Godisnjak Annual Review 2015 2016

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
Prof. Stipe Bri,
v.d. voditelj Studija dizajna
for the publisher

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

reproduced in any form by any electronic or mechanical
means without permission in writing from the publisher.
ISSN 18487823
Design
Annual
Review
Zagreb, 2017.
2 3
preddiplomski studij/undergraduate programme
godinjak studija dizajna 2015./2016.
school of design annual review 2015/2016
Sadraj Contents
predgovor _7 preface _7
anketa 2016 _9 Survey 2016 _9
godinje nagrade i priznanja _13 annual awards and acknowledgements _13
diplomski studij/graduate programme

preddiplomski studij _25 undergraduate programme _25
ciljevi _26 Objectives _26
projektiranjeindustrijski dizajn _29 design courseindustrial design _29
projektiranjevizualne komunikacije _77 design coursevisual communications design _77
tipografija _141 typography _141
likovni program _167 visual arts programme _167
scenografija _189 scenography _189
fotografija i film _197 photography and film _197
osnove interaktivnih medija _213 basics of interactive media _213
studenti preddiplomskog studija _227 Undergraduate programme students _227
izvedbeni program _235 curriculum outline _235
diplomski studij _243 graduate programme _243

ciljevi _244 Objectives _244
industrijski dizajn _247 industrial design _247
dizajn vizualnih komunikacija _261 visual communications _261
projektiranje pisma _275 font design _275
film i video _281 film and video _281
interaktivni mediji _289 interactive media _289
dizajn interakcija _301 Interaction Design _301
diplomski radovi _311 graduation thesis _311
studenti diplomskog studija _357 Graduate Programme Students _357
izvedbeni program _363 curriculum outline _363
projekti _369 projects _369

dogaanja _383 events _383
vijee, povjerenstva, programski odbor _419 council, committees, programme board _419
registar _425 archive _425
impresum _462 impressum _462
4 5
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 Iza nas je jo jedna izuzetno plodna akademska godina. Zapoeli We have had another very successful academic year. It started
stvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Academy of Fine Arts in Zagreb, Painting Department, smo je sa trideset i dvoje novoupisanih studentica i studenata with 32 students enrolled in the BA programme and 24 students
prof. Miljenka Stania. Od 1968. do 1972. stalni suradnik in the class of Prof. Miljenko Stani. From 1968 to 1972
u ateljeu arh. Vjenceslava Richtera. Od 1977. do 1989. was a permanent associate with the architect Vjenc- na preddiplomski te njih dvadeset i etvero na diplomski stu- enrolled in the MA programme. In addition, 26 students have
lan autorskog tima Vizualne komunikacije Centra za eslav Richters studio. From 1977 to 1989 acted as an dij dizajna. Istodobno je svoje obrazovanje uspjeno zavrilo completed their Bachelors programme and 27 students have
industrijsko oblikovanje CIO. 1983. lan-osniva Dru- authoring member of the visual communications design dvadeset est prvostupnica i prvostupnika te dvadeset sedam completed their Masters programme.
tva dizajnera Hrvatske. Od 1985. do 1989. predsjednik team at the Industrial Design Centre (CIO).
Drutva dizajnera Hrvatske. 1990. osniva vlastiti stu- In 1983 became a co-founding member of the Croa- magistrica i magistara dizajna. In their classes students have achieved impressive results and
dio Norma International. Od 1986. do 1988. lan radne tian Designers Society (HDD). From 1985 to 1989 held U nastavi, posebno u kreativnom segmentu, postignuti su vrlo showcased their creativity. The best works received the School
grupe za osnivanje i izradu okvirnog programa Studija the position of President of the Croatian Designers vrijedni rezultati. Najboljima su pripale godinje nagrade i prizna- of Designs annual awards, which we proudly present here. Once
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 nja Studija dizajna, koje sa izuzetnim zadovoljstvom prezenti- again, we congratulate the award-winning students, their super-
Od 2002. do 2006. voditelj Studija dizajna. Od 2004. member of the working group in charge of founding ramo odmah u nastavku. Jo jednom iskrene estitke dobitnicima, visors, co-supervisors, assistants and collaborators.
do 2005. koordinator radne grupe za izradu studij- of the School of Design and drafting of its educational njihovim mentorima, komentorima, asistentima i suradnicima. This year we have continued to collaborate with several facul-
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- I ove godine smo nastavili njegovati suradnju sa pojedinim ties at the University of Zagreb, business companies, cultural
alne komunikacije 16 (preddiplomski studij) i Dizajn tions Design. From 2002 to 2006 he was Head of the sastavnicama Sveuilita, kao i razliitim subjektima u gos- and social organisations, and professional associations on a
vizualnih komunikacija 14 (diplomski studij). Od 2011. School of Design. From 2004 to 2005 acted as coor- podarskom, kulturnom, socijalnom i strukovnom okruenju. number of projects, exhibitions and workshops, which are also
godine voditelj Studija dizajna. dinator of the working group in charge of the educa-
tional programme draft within the Bologna reform Tako je realiziran itav niz projekata, izlobi i radionica koje presented in this yearbook.
of higher education, and a co-author of the Visual takoer prezentiramo u ovom Godinjaku. Now, two years after its opening, the Schools gallerywhose
Communications Design 16 (undergraduate level) Galerija Studija dizajna uz svoju osnovnu namjenu da interno primary goal is to present students work to the School and the
and the Visual Communications Design 14 (grad-
uate level) courses educational programmes. As of i eksterno prezentira rezultate nastavnih procesa, u drugoj publicis increasingly becoming a meeting place where the
2011 he has been holding the position of Head of the godini svog djelovanja sve vie postaje mjesto proimanja edu- results of our educational endeavours converge with the social
School of Design. kacije, socijalnih i kulturolokih poticaja iz realnog okruenja. and cultural environment.
Kako bi odgovorio izazovima vremena u kojem ivimo Stu- In order to meet the challenges of contemporary times, the
dij dizajna planira unaprijediti nastavu i nastavne procese u School of Design is set to improve its BA and MA courses. We
izvoenju preddiplomskog i diplomskog studijskog programa. have therefore conducted a comprehensive survey among our
U tom cilju smo pokrenuli opsena istraivanja koja obuhvaaju current students, our former students who are now professi-
anketiranje aktualnih studenata, bivih studenatasada profesi- onal designers, as well as relevant stakeholders in the labour
onalnih dizajnera, kao i predstavnike pojedinih segmenata trita market. Part of the results of the survey have been analysed
rada. Dio tih istraivanja je obavljen, obraen i objavljen u poseb- and published in a special publication available on the Scho-
noj publikaciji i na web stranici Studija. Na preostalom dijelu e ols website. The analysis of the remaining results will continue
se aktivnosti nastaviti u iduoj akademskoj godini. Kao dio pro- during the next academic year. As part of our self-evaluation
cesa samoevaluacije ovo e svakako biti dragocijena podloga za activities, this will provide a valuable foundation for improving
unapreenje studijskih programa, nastave i nastavnih procesa. study programmes and courses.
Na kraju, zahvaljujem studenticama i studentima, nastavnicima I would like to thank the students, teachers and collaborators for
i suradnicima na uloenom trudu i postignutim rezultatima. their hard work and achievements. We would also like to thank the
Zahvalu dugujemo i Arhitektonskom fakultetu s dekanom Faculty of Architecture, the Dean, Professor Boris Korunjak MSc,
prof.mr.sc. Borisom Korunjakom na elu te Fakultetskom and the Academic Council for their continued support to the
vijeu koje je u svom radu podravalo interese Studija dizajna. School of Design.
Prof. Stipe Bri, Professor Stipe Bri

v.d. voditelj Studija dizajna Acting Head of the School of Design
6 7
godinjak studija dizajna 2015./2016. godinjak studija dizajna 2015./2016.
school of design annual review 2015/2016 school of design annual review 2015/2016
Anketa 2016. Survey 2016

Stavovi, iskustva i oekivanja Student attitudes, experiences
studenta and expectations
Polazei od ideje da je sveuilina nastava dinamian i interak- Against the backdrop of the idea that university lectures are both
tivan proces koji ukljuuje vie razina sudionika, Studij dizajna a dynamic and an interactive process which includes several levels
proveo je anketno istraivanje meu studentima kao dio pro- of participants, the School of Design conducted a survey research
cesa samoevaluacije i s ambicijom da u budunosti takva ispi- amongst students, as a part of a self-assessment process, striving
tivanja traju kontinuirano. to continuously conduct such research in the future.
Uzimajui u obzir da se i nastavni proces, ali i drutveni kontekst, Considering the fact that both the teaching process and the social
ubrzano transformiraju, postavljaju se pitanja o tome koja su to context are undergoing rapid transformations, it is important to
nova znanja, vjetine i metode prijeko potrebni da bi se Studij identify the new knowledge, skills and methods required in order for
uspjeno nosio s tim promjenama. the School of Design to successfully keep abreast of such changes.
Glavna svrha tog istraivanja je unaprjeenje nastavnog procesa The main objective of this research is the improvement of the
na Studiju dizajna. Iz toga proizlaze i neki posebni ciljevi kao to teaching process at the School of Design. Several other specific
su stjecanje uvida u stavove i oekivanja koja studenti imaju od objectives originated from the principal objective such as gaining
programa, nastavnika i studija u cjelini te uvid u iskustva bivih insight into student attitudes and expectations from the program-
studenata i njihovu refleksiju o Studiju dizajna nakon stjecanja mes, professors and the university study in general, as well as the
prvih profesionalnih iskustava. insight into experiences gained by the former students and their
U istraivanje su bili ukljueni svi studenti preddiplomskoga reflections about the School of Design after the acquisition of the
i diplomskog studija te studenti koji su diplomirali nakon 2009. initial professional experiences.
godine, prema pravilima bolonjskog procesa. All the students attending the undergraduate study programmes,
Anketiranje sadanjih studenata na Studiju dizajna provedeno je those attending the graduate study programmes, as well as the
od 16. do 26. svibnja 2016., a anketiranje bivih studenata tra- students who graduated after 2009 and got degrees compliant
jalo je od 31. svibnja do 30. lipnja 2016. with the Bologna process, participated in the survey.
Ukupno je anketirano 127 sadanjih studenata, to ini 90 % svih The School of Design conducted the survey from 16th to 26th May
studenata upisanih u tu akademsku godinu te 56 bivih stude- 2016, whilst amongst former students the survey was conducted
nata koji su diplomirali nakon pristupanja bolonjskom procesu. from 31st May to 30th June 2016.
U tematskom smislu upitnik je sadravao pitanja o motivaciji A total of 127 currently enrolled students participated in the survey,
za upis na Studij, oekivanjima od studija, samoprocjeni stu- which accounts for 90% of all the students enrolled in the current
denata s obzirom na izvravanje obveza i nain rada, ocjene academic year and 56 former students who graduated following
o materijalnim uvjetima, nastavnim sadrajima, kvaliteti komunika- the accession to the Bologna process.
cije na Studiju te razliitim aktivnostima tijekom akademske godine. Thematically, the survey included questions about motivation for
Takoer, studenti su imali priliku dati osobni komentar i sugestije za enrolment at the School of Design, expectations from the study
koje smatraju da bi mogle unaprijediti kvalitetu nastavnog procesa. programmes, student self-assessment concerning the meeting
of obligations and the methods of work, evaluation of the School
concerning material conditions, curriculum content, quality of
communication at the School, as well as various activities per-
formed during the academic year.
Moreover, students were given the opportunity to provide perso-
nal comments and suggestions which they believe could enhance
the quality of the teaching process.
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godinjak studija dizajna 2015./2016. ANKETA 2016.
school of design annual review 2015/2016 survey 2016
Na osnovi rezultata istraivanja, u iduem razdoblju, na Studiju During the forthcoming period and based on the results of this
e se otvoriti tematski razgovori u koje e biti ukljueni nastav- research, thematic discussions will be held at the School of Design
nici, studenti i zainteresirani bivi studenti kako bi se dobiveni which will involve teachers, students and all the interested for-
uvidi i vrijedni prijedlozi iskoristili za poboljanje kvalitete nastave. mer students, striving to use the gained insights and the valua-
Rezultati istraivanja predstavljeni su u publikaciji s grafikim ble suggestions provided to improve the quality of the lectures.
i tablinim prikazima i bit e podloga za daljnje rasprave o kon- The survey findings were presented in the paper in both graphs
tinuiranom unaprjeenju programa Studija dizajna u sadrajnom and tables and will be used to provide a basis for further discus-
i organizacijskom smislu. sion on continuous improvement of the programme at the School
of Design both concerning the content and the organisation.
Prof.dr.sc. Anka Mieti
Anka Mieti, PhD, full professor
10 11
Godinje nagrade i priznanja

Annual Awards and Acknowledgements
12 13
godinjak studija dizajna 2015./2016. godinje nagrade i priznanja
school of design annual review 2015/2016 annual awards and acknowledgements
Godinje nagrade i priznanja Awards presented by the

Studija dizajna u 2015./16.godini School of Design 2015/2016
Povodom 25 godina djelovanja, Studij dizajna Arhitektonskog The School of Design at the Zagreb-based Faculty of Archite-
fakulteta Sveuilita u Zagrebu utemeljio je Godinje nagrade cture has presented its Annual Awards and Acknowledgements
i Priznanja kojima nagrauje najbolje studentske radove to mark the 25th anniversary of its operation, awarding the
nastale u okviru nastavnog programa na predmetima Projek- best students work created during the teaching programme at
tiranjeIndustrijski dizajn i ProjektiranjeVizualne komuni- the courses entitled Industrial Design and Visual Communicati-
kacije. Nagrade i Priznanja se dodjeljuju za dvije zasebne kate- ons. The Awards and Acknowledgements have been presented
gorije, za preddiplomski i diplomski studij. for two separate categories, for the Undergraduate and for the
Ovaj projekt ima viestruki znaaj kako za studente tako i za Postgraduate Study Programme.
sam Studij dizajna. Ne samo da se dodjelom Nagrada i Prizna- This project if of multiple importance both for the students and
nja valoriziraju pojedinani studentski projektei, time se vred- for the School of Design itself. The School of Design valorises
nuje i vlastita uspjenost u realizaciji cjelokupnog studijskog individual students projects through presentation of its Awards
programa kao i razina doprinosa razvoju domaeg dizajna. and Acknowledgements, simultaneously showing and valorising
Za oekivati je da e u dogledno vrijeme ove Nagrade i Priznanja its own success in the implementation of the entire study pro-
osim poticaja studentima za njihov rad, biti shvaene i kao moti- gramme and the proportions of its contribution to design deve-
vacija zajednici za kvalitetniji tretman Studija i dizajnerske struke. lopment at the local level.
Godinje nagrade Studija dizajna za akademsku godinu It can be expected that these Awards and Acknowledgements
2015/2016.: Ivana Baanek, Andrej uki, Luka Palestrina will subsequently be considered not only as an encouragement
Mazi i Vanja Perkovi. and incentive to students in their future work, but also as an
Priznanja Studija dizajna za akademsku godinu 2015/2016.: incentive to the community to focus on raising awareness of the
Andrej uki, Filip Kovai, Tamara Petrua, Eva muc, Nika importance of this School and of design profession.
Tecilazi, Hana Tintor i Valentino Veeri. Annual award winners at the School of Design for the academic
year 2015/2016: Ivana Baanek, Andrej uki, Luka Palestrina
Mazi i Vanja Perkovi.
Recognition award winners at the School of Design for the acade-
mic year 2015/2016: Andrej uki, Filip Kovai, Tamara Petrua,
Eva muc, Nika Tecilazi, Hana Tintor i Valentino Veeri.
Prof. Stipe Bri, studenti / students Mirjam Milas, Luka Palestrina Mazi (stoje, Hana Tintor, asistentica/assisistent Romana Kajp, student Vanja Perkovi (stoje,
s lijeva na desno/standing, left to right) s lijeva na desno/standing, left to right)
Ivana Baanek, Filip Kovai, Nika Tecilazi, Tamara Petrua, Hana Tintor, Andrej Prof. Mladen Orei, Andrej uki, asistentica/assistent Andrea Hercog (stoje,
uki, Vanja Perkovi, Valentino Veeri (stoje, s lijeva na desno/standing, left s lijeva na desno/standing, left to right)
to right), Luka Palestrina Mazi (sprijeda/front)
Prof. Fea Vuki (stoji lijevo/standing, far left)
14 15
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
Luka Palestrina Mazi Ivana Baanek

Elektrini no Arena Zagreb
Electric knife cjeloviti vizualni identitet
i sustav signalistike
mentor: Mladen Orei
Arena Zagreb
comprehensive visual identity
and signalistics system
mentor: Nenad Dogan

asistentica/assistant: Romana Kajp
Dizajn elektrinog noa, iako raen na samom poetku edukacije u Tema ovog rada je problem oblikovanja i uspostave kvalitetnog vizu-
podruju industrijskog dizajna, predstavlja izuzetno uspjean rezul- alnog identiteta i jasnog sustava signalistike unutar prostora jav-
tat izraen u originalnosti i inovativnosti rjeenja. Opsenom i kvali- nih sadraja, prikazan sustavnim oblikovanjem vizualnog identiteta
tetnom analizom, a potom otvorenim procesom eksperimentiranja, i komunikativnog rjeenja signalistike na primjeru tipinog prostora
autor je postavio visoke kriterije uporabnih, tehnikih i estetskih polivalentnog javnog sadraja kakva je sportska dvorana Arena Zagreb.
zahtjeva koje je realizirao izuzetno kreativno. Inovativnim rjeenjem Rad ukazuje na vanost kvalitetnog procesa oblikovanja pri oznaa-
najvanijih funkcija uoblienih u skladnu formu, proizvodu daje pre- vanju i artikulaciji prostora javnih sadraja, potencira njihov humani
poznatljiv karakter i smisao. Iako je zadatak bio redizajn odreenog karakter i lakou komuniciranja kako s prostorom tako i s ostalim kori-
proizvoda, moe se rei da rjeenje donosi novu razinu vrijednosti snicima. Treba takoer istai da ovaj rad, nastao na preddiplomskom
pa potie razvoj nove, kvalitetnije generacije proizvoda ove namjene. studiju, svojom kvalitetom i profesionalnim pristupom temi moe biti
poticaj k poveanju ope kvalitete rada na preddiplomskom studiju.
Electric knife design presents an extremely successful result expressed
through the originality and the innovativeness of the solution, irre- The topic of this paper is the issue of design and establishment of a
spective of the fact that it is tackled at the commencement of edu- quality visual identity and a clear system of signalistics within public
cation in the field of industrial design. Through a comprehensive and space through systematic design of visual identity and the commu-
high quality analysis and subsequently through the open process of nication system of signalistics using the example of a typical space
experimentation, the designer set high criteria concerning the usa- of polyvalent public content such as Arena Zagreb sports hall. The
bility, technical and aesthetic requirements that he has met with paper points out the importance of quality process of design upon
extreme creativity. The product is provided a recognisable character marking and articulation of public spaces and the content, empha-
and a meaning through an innovative solution of the most impor- sising their humane character and the ease of communication both
tant functions that were given a harmonious form. Notwithstanding with the space and with other users. It also has to be highlighted
the fact that the assignment was the design of a specific product, that this paper, written during the undergraduate study programme,
it can be stated that the solution provides a new level of value and can be used as an encouragement towards increasing the overall
encourages the development of a new, quality of work during the undergraduate study due to its quality
and professional approach to the topic.
16 17
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
Andrej uki Vanja Perkovi

Integrirana transradijalna proteza ake Uloga dizajna u vizualizaciji podataka,
Diplomski rad perspektive klimatskih promjena
Integrated transradial prosthesis of the human hand/Graduation thesis Diplomski rad
The role of design in data visualisation, perspectives on climate change
mentor:Mladen Orei
asistentica/assistant: Andrea Hercog /Graduation thesis
mentor: Nenad Dogan
Rad aktualizira problem kvalitetnog informiranja o klimatskim promjenama, izvorima informa-
cija, njihovoj relevantnosti, problemu mogue manipulacije podacima i kvalitetnog oblikovanja
tih informacija unutar informacijskog sustava. Oita je usmjerenost rada na izuzetno aktualan
drutveni problem koji utjee na sve aspekte suvremenog ivota kakve su klimatske promjene,
njihovi uzroci i na kraju mogue posljedice tih promjena. Rad jasno predoava kako je mogue
slojevit i sloen sustav informacija prikazati na sustavan, pregledan i komunikacijski kvalitetan
nain, uz iznimnu razinu obrade i prezentacije svih faza dizajnerskog procesa od istraivanja pa
sve do konanog oblikovanja.
The paper actualises the issue of quality information on climate change, information sources and
relevance, the issue of potential data manipulation and quality design of such information within
the information system. The paper focuses on an extremely actual social problem that impacts on
all the aspects of contemporary life the issue of climate changes, their causes and, finally, the
potential consequences of these changes. Moreover, the paper clearly shows the way to present
a multi-layered and complex information system in a systematic, schematic and qualitative way
from communicational aspect in addition to an exceptional level of interpretation and presenta-
tion of all the phases of design process from research to the final design.
Dizajn proteze ake je na vie razina izuzetan rad, a rezultat je pristupa i procesa koji je autor dosljedno pro-
veo. Jedna od razina je autorova osobna motiviranost koja proizlazi iz vlastitog iskustva, privremeno stvarnih,
a kasnije i simuliranih oteanih pokreta. Osobno iskustvo potaknulo je interes za opsenijim informiranjem, pa
potom i fokusiranim istraivanjem ueg podruja interesa. Druga razina je kontinuirano eksperimentiranje u cilju
provjere pretpostavki i zakljuaka, na osnovi kojih promiljeno postavlja kriterije. Tu je i razina u kojoj je krea-
tivnost postavljena iznad uobiajnoga inenjerskog rjeavanja slinih problema. Rjeenje je inovativno s novim
vrijednostima kako u funkciji proteze, odnosu korisnika prema umjetnom, stranom tijelu, tako i u konceptu pro-
dukcije vezane uz primjenu suvremene tehnologije. Vano je istai kako autor pored uvjerljivog voenja projekta
postavlja i dugoroniju strategiju osobnog bavljenja tom temom kao i potencijalni doprinos razvoju tog podruja.
Design of the prosthesis of the human hand is an excellent piece of work at several levels and it is a result of
the approach and the processes coherently implemented by the designer. One of the levels mentioned is the
designers personal motivation that originates from his own experience, temporarily real and subsequently also
simulated movement difficulties. The interest in the collection of more comprehensive information was aroused
due to the personal experience. It was followed by a focused research of the narrow field of interest. The sec-
ond level was continuous experimentation in order to verify both the assumptions and conclusions, based on
which criteria were astutely set. It is important to point out the level at which creativity was prioritised over the
solving of similar problems in a manner typical of engineers. The solution is innovative, providing new values
both in the function of the prosthesis, the user relationship with the artificial limb and the production concept
linked with the use of modern technology. Moreover, in addition to the convincing manner of project manage-
ment, the designer also defines a long-term strategy of addressing this issue personally and his potential con-
tribution to the development of this field needs to be highlighted.
18 19
godinja priznanja studija dizajna evamuc filipkovai tamarapetrua andrej uki valentinoveeri
annual acknowledgements mentor:Mladen Orei mentor: Zlatko Kapetanovi mentor: Mladen Orei mentor:Mladen Orei mentor: Zlatko Kapetanovi
at the school of design asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog komentorica/comentor: Andrea Hercog asistentica/assistant: Andrea Hercog
Preddiplomski i diplomski studij

ProjektiranjeIndustrijski dizajn
Undergraduate and Graduate programme
Industrial Design Studio
Predmet kao ekstenzija ovjeka

Diplomski rad
Ovaj diplomski rad izlazi iz okvira uobiajenog pristupa
dizajnu predmetne okoline, prije svega kroz motivaciju
i proces, zatim interpretacijom rjeenja, a naroito
sugestivnom prezentacijom. Bavljenje jogom autoricu
motivira na propitivanje mogunosti ire primjene drev-
nih znanja u cilju podizanja kvalitete ivota, a opse-
Oblikovanje serije namjeaja za sjedenje nim istraivanjem relevantnih podruja u kontekstu Bespilotna letjelica za traganje i spaavanje
Pomoni amac God Flat-pack kerf stolica Diplomski rad
teme pokuava objasniti kriterije koji nisu egzaktni,
Dizajn pomonog amca, iako inicijalno potaknut paten- Dizajnom stolca God postignuta je visoka razina uskla- ali ine temeljni smisao svakog djela pa tako i dizajna. Dizajn stolca je inovativno rjeenje predmeta koje Ovim diplomskim radom postignuta je visoka razina
tom vanjskog partnera, postavio je novi, originalni pri- enosti izmeu oblikovne karakteristike, dakle njegove Propitivanjem nematerijalnog u materijalnom, vrijed- s jedne strane odgovara na pitanja stvarnih potreba oblikovne, tehnoloke i uporabne vrijednosti u domeni
stup rjeavanju zahtjeva viefunkcionalnoga i sklopi- pojavnosti, odabira materijala i njegove izvedivosti, nosti nalazi u znaenju koje proizlazi iz kvalitete tog korisnika proizalih iz aktualnih drutvenih kretanja, bespilotnih letjelica i pronalazi primjene u humane
vog proizvoda, u ovom sluaju kombinacije pomonog odnosno tehnologije. Oblikovnim i konstrukcijskim odnosa, a njegovu trajnost koristi za gradnju povjerenja. a s druge propituje mogunosti suvremene tehnolo- svrhe. Rjeenjem je postignuta via razina sigurno-
amca i pasarele. Analizirajui zakonitosti prostorne principom istiu se osnovni elementi stolca, karak- Sve to stavlja u funkciju osvjeivanja interakcije gije u kontekstu ekolokih principa i odrivog razvoja. sti u procesu pronalaenja i spaavanja unesreenih
transformacije veeg u manje, autorica uspijeva pojed- terno oznaavajui na posebno kvalitetan nain prostor s predmetom, a kriterije postavlja kao osobni stav Potaknut novom trinom strategijom tvrtke koju kon- ljudi, koji je esto spojen sa nepredvidivim opasno-
nostaviti strukturu proizvoda i princip sklapanja. Suptil- u kojem se nalazi. Rjeenjem je takoer postignuta u buduem djelovanju. taktira u cilju boljeg razumijevanja razvoja proizvoda stima za pripadnike slubi spaavanja, kao i s izuzetno
nim oblikovanjem uspjeno postie izrazitu skladnost visoka razina njegove upotrebljivosti u hotelskim, ured- u realnom okruju, autor se konceptualno nadograuje velikim trokovima. Diplomski rad na temu bespilot-
forme, konstrukcije i funkcije ime rjeenju daje pre- skim ili drugim prostorima. Object as an extension of a human being i eksperimentima uspostavlja rjeenje koje je u duhu nih letjelica za traganje i spaavanje ne predstavlja
poznatljiv karakter i smisao. Graduation thesis najsuvremenijih sustava razvoja, produkcije i dis- samo kvalitetu dizajna u formalnom smislu poimanja
Seating Furniture Design
Dinghy God This graduate thesis transcends the boundaries of the tribucije, na emu gradi karakter i smisao projekta. suvremenog dizajna, ve struci daje dignitet humanog
customary approach to environmental objects design, opredjeljenja i koristi za pojedince i drutvo u cjelini.
Dinghy design, although initially encouraged by a patent Design chair God achieved a high level of harmony of primarily through motivation and process and subse- Flat-pack kerf chair
of an external partner, launched a new highly original its characteristic shape, appearance, selection of mate- quently through solution interpretation and especially Chair design is an innovative solution for an object that Unmanned Aerial Vehicle for Search and Rescue
approach to meeting the requirements of a multi-func- rials, feasibility and technology. Formal and structural through suggestive presentation. The designer was on the one hand meets the actual needs of the user Graduation thesis
tional folding product, in this case a combination of a principles emphasize the basic elements of the chair, motivated by her yoga practice to become involved in arising from current social movements and on the other This thesis has achieved a high level of design, tech-
dinghy and a boat gangway. Following the analysis of signifying in the special way the character of space the analysis of the potential of broader application of hand it analyses the potential of modern technology nology and utility in the field of unmanned aircraft and
the laws of spatial transformation of a larger object in which it is located. The design solution has also ancient knowledge in order to improve the quality of in the context of ecological principles and sustainable finds its application for the human purposes. The higher
into a smaller one, the designer manages to simplify achieved a high level of possible applications to a vari- life. Through a comprehensive research of the relevant development. Encouraged by a new marketing strategy level of security in the process of finding and rescuing
the product structure and the folding principle. An ety of purposes in the hotels, offices or other premises. areas in the context of this topic, the designer was aim- of the company contacted in order to gain a deeper injured people is achieved. Such process is often con-
exceptional harmony of the form, the construction ing to explain the criteria that are not exact, yet they insight into the product development in real environ- nected with unpredictable risks for members of rescue
and the function has been achieved through subtle provide a fundamental meaning to each piece of work ment, the designer is involved in conceptual upgrades services, along with extremely high costs. Thesis of
design, providing the solution with recognisable fea- and hence also to design. Following the analysis of the and provides a solution through experimentation that unmanned aircraft for search and rescue does not rep-
tures and a meaning. material in the immaterial, the values have been found is on a par with the latest systems of development, resent the quality of design in a formal ways of under-
in the meaning that arises from the quality of that rela- production and distribution that give a character and standing the meaning of contemporary design alone.
tionship and its duration is permanently used to build a meaning to the project. It gives the profession dignity as humanistic activity
confidence. Consequently, awareness was raised on the which is benefitial for individuals and society as a whole.
interaction with the object and the criteria have been
set as a personal attitude assumed in future activities.
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godinja priznanja studija dizajna nikatecilazi hana tintor

annual acknowledgements mentor: Ivan Doroghy mentor: Nenad Dogan
at the school of design asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp
Diplomski studij/Dizajn vizualnih komunikacija
Graduate programme / Visual Communications
Drutvena kampanja protiv internetskih

zlostavljaa djece
Rad aktualizira problem internetskog zlostavljanja
djece upotrebom razliitih internetskih alata i sadraja
iz podruja popularne tinejderske kulture. Rad kori-
sti uobiajene internetske komunikacijske alate za
upozoravanje potencijalnih rtava i njihovih roditelja
o razmjerima problema i moguih posljedica, uz infor-
maciju kako i kome prijaviti pokuaje zlostavljanja.
U nastojanju da doe do to jasnije slike o veliini
i ozbiljnosti problema. Autorica se u okviru istraiva- Drvo, slikovnica koja raste s djetetom
kog dijela projekta osobno izloila takvoj internetskoj Diplomski rad
komunikaciji, to je projektu dalo neophodnu vjerodo- Drvoslikovnica koja raste s djetetom, utemeljena je
stojnost kako u sadrajnom tako i u oblikovnom smislu. na ideji o potrebi kvalitetnog kreativnog rjeenja slikov-
nica za djecu predkolske dobi, s ciljem pozitivnog utje-
Social campaign against child molesters caja na djeji rast i razvoj. Radi se o slojevitom rjeenju
through the Internet koji ukljuuje vizualne, auditivne i taktilne komponente,
The paper actualizes the issue of child molestation over kao sastavne dijelove djetetovog kvalitetnog emoci-
the Internet through the use of diverse Internet tools onalnog, intelektualnog i socijalnog razvoja. Ova sli-
and contents from the domains of popular teen culture. kovnica pokuaj je da se drugaijim pristupom itanju,
Moreover, the paper uses the usual tools of internet prianju i stvaralakom izraavanju, potakne rado-
communication in order to warn the potential victims znalost, istraivanje, razliitost i kritiko razmiljanje.
and their parents about the extent of this problem and Kao posebnost ovog projekta treba istai cjeloviti
the potential consequences, advising them on how and autorski pristup koji ukljuuje oblikovanje didaktikog
to whom to report attempts of abuse. Aiming to raise sredstva, autorske ilustracije i autorski literarni sadraj.
the awareness about this issue, the author became
involved in such communication over the Internet dur- Wood, a picture book that grows along
ing the research part of the project. Consequently, this with the child
increased the needed trustworthiness of the project Graduation thesis
both concerning both content and form. The idea behind Wooda picture book that grows
along with the child was the need to provide a crea-
tive solution of a picture book for pre-school children,
aiming to positively impact on their growth and devel-
opment. It is a multi-layered solution that includes
visual, auditory and tactile components, as integral
parts of childrens quality emotional, intellectual and
social development. This picture book is an attempt
to encourage curiosity, research, diversity and criti-
cal thinking through a different approach to reading,
narration and creative research. It is important to high-
light the integral approach that enables the design of
the didactic instrument, original illustrations and orig-
inal literary content
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Preddiplomski studij

Undergraduate program
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school of design annual review 2015/2016 undergraduate programme
Ciljevi Objectives
Struka je na Studiju dizajna promatrana kao interdisciplinarna, Studenti ve tijekom preddiplomskog studija kontinuirano Design profession is at the School of Design considered as an Undergraduate students continuously co-operate in project
kreativna, inovativna i intelektualna djelatnost usmjerena na surauju na projektantskim zadacima sa stvarnim gospodar- interdisciplinary, creative, innovative and intellectual activity tasks with economic and social entities, as well as in extracu-
uspostavu naela promiljenoga, odrivog i ekoloki osvije- skim i drutvenim subjektima u okviru semestralnih projekata striving to comply with the principles of planned, sustainable rricular activities: workshops, tenders, exhibitions and in current
tenog razvoja. Cilj je stvaranje i njegovanje identiteta, huma- tijekom redovne nastave te u izvannastavnim aktivnostima and environmentally friendly development, humanisation of regional and international events, which enables comprehensive
nizacije tehnologije i permanentnog poboljavanja kvalitete poput radionica, natjeaja, izlobi i sudjelovanja u aktualnim technology and continuous improvement of the quality of life advancement of the process of design in real conditions, keeping
ivota i rada te odgovorno pronalaenje odgovarajuih rjee- regionalnim i meunarodnim dogaanjima. Time je omogu- and work, and it is primarily focused on responsible selection of abreast of current trends and events, as well as inclusion of stu-
nja komunikacijskih problema u gospodarskom, drutvenom eno cjelovito usavravanje procesa dizajniranja u uvjetima adequate solutions to communication problems in economic, dents in the processes of professional development.
i kulturnom segmentu drutva. Kao takav, dizajn je promatran suvremenoga realnog okruja, aktivno praenje aktualnosti social and cultural aspect of society. Design is one of the prin- Following the completion of the undergraduate study of design
kao jedan od temeljnih imbenika pri stjecanju konkurentnosti i ukljuivanje studenata u procese razvoja struke. cipal features in achieving competitiveness and recognisability the students acquire competences in the field of design creation
i prepoznatljivosti u globalnoj gospodarskoj i kulturnoj razmjeni. Zavretkom preddiplomskog studija dizajna studenti stjeu in the global economic and cultural exchange. in compliance with the definition by icsid and icograda, such as
Tijekom trogodinjega preddiplomskog studija dizajna studenti kompetencije za suradnike poslove na podruju dizajner- During the three-year undergraduate study of design students independent performance of simple tasks concerning design of
stjeu znanja i sposobnosti za rad u projektnim timovima na skog stvaralatva prema definiciji ICSID-a i ICOGRADA-e, poput acquire knowledge and competencies for work in project teams objects or systems and co-operation in interdisciplinary, research,
osmiljavanju i oblikovanju projektantskih zadataka dizajna samostalnog izvoenja jednostavnih projektantskih zadataka on ideas and creation of planning design tasks in material and developmental, scientific and artistic teams. Moreover, following
predmetne i komunikacijske okoline. Cilj preddiplomskoga dizajna predmeta i sustava, suradnje u razvojno-istraiva- communication environment. The principal objective of an under- the completion of undergraduate study, students acquire com-
obrazovnog ciklusa je stvaranje kompetentnih strunjaka za kim poslovima i projektima, zatim suradnja u specijalistikim graduate cycle is the creation of competent professionals to meet petencies for enrolment in graduate study.
zadovoljavanje stvarnih ljudskih potreba u realnom okruju. istraivanjima i u interdisciplinarnim razvojnim, istraivakim, human requirements in the real environment. The interdiscipli-
Interdisciplinarni karakter dizajna je uspjeno implementiran znanstvenim i umjetnikim timovima. Zavretkom ovog studija nary feature of design is implemented in the curriculum thro-
u nastavni program pomou teorijsko-metodikih, osnovnih stjeu se takoer i kompetencije za upis diplomskog studija. ugh theoretical and methodological, basic technical and tech-
tehnikih i tehnolokih te drutvenih i umjetnikih, odnosno nological, as well as social, artistic, practical and project-related
onih praktino-projektantskih podruja koja ine bitne zada- areas as fundamental preconditions of the profession. The use of
nosti struke. Ciljano koordiniranim kombiniranjem teorijskih creative imagination is encouraged to enhance development of
i praktino-projektantskih predmeta potie se svestrani razvoj personality required for innovative creation trough co-ordina-
kreativne imaginacije radi razvoja sposobnosti za inovativno ted combination of theoretical and practical-planning courses
stvaralatvo u dva specijalistika podruja koja Studij dizajna in two specialist areas of study at the School of Design: indu-
prua: industrijski dizajn i dizajn vizualnih komunikacija. Pod- strial design and visual communications design. Industrial design
ruje industrijskog dizajna na preddiplomskom studiju uklju- at the undergraduate study includes a broad range of practical
uje raspon strukovnih vjebi od dizajna raznovrsnih predmeta, work ranging from design of various items and furniture design
dizajna namjetaja i njihovih sustava, dok podruje dizajna and furniture system design. On the other hand, visual commu-
vizualnih komunikacija ukljuuje dizajn elemenata i sustava nications design involves the design of elements and systems for
za tiskovne i elektronike medije. Tijekom prve godine studija the press and electronic media. During the first year of study the
studenti usvajaju temeljna opa naela dizajna i informacije students become acquainted with fundamental general standards
potrebne za izbor usmjerenja. U kasnijim fazama produbljuju of design and the information essential for their selection of a
opa znanja i vjetine i stjeu specifina znanja u odabranim specific study programme. Subsequently, throughout the study,
podrujima specijalizacije. the students enrich their general knowledge and acquire new skills,
as well as specific knowledge in their selected study programme.
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godinjak studija dizajna 2015./2016. godinjak studija dizajna 2015./2016.preddiplomski studij
school of design annual review 2015/2016 school of design annual review 2015/2016undergraduate programme
Projektiranje Design Course

