiga je sastavljena od vie znanstvenih i strunih
The book comprises of several scientific and profes- u razdoblju od ranih pedesetih do kasnih osamdese-
been dealing with the theory of design against the
lanaka, popraenih ilustracijama pa time predstav-
sional articles, accompanied by illustrations and it is tih godina 20.st. Od prvih afirmativnih tekstova Ber-
backdrop of the local Croatian context covering
hence considered as an attempt to provide a critical
lja pokuaj kritikog sagledavanja znaenja kultur- narda Bernardija do kompleksnih interdisciplinarnih
the period from the early 1950s to the late 1980s.
no-umjetnike proizvodnje u prostoru kojeg i danas
overview of the significance of cultural and artistic pro- uvida Matka Metrovia, u teoriji dizajna je u lokal-
Commencing from the first affirmative texts by Ber-
zauzima Studentski centar. Ilustracije prinose detalj-
duction in the area where Student Centre is currently nom kontekstu opisan terminoloki i metodoloki put
nardo Bernardi only to address the complex inter-
nijem tumaenju teme kao svojevrsni dokumentarij
located. The illustrations contribute to a more com- disciplinary insights by Matko Metrovi, the path
od koncepta oblikovanja do ideje o dizajnu, od kritike
i nadomjestak za nepostojei sredinji arhiv.
prehensive interpretation of the topic and as specific koncepta primijenjene umjetnosti do interdiscipli-
from the concept of formation of the idea of design
U knjizi se pokazuju i analiziraju vrijednosti kulture
documentation and supplementation for the inexist- narne metode projektiranja za masovnu proizvodnju.
to the criticism of the concept of applied arts and
ent central archives.
stvarane u ovome prostoru, u tematskom rasponu od Autor postavlja ovu povijesnu pripovijest o razvoju
interdisciplinary design method for mass production,
tvornice namjetaja Bothe-Ehrmann, zatim zgrada
The book presents and analyses the values of the culture teorijskih ideja u kontekst samoupravnog socijalizma
have all been described from the terminological and
i izloaba Zagrebakog zbora, sve do kulturnih pro-
created in this area, thematically covering Bothe-Ehr- i u posebnosti kulture tog tipa drutvenog ureenja.
the methodological aspects in the local context.
jekata i zbivanja u okviru Studentskog centra Sve-
mann furniture factory, as well as buildings and exhibi- Pritom identificira etiri mikrokonteksta za razvoj
The author puts this historical story on the develop-
uilita u Zagrebu. tions of Zagreb Choir and cultural projects and events pojma i prakse dizajna od pedesetih godina nada-
ment of theoretical ideas in the context of self-gov-
Taj se raspon promatra kao uzorak mijena u okviru
held at the Student Centre of the University of Zagreb. lje: kontekst kritike primijenjenih umjetnosti, kon-
erning socialism and the uniqueness of culture of
tri etape modernizacije, ali u kontekstu aktualnog
This has been presented as a pattern of changes within this type of social constitutional order. Moreover,
tekst arhitekture, kontekst drutvenog aktivizma
vremena. Knjigom se eli dokumentirati stanje u
three phases of modernisation, as well as in the context u stanovanju i kontekst edukacijskog aktivizma i
the author identified four micro-contexts for the
jednome urbanom prostoru, no istodobno to sta-
of the present time. The book is aiming to document likovne kritike. Ti ambijenti industrijske moderni-
development of the concept and the practices of
the situation in specific urban premises and simulta-
nje i interpretirati popularno-znanstvenom meto- zacije posluili su veem broju autora da pokuaju
design from 1950s to date: the context of criticism
neously to interpret the situation using a popular sci-
dom. Ona eli biti dokumentom o jednome zna- osvijestiti potrebu refokusiranja ondanje industrij-
of applied arts, the context of architecture, the con-
entific method. It is striving to be a document of an
ajnom segmentu modernosti u Zagrebu, time i ske kulture s ideje o koliini prema zamisli o kvaliteti.
text of social activism in the housing sector and the
u Hrvatskoj. Kako su ti segmenti danas uglavnom
important segment of modernity in Zagreb and hence Prijelomnom tokom u procesu emancipacije pojma
context of education activism and visual arts crit-
nedostupni, zaboravljeni ili nestali, knjiga u naslovu
in Croatia. Since such segments are currently normally i prakse dizajna u lokalnom kontekstu autor dri
icism. These industrial modernisation ambiences
sugerira pojam i predlae metodu arheologije kako
unavailable and have been forgotten or have disap- privrednu reformu iz godine 1963. Njome je politi-
have been used by a large number of authors whilst
bi u znaenju sadraja uputila na potrebu pomnih
peared, the title of the book suggests the concept and kom odlukom akterima industrijske modernizacije
striving to raise awareness of the requirement to
interdisciplinarnih istraivanja ovoga i drugih kul-
recommends the method of archaeology aiming to refocus the former industrial culture from the idea
omoguena vea sloboda u raspolaganju prihodom,
turnih sadraja. Poseban naglasak u knjizi stavljen je
highlight the requirement of a comprehensive interdis- of quantity towards the notion of quality.
a u ekonomiju su uvedeni i elementi trinog natje-
na analizu ove adrese kao javnog prostora, odno-
ciplinary research of this specific content, as well as of According to the author, the economic reform dat-
canja, ime se otvorio novi prostor za ostvarivanje
sno kao prostora aktivnoga dijaloga u kulturnom i
other cultural content. The book primarily focuses on koncepcije dizajna. To je posebnost lokalne situacije,
ing back to 1963 was the turning point in the eman-
politikom smislu. the analysis of this address as public premises, or as tipine za hibridni model kulture ondanje junosla-
cipation process of the concept and the practices
premises providing a venue for active dialogue both
Svrha je ove knjige stvoriti pozitivnu drutvenu svijest venske federacije. Tako je, predlae autor, mogue
of design against the backdrop of the local context.
in cultural and in political sense.
o prostoru u Savskoj 25, a time i uputiti na potrebu razmiljati o uspostavi jedne posebne metode istra-
Through a political decision the economic reform
The specific objective of the book is to develop posi-
slojevitijeg pristupa tome znaajnom segmentu ivanja ovakve marginalne situacije, a time i kon-
provided the actors of industrial modernisation with
tive social awareness of the premises located at the
urbanog dijela Zagreba, s obzirom na ono to se u strukcije povijesti, druge i drukije u odnosu na onu
greater freedom in revenue management, whilst
tom prostoru dogaalo. Namjera je autora knjige i
address Savska 25, as well as to point out the need for prvu, koja se bavi kulturom modernizacije u impe-
introducing market competition features into the
uspostavljanje nove urbane memorije koja se moe
a multi-layered approach to this important segment rijalnim metropolama. economy and hence providing new room for the
materijalizirati u pojedinanim objektima, meu kojima
of the urban part of Zagreb concerning what had been Knjiga je javno predstavljena 25. kolovoza 2015. u
implementation of the design concept. This is the
su paviljoni bivega Zagrebakog zbora najizrae-
happening in these premises. The author was striving Pragu u dizajnerskom centru Czechdesign, uz pri-
specific feature of the local situation, typical for the
to establish a new urban memory that can be materi-
nije shvatljivi. No da bi se prema tim objektima (koji godno izlobeno predstavljanje i u sklopu ciklusa
hybrid model of culture of the former South Slavic
alised in individual facilities, amongst which the pavil-
su mahom u loem stanju) uspostavio jasan odnos federation. Consequently, according to the author,
predavanja The Future of Design.
ions of the Zagreb Choir have been the most expres-
dananjih batinika, prijeko je potrebno uvaiti i sve there is a possibility to consider setting up of a spe-
one sadraje koji su se u tim prostorima dogaali
sively comprehensible. Nevertheless, it is important cial method of research of such a marginal situation,
kao dio kulturne proizvodnje.
to consider all the programmes that have been held as well as the construction of history that consid-
in these facilities as a segment of cultural production
Stoga se knjigom Savska 25, arheologija moder- erably differs from the previous one that addressed
nosti u prostoru Studentskog centra, ele stvoriti
whilst aiming to establish a clear relationship between the culture of modernisation in imperial metropolis.
nove osnove za svijest o vrijednosti prostora kako
the current heirs and these facilities (which are all in The public presentation of the book was held on 25th
u fizikom tako i u simbolikom smislu.
poor condition). August 2015 in Prague at the Czech Design centre,
Consequently, the book entitled Savska 25, Archaeol- in addition to the exhibition presentation within
ogy of Modernity in Student Centre Premises, is aim- the cycle of lectures entitled The Future of Design.
ing to provide new foundations for the awareness of
the value of the premises, both in from the physical
368 and from the symbolic aspect. 369
Grafiki materijali i
proizvodi Studij dizajna na Smotri
terenska nastava Sveuilita 2015.
U duhu je nastave na Studiju dizajna da se studente U petak 13. studenoga 2015. na Smotri sveuilita
to je mogue ee i vie upoznaje sa stvarnim odranoj u Studentskom centru u Zagrebu, u okviru
izazovima koji ih oekuju u buduoj profesionalnoj predstavljanje sastavnica zagrebakog sveuilita iz
izgradnji. Na tome tragu organizirana je terenska umjetnikoga podruja, predstavio se i Studij diza-
nastava iz kolegija Grafiki materijali 2 i Grafiki pro- jna Arhitektonskog fakulteta.
izvodi, gdje su u ak. god. 2014./2015. izmeu osta- Na zajednikom tandu s Arhitektonskim fakultetom
lih organizirani i posjeti nekim od vodeih gospo- informacije zainteresiranima za studiranje na Studiju
darskih subjekata iz podruja grafike proizvodnje. dizajna davali su aktualni studenti Studija dizajna.
Tako su studenti posjetili grafiku tvrtku Denona Broj zainteresiranih pokazao je da je popularnost
d.o.o., gdje su upoznati s cjelokupnim proizvodnim dizajnerske struke i dalje veoma znaajna.
slijedom meko i tvrdo uvezanih knjiga, asopisa te
drugih proizvoda iz njihove ponude. Velika pozor-
nost obratila se pojanjenju komunikacije dizajnera School of Design at the University of
s pripremnim odjelom tiskare koja je u ovoj tvrtki Zagreb Fair 2015
na iznimno visokoj europskoj razini.
Organiziran je i posjet tvrtki Radin print d.o.o. kojom The Faculty of Architecture School of Design was
su prilikom studenti upoznati s cjelokupnim proi- given the opportunity to present its work on 13th
zvodnim programom u segmentu revijalnog tiska. November 2015 at the University of Zagreb Fair
Studenti su tijekom posjeta imali prilike vidjeti kako held at the Zagreb-based Student Centre premises
u stvarnom sustavu djeluje standardizirana kontrola within the presentation of the components of the
reprodukcije boja u tisku, koja se moe pratiti i mje- University of Zagreb in the field of art.
riti od monitora u dizajnerskom studiju to gotovog Students currently enrolled at the School of Design
Moreover, a visit to the company Radin print d.o.o. Studenti 2.godine preddiplomskog studija i prof.Kre- provided information about the School at the joint
proizvoda. was organised during which students were intro- imir Dragevi u Istragrafici (Rovinj)
Studenti su takoer bili u poduzeu Istragrafika d.o.o., stand with the Faculty of Architecture to those inter-
duced to the entire production programme in the Students enrolled at the 2nd year of undergraduate ested in enrolling in the School of Design.
gdje su upoznati s cjelokupnom proizvodnjom slo- segment of offset printing. Students were given the study programme and professor Kreimir Dragevi in
ivih kutija i prehrambene ambalae. Najznaajniji According to the number of those interested, the
opportunity during the visit to see how standardised Istragrafika (Rovinj) popularity of design profession still appears to be
segment posjeta bio je obilazak projektnog odjela u control of colour reproduction in printing works in
kojem timovi dizajnera i tehnologa zajedniki obli- significant.
the real system which can be observed from the
kuju najsuvremenije ambalae za domae i europ- monitor at the design studio to the end product.
sko trite. In addition, students visited the company Istragrafika
d.o.o., where they were introduced to the entire pro-
duction of stacking boxes and food packaging. The
Graphic materials and products most important aspect of the visit was the tour in
field work the project department in which teams of design-
It is common practice at the School of Design to ers and technologists worked jointly on the most
provide students with insight as frequently as pos- cutting-edge packaging both for the domestic and
sible on the real challenges they are about to face the European market.
during their future professional development. Con-
sequently, field work was organised for the courses
Graphic materials 2 and Graphic products, where
visits to some of the leading business entities in the
field of graphic production, as well as other events,
were organised during the academic year 2014/2015.
Hence, students visited the graphic design company
named Denona d.o.o., where they were introduced
to the entire production process of hardback and
paperback books, magazines and other products in
their product range. A huge amount of attention
was paid to the explanation of the communication
between designers and the preparation department
at the printing office, which in this company has
reached an extremely high European level.
370 371
Tjedan dizajna 2015.