Industrijski dizajn Industrial Design
ProjektiranjeIndustrijski dizajn temeljni je strukovni kolegij Industrial Design Studio is the fundamental vocational course
koji se provodi sve tri godine preddiplomskog studija. Tijekom extending throughout the three years of undergraduate study.
prve godine studija studenti usvajaju osnovna znanja i vjetine During the first year of study students acquire basic knowledge
temeljem kojih izabiru usmjerenje. Na drugoj i treoj godini and skills based on which they subsequently select the pro-
studija studenti svladavaju projektantske procese u cilju stje- gramme. During the second and third year they become acqu-
canja odgovarajuih kompetencija. Sloenost projektantskih ainted with planning processes aiming to acquire the required
zadataka postupno raste tijekom semestra, a studenti pri- competencies. The complexity of planning tasks increases gra-
mjenjuju znanja i vjetine iz odgovarajuih predmeta dru- dually through semesters and students are required to apply the
tveno-humanistikoga, umjetnikoga, tehnikoga i komuni- knowledge and skills in social and humanistic area, as well as
kacijskog 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 Subsequently throughout the educational process students are
u cilju osposobljavanja za osmiljavanje kreativnih i inovativ- introduced to methods of critical analysis and creative synthe-
nih 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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school of design annual review 2015/2016 undergraduate programme/design courseindustrial design,1st semester
prvi semestar mirna ari

ines borovac
mentor: Mladen Orei hana stojakovi
Analiza prostornih struktura mentor Andrea Hercog asistentica / assistant: Andrea Hercog mentor: Mladen Orei
U prvom zadatku studenti trebaju analizom prirodnoga

i predmetnog okolia svakodnevnog ivota, uoiti i istraiti
naela prostornog oblikovanja te iskoristiti ta saznanja za vla-
stitu 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, materi-
jala, teksture i svjetla. Prijeko je potrebno istraiti percepciju tih
znaajki te ih artikulirati kao alate u oblikovanju. Tijek zadatka
obuhvaa biljeenje zapaanja i razvijanje ideja skicama i pred-
modelima te konanu samostalnu izradu prostorne forme koja
predstavlja studentovu interpretaciju istraenih fenomena.
first semester
Spatial structure analysis
In the first assignment students need to identify and explore
the principles of spatial design through analysis of natural and
built environment in our everyday lives and subsequently use
their insights in their own interpretation of objects through
a spatial composition.
The specific objective of the assignment is to encourage stu-
dents to become involved in analytical observation of objects
in their own environment which will provide them with ideas for Petrolejska lampa Zvunik Dalekozor
design, whilst becoming acquainted with composition rules of Objekt prikazuje krianja koja sadri konop fitilja petrolejske svijee. Inspiracija za model proizila je iz forme sklopivog kiobrana. Obliko- U objektivu dalekozora nalaze se dvije konkavne lee i dvije trobridne
Razliitim nagibima, otrim zavretcima i veliinama tapia postie vani model ukazuje na geometrijski reducirani oblik zatitnog dijela prizme koje omoguuju da njime promatramo udaljene prizore. Model
three-dimensional shapes through analysis of surface, volume, se asocijacija zapaljene svijee, odnosno plamen i njegovo kretanje. predmeta, dok odvojeni oblici naglauju pokret sklapanja i rasklapanja. se sastoji od dvaju objektiva spojenih u kompoziciju, ime se nagla-
net-like construction, materials, texture and lighting. Analysis of Dijelovi spojeni u cjelinu ne doputaju zadravanje kapljica kie na uje vanost elemenata koji omoguuju funkcioniranje dalekozora.
the perception of these features is fundamental and they need Kerosene lamp njihovoj povrini, ve slijevanje i zatitu, a njihovo odvajanje sugerira Veliine elemenata poveavaju se, nejednake su i time istiu mogu-
The object shows intersections of the fuse cord of a kerosene lamp. The sklopivost kao glavnu znaajku. nost poveavanja slike.
to be expressed as tools in the design process.
association of a lit candle, or the candle flame and its movement, has
The course of the assignment comprises of notation of observa- been achieved through different slants, sharp endings and stick sizes. Loudspeaker Binoculars
tions and idea development through sketching and pre-models The inspiration for the model originated from the form of foldable The objective lens of the binoculars comprises of two convex lenses
and the final independent creation of a spatial form which pre- umbrella. The designed model points out the geometrically reduced and two three-edged prisms which give us the opportunity to observe
form of the protective part of the object, whilst the separated forms distant sights. The model comprises of two objective lenses inte-
sents the students interpretation of the phenomena explored. stress the movement of folding and unfolding. The parts integrated grated into a composition, which emphasises the importance of the
into a unit do not allow raindrops to linger on their surface, yet cause features that enable the functioning of the binoculars. The size of
dripping down and provide protection instead, whilst their separa- the features increases and they are uneven, which points out the
tion suggests foldability as the principal feature. possibility of image enlargement.
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leonard boroviki lucija rupi tea sinovi marija matuli

mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei mentor: Zlatko Kapetanovi
Zvunik Metronom Orah Def

Zvunik je sredstvo koje omoguuje jainu i irenja zvuka. Kreativni proces temeljio Metronom je sprava koja odreuje brzinu izvoenja glazbenog djela. Osnovna ideje bila je prirodna forma za to je odabran orah. Tijekom Analizom forme te redukcijom na osnovne elemente predmeta, inspi-
se na istraivanju karaktera zvuka, odnosno nainu na koji se zvuk iri nakon to On otkucava zvunim signalom, a broj njihaja u minuti oznauje pra- analize elemenata i njihove redukcije glavna ideja bila je prikazati raz- racija je proizala iz pokreta samog predmeta, odnosno elementa
napusti opnu zvunika. Geometrijskim odnosima smjetaja estica u prostoru dobi- vilan ritam protoka tzv. objektivnog vremena. Graen je na naelu bijene povrine i dijelove kore (slojeva, elemenata) oraha i njegova inela. Udaranjem metalnih inelica jedna o drugu stvara se pokret
vamo trodimenzionalnu strukturu irenja u pravilnim krunicama, a individualnim dvostrukoga njihala kojemu se duljina, odnosno brzina otkucaja, ploda. Skicama je istraena zakonitost zlatnog reza koju se nastojalo i zvuk specifian za ovaj instrument. Prikazivanjem inelica kao dupli-
karakterom svake estice struktura poprima kaotian karakter. Dodatnim pomakom odreuje pominim utegom. Oblik metronoma je stiliziran, sveden prikazati u zavrnom modelu. On je izveden od drva u obliku kugle, ranih krunica razliitih veliina koje se negdje otvaraju vie negdje
estica u treoj dimenziji skulptura ostavlja dojam titranja i kretanja prema naprijed, na geometrijska tijela koja svojim meusobnim odnosom u kompo- uz dodatak vijaka stavljenih na odreene visine kako bi na simbolian manje te postavljanjem na zrcalnu podlogu, model komunicira pokret,
a ritmino poveavanje promjera krunica iri formu u prostor. ziciji asociraju na ritam i spremnost na pokret. nain bili prikazani slojevitost i dijelovi oraha. dinamiku i ritam.
Loud speaker Metronome Walnut tree Tambourine

Loud speaker is a device which provides the volume and the expansion of sound. Metronome is a device that determines the tempo of performance of The idea behind the project focused on a natural form and hence walnut Following the analysis of form and the reduction into the basic fea-
The creative process was based on research of the character of sound, that is, the a piece of music. It ticks with a sound signal and the number of beats was selected. During the analysis of features and their reduction, the tures of the object, the inspiration originated from the movement of
way in which sound expands after it has left the loud speaker membrane. We get per minute denote the regular rhythm of flow of the so-called objec- main idea was to present broken surfaces and parts of both bark and the object, i.e. the feature of cymbals. A movement is created and a
a three-dimensional structure of expansion in regular circumferences through tive time. It is constructed according to the principle of the double shell (layers, features) of walnut tree and its fruit. The sketches were sound made, which is specific for this instrument, through the hitting
geometric relations concerning the positioning of particles in space, whilst the pendulum whose length or the tempo of beats, is determined by an used to explore the laws of the golden section which was presented of metal cymbals one against the other. The model communicates
structure assumes a chaotic character through individual character of each particle. adjustable weight. The form of the metronome is stylised, reduced to in the final model. It was made from wood in the shape of sphere, movement, dynamics and rhythm upon presentation of cymbals as
Upon an additional shift of particles in the third dimension, the sculpture gives the geometric shapes which through their mutual relationship in the com- in addition to screws placed at specific heights in order to symboli- duplicated circumferences of different sizes, which are more or less
impression of oscillation and forward movement, whilst the rhythmic increase of position associate to the rhythm and the preparedness for movement. cally present the stratification and various parts of the walnut tree. open in various spots, and through the placement of the mirror surface.
the diameter of circumferences expands the form into space.
32 33
neva marija zidi vana ulenti jakov habjan anja kepert

mentor: Mladen Orei mentor: Mladen Orei mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
Ananas Punica Ptije pero Mikroskop

Rad je nastao kao rezultat analize i interpretacije forme ananasa. Prouavanjem pri- Pueva kuica intrigira svojim spiralnim oblikom. Projektom se eljelo prikazati Analizom i redukcijom forme ptijeg pera nastao je objekt ija dva Dizajn prostorne strukture proizlazi iz interpretacije putanje i ponaanja svjetlosnih
rodnih zakonitosti struktura na plodu ananasa te spirala po kojima se niu, nastao segment uvijanja heliksa, a promatranje razliitih struktura origamija pomoglo je kraka podsjeaju na osnovnu grau pera, ali i na ptija krila u letu. zraka prilikom prolaska kroz lee sadrane unutar konstrukcije mikroskopa. Stvaranje
je rad nainjen od dva dijela. Objekt se sastoji od tri pravilne Fibonaccijeve spirale da se rijei oblik punice. Projekt je zamiljen tako da je mogue nainiti vie ver- Savijanjem modela po irini i duljini te postavljanjem kompozicijske kompozicije pritom je voeno eljom za striktnom simplifikacijom forme: u analizi
koje se naziru ispod tkanine te tapia koji se niu u etvrtu spiralu i probadaju tka- zija spirale, pritom implicirajui da su pueve kuice, iako na prvi pogled razliite, osi pod kut dobivena je dinamina forma koja djeluje lagano, otvo- su zanemarene potporne strukture i mehanizmi pomicanja/podeavanja, a vizualnu
ninu, dajui dinamiku cijeloj kompoziciji. u osnovi jednake. reno i skladno. dominaciju ostvaruju stoci koji precizno oponaaju skupljanje i irenje svjetlosti.
Promatrani uzorak takoer je prisutan u kompoziciji, a lokacija i vanost lea, koje
Pineapple A snail shell A birds feather djeluju kao mehanizmi disperzije i fokusa, naglaena je njihovim predimenzioniranjem.
The work originated as a result of analysis and interpretation of the form of pine- The shape of snail shell is intriguing. The project was intended to show the segment An object was created through analysis and reduction of form of a Microscope
apple. A piece of work comprising of two parts was provided following the study- of helix spiral, whilst the observation of different structures of origami helped to birds feather whose two vanes remind of the fundamental structure
ing of the laws of nature concerning structures, as well as by taking the example of provide the shape of the snail shell. The idea behind the project is to make sev- of the feather, as well as of birds wings during flight. A dynamic form Design of spatial structures originates from interpretation of a trajectory and behav-
pineapple fruit and spirals on which they are placed. The object comprises of three eral different versions of the spiral, whilst implying that snail shells, although they which appears light, open and harmonious was created through the iour of light rays upon their passage through lenses included in the construction of the
regular Fibonacci spirals visible under the cloth and tiny sticks which create the appear different at first glance, are basically identical. bending of the model by width and by length and by placement of microscope. The idea behind the creation of composition is a wish for strict simplifica-
fourth spiral and pierce the cloth, providing the entire composition with dynamics. the compositional axis under an angle. tion of form: the analysis neglects the supporting structures and mechanisms of move-
ment/adjustment, whilst the visual dominance is achieved by cones that accurately
emulate the focus and the dispersion of light. The observed sample is also present in
the composition, whilst the location and the importance of lenses, which act as mech-
anisms of dispersion and focus, have been pointed out through their over-dimensioning.
34 35
prvi semestar
matija barovi anja kepert jakov habjan
Analiza oblika mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
Prvi zadatak studentima postavlja izazov oblikovanja prostorne

forme inspirirane principom zlatnog reza (Fibonaccijevog
niza). Studenti trebaju analizom prirodne i predmetne okoline
u svakodnevnici uoiti i istraiti taj princip, te ga koristiti kao
osnovu vlastite interpretacije predmeta. Cilj zadatka je pota-
knuti studente na analitiko promatranje vlastitog okruenja,
iz kojeg e crpiti ideje za oblikovanje; upoznavajui zakonito-
sti kompozicije trodimenzionalnih oblika kroz analizu plohe,
volumena, mrene konstrukcije, materijala, teksture i svjetla.
Potrebno je istraiti percepciju tih karakteristika, te ih arti-
kulirati kao alate u oblikovanju. Tijek zadatka obuhvaa bilje-
enje zapaanja i razvijanje ideja skicama i predmodelima, te
konanu samostalnu izradu prostorne forme, koja predstavlja
studentovu interpretaciju istraenih fenomena.
first semester
Analysis of form
The first task for the students is the challenge of designing spa-
tial form inspired by the principle of the Golden section (Fibona-
cci sequence). Students are required to perceive and study this
principle through analysis of natural and material environment
in our daily lives and use it as a basis for their own interpreta-
tion of objects. The specific objective of the task is to encourage
Dizajn nagrade nastao je nakon promiljanja o razlikama izmeu Dizajn nagrade za volontera godine utemeljen je na elji da izrazi stav Model za nagradu volontera godine nastao je materijalizacijom ideje zagrljaja koja
students to develop analytical observation of their environment volontera i onih koji ne volontiraju. Razlika nije fizika stoga koju o neprocjenjivosti volonterskog doprinosa zajednici. Volonteri svojim se razvila iz znaenja same nagrade kao izraza zahvalnosti volonteru za uinjena
which will provide them with ideas for design; by getting introdu- nije mogue vidjeti izvana, ve je potrebno pogledati unutra. Zbog djelovanjem propituju problem drutvene tromosti i nadilaze zadana dobra djela. Zagrljaj kao jednostavan i topli pokret odraava osnovnu poruku
ced to rules of composition of three-dimensional forms through toga je nagrada, izvana gledana iz jednog kuta, obina drvena kugla ogranienja. Escherovski prostorno nemogui objekt ini se kao pri- volonterstva radi formiranja funkcionalne i sretne zajednice. Osim zagrljaja, forma
ijim se okretanjem na drugu stranu otkriva pogled na unutranjost. kladna simbolika manifestacija tih vrijednosti. Sagledana iz tono modela podsjea na zajednicu utemeljenu krunim i uzajamnim procesom cirkuli-
analysis of level surface, volume, network construction, mate- Kada se nagrada primi u ruke i pogleda unutra, otkriva se ime osobe odreenog kuta, kocka nadilazi zadana, ope-prihvaena ogranienja ranja dobrih djela u drutvu.
rial, texture and light. Perception of these features needs to be koja ju je zasluila svojom volonterskom aktivnou. fiziki mogueg, ona postaje prostorna metafora za vrijednosti koje
analysed and articulated as design tools. During the task stu- volonterstvo ima u kontekstu boljitka i dobrobiti drutva. A model for the Volunteer of the Year Award was provided through a materialisa-
The award design was incepted against the backdrop of differences tion of the idea of a hug that was developed from the meaning of the award as a
dents need to document their observations and development of between volunteers and people who are not involved in volunteering. The idea behind the design of the Volunteer of the Year Award was token of gratitude to the volunteer for good deeds committed. A hug as a simple
their ideas through drafting and pre-modelling and subsequently The differences are not physical and hence one needs to take a look to express the attitude that highlights the pricelessness of volunteers and warm movement that conveys a personal message of volunteering aimed at
provide an independent design of spatial form showing students inside. Hence the award when viewed from the outside - appears contribution to the community. Through their activity volunteers forming both a functional and a happy community. In addition to the hug, the form
to be an ordinary wooden sphere which provides a glimpse of the address the problem of social inertia and tackle specific obstacles. of the model reminds of a community established through a circular and reciprocal
interpretation of the analysed phenomena. interior upon being rolled to the other side. Upon taking the award Escherian spatially connected object appears to be an appropriate process of circulating of good deeds in the society.
into ones hands and examining the interior, one comes across the symbolic expression of these values. Upon being observed from a
name of the person who received it following their involvement in specific angle, the cube transcends the defined, generally accepted
volunteering activity. constraints of what is considered physically possible and it becomes
a spatial metaphor of the values attributed to volunteering in the
context of both well-being and welfare of society.
36 37
mirna ari
josipa petrov tea sinovi mentor: Zlatko Kapetanovi andrea rebec
mentor: Mladen Orei mentor: Mladen Orei asistentica/assistant: Andrea Hercog mentor: Mladen Orei
Acta non verbaSvojom formom, koja bi se mogla opisati upletenom sferom, Volontiranje je iva drutvena mrea, Povezivanje ljudi, Zajedno je lake i zajedno Rad je nadahnut razmatranjem dubljeg znaenja ogledala kao esto koritenog Nagrada je inspirirana godovima drveta koji simboliziraju stalni rast i napredak volon-
objekt asocira bezvremensku vrijednost zajednitva. Doivljaj neprekidivih odnosa smo jaicitati su koji su bili glavna smjernica za ideju i oblikovanje nagrade za materijala/predmeta koji omoguuje pogled na vlastitu osobnost i analizu vlastitog terske udruge. Koritena je forma Moebiusove trake u vie veliina, koje su nadah-
pospjeuje izbor providnog materijala i svjetlosnih efekata, a staklo kao prirodan volontera godine. Volontiranje za svakog volontera predstavlja drukije iskustvo, ponaanja i djelovanja u drutvu. Rezultat introspekcije moe biti ponos ili osjeaj nute odnosom volontera i drutva (bilo tko moe postati volonter). Izrada godova
materijal podsjea i na ekoloku osvijetenost. Osim vizualne zanimljivosti objekt a zajednikim djelovanjem dolazi se do susretanja i isprepletanja volonterskih vri- nelagode, ovisno o osobnom ponaanju ili djelovanju. Oblik nagrade je sastavljen zamiljena je od elika koji podsjea na snanu zajednicu, a postolje od oraha kao
formom provocira i taktilno iskustvo ime produbljuje emocije. jednosti. Tako nastaje mrea, zajednitvo i meusobno povezivanje. od dva rasklopna drvena tetraedra. S vanjske strane su krajnje jednostavni, dok se kontrast eliku. Ime nagrade odabrano je prema liku iz slavenske mitologije, gdje
njihovim rastvaranjem pojavljuje kompozicija postavljenih ogledala na kojima se je Lutonja panji koji se uz brigu i ljubav pretvori u dijete.
Acta non verbaThrough its form, which could be described as a knitted sphere, the Volunteering is a Living Social Network, Connecting People, Easier Together and moe proitati ime dobitnika nagrade. Dobitniku to naglaava koliko je njegova
object reminds of the timeless value of togetherness. The impression of unbreak- Stronger Togetherwere the quotes that provided the main guideline for the idea pomo drugima cijenjena. The award was inspired by tree rings which symbolise continuous growth and
able relationships has been effectively conveyed by the selection of a transparent and the design of the Volunteer of the Year Award. Volunteering provides a different progress of the association of volunteers. The form of Moebius strip was used in
material and lighting effects, whilst the glass, as a natural material, reminds also of experience for each individual and acting together results in the intertwining of the The idea behind the work originated from deliberation about a deeper insight into several sizes which was inspired by the relationship between volunteers and the
environmental awareness. In addition to its visual appeal, the object provides also values of volunteering, as well as in networking, togetherness and mutual bonding. the mirror as a frequently used material/object that provides a view to ones own society (anyone can become a volunteer). The tree rings need to be made from iron
the tactile experience through its form, which deepens the emotions. personality and the analysis of ones own behaviour and activity in society. The in order to remind of a tight-knit strong community, whilst the base made from
introspection can result either in pride or in a feeling of discomfort, depending on walnut wood is intended to provide a contrast to iron. The award was named after
ones behaviour or activity. The award has a form of two unfolding wooden tetra- a character from Slavic mythology in which Lutonja is a small tree stump that was
hedra. They are absolutely simple on the outside, whilst upon unfolding them one transformed by love and care into a child.
gets a composition of mirrors in which one can read the name of the award winner.
This is intended to point out the importance of the help provided by the volunteer.
38 39
school of design annual review 2015/2016 undergraduate programme/design courseindustrial design,2nd semester
drugi semestar
leonard boroviki, ines borovac, mirna ari ana moja, romana mori, antonio klasi, anja kepert
pancirfest mentor: Vedran Kasap mentor: Zlatko Kapetanovi
Tema zadatka drugog semestra prve preddiplomske godine je

prostorna instalacija u funkciji urbane opreme, smjetene na
lokacijama unutar povijesne jezgre grada Varaadina.
Cilj zadatka je bio osmisliti prostornu strukturu koja se oblikom,
porukom i funkcijom oslanja na kulturoloke znaajke grada
Varadina, a istovremeno i usklaena s prostornim potrebama
i povijesno-urbanistikim karakteristikama odabranih mikrolo-
kacija. Izgled, smisao i princip izgradnje instalacije imaju ulogu
motivirati posjetitelje pancirfesta na interakciju s lokalnom
zajednicom i sudionicima radionice te ih potaknuti na sudjelo-
vanje u realizaciji odabranih struktura i kreiranju trajne doiv-
ljajne vrijednost u danoj sredini.
Radom u manjim skupinama od 3 do 4 osobe, studenti su
usvajali osnovna naela timskog rada u istraivakim, anali-
tikim i kreativnim fazama. Zavrna rjeenja su prezentirana
maketama, vizualizacijama i kratkim prezentacijskim filmovima.
second semester
pancirfest
Pokretne slike Svjetlo po gradu
The topic of the assignment in the second semester during the
Iako grad deniraju njegove geografske i materijalne znaajke, ono arite skupine bilo je na dizanju interakcije koja e ostvariti i omoguiti
first year of the Undergraduate Study Programme is a spatial to mu daje ivot upravo su ljudi, njihovo djelovanje i prie koje ih doivljajnu vrijednost u skladu s vrijednostima pancira i grada Varadina.
installation in the function of urban equipment, placed at loca- povezuju. Tradicija Varadina poiva na legendama, priama koje Konano rjeenje proizalo je iz elje da se sudionicima pancirfesta
tions within the historic nucleus of the city of Varadin. osnauju njegov povijesni identitet. Ovaj projekt tematizira legendu i graanima grada Varadina omogui irenje topline i panje gra-
o reljefu na crkvi sv. Nikole koja govori o traginoj sudbini medvjedice dom. Kao metafora za toplinu pritom je posluila svjetlost: sudionici
The objective of the assignment was to design a spatial stru- uzrokovanoj izgradnjom crkve. Instalacija je ujedno i edukativnoga dolaze do postavljenog tanda, izabiru model svjetlosnog objekta te
cture which with its shape, the message conveyed and the fun- karaktera kako za posjetitelje pancirfesta, tako i za graane Vara- savijaju svoj objekt prema uputama. Zatim su ga slobodni proiriti na
ction relies on the cultural features of the city of Varadin, whilst dina svih uzrasta. Funkcionalnost instalacije temelji se na uzrono-po- nain koji im najvie odgovara: svjetlost mogu darovati dragoj osobi,
sljedinoj vezi izmeu pokreta promatraa i pokreta niza ilustracija ostaviti je na nekome mjestu u gradu koje smatraju vanim, njima
simultaneously it is in harmony with the spatial requirements and kojim instalacija slijedi narativ legende. posebnim ili jednostavno zanimljivim, ili je mogu zadrati za sebe.
historical and urbanistic features of the selected micro-locati-
ons. The appearance, the meaning and the principle of constru- Motion picture City lights
ction of the installation are intended to motivate the visitors of Although a city is defined by its geographic and material features, The group focused on interaction design intended to achieve and
what breathes life into it are actually the people, their activity and enable experiential value in accordance with the values both of pan-
pancirfest to interact with the local community and workshop the stories that connect them. The tradition of Varadin is based cirfest and the city of Varadin. The ultimate solution resulted from
participants, as well as encourage them to participate in the on legends, stories that enhance its historical identity. This project efforts aimed at enabling both pancirfest participants and Varadin
implementation of the selected structures and the creation of addresses the issue of the legend about the bas relief sculpture on citizens to spread warmth and attention throughout the city. Light
the church of St. Nicholas telling the story about a tragic fate of the was used as a metaphor of warmth: participants reach the stand,
a permanent experiential value in a specific milieu. female bear caused by church construction. The installation also has select a lighting object model and make their own object following
Through working in smaller groups comprising of 3 or 4 mem- educational features both for pancirfest visitors and for Varadin the instructions. They are hence free to upgrade it in the way they
bers, students mastered the basic principles of teamwork during citizens of all age groups. The functionality of the installation is based find most suitable: they can give it to a loved one as a present, leave
on the causal connection between the movement of the beholder it in some city location they find important, special or simply inte-
research, analytical and creative phases. The final solutions and the movement of a broad range of illustrations through which resting or they can decide to keep it.
were presented through models, visualisations and short pre- the installation follows the narrative of the legend.
sentational films.
40 41
tea taneski, zoe arlija, hana stojakovi, iva ruin dominik badel, matija barovi, josipa gjergja jakov habjan, ani lacmanovi, marija matuli, matko miji
mentor: Mladen Orei mentor: Vedran Kasap mentor: Zlatko Kapetanovi
Flekto Roj Udaraljka

Flekto se referira na varadinsku tvornicu Mundus posebnu po proizvodnji namje- Inspirirani izlocima u varadinskome entomolokome muzeju interaktivnu Sintezom obiljeja kreativnosti i slogana pancirfesta Pokreni svoju kreativnost razvi-
taja Michaela Thoneta. Ova instalacija ima dva vremenska sloja znaenjaona slui instalaciju, dizajniranu da bude organski dodatak bogatoj ponudi iskustava na jali smo idejno rjeenje za interaktivnu instalaciju u povijesnoj jezgri grada Vara-
kao tema kreativne radionice tijekom trajanja ulinog festivala pancirfest, gdje je pancirfestu, nazvali smo Roj. Karakteriziraju je sljedee znaajke: jednostav- dina. Analizom ponude aktivnosti koju nudi pancirfest zadrali smo se na glazbi kao
zamiljeno da se izrauje. Polaznici radionice imali bi priliku sami isplesti svoje mje- nost, interaktivnost, atmosferinost, senzorni uitak. Instalacija prua osjeaj mogunosti izraaja kreativnosti koja je dostupna svima, neovisno o dobi i iskustvu.
sto za sjedenje, leanje, penjanje ili ljuljanje na prije postavljenoj konstrukciji. Flekto postignua sudjelovanjem u radionici ili trenutak predaha od buke festivala pod Jednostavno i svima pristupano sredstvo stvaranja zvuka je udaranjetime smo se
je nastao iz potrebe za stvaranjem prostora u povijesnoj jezgri grada Varadina, rojem kukaca koji svojim sporim kretanjem sugeriraju usporavanje vremena. Ne usredotoili na ritmu i tonu kao osnovnim elementima glazbe. Instalacija je zamiljena
a prvenstveno je namijenjen druenju u javnome prostoru, ali i kao oda kreativnom zahtijeva da posjetitelj utroi mnogo vremena, a zbog svoje dekorativne prirode kao serija javnih instrumenata postavljenih na nekoliko pozicija unutar starogradskog
procesu koji je utkan u tradiciju grada. ima potencijal biti lijepa razglednica festivala. parka, koji bi orijentacijom i premjetanjem meusobno tvorili razliite kompozicije.
Flekto A swarm Percussion

Flekto refers to the Varadin-based factory Mundus, specific for its manufacturing of The interactive installation, designed as an organic addition to the rich array of The conceptual design for the interactive installation in the historic nucleus of Vara-
Michael Thonet furniture. This installation has two temporal layers of meaningit experiences provided at pancirfest was named A Swarm, inspired by the exhibits din was developed through a synthesis of creativity features and the pancirfest
is used as a topic for a creative workshop throughout the duration of pancirfest at the Varadin-based Entomological Museum. It is characterised by the features slogan Activate your Creativity. Following an analysis of activity programmes pro-
street festival where it is supposed to take place. Workshop attendants would be such as simplicity, interactivity, atmospheric-ness, sensory pleasures. The instal- vided at pancirfest we focused on music as an opportunity for creative expression
given the opportunity to independently knit their seat or bed, a swing or a ladder on lation creates a sense of accomplishment through participation at the workshop accessible to everyone, irrespective of their age or experience. Percussions are a
a previously mounted construction. The idea behind Flekto was creation of space or a moment of rest away from the noise of the festival under an insect swarm simple and widely accessible method of sound creation and hence we focused both
in the historic nucleus of the city of Varadin and it is primarily intended for social whose slow movement suggests the slowing down of time. Visitors do not need on the rhyme and tone as basic elements of music. The idea behind the installation
interaction in a public space, as well as an ode to the creative process integrated to spend a lot of time here and, due to its decorative nature, it has the potential was to provide a broad range of publicly available musical instruments placed in
into the tradition of the city. to act as an appealing festival postcard. several positions within the park in the old part of the city intended to mutually
provide different compositions through orientation and relocation.
42 43
tomislav bagi, helena benc, matea brki, paola dodi marta letica, matija jandri, dominik perovi
mentor: Vedran Kasap mentor: Zlatko Kapetanovi
Drava u gradu (urbana oprema) Labirint Stari grad

Paralelno s ulicom, nedaleko od povijesne jezgre grada Varadina, Kao motiv odabran je dvorac Stari grad i po njegovom tlocrtu obli-
tee rijeka Drava koja je od velike vanosti za sam grad. Podruje uz kovan labirint koji bi bio smjeten u parku. Pozicija i oblik sugeriraju
rijeku potencijalno postoji kao prostor za intimu i druenja uz razli- posjetiteljima kretanje do trga tradicijskih obrta. Interakcija se ostva-
ite aktivnosti koje nee naruavati prirodna bogatstva. Osvjeiva- ruje hodanjem ljudi kroz labirint na ijem poetku se nalazi 10 dispen-
nje, informiranje i educiranje o tom prirodom prostoru omoguit e zera u kojem su razliiti oblici (puzzle) razliitih boja. Svaka boja pred-
stapanje ljudi s prirodom i stvaranju simbioze graana i turista s njom. stavlja jednu emociju koju moemo iskusiti na festivalu. Zamiljeno je
Oblikovanjem urbane opreme u formi toka rijeke Drave pomou da ljudi tijekom deset dana po principu slagalice popunjavaju labirint
organine forme i prirodnih materijala i postavljanjem u povijesnu te ga bojama oive, upravo kao to festival oivljava sam grad. Na
jezgru Varadina, stvara se podsjetnik na njezino prirodno okruje. radionici bi se izraivale kartonske makete dvorca u obliku slagalice.
State within the city (urban equipment) Old Town Labyrinth

The Drava flows parallel with the street, near the historic nucleus of The Old Town Castle was selected as the motif and hence a labyrinth
the city of Varadin, and it is of great importance for the city. The was designed following its ground plan and it was supposed to be
area by the river has the potential for intimacy and socialising through located in the park. Both the position and the form suggest to the
involvement in different activities that will not interfere with the visitors the movement towards the Traditional Crafts Square. The
natural heritage. Raising awareness, provision of information and interaction has been achieved by walking of the people through the
education about this natural area will enable the merging of people labyrinth at whose start there are 10 dispensers with different forms
with the nature and the creation of a symbiosis between the nature (jigsaw puzzle pieces) of various colours. Each colour stands for one
and both tourists and citizens. The design of urban equipment based emotion that can be experienced at the festival. The idea was for
on the Drava river flow through organic form and natural materials, people to fill in the labyrinth according to the principles of puzzle
as well as its placement in the historic nucleus of Varadin reminds assembling during the period of ten days and revive it using colours,
of its natural environment. in the same way that the festival breathes life into the city. During
the workshop the participants are supposed to make cardboard
models of the castle in the form of a jigsaw puzzle.
44 45
neva marija zidi, lucija rupi, hana pulji, tea sinovi josipa petrov, andrea rebec, vana ulenti josipa petrov, andrea rebec, vana ulenti
mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
I ja sam bio tu panit Vizure grada