Tjedan dizajna, manifestacija koja je organizirana Predstavljanje nagrada Studija dizajna
po drugi put u galeriji Lauba od 8. do 16. svibnja U sklopu predstavljanja obrazovnih institucija Studij
2015., potvrdio je oekivanja i postao prepoznatljivo dizajna su prezentirali studenti, dobitnici nagrada
dogaanje s okupljanjem, povezivanjem i prezen- koje je uvodno najavila docentica Ivana Fabrio. U
tiranjem kreativnih i proizvodnih snaga u podruju izlaganjima o nagraenim radovima, studenti-au-
industrijskog i proizvodnog dizajna. tori nagraenih radova: Tamara Petrua, Luka Jela-
Ove godine poseban je naglasak bio na dizajnu namje- ska i Klasja Habjan, predstavili su sam proces rada
taja pa su sukladno tome na glavnoj izlobi pred- s naglaskom na najvanije metode istraivanja i
stavljena najbolja ostvarenja domae drvne industrije, postavljanja kriterija za kreativnu sintezu. Publika
nastala u suradnji s dizajnerima. Pratee izlobe je tako mogla upoznati i kompleksnost obrazov-
bile su prezentacije obrazovnih institucija i mladih nog programa preddiplomskoga i diplomskog stu-
poduzetnikadizajnera. dija Studija dizajna.
Studij dizajna predstavio se pregledom najboljih pro-
jekata nastalih u prethodnoj godini, veim dijelom
nastalih u suradnji i za potrebe stvarnih naruitelja
radi prezentiranja kreativnog potencijala usmjere- Presentation of awards conferred by the School
nog prema gospodarstvu. of Design
Within the presentation of educational institutions,
the School of Design was presented by students,
Design Week 2015 award winners who were announced by the Assistant
Professor Ivana Fabrio. During the presentations of
Design Week, an event organised for the second time the awarded works the students authors Tamara
at Lauba Gallery from 8th to 16th May 2015, con- Petrua, Luka Jelaska and Klasja Habjan presented
firmed the expectations yet again and has become the process of work, pointing out the most impor-
an identifiable event that includes bringing together, tant research methods and setting of the criteria
connecting and presenting creative and productive for creative synthesis. Consequently, the audience
forces in the field of both industrial and product design. was introduced to the complexity of the educa-
This year a special emphasis was placed on furni- tional programme at the Undergraduate and the
ture design and hence the principal exhibition pre- Graduate Study Programme at the School of Design.
sented the best achievements of the domestic wood
industry, resulting from co-operation with design- Gore desno/studentica Klasja Habjan
ers. The accompanying exhibitions were presenta- predstavlja svoj projekt
tions of educational institutions and young entre- Top right corner/student Klasja
preneurs-designers. Habjan presenting her project
The School of Design presented an overview of its
best projects implemented during the previous year, Sredina desno/studentica Tamara
primarily developed in co-operation and aiming Petrua predstavlja svoj projekt
to meet the requirements of real clients in order Centre right/student Tamara
to present the creative potential directed towards Petrua presenting her project
the economy.
Dolje lijevo/student Luka Jelaska
predstavlja svoj projekt
Bottom left corner/student Luka
Jelaska presenting his project
372 373
godinjak studija dizajna 2014./2015. Ivan i Pavel Posavec dogaanja
Galerija Kranjar,
Prva izloba u Izloba fotografija
novootvorenoj Galeriji Pavla i Ivana Posavca
Studija dizajna u ciklusu Sljedbenikmentor Izloba Gardening
Na prvoj izlobi u prostoru svoje novootvorene Gale- Izloba Gardening odrana je od 17. prosinca 2014. do 30. sijenja
rije Studij dizajna predstavio je najbolje studentske 2015. u galeriji Bernardo Bernardi u Centru za kulturu Pukoga
radove nastale na smjeru Projektiranjevizualne otvorenog uilita Zagreb.
komunikacije, s preddiplomakoga i diplomskog stu- Izlobom su prezentirani rezultati projekta koji su nastali u surad-
dija 2013./2014. akademske godine. nji s tvrtkom Klara Gardeninig, provedenog na 5. semestru pred-
Bila je to prilika da i ira javnost upozna dio krea- diplomskoga i 1. semestru diplomskog studija.
tivnog potencijala studenata Studija dizajna, ali i Tema je bila vezana uz aktivnosti na zelenim povrinama, istrai-
dio nastavnog programa i tema kojima se studenti vanje uloge i znaenja vrtlarstva kao aktivnosti te razvoj odrivog
bave tijekom pet semestara preddiplomskog studija odnosa ovjeka i okolia.
i tijekom etiri semestra diplomskog studija kao i Izloeno je petnaest rjeenja koja pokazuju nekoliko osnovnih
diplomske radove. smjerova u promiljanima studenata: dio njih bavio se dizajnom
Na izlobi je prikazan jo jedan vaan segment stu- predmeta koji poboljavaju kvalitetu boravka u prirodi, dio stu-
dentskih aktivnosti, a to su rezultati suradnje s dru- denata bavio se predmetima koji olakavaju rad s biljkama, a zna-
gim sastavnicama Sveuilita u Zagrebu. U ovom tan broj radova bavi se smjetanjem biljke u kontekst urbanog
sluaju to je oblikovanje serije plakata za projekt prostora za ivot i rad. Drugi su se bavili kunim vrtlarenjem ili
KRADU, devetu reviju kazalinih predstava stude- ranom edukacijom o osnovama vrtlarenja i graenjem pozitivnog
nata Akademije dramskih umjetnosti. Viegodinja stava prema prirodi, a u dijelu projekata istraivani su inovativni
uspjena suradnja studenata dviju institucija najav- pristupi uzgoja biljaka.
ljuje mogunosti jo ire suradnje Studija dizajna s Jedan od projekata, alati za vrtlarenje Twool, razraen je kao proi-
ostalim obrazovnim institucijama Sveuilita. Pavel Posavec, asistent na kolegiju fotografije Stu- zvod i premijerno prikazan u obliku u kojem e biti ponuen tritu.
Ova izloba je svojevrsni dokument o radu jedne dija dizajna i njegov otac, doajen hrvatske fotogra-
generacije studenata koji omoguuje objektivniju fije Ivan Posavec, ovom su prigodom suoili svoje
procjenu pojedinanih dometa ali i jo vanije, ocjenu fotografske poglede. Gardening Exhibition
koliko aktualni program Studija dizajna korespondira s Pavel je izloio svoje suptilne poglede na intimu i
oekivanim zahtjevima suvremene pedagoke prakse. scene zagrebakih noi, a Ivan Posavec predstavio Exhibition entitled Gardening was held from 17th December 2014
U svakom sluaju, ve je ova prva izloba zorno review of the theatrical performances by the stu- se kao bespotedni drutveni komentator, biljeei to 30th January2015 in Bernardo Bernardi Gallery at the Cultural
nagovijestila znaenje koje e Galerija imati za Stu- dents at the Academy of Dramatic Art. A successful scene iz svakodnevnog ivota s vidljivim ironijskim Centre of the Public Open University Zagreb.
dij dizajna i njegove studente. long-term co-operation between the students at odmakom, za to mu je postojea stvarnost pruila The exhibition presented the results of the project achieved in
the two institutions implies the possibility for yet neogranien izvor inspiracija. co-operation with the company Klara Gardening, implemented
broader co-operation of the School of Design with during the 5th semester of the Undergraduate and the 1st semes-
Izloba je pokazala kako dvije bliske osobe, jedna
other educational institutions of the University. pored druge, mogu izgraditi dva posve razliita ter of the Graduate Study Programme.
The first exhibition held at the recently This exhibition is a document on the work of a The topic was linked with the activities performed on green spaces,
opened School of Design Gallery umjetnika svijeta unutar istog podruja, potujui
generation of students that enables a more obje- osobnosti drugoga. the exploration of the role and the significance of gardening as an
During the first exhibition at the premises of the ctive assessment of individual results and, more activity and the development of sustainable relationship between
recently opened School of Design Gallery the best importantly, the opportunity to evaluate the extent human society and natural environment.
student works created at the Design Visual Com- to which the current programme of the School of Fifteen solutions were presented that show several basic direc-
munications Department were presented, both from Design meets the expected requirements of the Kranjar Gallery tions in the reflections of students: some of them were involved
the Undergraduate and the Graduate Study Pro- contemporary pedagogical practices. Exhibition of photographs by in the design of objects that enhance the quality of spending time
gramme in the academic year 2013/2014. The first exhibition clearly showed the importance of Pavel and Ivan Posavec outdoors, some of them dealt with objects that facilitate work
Hence, an opportunity was provided for the public the Gallery for the School of Design and its students. in the Follower mentor cycle with plants, whilst a substantial number of works addressed the
to gain insight into some aspects of the creative Pavel Posavec, Assistant Professor at the Photogra- issue of putting plants into the context of urban space intended
potential of the students at the School of Design, as phy course at the School of Design and his father for life and work. Other students addressed the issue of home
well as into some segments of the curricula and the Ivan Posavec, a doyen of the Croatian photography, gardening or early education on basics of gardening and build-
topics addressed by the students during five seme- have confronted their views concerning photography. ing a positive attitude towards the Nature, whilst some of the
sters of the Undergraduate Study Programme and Pavel exhibited his subtle views on the intimacy and projects explored the innovative approaches to growing plants.
during four semesters of the Graduate Study Pro- the scenes of Zagreb nights, whilst Ivan Posavec One of the projects concerning gardening tools entitled Twool
gramme, as well as their Graduate theses. introduced himself as a relentless social commen- was developed as a product and presented for the first time in
The exhibition presented another important segment tator, recording scenes from everyday life with an the form in which it will appear on the market.
of student activities concerning the results of co-ope- apparent ironic distance for which he was provided an
ration with other components of the University of immense source of inspiration by the existing reality.
Zagreb. In this case, it included the design of a series The exhibition has shown the way in which two
of posters for the project entitled KRADU, the ninth closely connected persons can create two entirely
different artistic worlds within the same field respect-
ing each others personalities.
374 375
godinjak studija dizajna 2014./2015. gostujua predavanja na studiju dizajna
school of design annual review 2014/2015 visiting lecturers at the school of design
Davor i Nikola OM Maa Poljanec i Maja Kolar

Gostujua predavanja na Od B do Projekt Dizajnerice/
Studiju dizajna praktina povijest dizajna
Kao dodatni oblik informiranja studenata o uim i irim aspek- O Bruketa&ini oblikovnoj manufakturi valjda i Projekt Dizajnerice baza je podataka o dizajneri-
tima dizajnerske struke, Studij dizajna omoguio je gostovanja vrapci znaju da su jedna od najboljih i najuinko- cama nastala u elji da se na jednome mjestu okupe
vitijih malih neovisnih reklamnih agencija u svijetu. informacije o autoricama koje su svojim djelova-
predavaa iz razliitih podruja koja jesu ili mogu biti u direk- Svojim stilom i stavom pomie granice vizualne njem utjecale na povijest dizajna u razdoblju od
tnoj ili indirektnoj vezi s dizajnom. komunikacije, radovima osvaja brojne nagrade, ali 1930. godine nadalje. Ovaj otvoreni online arhiv u
Tako su srijedom poslijepodne studenti mogli uti i vidjeti pre- izaziva i burne reakcije. Kako pravu snagu agen- nastajanju, rezultat je jednogodinjeg istraivanja
cije ne ine samo djela i nagrade ve ljudi koji stoje kontinuiteta dizajnerske scene. Kroz prikaz dizaj-
zentacije o profesionalnim iskustvima dizajnera, bivih stude- iza svega, prezentacija je razotkrila puste mitove nerskog istraivanja u praksi, odnosno razvojnog
nata Studija dizajna ili strunjaka iz mnogih podruja koja na i legende oko ovog dvojca i predstavila tko su to procesa projekta predstavit e se okruje i uvjeti u
bilo koji nain ukljuuju dizajn. zapravo Davor i Nikola. kojima su djelovale dizajnerice, prikupljena graa
te rekonstruirani profili autorica.
Prezentacije se nerijetko nastavljaju neformalnim druenjima

studenata i gostujuih predavaa, to obogauje postojeu
pedagoku praksu temama koje esto iz objektivnih razloga Davor and Nikola OM Maa Poljanec and Maja Kolar
nije mogue obuhvatititi aktualnim nastavnim programom. From B to Women Designers project/A practical
Bruketa&ini design manufacture is known as one history of design
of the most effective small independent advertising The project entitled Women Designers is a data-
Visiting Lecturers at the agencies at the global level. It is an agency with a base on designers aiming to collect information on
significant impact on visual communication whose the designers who have made a significant impact
School of Design work causes both extreme reactions and praise and on the history of design ever since 1930. This open
can hence deservedly boast an immense number of online archive in the making is the result of a year-
Aiming to provide an additional form of student information on awards. Nevertheless, its real potential lies in the long research of the continuity of design scene.
people behind its work and we have hence decided The environment and the conditions in which the
both narrow and broad aspects of design profession, The School to reveal the myths and the legends and find out designers operated and against which the material
of Design provided the opportunity to attend visiting lectures who Davor and Nikola actually are. was collected and designer profiles reconstructed
addressing the topics in diverse fields that are or could be dire- were presented through design research in practice
or through a project development process.
ctly or indirectly linked with design.
Hence, on Wednesday afternoons students had the opportu-
nity to attend presentations showing professional experiences
of designers, former students at the School of Design or experts
in a broad range of fields that include design in any way.
Presentations were frequently followed by informal socialising
between students and visiting lecturers, enriching the current
pedagogical practices with topics that are often not included
in the current curriculum due to objective reasons.
376 377
godinjak studija dizajna 2014./2015. gostujua predavanja na studiju dizajna
school of design annual review 2014/2015 visiting lecturers at the school of design
Slaven Fischer Vanja Cuculi Nikola Radeljkovi Jane Schirmer

Agencija u 56 slika Par zgodnih recepata PTSD/Post Traumatic Fantastina majstorica
kako sloiti sponzore na Stress Design digitalne ilustracije
plakatu. A potom i ostalo
U agencijskom svijetu devet od deset novih poslova Autor koji je diplomirao na Studiju dizajna, predsta- Nikola Radeljkovi, lan i suosniva dizajnerskoga Independent Festival of Creative Communications
dobiva se natjeajem. Situacija u kojoj se najbolji vio je svoj izuzetan rad nizom slajdova. Neformalan kolektiva Numen/ForUse odrao je predavanje o (IFCC), neko znan kao Sudnji dan, zapoeo je 25.
mogui tim u ogranienom razdoblju hvata u kotac pristup prezentaciji na efektan je nain otkrio niz tome koliko je dizajnerski poziv traumatian i to svibnja. Sada je narastao u viednevno dogaanje
s projektnim zadatkom, razumijevanjem brenda te primjera kako se nositi s esto pretjeranom kolii- su posljedice tih traumi. s predavanjima, izlobama i radionicama meuna-
poslovnim i kulturnim kontekstom onih s kojima nom informacija, a da pritom ne strada va autorski Tema o kojoj se mnogo ne razmilja osvijetljena je rodnih sudionika, na vie lokacija u gradu. Kulmini-
brend treba komunicirati. Nakon to dobijete natje- koncept. Prezentacija je odrana u leernoj atmos- na neoekivan nain i pruila je uvjerljivu sliku o rao je, naravno, dodjelom nagrada u 18 kategorija,
ajni poziv za izbor hrvatskoga turistikoga krov- feri, gotovo na razini anegdote. tome to proivljava dizajner tijekom rada na pro- 30. svibnja. 2015.
noga komunikacijskoga koncepta, adrenalin tee u jektu suoen s vlastitim (ne)mogunostima i vanj- U sklopu Festivala, na Studiju dizajna gostovala je
potocima. Predavanje Slavena Fischera otkrilo je u skim ogranienjima. 25. svibnja i Jana Schirmer, fantastina majstorica
detalje 56 dana dug proces od zadatka do prezen- Vanja Cuculi digitalne ilustracije.
tacije izabranog rjeenja Croatia, Full of life. Several useful tips on sponsor arrangement
on a poster followed by other information. Nikola Radeljkovi
The author, a School of Design graduate degree PTSD/Post Traumatic Stress Design Jana Schirmer
Slaven Fischer holder, presented his work by showing a large num- Nikola Radeljkovi is a member and co-founder of Fantastic digital illustrator
Agency in 56 photographs ber of slides. An informal approach to the presenta- a collective of designers Numen/ForUse. He gave Independent Festival of Creative Communications
In the world of agencies 9 out of 10 new jobs are tion provided a vast array of examples of how to a lecture about the traumatic aspect of design pro- (IFCC) commenced on 25th May 2015, once known
provided through tendering. It is a situation in which deal with frequently provided excessive amount of fession, as well as about the consequences of such as Judgement Day. It is currently a several-day-long
the best possible team tackles a project task over information in an effective way, without the adverse traumas. A topic that is not frequently considered event including lectures, exhibitions and workshops
a limited period of time, through an insight into impact on ones own original concept. The presenta- has been addressed in an unexpected way, provid- for international participants at several locations
a brand and a business and a cultural context of tion was delivered in a relaxed ambience almost at ing a convincing image of what designers normally in the city. It culminated in the award presenta-
those with whom the brand needs to communicate. the level of anecdote. experience during their work on projects when faced tion ceremony in 18 categories on 30th May 2015.
An immense amount of adrenaline is implied in a with their own constraints and external limitations. Roberto Vdovi Jana Schirmer, a fantastic digital illustrator, vis-
situation in which one has received an invitation
for the participation in a tender for the selection Digitalna proizvodnja/ ited the School of Design during the Festival on
25th May 2015.
of the Croatian umbrella communication concept.
A lecture delivered by Slaven Fischer provides a
prezentacija 3D printera
comprehensive insight into a 56-day-long process Predavanje je bilo posveeno sve prisutnijom temom
commencing from the task to the presentation of digitalne proizvodnje koja je posebno potaknuta aktu-
the solution opted forCroatia, Full of life. alnim razvojem stolnih 3D pisaa. Razvoj zasnovan
na RepRap projektu prof. Adriana Bowyera u krat-
kom vremenu postao je predmet interesa gotovo
svih struka. Radi li se o novoj industrijskoj revoluciji,
ili je to trenutna opsesija nekolicine? Od kratkog
pregleda, preko aktualnih primjena do suvremenih
trendova u primjeni 3D ispisa kroz praktina saznanja
doznalo se na ovom iznimno dinaminom podruju.