Projektom se eli stvoriti interaktivna slika grada stilizacijom i apstra- Cilj projekta bio je osvjeivanje posjetitelja o zaboravljenom dijelu tradicije Vara- Vizure grada Varadina karakteriziraju tornjevi. Svojim brojem, poloajem i visinom
hiranjem tlocrta grada Varadina i isticanjem vanih gradskih lokacija. dinanarodnoj nonji. ene prilikom pletenja svetomarske ipke nisu koristile pred- ine jedinstvenu cjelinu. Iako su svi u skladu s ostalim krovovima grada, oni daju
Interakcijom posjetitelja i instalacije, ostavljanjem materijalnoga kao loke. Grafike koje su izradile esto su bile stilizirane i apstraktne. Inspiriran tim moti- posebn i sklad i barokni tih koji je poznat, bacanjem razliitih sjena. S obzirom
simbola nematerijalnog oblikuje se prostor subjektivnoga, osobnog vima nastao je naziv panit koji je igra rijei pancirfest i nit. Odabrana lokacija za na to da grad Varadin nastoji ouvati svoje posebnosti, a pritom pruiti i brojne
iskaza, a takoer i prostor za daljnju interpretaciju i stalnu analizu prostornu strukturu je Trg tradicijskih obrta. Struktura se sastoji od rastera ploa sadraje bez da ometa vizuru grada, ova instalacija svojim oblikom i prozranom
postavljenog sadraja. Ona omoguuje svakome tko se zatekne na koje se postavljaju drveni tipli (klin) oko kojih bi se namotavao konop. Konopi strukturom upravo osigurava pogled na arhitekturu i krajolik. Ona je nain slobodne
u Varadinu da kae: I ja sam bio tu. su namotani na batie koji podsjeaju na alat koriten pri pletenju ipke. Posjeti- interpretacije, a ujedno i personalizacije prostora igrom i kreativnim izraavanjem.
telj odabere bojani konop i pojam. Pojam nastoje prikazati na zidu namotavanjem Vizual je osmiljen kao dodatno informiranje polaznika radionice te ostalih prola-
I have been here, too konopa ograniene duljine oko tipla. znika na pancirfestu.
The project was striving to provide an interactive image of the city
through stylisation and abstraction of the ground plan of the city of panit City skyline
Varadin whilst highlighting the most important city locations. The The project was aiming to raise the awareness of the visitors about the forgotten Towers are typical of the city of Varadin skyline. Due to their number, position and
room for a subjective personal expression and a further interpretation aspect of Varadin traditionnational costumes. During the making of Svetomar size they are considered a unique entity. Irrespective of being in harmony with other
and continuous analysis of the content provided is created through lace women did not use any patterns. The graphics they made were often stylised city rooftops, they provide a special harmony and a recognisable touch of baroque
interaction between the visitors and the installation and by using the and abstract. Hence, the name panit, a combination of Croatian words pancirfest with their various shadows. Since the city of Varadin is striving to preserve its
material as a symbol of immaterial. Hence, anyone who happens to and nit (thread), was inspired by these motifs. The location selected for the spatial specific features, whilst simultaneously providing a large number of programmes
be in Varadin can say: I have been here, too. structure was Traditional Crafts Square. The structure comprises of bitmap boards without interfering with the city skyline, this installation provides a view both of
where wooden wedges are placed and a rope is wound around them. The ropes are architecture and landscape through its form and airy structure. It is a type of free
wound on mallets that remind of the tools used during lace-making. The visitor can interpretation, whilst simultaneously also being a personalisation of space through
select a coloured rope and a notion. They strive to present the notion on the wall play and creative expression. The visual material has been intended to provide
by winding of the rope of a limited length around the wedges. workshop attendants and other pancirfest passers- by with additional information.
46 47
school of design annual review 2015/2016 undergraduate programme/design courseindustrial design,3rd semester
trei semestar luka palestrina mazi

lucija novosel mentor: Mladen Orei erika filipan
Redizajn mentor: Mladen Orei godinja nagrada studija dizajna / annual awards at the school of design mentor: Zlatko Kapetanovi
Tema zadatka Redizajn je unapreenje postojeih malih kuan-

skih ureaja i alata na elektrini pogon, namijenjenih za runu
uporabu. U tom postupku bitno je uvaavanje funkcije, upo-
rabne vrijednosti, tehnologije i oblikovnih karakteristika.
Cilj zadatka je razvoj sposobnosti kritikog sagledavanja okoline
u kontekstu nastajanja i trajanja proizvoda, njegovih funkcio-
nalnih, oblikovnih, ekonomskih, tehnikih i ekolokih karakte-
ristika te konstrukcijskih i tehnolokih zakonitosti.
Na temelju istraivanja studenti su uspjeli postaviti kon-
cepte redizajna odabranih proizvoda u skladu sa suvremenim
zahtjevima preispitivanjem ergonomskih, estetskih, sociolokih
i psiholokih aspekata.
third semester
Redesign
The topic of Redesign assignment is improvement of small dome-
stic appliances and electric-power hand tools. Paying attention
to function, usable value, technology and design features are
fundamental throughout the procedure.
The objective of the assignment is development of ability to
assume a critical attitude on the surroundings in the context of
creation and duration of products, their functional, design, eco-
nomic, technical and ecological features, as well as constructi-
onal and technological requirements.
Following the research, students managed to establish redesign
Elektrina etkica za zube Elektrini no Runi masaer
concepts of the selected products in line with the modern requ-
Kod redizajna elektrine etkice za zube pozornost se obratila posti- Redizajn Moulinexova elektrinog noa proizlazi iz pet definiranih problema, odno- Bloop je runi masaer koji masira vodom. Prua ugodnu i oputajuu masau preko
irements, through a review of ergonomic, aesthetic, sociological zanju vee udobnosti rukovanja proizvodom, to je postignuto obli- sno nedostataka prijanjeg modela, to se ogleda u estetskoj i funkcionalnoj zastar- silikona u kojemu je voda koja neprestano cirkulira. Koristi se tako da se odvoji gornji
and psychological aspects. kom ruke i intuitivnom formom kontrolnog suelja. Uz etkicu je jelosti i ogranienosti koritenja odreenom duinom strujnog kabela. Uoena je dio masaera, zatim se voda ulije u donji dio te se opet natrag spoji i nakon toga je
oblikovan i pripadajui punja koji slui i za odlaganja etkice. Punje- i upitna sigurnost tijekom i nakon koritenja, ergonomski je upitan poloaj drka spreman za koritenje. Posjeduje dva naina rada koji se aktiviraju uz pomo elas-
nje se moe odvijati izravno na utinici ili kabelom kada je proizvod i rukovanje noem te koliina vremena potrebna za ienje proizvoda. Svi ti pro- tine opruge koja na vodu djeluje kruno (jedan nain rada) ili udaranjem (drugi
odloen. Sustav etkice i punjaa ini funkcionalnu i estetski upeat- blemi rijeeni su redizajnom proizvoda koji sada omoguuje jednostavnije i sigurnije nain rada). Aparat ima nastavak i pojas u koji se umetnu masaeri tako da ga kori-
ljivu vizualnu cjelinu unutar interijera kupaonice. koritenje, uz estetski suvremeniju i ugodnu formu. snik moe koristiti i na tee dostupnim dijelovima tijela.
Electric toothbrush Electric knife Hand massager

During electric toothbrush redesign the attention was paid primarily Redesign of the electric knife produced by Moulinex results from five defined prob- Bloop is a hand massager that massages with water. It provides a pleasant and a
to achieving a higher level of comfort whilst using the product through lems or shortcomings of the previous model consisting in outdated aesthetic and relaxing massage through a silicone that contains continuously circulating water.
provision of a specific form of the handle and an intuitive form of the functional features and constraints of use due to the limited length of electrical It is used by disassembling the upper part of the massager and pouring the water
control interface. In addition to the toothbrush, a corresponding charg- wire. Moreover, the safety upon use was questionable both during and after use, into the bottom part. Hence, it is all reassembled again and the massager is ready
ing dock was also designed which is intended also for putting away of in addition to the questionable ergonomic position of the handle and the use of to use. It works in two modes which are activated through an elastic spring that
the toothbrush. The charging can be performed by insertion directly the knife, as well as the amount of time needed for the cleaning of the product. All exerts a circular impact on water (one mode) or though hitting (the other mode).
into the socket or by using a cable when the product is not being used. these problems have been solved through product redesign that currently enables a The device has an accessory and a belt into which the massagers are inserted and
The system comprising of a toothbrush and a charger is a functional simplified and a safer use in addition to a more comfortable and cutting-edge form. hence it can be used on body parts which are hard to reach.
and aesthetically impressive visual unit within the bathroom interior.
48 49
school of design annual review 2015/2016 undergraduate programme/design courseindustrial design,3rd semester
andreja lovrekovi jan marin

amin bajrektarevi nina stupar mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
mentor: Zlatko Kapetanovi mentor: Mladen Orei asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Runi mikser Multimetar (unimer) Putno kuhalo Parno glaalo

Kompaktni runi mikser malih je dimenzija tako da stane na dlan. Moe se posta- Multimetar je ureaj koji mjeri struju, napon i otpor preko nekoliko raspona vri- Ovo putno kuhalo zamiljeno je kao proizvod namijenjen za ljude koji su esto u pokretu, Specifinost ovoga glaala je to koristi tehnologiju magnetne induk-
viti na rub svake zdjele bez prevrtanja pa moe raditi i samostalno. Napor kod jednosti. Ureaj je nainjen od plastike te ergonomski oblikovan. elimo li izmjeriti a pritom ele pripremiti topli napitak gdje god bili. Zamiljeno je da se predmet prilagouje cije kao zamjenu za zastarjeli nain grijanja metalnih povrina, tj.
koritenja je znatno smanjen zahvaljujui teitu na dlanu, optimalnom obujmu te neku vrijednost, namjetamo krug funkcija okretanjem na eljeni poloaj, nakon ega korisniku promjenom svog volumena i mogunou prijenosa te tako postaje osoban. Kuhalo provoenjem struje kroz grija koji povratno grije metalnu povrinu.
nainu dranja, uza znatno manju masu od klasinog miksera. Aluminijsko kuite nam se na ekranu pojavljuje rezultat. Za olakano oitavanje rezultata na poleini se sastoji od dvije stijenke koje svojim pomicanjem tvore manji ili vei volumen. U oba sluaja U glaalu se nalazi i senzor za tkaninu koji putem preispitivanja stupnja
je vodootporno i izuzetno lako se isti zahvaljujui keramikom zatitnom sloju. se nalazi dio za regulaciju visine ureaja, ime moemo namjestiti eljeni kut radi na vanjskom dijelu nalazi se drvo kojem je provodljivost topline mala te tako titi od topline. vlanosti materijala zakljuuje o kojoj vrsti materijala je rije. Senzor
Kabel se namotava unutar kuita i sadri svjetlei element izmeu potenciometra bolje vidljivosti. Ispitujemo li na visinama, dio za regulaciju visine ima mogunost U donjem dijelu nalazi se grija te kabel za utinicu koji se nakon zavretka zagrijavanja uvlai regulira dotok i koliinu pare, temperaturu, a omoguuje korisniku
i kuita kao indikator brzine. da se ureaj privrsti na rub ljestvi ili na neko drugo pogodno mjesto. unutar donjeg dijela. potpunu bezbrinost tijekom glaanja.
Hand blender Multimeter (Unimer) Portable stove Steam iron

A compact hand blender is of such small dimensions that it fits your hand. It can be Multimeter is a device that measures electricity, voltage and resistance through This portable stove is a product intended for people who are frequently on the move and yet they The specific feature of this iron is its use of magnetic induction tech-
placed on the rim of any bowl without falling down and hence it can operate inde- several value ranges. The device has been made from plastics and it has been wish to be able to prepare a warm beverage irrespective of where they are. The idea behind it is nology to replace the old fashioned way of metal surface heating, i.e.
pendently. The effort needed to operate it has been greatly reduced due to the fact ergonomically designed. If one is striving to measure a value, the function circle that the product needs to adapt to the user through a change in its volume and the possibility of by conducting electricity through a heater which in turn heats the
that all its weight is borne by the palm, as well as its optimum volume and the way is adjusted to the desired function and hence the result appears on the screen. In being transported and it hence becomes personal. The stove comprises of two walls whose move- metal surface. The iron also contains a fabric sensor which, through
of holding it due to a largely reduced mass compared with classical hand blenders. order to facilitate the interpretation of the findings, the back of the device contains ment results in changes of the size of its volume. In both cases there is wood on the exterior with analysis of moisture content of the fabric, identifies the type of fabric
Its aluminium case is waterproof and extremely easy to clean due to its ceramic pro- a part for regulating the height of the device which adjusts the desired angle in a small thermal conductivity in order to protect from heat. The heater is located in the bottom to be ironed. The sensor regulates steam flow quantities and the tem-
tection. The cable is wound up within the case and contains an illuminating compo- order to provide a better visibility. In case the device is used at heights, the regula- section, as well as the cable which is wound up and retrieved inside after the completion of heating. perature, in addition to making the user entirely carefree during ironing.
nent between the potentiometer and the case that is intended as a speed indicator. tion segment can be fitted to the edge of the ladder or any other adequate place.
50 51
school of design annual review 2015/2016 undergraduate programme/design courseindustrial design,4th semester
etvrti semestar lucija novosel erika filipan

mentor: Mladen Orei mentor: Mladen Orei
Dizajn(om) za beskunike asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
U etvrtom semestru preddiplomskog studija studenti usvajaju

vjetine istraivanja prijeko potrebnih za uoavanje i dublje razu-
mijevanje stvarnih potreba korisnika u stvarnim situacijama i okol-
nostima, ukljuujui aktualni drutveno-gospodarski kontekst
i zakonske okvire, prema emu dizajniraju proizvod jednostavne
strukture kao rjeenje uoenih problema i potencijala. Ove godine
zadatak je bio upoznati i razumjeti specifine probleme besku-
nitva te dizajnom jednostavnih proizvoda potaknuti njihovo
rjeavanje. Projekt je osmiljen i realiziran u suradnji s nastavni-
cima i studentima Tekstilno-tehnolokog fakulteta Sveuilita
u Zagrebu, ime je dodatno potaknuto upoznavanje pro-
cesa oblikovanja proizvoda prema posebnostima raspolo-
ivih materijala i tehnologija izrade. Inovativnim rjeenjima
studenti su pokazali sposobnost holistike analize, razu-
mijevanja kompleksnosti problema i osmiljavanja kva-
litetnih rjeenja koja osim funkcionalnih imaju izraene
dodatne vrijednosti, poput poticanja razumijevanja i empa-
tije te podizanja svijesti javnosti o problemima beskunitva.
fourth semester
Design for (helping) the homeless
tand Kuica za ptice
During the fourth semester of the undergraduate study programme tand malih dimenzija, lake pokretljivosti i jednostavnog rukovanja, Gradnja kuice bazira se na koritenju vune kao materijala za povezivanje konstruk-
students acquire research skills imperative for identification and namijenjen je prodaji asopisa udruge beskunika i ostalih proizvoda cije izraene od granica ili napuhanog balona. Beskunici dobivaju ulogu graditelja
gaining of a deeper insight into real user needs in real situations koje sami izrauju. Mogue ga je staviti u radni poloaj (stol, tri police, tueg doma, a izraene kuice potom nude na prodaju. S prihodom od prodanih
torba za pohranu) i transportni (za prijevoz robe i promjenu lokacije). kuica simbolino su sve blie i svom buduem domu.
and circumstances, including the current socio-economic context Jednako je uporabiv i razliitim proizvoaima, trgovcima, izlagaima
and the legal framework. They hence design a product of a simple na povremenim javnim dogaanjima. Birdhouse
structure as a solution to the identified problems and the potential. The construction of the birdhouse is based on the use of wool as a binding material
The stall in the construction made from tree branches or an inflated balloon. The homeless
This year the assignment focused on gaining insight and understan-
The stall has small dimensions, it can easily be moved and handled. assume the role of builders of someone elses home and birdhouses are subsequently
ding of the specific problems of homelessness and encouragement to It is intended for the sale of magazines of the association for the offered for sale. Through the revenue generated from the sales they symbolically
provide the solutions through design of simple products. The project homeless, as well as other products made by the homeless. It can get closer and closer to their own future home.
was developed and implemented in co-operation with the professors be placed in the operating position (a desk, three shelves, a storage
bag), as well as the position for transport of goods and a change of
and students of the Faculty of Textile Technology at the University of location. Its potential users could be different producers, traders and
Zagreb, which additionally encouraged the gaining insight into the exhibitors at occasionally held public events.
process of product design in accordance with the specific features
of the available materials and production technologies.
Through innovative solutions, students showed their holistic analysis
skills, as well as their understanding of problem complexity and pro-
vision of quality solutions which, in addition to functional value, also
have substantial value added, such as encouraging understanding
and empathy and raising of public awareness about homelessness.
52 53
lucija mati, nina stupar, jovana vlaisavljevi amin bajrektarevi, dora doko, petra pikor
mentor: Zlatko Kapetanovi mentor: Mladen Orei
asistentica / assistant: Sanja Benceti asistentica / assistant: Andrea Hercog
Akcija
Humanitarna akcija kojom se eli smanjiti socijalna iskljuenost besku-
nika i senzibilizirati javnost omoguavanjem privremenog ispunjavanja
njihovih egzistencijalnih potreba putem dobrotvornoga i volonter-
skog pruanja zdravstvenih i higijenskih usluga te osiguranjem hrane,
odjee i smjetaja u transparentnom javnom prostoru. Akciju prate
neformalna druenja i radionice.
Initiative
A humanitarian initiative aimed at reducing the social exclusion of
the homeless and raising the awareness of the general public by pro-
viding the opportunity to temporarily meet their existential needs
through provision of health and hygiene services on a volunteer and
charitable basis, as well as by making sure they get food, clothing and
accommodation within a transparent public space. The initiative is
accompanied by informal socialising and workshops.
Depna svjetiljka na solarno napajanje
Depna lampa nastaje koritenjem lako dostupnih resursa (vode i plastinih boca)
i solarnih panela. Tijekom dana prikupljena energija sunevog svjetla nou se pre-
tvara u svjetlosni snop koji medij vode raspruje putem depne svjetiljke privr-
ene na vrh plastine boce.
Solar-powered flashlight
The flashlight is made using easily available resources (water and plastic bottles) and
solar panels. The solar energy collected throughout the day is transformed into a light
beam at night which is dispersed by the flashlight fitted on top of the plastic bottle.
54 55
klara bili, jan marin karla kocijan, paula kova, morana lauin
mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Andrea Hercog asistentica / assistant: Sanja Benceti
Paketii
Paketii su izraeni od predmeta namijenjenih prodaji: kabanica, ruksak, zimske
rukavice. Rad se nadovezuje na koncept humanitarne udruge Fajteri u kojoj besku-
nike educiraju kako vratiti samopouzdanje i osjeaj kontrole nad vlastitim ivotom.
Ovaj put primjer je vlastiti rad, prodaja sadraja prigodno dizajniranih paketia.
Small parcels
The parcels have been made from items intended for sale: a raincoat, a backpack
and winter gloves. The idea behind it originated in Fajteri, a humanitarian associ-
ation, which strives to teach the homeless how to restore their self-esteem and a
sense of control over their own lives. This time their own work has been pointed W-bag
out and the sale of the content of adequately designed small parcels.
Torba je izraena od jeftinijega recikliranog materijala, a praktina za beskunike i sve one kojima
je potreban viefunkcionalan prtljani spremnik. Uz uobiajeni prostor za pohranjivanje stvari
torba sadri leaj, jastuk i kapuljau.
W-bag
W-bag has been made from cheap and recycled material. It is practical for the homeless and for
all those who require a multifunctional luggage storage. In addition to the item storage area, the
bag is provided with a sleeping pad, a pillow and a hood.
56 57
veronika kova josip andrei amin bajrektarevi, dora doko, petra pikor
mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Karika
Karika je jednostavna, ali zanimljiva i brza igra, nastala u svrhu resocijalizacije i desti-
gmatizacije beskunika. Uz pravila igre nalaze se korisne informacije za beskunike
kao i za zainteresirane o problemima beskunitva.
A socialising game link

Link is an interesting, yet a fast game, created with the aim of re-socialising and
destigmatising of the homeless. In addition to the game rules included in the set,
there is also useful information both for the homeless and those interested in Torbica jastruk
homelessness issues.
Torbica (nosi se oko struka) slui za pohranu osobnih stvari. Moe
se prenamijeniti u naslon za glavu i vrat, ime poboljava odmor
korisnika. Punjenje torbice prirodnim materijalima pridonosi higi-
jeni samog proizvoda.
Waist purse pillow Ruksak za vanjski boravak

Waist purse (worn around the waist) is a unit intended as a stor- Ruksak namijenjen boravku u prirodi sadri podlogu za spavanje i ator za jednu
age for personal items. Nevertheless, it can also be used for leaning osobu, ime omoguuje korisniku privatnost i zatitu od vremenskih imbenika. Iako
ones head or neck, striving to improve the rest period of the user. se industrijski proizvodi, ruksak je personaliziran detaljem pletiva, runim radom
The padding of the bag with natural materials improves the hygiene beskunika, a prodajom se osiguravaju i sredstava za njihovu izradu.
of the product.
Outdoor backpack
The backpack is intended for staying outdoors and it hence contains a sleeping pad
and a one-person tent which provides the user with privacy and protection from
weather conditions. Irrespective of its being industrially produced, the backpack
has been personalised with knitting details, hand-made by the homeless and the
resources for its production are provided through sales.
58 59
lucija sever, josip andrei, luka palestrina mazi lucija sever, josip andrei, luka palestrina mazi ela meseldi, andreja lovrekovi
mentor: Mladen Orei mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Sanja Benceti
Buksak Prea, kalupi i jedinica za odlaganje papira Torba za asopise/stalak za prodaju

Multifunkcionalna jedinica nainjena je kako bi korisniku olakala rad (skupljanje Prea i kalupi za preradu prikupljenog papira izraeni su kako bi korisniku omogu- Torba koja beskunicima olakava prenoenje i prodaju asopisa jednostavno se rastvara i postaje
papira), tranzit i odmor. Postavljena u razliitim poloajima prua razliite podob- ili vlastitu djelatnost. U kalupima oblikovanim poput pekarskih, prea se usitnjeni tand za njihovu primjerenu prezentaciju. Zahvaljujui jeftinim materijalima i jednostavnoj kon-
nosti: spremanje osobnih stvari, odlaganje i prijenos skupljenog papira, udobno namoeni papir i tako nastaju briketi zanimljivih asocijativnih oblika, korisni i pri- strukciji beskunici su takoer ukljueni u cijeli proces izrade, od pronalaenja materijala do kori-
noenje tereta, ali i odmor u sjedeem ili leeem poloaju. vlani potencijalnim kupcima. tenja proizvoda.
Book sack Press, moulds and paper disposal unit A bag for magazines / sales rack
A multifunctional unit provided in order to help the user to work (paper collection), Press and moulds for the processing of the collected paper have been manufactured The bag is intended to help the homeless both to carry and sell magazines. It is opened in a sim-
travel and rest. Through placing it in various positions, the unit provides a large striving to enable the user to become involved in their own activity. The moulds ple way and is transformed into a stall for an adequate presentation of magazines. It has been
number of benefits such as disposal of personal belongings, a comfortable car- have been designed as bakers moulds, the fragmented soaked paper is pressed made from affordable materials and its construction is simple, which provides the homeless with
rying of load and it is also a unit intended for resting whilst sitting or lying down. to provide briquettes of interesting associative forms, which are both useful and the opportunity to participate in the entire process of its making, from the search for materials
appealing to potential buyers. to the use of the product.
60 61
peti semestar valentina sunek luka dundovi

Dizajn sloenog proizvoda asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Stolac i fotelja za hotele

U petom semestru studenti usvajaju proirena znanja i vjetine
u podruju dizajna sloenih proizvoda. Primjenom metoda
i tehnika informiranja, istraivanja, eksperimentiranja i obli-
kovanja zakljuaka, promiljaju vrijednosti i smisao proizvoda
u kontekstu drutvenoga, gospodarskoga i kulturnog razvoja.
Upoznavanjem interdisciplinarnosti procesa i razvijanjem
osobnoga kreativnog potencijala stjeu iskustva integriranja
tehniko-tehnolokih mogunosti i ogranienja proizvodnje
iz realnog okruja. Zadatak je osmiljen i proveden u surad-
nji s tvrtkom Ancona iz akova, a rezultirao je s petnaestak
sustava stolaca i fotelja za hotele. Rjeenja studenata Filipa
Kovaia, Matee Bertine i Lucije Rubini odabrana su za dalj-
nji razvoj i plasiranje na trite.
fifth semester
Complex product design
A chair and armchair for hotels
During the fifth semester students acquire extensive knowledge Serija Nouv
and skills in the field of complex product design. They analyse Namjetaj za sjedenje Nouv nastoji funkcionalno objediniti fluidnu estetiku secesije i istou
modernog oblikovanja kako bi se uklopio u svaki suvremeni prostor. Kolekcija se sastoji od poluna-
both the value and the purpose of the product in the context of slonjaa, stolca i naslonjaa.
social, economic and cultural development through the use of
methods and techniques for informing, research, experimenta- Nouv series
tion and drawing conclusions. Moreover, they gain experiences Serija Motion Seating furniture Nouv strives to functionally bring together the fluid aesthetics of secession and
Dinaminost pokreta kod sjedanja inspiriralo je formu Motion sto- the purity of modern design in order to fit into any modern premises. The collection comprises
of integration of technical and technological potential, as well of semi-armchair, a chair and an armchair.
laca. Dinamina interakcija onoga koji sjedi i mjesta sjedenja rezul-
as on constraints on production in real environment by beco- tat su otvorene forme koja poziva na sjedenje, ali ne namee nain
ming acquainted with the interdisciplinary features of the pro- sjedenja. Savitljiva metalna cijev u trenutku sjedenja spaja se s masiv-
cess and by developing their own creative potential. nim drvenim dijelovima obraenima na CNC glodalici. Mogunost
kombinacija materijala, tekstura i boja dodatna je vrijednost koja
The idea behind the assignment and its implementation was oplemenjuje proizvod.
due to co-operation with Ancona, a akovo-based company,
resulting in solutions for around fifteen systems of chairs and Motion series
armchairs for hotels. The solutions provided by the students The dynamics of the movement upon sitting down inspired the form
of the chair named Motion. A dynamic interaction of the person sit-
Filip Kovai, Matea Bertina and Lucija Rubini were selected ting and the place to sit are the result of an open form that encour-
for further development and market positioning. ages sitting down, yet it does not impose the way of doing it. Upon
sitting down a flexible metal pipe is connected with massive wooden
parts processed with a CNC milling machine. The possibility of com-
bining materials, textures and colours provides a value-added that
enhances the product.
62 63
filip kovai
mentor: Zlatko Kapetanovi marta badurina
asistentica / assistant: Andrea Hercog mentor: Mladen Orei
godinje priznanje studija dizajna /annual acknowledgement at the school of design asistentica / assistant: Andrea Hercog
Serija God Serija Unda

Poetna ideja ukljuivala je isticanje osnovnih elemenata koje ima svaki stolac Sjedite i rukonasloni polunaslonjaa formirani su od furnirskog otpreska koji tvori
te njihovo odvajanje materijalima kontrastnih boja. S jednom obitelji proizvoda valovitu liniju. Na toj liniji bazirano je oblikovanje ostatka serije te je serija imeno-
moe se opremiti cijeli hotel i tako ispuniti elje kupaca s mogunou beskona- vana Unda, odnosno val na latinskom. Serija se sastoji od stolca, polunaslonjaa
nih kombinacija materijala i noita. Meke zakrivljene forme spajaju naslon sa sje- i naslonjaa te dolazi u inaici s metalnim ili drvenim nogama. Kombiniranjem boje
ditem, a istodobno stvaraju jak kontrast naslona i sjedita stvarajui tako bogati otpreska i boje ojastuenja, linija se moe neutralizirati i uklopiti u prostor ili se pak
izgled i iroke namjene. dodatno u njemu isticati.
God series Unda series

The initial idea included the highlighting of the basic features of each chair and their The seat and the armrests of the semi-armchair are made from veneer particle
separation using materials in contrasting colours. One product family can equip board that makes a wavy line. The remainder of the series has been designed against
an entire hotel and hence meet customer needs, providing endless combinations the backdrop of this wavy line and hence the series has been named Unda which
of materials and chair legs. Soft curved forms connect the backrest with the seat means wave in Latin. The series comprises of a chair, a semi-armchair and an arm-
and simultaneously create a strong contrast between the backrest and the seat chair and comes in a version with metal or wooden legs. The line can be neutral-
accounting for a lush appearance that can be used for a broad range of purposes. ised or fitted into the premises through a combination of the veneer particle board
colour and the colour of the cushioning or it can even be additionally highlighted.
64 65
josipa tadi eva muc

asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Serija Eva
Stolac je nastao u elji da konstrukcijski elementi ujedno
budu nositelji forme, odnosno ono to e na neki nain
odrediti stolac, polunaslonja i barski stolac. Tri su
proizvoda povezana materijalom, slinom konstruk-
cijom te karakteristinom formom nogu koja prelazi
u rukonaslon te je oblikom prilagoena visini sjedita.
Eva series
The idea behind the chair was that its construction
features also provide its form, defining the chair, the
semi-armchair and the bar stool in a specific way.
Three products have been integrated through mate-
rial, a similar construction and a characteristic leg form
which is transformed into the armrest and its shape is
adapted to the seat height with its shape.
Serija Kota
Sustav namjetaja za sjedenje Kota osmiljen je da bi se izgledom prilagodio sva-
kom prostornom stilu, a da se pritom i izdvaja svojim oblikovanjem. Stolac, poluna-
slonja i fotelja povezani su pogledom s boka, ija se mrea mijenja s obzirom na
nain koritenja. Ovakvo oblikovanje ostavlja mogunost korisniku na izbor broja
jastuka, ime se mijenja i prilagouje izgled stolaca. Za kostur stolaca predvieno
je masivno drvo i metal.
Kota series
The appearance of Kota seating furniture system has been designed to be adapted
to any spatial style, and its design is simultaneously highly prominent. The chair, the
semi-armchair and the armchair are integrated when viewed from the side as the
mesh changes depending on the way the chairs are used. This type of design gives
the user the opportunity to select the number of cushions which changes and adapts
the appearance of the chairs. Solid wood and metal provide the frame of the chair.
66 67
matea bertina jasna zorii

Serija IKO Serija Alta

Serija IKO sastoji se od etiri proizvoda: naslonjaa, polunaslonjaa, stolca i viso- Idejno rjeenje razvijeno je u nastojanju da se stvori konstrukcija koja
kog stolca, dizajniranih za potrebe luksuznih hotela. Koncept serije rezultat je pri- e se meusobnim ispreplitanjem podupirati. Rjeenje je izvedeno
lagodbe raznolikim hotelskim funkcijama te sukladno tome nunim ergonomskim pomou dva oblikovana okvira koja si meusobno stvaraju potporu
prilagodbama radi postizanja maksimalne udobnosti koritenja. Minimalizam pa time postaje jednostavno, funkcionalno i ekonomino. Sjedite je
i nenametljivost u izrazu imaju za cilj jednostavno uklapanje u interijere razlii- tapecirano, a naslon je napeta elastina navlaka koja u trenutku nasla-
tog tipa i atmosfere. Jednostavne, elegantne, zaobljene linije proizvoda, mogu- njanja prua veu udobnost od klasinih naslona. Serija se sastoji od tri
nost kombinacije razliitih furnira, presvlaka i boja omoguuju laku prilagodbu proizvoda: stolca, polunaslonjaa i naslonjaa, a razlike su zamjetne
odabranim ambijentima. u gabaritnim dimenzijama i kutu naslona.
IKO series Alta series

IKO series comprises of four products an armchair, a semi-armchair, a chair and The conceptual design was developed striving to create a construc-
a bar stool designed to meet the requirements of luxury hotels. The concept of the tion which will provide mutual support through intertwining. The
series is the result of striving to adapt to various hotel functions and hence the solution has been developed through two designed frames which
required ergonomic adaptations aimed at achievement of a maximum comfort provide mutual support and are hence transformed into a simple,
level. Minimalism and unobtrusiveness of the expression are aimed at fitting into functional and economic solution. The seat has been upholstered and
different types of interiors providing different types of atmosphere. Simple, elegant, the backrest is a tightened elastic cover that upon leaning against it
rounded lines of the product and the possibility to combine different types of veneer, provides greater comfort than classic backrests. The series comprises
upholstering and colours enable an easier adaptation to the selected ambiances. of three products: a chair, a semi-armchair and an armchair and there
are huge differences in overall dimensions and the backrest angle.
68 69
esti semestar
Dizajn sustava ili vrlo sloenog
proizvoda filip kovai bertina matea
(A) sustav po izboru; (B) pomoni amac asistentica / assist. Andrea Hercog asistentica / assistant: Andrea Hercog
Zavrni zadatak u 6. semestru predstavlja najsloeniji projekt

na razini preddiplomskog studija. Rije je o dizajnu sustava
proizvoda ili proizvoda u sustavu, s ciljem usvajanja specifi-
nih znanja i vjetina u razvoju sloenih proizvoda i/ili usluga,
uz upoznavanje timskog rada u interdisciplinarnom procesu te
razvoj osobnoga kreativnog potencijala i stava prema profesiji.
Studenti stvaraju mjerila na temelju kojih nastaju inovativna
rjeenja koja unapreuju kvalitetu ivota, iskazujui pri tome
razumijevanje tehnikih, tehnolokih, drutvenih i prirodnih
resursa. Studenti su dobili mogunost izbora izmeu slobodne
teme i teme dizajna pomonog amca u suradnji s vanjskim
nositeljem patenta koji je rezultirao s desetak rjeenja, a oe-
kuje se i daljnja suradnja u razvoju rjeenja.
sixth semester
System design or design system
of highly complex products
(a) a free-choice system;(b) dinghy
he final assignment in the 6th semester is the most complex pro-
ject at the level of undergraduate study programme. It is product
system design or design of products in the system, striving to
Pomoni brod Pomoni brod
acquire specific knowledge and skills in development of highly
Veliki brodovi zbog svoje veliine ne mogu doi do obale, stoga Glavni zahtjev pri oblikovanju pomonog broda bio je da se njegova forma moe jednostavnim
complex products and/or services, in addition to gaining insight postoji potreba za pomonim brodom koji bi putnike dovezao do i loginim preklapanjem komprimirati u to manji obujam. Sistem preklapanja proizaao je iz na
into teamwork during interdisciplinary process and development obale. Istovremeno postoji potreba za pasarelom, malim mostiem poetku zadanog principa sjedenja. Sjedenje je predvieno na unakrsnim izboenjima (sjeditima)
of creative potential and attitude towards the profession at the koji omoguava putnicima da prijeu s broda na mol. Kako je prostor koji svojom ovalnim prijelazima omoguuju dodatnu funkciju kao mjesta za sunanje. Plovci se skla-
na brodu ogranien ovim se projektom spaja funkcija pomonog broda njaju u donji proupljeni dio splavne forme koja se zatim presavija na pola po svojoj duini u zatvo-
personal level. Students establish benchmarks based on which i pasarele. Brod se sklapa i rasklapa na ekonomian nain, sklopljen renu formu. Upravlja se izvlai iz plohe izboenog djela na splavu u kojem se nalazi i sama baterija.
they provide innovative solutions to improve the quality of life, zauzima minimalan prostor, a rasklopljen prua prostor za etiri osobe.
whilst providing insight into technical, technological, social and Dinghy
Dinghy
natural resources. Furthermore, students were given the oppor- The principal requirement in designing the dinghy was to provide a form which can be folded in a
Large ships cannot approach the shore due to their size and hence straightforward and a logical way in order to get the smallest possible volume. The folding system
tunity to choose between free-topic and the topic of dinghy there is a need for a dinghy that would take the passengers to the originated from the initially defined principle of sitting. The sitting has been planned on protru-
design in co-operation with an external patent holder, which shore. There is simultaneously also a need for a passerelle, a narrow sions (seats) placed in a criss-cross pattern which with their oval transitions provide an additional
resulted in a dozen solutions and hence further co-operation passageway which enables the passengers to cross from the boat to function and can be used for sunbathing. Buoys can be placed in a bottom hollowed out segment
the pier. Since the space on the ship is confined, this project brings of the raft form which is then folded in half by its length into a closed form. The steering wheel
on solution development is also expected. together the function of a dinghy and a passerelle. The ship is folded is taken out from the surface of the protruded part on the raft where the battery is also placed.
and unfolded in an economical way. It occupies a minimum space
when folded, whilst when unfolded it provides room for four people.
70 71
eva muc
mentor: Mladen Orei matej maltar paula anti
asistentica / assistant: Andrea Hercog mentor: Mladen Orei mentor: Mladen Orei
godinje priznanje studija dizajna /annual acknowledgement at the school of design asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog
Pomoni brod Balena Pomoni brod