Roberto Vdovi
Digital production/3D printer presentation
The lecture topic was increasingly present digital
production that is primarily encouraged through
actual development of desktop 3D printers. Devel-
opment based on RepRap project by the professor
Adrian Bowyer had almost instantly attracted the
interest of nearly all professions. Is it a new indus-
trial revolution or merely some individuals tempo-
rary obsession? Practical insight on this extremely
dynamic area has been provided through a short
overview and actual application, as well as con-
temporary trends in 3D printing.
378 379
Vijee
Povjerenstva
Programski odbor
Council
Committees
Programme Board
godinjak studija dizajna 2014./2015. vijea, povjerenstva, programski odbori
school of design annual review 2014/2015 councils, committees, programme board
lanovi vijea 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
prof.dr.sc. Bojan Baleti / PhD, full professor 1. godina / 1st year doc.mr.sc. Sanja Benceti / MSc, assistant professor committee for admission to undergraduate programme
doc.mr.sc. Sanja Benceti / MSc, assistant professor Ivan Klanac prof. Stipe Bri / associate professor doc.mr.sc. Sanja Benceti / MSc, assistant professor
prof. Stipe Bri / associate professor 2. godina / 2nd year prof. Nenad Dogan / associate professor prof. Stipe Bri / associate professor
prof. Nenad Dogan / associate professor industrijski dizajn: Luka Dundovi prof. Ivan Doroghy / associate professor Sanja Bui
prof. Ivan Doroghy / associate professor vizualne komunikacije: Vita Vrebac doc.mr.sc. Ivana Fabrio / assistant professor prof. Nenad Dogan / associate professor
v.asist.dr.sc. Kreimir Dragevi / PhD, lecturer asist. Andrea Hercog / teaching assistant prof. Ivan Doroghy / associate professor
doc.dr.sc. Nikola urek / associate professor 3. godina / 3rd year prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor doc.dr.sc. Nikola urek / associate professor
doc.mr.sc. Ivana Fabrio / assistant professor industrijski dizajn: Iva Vuemilovi Grgi izv.prof.dr.sc. Anka Mieti / PhD, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
prof.dr.sc. Tomislav Filetin / PhD, full professor vizualne komunikacije: Petra Grubii prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
v.asist.dr.sc. Morana Fuduri / PhD, lecturer doc. Tomislav Vlaini / teaching assistant asist.Romana Kajp / teaching assistant
prof.dr.sc. Ivica Grbac / PhD, full professor predstavnici studenata diplomskog studija izv.prof.dr.sc. Fea Vuki / PhD, associate professor prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
doc.dr.sc. Tatjana Haramina / associate professor student representatives graduate programme pred.Veljko van / lecturer doc. Vedran Kasap / assistant professor
izv.prof. Stanko Herceg / associate professor 1. godina / 1st year prof. Mladen Orei / associate professor
asist. Andrea Hercog / teaching assistant industrijski dizajn: Tamara Petrua povjerenstvo za obranu diplomskog doc. Tomislav Vlaini / teaching assistant
izv.prof. Boris Ilekovi / associate professor vizualne komunikacije: Lovro Miokovi rada na diplomskom studiju dizajna izv.prof.dr.sc. Fea Vuki / PhD, associate professor
prof.dr.sc.Tanja Jurevi-Luli / PhD, associate professor 2. godina / 2nd year committee for the graduation theses and final examination
pred. Tin Kadoi / lecturer industrijski dizajn: Ana oli in graduation programme povjerenstvo za ocjenu sposobnosti vizualnog miljenja
asist. Romana Kajp / teaching assistant vizualne komunikacije: Anta Buevi i likovnog izraavanja (1.i 2. selekcijski krug)
prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor industrijski dizajn / industrial design committee for assessing visual thinking and artistic expression
doc. Vedran Kasap / assistant professor dekan doc.mr.sc. Ivana Fabrio / assistant professor (1st and 2nd rounds of selection process)
asist. Inja Kavuri Kireta / teaching assistant dean prof.mr.sc.Zlatko Kapetanovi/MSc,associate professor prof. Stipe Bri / associate professor
v.pred. Zlatko Klanac / senior lecturer izv.prof.dr.sc. Anka Mieti / PhD, associate professor prof. Nenad Dogan / associate professor
pred.dr.sc. Ivana Knez / PhD, lecturer prof.mr.sc.Boris Korunjak / MA
prof. Mladen Orei / associate professor prof. Ivan Doroghy / associate professor
pred. Dina Korper emva / lecturer izv.prof.dr.sc. Fea Vuki / PhD, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
prof.dr.sc. Dorian Marjanovi / PhD, full professor voditelj studija dizajna
head of the school of design + lanovi koji se imenuju u odnosu na temu rada izv.prof. Boris Ilekovi / associate professor
izv.prof.dr.sc. Anka Mieti / PhD, associate professor prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
prof.dr.sc. Milan Opali / PhD, full professor prof. Stipe Bri / associate professor + members nominatedaccording tothe paper topic
prof. Mladen Orei / associate professor
prof. Mladen Orei / associate professor doc. Tomislav Vlaini / teaching assistant
pred. Jelena Parizoska / lecturer tajnik vizualne komunikacije / visual communications
prof.dr.sc. Jurica Pavii / PhD, full professor university secretary prof. Stipe Bri / associate professor povjerenstvo za provoenje i ocjenu intervjua
izv.prof.dr.sc. Marijan Palmovi / PhD, associate professor dipl.iur.Deanka Hirjan / J.D. prof. Nenad Dogan / associate professor na preddiplomskom studiju
pred. Mario Petrak / teaching assistant prof. Ivan Doroghy / associate professor committee for admission to undergraduate programme
pred.dr.sc. Ivana Podnar / PhD, lecturer voditelj ispostave studija dizajna izv.prof.dr.sc. Anka Mieti / PhD, associate professor
asist.Pavel Posavec / teaching assistant izv.prof.dr.sc. Fea Vuki / PhD, associate professor prof. Stipe Bri / associate professor
head of the school of design branch office prof. Nenad Dogan / associate professo
pred. Nives Serti / lecturer + lanovi koji se imenuju u odnosu na temu rada
v.pred.mr.sc. Nikoleta Sudeta / MA, senior lecturer Vinja Krajnovi prof. Ivan Doroghy / associate professor
+ members nominatedaccording tothe paper topic doc.mr.sc. Ivana Fabrio / assistant professor
prof.dr.sc. Mladen ercer / PhD, full professor
doc. Robert imetin / associate professor voditelj u studentskoj referadi studija dizajna prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
assistant in the school of designs student administration office tajnik/secretary izv.prof.dr.sc. Anka Mieti / PhD, associate professor
doc.dr.sc. Marija imi Horvath / associate professor doc. Tomislav Vlaini / teaching assistant
doc.dr.sc. Vatroslav kare / associate professor Sanja Bui prof. Mladen Orei / associate professor
asist.mr.sc. Roberto Vdovi / MSc, teaching assistant izv.prof.dr.sc. Fea Vuki / PhD, associate professor
povjerenstvo za obranu diplomskog
asist. Tomislav Vlaini / teaching assistant rada na dodiplomskom studiju
izv.prof.dr.sc. Fea Vuki / PhD, associate professor povjerenstvo za pripremu i provoenje razredbenog
committee for holding and assessing postupka na diplomskom studiju
pred.dr.sc.Vlatka Wertheimer / PhD, lecturer undergraduate programme interviews
doc.dr.sc. Dragan eelj / associate professor committee for admission to graduate programme
asist. Hrvoje ivi / teaching assistant produkt dizajn / product design doc.mr.sc. Sanja Benceti / MSc, assistant professor
doc.dr.sc. Ivica upi / associate professor prof. Stipe Bri / associate professor
pred. Veljko van / lecturer prof. Nenad Dogan / associate professor
grafiki dizajn / graphic design prof. Ivan Doroghy / associate professor
prof. Stipe Bri / associate professor doc.dr.sc. Nikola urek / associate professor
prof. Nenad Dogan / associate professor doc.mr.sc. Ivana Fabrio / assistant professor
prof. Ivan Doroghy / associate professor prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
izv.prof. Stanko Herceg / associate professor izv.prof.dr.sc. Anka Mieti / PhD, associate professor
izv.prof.dr.sc. Anka Mieti / PhD, associate professor prof. Mladen Orei / associate professor
izv.prof.dr.sc. Fea Vuki / PhD, associate professor izv.prof.dr.sc. Fea Vuki / PhD, associate professor
382 383
in memoriam in memoriam
Dr.sc.Edo midihen,professoremeritus Edo midihen,PhD, ProfessorEmeritus
(1930.2015.) (19302015)
Prof. Edo midihen, na prvi voditelj, zauvijek nas je napustio 13. rujnaProf.Edo midihen, the first head of our School, passed away on the
2015. U tekstovima koji su tim povodom objavljeni naglaen je njegov 13th of September, 2015. Texts published on this occasion highlight his
impresivni profesionalni projektantski opus kao i zavidna nastavnika impressive professional career in architecture as well as his distinguis-
karijera na Arhitektonskom fakultetu u Zagrebu. Tek ponegdje se dodaje hed academic career at the Faculty of Architecture in Zagreb. Some texts
podatak da je u razdoblju 1989.1998. bio i voditelj Studija dizajna. provide additional information about the work he did while he was head
Prof.Edo midihen nije bio dizajner, nije ak ni predavao na Stu- of School of Design (19891998).
diju dizajna, ali je njegov doprinos uspostavi visokog obrazovanja u Prof.Edo midihen was not a designer. He never even taught at the School
podruju dizajna u Republici Hrvatskoj izuzetan. of Design. Nevertheless, he made an outstanding contribution to the
U vrijeme dok je obnaao dunost dekana na Arhitektonskom fakul- establishment of higher design education system in Croatia.
tetu (1981.1985.) pokrenuta je inicijativa o potrebi uvoenja viso- While he was dean of the Faculty of Architecture (19811985), an ini-
kokolske nastave za obrazovni profil dizajnera, a Republiki sekreta- tiative was launched to establish advanced professional education and
rijat za prosvjetu, kulturu i fiziku kulturu traio je od Arhitektonskogtraining in design at academic level. As a result, the Ministry of Education,
fakulteta izradu studijskog programa. Culture and Sports addressed a request to the Faculty of Architecture to
Otpoetka je bilo posve jasno kako se zbog interdisciplinarnosti struke draw up a study program.
ovaj zahtjevni zadatak nee moi izvriti u kui. Interfakultetski model
It was quite obvious from the start that such a demanding task could
s Arhitektonskim fakultetom na elu, uza sudjelovanje afirmiranih pred- not be carried out in house due to interdisciplinary nature of the pro-
stavnika tada aktualne struke, nametnuo se kao optimalno rjeenje. fession. An inter-faculty model was, therefore, adopted as an optimal
Prof.Edo midihen ovaj je prilino sloen i dugotrajan proces uspjeno solution with the Faculty of Architecture as the leading force together
doveo do cilja zahvaljujui injenici da je bio autoritet u akademskoj with a team of renowned designers in the field.
zajednici i jer je imao povjerenje struke s Bernardom Bernardijem na Prof.Edo midihen successfully saw this quite complicated and lengthy
elu. Konano, bio je vrlo uporan i nadasve vjet organizator i zaista process through owing to his indisputable authority in the academic
je iskreno elio ostvariti ovu zadau. community as well as in professional design circles with Bernardo Ber-
I tako, godine 1989. na Studij dizajna, kao prvi u Hrvatskoj, upisuje nardi as a leading figure. His persistence, efficiency in organization and
prva generacija studenata. sincere wish finally yielded positive results.
Za voditelja Studija izabran je prof.Edo midihen i na toj dunosti In 1989 the first generation of students was enrolled in the School of
ostaje do godine 1998. U tom razdoblju posveuje se unutranjoj Design and they were actually the first students of design in Croatia.
organizaciji Studija, rjeavanju prostora i tehnike opreme. Nadasve Prof.Edo midihen was appointed head of the School and filled this
potie suradnju Studija sa kulturnim i gospodarskim okruenjem, te position until 1998. During that period he put a great deal of effort into
njegovu prezentaciju na domaoj i meunarodnoj razini. Studij postaje the internal organization of the School managing all issues related to
kompetentan visokoobrazovni subjekt koji e presudno utjecati na the School premises, technical equipment and facilities.
formiranje profesionalne dizajnerske scene u Hrvatskoj. He strongly encouraged the collaboration between the School and the
Zbog svog doprinosa uspostavi visokog obrazovanja u Hrvatskoj cultural and economic institutions and actively worked to promote the
prof.Edo midihen imao je status poasnog lana Hrvatskoga diza- School in local and international professional circles. As a result, the
jnerskog drutva. School has become a highly relevant and renowned higher educational
Studij dizajna pri Arhitektonskom fakultetu Sveuilita u Zagrebu e institution which has a growing impact on the formation of professio-
se svome prvom voditelju, kolegi i dragom prijatelju, prof.Edi midi- nal design in Croatia.
henu, zahvaliti vrsnim obrazovanjem buduih dizajnerica i dizajnera. In view of the fact that he made a valuable and lasting contribution to
the establishment of higher design education system in Croatia, Prof.Edo
Prof. Stipe Bri, midihen became an honorary member of the Croatian Design Association.
voditelj Studija dizajna The School of Design affiliated with the Faculty of Architecture of the
University of Zagreb and all teaching staff owe a depth of gratitude to
the first head of the School, our colleague and dear friend, Prof.Edo mi-
dihen. We will continue his work and adhere to the principles and values
that he cherished and will dedicate ourselves to maintain a high standard
of education and professional training in the field of design in the future.
Prof. Stipe Bri