Oblik, dimenzije i nain sklapanja pomonog broda proizaao je iz nekoliko zahtjeva poput ogra- Balena je preklopni amac na elektrini pogon nami- Karakteristike ovog sklopivog plovila su jednostavna transformacija
nienog broja osoba koje treba smjestiti, potrebe za jednostavnou upotrebe i dobivanja odgo- jenjen prijevozu putnika s jahti i slinih brodova. Pred- i stabilnost. Predvien je za prijevoz do etiri osobe. Njime se upravlja
varajue povrine nakon otklapanja. Takoer, trebalo je imati u vidu da bi brodi u sklopljenom vien je za prijevoz tri osobe. Forma Balene inspiri- pomou joysticka koji je kroz sjedalo povezan s baterijom i propelerom
obliku sluio kao pasarela. Cilj ovog rjeenja bilo je postizanje jednostavne i estetski prihvatljive rana je vozilima 60-ih godina prolog stoljea. Balena u stranjem dijelu. Kada je rasklopljen, sjedalo broda nastavlja se na
forme koja bi bila jednako privlana i u sklopljenom i otklopljenom obliku, te redukcija brojnih dolazi u nekoliko razliitih boja, a predvien materijal pramac to istovremeno moe posluiti i kao pasarela. Sklapa se tako
suvinih dijelova koji bi naruili formu, a ne bi pridonosili funkcionalnosti. za izradu je fiberglas. da pramac prebacimo preko sjedala, a plovke podignemo do bonih
strana sjedala. Tako se njegove dimenzije smanjuju na 150 x 80 cm.
Dinghy Balena
The form, the dimensions and the way of folding of the dinghy resulted whilst striving to meet Balena is an electric folding boat intended for pas- Dinghy
several requirements such as a limited number of persons that need to be accommodated, a need senger transport from yachts and similar vessels to The specific features of this folding vessel are simple transformation
for simplicity and in order to get an adequate space after the unfolding. Moreover, it has to be the shore. It is intended for transport of three people. and stability. It is intended for transport of up to four people. It is
highlighted that the boat could be used as a passerelle when folded. The objective of this solu- The form of Balena was inspired with vehicles from the steered by a joystick which is connected with the battery through a
tion was to achieve a simple and aesthetically acceptable form which would be equally appealing 1960s. Balena comes in several different colours and seat and with the propeller in the rear part. When unfolded, its seat
both when folded and when unfolded, as well as to reduce a large number of superfluous parts the preferred material for its construction is fiberglass. is attached to the bow which can simultaneously be used as a pas-
which would only degrade the form without adding to the functionality. serelle. It is folded by placing the bow over the seat and its buoys are
lifted to the lateral parts of the seats. Hence its dimensions shrink
to 150 cm x 80 cm.
72 73
viktoria jurina klara mareli

mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
asistentica / assistant: Sanja Benceti asistentica / assistant: Sanja Benceti
Urbana stajalita javnog prijevoza Element za odlaganje biootpada

Dizajn sustava temelji se na jednostavnosti izrade i montae te racionalnoj upotrebi obnovljivih i recikliranih Osnovna namjena sustava proizvoda je recikliranje biootpada unutar stambenog prostora uz podizanje svijesti o va-
materijala. Konstrukcija uporabom razliitih materijala omoguuje komunikaciju identiteta pojedine lokacije. nosti odrivosti domainstva, reciklaom i prihvaanjem prirodnih procesa uzgoja bilja u urbanom prostoru. Umje-
Modularnost omoguuje funkcionalnu i vizualnu prilagodljivost razliitim zahtjevima i prostornim situacijama. sto umjetnih gnojiva proces obavljaju kalifornijske gliste, ime proizvod postaje svojevrsni terarij i potie korisnike
Temeljni element konstrukcije informativni je stup, a za razliite situacije nadograuju se klupa za sjedenje, krov, na brigu i sudjelovanje u procesu. Sustav lako rastavljive konstrukcije sastoji se od dva vertikalna aluminijska nosaa
poleine i dodatni informacijski stup, vidljiv iz vee udaljenosti. U stakleni krov stajalita ugraene su fotonapon- i dva plastina sanduka. Jedan sanduk je spremnik za otpad s kliznim vratacima koja omoguuju ulaz kisika a spre-
ske elije koje tijekom dana tite od izravnog sunca i akumuliraju energiju koja se nakon zalaska sunca koristi za avaju izlaz glista i neugodnog mirisa u prostor. Drugi sanduk podijeljen je sa dva pretinca: na dnu se nalazi prostor
napajanje informativnog stupa, plakata i rasvjete stajalita koja je sadrana u gredama konstrukcije. za spremanje opreme (rukavice, teglice, grabljice i sl.) a iznad njega nalazi se prostor za uzgoj biljaka u teglicama.
Urban public transport stops A facility for biological waste disposal

The system design is based on the simplicity of the construction and assembly and the rational use of renew- The principal intended use of the product is biological waste recycling within a residential facility, as well as raising
able and recycled materials. As a result of the use of different materials the construction enables communica- awareness of the importance of household sustainability, through recycling and acceptance of natural processes
tion of identity of a specific location. Modularity enables functional and visual adaptability to various require- of plant growing and cultivation in urban premises. Artificial fertilisers are replaced by Californian earthworms
ments and spatial situations. The basic construction feature is the pole, whilst for various situations the bench, in the process, due to which the product is transformed into a specific terrarium which encourages the users to
the roof, the shelter and the additional information pole visible from greater distances are also constructed. become involved in caring and participation in the process. The system of construction that can be easily disas-
Photovoltaic cells have been integrated into the glass roof of the public transport shelter. They are intended sembled comprises of two vertical aluminium girders and two plastic boxes. One box is a waste container with
to protect from direct sunlight and accumulate energy to be used after sunset for charging of the information sliding doors which allow the oxygen to enter and prevent the earthworms and unpleasant smells from coming
pole, posters and lighting integrated into construction beams. out. The second box is divided into two compartments: on the bottom there is a space for disposal of the equip-
ment (gloves, flower pots, small rakes, etc.), whilst the space placed above it is intended for growing plants in pots.
74 75
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 fotograf- disciplines), introduction to the historical development of prin-
skog snimanja i uenje temeljnih principa oblikovanja inte- ting industry and typography, as well as to their diverse rules
raktivnih web-sadraja. Naravno, tu je i kontinuirano obra- and their expressive potential. In addition, the course focuses
zovanje u teoriji i povijesti dizajna te povijesti umjetnosti, to on mastering the basics of photography shooting and introdu-
u studenata potie dugorono razvijanje humanistike kulture ction to the basic principles of interactive web content design.
prijeko potrebne svakom akademskom graaninu, u skladu Furthermore, students are provided continuous education in the
s osnovnim etikim 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 vizualnoga 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.
76 77
godinjak studija dizajna 2015./2016. preddiplomski studij/projektiranjevizualne komunikacije,1.semestar
school of design annual review 2015/2016 undergraduate programme/design coursevisual communications design,1st semester
prvi semestar anja kepert ines borovac leonard boroviki ana moja josipa petrov
Analiza grafikih struktura mentor: Nenad Dogan
mentor: Stipe Bri mentor: Stipe Bri mentor: Nenad Dogan
mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini
Artikulacija 2d oblika Mrea / Grid Linija / Line Mrea / Grid Toka / Point Linija / Line
U ovom se zadatku studenti vizualnih komunikacija upo-

znaju s osnovama metodologije dizajnerskog promiljanja:
potrebno je usvojiti analitiki pristup promatranja okoline
te metode analize i sinteze zbilje koristiti u razvijanju ideja
prema vizualnim elementima iz neposrednog fizikoga okruja.
Cilj zadatka je na temelju struktura predmeta i materijala pri-
kupljenih fotografiranjem projektirati jednostavne vizualne
forme sastavljene od osnovnih grafikih elemenata (toka, linija,
mrea), jasnoga i dosljednog ritma te vrstoga i skladnoga grida,
s kojim se studenti 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.
78 79
prvi semestar
Znak
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki paola dodi
osnovnih grafikih elemenata (u to je ukljuena i uporaba mentor: Stipe Bri
boje) te njihovoj sintezi sa sadrajem triju zadanih i povezanih Butik, Trgovina, Robna kua
pojmova u seriju znakova prepoznatljive i efektne simbolike. Boutique, Shop, Supermarket
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.
ines borovac
first semester mentor: Stipe Bri
Gradnja, Montaa, Ruenje

Sign Construction, Assembly, Demolition
Signalising in Simbolising
Functionality
This task focuses on the study of formal features of the basic
graphic elements (which includes the use of colours), as well as jakov habjan
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
Vodoprivreda, Vodoopskrba, Vodoinstalacije
symbolism. Students are provided an insight into visual inter- Water resources management,
pretation of straightforward semantic systems through design Water supply, Plumbing
of graphic signs which symbolise specific.
mirna ari
mentor: Stipe Bri
Banka, tedionica, Mjenjanica

Bank, Savings Bank, Exchange
josipa petrov
Vodoprivreda, Vodoopskrba, Vodoinstalacije

Water resources management,
Water supply, Plumbing
80 81
prvi semestar
Tipografski znak (logotip)
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki anja kepert
tipografskih elemenata (slova) i njihove povezanosti sa sim- mentor: Nenad Dogan
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- zoe arlija
cifinim meuodnosom tipografskih elemenata unutar oda- mentor: Ivan Doroghy
asistent/assistant:Tomislav Vlaini
branog pojma.
first semester
Typographic sign (logo) matija barovi
mentor: Stipe Bri
labelling in symbolising functionality
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- marta letica
aling symbolic expression. Through design of a logo for a specific mentor: Nenad Dogan
topic students learn about visual interpretation of simple con-
tent through a selection of existing corresponding typography
and a specific interrelationship amongst typographic elements
within a selected concept.
josipa petrov
asistent/assistant:Tomislav Vlaini
ramona mori
mentor: Nenad Dogan
dominik badel
mentor: Stipe Bri
82 83
school of design annual review 2015/2016 undergraduate programme/design coursevisual communications design,2nd semester
drugi semestar
Informacijska jedinica vana ulenti dominik perovi jakov habjan
mentor: Ivan Doroghy mentor: Nenad Dogan mentor: Nenad Dogan
Oblikovanje plakata zadanog sadraja asistent/assistant:Tomislav Vlaini asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp
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 odabranog
sadraja, odnosno u dizajnu logotipa i plakata odreenog doga-
anja 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 komunikacije. Kako
je ovdje rije o tradicionalnom, statinom tiskanom mediju,
studentime takoer eka i izazov njegova osvjeavanja u kon-
tekstu sve snanije dominacije digitalnih interaktivnih medija.
second semester
Information unit
Design of Poster with specific Content
This task significantly expands the expected range of the means
of expressionin addition to basic graphic elements, students
are required to become competent in the use of typography, as
well as to use illustration and/or photography during the inter-
pretation of the specified content, or achieve competence in the Vanka Regule 25 FPSMeunarodni festival eksperimentalnog filma i videa One take film festival
logo design and the design of posters on a specific event in the Festival Vanka Regule namijenjen je poklonicima sportova koji nisu Meunarodni festival eksperimentalnog filma, 25 FPS, nastao je iz tele- One take film festival meunarodna je revija filmova snimljenih u jed-
cultural sphere. It is the first task in which students are required uobiajeni, nemaju pravila i sudionike ispunjavaju osjeajem slobode. vizijske emisije Videodrom koja je prikazivala eksperimentalne filmove nom kadru. Suprotno filmovima montiranima na nain da izgledaju
Izlomljena povrina i tipografija prilagoena lomovima povrine, i videoradove. Festival promovira izraajne autorske koncepte, temat- poput neprekinute snimke, ovaj festival predstavlja kratkometrane
to comprehensively analyse the subject of design based on a doaravaju neuobiajen karakter ovog festivala. Sukladno tome tekst ske, idejne i estetske iskorake te radove koji nastavljaju tradiciju avan- i dugometrane filmove koji su snimljeni od trenutka ukljuenja do
specific brief and hence develop an adequate strategy of visual programa festivala prilagodio se izlomljenoj povrini, to zahtijeva gardnoga i eksperimentalnog filma. Prikazuje nezavisne i nekomerci- trenutka iskljuenja kamere. One take film festival iskljuuje mon-
communication through synthesis of collected data. Since in this vie pozornosti i koncentracije da bi ga se proitalo. jalne filmove koji na inovativan nain istrauju mogunosti filmskog tau, rez i pretapanja te na taj nain stavlja u fokus ono to se odvija
jezika, pripovijedanja i samog medija, a nastaju na granicama filmskih unutar jednog pritiska upravljaa rec. Plakat se metaforiki refe-
case they are dealing with traditional static print media, students Vanka Regule rodova i anrova. Plakatom i svojevrsnim eksperimentalnim logotipom rira na neprekinuti tijek radnje, uzimajui za primjer izgorenu ibicu
are also faced with a challenge of its revival against the increa- Vanka Regule Festival is intended for enthusiasts of sports that are pokualo se doarati specifinost festivala eksperimentalnog filma. koja poput fitilja vodi zbivanje od trenutka akcije do njezina kraja.
singly vigorous dominance of digital interactive media. unusual, do not have any rules and provide the participants with
a sense of freedom. The fragmented surface and typography has been 25 FPSInternational Festival of Experimental Film and Video One take film festival
adjusted to the fragmentation of the surface, aiming to convey the 25 FPS International Festival of Experimental Film and Video orig- One take film festival is an international review of films made in one
idea of the unusual character of this festival. Hence, the text of the inated from the TV programme named Videodrom which featured long take. As opposed to films edited as a seemingly uninterrupted flow
festival programme has been adjusted to the fragmented surface, experimental films and videos. The Festival promotes expressive of action, this festival presents both short and feature-length films
requiring additional attention and concentration in order to be read. copyright concepts, as well as breakthrough projects concerning shot from the moment the camera is turning on until it is turned off.
the topic, ideas or aesthetics and works that follow the tradition One take film festival excludes film editing, film cutting and cross-fad-
of avantgarde and experimental film. It features independent and ing and hence it focuses on what takes place within one press of the
non-commercial films which explore the potential of film language rec button. The poster metaphorically refers to the uninterrupted
and narrative, as well as film media in innovative ways, originat- course of action, taking the example of a burnt out match which
ing on the boundaries between film types and genres. The poster like a fuse runs through the action from the beginning to the end.
and a specific experimental logo were intended to convey the idea
about the specific features of the Festival of Experimental Film.
84 85
marta letica leonard boroviki ramona mori

mentor: Nenad Dogan mentor: Stipe Bri mentor: Nenad Dogan
asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp
Festival znanostiValovi
Festival znanosti organiziran je radi pribliavanja znanosti iroj javno-
sti. Ukljuivanjem znanstvenika u priu o znanstvenim disciplinama
motiviraju se mladi za istraivanja i stjecanje novih znanja i spoznaja.
Plakat za 12. po redu Festival znanosti s temom valova osmiljen
je tako da bi bio razumljiv i privlaan graanima svih ivotnih dobi.
Upeatljiva fotografija velikog vala kao pozadine ini plakat prihvat-
ljivim mlaoj publici, dok graf vala upuuje na znanost, a obraa se
svima koji ve jesu ili bi na neki nain mogli biti povezani sa znanou.
Science festivalWaves
Science festival was organised in order to provide a deeper insight on science
to the broader public. Young people are motivated to become involved in
research and to acquire new knowledge and insights through involvement
of scientists in the story about scientific disciplines. The poster for the
12th Science Festival on the topic of Waves was intended to attract and
be comprehensible to the general public of all age groups. The impressive
photograph of a huge wave in the background appeals to the younger
public, whilst the wave graph symbolises science and addresses everyone
already involved in science or those who could be involved in it in any way.
paola dodi
mentor: Stipe Bri
One take film festival Last Minute Open Jazz Festival Mjestimice svjetlo
One take film festival je meunarodni festival filmova snimljenih u jednom kadru, bez rezova, To je glazbena manifestacija koja okuplja svjetske i domae dez-umjetnike u Balama Mjestimice svjetlo projekt je koji za cilj ima propitkivanje problema urbanog razvoja
montaa i ostalih postupaka. Neogranieno vrijeme trajanja, razliite vrste anrova, iskljuivanje u Istri, a danas se njezino djelovanje proirilo i na jug Jadrana. Glavna tema je ideja grada. Umjetnikim instalacijama, kojima je primarni medij svjetlo, autori ukazuju na
klasinog, predstavljaju asocijacije koje su interpretirane likovno i tipografski na funkcionalnoj o dezu kao opem glazbenom anru koji sluatelj moe pronai u svakodnevnim potencijal gradskih lokacija. Glavna ideja u izradi plakata je osvjetljavanje neiskorite-
i simbolikoj razini. Prikaz filmske trake bez kadrova, u crnom tonu, podsjea na tamu kinodvorane. pojavama, zvukovima i umovima. Rije dez (jazz) nastala je u amoru barskih raznih javnih prostora. Na neosvijetljenom tlocrtu grada Zagreba, gdje se projekt reali-
Neogranieno vrijeme trajanja filmova simboliki je prikazano neobinim izduenim formatom govora, a njezino simboliko znaenje je dijalog koji nastaje na pozornici izmeu zirao, rasporeene su i osvijetljene glavne informacije kako bi se ukazalo na glavnu
plakata, a sadraj programa ispisan je kontinuirano rijeima odvojenima razmakom na mjestima instrumenata i publike. Zvuna viestrukost te improvizacija kao temeljna odlika svrhu samog projektabuenje svijesti o zanemarenim, a vanim javnim prostorima.
gdje nije uobiajeno. deza, izraeni su u runo pisanoj tipografiji koja je izvedena kistom. Paleta boja Logotip Mjestimice svjetlo slobodna je kompozicija kojom se eli doarati reakti-
sugerira noni ugoaj sluanja dez-glazbe, kojeg remete jedino svjetla reflektora. virane punktove u gradskoj tami.
One take film festival
One take film festival is an international festival of one take films, without cuts, film editing and Last Minute Open Jazz Festival Scattered light
other procedures. The unlimited duration, different genres and exclusion of classical features are It is a music event that brings together both international and domestic jazz art- Scattered light is a project striving to analyse the issue of urban development of the
associations that have been interpreted visually and typographically both at a functional and sym- ists in Bale in Istria and it has currently expanded also to the south of the Adriatic. city. Through art installations whose primary media is light, the artists point out
bolic level. Film strip projection without frames in black tone reminds of the darkness of the cinema. The idea behind it is the idea of jazz as a general music genre that a listener can the potential of urban locations. The idea behind the poster was lighting of unex-
The unlimited duration of films has been symbolically shown through an unusual elongated find in everyday occurrences, sounds and noises. The word jazz originated from ploited public spaces. On an unilluminated ground plan of the city Zagreb, where the
poster form, whilst the programme content has been continuously written with an unusual the hum of bar conversations and its symbolic meaning is a dialogue between the project was implemented, crucial information is provided and illuminated aiming
spacing between words. instruments and the audience taking place on the stage. Plurality of sounds and to point out the specific objective of the projectraising awareness of neglected
improvisation as the fundamental features of jazz have been expressed through public spaces irrespective of their importance. The logo of Scattered light is a free
a hand-written brush script typography. The range of colours suggests a night composition that is striving to highlight the restored venues against the backdrop
86 atmosphere whilst listening to jazz, spoilt only by the reflectors. of the remaining urban darkness. 87
hana pulji josipa petrov hana stojakovi helena benc

mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Stipe Bri
asistent/assistant:Tomislav Vlaini asistent/assistant:Tomislav Vlaini asistent/assistant:Tomislav Vlaini
Art & Music Festival PIFMeunarodni lutkarski festival 25 FPSMeunarodni festival eksperimentalnog filma i videa Animafest Zagreb 2014.
Art & Music Festival je multikulturna manifestacija mladih autora u podruju alternative Koncept plakata temelji se na ideji da se pojam lutke prikae razliitim svakodnevnim Autori eksperimentalnih filmova istrauju mogunosti medija filma, kreirajui ino- Ideja plakata je prikaz pokreta kao temeljne
glazbe i stripa. Festival ukljuuje glazbene koncerte i strip radionice, to je simboliki pred- predmetima. Kompozicija predmeta podsjea na fizionomiju ljudskog lica tako da vativne, nezavisne, nekomercijalne, niskobudetne i esto amaterske filmove koji znaajke animacije. Rije animafest ispi-
stavljeno kadrovima tipinim za jezik stripa. Neophodne informacije izvedene su tipografijom povezuje znaenje svakodnevnih predmeta s novim znaenjem na simbolikoj razini. se sastoje od 25 sliica u sekundi. Prema tom stavu, vizualno rjeenje plakata obli- sana je na razliitim papirima fotografira-
pisanom rukom kako bi se izrazila nesputana energija alternativne glazbe i kulture openito. Detalj ruke na plakatu upuuje na ulogu glumcaanimatora u lutkarskoj predstavi. kovano je pomou kompozicije razliitih dokumentarnih fotografija realne oko- nima dugom ekspozicijom, to na simbo-
line, organizirane u kompoziciju od 25 sliica koje tvore naziv festivala25 FPS. liki nain izraava temu pokretnih slika.
Art & Music Festival PIFInternational Puppet Theatre Festival
Art & Music Festival is a multi-cultural event of young artists in the area of alter- The idea behind the poster was to present the concept of a puppet through differ- 25 FPSInternational Festival of Experimental Film and Video Animafest Zagreb 2014
native music and comic strip. The festival includes music concerts and comic strip ent everyday objects. The composition of the objects reminds of human face phys- Experimental filmmakers explore the possibilities of film as a media, creating inno- The idea behind the poster is to present
workshops, which is symbolically shown through frames typical of comic strip form. iognomy and so it connects the meaning of everyday objects with a new meaning vative, independent, non-commercial, low budget and often amateur films com- movement as a fundamental principle of
Indispensable information has been provided through hand-written typography aiming at a symbolic level. The detail showing a hand on the poster points out the role of prising of 25 frames per second. Consequently, the visual solution of the poster animation. The word animafest has been
to express the unrestricted energy of both alternative music and culture in general. the actoranimator in a puppet theatre performance. was designed through a composition of different documentary photographs of written on different pieces of paper through
real environment, organised in a composition of 25 frames that account for the long exposure photography, which symbol-
name of the festival25 FPS. ically expresses the topic of moving pictures.
88 89
drugi semestar
Predmet / informacija
Povezivanje predmeta hana pulji marija matuli
mentor: Ivan Doroghy mentor: Nenad Dogan
i znaenja (odnos) asistent/assistant:Tomislav Vlaini asistentica/assistant: Romana Kajp
Prvi dodir studenata s marketinkom sferom dizajnerske struke K-plus, pageti

dogaa se upravo u ovom zadatku. Potrebno je dizajnirati Ideja za ambalau za tjesteninu teme-
vizualni identitet zadanog proizvoda (najee prehrambenog) lji se na to kako na jednostavan, jasan
i zanimljiv nain prikazati bitne zna-
i cjelokupan specifini informacijski sustav njegove ambalae, ajke proizvoda, potujui sve zadane
to podrazumijeva ne samo izraavanje do sada upoznatim podatke. Rjeenje ambalae ukljuuje
sredstvima u fazi vizualne sinteze, ve i iscrpnu poetnu ana- prikaz pageta od krutog oblika sirovog
proizvoda do mekoga, kuhanog oblika.
lizu znaajki proizvoda, njegove pozicije na tritu i odnosa Prijeko potrebno vrijeme kuhanja jasno
s konkurencijom te prepoznavanje odgovarajue ciljne skupine je oznaeno svakom minutom i pripa-
potroaa kojima je proizvod namijenjen. Prema rezultatima dajuim izgledom pageta tijekom pro-
cesa kuhanja.
takvog istraivanja studenti moraju sami artikulirati projek-
tni zadatak i koncipirati idejno rjeenje koje e posluiti kao K-plus, spaghetti
temelj konkretnoga dizajnerskog postupka. The idea for pasta packaging focuses on
how to present the basic product fea-
marta letica tures in a simple, clear and an interest-
second semester mentor: Nenad Dogan
ing manner, in accordance with all the
specified information. The packaging
Item / Information solution includes the presentation of
spaghetti from the stiff form of the raw
Connection between Objects product to the tender cooked form. The
time required for the cooking has been
and Meaning (Relationship) clearly shown by each minute and the
corresponding appearance of spaghetti
The first encounter of students with the sphere of marketing during the process of cooking.
is the specific objective of this task. Students are required to

design a visual identity of a specific product (generally a food
product) and the entire specific information system of its pac- Dukat, trajno mlijeko Gabrijel, kozje mlijeko
kaging, which implies using the means of expression studied thus esto se na ambalai trajnog mlijeka koristi slian vizualni prikaz poput Kozje mlijeko je prema istraivanjima zdravije od krav-
far in the phase of virtual synthesis, as well as providing a com- panjaka, livada ili samog mlijeka. Ideja je iskljuivo tipografijom sim- ljeg, a namijenjeno je potroaima kojima je najbitnija
boliki izraziti jednostavnost namirnice. Bijela pozadina podsjea na kvaliteta proizvoda. Prevladavajua bijela boja amba-
prehensive initial analysis of product features, its market posi- mlijeko, a plava i zelena boja tipografije ukazuju na ekoloki karakter lae sugerira zdravlje, a plavo-zelena boja slova i izbor
tion and the relationship with the competition and identification proizvoda. Bojama izdvajanje dijelova u rijei mlijeko, poput eko ili fonta upuuju na tradiciju kao postojanost kvalitete.
of the target market. According to the results of this research, lijek stvara se dodatna poruka o obiljejima proizvoda.
Gabrijel goat milk
students need to independently articulate the project task and Dukat, UHT milk According to research, goat milk is healthier than cow
create a conceptual design to be used as the basis during the A similar visual solution is mostly used on UHT milk packaging with milk and it is intended for consumers who primarily opt
specific design process. images of pastures, meadows or milk itself. The idea behind this for high quality products. The dominant white colour
packaging was to symbolically express the simplicity of this ingre- on the packaging suggests health, whilst blue-green
dient primarily through typography. The white background reminds letter colour and the choice of font stand for tradition
of milk, whilst the blue and the green typography points out the eco- that guarantees quality.
logical features of the product. Different colouring within the word
milk, such as eco or medicine (these are parts of the Croatian word
for milk) provides additional information about product features.
90 91
tea sinovi antonio klasi zoe arlija ramona mori

mentor: Ivan Doroghy mentor: Nenad Dogan mentor: Ivan Doroghy mentor: Nenad Dogan
asistent/assistant:Tomislav Vlaini asistentica/assistant: Romana Kajp asistent/assistant:Tomislav Vlaini asistentica/assistant: Romana Kajp
Zbregov, okoladno mlijeko Podravka, passata Kakao Bio&bio Ekozona, brano

Stil oblikovanja ambalae odreuje odabrana ciljana skupina koja esto Ideja vizualnog rjeenja ambalae ovog proizvoda bila je da se na simboliki nain Budui da je rije o oblikovanju organskoga, nepreraenoga kakaa, marke Bio&bio, Osnovni cilj dizajna ambalae za penino integralno brano bio je oblikovanje vizu-
konzumira okoladno mlijeko, a to su mladi. Ideja je bila oblikovati prikae pretvorba rajice iz vrstog stanja u tekuinu. To je prikazano pomou digi- rjeenjem se istie podrijetlo proizvoda, prikazujui cijelu ambalau kao poiljku iz alnog identiteta koji e potroau pribliiti proizvod te mu olakati donoenje izbora,
jednostavnu ambalau tipografskim elementima, a odgovarajuom talno izvedene ilustracije koritenjem trokuta i etverokuta koji tvore oblik rajice, Perua. Izbor tipografije i oblikovanje logotipa koji podsjea na otisnuti potanski ovisno o potrebama. Koristei se prikazom stiliziranih oblika kuhinjskog pribora za
bojom podsjetiti na karakter i specifinosti proizvoda. uz uporabu razliitih nijansi crvene, ute i smee boje. ig te smjetajem informacija o koliini i sastavu proizvoda unutar potanske marke izradu kruha, korisniku se jasnije prezentira sadraj unutar pakiranja i postupak pri-
i iga, jasno se iskazuje podrijetlo ovoga artikla. mjene. Ilustracijama izvedenima tehnikom linoreza oponaa se postupak izrade kruha.
Zbregov, chocolate milk Podravka passata
The style of the packaging design is defined by the selected target The idea behind the visual solution of the packaging for this product was to sym- Bio&Bio cacao Ekozona flour
group, comprising primarily of young people who frequently drink bolically show the transformation of tomato from its solid form into liquid. This was Since this is organic raw cacao powder by Bio&Bio brand, the solution needed to The specific objective of packaging design for whole meal flour was visual identity
chocolate milk. The idea behind was to design a simple packaging achieved through a digital illustration using a triangle and a quadrilateral which highlight product origin and the entire packaging was labelled as a parcel from Peru. design which gets closer to the consumers and makes it easier for them to choose
with typography design elements, whilst simultaneously reminding of create the form of a tomato, using different nuances of red, yellow and brown. The selection of typography and logo design which reminds of a stamped post the product depending on their needs. Through a presentation of stylised forms
both the character and the specific features of the product through office seal, as well as the arrangement of information on the quantity and prod- of bread-making tools, the user is more clearly presented the packaging content
corresponding colours. uct ingredients within the postage stamp and the post office seal, clearly show and the method of use. Linocut illustrations emulate the bread-making process.
the product origin.
92 93
school of design annual review 2015/2016 undergraduate programme/design coursevisual communications design,3rd semester
trei semestar
Informacijske strukture ljubica golubi
mentor: Nenad Dogan
Odnos teksta i slike usustavu (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- Godinje izvjee
vriranja meu zahtjevima razliitih strana ukljuenih u projekt, IZO (inspekcija zatite okolia i prirode)
u realnom trinom kontekstu. Kao to Inspekcija zatite okolia titi okoli propisima i zakonima,
tako i tekst izvjea tite fotografije prirode. Kao vizual odabrane su
fotografije hrvatske prirode, nacionalnih parkova, parkova prirode ili
third semester jednostavno oku ugodnih krajobraza. Stranice izvjea nisu uvezene
uobiajeno, ve obrnuto. Tako skrivaju fotografiju smjetenu unu-
Information structures tar stranica. Rupice u obliku kruga na svakoj duplerici otkrivaju da je
ispod fotografija i upuuju na to da se treba paljivo odnositi prema
Relationship between the Text and okoliu i ne dopustiti preveliku eksploataciju prirodnih resursa jer
i to dovodi do oneienja okolia.
the Photograph in the Layout Annual report
Inspection of Environmental and
The specific objective of this task is to create standards of annual Nature Protection
report layout (or a promotional brochure) for a particular busi- The text of the report is protected by nature photographs in the
ness entity. It is print media which is not intended for end-users same way as the Inspection of Environmental Protection protects the
of products and services of the business entity, since it focuses environment through regulations and laws. Photographs of Croatian
nature, Croatian national parks and nature parks or simply landscapes
on its potential partners and the current collaborators implying agreeable to the eye of the beholder have been selected to provide
that design needs to comply with the specific rules of communi- visual enhancement. The report pages have not been bound in the
cation in this form of media. It provides an opportunity for stu- normal way, but in reverse order. Hence, they hide a photograph
inside the pages. The small round holes on each centrefold reveal a
dents to become involved in a customary work of a professional photo beneath and imply that the environment needs to be taken
design studio or a marketing agency and display their creativity care of, avoiding over-exploitation of natural resources, as it results
in a task where the authors freedom of expression is rather limi- in environmental pollution.
ted. Consequently, this task is an immense challenge for ambi-

tions students as it implies skills of manoeuvring between the
requirements of diverse parties involved in the project against
the real market circumstances.
94 95
antonija jurina leonarda komen

mentor: Ivan Doroghy mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini asistent/assistant: Tomislav Vlaini
Godinje izvjee Jadrolinije

Godinje izvjee Tiskare Vjesnik
Glavna inspiracija godinjeg izvjea za najveu hrvatsku
Za temu godinjeg izvjea odabrana je Tiskara Vjesnik. Ideja je bila prikazati godinje izvjee tvrtke na for- kompaniju brodskog prometa Jadroliniju bile su nautike
matu nekadanjeg lista Vjesnik jer se tiskara i danas primarno bavi tiskanjem novina. Kao predloak za obliko- karte, njihov nain slaganja, ali i sloena navigacija kroz
vanje grida i layouta posluile su aktualne europske novine koje izlaze na slinom formatu. elja je bila obliko- rasporede reda vonje. Uz preglednu kartu hrvatske
vati stranice izvjea poput stranica novina sa stupcima teksta bez koritenja fotografija. Tako se na jednom obale, koja se protee veim dijelom izvjea, ono slui
dijelu stranice nalazi tekst o budunosti novina kao medija, a na drugom dijelu stranice u margini, tekst izvjea, i kao prirunik za openito informiranje putnika o ue-
tablice i grafovi financijskih izvjea. stalosti brodskih linija, tonim imenima luka te nainu
i duljini plovidbe, dok nam u isto vrijeme daje informa-
Annual Report for Vjesnik Printing Service cije o svim postignuima Jadrolinije u protekloj godini.
Vjesnik Printing Service was selected as the topic of the Annual Report. The idea was to present the annual
report of the company using the format of the former newspaper named Vjesnik, since the Printing Service is Annual Report for Jadrolinija
even currently primarily involved in newspaper printing. The current European newspapers printed in a simi- The main idea behind the design of the annual report
lar format were used as a template for the design of the grid and the layout. The idea was to design the pages for the largest Croatian liner shipping company Jadro-
of the annual report like newspaper pages with columns of text without using photographs. Hence, one part linija were nautical charts, the methods used for their
of the page provides a text on the future of newspapers as media, whereas the other part of the page margin composition, as well as a complex navigation through
provides the text of the Annual Report, tables and graphs of financial statements. ship time tables. In addition to a schematic map of the
Croatian coast, extending throughout most of the
report, the latter is also intended as a manual provid-
ing general information for the passengers concerning
the frequency of shipping lines, correct port names and
methods and duration of the cruise, whilst simultane-
ously providing information on all the achievements
of Jadrolinija during the previous year.
96 97
stella grabari
mentor: Nenad Dogan
Godinje izvjee Nacionalne i sveuiline knjinice u Zagrebu Annual Report of the National and University Library in Zagreb
Za godinje izvjee odabrana je Nacionalna i sveuilina knjinica koja uva knjige The Annual Report of the National and University library in Zagreb has been opted
i omoguuje njihovo koritenje. Ta je uloga bila polazina ideja za oblikovanje izvjea for, since the library preserves books and enables their use. That role of the library
na ijem su stranicama sloeni blokovi tipografije poput knjiga na policama. Svaka was the idea behind the design of the annual report whose pages feature typo-
knjiga ima svoj font te su koriteni razliiti fontovi kako bi se konceptualno nagla- graphic blocks reminding of books on the shelves. Each book has its own font and
ivana baanek sile razliiti karakteri knjiga. Listajui godinje izvjee uoavamo hrbate knjiga kao diverse fonts were used in order to conceptually emphasise different characters of
mentor: Nenad Dogan to ih vidimo i kad stojimo pred policom u knjinici. books. Upon turning the pages of the Annual Report one can see book spines that
asistentica/assistant: Romana Kajp can normally be seen when looking at a bookshelf in a library.
Godinje izvjee Narodnih novina Annual report of the Official gazette