384 Head of the School of Design 385
Registar

Archive
386
godinjak studija dizajna 2014./2015. registar
school of design annual review 2014/2015 archive
2014./2015.
nastavnici upisani na sveuilini upisani na sveuilini dodiplomski sveuilini sveuilini preddiplomski sveuilini diplomski nagrade i priznanja
teaching staff preddiplomski studij diplomski studij studijdiplomanti studijprvostupnici studijmagistri 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 studiesbachelors studiesmasters at the school of design
Baleti Bojan Serti Nives Andrei Josip Benusi Dorja Saletovi Mirna Balen Juraj Benusi Dorja godinja nagrada
Benceti Sanja Sudeta Nikoleta Baanek Ivana Bjeli Barbara Bartoli Dina Birki Marta preddiplomski studij
Bri Stipe ercer Mladen Bajrektarevi Amin Bori Luka Daniel Bai Miran Bori Luka Daniel annual award
Dogan Nenad imi Horvath Marija Baklia Darian Bonjak Elizabeta Bitunjac Marina Bokovi Maja undergraduate programme
Doroghy Ivan kare Vatroslav Bili Klara Daki Monika Buri Tin Brki Matea
Dragevi Kreimir imetin Robert Doko Dora uki Andrej Cvijanovi Stela Buevi Anta Benusi Dorja
urek Nikola Vdovi Roberto Filipan Erika Goreta Matej Fuzul Nikolina Crnevi Niko projektiranjeindustrijski dizajn
design courseindustrial design
Fabrio Ivana Vlaini Tomislav Filipovi Mirta Grevi Borna Aaron Gudiek Karmela Crnek Vidovi Kristina
Filetin Tomislav Vuki Fea Golubi Ljubica Grubii Mateo Huljev Katarina Dominko Hrvoje Petrov Grg0
Fuduri Morana Wertheimer Vlatka Grabari Stella Habjan Klasja Jurevi Matea Farka Slavica projektiranjevizualne komunikacije
design coursevisual communications design
Grbac Ivica eelj Dragan Hodak Monika Herceg Ana Kentri Stani Nikolina Filipec Tihomir
Haramina Tatjana ivi Hrvoje Huski Sandra Hrabar Ivana Kovaevi Michelle Antonia Guli Matija
Herceg Stanko upi Ivica Jurina Antonija Jandri Maja Kuec Otto Horvat Zrinka godinja nagrada
Hercog Andrea van Veljko Jurjevi Roko Kolar Igor Lesar Dunja Jeki Mario diplomski studij
Ilekovi Boris Klanac Ivan Kuzmanovi Sanja Markui Dominik Karaa Antonio annual award
Jurevi-Luli Tanja Voditelj radionice/ Kocijan Karla Martinjak Vitomira Matulina Kai Ana Klari Iris graduate programme
Kadoi Tin Workshop superintendent Komen Leonarda Miokovi Lovro Mesari Rebecca Kosti Stanislav
Kajp Romana Ivica Turi Kova Paula Mrka Laura Moevi Monika Kutlea Dorotea Sunek Valentina
industrijski dizajn
Kapetanovi Zlatko Kova Veronika Naki-Vojnovi Zita Nemec Helena Kuzmanovi Sanja industrial design
Kasap Vedran voditelj/head Lovrekovi Andreja Njegovanovi Nataa Pavlek Borjan Lugari Dora
Kavuri Kireta Inja Bri Stipe Marin Jan Paveli Adriana Pavlekovi Preis Sara Milo Ivona Horvat Zrinka
dizajn vizualnih komunikacija
Klanac Zlatko Mati Lucija Perkovi Vanja Prelec Maja Nieno Lucija visual communications rial design
Knez Ivana Meseldi Ela Petrua Tamara Radas Donat Pavi Tea
Korper emva Dina Modrakovi Tanja Pra Josipa Sviben Matija Peranovi Martin godinja priznanja
Marjanovi Dorian Novosel Lucija Reicher Luka aban Ivan Peri Luka annual acknowledgements
Mieti Anka Palestrina Mazi Luka Tintor Hana arko Lidija Priselec Ena
Opali Milan Pavii Ana Uki Martina ljaka Toni Ratkaj Katarina grupa autorica
group of authors
Orei Mladen Petric Martina Vavra Viktoria Lea Vrbani Gala Marija Rokar Janja
Petrak Mario Pikor Petra Veeri Valentino Vuemilovi-Grgi Iva Somek Ana Bartoli Dina
Palmovi Marijan Sever Lucija Vujasi Ana Speti Franka Bonjak Elizabeta
Parizoska Jelena Stupar Nina Vuko Ana Suboti Maja Hrabar Ivana
Pavii Jurica imag Marijana ic Lara avar Alma Huljev Katarina
Podnar Ivana Taneski Tea poljar Matija Jandri Maja
Posavec Pavel Vlaisavljevi Jovana Vrdoljak Petra Moevi Monika
Mrka Laura
Nemec Helena
Njegovanovi Nataa
Udovii Iva
Vavra Lea
Vrdoljak Petra
388 389
2013./2014.
Bae Josip Orei Mladen Badurina Marta Benusi Dorja ular Iva Bjeli Barbara Ani-Kaliger Marta godinja nagrada
Baleti Bojan Petrak Mario Begevi Ena Birki Marta Dumi Balvan Martina Bonjak Elizabeta Armano Linta Ana preddiplomski studij
Benceti Sanja Palmovi Marijan Bertina Matea Bokovi Maja Dupalo Jasmina Goreta Matej Bachrach-Kritofi Tessa annual award
Bori Neda Parizoska Jelena Bolfan Bruno Brki Matea Klobuar Ana Grevi Borna Aaron Bilandi Dora undergraduate programme
Bri Stipe Pavii Jurica aldarovi Dora Buevi Anta Obranovi Borna Habjan Klasja Cvijeti Marko
Cilinger Neda Podnar Ivana oti Karla Crnevi Niko Zalukar Hrvoje Herceg Ana Draganja Vinka Tamara Petrua
Dogan Nenad Serti Nives Draga Tea Dominko Hrvoje Hrabar Ivana Erceg Vedran projektiranjeindustrijski dizajn
Doroghy Ivan Sudeta Nikoleta Dundovi Luka Farka Slavica Jandri Maja Frani Andrea
Dragevi Kreimir ercer Mladen Horvati Dorja Filipec Tihomir Kasa Paula Gerovac Ema Klasja Habjan
urek Nikola imi Horvath Marija Jurina Viktoria Grahek Lana Kelemen Tena Hrastovec Marko projektiranjevizualne komunikacije
Fabrio Ivana kare Vatroslav Kara Mihovil Guli Matija Martinjak Vitomira Jelaska Luka
Filetin Tomislav Vdovi Roberto Kezi Maja Horvat Zrinka Mrka Laura Jelaska Petra
Fuduri Morana Vlaini Tomislav Kikerec Ana Jeki Mario Murgi Marinko Koleti Jurica godinja nagrada
Galijaevi Teufik Vuki Fea Kovaevi Petra Karaa Antonio Naki-Vojnovi Zita Marinovi Daria diplomski studij
Grbac Ivica eelj Dragan Kovai Filip Klari Iris Njegovanovi Nataa Milovi Dina annual award
Haramina Tatjana ivi Hrvoje Maltar Matej Kolar Igor Obradovi Jana Mudni Andrija graduate programme
Herceg Stanko upi Ivica Mareli Klara Kosti Stanislav Perkovi Vanja Rui Marija
Hercog Andrea van Veljko Milas Mirjam Kutlea Dorotea Petrua Tamara Sekuli Ana Luka Jelaska
industrijski dizajn
Ilekovi Boris Mili Rafael Lugari Dora Pra Josipa Sever Anamaria industrial design
Indof Janez Voditelj radionice/ Modrakovi Tanja Nieno Lucija are Tihana Tkalec eljka
Jamnicki Sonja workshop superintendent Nikoli Anja Novak-Mikuli Ruer Tintor Hana Tretinjak Franka Andrija Mudni
Jurevi-Luli Tanja Ivica Turi Novak Karla Pavi Tea Vavra Viktoria Lea Ursi Ozana visual communications rial design
Kadoi Tin Reda Vilim Peranovi Martin Veeri Valentino Vrbos Ivor
Kajp Romana voditelj/head Rubini Lucija Peri Luka Vujasi Ana Vukmani Ivan godinja priznanja
Kapetanovi Zlatko Bri Stipe Sunek Valentina Ratkaj Katarina ic Lara Zorko Stjepan annual acknowledgements
Kasap Vedran anti Paula Reicher Luka
Kavuri Kireta Inja muc Eva Paveli Adriana Maja Jandri
Keller Goroslav obat Paula Pavii Karlo Marko Hrastovec
Klanac Zlatko Tadi Josipa Rokar Janja
Knez Ivana Vrebac Vita Speti Franka grupa autora
group of authors
Kovaevi Melita Vuri Ivona Somek Ana
Marjanovi Dorian Zaher Klara avar Alma Matea Brki
Mieti Anka oli Ana Maja Suboti
Opali Milan poljar Matija studij dizajna
school of design
Vrdoljak Petra
Boris Dundovi
Marko Mihaljevi
Ivo arko
Alen uni
arhitektonski fakultet
faculty of architecture
Vlasta urina
Vedrana Gudek
filozofski fakultet
faculty of humanities and social sciences
Marina Paulenka
akademija dramske umjetnosti
academy of dramatic arts
390 391
2012./2013.
Bai Marcel Pavii Jurica Bartoli Dina Armano Linta Ana urkovi Iva Bokovi Maja Bosazzi Laura godinja nagrada
Bae Josip Pavlovi Roberta Bai Miran Bachrach-Kritofi Tessa Glava Karla Brki Marta urija Vina preddiplomski studij
Baklia Darko Pelc Milan Buri Tin Bilandi Dora Krinik Borna Gustav Brki Matea Dobreevi Mario annual award
Baleti Bojan Sria Velimir Cvijanovi Stela Crnek Vidovi Kristina Buevi Anta Dujmenovi Sandro undergraduate programme
Benceti Sanja Stergarek Stanko Cvitanovi Mikela Cvijeti Marko Bunti Matko Fura Aleksandra
Bogner Andrija Sudeta Nikoleta Fuzul Nikolina Draganja Vinka Crnevi Niko Gaparovi Marija Niko Crnevi
Bori Neda ercer Mladen Grubii Petra Erceg Vedran Dominko Hrvoje Gorianec Ana projektiranjeindustrijski dizajn
Bori Luka Daniel Tadej Sonja Huljev Katarina Frani Andrea uki Andrej Grani Martina
Brali Damir Tonkovi Zdenko Huski Sandra Gerovac Ema Grahek Lana Hrvatin Iva Alma avar
Bri Stipe Vdovi Roberto Jurevi Matea Guli Matija Grubii Hrvoje Juki Marina projektiranjevizualne komunikacije
Bukovan Miljenko Vlaini Tomislav Kasun Dora Hrastovec Marko Horvat Zrinka Kipke Branka
orkalo Biruki Dinka Vraan Dalibor Kentri Stani Nikolina Jelaska Luka Ivanovi Nina Leskovar Vlatka
Dabanovi Aleksandra Vuki Fea Koica Juraj Jelaska Petra Jeki Mario Maglov Sandra godinja nagrada
Dogan Nenad Waldgoni Renata Kovaevi Michelle Antonia Jurkovi Nikica Komazli Dorja Paliska Karla diplomski studij
Doroghy Ivan Zeevi Slaven Kuec Otto Karaa Antonio Kosti Stanislav Perai Filip annual award
urek Nikola iljak Vilko Lauin Morana Koleti Jurica Kutlea Dorotea Samoanec Kazimir graduate programme
uri Nemec Dubravka ivi Hrvoje Lesar Dunja Milo Ivona Miokovi Lovro Stanev Marina
Fabrio Ivana upi Ivica Leustek Iva Milovi Dina Nieno Lucija erka Vanessa Vlatka Leskovar
industrijski dizajn
Filetin Tomislav van Veljko Lonar Elizabeta Novak-Mikuli Ruer Ocvirek Mijatovi Nenad estak Tomislav industrial design
Filipovi Nikola Moevi Monika Peri Luka Paveli Adriana Turinovi Made
Geiger Zeman Marija Voditelj radionice/ Nemec Helena Reicher Luka Pavii Karlo Tuek Sanja Karla Paliska
Grbac Ivica Workshop superintendent Pavlek Borjan Priselec Ena Prgomet Kristina Vargovi Mihovil visual communications rial design
Hajsig Boica Ivica Turi Pavlekovi Preis Sara Rokar Janja Ratkaj Katarina Vugrinski Kristina
Haramina Tatjana Petrov Grgo Suboti Maja Somek Ana
Herceg Stanko voditelj/head Pikori Ena Tkalec eljka Speti Franka
Hrnevi Juraj Bri Stipe Salari Petra Tretinjak Franka avar Alma
Ilekovi Boris arko Lidija Ursi Ozana oli Ana
Jernei eljko Udovii Mladen Vrbos Ivor poljar Matija
Jurevi-Luli Tanja Vrbani Gala Marija Vukmani Ivan uran-Pulig Marina
Jurkovi Miljenko Vuemilovi-Grgi Iva Vrdoljak Petra
Justi Sinia Vui Mirko
Kadoi Tin Zorii Jasna
Kajp Romana
Kamenov Krunoslav
Kapetanovi Zlatko
Kasap Vedran
Kavuri Kireta Inja
Kauzlari Zlatko
Keller Goroslav
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
Morsan Boris
Opali Milan
Orei Mladen
Pap Klaudio
392 393
2011./2012.
nastavnici upisani na sveuilini upisani na sveuilini dodiplomski sveuilini sveuilini preddiplomski sveuilini diplomski
teaching staff preddiplomski studij diplomski studij studijdiplomanti studijprvostupnici studijmagistri
students enrolled in the students enrolled in the pre-bologna graduates university undergraduate university graduate
university undergraduate studies university graduate studies studiesbachelors studiesmasters
Bai Marcel Morsan Boris Balen Juraj Ani-Kaliger Marta Borkovi Karolina Armano Ana Cvetkovi Matija
Bae Joko Munger Marcela Bitunjac Marina Dobreevi Mario Geli Svjetlana Bachrach-Kritofi Tessa urkesac Dora
Baklia Darko Opali Milan Bjeli Barbara Dujmenovi Sandro Klemens Vedran Bilandi Dora Levak Ivan
Baleti Bojan Orei Mladen Bonjak Elizabeta Gaparovi Marija Lonari Igor Crnek Vidovi Kristina Mijatovi Marina
Benceti Sanja Pap Klaudio Franji Iva Grani Martina Ljubi Dolores Cvijeti Marko Prgomet Petra
Bogner Andrija Pavii Jurica Gelo Martina Hrvatin Iva Mikulandra Morana Erceg Vedran Rotter Sanja
Bori Neda Pelc Milan Goreta Matej Juki Marina Zeli Matija Farka Slavica Ciliga Hana
Bori Ian Rendi Mioevi Marija Gudiek Karmela Marinovi Daria Filipec Tihomir Filipi Livija
Bori Luka Daniel Sria Velimir Habjan Klasja Mudni Andrija Frani Andrea Juki Jelena
Brali Damir Stergarek Stanko Hrabar Ivana Paliska Karla Gerovac Ema Juza Marija
Bri Stipe Sudeta Nikoleta Jandri Maja Perai Filip Gregorina Josipa Klemeni Mia
Bukovan Miljenko ercer Mladen Japundi Hana Rui Marija Greguri Rajko Kritofi Bojan
orkalo Dinka torga Mario Kelemen Tena Sekuli Ana Hrastovec Marko Nejami Nera
Dabanovi Aleksandra Tadej Sonja Markui Dominik Sever Anamaria Jankov Iva Peri Katarina
Dekovi Damir Tonkovi Zdenko Mesari Rebecca Stanev Marina Jelaska Luka Predragovi Luka
Dogan Nenad Vdovi Roberto Mrka Laura erka Vanessa Jelaska Petra oa Goran
Doroghy Ivan Vlaini Tomislav Naki-Vojnovi Zita estak Tomislav Jurkovi Nikica Tizaj Marija
urek Nikola Vrani Zvonko Njegovanovi Nataa imi Andrea Jurov Ena imeg eljko
uri Nemec Dubravka Vuki Fea Obradovi Jana Turinovi Made Karaa Antonio
Fabrio Ivana Waldgoni Renata Orani Fran Vargovi Mihovil Kasumovi Leila
Filetin Tomislav Zeevi Slaven Prelec Maja Vilipi Marko Knezi Anja
Filipovi Nikola eelj Dragan Pra Josipa Koleti Jurica
Geiger Marija iljak Vilko Sviben Matija Lugari Dora
Grbac Ivica upi Ivica aban Ivan Markovac Iva
Hajsig Boica van Veljko ljaka Toni Milovi Dina
Haramina Tatjana Tintor Hana Miroevi Kristina
Herceg Stanko Voditelj radionice/ Troi Marina Novak-Mikuli Ruer
Hrnevi Juraj Workshop superintendent Uremovi Marko Pavi Tea
Ilekovi Boris Ivica Turi Vavra Viktoria Lea Peri Luka
Jakuli Marina Veeri Valentino Priselec Ena
Jernei eljko voditelj/head Vukovi Matej Reicher Luka
Juras Ivan Bri Stipe Vujasi Ana Rokar Janja
Jurevi Tanja Suboti Maja
Jurkovi Miljenko Tkalec eljka
Justi Sinia Tretinjak Franka
Kadoi Tin Ursi Ozana
Kamenov Krunoslav Vrbos Ivor
Kapetanovi Zlatko Vrka Orin Ivan
Kasap Vedran Vukmani Ivan
Kavuri Kireta Inja
Kauzlari Zlatko
Keller Goroslav
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Kovai Neven
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
394 395
2010./2011.
Bai Marcel Kapetanovi Zlatko Bari Valentina Anderlon Sanda Barbari Petra Ani-Kaliger Marta Bogovac Mia
Bae Joko Kasap Vedran Birki Marta Bosazzi Laura Bastai Saa Dobreevi Mario Boljar Hrvoje
Baklia Darko Kauzlari Zlatko Bokovi Maja urija Vina uki Zoran Gaparovi Marija Burazin Anamaria
Baleti Bojan Keller Goroslav Brki Matea Filipi Livija Jelini Ante Gobin Luka Dizdar Bor
Belak Boris Klanac Zlatko Buevi Anta Fura Aleksandra Pavlovi Jan Grani Martina Mastrovi Keti
Benceti Sanja Korper emva Dina Bunti Matko Juki Jelena Plahtan Andrej Guli Matija Matkovi Katarina
Bogner Andrija Kosi Tomislav Crnevi Niko Juza Marija Rak Marijana Hrvatin Iva Mihaljevi Niko
Bori Ian Kovai Neven uki Andrej Kritofi Bojan Sablji Branimir Juki Marina Miliki Petra
Bori Luka Daniel Marjanovi Dorijan Falica Vedran Leskovar Vlatka Serdarui Mislav Kolar Igor Milovac Maa
Bori Neda Mili Diana Grahek Lana Maglov Sandra kali Vedrana Marinovi Daria Peirko Tihana
Brali Damir Mileti Geran Marko Grevi Borna Aaron Nejami Nera Volf Kristina Mudni Andrija Rimac Ana
Bri Stipe Mieti Anka Grubi Sara Predragovi Luka Vuci Luka Paliska Karla Vinkovi Leopold
Bukovan Miljenko Morsan Boris Herceg Ana Samoanec Kazimir Zadro Ante Perai Ika Zlatec Katarina
orkalo Dinka Munger Marcela Horvat Zrinka imeg eljko Perai Filip
Dabanovi Aleksandra Opali Milan Ivanovi Nina oa Goran Rui Marija
Dekovi Damir Orei Marijan Jeki Mario Tizaj Marija Sekuli Ana
Dogan Nenad Orei Mladen Kosti Stanislav Tuek Sanja Sever Anamaria
Doroghy Ivan Pap Klaudio Kutlea Dorotea Vinski Ivor erka-Kustec Vanessa
urek Nikola Pavii Jurica Martinjak Vitomira Zorko Stjepan neler Hana
uri Nemec Dubravka Pelc Milan Miokovi Lovro Tomi Ana Maria
Fabrio Ivana Rendi Mioevi Marija Nieno Lucija Turinovi Made
Filetin Tomislav Sria Velimir Perkovi Vanja Vargovi Mihovil
Filipovi Nikola Stergarek Stanko Petrua Tamara Vilipi Marko
Geiger Marija Sudeta Nikoleta Prgomet Kristina Vranko Hannah
Grbac Ivica ercer Mladen Radas Donat Vui Mia
Hajsig Boica torga Mario are Tihana
Haramina Tatjana Tadej Sonja avar Alma
Herceg Stanko Tonkovi Zdenko kilji Lovro
Hrnevi Juraj Vdovi Roberto oli Ana
Ilekovi Boris Vlaini Tomislav poljar Matija
Jakuli Marina Vrani Zvonko Vrdoljak Petra
Jernei eljko Vuki Fea ic Lara
Juras Ivan Waldgoni Renata
Jurevi Tanja Zeevi Slaven
Jurkovi Miljenko eelj Dragan
Justi Sinia iljak Vilko
Kamenov Krunoslav upi Ivica
Voditelj radionice/
Workshop superintendent
Ivica Turi
voditelj/head
Kapetanovi Zlatko
396 397
2009./2010.
Bai Marcel Munger Marcela Armano Ana Baron-Brljevi Sarah Bauer Tina Anderlon Sanda Bonai Marita
Bae Joko Opali Milan Bachrach-Kritofi Tessa Bogovac Mia Beus Maja Balen Nevena Cviti Filip
Baklia Darko Orei Marijan Bilandi Dora Burazin Anamaria Blaki Vlatka Bosazzi Laura Devi Dario
Baleti Bojan Orei Mladen Cvijeti Marko Ciliga Hana Blaini Petra Cipri Darija Ile Dragana
Benceti Sanja Pap Klaudio Dominko Hrvoje Cvetkovi Matija Bogei Marko urija Vina Ivani Kristina
Bogner Andrija Pavii Jurica Farka Slavica Dizdar Bor Bojko Irina Filipi Livija Ivai Dino
Bori Ian Pelc Milan Frani Andrea urkesac Dora Bri Bernardo Fura Aleksandra Lemac Matea
Bori Luka Daniel Rendi Mioevi Marija Gerovac Ema Gorianec Ana Broni Matea Jelai Vanessa Lana Lugonja Kristina
Bori Neda Sria Velimir Gregorina Josipa Kipke Branka Cuculi Helena Juki Jelena Matas Maja
Brali Damir Stergarek Stanko Grubii Hrvoje Klemeni Mia Frgai Lucija Juza Marija Miloloa Kreimir
Bri Stipe Sudeta Nikoleta Hrastovec Marko Levak Ivan Hudina Lana Kolar Maja Nigoevi Negra
Bukovan Miljenko ercer Mladen Jelaska Petra Mastrovi Keti Jovanovac Marko Leskovar Vlatka Orbani Ana
orkalo Dinka torga Mario Karaa Antonio Matkovi Katarina Kadoi Tin Maglov Sandra Oroli Jasmina
Dabanovi Aleksandra Tadej Sonja Kasa Paula Mihaljevi Niko Klasi Jelena Maltar Sonja Tevi Ana
Dekovi Damir Tonkovi Zdenko Kirasi Kreimir Mijatovi Marina Klemeni Nina Matijevi Petra Veenaj Andrija
Dogan Nenad Vdovi Roberto Koleti Jurica Miliki Petra Komparak Draga Nanut Ivan Zelmanovi Jaa
Doroghy Ivan Vlaini Tomislav Komazli Dorja Milovac Maa Korper emva Nika Predragovi Luka ivi Hrvoje
urek Nikola Vodopija Mirjana Lugari Dora Peirko Tihana Kovai Ana Samoanec Kazimir
uri Nemec Dubravka Vrani Zvonko Markovac Iva Prgomet Petra Kovai Mia imeg eljko
Fabrio Ivana Vuki Fea Milovi Dina Rimac Ana Magi Ivan oa Goran
Filetin Tomislav Waldgoni Renata Paveli Adriana Roakovi Romana Mari Mia Tantegl Danko
Filipovi Nikola Zeevi Slaven Pavii Karlo Vinkovi Leopold Mazinjanin Damir Tizaj Marija
Geiger Marija eelj Dragan Peri Luka Vugrinski Kristina Pavlek Gordana Topi Dinko
Grbac Ivica iljak Vilko Prgomet Pavao Zlatec Katarina Rede Vedran Tuek Sanja
Hajsig Boica upi Ivica Ratkaj Katarina Rukavina Petra Zorko Stjepan
Herceg Stanko Rokar Janja Segulin Petra
Hrnevi Juraj Voditelj radionice/ Somek Ana Sivaki Bojan
Ilekovi Boris Workshop superintendent Speti Franka Sokolean Maja
Indof Janez Ivica Turi Suboti Maja Stipii Tanja
Jakuli Marina uran Pulig Marina eerkadi Samir
Jernei eljko voditelj/head Tretinjak Franka Tomljenovi Elvis
Juras Ivan Kapetanovi Zlatko Ursi Ozana Veljaa Ivan
Jurevi Tanja Vukmani Ivan Vuenik Marko
Jurkovi Miljenko Vuji Alan
Justi Sinia Vuleti Ivona
Kamenov Krunoslav Zeman Andrea
Kapetanovi Zlatko
Kasap Vedran
Kauzlari Zlatko
Keller Goroslav
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Kuduz Ivan
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
Morsan Boris
Mufti Osman
398 399
2008./2009.
nastavnici upisani na sveuilini upisani na sveuilini dodiplomski sveuilini sveuilini preddiplomski