Cilj ovog projekta je predstaviti poslovanje Narodnih novina upotrebom karakte- The specific objective of this project was to present the activities of the Official
ristinih papira i obrazaca u razliitim formatima. Sadraj izvjea razvrstan je u tri gazette through the use of characteristic paper and forms available in different for-
dijela, uvodni dio prikazan je u formatu A5, stanje drutva na A4 i temeljna finan- mats. The content of the Annual Report has been divided into three parts, where the
cijska izvjea drutva na NCL papiru. Uvodni dio manjeg formata sadri kuverte introductory part has been presented in A5 format, company status presented in
u kojima su misija, vizija te izvjee predsjednika Uprave. Obrasci i naljepnice isko- A4 format and basic financial statements presented on NCL paper size. The intro-
riteni su na nain da oblikuju grafikone, a mrea trgovakog papira slui za tablini ductory part is in a smaller format and includes envelopes containing the mission,
prikaz podataka. Na kraju se nalazi NCL papir za izlistavanje rauna te sadri finan- the vision and the report by the President of the Management Board. The forms
cijske rezultate poslovanja ovoga dionikog drutva. and the stickers have been used in order to form graphs, whilst graph paper has
been used for the presentation of the data in graphs. Finally, there is NCL paper for
invoices and it includes financial results of the activity of this company.
98 99
trei semestar
Informacijske strukture marijana imag stella grabari
mentor: Stipe Bri mentor: Nenad Dogan
Oblikovanje informacijske mape 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
karakteristike 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
to be analysed, as well as its general use and the communica-
tion methods of the advantages of the business entity. Moreover,
target market needs to be identified which will primarily benefit
from this calendar, both concerning information and aesthetics.
The calendar is intended for wider audiences than the annual Kalendar IKEA Kalendar Muzej prekinutih veza
report and hence there is more freedom and flexibility in this Koncept kalendara inspiriran je Ikeinim flat packom, odnosno ravnim Muzej prekinutih veza nastao je iz ideje da nakon svake ljubavne veze ostaju pred-
paketima u koje su se pakirali posebno dizajnirani sklopivi predmeti meti koji posjeduju odreeni emotivni naboj. Ideja kidanja veza bila je osnova da se
communication media. Nevertheless, a creative balance needs radi smanjenja trokova skladitenja i transporta. Ideja je prikazati kalendar tretira kao prekidajuu vezu. Svaka je stranica kalendara dupla, na pred-
to be achieved between the original designers interpretation odnos 3D2D, odnosno sklopiv dizajn s poznatim skandinavskim njoj se nalaze dani u mjesecu koji se kidaju dan za danom i tako postupno otkrivaju
of the business entity and fully meeting the objectives of the minimalizmom. Oblikovan je stolni pop up kalendar u Ikeinim bojama, priu koja je prikazana na listu ispod s prikazom predmeta iz muzeja. Koritena
koji prikazuje prepoznatljivu formu rimskih brojeva u 3D prostoru, kao tipografija je dvanaest razliitih ljudskih rukopisa, ime je na simbolian nain izra-
media which is still considered merely as promotional material. asocijaciju na namjetaj koji se po potrebi moe i sklopiti. en humani karakter sadraja muzeja.
IKEA Calendar Calendar of the Museum of Broken Relationships

The concept of the calendar was inspired by the Ikea flat pack, i.e. The idea behind the Museum of Broken Relationships was that after each romantic
flat packages containing especially designed folding objects aiming relationship there are emotionally charged objects. The calendar was treated as a
to cut the costs of warehousing and transport. The idea behind was broken relationship against the backdrop of the idea of breaking up of relationships.
to show the relationship between 3D and 2D, i.e. folding design Each calendar page is double-sided, the front page shows the days of the month
with the well-known Scandinavian minimalist design. Hence, a pop that are torn away day by day, hence gradually revealing the story presented on
up desk calendar using Ikea colours was designed, which presents the page below showing the museum exhibits. The typography used comprises of
a recognisable form of Roman numerals in 3D striving to remind of twelve different handwritings, which symbolically expresses the humane features
the furniture that can be folded if necessary. of the museum contents.
100 101
ivana baanek ljubica golubi

mentor: Nenad Dogan mentor: Nenad Dogan
Vans kalendar Kalendar za Muzej uline umjetnosti

Cilj ovog projekta je oblikovati kalendar namijenjen mladima kojima je vano sau- Kalendar je nastao kao rezultat promiljanja o pojmu uline umjetnostistreet
vati dobar dio slobodnog vremena za odreene sportske aktivnosti. Kalendar pred- arta. Cilj je bio educirati javnost to je street art i promijeniti uobiajene predrasude
stavlja tri sporta koje Vans sponzorira: snowboarding, skateboarding i BMX. Spor- o takvom obliku umjetnikog izraavanja. Glavno vizualno sredstvo je fotografija
tovi se simboliki prikazuju linijamatragovima koje se stvaraju prilikom vonje murala u ulinom okruju koji su u odreenoj interakciji s prolaznicima, ime se
na snijegu, rampama i tlu u dinaminoj kompozicija s prikazima otisaka potplata eljelo potencirati street art kao promiljeni sastavni dio nae okoline. Svi prikazani
karakteristinih za Vans obuu. murali nastali su kao dio projekata vezanih uz djelovanje Muzeja uline umjetnosti.
Vans calendar Calendar for Street Art Museum

The objective of this project is to design a calendar intended for young people who The calendar was created as a result of reflection on the concept of street art. The
are aiming to have a large amount of their free time for specific sports activities. objective was to educate the general public about street art and break the usual
The calendar presents three sports sponsored by Vans: snowboarding, skateboard- prejudices on this form of artistic expression. The main visual instrument is the pho-
ing and BMX. The sports are symbolically represented with linestraces made dur- tography of street murals which are in a specific interaction with the passers-by,
ing riding in the snow, on the ramps and on the ground in a dynamic composition aiming to emphasise street art as a meditative and an integral part of our envi-
presenting the footprints typical of Vans footwear. ronment. All the presented murals were created as a part of projects linked with
activities of Street Art Museum.
102 103
antonija jurina
asistent/assistant: Tomislav Vlaini ivot u ritmu vremena
Tema kalendara je ivot u ritmu vremena te se njegovim
oblikovanjem eljelo izraziti dinamiku i ritam kao simbo-
liki izraz tijeka vremena. Inspiracija je bio analogni sat te
praenje vremena pomou kazaljki koje nakon dvanaest
brojki zatvore puni krug, pri emu kazaljke stvaraju kutove
razliitih stupnjeva. Crni segmenti zatvaraju kutove od 30,
60 i 90 stupnjeva, a simboliki predstavljaju tromjeseje.
Svakim sljedeim mjesecom crna povrina se poveava
do potpuno crnog lista kalendara. Kompozicija brojki
koje oznauju dane prate oblikom crnu plohu i zajedno
s njom ine jedinstvenu vizualnu cjelinu.
Life attuned to the rhythm of the times

The topic of the calendar islife attuned to the rhythm
of the times and its designed was aimed at expressing
the dynamics and the rhythm as a symbolic expression
of the flow of time. The inspiration was provided by an
analogue watch and tracking of time using the hands of
the clock which complete a full circle after 12 numbers
forming angles of diverse degrees. The black segments
close 30, 60 and 90 degree angles, symbolically repre-
senting a three-month period. Upon each subsequent
month the black surface increases until the entire cal-
endar page becomes black. The composition of numbers
indicating the days, whose form is in harmony with the
black surface, creates a unique visual unity.
leonarda komen
KalendarAstronomski centar Rijeka CalendarAstronomical Centre Rijeka

Praenje zvijezda od davnina je bilo kljuno za navigaciju kroz prostor i vrijeme Observation of stars has been fundamental for navigation through space and time
pa je otuda proizala ideja za oblikovanje kalendara Astronomskog centra u Rijeci. since ancient times and hence the ides to design a calendar for Astronomical Centre
Koncept se temelji na mijenama zvjezdanog neba vezanih za izmjenu godinjih doba. Rijeka. The concept is based on starry sky cycles linked with the alteration of seasons.
Listovi kalendara prikazuju zvjezdano nebo odreenog razdoblja tekue godine, Calendar pages show the starry sky of a specific period of the current year, with
s perforiranim tokama koje tvore astroloke likove. Svjetlo prolazi kroz perfora- perforated points that create astrological signs. The light passes through the perfo-
cije uz koje su vezani datumi, ime kalendar postaje stolna lampa koja svjetlom na rations with which dates are linked, which transforms the calendar into a desk lamp
okolinu projicira raspored zvijezda tijekom odreenog razdoblja godine. Kalendar that with its light projects the arrangement of stars during a specific period of the
tako postaje i mala kuna edukativna zvjezdarnica. year. Hence, the calendar becomes a small educational observatory in ones home.
104 105
school of design annual review 2015/2016 undergraduate programme/design coursevisual communications design,4th semester
etvrti semestar
Informacijski sustav
ivana baanek
Oblikovanje vizualnog identiteta mentor: Nenad Dogan
i signalistike godinja nagrada studija dizajna / annual awards at the school of design
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 vladinoga ili nevladinog
sektora, koje djeluju primarno u sferi javnog dobra. Zadatak
nakon analize subjekta i istraivanja njegova socijalnoga, poli-
tikoga i ekonomskog aspekta, podrazumijeva dizajn znaka
i logotipa, definiranje njihovoga odnosa, odabir karakteristine
tipografije, definiranje sustava boja i dizajn svih korporativnih
aplikacija u kojima se ogleda primjena osnovnoga vizualnog
identiteta. Signalistika obuhvaa dizajn informacijskog sustava
i pojedinanih elemenata za oznaivanje i komunikaciju u pro-
storima javnog sadraja.
fourth semester
Information System Arena Zagreb
Najvea sportska arena u Republici Hrvatskoj, Arena Zagreb, zbog
Design of Visual Identity and svojega specifinog oblika postala je simbolom grada. Dvorana je
namijenjena odravanju raznih sportskih, kulturnih i drugih dogaaja.
Signalistics Cilj je bio oblikovati prepoznatljiv vizualni kod u skladu s karakterom
ove dvorane. Znak je sloen od zaobljenih linija inspiriranih lame-
This complex task implies design of visual identity system for lama Arene, ija gradacija debljina prati oblik graevine, sugerirajui
dinamiku i funkcionalnost prostora. Zagrebaka Arena podijeljena je
a specific entity and the set of rules regulating it. Hence, students u etiri sektora koji su kodirani bojama (uta, crvena, plava i zelena)
need to become involved in the creation of the entire manual radi jednostavnijeg snalaenja u prostoru.
of graphic standards of visual communication. Diverse entities
Arena Zagreb
comprising of institutions, companies and associations both from
The largest sports arena in the Republic of Croatia, Arena Zagreb, has
the public and the non-governmental sector operating primarily become a landmark of the city due to its specific form. The sports
for the public benefit. It is a demanding task which, following arena is intended for different sports, cultural and other events. The
the analysis of the entity and the research on its social, political specific objective was to design a distinctive visual code in accord-
ance with the character of this sports arena. The logo comprises of
and economic aspects, requires design of a sign and a logo, the rounded lines inspired by the curved columns of Arena, whose thick-
study of their relationship, a selection of a specific typography ness gradation accompanies the form of the facility, suggesting the
and the design of all corporate applications showing the appli- dynamics and the functionality of the premises. Arena Zagreb is
divided into four sectors co-ordinated by colours (yellow, red, blue
cation of a basic visual identity. Signalistics includes information and green) aiming to simplify spatial navigation.
system design and its separate components for signalling and
communication in public areas.
106 107
ljubica golubi leonarda komen

mentor: Nenad Dogan mentor: Ivan Doroghy
asistentica/assistant: Romana Kajp asistent/assistant: Tomislav Vlaini
Filozofski fakultet Sveuilita u Zagrebu Bazeni Kantrida

Filozofski fakultet Sveuilita u Zagrebu je najvea i najstarija hrvatska Ovaj rijeki sportsko-rekreacijsko-zabavni kompleks s pet bazena
znanstvena i visokokolska ustanova u humanistikim i drutvenim razliitih dimenzija u neposrednoj je blizini mora. Glavna ideja za novi
znanostima. Primarna joj je djelatnost obrazovanje studenata, a ostale vizualni identitet i sustav signalistike bila je prikazati vodenu povr-
djelatnosti su: znanstveno-istraivaka aktivnost, izrada i provedba inu bazena. Inspiracija je potekla iz grafike interpretacije linija za
znanstvenih, istraivakih i strunih projekata i slino. Fakultet nudi odreivanje duljina na dnu bazena i traka s bovama na povrini vode,
mnogo razliitih studija, a na temelju analize znaajki fakulteta obli- koje dijele bazen na uzdune linije. Logotip je neuobiajene duine
kovan je vizualni identitet koji ukazuje na mrenu povezanost mno- uz mogunost skraenja na tri razliite dimenzije, ovisno o raznim
gih smjerova i razliitih djelatnosti. Znak je sastavljen od pravokut- primjenama. Sustav signalistike s tablama, smjerokazima i piktogra-
nih elemenata koji su rasporeeni u pravilnoj mrei i ine kraticu ff . mima odabranom tipografijom prati grafiki jezik logotipa.
Faculty of Philosophy at the University of Zagreb Kantrida swimming pools

Faculty of Philosophy at the University of Zagreb is the largest and the This Rijeka-based sports-recreational and entertainment venue with
oldest Croatian scientific and higher education institution in Humanities five swimming pools of different dimensions is located in the imme-
and Social Sciences. Its primary activity is student education, whilst diate vicinity to the sea. The idea behind the new visual identity and
it is also involved in scientific and research activity, preparation and signalistics system was to show the water surface of the swimming
implementation of science and research and professional projects pool. The inspiration originated from graphic interpretation of mark-
amongst others. The Faculty provides a large number of different ings for determining length on the floor of the swimming pool and
study programmes, whilst the visual identity was designed based on racing lanes and ropes with buoys on the water surface that divide
the analysis of the features of the faculty which shows the network the swimming pool into parallel lanes. The logo is of an unusual length,
connection amongst a broad range of departments and different yet there is a possibility to shorten it into three different dimensions,
activities. The logo comprises of rectangular elements arranged in depending on the purpose. Signalistics system with boards, signs and
a regular network and form the abbreviation ff . pictograms are accompanied by the graphic language of the logo
through a selected typography.
108 109

mirta filipovi
mentor: Nenad Dogan
Puko otvoreno uilite Zagreb

Ova ustanova nudi raznovrsnu ponudu teajeva za poslovno osposobljavanje, usa-
vravanje i hobistike teajeve, gdje se edukativni sadraji stalno unaprjeuju i ire
kao odgovor na zahtjeve potencijalnih polaznika. Vizualni identitet funkcionira
kao nadogradnja na osnovni znak, grana se i prilagoava formatu i informacijama
koje je potrebno istaknuti. Signalistika prati princip preklapanja i stoga je predvi-
eno da bude izraena od kombinacije bojanoga i prozirnog stakla. Informacijski
totem nalazi se na svakom katu i nudi tlocrtni prikaz kata i informacije o tome koji
se sadraji nalaze na ostalim katovima.
Public Open University Zagreb

This institution provides a heterogeneous programme of courses for professional
development, professional training and do-it-yourself courses where educational
programmes are being continuously enhanced and expanded in order to meet the
requirements of potential attendees.The visual identity functions as an upgrade
to the basic logo, it ramifies and adjusts to the format and the information that
needs to be highlighted. Signalistics accompanies the folding principle and, accord-
ing to plans, is to be made from a combination of stained and transparent glass.
The information totem can be found on each floor and it provides a ground plan of
tanja modrakovi the floor and the information on the type of programmes to be found on other floors.
Muzej suvremene umjetnosti

Vizualni identitet Muzeja suvremene umjetnosti prikazan je u obliku trodimenzio-
nalne forme u pokretu koji promatrau omoguuje sudjelovanje u njegovu kreira-
nju. Svaka forma zaustavljena u pokretu ini novo vizualno rjeenje koje funkcionira
ravnopravno i koristi se prema slobodnom izboru. Ideja je bila jednostavnim obli-
kom zadrati neutralnost u odnosu na sadraj koji se nalazi u muzeju, a istodobno
omoguuje iroku primjenjivost. Koncept signalistike je minimalistiki, decentan
i podreen primarnom sadraju muzeja.
Museum of Contemporary Art

The visual identity of the Museum of Contemporary Art is in the form of a three-di-
mensional form in movement that provides the beholder with the opportunity to
participate in its creation. Each form whose movement has been stopped provides
a new visual solution which functions on an equal footing based on free choice.
The idea behind was to maintain neutrality in relation to objects on display in the
museum through a simple form, whilst simultaneously enabling broad applicability.
The concept of signalistics is minimalist, decent and subordinate to the primary
museum holdings.
110 111
stella grabari roko jurjevi

Glavni kolodvor Zagreb

Glavni kolodvor u Zagrebu najvei je eljezniki kolodvor na podruju
Republike Hrvatske kojim prolaze glavni putni i teretni vlakovi iz cijele
drave. Zgrada kolodvora, izgraena u neoklasicitikom stilu, naravno,
mjesto je dolaska i odlaska putnika, to je bila polazna osnova za
oblikovanje znaka. Signalistika je jednostavno oblikovana radi lakeg
snalaenja u kolodvorskom prostoru.
Central Railway Station of Zagreb

The Central Railway Station of Zagreb is the largest railway station
in the Republic of Croatia through which the main passenger and
freight trains pass from throughout the country. The railway station
building constructed in neo-classical style, is a venue of arrival and
departure of passengers, which was the idea behind the logo design.
The design of the signalistics is simple striving to facilitate the nav-
Nacionalna i sveuilina knjinica u Zagrebu igation at the railway station premises.
Svrha ovog projekta bio je oblikovati prepoznatljivi vizu-
alni identitet koji e naglasiti Nacionalnu i sveuilinu
knjinicu kao otvorenu ustanovu, kako prema razliitim
korisnicima tako i prema novim tehnologijama. Znak
simboliki odraava postupak biranja i vaenja grae iz
knjinice, bez obzira u kojem je ona obliku. Signalistika
Nacionalne i sveuiline knjinice oblikovana je tako da
se piktogrami, tlocrti te sve ostale informacije nalaze
na tablama usustavljenih veliina. Informacijska tabla
zamiljena je kao simboliki bookmark (straninik) koji
oznauje policu sa sadrajem koji traimo.
National and University Library in Zagreb

The specific objective of this project was to provide
a distinctive visual identity aiming to highlight the
importance of the National and University Library in
Zagreb as an open institution, both towards different
users and new technologies. The logo symbolically
reflects the procedure of selection and structure from
the library, irrespective of the form. The signalistics of
the National and University Library has been designed
so that pictograms, ground plans and all the remain-
ing information are provided on boards of systematic
size. The idea behind the information board is to pro-
vide a symbolic bookmark containing the shelf with
the required content.
112 113
martina petri
mentor: Stipe Bri
Studentski centar Zagreb Student Centre Zagreb

Studentski centar je dinamian umreen sustav razno- Student Centre is a dynamic connected system of het-
vrsnih sadraja u kojemu je omogueno koritenje erogeneous programmes in which the opportunity to
razliitih sadraja tijekom dana. Upravo na trima aso- use different programmes throughout the day is pro-
cijacijama: raznovrsnost, mrea i dinamika, izgraen vided. The visual identity of the Student Centre has
je vizualni identitet Studentskog centra. Osnovni znak been designed primarily based on three concepts:
oblikom sugerira otvorenost i dinamiku unutar pravilne diversity, network and dynamics. The form of the basic
strukture, a koritenje pet razliitih boja simbolizira logo suggests openness and dynamics within a reg-
raznolikost. Glavnih pet sadraja unutar Centra imaju ular structure, whilst the use of five different colours
zasebne podidentitete, koji zajedno ine cjelinu. Sustav symbolises diversity. The principal five programmes
marijana imag signalistike ine etiri vrste tabli za jednostavno snala- within the Centre have separate sub-identities which
mentor: Stipe Bri enje u interijerima i za navigaciju u vanjskom prostoru. make up for a separate entity. Signalistics system
comprises of four types of boards for simple navi-
gation in interiors, as well as for outdoor navigation.
Hotel Dubrovnik Dubrovnik Hotel

Hotel je smjeten u samom srcu Zagreba, a ideja za The hotel is located in the immediate centre of Zagreb,
vizualni identitet temelji se na sustavu ruta kretanja whilst the idea for the visual identity is based on the
turista po gradu. Znak hotela je pravilan i centralno system or tourist routes around the city. The hotel logo
postavljen s linijama oko njega. Znak je izveden linij- is regular and centrally placed with lines surrounding it.
ski, a najvie linija spajaju se upravo u njegovu centru. The logo is created with lines and the largest number
Zapaamo li znak kao cjelinu moemo uoiti i obrise of lines meet in its centre. In case one considers the
pet glavnih dubrovakih kula kao asocijaciju na grad logo as a separate entity, one can notice also the con-
Dubrovnik, ime su hotel u Zagrebu i grad Dubrovnik tours of Dubrovnik towers as a reminder of the city of
simboliki povezani. Dubrovnik, to provide a symbolic connection between
the Zagreb-based hotel and the city of Dubrovnik.
114 115
peti semestar
Komunikacijski sustav ivona vuri petra kovaevi
mentor: Nenad Dogan mentor: Stipe Bri
Identitet skupine proizvoda asistentica/assistant: Romana Kajp
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
the last task during the second semester of undergraduate study.
Whilst the latter focused on designing the visual identity of indi-
vidual food products and design of the information system of its
packaging, the current task requires the same whilst focusing
on three related products in the same sector and presenting
them as a unique brand which needs to be created by the stu-
Trenton proizvodi od maslina Tjestenine Paradiso
dent and designed in accordance with an existing brand. Each
Za oblikovanje ambalae odabrani su proizvodi dalmatinske tvrtke Tjestenine Paradiso su proizvodi niega cjenovnog ranga, namijenjeni kupcima sla-
product needs to be provided with its own identity, yet it needs Trenton. Ekstra djeviansko maslinovo ulje je obvezni sastojak svih bijih materijalnih mogunosti. Kao ciljna skupina odabrana je studentska populacija
to be coherent with the framework visual identity of the brand. Trentonovih proizvoda, a dobiva se iz autohtone dalmatinske sorte koju povezujemo s brzim i dinaminim nainom ivota, to je na simboliki nain
Independent work on the project task is preceded by analytical maslina zvane oblica. Jedna od zanimljivosti vezane za ovu sortu je trebalo izraziti u oblikovanju ambalae. Ilustracijama predmeta koji asociraju na
ta to ima nevjerojatno velik broj razliitih sinonima diljem Dalmacije. studente i studentski ivot eljelo se na simboliki nain prikazati studentsku sva-
research of the entity and market research which are both cru- Ta je injenica iskoritena za oblikovanje ambalae ilustracijama listova kodnevnicu. Dinaminom kompozicijom vizualnih elemenata dodatno je simboliki
cial in this type of work and customary in the future professio- masline i rukom ispisanih razliitih naziva ove autohtone masline. izraen karakter studentske populacije.
nal life of the student.
Trenton olive products Paradiso pasta
Products of the Dalmatian company Trenton were selected for pack- Paradiso pasta is classified as a lower-price bracket product, intended for customers
aging design. Extra virgin olive oil is an essential ingredient of all the with lower purchasing power. The target group is selected student population that
products by Trenton and it is obtained from a local Dalmatian olive is normally linked with fast-paced and dynamic life which needed to be expressed
variety named Oblica. A curiosity concerning this variety is that its in a symbolic way through packaging design. Illustrations of objects reminding of
name has an incredible number of versions throughout Dalmatia. students and student life were intended to present everyday life of students in a
That fact has been used for a packaging design permeated with symbolic way. The dynamic composition of visual features additionally symboli-
olive leaves and abounding with handwritten diverse names of this cally expressed the character of student population.
local olive variety.
116 117
anja nikoli ena begevi

mentor: Stipe Bri mentor: Ivan Doroghy
Zaini Kotany Lino djeja hrana

Zaini su dijelovi biljaka koji utjeu na miris i okus namirnica i ine ih ukusnijima. Osnovna ideja u oblikovanju ambalae djeje hrane
Zaini imaju vrlo dugu povijest, a snano su povezani s izvornim lokalitetom, poput Lino bila je kako ambalaom pripomoi jednostavnijem
lovora koji je bio sveta biljka u antikoj Grkoj. Cilj oblikovanja ambalae bio je hranjenju djece najmlae dobi. Rjeenje je da ambalaa
naglasiti porijeklo zaina i svrstati zaine prema lokalitetu. Lokaliteti su simboliki poslui kao dodatna motivacija i za roditelja i za dijete
predstavljeni tradicionalnim i prepoznatljivim likovnim uzorcima. Uzorci su djelo- kako bi proces hranjenja tekao bez otezanja. Dominantni
mino reducirani kako bi bili meusobno usklaeni. Ambalaa je oblikovana u obliku vizualni dio ambalaa ine ilustrirani likovi ivotinja koji
trostranih prizmi koje na simbolian nain odraavaju egzotini karakter zaina, su popraeni kratkim priama, to omoguuje da in
a istodobno ih izdvaja od slinih proizvoda. hranjenja postane i mala obiteljska predstava.
Kotanyi spices Lino children food

Spices are parts of plants that affect both the smell and the taste of ingredients, The main idea behind the design of the packaging for
enhancing their taste. Moreover, spices have a long history and they are strongly Lino children food was how to simplify feeding the
connected with their original locality, just like laurel which was considered a sacred youngest children through packaging. The solution
plant in ancient Greece. The objective of packaging design was to emphasise the provided was to use the packaging to additionally
origin of the spices and classify spices according to the locality. The localities have motivate both parents and children during the feeding
been symbolically presented through traditional and recognisable visual arts pat- process and hence accelerate it. The dominant visual
terns. The samples have been partially reduced in order to be mutually harmonised. aspect of the packaging comprises of illustrated ani-
The packaging has been designed in the form of three-sided prisms that in a sym- mal characters accompanied by short stories which
bolic way reflect the exotic features of spices and simultaneously differentiates transforms the act of feeding into a short theatrical
them from similar products. performance for the entire family.
118 119
paula obat vita vrebac

Twinings ajevi Pekmezi Bon Mamman

Ekspresivan izgled ambalae ajeva dobiven je oslikavanjem amba- Bon Mamman je brand pod kojim se proizvode pekmezi prema tra-
lae tehnikom tempere i akvarela. Svaka ambalaa bojom i kompo- dicionalnoj francuskoj recepturi. Za francusku tradiciju proizvodnje
zicijom elemenata izraava osjeaje u skladu s okusom pojedinog i konzumacije pekmeza vezuju se brojne anegdote o francuskim povi-
aja. Za English Breakfast to je svjeina, prozranost i lakoa, za Earl jesnim linostima. Za Ivanu Orleansku legenda tako kae da je prije
Grey to je osjeaj teine punog okusa iz kojeg izbijaju voni akcenti, svake bitke jela pekmez od dunje, za Nostradamusa se pria kako je
a za Darjeeling je koritena paleta boja asocijativno vezana uz grad smatrao da je pekmez klju vjene ljepote i zdravlja, sve do Marie
iz kojeg potjee ovaj aj. Tipografijom je simboliki izraena tradi- Curie kojoj je navodno omiljena razbibriga bila spravljanje pekmeza.
cija kompanije Twinings. Likovi su ilustrirani na poklopcu i zatitnom papiru staklenke ispod
kojih se nalazi tekst koji objanjava povezanost lika s pekmezom.
Twinings branded tea
The expressive appearance of the tea packaging was the result of Bon Mamman fruit preserves
the drawings created using the technique of gouache and watercol- Bon Mamman is a brand under which marmalades are produced
our. Each packaging through the colours used and the composition according to traditional French recipes. A large number of anecdotes
of features expresses feelings in harmony with the taste of a specific about French historical figures are linked with the French tradition
tea. In case of English Breakfast Tea we are talking about freshness, of production and consumption of marmalade. Hence, according to
airiness and lightness, whereas Earl Grey implies a feeling of the the legend, Joanne of Arc used to eat quince marmalade before each
importance of its full taste permeated with a touch of fruit flavour. battle, whereas rumour has it Nostradamus believed marmalade
In case of Darjeeling, on the other hand, a colour range was used that was the key to eternal beauty and health and Marie Curies favou-
reminds of the city this tea originates from. Typography symbolically rite pastime was marmalade making. The historical figures are illus-
expresses the tradition of the company Twinings. trated on the marmalade lid and on the protective packaging of the
jar beneath which there is a text explaining the connection between
the historical figure and the specific marmalade.
120 121
peti semestar
Komunikacijski sustav petra kovaevi mirjam milas
mentor: Stipe Bri mentor: Stipe Bri
Oglaavanje komentor/comentor:Veljko van komentor/comentor:Veljko van
Kao i u prethodnim semestrima, i sada je drugi zadatak nepo-

sredno povezan s prvim, ali ovaj put se istim subjektom bavi
drugi student, s ciljem oblikovanja oglaivakih sredstava za
skupinu proizvoda, to je standardni dio promotivnog procesa.
Zadatak je teak utoliko to student sve elemente oglaivake
kampanje mora osmisliti sam (na temelju prethodno dizajni-
ranoga vizualnog identiteta robne marke)naslov i slogan,
slikovne elemente (fotografiju ili ilustraciju), seriju plakata
i oglasa te cjelovitu strategiju implementacije tih oglasa
u javni prostor, takoer prema rezultatima samostalno pro-
vedenog istraivanja. Tako je student istodobno i marketinki
strunjak, i dizajner, i copywriter, i ilustrator, a mentori i asi-
stenti nalaze se u ulozi svojevrsnih art direktora. Cilj zadatka
usvojiti je osnove svih vjetina koje se u marketinkoj praksi
smatraju neizostavnima.
Kampanja za zaine Kotanyi
fifth semester Mladost, leernost, sloboda, traenje i isprobavanje,
samo su neke od znaajki ciljne skupine kojoj su nami-
Communication System jenjeni zaini Kotanyi. Kampanja je namijenjena aktiv-
nim osobama spremnim na kulinarske izazove kojima
Advertising otkrivaju i izraavaju vlastite osobnosti, drei da
u kuhinji kao i u ivotu male stvari ine razliku. Kam-
As in previous semesters, the second task is directly connected panju ini niz oglasa s tri enska i tri muka karaktera,
a sadre desetak kljunih detalja koji otkrivaju karak-
with the first task, yet this time another student needs to deal Kampanja za proizvode Lino tere koje se moe povezati sa znaajkama odreenog
with the same entity in order to design advertising methods for Kao smjer za oglaavanje skupine Podravkinih proizvoda odabrana je zaina. Curry kao intenzivan, promjenjiv i nedokuiv,
a group of products which is a standard constituent in a pro- esta rasprava o tome kako se najbolje spravlja okolino. Slogani govore cimet kao egzotian, mistian, zanosan i senzualan,
o razliitim pristupima pripremi okolina, Medolina ili Frutolina s istim a chilli kao prodoran, dominantan i iskljuiv.
motional process. It is a demanding task since students need to
ciljem: pripremiti ukusan obrok. Kampanja je namijenjena irokoj ciljnoj
independently design all the features of the advertising cam- skupinod djece, mladih do odraslih, s tim da za svaku ciljanu skupinu Campaign for Kotanyi spices
paign (based on the previously designed visual identity of the postoji odreeni sadraj. Kako proizvod uglavnom kupuju roditelji bilo Youth, casualness, freedom, search and experimen-
brand)the title and the slogan, graphic elements (photography je bitno naglasiti zdrave i hranjive vrijednosti tih proizvoda. Polazei od tation are only several features typical of the target
pretpostavke da se radi o mlaim roditeljima sklonim komuniciranju group for Kotanyi spices. The campaign is intended for
and illustration), a series of posters and advertisements, as well putem drutvenih mrea, hashtagovima se informacije o proizvodu active people prepared to take up culinary challenges
as the entire strategy for implementation of the advertisements kao i naini pripremanja jela mogu razmjenjivati i tako. to reveal and express their own personalities, believ-
in public space in accordance to the results of independently ing that both in the kitchen and in life little things can
Campaign for Lino products make a big difference. The campaign comprises of a
conducted research. Hence, students are simultaneously both vast array of ads with three female and three male
The frequently held discussion about the best way to prepare oko-
marketing experts and designers, copywriters and illustrators, lino has been focused on upon the selection of the direction to take characters and they include a dozen of crucial details
whilst mentors and assistantants have a role of some kind of in advertising of a group of Podravka products. The slogans address that reveal the characters which can be linked with
the issue of different approaches to preparation of okolino, Med- the features of a specific spice. Curry has been pre-
art directors. The specific objective of the task is to master the sented as intense, changeable and inaccessible, cin-
olino or Frutolino all with the same goal: preparation of a tasty meal.
basics of all the fundamental skills in marketing. The campaign is intended for a broad target groupranging from namon as exotic, mystical, captivating and sensual,
children and youth to adults, with specific content provided for each whereas chilli as penetrating, dominant and exclusive.
target group. Since these products are primarily purchased by parents,
it is important to highlight their healthy and nutritional values. Since
we are primarily talking about young parents prone to communica-
tion through social networks, information on products and methods
of preparation can be exchanged also using hashtags.
122 123
paula obat ivona vuri

komentor/comentor:Veljko van komentor/comentor:Veljko van
Kampanja za proizvode Lino

Rjeenje se oslanja na glavne likove prikazane na amba-
lai kao dominantni element komunikacije s djecom
dovoljnog uzrasta da ih mogu prepoznati te roditeljima
iskazati svoje prehrambene elje. Likovi su postav-
ljeni u duhovite situacije koje povezuju njihov karakter
s odreenim okusom. Slogani su osmiljeni u formi alji-
vih rima koji podupiru likove u prikazanim situacijama,
a istodobno pozivaju djecu na konzumaciju Lino proizvoda.
Campaign for Lino products

The solution focuses on the main characters illustrated
on the packaging as a dominant feature in communi-
cation with children old enough to recognise them and
tell their parents about their food wishes. The charac-
ters have been placed in funny situations linking their
features with a specific taste. The slogans have been
written in the form of humorous rhymes accompany- Kampanja za proizvode Eva
ing the characters in the illustrated situations, whilst Cilj oblikovanja oglasa za konzervirane riblje proizvode
simultaneously inviting children to opt for Lino products. Eva bio je dodatno motivirati kupce razliitih dobnih
skupina. Ideja je bila na duhovit nain pribliiti ove pro-
izvode, prijedlozima za spremanje jednostavnih jela,
naglaavajui situacije karakteristine za odreenu
ciljnu skupinu. Kao osnovni element u komunikaciji
koritene su fotografije razliitih jela koje povezujemo
s odabranom dobnom skupinom. Uz naziv pojedinog
jela svaki plakat sadri i istu poruku koja je ujedno
i hashtag radi lake razmjene na drutvenim mreama.
Campaign for Eva products

The objective of ad design for Eva canned fish prod-
ucts was to additionally motivate customers of differ-
ent age groups. The idea behind was to present these
products in a witty way, through recommendations
for preparation of simple meals, pointing out situa-
tions typical for a specific target group. Photographs
of different dishes normally linked with a selected age
group were used as a basic element of communica-
tion. In addition to the name of each dish the poster
provides a message that is also a hashtag aiming to
facilitate its sharing on social networks.
124 125
esti semestar
Komunikacijski sustav
Komunikacija autorskoga karla oti vita vrebac
mentor: Ivan Doroghy mentor: Nenad Dogan
umjetnikog sadraja asistent/assistant: Tomislav Vlaini 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
kazalite. Cilj je oblikovati seriju plakata za promociju tri tea-
tarska sadraja odabrana iz repertoara jednoga kazalita, pri
emu valja podjednako voditi rauna o bazinom potivanju
literarnog predloka predstava, odraavanju specifinosti reda-
teljskih 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 System
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 Teatar &TD Teatar &TD
Ja koja imam nevinije ruke Potop, Ko rukom odneseno
design to interpret another authors theatre performance which
Odabrana tehnika oblikovanja plakata je kola koji doputa slobodu S obzirom na to da je Teatar &TD kazalite sklono eksperimentalnom
transforms them into participants in a collective creative pro- interpretacije odabrane teme, to je blisko karakteru Teatra &TD. izrazu, koncept oblikovanja plakata je inspiriran upravo tom znaaj-
cess specific for the theatre. The objective is to design a series U predstavi nastaloj prema sadraju pjesme V. Parun, Ja koja imam kom. Plakati su raeni tehnikom ilustrativnoga kolaa koji je digital-
of posters for the promotion of three featured theatre contents nevinije ruke, glavna junakinja djeluje kao dijagnostiarka same sebe, nom obradom spojio analogni i digitalni pristup dizajnu. Kompozicije
drutva i svijeta oko nje. Lik na plakatu sastavljen je od stihova pjesme elemenata na plakatima su slobodne, doputajui promatrau da ih
selected from the repertoire of one theatre where the literary Ti koja ima nevinije ruke, kojima su izraene najsnanije osobne emo- tumai vlastitom osjeajnou. Motivi na plakatima nastoje doarati
work which the performances are based on needs to be fully con- cije. Komadii stihova koje simboliki raznose vjetar i more simbol su ozraje predstava i komunicirati njihovu sutinu.
sidered and respected. Moreover, one needs to be fully aware of autoriina ivotnog puta, koju utjelovljuje glavna junakinja predstave.
&TD Theatre
the fact that the series of posters needs to reflect the original &TD Theatre Deluge, Like Blown Away
features of the theatre in question and operate as a feature of its I whose hands are more innocent Since &TD Theatre is particularly fond of experimental expression,
visual identity as perceived by the student. It is a true challenge The poster design technique opted for is collage which provides that is precisely what inspired the poster design. Posters were cre-
for the final year students of the three-year study programme. the freedom of interpretation of the selected topic and this is all ated using the technique of illustrative collage that brought together
close to the character of &TD Theatre. In the performance entitled the analogue and the digital approach to design through digital pro-
I whose hands are more innocent, created against the backdrop of cessing. Composition of elements on the posters are free, allowing
the content of the poem by V. Parun, the main character acts as a the beholder to interpret them through their own emotionality. The
diagnostician of herself, the society and the world surrounding her. motifs on the posters are aiming to depict the atmosphere in the
The character shown on the poster is made from the verses of the performances and convey their essence.
poem You whose hands are more innocent, expressing the strong-
est personal emotions. Verse fragments that are symbolically being
scattered by the wind and the sea are a symbol of the authors life
path embodied by the main heroine of the performance.
126 127
mikela cvitanovi
rafael mili komentorica/comentor: Inja Kavuri Kireta
mentor: Stipe Bri asistent/assistant: Tomislav Vlaini
Teatar &TD Teatar &TD

Tekoe s izraavanjem, Ko rukom odneseno Posljednji dani mira, Slukinje
Koncept plakata za Teatar&TD bazira se na eksperimentalnoj i inovativnoj prirodi ovog kazalita. Apstraktnim Teatar &TD karakterizira otvorenost za teatarske eksperimente i istraivanja. Duh kazalita je simboliki izraen preklapanjem vie
ilustracijama na vizualno upeatljiv nain nastoji se odraziti stil, ugoaj i simbolika odabranih predstava. Apstrak- snimaka istog objekta u pomaku, to rezultira razliitim vizualnim efektima. Time se simboliki izraava mnogostrukost znaenja
tne digitalne ilustracije odabrane su kao sredstvo izraavanja tema najblii stilu kazalita. Motivi ilustracija sadre i interpretacija koje moemo izvesti iz svake predstave Teatra &TD, bez obzira na razliitost sadraja. Biranje motiva za oblikovanje
simbolike elemente preuzete iz predstave, a njihova apstraktnost odraava stil predstava koje gledatelju ostav- plakata voeno je idejom da simboliki odgovaraju karakterima likova u predstavama. Motivi su kolairani od niza simbola koji
ljaju mogunost vlastitog tumaenja sadraja. zajedno tvore razliite cjeline, to je svojevrstan konceptualni nastavak naina teatarskog promiljanja unutar odabranoga kazalita.
&TD Theatre &TD Theatre

Difficulties with Expression, Like Blown Away The Last Days of Peace, The Maids
The idea behind the poster for &TD Theatre was the focus on experimental and innovative nature of this theatre. &TD Theatre is characterised by openness for theatrical experimentation and research. The essence of the theatre has been sym-
The style, the atmosphere and the symbolism of the selected performances is expressed through abstract illus- bolically expressed through overlapping of several recordings of the same object in motion, resulting in diverse visual effects. This
trations in a visually striking way. Abstract digital illustrations have been opted for as a method of topic expres- symbolically expresses the multiplicity of meaning and interpretations that arise from each performance of &TD Theatre, irrespec-
sion that is the closest to the style of this theatre. Illustration motifs comprise of symbolic elements taken over tive of the diversity of content. The idea behind the selection of motifs for poster design was that the motifs need to symbolically
from the performance, whilst the style of the performances is depicted through their abstraction, giving the match the specific traits of the characters in the performances. The motifs have been made from collage of a vast array of sym-
viewer the opportunity to provide their own interpretation of the content. bols that together create different units, which is a specific conceptual sequel of theatrical thinking within the selected theatre.
128 129
karla novak dorja horvati

Teatar Exit
Kauboji, Disco svinje
Ideja je bila zadrati osnovne stilske znaajke kazalita i vizualnim ih
sredstvima pretoiti u plakat. Sve tri odabrane kazaline predstave,
Disco svinje, Kako misli mene nema? i Kauboji, ukljuuju likove sli-
Teatar Exit nih ivotnih sudbina, izgubljene i bez jasnoga ivotnog cilja. Sve tri
Kako misli mene nema, Nas dva i ja predstave dotiu se drutvenih, nacionalnih i rodnih tabu tema te
svaka predstava temu izraava humorom i ironijom. Teme predstava
Dizajn plakata Teatra Exit temelji se na ideji da se prenesu poante prikazane su intervencijama na fotografiji glavnog motiva, potujui
predstava, koristei metaforiki jezik ilustracija izvedenih u tehnici istou i jednostavnost vizualnog izraza. Koritena je rukopisna tipo-
linoreza. Motivi s plakata su svojevrsni simboli i prenose osobnu grafija da bi se potencirala neposrednost i svjeina.
interpretaciju svake odabrane predstave. U dizajnu se nastojalo da
ton i stil plakata odgovaraju prepoznatljivom identitetu Teatra Exit. Exit Theatre
Cowboys, Disco Pigs
Exit Theatre
What Do You Mean Im Not There?, The Two of Us and Me The idea behind was to preserve the fundamental stylistic features
of the theatre and to show them on the poster using visual aids. All
The idea behind the design for the poster for Exit Theatre was to the three selected theatrical performances Disco Pigs, What Do
convey the punch lines of the performances, using metaphorical lan- You Mean Im Not There? and Cowboys, feature characters faced
guage of linocut illustrations. The motifs on the posters are specific with similar destinies, lost and without a defined life goal. The three
symbols and they provide a personal interpretation of each selected performances address social, national and gender taboo topics and
performance. The design was aiming to preserve the recognisable each performance addressed the topic through humour and irony.
identity of Exit Theatre through the tone and the style of the poster. The topics of the performances have been presented through inter-
ventions on the photography showing the main motif, in compli-
ance with the purity and the simplicity of visual expression. Hand-
drawn typography has been used aiming to point out the sponta-
neity and freshness.
130 131
paula obat mirjam milas

mentor: Nenad Dogan mentor: Stipe Bri
ZKM ZKM
Emil i detektivi, Kristofor Kolumbo Psihoza, Zatvaranje ljubavi
Karakter kazalita izraava se raznovrsnim repertoarom predstava za publiku svih Idejna rjeenja izravno komuniciraju glavne znaajke odabranoga
uzrasta. Osmiljen je koncept koji e biti primjenjiv za svaku odabranu predstavu. kazalita: otvorenost, bunt, eksperimentalnost i afirmaciju mladih
Odabrana je tehnika crnobijelog fotokolaa s dodanim monokromatskim akcentima autora i njihovu izrazitu drutvenu kritinost. Na prvi pogled neja-
koji dodatno naglaavaju poantu izraenu fotokolaima. Tipografija je jednostavna sni tipografski elementi, uoljivi svojom veliinom, intrigiraju prola-
i suvremena, u skladu s tendencijama suvremenoga kazalita. znika i navode ga na zaustavljanje, promiljanje a time i na interakciju
s ostalim sadrajima na plakatu.
ZKM Theatre
Emil and the Detectives, Cristopher Columbus ZKM Theatre
The character of the theatre is expressed through a diverse repertoire of perfor- Psychosis, Closure of love
mances targeted at the broad audience, appealing to all age groups. The concept Preliminary design primarily directly express the main features of the
has been developed that will be applicable for each selected performance. The tech- selected theatre: openness, rebellion, experimentality and affirmation
nique of black and white photo-collage with added monochromatic accents that of young authors and their extreme social criticism. Although at first
additionally point out the punch line shown through photo-collage. Typography sight they appear as unclear typographic elements, visible due to their
is simple and contemporary, in line with the tendencies of contemporary theatre. size, they are actually intriguing for the passers-by and make them
stop, think and interact with other content presented on the poster.
132 133
esti semestar
Komunikacijski sustav u
odgovarajuim medijima anja nikoli
mentor: Stipe Bri
Multimedijalna prezentacija komentori/comentors: Anka Mieti, Veljko van
Zavrni zadatak preddiplomskog studija po prvi put doputa

studentima da sami osmisle i odaberu sadraj kojim e se baviti
i koji e istraivati koristei se znanjima i vjetinama steenim
u prethodnim godinama studija. Sada se od studenata trai
da se jasno postave prema struci, definiraju svoju poziciju
i artikuliraju vlastite stavove u kontekstu suvremenih vizualnih
komunikacija te da se postave i prema problemu ili 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- Simboli mrnje
bleme oko sebe reagiraju u skladu sa svojim ivotnim pozivom. Neofaistika ikonografija i pratei simboli govora mrnje esto
se pojavljuju ispisani na javnim povrinama. Svrha ovog projekta je
ukazati na fenomen preuivanja i ignoriranja ove pojave, podizanje
sixth semester razine svijesti o znaenju tih simbola mrnje i senzibilizacija za nji-
hovu javnu osudu i uklanjanje. U tu svrhu osmiljena je knjiica koja
Communication System sadri dva dijela. Prvi dio je posveen povijesnom i kulturolokom
aspektu teme, a drugi dio sadri informacije o provedenom istraiva-
in the relevant Media nju. Usto postoje naljepnice koje omoguuju ukljuivanje u inicijativu
lijepljenjem tih naljepnica ispod iscrtanih simbola, ime iskazujemo
Multimedia Presentation negativan stav o toj estoj pojavi.
Hate symbols
The final task in the undergraduate study programme allows
Neo-fascist iconography and the accompanying symbols of hate
students to select and create the content of personal interest speech frequently appear in writing on public spaces. The objective
which they will focus on and explore using the knowledge and of this project is to highlight the phenomenon of keeping silent and
skills acquired during the previous years of undergraduate study. ignoring this issue, raising awareness of the meaning of these hate
symbols and sensibilisation to their public condemnation and removal.
Students need to assume responsibility towards their profession, Consequently, a booklet comprising of two parts was provided. The
define their position and articulate their attitudes within the con- first part addressed the historical and the cultural aspect of the topic,
text of contemporary visual communications, as well as express whilst the second part provides information about the research con-
ducted. Moreover, stickers have been provided through which one
their attitudes about the problem or the selected area. The project can become involved in this initiativethrough placement of the
task can be based on personal promotion or reflexion on a speci- stickers below the hate symbols drawn one can express ones neg-
fic phenomenon encountered in student milieu. Nevertheless, the ative attitude towards this common occurrence.
final presentation needs to be created using the media and the

means of expression which can adequately communicate both
students individuality and the complexity of the selected issue.
It is an incentive for students to deal with occurrences and issues
encountered in their milieu in accordance to their profession.
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paula obat karla oti

EXPLO
Interaktivni vodi
Nain na koji putujemo i istraujemo novi okoli dra-
stino se promijenio u zadnjem desetljeu. Internet
i socijalne mree zamjenjuju tiskane vodie, ali unato
mnogobrojnim mobilnim aplikacijama namijenjenim
putovanjima, one ne iskoritavaju sav potencijal svoje
platforme. Cilj ovog projekta je bio osmisliti koncept
novog vodia u skladu s dananjim vremenom i potre-
bama, koji vas nee samo dovesti do lokacije i upoznati
s njegovim znaajkama, ve motivirati da ga istrau-
jete i istodobno biljeite vlastita opaanja i uspomene.
EXPLO
An interactive guide
Ways in which travel and explore new surroundings have
drastically changed over the last decade. The Internet
and social networks have replaced printed guides, yet,
irrespective of a vast array of mobile apps intended
for travelling, they do not explore the entire potential
of their platform. The objective of this project was to
develop a concept of a new guide keeping abreast of
the contemporary trends and needs which will not
only get you to your location, but will also introduce
you to its features and motivate you to explore and
simultaneously also keep a record of your own obser-
vations and memories.
Anketa A survey
Anketom provedenom meu 104 studenta ustanovljeno je da je raspored nastave Following a survey conducted amongst 104 students a conclusion has been reached
na Studiju dizajna takav da su zbog mnogih stanki i duge satnice studenti prisiljeni that due to a large number of breaks and lectures students at the School of Design
provoditi mnogo neuinkovitog vremena na fakultetu koji zbog objektivnih razloga need to spend an immense amount of time ineffectively at the Faculty which due
ne moe osigurati posebne prostorije za studente. Oni stoga, mnogobrojne stanke to objective reasons cannot currently provide additional rooms for students. Con-
provode u oblinjim kafiima, to za sobom povlai problem nepotrebnog troenja sequently, students spend a large number of breaks in nearby coffee shops, which
novca, nedostatka koncentracije i manjka meugeneracijske komunikacije. Kako bi implies the issue of unnecessary expenses, lack of both concentration and inter-
se problem ublaio dizajnirani su plakati koji studente motiviraju na iskoritavanje generational communication. In order to mitigate this problem, posters have been
postojeih prostornih potencijala Studija za koncentraciju i oputanjeinformira- designed aiming to motivate students to exploit the existing potential of the School
njem o terminima kada su predavaonice slobodne. of Design premises for concentration and relaxationthrough informing on the
lecture schedule and hence use free lecture halls.
136 137
karla novak vita vrebac

Vizualni identitet filma A beautiful mind Zagrebaki velesajam Zagreb Fair

A Beautiful Mind biografska je drama koja prati ivotnu priu Johna Nasha, matematiara i nobelovca Vodi A guide
koji je bolovao od shizofrenije. Ideja je bila dizajnom simboliki povezati shizofreniju i matematiku Prostor Zagrebakog velesajma percipira se danas kao mrtva zona u Zagreb Fair premises are currently perceived as a dead zone that no
kao dvije kljune teme filma. Cijelim vizualnim identitetom protee se kompleksna geometrijska koju nitko ne zalazi, osim ako za to ne postoji izravna potreba. Javnost one visits, unless there is a direct requirement for that. The public is
konstrukcija koja sugerira proces stvaranja neke nove stvarnosti, a koja se moe protumaiti i kao je uglavnom nesvjesna da to podruje ima veliko povijesno i kulturno normally unaware of the historical and the cultural importance of this
prikaz traganja matematikog uma za nekom novom originalnom idejom. Vizualni identitet defini- znaenje za grad Zagreb, u kojem su odreeni paviljoni odnedavno region for the city of Zagreb and some pavillions have until recently
ran je specifinom bojom i geometrijskom tipografijom, a ukljuuje uvodnu picu filma, informa- zatieni zbog njihove arhitektonske ili ambijentalne vrijednosti. Ideja been protected due to their architectural and environmental value.
tivnu knjiicu za novinare, plakat te promotivne materijale poput platnene torbe, DVD-a i majice. ovog vodia je da se ukae na zanimljivosti i kulturne vrijednosti pro- The idea behind this guide is to point out the interesting features
stora Velesajma, koji sadri kartu s ucrtanim objektima pod kulturnom and the cultural value of Zagreb Fair premises and it hence includes
Visual identity of the film A beautiful mind zatitom. Paviljoni su prikazani ilustracijama pojedinih konstruktivnih a map with marked premises that have been placed under cultural
A Beautiful Mind is a biographical drama based on the life of John Nash, a mathematician and a Nobel elemenata karakteristinima za objekt i opisom povijesnoga kontek- protection. The pavillions have been shown through illustrations of
laureate suffering from schizophrenia. The idea behind was to use design to symbolically connect schiz- sta unutar kojeg je paviljon nastao. specific construction elements that are characteristic for a specific
ophrenia and mathematics as two crucial topics of the film. A complex geometric construction perme- facility and through a description of a historical context in which the
ates the entire visual identity suggesting the creation of a new reality which can be interpreted as an pavillion was constructed.
overview of the pursuit of a mathematical mind for a new original idea. The visual identity has been
defined through a specific colour and geometric typography, including the film trailer, an informative
booklet for journalists, the poster and promotional materials such as fabric bags, DVDs and T-shirts.
138 139
Tipografija Typography
Cilj tipografskih kolegija na preddiplomskom studiju je stva- Typography courses during the undergraduate study programme
ranje osnovnoga, upotrebljivog fundusa znanja o tipogra- are intended to create a basic and applicable background knowledge
fiji. Studenti se upoznavaju s osnovnim terminima (tipogra- on typography. Students are introduced to fundamental concepts
fija, pismo, font, mjerne jedinice...), osnovnom klasifikacijom (typography, typeface, font and units of measure, to name a few),
pisama (serifni / neserifni; konstrukcijom translacije i ekspan- the basic classification of typeface (serif / sans-serif; constru-
zije; naslovnim pismima i pismima za tekui tekst...), osnov- ction of translation and expansion; headline fonts and fonts for
nim parametrima manipulacije (horizontalni pokretspacing, body text, etc.), fundamental parameters of manipulation (hori-
kerning, tracking, veliina pismate vertikalni pokretprored zontal scalingspacing, kerning, tracking, typeface sizeand
i veliina pisma) i povijeu tipografske discipline. Studenti se vertical scalingletter spacing and typeface size) and history
takoer upoznavaju s osnovama tipografskog sloga, propor- of typography as a discipline. Students are also introduced to
cijama, formatima i 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.
140 141
godinjak studija dizajna 2015./2016. preddiplomski studij/tipografija,1.semestar
school of design annual review 2015/2016 undergraduate programme/typography,1st semester
prvi semestar
Kaligrafija neva marija zidi mirna arzi leonard boroviki
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Pisanje irokim perom demonstrator: Marko Hrastovec demonstrator: Marko Hrastovec demonstrator: Marko Hrastovec
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, proporci-
jama te neposredno svladavaju ritam unutar 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
Calligraphy
Writing with a broad nib pen
Calligraphy is a branch of visual arts involved in writing as
a visual art form and is considered as fundamental knowledge
of letter forms. Through the use of a broad nib pen students are
introduced to the logic of contrast, construction features of
glyphs, proportions and they directly tackle the rhythm within
and between words (letter or word-spacing) and between the
lines (line spacing). The enhancement of calligraphy techniques
in this assignment is not an end in itself, since the knowledge
acquired through calligraphy is directly applicable in anything
involving letters, from the design of logos and information systems
to books and magazines.
142 143
school of design annual review 2015/2016 undergraduate programme/typography,2nd semester
drugi semestar lucija rupi iva ruin josipa petrov matija jandri
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Izrada vlastitog monograma suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
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
upoznaju s crtanjem Bzierovim krivuljama, ogranienjima pri
reprodukciji, ovisno o mediju te smislenom povezivanju forme
i sadraja (vlastite osobnosti).
neva zidi antonio klasi marija matuli andrea rebec

second semester mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
Creation of Ones own Monogram
Monogram is a motif comprising of two or more letters, the ini-
tials of a person or a company and is used as a classical logo for
recognition and denoting. Monogram has a long history (from
coins and aristocratic logos to print shops, publishers and artists)
and it is currently primarily used as a version of a logo. This
introductory assignment is intended to provide students with an
insight on Bzier curves through planning and drawing of their
own monograms, as well as with constraints upon reproducti-
ons depending on the media and a provision of a meaningful
connection between form and content (their own personalities).
matko miji jakov habjan mirna arzi ramona mori
suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
144 145
school of design annual review 2015/2016 undergraduate programme/typography,3rd semester
trei semestar stella grabari

mentor: Hrvoje ivi
Prezentacija pisma suradnik/associate: Marko Hrastovec
Uobiajen nain prezentacije jest knjiica koja predstavlja

pismo u punom opsegu i u razliitim tipografskim situacijama.
Rije je o svojevrsnoj osobnoj iskaznici pisma koja sadri
podatke o samom pismu, njegovu dizajneru, izdavau fonta,
pripovijest o nastanku... Ona sadri potpun pregled porodice
(svojte, prikaza svih karakteristinih slovnih znakova svakog
pojedinog reza, ligatura, alternacija i ostalih specifinosti),
preporuke za uporabu (prikaz rezova u razliitim veliinama,
proredima i poravnanjima, prikaz blokova teksta za rezove koji
su namijenjeni slaganju kontinuiranog teksta) i ostale tehnike
podatke. Takoer, to je i pria o pismu ispriana na zanimljiv,
originalan i prikladan nain. Oblikovanje knjiice moe biti vrlo
eksperimentalno, ali i tradicionalno u pristupu i konanom
rezultatu, pod uvjetom da su sadrani svi obvezni elementi te Surveyor Surveyor
da postoji jasna stilska poveznica knjiice i odabranog pisma. Surveyor je pismo inspirirano kartografijom 19. stoljea. Pismo dolazi u tri optike Surveyor is a typeface inspired by the 19th century calligraphy. The typeface has
veliine: Text, Display i Fine, svaka u nekoliko debljina. Ne bi li se naglasila poveznica three optical sizes: Text, Display and Fine, each in several thicknesses. In order to
s korijenima ovog pisma, specimen je tretiran kao karta podijeljena u nekoliko cjelina, point out the link with the origins of this typeface, the specimen was treated as a
third semester od kojih svaka poblie opisuju svojstva fonta i njegove mogunosti. map divided into several units, each of which comprehensively describes the fea-
tures of the font and its potential.
Type Specimen
The usual way of typeface presentation is a booklet that compre- ela meseldi
hensively presents the specific typeface and provides an overview mentor: Hrvoje ivi
suradnik/associate: Marko Hrastovec
of diverse typographic situations. It is like an identity card of a
specific typeface that contains the information on the typeface
in question, its designer, font publisher, the story behind its cre-
ation, etc. It includes a comprehensive overview of the family
(related fonts, an overview of all the characteristic glyphs of each
specific style, ligatures, alterations and other specific features),
recommendations for use (an overview of styles in diverse sizes,
line spacing and alignments, an overview of blocks of text for
styles intended for the creation of a continuous text) and other
technical information. Moreover, it is a story about a typeface
told in an interesting, original and appropriate way. Booklet
design can be greatly experimental, as well as traditional in its
approach and the final result, providing it includes all the man-
datory features and that there is a clear stylistic link between
Greta Greta
the booklet and the selected typeface.
Greta je pismo posebno dizajnirano za koritenje u publikacijama. Svojom kon- Greta is a font specifically designed for the demands of newspaper printing. Its
strukcijom i proporcijama prilagoena je brzom i jeftinom tisku na nekvalitetnom construction and proportions have been adapted to quick and affordable print-
papiru te itljivosti na malim veliinama. Sredinja duplerica specimena rastvara ing on low quality paper and legibility in small sizes. The central centrefold of the
se u naslovnicu novina koja prikazuje kako Greta odgovara na specifine potrebe specimen opens to form the front cover of the newspaper illustrating the fact that
novinskog tiska. Greta meets the specific requirements of newspaper printing.
146 147
mirta filipovi
mentor: Hrvoje ivi
Sectra Sectra
To je suvremeno serifno pismo, nastalo na kaligrafskim principima, ali ija zaoblje- It is a contemporary serif typeface, created according to calligraphy principles, yet its
nja su odrezana. Time se stvaraju otri rubovi slova koji joj daju specifian vizualni curves have been cut. This results in sharpness of the letters that accounts for its spe-
karakter. Isti princip nastanka pisma prenesen je i u specimen:snanim grafikim cific visual character. The same principle of typeface origin was transferred into the
rezovima prikazuju se razliite znaajke Sectre. specimen: diverse features of Sectra have been shown through vigorous graphic styles.
karla novak
mentor: Hrvoje ivi
Stag Stag
Pismovna obitelj Stag dizajnirana je kao magazinsko pismo, s izdanom x-visinom, Stag typeface family was designed as a typeface used in magazines, with substan-
karakteristinim detaljima preuzetim iz slab-serifnih pisama ranoga 20. stoljea. tial x-height and characteristic details taken over from slab-serif typefaces of the
Ova publikacija zamiljena je kao asopis koji kroz etiri razliita poglavlja predstav- early 20th century. This publication is intended as a magazine that in four diverse
lja pismo u njegovom prirodnom okruju, a u to irem rasponu moguih situacija. chapters presents a typeface in its natural environment and against the backdrop
of a vast array of likely situations.
148 149
trei semestar mirta filipovi ela meseldi ivana baanek karla novak
Tipografska paleta suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
U ovome se zadatku gradi sustavno i analitiko promatranje

slovnih oblika. Njegova poetna toka je runo crtanje jedne
rijei u dvije inaiceserifnoj i neserifnoj. Stilska obiljeja slova
ostavljena su na slobodu studentima, dokle god se pridravaju
osnovnih pravila o konstrukciji i proporcijama slova. Crtei se
potom digitaliziraju, oblici dorauju te se prelazi na dizajnira-
nje jo etiri varijacije proizale iz poetnog crtea: visoki kon-
trast (sans i serif) te bold (sans i serif). U vjebi se od studenata
oekuje svladavanje osnova oblikovanja pisma dosljednost
u proporcijama slova, debljinama poteza, vrsti detalja. Razli-
itim varijacijama u vjebi se pokuava potaknuti istraivanje
slovnih oblika i proirenje shvaanja tipografskih sustava te
njihovo potencijalno koritenje.
third semester
Typographic range
This assignment focuses on building a systematic and analytical
monitoring of letter forms. It starts from hand drawing of one
word in two versionsserif and sans serif. Students are given
freedom to choose amongst stylistic features of letters, provided
they comply with the basic rules on construction and proporti-
ons of letters. Drawings are hence digitised, forms are improved
and design ensues of four additional variations that originate
from the initial drawing: high contrast (sans and serif) and bold
(sans and serif). Students are expected to master the basics
of alphabet designcoherence in proportions of letters, thic-
kness of strokes and types of detail. Exploration of letter forms
is encouraged through diverse variations, aiming to provide a
deeper insight into typographic systems and their potential use.
150 151
school of design annual review 2015/2016 undergraduate programme/typography,4th semester
etvrti semestar
Oblikovanje pisma po zadanim martina petric stella grabari ela meseldi mirta filipovi
parametrima suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
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 given
parameters
In this assignment students are expected to be acquainted with
the anatomy of letters, types of contrast and basic skills of letter
drawing. Based on randomly selected parameters (construction,
contrast, proportions, thickness and type of strokes, etc.) stu-
dents draw sketches of a word. Randomly selected parameters
create new and unexpected situations and make students draw
in a different way than they normally do. The initial sketches will
be used as a template for the development of the entire typeface.
Once the typeface design has been defined, the letters are digi-
tised (scanned and drawn using Bzier curves) and a functional
digital font is designed.
152 153
etvrti semestar stella grabari tanja modrakovi karla novak

mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Tipografski plakat suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
Ovaj jednostavan zadatak trai od studenata da odaberu citat

koji se odnosi na tipografiju i dizajn pisma te ga prikladno gra-
fiki interpretiraju. Tako se upoznaju s relevantnim autorima,
njihovim nerijetko suprotstavljenim idejama i potencijalno
proiruju svoj pogled na to to tipografija jest, kakva bi ona
trebala, ili ne bi trebala biti.
fourth semester
Typographic poster
In this simple assignment students need to select a quote concer-
ning typography and typeface design and provide an appropriate
graphic interpretation. Hence, they gain insight into relevant aut-
hors and their frequently opposing ideas and potentially expand
their notion of typography and the way it is supposed to be or
not supposed to be.
ljubica golubi
mentor: Hrvoje ivi
154 155
etvrti semestar ivana baanek

mentor: Hrvoje ivi
Tipografska hijerarhija i struktura suradnik/associate: Marko Hrastovec
Zadatak je oblikovati imaginarni asopis proizvoljne tematike.

Naglasak je na tipografskom tretmanu sadraja koji proizlazi iz
graenja unutarnje logike asopisa, uspostavi hijerarhija teksta,
mree, rubrika te navigacije. Ovaj kompleksan zadatak spaja sadr-
aj i formu, to potie studente na kritiko razmiljanje, istra-
ivanje i komunikacijski jasnu artikulaciju teme kojom se bave.
fourth semester
Typographic hierarchy and structure
The assignment was to design an imaginary magazine addre-
ssing a randomly selected topic. The focus was on typographic
treatment of the content resulting from the internal logic of the
magazine, aiming to establish a hierarchy of text, grids, sections asopis Vouging Vouging magazine
and navigation. This complex assignment integrates content and asopis je namijenjen itateljima i skupinama LGBT zajednica koje se bave vogu- The magazine is intended for the readers, members of LGBT community, fond of
ing plesom proizalim iz poznatog asopisa Vogue. Cilj je izraziti karakter vogu- voguing dance that originated from the reputable magazine Vogue. The objective
form, encouraging students to opt for critical thinking, research ing plesa kroz razliite formate stranica na nain da se listanjem ostvaruju pokreti is to express the character of voguing dance through different page formats where
and a clear expression of the topic they are addressing. i poloaji pod pravim kutovima to je bitna znaajka ovog elegantnog plesa. movements and positions are made under the right angle by turning over the pages,
which is the fundamental feature of this elegant dance.
tanja modrakovi
mentor: Hrvoje ivi
asopis Repeller Repeller magazine

Repeller je asopis o industrijskoj glazbi zamiljen kao fascikl s prikupljenim infor- Repeller is a magazine about industrial music designed as a file that includes all
macijama. Sastoji se od nekoliko dijelova: intervjua, prezentacije glazbenih albuma, the collected information. It comprises of several parts: interviews, music album
znanstvenih radova i ostalih zanimljivosti vezanih za odabranu vrstu glazbe. Svaki reviews, scientific work and other curiosities linked with a specific type of music.
dio dolazi u svom formatu. a oblikovan je u skladu s temom i sadrajem te spojen Each part comes in its own format and has been designed in accordance with the
u jednu cjelinu. topic and content and integrated into a unit.
156 157
ela meseldi stella grabari

mentor: Hrvoje ivi mentor: Hrvoje ivi
suradnik/associate: Marko Hrastovec suradnik/associate: Marko Hrastovec
Zarez asopis Artime