teaching staff preddiplomski studij diplomski studij studijdiplomanti studijprvostupnici
students enrolled in the students enrolled in the pre-bologna graduates university undergraduate
university undergraduate studies university graduate studies studiesbachelors
Alfirevi Ivo Munger Marcela Ani-Kaliger Marta Boljar Hrvoje Baraba Edita Baron-Brljevi Sarah
Bai Marcel Opali Milan Crnek Vidovi Kristina Bonai Marita Bjeli Tanja Bogovac Mia
Baklia Darko Orei Marijan Dumbovi Petra Cviti Filip Drezgi Bojan Burazin Anamaria
Baleti Bojan Orei Mladen Dvornik Antonija Devi Dario Frii Marija anak Robert
Benceti Sanja Pap Klaudio Erceg Vedran Ile Dragana Giunio Andro urkesac Dora
Biani Antun Pavii Jurica Filipec Tihomir Ivani Kristina Glaar Ivana Gorianec Ana
Bogner Andrija Pelc Milan Gaparovi Marija Ivai Dino Jurai Helena Huber Marina
Bori Neda Rendi Mioevi Marija Gobin Luka Lemac Matea Mileti Maja Kipke Branka
Brali Damir Stergarek Stanko Grani Martina Lugonja Kristina Milii Mirko Klemeni Mia
Bri Stipe Sudeta Nikoleta Guli Matija Matas Maja Moja Nora Kritofi Bojan
Bukovan Miljenko ercer Mladen Havranek Filip Miloloa Kreimir Morasi Piperi Simon Levak Ivan
orkalo Dinka torga Mario Hrvatin Iva Nigoevi Negra Mudni-Cerineo Petar Mastrovi Keti
Dabanovi Aleksandra Tadej Sonja Jankov Iva Orbani Ana Orlandini Katarina Matkovi Katarina
Dekovi Damir Tkalec Stjepan Jelaska Luka Oroli Jasmina Plasajec eljka Mihaljevi Niko
Dogan Nenad Tonkovi Zdenko Juki Marina Peri Katarina Pluari Vilim Mijatovi Marina
Doroghy Ivan Vdovi Roberto Jurkovi Nikica Rotter Sanja Poljanec Ana-Marija Miliki Petra
urek Nikola Vlaini Tomislav Jurov Ena Tevi Ana Raos Matija Milo Ivona
uri Nemec Dubravka Vrani Zvonko Kasumovi Leila Veenaj Andrija Siroti Martina Milovac Maa
Fabijani Nenad Vuki Fea Marinovi Daria Zelmanovi Jaa Smrekar Dino Pavlovi Marko
Fabrio Ivana Waldgoni Renata Matulina Kai Ana ivi Hrvoje Stekovi Nikolina Peirko Tihana
Filetin Tomislav eelj Dragan Miroevi Kristina oa Jelena Pleko Aleksandar
Filipovi Nikola iljak Vilko Mudni Andrija tromar Lidija Prgomet Petra
Grbac Ivica Murgi Marinko Telenta Lena Rimac Ana
Hajsig Boica Voditelj radionice/ Novak Petar Tomi Marija Roakovi Romana
Herceg Stanko Workshop superintendent Novak-Mikuli Ruer Toplak Ivo Vinkovi Leopold
Hrnevi Juraj Ivica Turi Paliska Karla Vinski Ivor
Ilekovi Boris Pavlini Nikola Vugrinski Kristina
Indof Janez voditelj/head Perai Ika Zlatec Katarina
Jakuli Marina Kapetanovi Zlatko Reicher Luka
Jernei eljko Rui Marija
Juras Ivan Sever Anamaria
Jurevi Tanja Tkalec eljka
Jurkovi Miljenko Turinovi Made
Justi Sinia Vargovi Mihovil
Kamenov Krunoslav Vui Mia
Kapetanovi Zlatko
Kasap Vedran
Kauzlari Zlatko
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Kuduz Ante
Kuduz Ivan
Lapaine Boidar
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
Morsan Boris
Mufti Osman
400 401
2007./2008.
nastavnici upisani na sveuilini dodiplomski sveuilini sveuilini preddiplomski

teaching staff preddiplomski studij studijdiplomanti studijprvostupnici
students enrolled in the pre-bologna graduates university undergraduate
university undergraduate studies studiesbachelors
Alfirevi Ivo Orei Marijan Anderlon Sanda Abramovi Janja Bobanovi Sikirica Duga
Bai Marcel Orei Mladen Babi Sonja Bili Zlata Boljar Hrvoje
Baklia Darko Pap Klaudio Bosazzi Laura Boras elimir Bonai Marita
Baleti Bojan Pavii Jurica urija Vina Brknja Andrea Ciliga Hana
Benceti Sanja Pelc Milan Dobreevi Mario Budor Dora Cviti Filip
Bogner Andrija Rendi Mioevi Marija Filipi Livija Cvahte Sinia Devi Dario
Bori Neda Rogi Ivan Fura Aleksandra endak Katarina Ile Dragana
Brali Damir Stankovi Tino Greguri Rajko ukelj Ivana Ivani Kristina
Bri Stipe Stergarek Stanko Ili Ana ule Maja Ivai Dino
Bukovan Miljenko Sudeta Nikoleta Jelai Vanessa Lana uk Zoran Kneevi Aleksandra
orkalo Dinka torga Mario Juki Jelena Deskar Ana Lemac Matea
Dabanovi Aleksandra Tadej Sonja Knezi Anja Doleki Luka Lugonja Kristina
Dekovi Damir Tkalec Stjepan Kolar Igor Dragani Maja Matas Maja
Dogan Nenad Tonkovi Zdenko Leskovar Vlatka Forster Petra Miloloa Kreimir
Doroghy Ivan Vdovi Roberto Maglov Sandra Guina Toni Nigoevi Negra
urek Nikola Vlaini Tomislav Matijevi Petra Jakuli Marina Orbani Ana
uri Nemec Dubravka Vrani Zvonko Ocvirek-Mijatovi Nenad Joveti Nives Oroli Jasmina
Fabijani Nenad Vuki Fea Pavi Tea Jurin Lea Peri Katarina
Fabrio Ivana Waldgoni Renata Perai Filip Kaui Maja Rotter Sanja
Filipovi Nikola eelj Dragan Predragovi Luka Klari Vedran eri Martina
Grbac Ivica iljak Vilko Priselec Ena Knez Matija Tevi Ana
Hajsig Boica Samoanec Kazimir Kneevi Vedrana Veenaj Andrija
Herceg Stanko Voditelj radionice/ erka Kustec Vanessa Kos Anamarija Zelmanovi Jaa
Hrnevi Juraj Workshop superintendent imeg eljko Kurti Toni ivi Hrvoje
Ilekovi Boris Ivica Turi neler Hana Maltar Mihaela
Indof Janez oa Goran Miku Carmen
Jernei eljko voditelj/head Tantegl Danko Mrazek Ana
Juras Ivan Kapetanovi Zlatko Tizaj Marija Peko Nikoleta
Jurevi Tanja Tomi Ana Maria Perkovi Ana
Jurkovi Miljenko Topi Dinko Prizmi Damir
Justi Sinia Tuek Sanja Rakoevi Vanja
Kamenov Krunoslav Vranko Hannah Raukar Goran
Kapetanovi Zlatko Vrka Orin Ivan Senjak Jelena
Kasap Vedran Spori Marija
Kauzlari Zlatko avniar Karolina
Klanac Zlatko esni Marko
Korper emva Dina midt Ana
Kosi Tomislav Topi Matea
Kuduz Ante Topolnjak Andreja
Kuduz Ivan Turkovi Goran
Lapaine Boidar Vukovi Mia
Ljuljka Boris Zver Tajana
Marjanovi Dorijan upi Ana
Miki Kreimir
Mili Diana
Mieti Anka
Morsan Boris
Mufti Osman
Munger Marcela
Opali Milan
402 403
2006./2007. 2005./2006.
nastavnici upisani na sveuilini dodiplomski sveuilini nastavnici upisani na sveuilini dodiplomski sveuilini
teaching staff preddiplomski studij studijdiplomanti teaching staff preddiplomski studij studijdiplomanti
students enrolled in the pre-bologna graduates students enrolled in the pre-bologna graduates
university undergraduate studies university undergraduate studies
Alfirevi Ivo Munger Marcela Baron-Brljevi Sarah Baun Nina Alfirevi Ivo Mufti Osman Bajc Matija Azinovi Eva
Bai Marcel Opali Milan Bogovac Mia Boban Petar Bai Marcel Munger Marcela Balen Nevena Bielen Hrvoje
Bae Joko Orei Marijan Burazin Anamaria Bratovi Roberta Bae Joko Opali Milan Bobanovi Sikirica Duga Bilui Aleksandra
Baklia Darko Orei Mladen Cipri Darija Gobac-Bandur Nikolina Baklia Darko Orei Marijan Boljar Hrvoje Bobi Sanja
Baleti Bojan Pap Klaudio urkesac Dora Golik Linda Biani Antun Orei Mladen Bonai Marita Bratinevi Ivana
Bogner Andrija Pavii Jurica Gorianec Ana Grakali Maja Bogner Andrija Pap Klaudio Ciliga Hana izmi Petra
Bojeti Nenad Pelc Milan Gospodari Vedran Hrnir Korina Bojeti Nenad Pavii Jurica Cviti Filip Fabijani Jana
Bori Neda Reberski Sinia Huber Marina Kajp Romana Bori Neda Pelc Milan anak Robert Filipovi Melita
Brali Damir Rendi Mioevi Marija Juza Marija Kazinoti Karlo Bri Stipe Reberski Sinia Devi Dario Goli Antonija
Bri Stipe Rogi Ivan Kipke Branka Kostovi Ljubica Bukovan Miljenko Rendi Mioevi Marija Ile Dragana Hripko Boris
Bukovan Miljenko Stankovi Tino Klemeni Mia Letica Tena Cuculi Vanja Rogi Ivan Ivani Kristina Jalovec Nenad
orkalo Dinka Stergarek Stanko Kolar Maja Mesi Maja orkalo Dinka Serdarevi Izvorka Ivai Dino Jeli Nikolina
Dabanovi Aleksandra Sudeta Nikoleta Kritofi Bojan Orei Dina Dabanovi Aleksandra Stankovi Tino Kapuija Sara Kalenski Lidija
Dekovi Damir Svilii Bla Maltar Sonja Pamukovi Ivana Dekovi Damir Stergarek Stanko Kneevi Aleksandra Kraljevi Nera
Dogan Nenad torga Mario Matkovi Katarina Poganik Bruno Dogan Nenad Sudeta Nikoleta Lemac Matea Krtali Angelina
Doroghy Ivan Tadej Sonja Mihaljevi Niko Pokos Roman Doroghy Ivan Svilii Bla Levak Ivan Kunej Ana
urek Nikola Tkalec Stjepan Mijatovi Marina Rai Marko urek Nikola torga Mario Lugonja Kristina Lavri Sandra
uri Nemec Dubravka Tonkovi Zdenko Miliki Petra Skender Martina uri Nemec Dubravka Tadej Sonja Mastrovi Keti Moroin Iva
Fabijani Nenad Vdovi Roberto Milo Ivona Tomii Miran Fabijani Nenad Tkalec Stjepan Matas Maja Mrva Miroslav
Fabrio Ivana Vrani Zvonko Milovac Maa Turkovi Tomislav Fabrio Ivana Tonkovi Zdenko Milievi Ana Novosel Lidija
Filipovi Nikola Vrankovi Nikola Nanut Ivan Vrabec Vedrana Filipovi Nikola Vrani Zvonko Miloloa Kreimir Pakvan Branimir
Grbac Ivica Vuki Fea Pavlovi Marko Zlonoga Petra Grbac Ivica Vrankovi Nikola Nigoevi Negra Pavkovi Ivo
Hajsig Boica Waldgoni Renata Peirko Tihana Hajsig Boica Vuki Fea Orbani Ana Raduka Mirna
Herceg Stanko eelj Dragan Prgomet Petra Herceg Stanko Waldgoni Renata Oroli Jasmina Siladi Kreimir
Horvat Sanja iljak Vilko Rimac Ana Horvat Sanja eelj Dragan Peri Katarina Strinavi Tatjana
Hrnevi Juraj Roakovi Romana Hrnevi Juraj iljak Vilko Pleko Aleksandar estan Kristina
Ilekovi Boris Voditelj radionice/ Sekuli Ana Ilekovi Boris Putina Tarna unjerga Antonio
Indof Janez Workshop superintendent Veljai Antonija Indof Janez Voditelj radionice/ Rotter Sanja Udovii Mirta
Jernei eljko Ivica Turi Vilipi Marko Jernei eljko Workshop superintendent eri Martina Ugljei Vesna
Juras Ivan Vinkovi Leopold Juras Ivan Ivica Turi Tevi Ana Vuksanovi Silva
Jurevi Tanja voditelj/head Vinski Ivor Jurevi Tanja Veenaj Andrija uljevi Ivana
Jurkovi Miljenko Kapetanovi Zlatko Vugrinski Kristina Jurkovi Miljenko voditelj/head Zelmanovi Jaa
Jurkovi Nada Zlatec Katarina Jurkovi Nada Bri Stipe Zorko Stjepan
Justi Sinia Justi Sinia ivi Hrvoje
Kamenov Krunoslav Kamenov Krunoslav
Kapetanovi Zlatko Kapetanovi Zlatko
Kasap Vedran Kasap Vedran
Kauzlari Zlatko Kauzlari Zlatko
Klanac Zlatko Klanac Zlatko
Kosi Tomislav Korinek Marko
Kuduz Ante Kosi Tomislav
Kuduz Ivan Kuduz Ante
Lapaine Boidar Kuduz Ivan
Ljuljka Boris Lapaine Boidar
Marjanovi Dorijan Ljuljka Boris
Miki Kreimir Marjanovi Dorijan
Mili Diana Miki Kreimir
Mieti Anka Mili Diana
Morsan Boris Mieti Anka
Mufti Osman Morsan Boris
404 405
2004./2005. 2003./2004.
nastavnici upisani dodiplomski sveuilini nastavnici upisani dodiplomski sveuilini