Zarez je dvotjednik za drutvena i kulturna zbivanja sa karakteristi- asopis Artime nastao je na temelju osobnog interesa za povijest
kama asopisa i novina to je vidljivo iz njegova dizajna (margine, for- umjetnosti. Zamiljeno je da se iz broja u broj mijenjaju teme iz
mat). Prilog je veeg formata, a sadri beletristiku i druge umjetnike povijesti umjetnosti. Cijelim se asopisom protee vremenska linija
priloge te je u skladu s tim i slobodnije oblikovan. na kojoj se nalazi prikaz najpoznatijih umjetnikih djela odabranog
razdoblja. asopis poinje s razdobljem renesanse i izumom Gutten-
Zarez bergova stroja. Odabrana tipografija asopisa mijenja se u skladu
Zarez (The Comma) is a biweekly magazine for social and cultural s prikazanim razdobljem, na nain kako se mijenjala u povijesti.
events. It has features both of a magazine and a newspaper, which Osim fontova, mijenja se i layout stranice koji prati vrijeme kojemu
is shown through its design (margins, format). The supplement is of odabrana tema pripada.
a larger format and includes fiction and other art supplements and
hence there is more freedom in its design. Artime magazine
Artime magazine originated from a personal interest in the history
of art. The idea is to provide different topics from the history of
art in each issue. A timeline permeates the entire magazine which
includes a portrayal of the best known art pieces during a selected
period. The magazine commences from the Renaissance period and
Guttenbergs invention of the printing press. The typography selected
for this magazine changes in accordance with the presented period,
in line with historical changes. In addition to changes in fonts, page
layout changes, too, in accordance with the period of the specific
topic addressed.
158 159
peti semestar
Digitalizacija i reinterpretacija leona vertu
mentor: Nikola urek
postojeeg pisma suradnik/associate: Marko Hrastovec
Revival postojeeg, a nedigitaliziranog pisma vee studente

uz tipografsku tradiciju i upuuje ih na istraivanje tipograf-
ske povijesti s naglaskom na hrvatsko tipografsko naslijee.
Rekonstrukcija i nadogradnja naenog pisma odvija se u dvije
faze. Prva se bavi analizom zateenih formi te kreiranjem to
vjernije digitalne inkarnacije pisma, dok u drugoj studenti obli-
kuju vlastitu, subjektivnu reinterpretaciju i nadogradnju istog.
fifth semester
Digitisation and Reinterpretation of
the existing Typeface
The revival of the existing, non-digitised typefaces connects the
students with tradition of typography and encourages them to
explore history of typography focusing on the Croatian typo-
graphic heritage. The reconstruction and the upgrade of the
existing typeface are implemented through two phases: the first
phase focuses on the faithful digital incarnation of the typeface,
whereas during the second phase the students design their own,
subjective reinterpretation.
Alfru monospace
Alfru je revival pismo inspirirano natpisom iznad nekadanje mesnice
u staroj jezgri Zagreba, ostvareno kao monospace pismo bez kon-
trasta. Alfru ima pet razliitih stilova. Prva tri stila dizajnirana su jed-
nopotezno, dupliciranjem linija na mjestima gdje se potez ponavlja,
bez dodirnih toaka u formi slovnog znaka. Pojednostavljeni stilovi
sans i serif osmiljeni su i prilagoeni za koritenje u malim velii-
nama za kontinuirani tekst.
Alfru monospace
Alfru is a revival typeface inspired by the inscription the former butch-
ers shop in the historic nucleus of Zagreb, implemented as a mono-
spaced font without contrast. Alfru has five different styles. The first
three styles were designed in a single stroke, by duplicating the lines
on the spots where the stroke is repeated, without any points of con-
tact in the form of letter characters. Simplified styles sans and serif
were designed and adapted for use in small sizes in a current text.
160 161
peti semestar
Tipografska linearnost leona vertu
mentor: Nikola urek
i eksponencijalnost suradnik/associate: Marko Hrastovec
Knjiga, definirana u tradicionalnom smislu, klasini je medij

i ima svoju sintaksu, tj. ima u dobroj mjeri utvrene obrasce,
odnose i pravila prenoenja informacija, koje valja poto-
vati. Ona mora prenijeti informacije primjereno i optimalno.
Studenti oblikuju izabrano djelo u eksperimentalnoj inter-
pretaciji, svjesno odmiui od tradicionalnoga kanona obli-
kovanja knjiga.
Svrha zadatka je propitivanje poloaja knjige u digitalnom
dobu u kojem su informacije digitalizacijom postigle razinu
kompresije koja znatno nadilazi mogunosti knjige, a i njezina
funkcija najpopularnijeg prijenosnika znanja (tu ulogu preu-
zimaju internet i televizija) je poljuljana. I pored toga, zbog
svoje formalne sagledivosti, analognosti i izradi po ovjeko-
voj mjeri, knjiga je zadrala kredibilitet. U tom smislu je i cilj
zadatka eksperimentalne interpretacije istraiti njezina medij-
ska ogranienja i upotrijebiti ih kao prednosti kojima e do
izraaja doi njezini neupitni spoznajni potencijali.
fifth semester
Typographic linearity and
exponentiality
Book, defined in a traditional sense, are classical media with their
own syntax, i.e. with considerably well-defined patterns, relations
and rules of information transfer that need to be complied with.
They need to convey information in an appropriate and optimal Eksperimentalna knjiga An experimentalbook
Antigona Antigona
way. Students design a selected work upon experimental inter-
Djelo je koncepcijski zamiljeno kao kazalina predstava. Svakom The conceptual idea behind the work is a theatre performance. Each character
pretation, consciously departing from the traditional canons of liku dodijeljeno je drugo pismo, druga veliina i pozicija teksta, has a different typeface, a different size and the position of the text depending on
book design. The specific objective of the assignment was to prema njegovoj ulozi i karakteru. Osim na poetku te prije svakog their role and the personality. The names of the characters are only provided at
analyse the role of books against the backdrop of a digital era ina ne piu se imena likova. Mogu se prepoznati po klasifikaciji the beginning and before each act. They can be recognised by the classification of
pisma koja im je dodijeljena. Za djelo je odabrano est pisama od the typefaces they were attributed. Six typefaces were selected for this work, two
in which information has achieved a level of compression thro- kojih dva postoje u vie stilova te su ta pisma iskoritena za dvije of which have different styles and these two typefaces were used for two families
ugh digitisation which considerably transcends the potential of obitelji u djelu. Koristi se i autorsko pismo Konar, osmiljeno i pri- in this work. Konar, the copyrighted type, was also used, designed and adapted for
books, whilst the role of books as the most popular knowledge lagoeno za naslove i manje openite dijelove teksta, koji se ne headlines and the less important more general parts of the text that do not men-
tiu ni jednog od likova, predstavlja Sofokla. Didaskalije su pove- tion any of the charactersit represents Sophocles. Stage directions are connected
transmitter has been taken over by the Internet and television. zane s ulogama i pismima, uvijek okrenute za devedeset stupnjeva, with the roles and the font, always turned by 90 degrees, vertically appointed to
Moreover, due to their formal layout, analogousness and their postavljene okomito, poinju u retku gdje su i naznaene, u manjim the current text, starting in the row where they are indicated, yet in smaller sizes.
being practical, books have retained their credibility. Hence, the veliinama. Svaki od sedam inova zavrava crnim spredom koji je Each of the seven acts starts and ends with a black spread which is identified as
poistovjeen sa zavjesom na pozornici, vremenom u kojem se mije- the black curtain on the stage and the time in which the stage changes, whilst the
objective of experimental interpretation was to explore the limi- nja scena, a likovi prelaze s jedne strane pozornice na drugu. Nagib characters pass from one end of the stage to another. The font is always slanted
tations of books as media and transform them into advantages slova prati kretanje glumaca. in order to follow the movement of the actors.
to point out their indisputable cognitive potential.
162 163
esti semestar leona vertu

mentor: Nikola urek
Iscrtavanje slova suradnik/associate: Marko Hrastovec
Iscrtavanje slova je pisanje graenjem oblika slova koji ne ovisi

o sredstvu kojim se pie, ve je rezultat retuiranja poteza i
postupnog poboljava njegove kvalitete. U konanom rezul-
tatu 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 kategorija od brendova
pia, naslova knjiga, filmova ili pak imena muzikih sastava te
istrauju koji slovni oblici najbolje odraavaju znaenje i kon-
tekst odabranog naziva.
sixth semester
Typographic Linearity and
Exponentiality
Book, defined in a traditional sense, is an old medium using its
own syntax and with given patterns, relationships and rules on
information transfer which need to be complied with. It needs Oma/Igor Kuduz Omage/Igor Kuduz
Artist book Artist book
to convey textual, cognitive information in an appropriate and
Knjiga tipografskim elementima simboliki prikazuje profesora Kuduza Through typographic elements the book symbolically presents the professor Kuduz
optimum manner. The students design the selected work in expe- i njegovu komunikaciju sa studentima tijekom i nakon studija. Sadraj and his communication with students during and after the completion of the study
rimental manner, consciously moving away from traditional book ine mailovi, screenshotovi vezani za fakultetske obveze te formalno/ programme. The content comprises of e-mails and screenshots linked with their obli-
canon. The objective of the task is the analysis of the importance neformalne Kuduzove izjave, prezentirane u minimalistikom stilu gations at the Faculty and both formal and informal statements provided by Kuduz,
kroz dva knjika grida Bringhurst (knjiga) i Villardov dijagram, prema presented in a minimalist style through two book grids Bringhurst (book) and Villards
of books in the digital age where digitised information reached kojem je oblikovana naslovnica i glavni vizual. Razgovor prekida crni diagram, used for the design of the front cover and the main visual. The conversation is
compression levels which substantially exceed the potential of knjiki blok u sredini djela koji je autorski tekst, a sadri uvod, pred- interrupted by a black book block in the middle of the work which is an original text that
books whose leading role in information conservation has been govor, biografiju, koncept djela i zahvalu. comprises of an introduction, preface, biography, the outline and acknowledgements.
affected. Moreover, the role of books as the most important Originalno pismo IK unicase Original IK unicase font
knowledge transmitter has also been lost to the Internet and IK je unicase pismo niskoga kontrasta, bez x-heighta koje osim ver- IK is a low-contrast unicase font, without x-height which, in addition to upper-
television. In addition, due to the perception of their form, their zalnog pisma sadri kurente: a, e, g, n, r, t, a oni su istih proporcija case letters also includes lowercase letters: a, e, g, n, r, t, and they are of the same
kao verzali kojima su zamijenjeni. Kurent t jedini ima verzalno T koji proportions as the uppercase letters which have replaced them. Only the lower
analogue features and to their being tailor-made to meet human se u knjizi pojavljuje kad se s potovanjem obraa izravno pojedincu. case t has the upper case T which appears in the book when directly addressing
Pismo vizualizira odreeni ton komunikacije izmeu sugovornika. U the individual in a formal way. The font visualises a specific tone of communica-
ovom sluaju vrlo ozbiljni razgovori prikazani su s dozom zabave, tion between the interlocutors. In this case very serious conversations have been
motivacije i poticanja za bolje i kvalitetnije rjeenje zadataka/ obveza, shown with a dose of fun, motivation and encouragement to provide a better and
bez obzira o emu se radilo. a higher quality solution to the task/ obligations, irrespective of the topic tackled.
164 165
Likovni Visual Arts

program Programme
Skupnim imenom Likovni program nazvana je skupina kole- A group of courses that comprises of Drawing 1,2,3, and 4, Visual
gija koja ukljuuje: Crtanje 1, 2, 3 i 4; Plastino oblikovanje 1 i 2 Design 1 and 2 and Nude 1 and 2 has been jointly entitled Visual
i Akt 1 i 2, iji se programi koncentriraju na ovladavanje tehni- Arts Programme, since their programmes focus on mastering
kama prostorunog crtanja i usvajanja osnova vizualnog jezika. the techniques of free-hand drawing and the acquisition of the
Na njih se nadovezuje kolegij Ilustracija 1 i 2, ali i kolegij Gra- basics of visual language. In addition, also the courses Illustra-
fike tehnike koji u svom programu ima vizualno izraavanje tion 1 and 2 and Graphic Techniques are provided whose pro-
nekim od tradicionalnih grafikih tehnika. grammes include visual expression using some of traditional
Prostoruno crtanje je nezaobilazna vjetina u procesu kon- graphic techniques.
ceptualizacije dizajna. Njegova je funkcija nauiti kako uin- Free-hand drawing is a fundamental skill in the process of con-
kovito upotrijebiti prostoruno crtanje u procesu brzoga ceptualisation of design. It is intended to teach how to effecti-
i intuitivnog istraivanja viestrukih dizajnerskih mogunosti. vely use free-hand drawing in the process of rapid and intuitive
Crte takoer treba shvatiti kao komunikacijsko sredstvo expression of multiple design potential.
u vrednovanju dizajnerskih koncepata, njihova razvoja i kva- Moreover, drawing needs to be considered as a means of com-
litetne prezentacije. munication in the assessment of design concepts, their develop-
ment and high quality presentation.
166 167
godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / crtanje 1.semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / drawing 1st semester
1.,2.,3.i 4. semestar
Crtanje
Kolegij zapoinje vjebama crtanja po promatranju, polazei antonio klasi
od proporcije oblika, perspektive, prostora i kompozicije slike. mentor: Boris Ilekovi
U drugom semestru izvode se vjebe crtanja po sjeanju, asistentica/assist: Inja Kavuri Kireta
uz razvijanje osobnosti likovnog izraza. U treem semestru Kljuevi
razvija se sposobnost crtake istoe, likovnoga i grafikog Crtaka analiza trodimenzionalnog
modela kroz kontraste i raster
izraza tehnikomasocijativne memorije. U etvrtom semestru Tehnika: olovka, tu
komparativno vrednovanje oblikovanja pripada crtakom, ton- Keys
skom, rasteriranom, modelacijskom i koloristikom zadatku Drawing analysis of a 3D model
unutar primarno likovnog izraavanja. Ekspresija, stilizacija, through contrasts and bitmap
Technique: pencil, Indian ink
konstrukcija ili redukcija su u funkciji imaginacije slobodnoga
i zadanog crtea.
1st,2nd,3rd and 4th semester ramona mori

mentor: Boris Ilekovi
Drawing asistentica/assist: Inja Kavuri Kireta
Fotoaparat
The course commences with observational drawing practice, from Crtaka analiza trodimenzionalnog
shape and proportions, perspective, space and picture compo- modela kroz volumen
sition. The programme focuses on drawing from memory and Tehnika: olovka
the development of identity of visual expression. The third seme- Still camera
Drawing analysis of a 3D model
ster develops the skills of purity of drawing, visual and graphic through volume
expression through the technique of associative memory. In the Technique: pencil
fourth semester the comparative evaluation of design belongs
to drawing, tonal, raster image, modelling and coloristic assign-
ment within visual arts expression. Expression, stylisation, con-
struction or reduction are in function of imagination during the ramona mori
free-topic and the assigned-topic drawing. asistentica/assist: Inja Kavuri Kireta antonio klasi
Teksture / kompozicija asistentica/assist: Inja Kavuri Kireta
Studija razliitih tekstura kroz vjebu kompozicije
Tehnika: olovka Teksture / mrtva priroda
Texture / composition Crtaka analiza trodimenzionalnog
Study of different textures through composition practice modela kroz teksturu
Technique: pencil Tehnika: olovka
Texture / still life
Drawing analysis of a 3D model
dominik perovi through texture
mentor: Boris Ilekovi Technique: pencil
asistentica/assist: Inja Kavuri Kireta
Teksture / kompozicija
Studija razliitih tekstura kroz vjebu kompozicije
Tehnika: olovka, drvene bojice
Texture / composition
Study of different textures through composition practice
Technique: pencil, crayons
168 169
school of design annual review 2015/2016 undergraduate programme / visual arts programme / drawing 2nd semester
antonio klasi
Bicikl
Vizualna analiza predmeta/analitiki crte
Tehnika: olovka, drvena bojica
Bicycle
Visual analysis of objects/analytical drawing
marta letica Technique: pencil, crayons
Homage kvadratu
Teorija boja/studija kompozicije boja
Tehnika: tempera
Homage to the square
Theory of colours/study of colour
composition
Technique: gouache
mirna ari anja kepert antonio klasi

mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Soba Homage kvadratu Sjedalica/skice

Crtaka vjeba sobe u perspektivi po Teorija boja/studija kompozicije boja Vizualna analiza predmeta/skice matija barovi
zadanom tlocrtu, slobodno interpreti- Tehnika: tempera Tehnika: olovka, drvena bojica, flomasteri mentor: Boris Ilekovi
rano likovnom obradom asistentica/assist: Inja Kavuri Kireta
Homage to the square Seat/sketches
Tehnika: drvene bojice Theory of colours/study of colour Visual analysis of objects/sketches Sjedalica
Room composition Technique: pencil, crayon, felt tip pens Vizualna analiza predmeta/analitiki crte
A drawing practice of a room using Technique: gouache Tehnika: olovka, drvena bojica
one-point perspective based on a specific Seat
floor plan, free interpretation through Visual analysis of objects/analytical drawing
visual design Technique: pencil, crayons
Technique: crayons
170 171
school of design annual review 2015/2016 undergraduate programme / visual arts programme / drawing 3rd semester
ivana baanek ivana baanek

mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Utinica/skice Dizajnerski predmet
Afirmiranje asocijativnog spremita ano- Vizualna analiza predmeta/boca za
nimnim predmetom kao polaznom pret- vodu Ross Lovegrove
postavkom u crtakom procesu/skice Tehnika: olovka
Tehnika: flomaster, marker Designer object
Power socket/sketches Visual analysis of objects/Ross
Affirmation of associative storage thro- Lovegrove water bottle
ugh an anonymous object as the initial pre- Technique: pencil
requisite in the drawing process/sketches
Technique: felt tip pen, marker
veronika kova ivana baanek

Utinica Predmeti/skice
Afirmiranje asocijativnog spremita Vizualna analiza dobro dizajniranog
anonimnim predmetom kao polaznom predmeta/skice, crtei
pretpostavkom u crtakom procesu Tehnika: flomaster, marker, drvene bojice
Tehnika: kombinirana Objects/sketches
Power socket Visual analysis of the well-designed
Affirmation of associative storage object/sketches, drawings
through an anonymous object as the Technique: felt tip pen, marker, crayons
initial prerequisite in the drawing process luka palestrina mazi
Technique: combined mentor: Boris Ilekovi
Dizajnerski predmet
Vizualna analiza predmeta/Artemide
Tolomeo stolna lampa
leonarda komen Tehnika: olovka
mentor: Boris Ilekovi petra pikor
Designer object mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta Visual analysis of objects/Artemide asistentica/assist: Inja Kavuri Kireta
Kompozicija vie predmeta Tolomeo desk lamp
Vizualna analiza kompozicije Technique: pencil Dizajnerski predmet
Tehnika: olovka Vizualna analiza predmeta/unutranjost
automobila Mercedes AMG GT
Komposition of objects Tehnika: vodene boje
Visual analysis of the composition
Technique: pencil Designer object
Visual analysis of objects/car interior
Mercedes AMG GT
Technique: watercolour
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school of design annual review 2015/2016 undergraduate programme / visual arts programme / drawing 4th semester
jan marin lucija mati

Homage Verneru Pantonu Forma bez funkcije
Teorija boja/studija kompozicije boja Imaginacija trodimenzionalne forme
Tehnika: kombinirana bez funkcijeod crtea do modela
Homage to Verner Panton Tehnika: drvene bojice
Theory of colours/study of colour Form without a function
composition Imagining of the 3D form without a
Technique: combined function - from the sketch to the model
Technique: crayons
ivana baanek
Interijer
Istraivanje elemenata kompozicije i
prijenos u crte
jovana vlaisavljevi Tehnika: olovka, drvene bojice
mentor: Boris Ilekovi Interior
asistentica/assist: Inja Kavuri Kireta Research on composition elements
Homage Verneru Pantonu and transfer into drawing
Teorija boja/studija kompozicije boja Technique: pencil, crayons
Tehnika: drvene boje
Homage to Verner Panton
Theory of colours/study of colour
composition
Technique: crayons
jan marin
Interijer
Istraivanje elemenata kompozicije i
prijenos u crte
Tehnika: flomaster, tu, bijela bojica
Interior
Research on composition elements
and transfer into drawing
Technique: felt-tip pen, Indian ink, white
crayon
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / plastino oblikovanje 1.i 2.semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / visual design 1st and 2nd semester
1. i 2. semestar
Plastino oblikovanje
Teme kolegija su upoznavanje osnovnih elemenata plone hana stojakovi
i prostorne kompozicije, njihova primjena u procesu projekti- mentor: Boris Ilekovi
ranja te analiza meuodnosa elementarnih formi i generiranje asistentica/assist: Inja Kavuri Kireta
prostorne iz plone kompozicije. Kreativnom dekompozicijom Kocka i kugla
i transformacijom zadane forme istrauju se mogunosti stva- Vjeba kompozicije dekompozicijom zadanih
formi kugle i kocke
ranja nove forme raznim likovnim tehnikama. Tehnika: drvene bojice
A square and a sphere
1st and 2nd semester Composition practice through decomposition
of assigned forms of the square and the sphere
Visual Design Technique: crayons
Course topics comprise of introduction to features of planar

and spatial composition, their application in design and analysis ramona mori tea taneski
of interrelation between elementary forms and generation of mentor: Boris Ilekovi mentor: Boris Ilekovi
spatial from planar composition. Possibilities of creation of a
new form using diverse visual techniques are explored through Kocka i kugla Kocka i kugla
Vjeba kompozicije dekompozicijom zadanih formi Vjeba kompozicije dekompozicijom
creative decomposition and transformation of an assigned form. kugle i kocke zadanih formi kugle i kocke
Tehnika: drvene bojice Tehnika: suhe pastele
A square and a sphere A square and a sphere
Composition practice through decomposition Composition practice through decom-
of assigned forms of the square and the sphere position of assigned forms of the square
Technique: crayons and the sphere
Technique: dry pastels
mirna ari, helena benc,

ines borovac, jakov habjan,
ani lacmanovi, ana moja,
ramona mori, andrea rebec,
tea sinovi
vana ulenti asistentica/assist: Inja Kavuri Kireta
asistentica/assist: Inja Kavuri Kireta Kocka i kugla
Vjeba kompozicije dekompozicijom
Raspodjela kvadrata zadanih formi kugle i kocke/modeli
Vjeba kompozicije tonskom raspodjelom plohe kvadrata Tehnika: kombinirana
tehnika: olovka A square and a sphere
Square distribution Composition practice through decomposition
Composition practice through square surface distribution of assigned forms of the square and the sphere/models
technique: pencil Technique: combined
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / akt 1.i 2.semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / nude 1st and 2nd semester
1. i 2. semestar
Akt
Proporcije ljudskog tijela te prijenos trodimenzionalnog modela ana pavii
u dvodimenzionalni crte raznim likovnim tehnikama predstavlja mentor: Boris Ilekovi
sadraj izbornog kolegija. Crteom se pozicionira ljudsko tijelo asistentica/assist: Inja Kavuri Kireta
u prostoru i prezentira u meuodnosu s uporabnim predmetima. Studija skulpture
Cilj kolegija je razviti sposobnost stvaranja autorskog crtea kao Studija ljudske figure kroz skulpture
Tehnika: drvena bojica
samostalne interpretacije teme ljudskog tijela.
A study of sculptures
A study of a human figure through
1st and 2nd semester sculptures

Technique: crayons
Nude
The programme of this elective course focuses on human propor-
tions and the transformation of a 3D model into a 2D drawing.
Human body is positioned in space and its interrelation with
articles of daily use is presented. The objective of the course is
to develop the ability to create an original drawing as an inde-
pendent interpretation of the topic of human body.
veronika kova
Studija skulpture
Studija ljudske figure kroz skulpture
Tehnika: vodene bojice
A study of sculptures
A study of a human figure through sculptures
Technique: watercolour
ivana baanek
Autoportret
Studija ljudske glaveportret/kroki ivana baanek
Tehnika: olovka mentor: Boris Ilekovi
Self-portrait asistentica/assist: Inja Kavuri Kireta
A study of a human headportrait/croquis
Technique: pencil Studija skulpture
Studija ljudske figure kroz skulpture
Tehnika: olovka
Studija ruke
Studija ruke s uporabnim predmetom/kroki A study of sculptures
Tehnika: flomasteri, marker A study of a human figure through sculptures
Technique: pencil
A study of a hand
A study of a hand with usable items/croquis
Technique: felt-tip pens, marker
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / grafike tehnike 1. i 2. semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / graphic techniques 1st and 2nd semester
1. i 2. semestar
Grafike tehnike
Studenti vjebama prouavaju specifian vizualni jezik pojedine
grafike tehnike te sagledavaju iru sliku o nainu, primjere-
nosti i svrsi koritenja odreene tehnike u kontekstu vremena
i stupnju razvoja vizualnih komunikacija. Kombinirajui razliite
tehnike, izraavaju svoje ideje i otiskuju ih na razliitim mate-
rijalima te analizraju proces vizualnog razmiljanja, metodom
povezivanja vizuala i pripadajuih pojmova.
1st and 2nd semester

Graphic Techniques
Students study the specific visual language of individual grap-
hic techniques and get a broader overview of the ways, the
appropriateness and the scope of use of a specific technique in
the context of time and according to the development level of
visual communications. Students express their ideas and print
them on different materials. The process of visual thinking is
analysed through a method of matching visuals and the corres-
ponding concepts.
anja nikoli paula obat dorja horvati karla novak

mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak
Transparentne boje / Transparent Color Assingment Sitotisak/Mesh Screen Printing Proces otiskivanja igovima/Stamp Printing Process Reduktivna metoda linoreza/Linocut
Reductive Techniques
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / grafike tehnike 1. i 2. semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / graphic techniques 1st and 2nd semester
karla novak
mentor: Mario Petrak
Linorez/Linocut
anja nikoli karla novak

mentor: Mario Petrak mentor: Mario Petrak
Reduktivna metoda linoreza/ Metoda povezivanja vizuala i pojmova
Linocut Reductive Techniques
/Visual thinking techniques
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / ilustracija 1.semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / illustration 1st semester
1. i 2. semestar
Ilustracija
Tema kolegija je upoznavanje pojma i znaenja ilustracije vita vrebac
u vizualnoj komunikaciji kroz osnovne elemente i podruja mentor: Inja Kavuri Kireta
primjene, odnos forme i sadraja te odnos i primjenu ilustra- Kola
cije s ostalim oblicima vizualnih komunikacija. Istrauju se Odnos ilustracije i fotografije
povijesni stilovi i suvremeni trendovi, a predavanjima i vje- Tehnika: kola
bama razvijaju kritiki odnos, oblikovne i tehnike vjetine kao Collage

Relationship between illustration and
i osobni vizualni jezik. photography
Technique: collage wing ink
1st and 2nd semester

Illustration
The course focuses on the introduction to the concept of illus-
tration and its meaning in visual communications and on insight
into the basic features, the scope of application, the relationship
between form and content and the application of illustrations
with other forms of visual communications. Historical and con-
temporary styles are explored and a critical attitude is develo-
ped through lectures and practical classes with a focus on design,
technical skills and a personal visual language.
klara mareli
mentor: Inja Kavuri Kireta
Inicijal
Odnos ilustracije i tipografije/letteringa
Tehnika: tu
Initial
Relationship between illustration and typography/lettering
Technique: Indian ink
karla novak tanja modrakovi josipa tadi
mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Paradoks Pojam Osjeti/sinestezija

Vizualni jezik: jezine figure Odnos forme i sadraja Odnos forme i sadraja
Tehnika: vodene bojice Tehnika: olovka Tehnika: kombinirana
Paradox Notion Senses/synesthesia
Visual language: figures of speech Relationship between form and content Relationship between form and content
Technique: watercolour Technique: pencil Technique: combined
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godinjak studija dizajna 2015./2016. preddiplomski studij / likovni program / ilustracija 2.semestar
school of design annual review 2015/2016 undergraduate programme / visual arts programme / illustration 2nd semester
iva leustek klara mareli

mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Ens na Zemlji Once upon a time

Vizualni jezik: naracija/skice Vizualni jezik: naracija
Tehnika: kombinirana Tehnika: tu, drvena bojica, makete
Ens at the Earth Once Upon a Time
Visual language: narrative/sketches Visual language: narrative
Technique: combined Technique: Indian ink, crayon, models
dora kasun josipa tadi

mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Walk on the wild side Ja sam Prostor

Vizualni jezik: naracija Vizualni jezik: naracija
Tehnika: vektorska ilustracija Tehnika: vektorska i bitmap ilustracija
Walk on the Wild Side I am the Space
Visual language: narrative Visual language: narrative
Technique: vector illustration Technique: vector and bitmap illustration
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godinjak studija dizajna 2015./2016.preddiplomski studij
school of design annual review 2015/2016undergraduate programme
Scenografija Scenography
Suvremeni trenutak izvedbenih umjetnosti obiljeen je kon- The contemporary moment in performing arts has been mar-
tinuiranim propitivanjem i redefiniranjem odnosa izvoaa, ked by continuous analysis and redefinition of the relationships
gledatelja i drugih elemenata izvedbe u prostoru, realnom between the performers, the audience members and other per-
i virtualnom, kao i njihovih prostornih modela. U kontekstu formance features in space, both real and virtual, as well as their
interdisciplinarnosti u izvedbenim i audiovizualnim umjetno- spatial models. In the context of interdisciplinarity, both in perfor-
stima, edukacija u scenografiji, tj. oblikovanju prostora izvedbe, ming and audio-visual arts, education in scenography, or scenic
tei univerzalnim znanjima o prostoru kao mediju djelovanja design, strives towards the acquisition of universal knowledge
i istraivanja. Tome svakako pridonosi emancipacija sceno- about space as a media for action and research. This is certainly
grafije u odnosu na tekst, ime se afirmira njena autonomnost also due to emancipation of scenography in relation to the text,
i autorski pristup umjesto interpretativnog. which affirms its autonomy and the authors original approach
Scenografija se ui i promilja kao privremena arhitektura kojom rather than the interpretative approach.
se ispituju i oblikuju prostorni meuodnosi elemenata izvedbe. Scenography is learnt and considered as a temporary archite-
Studenti usvajaju osnovna znanja o razvoju scenografske misli cture intended to analyse and design the spatial interrelation-
u kazalinoj umjetnosti, elementima i procesima scenogra- ships amongst performance elements. Students acquire basic
fije te njezinoj realizaciji i recepciji. Uvod u kreativni proces knowledge about the development of scenic design in theatre
oblikovanja scenskog prostora zapoinje izradom cjelovitog art, elements and processes of scenography and its implemen-
scenografskog dijagrama kojim se biljei i analizira odabrani tation and reception. An introduction into the creative process
scenski dogaaj. Problemski pristup nastavnom materijalu of scenic design commences with the preparation of a compre-
nastavlja se izradom scenografskog projekta slijedom zada- hensive scenography diagram intended to record and analyse a
taka, s naglaskom na dramaturgiju prostornog mehanizma. specific performance event. The problem-solving approach to
the teaching material continues in the development of sceno-
graphy project through a broad range of tasks with the focus
on the dramaturgy of spatial mechanism.
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godinjak studija dizajna 2015./2016. preddiplomski studij/scenografija,1.i 2.semestar
school of design annual review 2015/2016 undergraduate programme/scenography,1st and 2nd semester
prvi i drugi semestar

mirjam milas
Zadatak mentorica/mentor: Ivana Knez
Semestralni zadatak ak.god. 2015./16. je osmisliti scenografiju

za dramu Prolazi sve, Dubravka Mihanovia, na sceni DK Gavella
u Zagrebu. Scenografski koncept razvijen je u prostoru i vre-
menudijagramski i izradom radnog modela. U formi vizualnog
scenoslijedastoryboardaprikazani su prostorni meuodnosi
scenografije i drugih elemenata izvedbe. Izvedbenim nacrtom pre-
zentirana je materijalizacija kljunoga scenografskog elementa.
in 1. in 2.
first and second semester
Assignment
The main assignment at the level of the semester for the aca-
demic year 2015/2016 was to provide the scenography for the
drama entitled Everything passes by Dubravko Mihanovi for
the stage of Gavella Drama Theatre in Zagreb. The notion of
scenic design was developed in space and timein a diagram
and by preparation of a working model. Spatial interrelations
between scenography and other performance elements were
shown through a storyboarda visual sequence of scenes. The
implementation plan presented the materialisation of the cru-
cial scenography feature.
Osnova koncepta je ispreplitanje i povezanost sjeanja na prolost sa sadanjou

i neminovnim krajem. Scenografski je koncept materijaliziran kao pet rotirajuih
panela s dva lica. Pokretanjem panela otvaraju se ivotni procijepi. Smrt kao glavni
pokreta radnje pojavljuje se u prijelazima prizora u izvedbi plesaa obuenog
u crno. On je nijemi koreograf estih i brzih promjena pozicija panela, tj. prostora.
Koreografirane scenografske promjene postaju dio izvedbenog tkiva predstave,
a rotirajui paneli postavljeni u zoni portala upuuju na maglovitu granicu scen-
skoga i realnog, pozornice i gledalita.
The idea behind the concept is intertwining and connection between the remem-
brance of the past and the present and the imminent end. Scenic design concept
was materialised as five two-faced rotating panels. Insights into someones life are
provided through the movement of the panels. Death as the main protagonist in
the plot appears in transitions of the scenes and is interpreted by a dancer dressed
in black. He is a mute choreographer of the frequent and rapid changes of panel
position or spatial changes. Choreographed changes in scenic design become a
part of the active segment of the performance, whereas the rotating panels that
are placed in the zone of the portal suggest a blurred line between the scenic and
the real, as well as between the stage and the auditorium.
190 191
matea bertina eva muc

mentorica/mentor: Ivana Knez mentorica/mentor: Ivana Knez
in 1. in 2.
in 1. in 2.
Koncept scenografije zasnovan je na nizu frameova ili pogleda kroz prozor. Sce- Scenografska ideja temelji se na pojmu istovremenosti koji je preveden u prostorni
nografija se sastoji od est kvadratinih okvira, a njihovom postavom u razne konceptpresjek. etiri kubusa koja u prvom inu predstavljaju apstraktno polje
meuodnose stvaraju se prostori razliitih karaktera. Oni se podudaraju s pro- sjeanja, u drugom inu translatirani i naseljeni drugim ivotima formiraju zgradu
storima iz teksta poput kue u umi, bolnice, zbornice, sobe te niza prostora iz doma za stare i nemone koja je nevidljivom plohom presjeena u zoni portala. Ova-
doma za stare i nemone. U prvom inu oni formiraju niz slika, fragmenata sjeanja, kav scenografski koncept inspiriran je nainom na koji su u drami opisani stanovnici
a u drugom inu poligon trenutnih dogaanja u domu. Gledajui u prozore soba doma, osamljeni u svakodnevnim aktivnostima u svojim sobama. Scenograjom se
ulazimo u ivote likova. ostvaruje ono to tekstom nije mogue postii, istovremeni uvid u prostore ivota.
Dok tako kao publika simultano promatramo njihove ivote, postajemo svjesni da
Scenic design concept was based on a broad range of frames or views through a smo u poziciji iz koje gledamo na scene iznutra.
window. Scenography comprises of six square frames, whilst their arrangement in
various interrelations creates spaces of different characters. They coincide with The idea behind the scenic design is the notion of simultaneity translated into a
the spaces in the text such as the house in the forest, the hospital, the teachers spatial concepta cross section. Four cubes in the first act stand for an abstract
room, the room and a large number of premises from the nursing home. In the first memory field, whilst in the second act they are translated and inhabited by other
act they form a broad range of images and memory fragments, whilst in the sec- lives forming the nursing home building which has been separated with an invisible
ond act they act as a polygon for the events that are currently taking place in the surface in the zone of the portal. This specific scenic design concept was inspired
nursing home. Looking through the room windows we enter the characters lives. by the way the nursing home residents have been described in the drama, lonely in
their everyday activities in their rooms. The scenography achieves what cannot be
achieved through the text, providing a simultaneous insight into life spaces. Whilst
as audience members we simultaneously observe their lives, we become aware of
our position of observers of the scenes from within.
192 193
250
90 124 36
15
65
100
100
klara zaher klara mareli
100
85
mentorica/mentor: Ivana Knez mentorica/mentor: Ivana Knez
35
90 88 72 25
250
25
250
Fragment kao krhotina i ostatak, glavni je scenografski motiv. Ljudi, Inspiracija za scenografiju je citat iz dramskog teksta:...Sjeanje je
dogaaji, mjesta, dijelovi su ivota glavnog likakoliko ga grade, lijevak koji se suzuje. Na poetku tog lijevka sam djevojica, putem
toliko ga i rue. Scenografija se sastoji od fragmenata koji ine zatvo- djevojka i ena, a na kraju, starica. Ili je poetak na drugoj strani...?
renu formu pravokutnika. On je podijeljen na 7 cjelina, a cjeline su Scenografiju ini prostorni okvir ukoene etverostrane prizme
podijeljene u manje fragmente od kojih svaka predstavlja dio ivota, u formi lijevka. iri dio okvira koji predstavlja poetak ivota
odnosno jednu scenu. Fragmenti su u stalnoj interakciji s glumcima nalazi se u dubini scene, a sugerira kretanje od prolosti prema
koji ih postupno prenose iz nacrtnoga vertikalnog u tlocrtni hori- sadanjosti, k uem dijelu okvira. Na prijelazu iz prvog u drugi
zontalni poloaj, ime postaju krupan rekvizit. Prostorne forme, uz in prostorni se okvir okree za 180. U drugom inu kretanje
pomo glumakih intervencija, otkrivaju nam svoje novo znaenje se odvija od sadanjosti prema budunosti, prikazom zbivanja
i karakter prostora. unutar starakog doma od dolaska glavnog lika do njene smrti.
Fragment as a splinter and a residue is the main scenic design motif. The inspiration for the scenic design is a quote from a dramatic text:
People, events and places are all parts of the life of the main char- ...A memory of a funnel narrowing down. At the start of the funnel
acterthey simultaneously both build and destroy it. Scenogra- I am a little girl, along the way I become a girl and a woman and in
phy comprises of fragments that create a closed form of a rectan- the end I am an old woman. Or is the beginning on the other side...?
gle. It is divided into 7 units, whilst the units have been divided into The scenic design comprises of a spatial framework of a slanted four-
smaller fragments, each of which stands for a fragment of life, or a sided prism in the shape of a funnel. The broader part of the frame-
scene. The fragments are in continuous interaction with the actors work that stands for the beginning of life is placed in the depth of
who gradually transfer them from the vertical draft to the horizon- the stage and it suggests the movement from the past towards the
tal ground plan position and hence they become a huge prop. Spa- present and towards the narrower part of the framework. During the
tial forms reveal their new meaning and spatial character through transition from the first to the second act the spatial framework turns
interventions by the actors. by 180. In the second act the movement takes the direction from
the present to the future, showing the events taking place within the
nursing home, from the arrival of the main character to her death.
194 195
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 of Design as an independent visual art which is simultaneously a
za bolje izraavanje u kreativnim dizajnerskim projektima. prerequisite for improved expression in creative design projects.
U oba preddiplomska kolegija studenti se pod mentorskim vod- During both undergraduate courses students under the men-
stvom Stanka Hercega bave slobodnim fotografskim temama, torship of Stanko Herceg deal with free photography themes,
ali i 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 tehnike start taking photographs using an analogue camera and they
fotografiranja i o kompoziciji fotografske slike. Nakon to su are provided the theoretical basis of photography techniques
svladali osnove fotografskog znanja, studenti se tijekom tree and on photography composition. Following the acquisition of
godine susreu sa sloenijim postupcima fotografskog izra- the fundamentals of photography skills, during the third year of
avanja. 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 2015./2016. preddiplomski studij/fotografija,4.semestar
school of design annual review 2015/2016 undergraduate programme/photography,4th semester
antonija jurina ivana baanek

mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
demonstratorica: Ana Vujasi demonstratorica: Ana Vujasi
Mrtva priroda/Still life Akt/Nude
ivan klanac erika filipan