teaching staff enrolled studijdiplomanti teaching staff enrolled studijdiplomanti
pre-bologna graduates pre-bologna graduates
Alfirevi Ivo Opali Milan Bauer Tina Balai Marin Alfirevi Ivo Munger Marcela Abramovi Janja Ani-Ivii-Gradina Bosiljka
Bai Marcel Orei Marijan Blaki Vlatka Borovnjak Ivana Bai Marcel Opali Milan Baraba Edita Cvetkovi Morana
Bae Joko Orei Mladen Blaini Petra Brali Damir Bae Joko Orei Marijan Bastai Saa Dobrani Dunja
Baklia Darko Pap Klaudio Bri Bernardo Budi Vendi Baklia Darko Orei Mladen Bili Zlata Gjurek Sven
Biani Antun Pavii Jurica Broni Matea ipin Jana Biani Antun Pap Klaudio Bojko Irina Ivanov Samel
Bogner Andrija Pavli Davor urkovi Iva Despot Filip Bogner Andrija Pavii Jurica Budor Dora Janar Klara
Bojeti Nenad Pelc Milan Dumbovi Petra akovi Iva Bojeti Nenad Pavli Davor ule Maja Kapetanovi Ivan Tvrtko
Bori Neda Reberski Sinia uki Zoran Ekinja Maja Bori Neda Pelc Milan Doleki Luka Korlaet Matej
Bri Stipe Rendi Mioevi Marija Frgai Lucija Glavor eljko Bri Stipe Reberski Sinia Drezgi Bojan Kova Aleksandar
Bukovan Miljenko Rogi Ivan Geli Svjetlana Gotovua Tihana Bruketa Davor Rendi Mioevi Marija Frii Marija Kurti Dragana
Cuculi Vanja Serdarevi Izvorka Glava Karla Grubii Mirna Bukovan Miljenko Rogi Ivan Glaar Ivana Luka Jelena
orkalo Dinka Stergarek Stanko Hudina Lana Hrka Ana orkalo Dinka Serdarevi Izvorka Jurai Helena Mikuli Klara
Dekovi Damir Sudeta Nikoleta Jelini Ante Hrina Iva Dekovi Damir Stergarek Stanko Jurin Lea Nedeljkovi Zrinka
Dogan Nenad Svilii Bla Jovanovac Marko Juras Luka Dogan Nenad Sudeta Nikoleta Kaui Maja Pancer Alica
Doroghy Ivan torga Mario Kadoi Tin Kos Monika Doroghy Ivan Svilii Bla Klisuri Ivan Pai Ines
Dvorski Krunoslav Tadej Sonja Klemeni Nina Kovaevi Lina Dvorski Krunoslav Tadej Sonja Kos Anamarija Petak Ana
uri Nemec Dubravka Tkalec Stjepan Komparak Draga Pavlinek Nika uri Nemec Dubravka Tkalec Stjepan Kurti Toni Poturica Nina
Fabijani Nenad Tonkovi Zdenko Korper emva Nika Peri Saa Fabijani Nenad Tonkovi Zdenko Mari Mia Romi Ivana
Fabrio Ivana Vrani Zvonko Lonari Igor Radai-Doen Ivona Fabrio Ivana Vrani Zvonko Mileti Maja Rukovanjski Davor
Filipovi Nikola Vrankovi Nikola Obranovi Borna Radovanovi Ivana Filipovi Nikola Vrankovi Nikola Milii Mirko Skenderovi Senka
Frank Filip Gordon Vuki Fea Pavlek Gordana Ravnjak Jelena Frank Filip Gordon Vuki Fea Moja Nora Sladi Iva
Grbac Ivica Waldgoni Renata Pavlovi Jan Salopek Zlatka Grbac Ivica Waldgoni Renata Morasi Piperi Simon unji Zoran
Hajsig Boica eelj Dragan Plahtan Andrej rajer Jakov Hajsig Boica eelj Dragan Orlandini Katarina Videc Petra
Herceg Stanko iljak Vilko Rukavina Petra Volfand Marija Herceg Stanko iljak Vilko Parti Dominik Zafron Marijan
Horvat Sanja Stipii Tanja Vrban Gordan Horvat Sanja Perkovi Ana Zavacki Sonja
Hrnevi Juraj Voditelj radionice/ oa Jelena Vui Mia Hrnevi Juraj Voditelj radionice/ Rakoevi Vanja Zec Barbara
Ilekovi Boris Workshop superintendent Volf Kristina Vuli Ivana Ilekovi Boris Workshop superintendent Raos Matija
Indof Janez Ivica Turi Vrbos Ivor Indof Janez Ivica Turi Raukar Goran
Jernei eljko Vuenik Marko Jernei eljko Siroti Martina
Juras Ivan voditelj/head Vuleti Ivona Juras Ivan voditelj/head Sivaki Bojan
Jurevi Tanja Bri Stipe Zadro Ante Jurevi Tanja Bri Stipe Spori Marija
Jurkovi Miljenko Zeman Andrea Jurkovi Miljenko Stekovi Nikolina
Jurkovi Nada Jurkovi Nada kali Vedrana
Justi Sinia Justi Sinia Topi Matea
Kamenov Krunoslav Kamenov Krunoslav Toplak Ivo
Kapetanovi Zlatko Kapetanovi Zlatko Veljaa Ivan
Kauzlari Zlatko Kauzlari Zlatko Vukovi Mia
Korinek Marko Korinek Marko Zalukar Hrvoje
Kosi Tomislav Kosi Tomislav vorc Danka
Kramer Erika Kramer Erika
Kuduz Ante Kuduz Ante
Kuduz Ivan Kuduz Ivan
Lapaine Boidar Kurilj Paula
Morsan Boris Mili Diana
Munger Marcela Mufti Osman
406 407
2002./2003. 2001./2002.

Alfirevi Ivo Opali Milan Barbari Petra Babi Ivana Alfirevi Ivo Munger Marcela Baun Nina Bagi Maja
Bai Marcel Orei Marijan Benasi Marija-Terezija Banek Ana Bai Marcel Opali Milan Beus Maja Bili Petra
Bae Joko Orei Mladen Bjeli Tanja Bani Ana Bae Joko Orei Marijan Bilui Aleksandra Blasin Barbara
Baklia Darko Pap Klaudio Boras elimir Baranovi Vesna Baklia Darko Orei Mladen Bratovi Roberta Bogdani Mirta
Biani Antun Pavli Davor Cuculi Helena Bili Dora Biani Antun Pap Klaudio Gobac-Bandur Nikolina Decker Lovorka
Bogner Andrija Reberski Sinia endak Katarina Cuculi Vanja Bogner Andrija Pavli Davor Golik Linda Frank Filip-Gordon
Bojeti Nenad Rendi Mioevi Marija Deskar Ana izmi Maja Bojeti Nenad Reberski Sinia Grakali Maja Gali Ana
Bori Neda Rogi Ivan Dragani Maja Deveri Vito Bori Neda Rendi Mioevi Marija Hrnir Korina Grgurevi Tina
Bri Stipe Stergarek Stanko Dvornik Antonija ogi Ivona Bri Stipe Rogi Ivan Ivezi Tina Grgurevi Lea
Bruketa Davor Sudeta Nikoleta Forster Petra uri Kreimir Bruketa Davor Stergarek Stanko Kajp Romana Hraste Ivna
Bukovan Miljenko Svilii Bla Giunio Andro Franeki Elena Bukovan Miljenko Sudeta Nikoleta Kazinoti Karlo Jeli Marina
orkalo Dinka torga Mario Guina Toni Gali Renata orkalo Dinka Svilii Bla Knez Matija Jonji Silvia
Dekovi Damir Tadej Sonja Jakuli Marina Gjergja Vjekoslav Dekovi Damir torga Mario Kostovi Ljubica Kovaevi Ivana
Dogan Nenad Tkalec Stjepan Joveti Nives Gugi Ana Dogan Nenad Tadej Sonja Kovai Ana Krian Ivan
Doroghy Ivan Tonkovi Zdenko Klari Vedran Jurii Jagoda Doroghy Ivan Tkalec Stjepan Kovai Mia Marovi Moniroz
Dvorski Krunoslav Vrani Zvonko Klasi Jelena Kasap Vedran Dvorski Krunoslav Tonkovi Zdenko Krtali Angelina Momilovi Ivana
uri Nemec Dubravka Vrankovi Nikola Kneevi Vedrana Korica Duka uri Nemec Dubravka Vrani Zvonko Letica Tena Mujezinovi Ivian Kan
Fabijani Nenad Vuki Fea Krinik Borna Gustav Kuhari Luka Fabijani Nenad Vrankovi Nikola Magi Ivan Paschenko Olexander
Filipovi Nikola Waldgoni Renata Ljubi Dolores Kurnik Irena Filipovi Nikola Vukovi Kreimir Mesi Maja Uravi Veronika
Grbac Ivica eelj Dragan Mazinjanin Damir Marinac Nives Grbac Ivica Vuki Fea Mudni-Cerineo Petar Vlahovi Ines
Hajsig Boica iljak Vilko Mori Mihovil Markovi Jelena Hajsig Boica Vulin Ante Pamukovi Ivana Vrcelj Davor
Herceg Stanko Mrazek Ana Mato Bojan Herceg Stanko Waldgoni Renata Pavkovi Ivo Vuievi Boidarka
Horvat Sanja Voditelj radionice/ Peko Nikoleta Mller Tina Horvat Sanja eelj Dragan Pluari Vilim
Hrnevi Juraj Workshop superintendent Safti Lidija Sudar Sinia Hrnevi Juraj iljak Vilko Poganik Bruno
Ilekovi Boris Ivica Turi Senjak Jelena estan Blanka Ilekovi Boris Poljanec Ana Marija
Indof Janez Sokolean Maja iko Nikola Indof Janez Voditelj radionice/ Rak Marijana
Jernei eljko voditelj/head avniar Karolina obot Miroslava Ivanevi Radovan Workshop superintendent Rede Vedran
Juras Ivan Bri Stipe esni Marko Tutnjevi Ljiljana Jernei eljko Ivica Turi Skender Martina
Jurevi Tanja midt Ana Vickovi Ana Jurevi Tanja Vreko Primo
Jurkovi Miljenko Tomi Marija Vuievi Antica Jurkovi Miljenko voditelj/head Zeli Matija
Jurkovi Nada Topolnjak Andreja Vukmanovi Maa Jurkovi Nada Vulin Ante Zlonoga Petra
Justi Sinia Turkovi Goran Zeli Tvrtko Kamenov Krunoslav Zver Tajana
Kamenov Krunoslav Vuci Luka Kapetanovi Zlatko
Kapetanovi Zlatko upi Ana Kauzlari Zlatko
Kauzlari Zlatko Keller Goroslav
Keller Goroslav Kolaek Zdenko
Korinek Marko Korinek Marko
Kosi Tomislav Kosi Tomislav
Kramer Erika Kramer Erika
Kuduz Ante Kri Filipovi Davorka
Kuduz Ivan Kuduz Ante
Kurilj Paula Kuduz Ivan
Lapaine Boidar Kurilj Paula
Munger Marcela Mufti Osman
408 409
2000./2001. 1999./2000.

Alfirevi Ivo Munger Marcela Bobi Sanja Brui Irena Alfirevi Ivo Opali Milan Balai Marin Berc Ana
Bai Marcel Opali Milan Bogei Marko ai Antonia Bai Marcel Orei Marijan Beli Nina Blaini Ivo
Bae Joko Orei Marijan Borovnjak Ivana ale Mirena Bae Joko Orei Mladen Boban Petar Boi Goran
Baklia Darko Orei Mladen Bratinevi Ivana Dekovi Aleksandar Baklia Darko Pap Klaudio ular Iva Brajevi Tamara
Biani Antun Pap Klaudio Cvahte Sinia Gamulin Damir Biani Antun Reberski Sinia Dumi Martina Cavar Lana
Bogner Andrija Pavli Davor izmi Petra Gjakun Maja Bogner Andrija Rendi Mioevi Marija akovi Iva Fabrio Ivana
Bori Neda Reberski Sinia ukelj Ivana Grbac Mirna Bori Neda Rogi Ivan Filipovi Melita Janota Mirela
Bri Stipe Rendi Mioevi Marija Dupalo Jasmina Havelka Jelena Bri Stipe Stergarek Stanko Gotovua Tihana Jeli Ana
Bruketa Davor Rogi Ivan Ekinja Maja Hercog Jelenko Bukovan Miljenko Sudeta Nikoleta Hrka Ana Jonke Sven
Bukovan Miljenko Stergarek Stanko Ekinja ime Hrust Nataa orkalo Dinka Svilii Bla Hrina Iva Jurinec Antonija
orkalo Dinka Sudeta Nikoleta Goli Antonija Meglajec Irena Dekovi Damir torga Mario Kirasi Kreimir Kojundi Franka
Dekovi Damir Svilii Bla Grancari Kreimir Mesi Filip Dogan Nenad Tkalec Stjepan Kirin Iskra Korinek Marko
Dogan Nenad torga Mario Heri Ozren Miklu Lidija Doroghy Ivan Tomii Davor Klobuar Ana Kraljevi Tomislav
Doroghy Ivan Tadej Sonja Kalenski Lidija Milii Ivana Dvorski Krunoslav Tonkovi Zdenko Kralj Branimir Kuni Sanjin
Dvorski Krunoslav Tkalec Stjepan Kos Monika Novak Dubravka uri Nemec Dubravka Vrani Zvonko Kunej Ana Mali Ivona
uri Nemec Dubravka Tonkovi Zdenko Kraljevi Nera Pap Tamara Fabijani Nenad Vrankovi Nikola Mikulandra Morana Manestar Tena
Fabijani Nenad Vrani Zvonko Lavri Sandra Poli Sanja Filipovi Nikola Vuki Fea Moroin Iva Marii Irena
Filipovi Nikola Vrankovi Nikola Maltar Mihaela Roksandi Dean Grbac Ivica Vulin Ante Mrva Miroslav Nosso Petra
Grbac Ivica Vuki Fea Martinovi Ana Staglii-Balen Antun Hajsig Boica Waldgoni Renata Novosel Lidija Novak Morana
Hajsig Boica Vulin Ante Miku Carmen Stastny Iva Herceg Stanko eelj Dragan Nuji Marko Pauli eljko
Herceg Stanko Waldgoni Renata Orei Dina lat Zrinka Hrnevi Juraj iljak Vilko Pakvan Branimir Pecnik Mihaela
Horvat Sanja eelj Dragan Rai Marko Uroda Toni Ilekovi Boris Pavlinek Nika Pete Danijel
Hrnevi Juraj iljak Vilko Sablji Branimir Vidovi Mislav Indof Janez Voditelj radionice/ Pokos Roman Piek Nikolina
Ilekovi Boris Segulin Petra iljak Ivana Ivanevi Radovan Workshop superintendent Prizmi Damir Podnar Anamarija
Indof Janez Voditelj radionice/ Serdarui Mislav Jernei eljko Ivica Turi Radovanovi Ivana Podnar Nikolina
Ivanevi Radovan Workshop superintendent Strinavi Tatjana Jurevi Tanja Raduka Mirna Pojatina Ana
Jernei eljko Ivica Turi Szomi Istvan Jurkovi Miljenko voditelj/head Salopek Zlatka Radeljkovi Nikola
Jurevi Tanja eerkadi Samir Jurkovi Nada Vulin Ante Siladi Kreimir Raduli Sanja
Jurkovi Miljenko voditelj/head unjerga Anonio Justi Sinia estan Kristina Serdarevi Izvorka
Jurkovi Nada Vulin Ante Telenta Lena Kamenov Krunoslav Videc Petra Slunjski Kristina
Justi Sinia Tomljenovi Elvis Kapetanovi Zlatko Volfand Marija oli Sunica
Kamenov Krunoslav Turkovi Tomislav Kauzlari Zlatko Vui Mia Tkalec Renata
Kapetanovi Zlatko Udovii Mirta Keller Goroslav Vuievi Antica Vlaini Tomislav
Kauzlari Zlatko Ugljei Vesna Kolaek Zdenko Vuji Alan Vukojevi Narcisa
Keller Goroslav Vrabec Vedrana Kosi Tomislav Zlatuni Zlatko
Kolaek Zdenko Vuksanovi Silva Kramer Erika
Korinek Marko uljevi Ivana Kranjevi Eduard
Kosi Tomislav Kri Filipovi Davorka
Kramer Erika Kuduz Ante
Kri Filipovi Davorka Kuduz Ivan
Kuduz Ante Kurilj Paula
Kuduz Ivan Lapaine Boidar
Kurilj Paula Ljuljka Boris
Lapaine Boidar Marjanovi Dorijan
Ljuljka Boris Miki Kreimir
Marjanovi Dorijan Mili Diana
Miki Kreimir Morsan Boris
Mili Diana Mufti Osman
Morsan Boris Munger Marcela
Mufti Osman Nevala Maja
410 411
1998./1999. 1997./1998.

Alfirevi Ivo Mufti Osman Ani-Ivii-Gradina Bosiljka Babi Jelena Alfirevi Ivo Morsan Boris Azinovi Eva Anek Romina
Alfirevi Gorjana Munger Marcela Beara Sandra Bili Dubravka Alfirevi Gorjana Mufti Osman Babi Ivana Baus Marko
Bai Marcel Nevala Maja Bielen Hrvoje Boban Ivana Bai Marcel Munger Marcela Banek Ana Bogunovi Mia
Bae Joko Opali Milan Borkovi Karolina Bovarov Saa Baklia Darko Nevala Maja Bani Ana Botteri Aron
Baklia Darko Orei Marijan Brali Damir Bubi Koraljka Bauer Goran Opali Milan Baranovi Vesna Bruketa Davor
Bauer Goran Orei Mladen Budi Vendi Canki Iva Biani Antun Orei Marijan Cvetkovi Morana Deni Zrinka
Biani Antun Pap Klaudio ipin Jana avar Maja Bogner Andrija Orei Mladen izmi Maja Doli Jadranka
Bogner Andrija Reberski Sinia Despot Filip urokovi Draen Bojeti Nenad Pap Klaudio uk Zoran Dragun Silvana
Bojeti Nenad Rendi Mioevi Marija Dobrani Dunja Flegar Diana Bori Neda Reberski Sinia Dali Anelko Zoran Drakovi Darko
Bori Neda Rogi Ivan Fabijani Jana Garojevi Goran Bri Stipe Rek Vesna Franeki Elena Galeta Karlo
Bri Stipe Stergarek Stanko Gali Renata Golik Gordana Bukovan Miljenko Rendi Mioevi Marija Gjergja Vjekoslav Garaj Vanja
Bukovan Miljenko Sudeta Nikoleta Grubii Mirna Hint Nikolina orkalo Dinka Rogi Ivan Gjurek Sven Glavi Lara
orkalo Dinka Svilii Bla Janar Klara Ivievi-Bakuli Ivan Dekovi Damir Stergarek Stanko Gotovac Ivo Goreta Jasna
Dekovi Damir Tkalec Stjepan Jeli Nikolina Jankovi Tea Dogan Nenad Sudeta Nikoleta Gugi Ana Irianin Dario
Dogan Nenad Tomii Davor Kapetanovi Ivan Tvrtko Jeli Tomislav Doroghy Ivan erman Karin Ivanov Samel Lepin Igor
Doroghy Ivan Tonkovi Zdenko Korica Duka Jovanovi Mila Dvorski Krunoslav torga Mario Jurii Jagoda Maduni Vladimir
Dvorski Krunoslav Vrani Zvonko Korlaet Matej Kljaji Tanja uri Nemec Dubravka Terze Zdravko Klemens Vedran Makvi Iva
uri Nemec Dubravka Vrankovi Nikola Kurti Dragana Kopori Nataa Fabijani Nenad Tkalec Stjepan Kovaevi Lina Markovi Ivica
Fabijani Nenad Vuki Fea Luka Jelena Marui Nela Filipovi Nikola Tomii Davor Kurnik Irena Miin Anisa
Filipovi Nikola Vulin Ante Mikuli Klara Matovina Kreimir Grbac Ivica Tonkovi Zdenko Marinac Nives Miljak Cvijeta
Grbac Ivica Waldgoni Renata Petak Ana Modrini Srana Hajsig Boica Vrani Zvonko Nedeljkovi Zrinka Mulabegovi Elma
Hajsig Boica iljak Vilko Plasajec eljka Mosner Iva Herceg Stanko Vrankovi Nikola Pancer Alica Petrovi Kristijan
Herceg Stanko Radai Ivona Penava Zrinka Barbara Hrnevi Juraj Vuki Fea Pai Ines Poturi Igor
Hrnevi Juraj Voditelj radionice/ Skenderovi Senka Petrak Mario Ilekovi Boris Vulin Ante Poturica Nina Roin Stjepko
Ilekovi Boris Workshop superintendent Smrekar Dino Rajki Tina Indof Janez Waldgoni Renata Pruek Tanja Sobotini Igor
Indof Janez Ivica Turi rajer Jakov Staniljevi Igor Ivanevi Radovan iljak Vilko Ravnjak Jelena Stilinovi Bojan
Ivanevi Radovan Tutnjevi Ljiljana Steiner Danko Jernei eljko Rukovanjski Davor erbeti Nikolina
Jernei eljko voditelj/head Vrban Gordan Szigeti Vladimir Jovi Matko Voditelj radionice/ Saletovi Mirna vob Radovan
Jovi Matko Vulin Ante Zavacki Sonja Vidovi Hrvoje Jurevi Tanja Workshop superintendent Sladi Iva Uhlik Ivana
Jurevi Tanja Zec Barbara Zovko Maja Jurkovi Miljenko Ivica Turi Sudar Sinia Vranje Igor
Jurkovi Miljenko Zmai Goran Josip Zubi Vesna Jurkovi Nada aban Jelena Vui Ivana
Jurkovi Nada aja Ana Justi Sinia voditelj/head midt Kristina
Justi Sinia Kamenov Krunoslav midihen Edo unji Zoran
Kamenov Krunoslav Kapetanovi Zlatko Vukmanovi Maa
Kapetanovi Zlatko Kauzlari Zlatko Vuli Ivana
Kauzlari Zlatko Keller Goroslav
Keller Goroslav Kolaek Zdenko
Kolaek Zdenko Kosi Tomislav
Kosi Tomislav Kramer Erika
Kramer Erika Kranjevi Eduard
Kranjevi Eduard Kranjevi Stanka
Kri Filipovi Davorka Kri Filipovi Davorka
Kuduz Ante Kuduz Ante
Kuduz Ivan Kuduz Ivan
Lapaine Boidar Lali Tomislav
412 413
1996./1997. 1995./1996.

Alfirevi Ivo Orei Marijan Bagi Maja Ajanovi Amra Alfirevi Ivo Orei Marijan Biondi Sanja Bri Tihoni
Alfirevi Gorjana Orei Mladen Bili Dora Ausenak Daria Alfirevi Gorjana Orei Mladen Blasin Barbara Cupec David
Bai Marcel Pap Klaudio Bili Petra Bajto Maja Bai Marcel Pap Klaudio Bogdani Mirta Ferlin Mauricio
Baklia Darko Reberski Sinia Bonjak Darin Baleti Ana Baklia Darko Reberski Sinia Boi Goran Fotak Helena
Bauer Goran Rek Vesna Brui Irena Borovac Aleksandar Bauer Goran Rek Vesna Dekovi Aleksandar Gali Klara
Biani Antun Rendi Mioevi Marija Cuculi Vanja Brajdi Aljoa Biani Antun Rendi Mioevi Marija Fabrio Ivana Glava Boris
Bogner Andrija Rogi Ivan Deveri Vito Breanski Alan Bogner Andrija Rogi Ivan Gaina Joko Husnjak Davor
Bojeti Nenad Stergarek Stanko Donadini Mladen Ceraj-Ceri Iva Bojeti Nenad Stergarek Stanko Gali Ana Ivani Goran
Bri Stipe Sudeta Nikoleta ogi Ivona avar Petar Kreimir Bri Stipe Sudeta Nikoleta Gotovac Sarah Jankovi Danijela
Bukovan Miljenko erman Karin uri Kreimir Dragaevi Lana Bukovan Miljenko Tadej Sonja Havelka Jelena Jurinec Ksenija
orkalo Dinka Terze Zdravko Frank Filip-Gordon Erben Marko orkalo Dinka Terze Zdravko Hraste Ivna Kezi Ada
Dekovi Damir Tkalec Stjepan Gjakun Maja Fari Gabrijela Dekovi Damir Tkalec Stjepan Jalovec Nenad Kliinovi Tea
Dogan Nenad Tomii Davor Grgurevi Lea Golubi Kristina Dogan Nenad Tomii Davor Juras Luka Kolendari Ana
Doroghy Ivan Tonkovi Zdenko Hripko Boris Jelavi-Mitrovi Nikolina Doroghy Ivan Tonkovi Zdenko Jurinec Antonija Koprivnjak Lovorka
Dvorski Krunoslav Vrani Zvonko Jonji Silvia Jeri Mirna Dvorski Krunoslav Vrani Zvonko Kari Dalida Kordi Andrea
uri Nemec Dubravka Vrankovi Nikola Kasap Vedran Jurii Darko uri Nemec Dubravka Vrankovi Nikola Kova Aleksandar Lazanja Branimir
Fabijani Nenad Vuki Fea Kocijan Elizabeta Kauni Tomislav Jurica Fabijani Nenad Vuki Fea Kuhari Luka Lokin Iva
Filipovi Nikola Vulin Ante Mari Kreimir Kati Tanja Filipovi Nikola Vulin Ante Kurelac Iva Majstorovi Antonija
Grbac Ivica Waldgoni Renata Marovi Moniroz Klarica Ivana Grbac Ivica Waldgoni Renata Lonar Ana Mareti-Marinovi Ljubica
Hajsig Boica iljak Vilko Meglajec Irena Kovai Neven Hajsig Boica iljak Vilko Marii Irena Marko Marina
Herceg Stanko Mesi Filip Kramari Goran Herceg Stanko Markovi Jelena Matakovi Katica
Hrnevi Juraj Voditelj radionice/ Miheli Mirna Krasi Sandra Hrnevi Juraj voditelj/head Mato Bojan Matievi Ana
Ilekovi Boris Workshop superintendent Mujezinovi Ivian Kan Krile Maro Ilekovi Boris midihen Edo Miklu Lidija Milovanovi Andrea
Indof Janez Ivica Turi Mller Tina Krpina Lana Indof Janez Milii Ivana Milutin Romana
Ivanevi Radovan Mustafa-Kamal Mariam Leiner Ulla Ivanevi Radovan Momilovi Ivana Mio Marijana
Jernei eljko voditelj/head Novak Dubravka Lujanac Tonka Jernei eljko Pap Tamara Ortynski Berislav
Jovi Matko midihen Edo Paschenko Olexander Malnar Tatjana Jovi Matko Pauli eljko Palijan Davorin
Jurevi Tanja Pohl Martin Marinovi Ana Jurevi Tanja Pulji Jurana Pavlica Sanja
Jurkovi Miljenko Poli Sanja Mokos eljka Jurkovi Miljenko Roksandi Dean Peko Ivana
Jurkovi Nada estan Blanka Pavii Marina Jurkovi Nada Romi Ivana Radovi Romina
Kamenov Krunoslav Toli Dinko Primi Saa Kamenov Krunoslav Skender Lana Rukavina Branimir
Kapetanovi Zlatko Uravi Veronika Roller Sara Kapetanovi Zlatko Stastny Iva Sazuni Nela
Kauzlari Zlatko Vickovi Ana Sinkovi Nikola Kauzlari Zlatko lat Zrinka Sinovi Elza
Keller Goroslav Vlahovi Ines Stepi Robert Keller Goroslav obot Miroslava Stani Marko
Kosi Tomislav Zeli Tvrko Stori Marijana Kosi Tomislav Tomac Danko Stubiar Saa
Kramer Erika iljak Ivana ebalj Viola Kramer Erika Valek Monika Thumm Luka
Kranjevi Eduard timac Goran Kranjevi Eduard Vidovi Mislav Tkalec Zrinka
Kranjevi Stanka uper Draen Kranjevi Stanka Vrcelj Davor Zagorac Predrag
Kri Filipovi Davorka Kri Filipovi Davorka Vuievi Boidarka Zekui Irena
Kuduz Ante Kuduz Ante Vukojevi Narcisa Zubak Morana
Kuduz Ivan Kuduz Ivan Zafron Marijan iljak Jana
Lali Tomislav Lali Tomislav
Lapaine Boidar Lapaine Boidar
Ljuljka Boris Ljuljka Boris
Marjanovi Dorijan Marjanovi Dorijan
Miki Kreimir Miki Kreimir
Morsan Boris Morsan Boris
Mufti Osman Mufti Osman
Munger Marcela Munger Marcela
Opali Milan Opali Milan
414 415
1994./1995. 1993./1994.

Alfirevi Ivo Orei Mladen Berc Ana Bakovi Miranda Ajdukovi Dejan Rogi Ivan Ajanovi Amra Barii Arni
Alfirevi Gorjana Pap Klaudio ai Antonia Benjak Kreimir Alfirevi Ivo Semenski Damir Alujevi Saa Benceti Sanja
Bai Marcel Reberski Sinia ale Mirena oporda Ratko Baklia Darko Stergarek Stanko Anek Romina Bogdanovi Jasmina
Baklia Darko Rek Vesna Flegar Diana Daki Tatjana Bogner Andrija Sudeta Nikoleta Babi Jelena Boek Suzana
Bauer Goran Rendi Mioevi Marija Gamulin Damir Dezotti Sanda Bojeti Nenad erman Karin Ban Ivan Ivankovi Ivana
Biani Antun Rogi Ivan Golik Gordana Duboveak Vesna Bosner eljko Taborak Dragutin Baranovi Franka Kapicl Renata
Bogner Andrija Stergarek Stanko Goriki Saa Fabekovec Marijo Bri Stipe Terze Zdravko Bili Dubravka Kavuri Inja
Bojeti Nenad Sudeta Nikoleta Grabovac Mirjana Frankovi Orsat Bukovan Miljenko Tkalec Stjepan Blaini Ivo Kolumbi Antun
Bri Stipe Terze Zdravko Grbac Mirna Glinska Adrianna Beata Dogan Nenad Tomii Davor Boban Ivana Komarica Borjan
Bukovan Miljenko Tkalec Stjepan Grgurevi Tina Kirini Sanja Doroghy Ivan Tonkovi Zdenko Bogunovi Mia Kortizija Martina
orkalo Dinka Tomii Davor Hrust Nataa Krpan Dino uri Nemec Dubravka Vanita Josip Brali Vedran Marjanovi Sonja
Dekovi Damir Tonkovi Zdenko Iveta Danijel Krpi Nives Fabijani Nenad Vrani Zvonko Brki Vera Matui Terezija
Dogan Nenad Vanita Josip Janota Mirela Maksimovski Saa Filipovi Nikola Vrankovi Nikola Cavar Lana Mikuli Melina
Doroghy Ivan Vrani Zvonko Jureti Ivan Matek Tomislav Grbac Ivica Vulin Ante Decker Lovorka Miloevi Aleksandra
Dvorski Krunoslav Vrankovi Nikola Keller Robin Patrlj Ana-Marija Hajsig Boica Waldgoni Renata Drakovi Darko Peenko Marina
uri Nemec Dubravka Vuki Fea Kopori Nataa Pukari Mirjana Herceg Stanko iljak Vilko Garojevi Goran Reljan Tamara
Fabijani Nenad Vulin Ante Kraljevi Tomislav Pukari Vesna Homadovski Aleksandar Glavi Lara aban Janislav
Filipovi Nikola Waldgoni Renata Krian Ivan Radovnikovi Veljko Hrnevi Juraj voditelj/head Jankovi Tea imeti Daniela
Grbac Ivica iljak Vilko Kuni Sanjin Soviek Jadranka Ilekovi Boris midihen Edo Jeli Marina Turin Nada
Hajsig Boica Mandi Luiano otari Tanja Indof Janez Jonke Sven
Herceg Stanko voditelj/head Manestar Tena Vlajo Koraljka Ivanevi Radovan Jovanovi Mila
Hrnevi Juraj midihen Edo Novak Morana Zglavnik Dubravka Jernei eljko Kljaji Tanja
Ilekovi Boris Pecnik Mihaela Jovi Matko Koul Maja
Indof Janez Podnar Anamarija Jurevi Tanja Kraljevi Ivan
Ivanevi Radovan Podnar Nikolina Jurkovi Miljenko Lukaek Ivan
Jernei eljko Pojatina Ana Kamenov Krunoslav Makvi Iva
Jurevi Tanja Rajki Tina Kapetanovi Zlatko Markovi Ivica
Jurkovi Miljenko Serdarevi Izvorka Kauzlari Zlatko Matovina Kreimir
Jurkovi Nada Slunjski Kristina Keller Goroslav Miin Anisa
Kamenov Krunoslav Staglii-Balen Antun Kincl Branko Miljak Cvijeta
Kapetanovi Zlatko Staniljevi Igor Kolaek Zdenko Modrini Srana
Kauzlari Zlatko imuni Lana Kosi Tomislav Mosner Iva
Keller Goroslav poljar Damir Kramer Erika Mulabegovi Elma
Kosi Tomislav Tkalec Renata Kranjevi Eduard Nosso Petra
Kramer Erika Zlatuni Zlatko Kranjevi Stanka Petrovi Kristijan
Kranjevi Eduard Zovko Maja Kuduz Ante Piek Nikolina
Kranjevi Stanka Kuduz Ivan Popovi Vincezo
Kri Filipovi Davorka Lali Tomislav Radeljkovi Nikola
Kuduz Ante Lapaine Boidar Raduli Sanja
Kuduz Ivan Ljuljka Boris Stasiow eljka
Lali Tomislav Marjanovi Dorijan Steiner Danko
Lapaine Boidar Miki Kreimir erbeti Nikolina
Ljuljka Boris Morsan Boris Tomii Miran
Marjanovi Dorijan Munger Marcela Uhlik Ivana
Miki Kreimir Opali Milan Uroda Toni
Morsan Boris Orei Marijan Vidovi Hrvoje
Mufti Osman Orei Mladen Villi Iva
Munger Marcela Pap Klaudio Vlaini Tomislav
Opali Milan Rek Vesna Vlatko Maro
Orei Marijan Rendi Mioevi Marija Zubi Vesna
aja Ana
416 417
1992./1993. 1991./1992.
nastavnici upisani nastavnici upisani

teaching staff enrolled teaching staff enrolled
Ajdukovi Dejan Rogi Ivan Babaja Iva Alfirevi Gorjana Uri Boidar Arula Dalibor
Alfirevi Ivo Semenski Damir Bednjanec Darko Alfirevi Ivo Vanita Josip Ausenak Daria
Baklia Darko Stergarek Stanko Belini Ivica Alfirevi Izidor Vrani Zvonko Bajto Maja
Bogner Andrija Sudeta Nikoleta Brajevi Tamara Baklia Darko Vrankovi Nikola Baleti Ana
Bosner eljko Taborak Dragutin Bruketa Davor Boi eljko Vulin Ante Baus Marko
Boi eljko Tkalec Emilija Bubi Koraljka Bri Stipe Waldgoni Renata Borovac Hrvoje
Bri Stipe Tkalec Stjepan Canki Iva Doroghy Ivan iljak Vilko Brajdi Aljoa
Bukovan Miljenko Tomii Davor avar Maja uri Nemec Dubravka Bri Tihoni
Dogan Nenad Vanita Josip Deni Zrinka Filipovi Nikola voditelj/head Ceraj Iva
Doroghy Ivan Vrani Zvonko Doli Jadranka Grbac Ivica midihen Edo Cupec David
uri Nemec Dubravka Vrankovi Nikola urokovi Draen Hajsig Boica iri Tanja
Fabijani Nenad Vulin Ante Frekura Mladen Homadovski Aleksandar Dragaevi Lana
Filipovi Nikola Waldgoni Renata Garaj Vanja Hrnevi Juraj Dragun Silvana
Grbac Ivica iljak Vilko Grubi Mario Indof Janez Duljkovi Mina
Hajsig Boica Hajon Ivo Ivanevi Radovan eki Sinia
Herceg Stanko voditelj/head Hint Nikolina Jurkovi Miljenko Galeta Karlo
Homadovski Aleksandar midihen Edo Hlupi Vlatka Kamenov Krunoslav Golubi Kristina
Hrnevi Juraj Ivanda Roko Kapetanovi Zlatko Hercog Jelenko
Ilekovi Boris Ivievi-Bakuli Ivan Kauzlari Zlatko Irianin Dario
Indof Janez Jeli Tomislav Keller Goroslav Ivani Goran
Ivanevi Radovan Jeri Mirna Kincl Branko Jelavi-Mitrovi Nikolina
Jurkovi Miljenko Juki Renato Klanac Zlatko Jeli Ana
Kamenov Krunoslav Knapi Andrea Kosi Tomislav Jurii Darko
Kapetanovi Zlatko Knezovi Suzana Kramer Erika Kati Tanja
Kauzlari Zlatko Kolanovi Dubravka Kranjevi Eduard Klarica Ivana
Keller Goroslav Korinek Marko Kranjevi Stanka Kovai Neven
Kincl Branko Kovaevi Ivana Kuduz Ante Krasi Sandra
Klanac Zlatko Kuduz Ana Kuduz Ivan Krile Maro
Kodrnja Zoran Maduni Vladimir Kurilj Paula Krpina Lana
Kosi Tomislav Mali Ivona Lapaine Boidar Lazanja Branimir
Kramer Erika Milin Marija Marjanovi Dorijan Leiner Ulla
Kranjevi Eduard Nadilo Antonija Metrovi Matko Letica Ana
Kranjevi Stanka Pavii Marina Miki Kreimir Ljubii Igor
Kuduz Ante Perai Anastazija Morsan Boris Malnar Tatjana
Kuduz Ivan Pete Danijel Mufti Osman Marinovi Ana
Lapaine Boidar Petrak Mario Munger Marcela Matakovi Katica
Ljuljka Boris Roller Sara Opali Milan Mokos eljka
Marjanovi Dorijan Szigeti Vladimir Orei Marijan Peko Ivana
Medi Berislav oli Sunica Orei Mladen Soviek Jadranka
Metrovi Matko toki Dario Paro Frane Stani Marko
Miki Kreimir unk Davor Rek Vesna Stori Marijana
Morsan Boris vob Radovan Rendi Mioevi Marija iko Nikola
Mufti Osman Zidi Antun Juraj Rogi Ivan uper Draen
Munger Marcela Semenski Damir Thumm Luka
Opali Milan Stergarek Stanko Tkalec Zrinka
Orei Marijan Sudeta Nikoleta Ugljei Neboja
Orei Mladen utej Miroslav Vui Ivana
Paro Frane Taborak Dragutin Zubak Morana
Rek Vesna Tkalec Emilija iljak Jana
Rendi Mioevi Marija Tkalec Stjepan
418 419
1990./1991. 1989./1990.
nastavnici upisani nastavnici upisani

teaching staff enrolled teaching staff enrolled
Alfirevi Ivo Munger Marcela Aralica Vieslav Payer Ira Alfirevi Ivo Rek Vesna Bakovi Miranda Mikuli Melina
Baklia Darko Opali Milan Benjak Kreimir Peenko Marina Baklia Darko Rendi Mioevi Marija Barii Arni (Milosavljevi) Benceti Sanja
Bri Stipe Orei Marijan Bernardi Branko Penava Zrinka Barbara Bri Stipe Rogi Ivan Boban Daniela Mortigjija Vinka
uri Nemec Dubravka Orei Mladen Bovarov Saa Peri Saa Filipovi Nikola Sudeta Nikoleta Bogdanovi Jasmina Nuhbegovi Elmedin
Glavina Ivan Paro Frane Bogelji Sonja Poturi Igor Glavina Ivan utej Miroslav Botteri Aron Primi Saa
Gorjana Alfirevi Rek Vesna Borovac Aleksandar Preglej Maja Hajsig Boica Taborak Dragutin Boek Suzana Puhalovi Damir
Grbac Ivica Rendi Mioevi Marija Brknja Andrea Rapai Milan Hrnevi Juraj Tkalec Emilija Breanski Alan Pukari Mirjana
Hajsig Boica Rogi Ivan oporda Ratko Reljan Tamara Ivanevi Radovan Uri Boidar Cerovec Vinja Barbara Pukari Vesna
Hrnevi Juraj Semenski Damir avar Petar Kreimir Roin Stjepko Jeci Stjepan Vanita Josip Daki Tatjana Radovi Romina
Ivan Doroghy Stergarek Stanko Duboveak Vesna Rukavina Branimir Jurkovi Miljenko Vrani Zvonko Dezotti Sanda Radovnikovi Veljko
Ivanevi Radovan Sudeta Nikoleta Erben Marko Sablji Ante Kamenov Krunoslav Vulin Ante Dobrini Bianka Sazuni Nela
Izidor Alfirevi utej Miroslav Fabekovec Marijo Savi Sanja Kapetanovi Zlatko Waldgoni Renata Drakula Nataa Sobotini Igor
Jeci Stjepan Taborak Dragutin Fari Gabrijela Sinkovi Nikola Kauzlari Zlatko Ferlin Mauricio Stepi Robert
Jurkovi Miljenko Tkalec Emilija Fotak Helena Sinovi Elza Keller Goroslav voditelj/head Frankovi Orsat aban Janislav
Kamenov Krunoslav Tkalec Stjepan Gali Klara Stilinovi Bojan Klanac Zlatko midihen Edo Glava Boris imeti Daniela
Kapetanovi Zlatko Uri Boidar Glavor eljko Stubiar Saa Kramer Erika Glinska Adrianna Beata iko Diana
Kauzlari Zlatko Vanita Josip Glogolja Kreimir ebalj Viola Kranjevi Eduard Hristov Dubravko otari Tanja
Keller Goroslav Vrani Zvonko Goreta Jasna timac Goran Kranjevi Stanka Ivankovi Ivana utej imun
Klanac Zlatko Vulin Ante Husnjak Davor Tireli Dorian Kuduz Ante Jedreji Zoran Zagorac Predrag
Kramer Erika Waldgoni Renata Jankovi Danijela Trstenjak Ljiljana Kuduz Ivan Jei Kristina Zekui Irena
Kranjevi Eduard Jurinec Ksenija Turin Nada Kurilj Paula Jeina Sreko
Kranjevi Stanka voditelj/head Koari Filip Vlajo Koraljka Lapaine Boidar Jovii Zrinka
Kuduz Ante midihen Edo Krpan Dino Vodopija eljka Ljubii Boris Kauni Tomislav Jurica
Kuduz Ivan Krpi Nives Vranje Igor Ljuljka Boris Kapicl Renata
Kurilj Paula Kulovi Bojana Zglavnik Dubravka Miki Kreimir Kavuri Inja
Lapaine Boidar Kumanovi Dinko alig Tihomir Mohorovii Andre Kezi Ada
Ljubii Boris Lalovi Damjan ini Nikola Morsan Boris Kirini Sanja
Miki Kreimir Lokin Iva Mufti Osman Kliinovi Tea
Mohorovii Andre Lujanac Tonka Munger Marcela Kolendari Ana
Morsan Boris Majstorovi Antonija Orei Marijan Kolumbi Antun
Mufti Osman Mamula Sran Orei Mladen Komarica Borjan
Mareti-Marinovi Ljubica Koprivnjak Lovorka
Matek Tomislav Kordi Andrea
Matievi Ana Kortizija Martina
Miloevi Aleksandra Kramari Goran
Milovanovi Andrea Labura Svebor
Milutin Romana Lepin Igor
Mio Marijana Maksimovski Saa
Ortynski Berislav Marjanovi Sonja
Palijan Davorin Marko Marina
Patrlj Ana-Marija Marui Nela
Pavlica Sanja Matui Terezija
420 421
ureuje uredniki kolegij / edited by editorial board partneri studija dizajna Zahvaljujemo tvrtki Fedrigoni na sponzorstvu kojim
prof. Stipe Bri partners of the school of design je potpomogla izdavanje Godinjaka Studija dizajna.
prof. Nenad Dogan We thank the Fedrigoni Company for its sponsorship in support
prof. Ivan Doroghy Akademija dramskih umjetnosti Sveuilita u Zagrebu/ of the publishing of the Annual review of the School of Design.
doc. dr. sc. Nikola urek University of Zagreb Academy of Dramatic Art
doc. mr. sc. Ivana Fabrio
izv. prof. Stanko Herceg Fedrigoni/Fedrigoni
izv. prof. Boris Ilekovi Galerija Bernardo Bernardi/Bernardo Bernardi Gallery
prof. mr. sc. Zlatko Kapetanovi
asist. Inja Kireta Kavuri Hrvatsko dizajnersko drutvo/Croatian Designers Association
doc. Vedran Kasap
prof. Mladen Orei HKKKKIHrvatski klaster konkurentnosti kreativnih i kulturnih industrija/
izv. prof. dr. sc. Fea Vuki Croatian Cluster of Competitiveness of Creative and Cultural Industries
asist. Hrvoje ivi Hrvatska obrtnika komora/Croatian Chamber of Trades and Crafts
glavni urednik / editor-in-chief IKEA/IKEA
prof. Ivan Doroghy
Istragrafika d.d. /Istragrafika joint-stock company
pomonik glavnog urednika / assistants to editor-in-chief Klara Gardening d.o.o./Klara Gardening Ltd.
Romana Kajp
Lauba, umjetniki centar/Lauba, Arts Centre
tekstovi / texts
doc.mr.sc.Sanja Benceti Mekelle University, EiT-M / Etiopski institut za tehnologiju
prof. Stipe Bri Ethiopian Institute of Technology
izv.prof.dr.sc.Fea Vuki Ministarstvo pravosua RHKaznionica i zatvor u Poegi
prof.mr.sc.Zlatko Kapetanovi Ministry of Justice of the Republic of CroatiaPoega Penitentiary
prof.Mladen Orei
Minstarstvo znanosti, obrazovanja i porta RH/
lektura / lecture Ministry of Science, Education and Sports of the Republic of Croatia
Marijan Rikovi
Muzejski dokumentacijski centar/Museum Documentation Centre
prijevod / translation Muzika akademija Sveuilita u Zagrebu /
Luana Banek University of Zagreb Academy of Music
prijelom / layout Noona d.o.o./Noona Ltd.
prof. Nenad Dogan
Organizacija Mikser Beograd/Mikser Organisation from Belgrade
fotografije / photography Papirus d.o.o./Papirus Ltd.
Arhiv Studija dizajna
asistent Pavel Posavec Puko otvoreno uilite Zagreb/Public Open University Zagreb
demonstrator Ana Vujasi
Sveuilite u Zagrebu/University of Zagreb
priprema / prepress Turistika zajednica grada Varadina/Varadin Tourist Board
Kaligraf
Udruga za autizam Zagreb/Autism Association Zagreb
tisak / printing
Printera Udruga Veliko srce malom srcu/Association Big Heart to Small Heart
Udruga za projektni menadment u kulturiPovuci za kulturu/

Association for Project Management in CultureNon-repayable Funding for Culture
Udruga Roditelji u AkcijiRODA/Parents in Action Association
Udruenje obrtnika grada Zagreba/Association of Craftsmen of the City of Zagreb
422 423
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Godisnjak Annual Review 2014 2015

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Godisnjak Annual Review 2014 2015

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Godinjak

for the publisher

Sva prava pridrana. Niti jedan dio ove publikacije ne

All rights reserved. No part of this publication may be

godinje nagrade i priznanja _9 annual awards and acknowledgements _9

preddiplomski studij _19 undergraduate programme _19

diplomski studij/graduate programme

diplomski studij _207 graduate programme _207

projekti _329 projects _329

Godinje nagrade i priznanja

Godinje nagrade i priznanja Awards presented by the

Prof. Stipe Bri i studentica Zrinka Horvat

godinja nagrada studija dizajna godinja nagrada studija dizajna

Valentina Sunek Grgo Petrov

godinja nagrada studija dizajna godinja nagrada studija dizajna

Dorja Benussi Zrinka Horvat

Obavljena istraivanja pokazala su velik manjak kvalitetno oblikovanih didaktikih sredstava za

godinje priznanje studija dizajna

Grupi autorica/Group of authors

Sudionice radionice Reetke nisu prepreke:

Projektiranje Design Course

prvi semestar amin bajrektarevi dora doko jovana vlaisavljevi

U prvom zadatku studenti trebaju analizom prirodnoga i pred-

first semester Sjeckalica Happy Chop

veronika kova jan marin ljubica golubi stella grabari

Patentni zatvara Moka aparat za kavu Sat

prvi semestar ela mesledi leonarda komen jovana vlaisavljevi

Tema zadatka bila je prenamjena odbaenih, isluenih i zastar-

sformation of the discarded objects were applied in order to Hat rack

stella grabari petra pikor ljubica golubi erika filipan

Radio Jadran Camera obscura Sanjke za plac

U drugom se semestru studenti susreu s dizajnom proizvoda

second semester Bestijarij

andreja lovrekovi jovana vlaisavljevi

Nop Znatieljna nit

erika filipan antonija jurina

karla kocijan paula kova

ljubica golubi roko jurjevi

Upisom treeg semestra studenti odabiru usmjerenje. Na Indu-

third semester Bloo

paula anti marta badurina matej maltar viktorija jurina

Leemo Waca Geba

Okvirna tema zadatka na 4. semestru je dizajn za poznatoga

Sway RoTable Krevet(i)

Sway RoTable A (tiny) bed

matea bertina josipa tadi lucija rubini

Stolac kao vjenu temu dizajna esto obraujemo na 5. seme-

monika moevi iva vuemilovi-grgi

Zavrni rad usmjerenja Industrijski dizajn preddiplomskog

iva vuemilovi grgi katarina huljev

In addition to specific technical potential of LED tech-

U ovom se zadatku studenti vizualnih komunikacija upoznaju s

pojmova u seriju znakova prepoznatljive i efektne simbolike. Vrti, kola, fakultet

bolikim vrijednostima odabranog pojma te njihovoj sintezi

This assignment focuses on analysis of formal features of typo-

Ovim se zadatkom znatno proiruje oekivani dijapazon izra-

leonarda komen petra pikor ljubica golubi ivan klanac

One Take Film Festival Pssst! Festival nijemog filma

Poster for Human Rights Film Festival 2015 Perforations Festival

Prvi dodir studenata s marketinkom sferom dizajnerske struke

Klara Bakery Zagreb: Spaghetti No. 7

U ovom je zadatku cilj dizajnirati standarde prijeloma godinjeg

Relationship between the Text and Annual report: Saponia

Godinjak Arhitektonskog fakulteta