Reportaa/Reportage Portret/Portrait
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godinjak studija dizajna 2015./2016. preddiplomski studij/fotografija,4.semestar
school of design annual review 2015/2016 undergraduate programme/photography,4th semester
stella grabari
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
demonstratorica: Ana Vujasi
Arhitektura/Architecture
karla kocijan
Poznati predmet/Familiar object
karla kocijan klara zaher

Poznati predmet/Poznati predmet
Urbani pejza/Landscape
ana pavii lucija rubini

Arhitektura/Arhitektura
Slobodna tema/Free topic
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godinjak studija dizajna 2015./2016. preddiplomski studij/fotografija i film,5.i 6.semestar
school of design annual review 2015/2016 undergraduate programme/photography and film,5th and 6th semester
paula obat lucija rubini

Flourescento svjetlo/ Mijeano svjetlo/Mixed light
Fluorescent light
marta badurina josipa tadi

Mijeano svjetlo/Mixed light Svjetlo kune arulje/Household bulb
202 203
vita vrebac
Fluorescentno svjetlo/
Fluorescent light
karla novak
Smrt/Death
vilim reda mirjam milas

Fluorescentno svjetlo/ Fluorescentno svjetlo/Fluorescent light

Fluorescent light
204 205
vilim reda
dorja horvati mentor: Stanko Herceg
mentor: Stanko Herceg asistent/assistant: Pavel Posavec
asistent/assistant: Pavel Posavec demonstratorica: Ana Vujasi
Svjetlo svijee/Candle light
Svjetlo natrija/
Sodium light source
karla novak
Svjetlo natrija/
Sodium light source
viktoria jurina
Svjetlo natrija/
Sodium light source
206 207
klara zaher dorja horvati paula anti marta badurina

mentor: Stanko Herceg mentor: Stanko Herceg mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
demonstratorica: Ana Vujasi demonstratorica: Ana Vujasi demonstratorica: Ana Vujasi demonstratorica: Ana Vujasi
Svjetlo ive/Mercury lighting Svjetlo ive/Mercury lighting Halogeno svjetlo/Halogen light source Neonsko svjetlo/Neon light
208 209
klara zaher josipa tadi

Fluorescentno svjetlo/ Mijeano svjetlo/Mixed light
Fluorescent light
karla coti matea bertina

Fluorescentno svjetlo/ Fluorescentno svjetlo/Fluorescent light

Fluorescent light
210 211
Osnove Basics of
interaktivnih medija Interactive Media
Kolegij interaktivnih medija uvodi studente u znaajke i speci- Interactive Media course introduces students into the characte-
finosti dizajna digitalnih proizvoda. Dananje web i mobilne ristics and specific features of digital product design. The current
aplikacije koje su preuzele primat u svakodnevnom ivotu web and mobile apps that have become dominant in everyday
komunikacije, uenja , zabave i socijalnog ivota, snano utjeu lives concerning communication, learning, entertainment and
na pojedinca i kanal su trendova, sadraja, ideja i pokreta na social life, strongly affect the individuals and provide a channel
globalnoj razini. for trends, contents, ideas and movements at the global level.
Ono to ini poveznicu u mnotvu aplikacija i predstavlja fokus Designers primarily focus on user experienceUX which provides
za dizajnera je korisniko iskustvo (engl. User Experience UX). a connection amongst plethora of applications. UX is basically a
UX je u svojoj sutini obuhvatna multisenzorna interakcija comprehensive multi-sensory interaction between the user and
korisnika s digitalnim proizvodom koju dizajner osmiljava the digital product which the designer develops and projects. The
i oblikuje. Posebnost interaktivnog medija u odnosu na tradi- specific feature of interactive media compared with the tradi-
cionalni nain vizualne komunikacije je koliina i raznovrsnost tional method of visual communication is the quantity and the
interakcije digitalnog proizvoda i korisnika kroz korisniko diversity of interaction between the digital product and the user
suelje (engl. User interfaceUI). UI pored svoje vizualne kom- through user interfaceUI. In addition to its visual component
ponente gdje dizajner koristi svoja znanja i vjetine grafikog where the designer uses their knowledge and graphic design ski-
dizajna ima jo jednu temeljnu znaajkuiskoristivost (engl. lls, UI also has another fundamental featureusability. UI usa-
usability). Iskoristivost UI-ja kvalitativno se mjeri na mnogo bility can qualitatively be measured in a large number of ways
naina u kontekstu snalaenja u obavljanju zadatka, organi- in the context of the ability to provide solutions to assignments,
zacije informacija i interaktivnih elemenata, dijaloga izmeu organisation of information and interactive features and the dia-
korisnika i digitalnog proizvoda i jo mnogih drugih. logue between the user and the digital product, to name a few.
Uzevi u obzir UI i iskoristivost korisnikog suelja te cjelinu Taking into account UI and usability of user interface, as well as
korisnikog iskustva, cilj dizajnera je izrada prototipa digi- the overall user experience, the objective of the designer is to
talnog proizvoda nizom iteracija ciklusa dizajna, testiranja provide a digital product prototype through a broad range of
i uenja. Uspjean prototip je temelj izrade digitalnog proi- interactions amongst design, testing and learning cycles. A suc-
zvoda koji slui inenjerima i produkt menaderima kao nacrt cessful prototype is fundamental in the development of a digital
u implementaciji proizvoda i njegovoj distribuciji na internetu product which is used by engineers and product managers as a
ili nizom pametnih ureaja. design plan in product implementation and its distribution on
the Internet or through a broad range of smart devices.
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godinjak studija dizajna 2015./2016. preddiplomski studij/osnove interaktivnih medija,3.semestar
school of design annual review 2015/2016 undergraduate programme/basics of interactive media,3rd semester
trei semestar
jovana vlaisavljevi
Osnove UX dizajna mentor: Emil Flatz
U ovom semestru studenti se upoznaju putem teorije i prakse

s osnovnim elementima interaktivnog dizajnapojmovima UX-a,
UI-ja, prototipu digitalnog proizvoda. Pored osnovnih teorijskih
pojmova i definicija, studenti imaju zadau izraditi prototip
s naglaskom na iskoristivost suelja, apstrahirajui pritom vizu-
alnu komponentu dizajna. To se jo naziva low-fidelity proto-
tip, gdje je fokus dizajnera na anatomiji digitalnog proizvoda,
a ne na njegovu izgledu. Anatomija digitalnog proizvoda bavi se
strukturom, navigacijom, rasporedu elemenata UX-ja i osnov-
nom interakcijom. Putem izrade low-fidelity prototipa studenti
se upoznaju i s alatima prijeko potrebnih za izradu i prezentaciju,
koji su trenutno prisutni u svakodnevnom radu UX dizajnera.
Zavrni rad zimskog semestra je izrada low-fidelity prototipa
web-stranice prema izboru studenta kroz interaktivnu pre-
zentaciju u alatu InVision.
third semester
Fundamentals of UX design
During the 3rd semester students are introduced to fundamen-
tals of interactive design through both theory and practice and
hence they become acquainted with the concepts of UX, UI and
digital product prototype. In addition to basic theoretical con-
cepts and definitions, students have the assignment to develop Design Museum London
a prototype with an emphasis on interface usability, whilst simul- Design Museum London osnovan je 1989. godine, a smjeten je pored
rijeke Temze, uz Tower Bridge u sredinjem dijelu Londona (Engleska).
taneously ignoring the visual component of design. This is also Muzej obuhvaa postav produkata industrijskoga, grafikoga, mod-
called low-fidelity prototype where the designer focuses on the noga i arhitektonskog dizajna. U godini 2007. magazin Times rangi-
anatomy of digital products, rather than on their appearance. rao je ovaj muzej kao drugi na svojoj ljestvici Top 5 muzeja te godine.
Digital product anatomy addresses structure, navigation, arran- Design Museum London
gement of UI elements and basic interaction. Through develop- Design Museum is a museum founded in 1989, located by the River
ment of a low-fidelity prototype students are introduced to the Thames near Tower Bridge in central London, England. The museum
tools imperative in its development and presentation which are covers product, industrial, graphic, fashion and architectural design.
In 2007 the museum was ranked second in the top five museums of
currently present in daily work of UX designers. the year of The Times newspaper.
The final thesis in the winter semester is the development of
a low-fidelity prototype of a website based on students choice
through interactive presentation using the tools called InVision.
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school of design annual review 2015/2016 undergraduate programme/basics of interactive media,3rd semester
karla kocijan ivana baanek

mentor: Emil Flatz mentor: Emil Flatz
SoundCloud YouTube
SoundCloud je globalna audioplatforma za distribuciju audiozapisa YouTube je popularna mrena usluga za razmjenu videozapisa na
smjetena u Berlinu (Njemaka). Platforma omoguuje postavlja- kojoj korisnici mogu postavljati, pregledavati i ocjenjivati videozapise.
nje, prezentaciju i dijeljenje autorskih audiozapisa. Prema podacima Za postavljanje sadraja potrebna je registracija, dok za pregledavanje
tvrtke, u prosincu 2014. godine platforma je distribuirala vie od 175 to nije nuno, osim sadraja koji nije primjeren za osobe mlae od
milijuna jedinstvenih posjetitelja na mjesec, dok je postavljeno blizu 18 godina. Prema statistikom istraivanju iz lipnja 2006. godine na
12 sati audiozapisa svake minute. YouTubeu je dnevno pregledavano 100 milijuna videozapisa, a tije-
kom 24 sata postavljano 65 000 novih videozapisa.
SoundCloud
SoundCloud is a global online audio distribution platform based in YouTube
Berlin, Germany, that enables its users to upload, record, promote, YouTube is a popular network service for exchange of video record-
and share their originally-created sounds. According to the data pro- ings in which users can upload, view and rank videos. Registration is
vided by the company, in December 2014 the service attracted more required for content upload, whilst it is not necessary in case of con-
than 175 million unique monthly listeners, whilst content creators tent viewing, with the exception of content that is not recommended
uploaded content for about 12 hours of audio per minute. for viewing by persons under 18 years of age. According to statistical
research conducted in June 2006, 100 million of videos were viewed
on YouTube, whilst 65,000 new videos were uploaded in 24 hours.
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school of design annual review 2015/2016 undergraduate programme/basics of interactive media,4th semester
etvrti semestar
Dizajn korisnikog iskustva
ivana baanek
mobilne aplikacije mentor: Emil Flatz
U programu 4. semestra, svladavi low-fidelity prototipove,

studenti imaju zadatak dizajnirati korisniko iskustvo (UX)
mobilne aplikacije. Uz izradu wireframe prototipa zadaa je bila
kreirati kompletno vizualno i interaktivno iskustvo, potujui
ogranienja alata za izradu prototipova, InVision. Kao vrstu
ureaja studenti su mogli odabrati ureaj Apple IOS, Android
ili Microsoft operativnog sustava. Svaka od tih platformi ima
drukije razraene standarde UI-ja koje su studenti morali
uzeti u obzir kod dizajna aplikacije. Kao referencija koristili su
se izvori Google Material Design standarda, Appleovih diza-
jnerskih smjernica ili preporuka Microsofta, ovisno o izboru
platforme. Naglasak u ovom semestru je na dizajnu pojedi-
nih komponenti aplikacije, aplikacije ikona, standardizacije
tipografije, boja, grida te ostalih vizualnih sastavnica mobilne
aplikacije. Pored realizacije samostalnog zadatka, studenti su
takoer sudjelovali u izradi idejnog rjeenja web-stranice koju
su oblikovale skupine po 45 studenata.
fourth semester
User experience design for mobile apps
During the programme of the 4th semester after having maste-
red low-fidelity prototypes, students are given the assignment of
user experience (UX) design for mobile apps. In addition to the
development of a wireframe prototype, the assignment included MyArt
the creation of a comprehensive visual and interactive experience, MyArt je primijenjeni program koji prua korisniku pregled kolekcije umjetnikih
in accordance with the constraints of InVision tool for prototype djela prema smjerovima u likovnoj umjetnosti i njihovim autorima. Takoer, mla-
development. Students had the opportunity to choose among dim likovnim umjetnicima nudi mogunost objavljivanja svojih likovnih djela te nji-
hovo dijeljenje unutar zajednice korisnika aplikacije MyArt. Program je dizajniran
devices such as Apple IOS, Android or Microsoft operating system. za Apple iPhone ureaj.
Each of the platforms has different UI standards which the stu-
dents needed to consider during mobile app design. Google Mate- MyArt
rial Design standard sources, Apple design guidelines or Micro- MyArt is an applied programme that provides the user with an overview of the
collection of works of art according to directions in visual arts and their artists.
soft recommendations were used a references, depending on the Moreover, young visual artists are provided the opportunity to publish their work
selection of a platform. This semester primarily focused on the and share it within the community of users of MyArt application. The programme
design of individual components of the mobile app, application has been designed for Apple iPhone device.
icons, standardisation of typography, colours, grid and other

visual elements of the mobile app. In addition to the implemen-
tation of the independent assignment, students also participated
in the development of the conceptual design of a website solu-
tion provided by student groups comprising of 4 to 5 members.
218 219
amin bajrektarevi klara bili

YouTube Audio
YouTube Audio je aplikacija dizajnirana za Android ure-
aje za korisnike koji putem YouTubea sluaju glazbu.
injenica da se danas YouTube masovno koristi za
sluanje glazbe inspiracija je za oblikovanje YouTube
iskustva u kontekstu pretraivanja, sluanja i lokalnog
preuzimanja glazbe.
YouTube Audio
YouTube Audio is an app designed for Android devices
for users who listen to music via YouTube. It is a fact
that YouTube is currently widely used for listening to
music and it has hence provided inspiration for the
design of YouTube experience in the context of search-
ing, listening and local download of music.
Me
Aplikacija Me obuhvaa dnevno praenje glavnih ivotnih znaajki koje utjeu na
kvalitetu ivota pojedinca u kontekstu prehrane, spavanja, misli, osjeaja te dnev-
nih inspiracija koje ga vesele. Objavom fotografija ukusnih jela, prelijepih pejzaa,
kontakta s prijateljima te zanimljivih citata prije spavanja, pokuava se obliko-
vati pozitivno ozraje od jutra do veeri. Aplikacija je dizajnirana za Apple iPhone.
Me
The app named Me includes focus on monitoring of main features of life that impact
on the quality of life of an individual in the context of nutrition, sleep, thoughts and
daily inspiration that cheers them up. A positive atmosphere is designed throughout
the day through posting photographs of tasty dishes, beautiful landscapes, con-
tacts with friends and interesting quotes before going to bed. The app has been
designed for Apple iPhone.
220 221
jan marin leonarda komen

Tracks Airplane mode

Aplikacija Tracks bavi se iskustvom vonje javnim pri- Airplane mode je aplikacija za pretraivanje najpovolj-
jevozom na primjeru grada Zagreba. Pored osnovne nijih letova. Specifinost pretraivanja je u tome da
navigacije ukljuen je i model socijalnog povezivanja korisnik ne bira konkretnu liniju ili let nego trai naj-
korisnika koji meusobno dijele informacije o guvama, bolju opciju putovanja u odnosu na slobodno vrijeme
kontroli karata ili zastoju u javnom prometu. Ovaj pri- i proraun s kojim raspolae. Program je usmjeren na
mijenjeni program oblikovan je za Apple iPhone. mlade ljude koji koriste povoljne opcije putovanja na
razliita odredita, bez unaprijed definiranih planova.
Tracks Program je dizajniran za iPhone ureaj.
The app named Tracks deals with the experience of
riding public transportation by taking the example of Airplane mode
the city of Zagreb. In addition to the basic navigation, Airplane mode is an app intended for search for the
a model of social connections between users has been cheapest flights. The specific feature of the search is
included, since they share information about heavy in the fact that the user does not select a concrete
traffic, ticket control or traffic jams concerning public flight line or a flight, but they select the best travel
transport. This applied programme has been designed option concerning the free time at their disposal and
for Apple iPhone. the available budget. The programme is intended for
young people who use affordable travel options towards
various destinations, without previously defined plans.
The programme has been designed for iPhone devices.
222 223
luka palestrina mazi marijana imag

Metronome PhotoEditor
Metronome je aplikacija za glazbenike tijekom glazbe- PhotoEditor je Android aplikacija za fotografiranje i brzu
nih proba koja implementira funkcionalnost klasinoga obradu fotografija standardnim parametrima svjetline,
mehaninog metronoma. Dizajnirana za Apple iPhone kontrasta i topline. Pored izlaganja u galerijama, foto-
ureaje, aplikacija prua jednostavnu funkcionalnost grafije se mogu podijeliti i putem drutvenih mrea.
odreivanja ritma, uz jednostavne kontrole namje-
tanja ubrzavanja i usporavanja te odreivanja ritma PhotoEditor
otkucaja brzine. PhotoEditor is an Android app for photographing and
rapid processing of photographs in compliance with
Metronome standard parameters of brightness, contrast and warmth.
Metronome is an app for musicians which is used dur- In addition to being exhibited in galleries, photographs
ing music rehearsals and it implements the functional- can also be shared via social networks.
ity of a classical mechanical metronome. It has been
designed for Apple iPhone devices. The app provides a
simple functionality of determining rhythm and it ena-
bles simple control of increase or slow-down of tempo,
in addition to determining the rhythm of beat speed.
(Napomena: Radovi u Godinjaku predstavljaju samo

skicu prezentacije prototipa koji je u potpunosti pred-
stavljen interaktivnim alatom InVision.).
(Note: Works presented in the Yearbook are only a
draft of prototype presentation which has been fully
presented using the interactive tool InVision.).
224 225
Studenti
Preddiplomskog studija
Undergraduate programme
students
godinjak studija dizajna 2015./2016. studenti preddiplomskog studija
school of design annual review 2015/2016 undergraduate programme students
1. godina 1st Year

Preddiplomskog studija Undergraduate Programme
Josip Andrei Mirna Ari Dominik Badel Tomislav Bagi Matija Barovi Helena Benc Ines Borovac Leonard Boroviki Matea Brki Paola Dodi Mirta Filipovi Karlo Gajski
Josipa Gjergja Jakov Habjan Monika Hodak Matija Jandri Anja Kepert Antonio Klasi ani Lacmanovi Marta Letica Marija Matuli Matko Miji Ana Moja Ramona Mori
Dominik Perovi Josipa Petrov Petra Pikor Hana Pulji Andrea Rebec Lucija Rupi Iva Ruin Tea Sinovi Hana Stojakovi Zoe arlija Vana ulenti Tea Taneski
Neva Marija Zidi
228 229
2.godina 2nd Year 2.godina 2nd Year

Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications
Amin Bajrektarevi Klara Bili Dora Doko Tea Draga Erika Filipan Karla Kocijan Ivana Baanek Darian Baklia Bruno Bolfan Iva Franji Ljubica Golubi Stella Grabari
Paula Kova Veronika Kova Morana Lauin Andreja Lovrekovi Jan Marin Lucija Mati Antonija Jurina Roko Jurjevi Ivan Klanac Leonarda Komen Tanja Modrakovi Ana Pavii
Ela Meseldi Lucija Novosel Luka Palestrina Mazi Lucija Sever Nina Stupar Jovana Vlaisavljevi Martina Petric Marijana imag
230 231
3.godina 3rd Year 3.godina 3rd Year

Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Marta Badurina Matea Bertina Dora aldarovi Luka Dundovi Viktoria Jurina Mihovil Kara Ena Begevi Mikela Cvitanovi Karla oti Petra Grubii Dorja Horvati Dora Kasun
Filip Kovai Matej Maltar Klara Mareli Vilim Reda Lucija Rubini Petra Salari Juraj Koica Petra Kovaevi Iva Leustek Elizabeta Lonar Mirjam Milas Rafael Mili
Valentina Sunek Paula anti Eva muc Josipa Tadi Mirko Vui Jasna Zorii Anja Nikoli Karla Novak Grgo Petrov Paula obat Mladen Udovii Vita Vrebac
Matej Vukovi Ivona Vuri Klara Zaher
232 233
Preddiplomski studij
Izvedbeni program
Undergraduate Programme
Curriculum Outline
godinjak studija dizajna 2015./2016. preddiplomski studij/izvedbeni program
school of design annual review 2015/2016 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 / assistant professor
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
236 237

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 / teaching assistant
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 v.asist.dr.sc. Stanko kec / PhD, lecturer
asist. Tomislav Martinec / teaching assistant
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 prof.dr.sc. Tanja Jurevi-Luli / PhD, full 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 prof. Nenad Dogan / associate professor pred. Flatz Emil / 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
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 / assistant professor
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 prof. Nenad Dogan / associate professor pred. Flatz Emil / 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
238 239

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 doc.dr.sc. Morana Fuduri / associate professor
Psihologija za dizajnere / Psychology for Designers 30 0 2 prof.dr.sc. Melita Kovaevi / PhD, full professor
Urbana sociologija / Urban Sociology 30 15 2.5 prof.dr.sc. Anka Mieti / PhD, full professor
Socijalna ekologija / Social Ecology 30 15 2 prof.dr.sc. Anka Mieti / PhD, full 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 pred. Dina Korper emva / lecturer
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 izv.prof.dr.sc. Tatjana Haramina / PhD, 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 / teaching assistant
Likovne vjebeilustracija 1, 2 / Art StudioIllustration 1, 2 15 30 2.5 15 30 2.5 prof. Ivan Doroghy / 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 / assistant professor
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 / teaching assistant
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 prof. Ivan Doroghy / 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 / lecturer
Kolegij sa Sveuilita / Courses at the University (free choice) 45 0 2.5 45 0 2.5
90 6 90 6
240 241
Diplomski studij

Graduate programme
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godinjak studija dizajna 2015./2016. diplomski studij
school of design annual review 2015/2016 graduate programme
Ciljevi Objectives
Suvremenim tokovima tehnolokog razvoja nastaju novi gos- Kompetencije magistara dizajna koje se stjeu zavretkom New economic and social relationships at the global and the Postgraduate study programme focuses on critical and creative
podarski i drutveni odnosi na globalnoj i lokalnoj razini ostva- ovog studija ukljuuju takoer i sposobnost samostalnog zami- local level are continuously established due to technological research, analysis and consideration from the design stance of the
rujui uvjete za modernizaciju materijalne proizvodnje i komu- ljanja i provoenja projekata kao rezultata teorijsko-istrai- development, creating the conditions for modernisation of mate- existing and the future relationships, which include the subjects
niciranja, a time i drutva u cjelini. Ujedno se stvara potreba za vakog rada, stvaranja koncepata i strategija razvoja dizajna rial production and communication and subsequently the entire on methodology and planning. Consequently, stereotypical scope
nastajanjem novih disciplina dizajna. U tom kontekstu dizajn s ciljem unapreivanja drutvenih i gospodarskih sustava te society. Design is considered to be an intellectual activity which of design disciplines has been expanded, providing the condi-
je definiran kao intelektualna djelatnost koja ukljuuje razvoj za preuzimanje strateke i proaktivne uloge na akademskoj includes the development of living and social scenarios, systems, tions for analysis of methods and the nature of design activity,
ivotnih i drutvenih scenarija, sustava, usluga, te kreiranje i strukovnoj razini. services and creation of experiences and strategies at a business, the mode of production and the form of communication. Edu-
doivljaja i strategija na poslovnoj, strukovnoj i drutvenoj Program diplomskog studija je, dakle, temeljen na kritikom occupational and social level. In accordance with the previously cational methods primarily focus on acquisition of experiences
razini. U skladu s navedenim naelima, sadraj diplomskog stu- i kreativnom istraivanju, preispitivanju i dizajnerskom pro- mentioned principles, the curriculum of graduate studies has been in theory and critical analysis, modern technologies and mate-
dija je osmiljen tako da studente potie na kritiko sagleda- miljanju postojeih i buduih odnosa u sprezi s teorijsko created in order to encourage students to critically observe the rials, as well as methods and processes of project implementa-
vanje tehnolokoga, drutvenoga i ljudskog okruja kao teme- metodolokim i projektantskim predmetima. Tako konci- technological, social and human environment as the basis for tion with economic and social entities.
lja za ostvarivanje vlastitih dizajnerskih zamisli. Takva defini- piranim sadrajem nadilaze se stereotipni okviri disciplina implementation of their design projects. Consequently, the defi-
cija dizajna podrazumijeva svladavanje vjetina potrebnih za dizajna i stvaraju se uvjeti za preispitivanje metoda i prirode nition of design implies acquisition of skills required for the rese-
istraivanja usmjerena prema novim, modernijim metodama dizajnerskog djelovanja, naina produkcije i oblika komuni- arch, primarily focusing on new, innovative methods in the per-
u koncipiranju ivotnih okolnosti, za razumijevanje gospodar- kacije. Obrazovne metode se primarno odnose na stjecanje ception of living circumstances and in gaining a comprehensive
stva, drutva i kulture na globalnoj i lokalnoj razini te za pri- iskustava studenata u teoriji i kritikoj analizi, na poznavanju insight into the economy, society and culture at the global and
mjenu naela odrivog razvoja u ekolokom, gospodarskom suvremenih tehnologija i materijala, te na metode i procese the local level, as well as implementation of standards of sustai-
i kulturolokom smislu. realizacije projekata s gospodarskim i drutvenim subjektima. nable development in the fields of ecology, economy and culture.
Diplomski studij dizajna, ulazei u nova podruja poput The postgraduate study programme of design covers new fields
primjerice dizajna interakcija, doivljaja i dogaanja i dizajna of interest such as interaction design, events and experience
u 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 samostalno disciplinary teams, for creation and implementation of complex
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 2015/2016 school of design annual review 2015/2016graduate 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 humanizi- line of work through a comprehensive insight into social, cultural
ranja ivota i unapreenja struke. Studenti usvajaju metode and technological context. Students acquire deep insight into met-
upravljanja projektnim procesima i timovima, te provode slo- hods of project management and management of project teams
ena istraivanja socijalnih, gospodarskih i tehnolokih aspe- and conduct complex research of social, economic and technolo-
kata. Pored samostalno iniciranih projekata, studenti sudjeluju gical aspects. In addition to individually initiated projects, students
i u 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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godinjak studija dizajna 2015./2016. diplomski studij/industrijski dizajn,1.semestar
school of design annual review 2015/2016 graduate programme/industrial design,1st semester
andrej uki
mentor: Mladen Orei
prvi semestar asistentica / assistant: Andrea Hercog
godinje priznanje studija dizajna /
Dizajn u realnom okruju annual acknowledgement at the school of design
Tema zadatka u prvom semestru diplomskog studija usmje-

renja Industrijski dizajn je dizajn u kontekstu realnog okruja.
Cilj zadatka je stjecanje znanja i vjetina u interdisciplinarnom
procesu oblikovanja sloenih proizvoda, njihovih sustava i/ili
usluga. Zadaci variraju i u skladu su s interesima studenata.
Studenti odabiru polje interesa, te na temelju istraivanja dru-
tvenih, tehnolokih, gospodarskih, ekolokih i drugih imbe-
nika dizajna, definiraju projektne zadatke u cilju kontinuira-
nog unapreenja kvalitete ivota. U tom procesu naroita se
pozornost obraa suradnji s realnim partnerima iz gospodar-
skih, drutvenih i / ili drugih podruja.
first semester
Design in real environment
The topic of the assignment in the first semester of the Gradu-
ate Study Programme in Industrial Design Department is design
in the context of real environment. The objective of the assign-
ment is acquisition of knowledge and skills in interdisciplinary
design process of complex products, their systems and/or ser-
vices. The tasks vary also in accordance with students interests.
Students select a field of interest and, based on research on
social, technological, economic, environmental and other design
factors, define project tasks in order to continuously promote
the quality of life. A special attention throughout this process is
paid to co-operation with real partners from the fields of eco-
nomy, social and/or other fields.
Flat-pack kerf stolica
Stolica je nastala kao rezultat istraivanja metode kerfinga, savijanja ploastog drva uz pomo uskih zareza, okomitih na smjer
savijanja. Koritenjem te tehnike oblikovana je stolica koja zadovoljava ergonomske parametre i estetiku. Ove stolice od savi-
jene perploe mogu se transportirati u flat-pack obliku i zatim lagano sloiti jednostavnim iskoritavanjem klasinih flat-pack
principa prodora i lastinog repa.
Flat-pack kerf chair

The chair resulted from a research conducted on kerfing method, by bending of plywood through narrow cuts vertical to
the bending direction. The chair was designed using this technique in compliance with ergonomic and aesthetic parameters.
These chairs made from bent plywood can be transported in flat pack form and easily assembled following simple classical
flat-pack principles of male and female joints and dovetail joints.
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ian bonifai ivan aban

Monocikl Dizajn za pse s potekoama u kretanju

Veina ljudi monocikl smatra predmetom za zabavu i cirkuske akrobacije, a nisu svjesni kako je ovo vozilo postalo Ideja koncepta je omoguiti rehabilitaciju i aktivno kretanje pasa u interijeru i eksterijeru, a pritom
popularno i pogodno za razliite naine vonje kao to su casual, downhill, race itd. Mnogi smatraju da je monocikl izbjei izgled medicinskog pomagala. Postojea rjeenja nemaju mogunost prilagodbe i esto
sloen za uporabu, a iskustva potvruju kako je za osnovnu vonju monociklom potrebno najvie 15 sati koncen- ne mogu u potpunosti funkcionalno rijeiti problem, ime stvaraju veliku ovisnost psa o ovjeku.
trirane vjebe. Nakon toga svaki bi ovjek mogao samostalno odravati ravnoteu i voziti po ravnim povrinama. Ona takoer ne rjeavaju neka od bitnih kretanja, poput dizanja ili obavljanja nude, i vizualno
Istraivanjem je dokazano kako se vonja monocikla smatra najboljom vjebom ravnotee pa tako na primjer ne odgovaraju vlasnicima. Proces kretanja podijeljen je na onaj u interijeru i eksterijeru zbog
u Japanu sva osnovnokolska djeca kao obvezni dio predmeta tjelesne kulture moraju proi obuku vonje mono- velikih razlika u nainima kako se to kretanje izvodi. Zamiljena je i pripadajua web-platforma
cikla da bi poboljali svoje motorike sposobnosti i odravanja ravnotee. putem koje bi se proizvod mogao izabrati prema rasi i veliini psa, vrsti rehabilitacije ili ozljede.
Unicycle
Most people believe unicycles are intended for entertainment and circus acrobatics and are unaware of the Design for dogs with movement disorder
fact that they have become popular and adequate for different types of rides such as casual, downhill, race etc. The idea behind the solution is to enable the rehabilitation and active movement of dogs both
Many people believe that unicycles are too complicated to ride, yet experience has shown that within 15 hours indoors and outdoors, whilst simultaneously avoiding the appearance of a medical aid. The
of concentrated practice anyone can gain the basic skills required in order to be able to keep balance inde- existing solutions do not have the potential to adapt and are hence not entirely functional and
pendently and ride on flat surfaces. Research has shown that riding a unicycle is considered the best exercise leave dogs highly dependent on humans. Moreover, they also do not solve the problems dogs
for balance improvement and hence in Japan all primary school children need to learn to ride a unicycle within are faced with upon some of the most fundamental movements such as standing up or reliev-
the Physical Education course in order to improve both their motor skills and their balance. ing themselves and dog owners did not find them visually appealing. The movement process has
been divided into movement indoors and movement outdoors due to huge differences in types
of movement. A corresponding web platform has also been designed through which the product
could be selected according to dog breed and size, the type of rehabilitation required or dog injury.
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maja prelec karmela gudiek

Hostel Kifleki
Sve je vie hostela s mogunou odabira privatnih soba. Vei stupanj privatnosti u spavaonicama ne bi istodobno trebao zna- Za dijete predkolske dobi igra predstavlja osnovni oblik uenja. Djeci mlaoj od 7 godina vano je omoguiti
iti odvajanje i otuivanje jedne od drugih te onemoguavanje meusobne komunikacije. Rjeenje je da se omogui pomak slobodnu, aktivnu igru koja e poticati razvoj motorikih sposobnosti poput hodanja ili tranja, koje ine temelj
cijelog iskustva boravka u hostelu na neku drugu razinu, gdje su svi elementi koji ine njegovu ponudu u ravnotei. Pokustvo razvoja osnovnih pokreta. U suvremenom nainu ivota djeca su sve manje motoriki aktivna pa je ovaj proi-
za jedinice za spavanje svojim korisnicima omoguuje personalizaciju i odreenu dozu privatnosti. Jedinice je mogue slagati zvod nastao s namjerom poticanja vjebanja i izgraivanja motorikih sposobnosti. Namijenjen je djeci uzrasta
u prostoru na razliite naine kombinacijom razliitih kompozicija prema odabranom tlocrtu, a razliitim otvaranjem ili zatva- od 3 do 5 godina. Kiflek je napunjen kuglicama stiropora i obloen mekom mikrofibrom, a svaki predstavlja neku
ranjem ploha postii vie naina koritenja. ivotinju, to proizvodu dodaje i edukativnu komponentu.
Hostel Kifleki (Horseshoes)

There is an increasing number of hostels that provide the opportunity to select private rooms. A higher degree of privacy in the Playing is a fundamental learning method for pre-school children. Children under 7 years of age need to be given
bedrooms does not need to simultaneously imply separation and alienation amongst the visitors and an obstacle to commu- the opportunity for free and active play which will encourage the development of their motor skills such as walk-
nication. The solution consists in enabling a shift of the entire experience of hostel accommodation towards a different level ing or running, which are the basis of development of fundamental movements. Against the backdrop of contem-
where all the features included in the hostel programme have been harmonised. Furniture sets for bedrooms ensure person- porary lifestyle the motor activity of children is continuously decreasing and hence this product was developed
alisation and a degree of privacy for the visitors. In addition, the furniture sets can be assembled in the premises in various striving to encourage physical exercise and motor skills development of 3 to 5-year-old children. Horseshoes are
ways through a combination of different compositions according to the selected ground plan, whilst a different opening or intended for children aged between 3 and 5. They are filled with Styrofoam balls and covered in soft microfiber
closure of surfaces provides various opportunities of use. and each of them represents an animal, which provides the product with an additional educational feature.
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school of design annual review 2015/2016 graduate programme/industrial design,2nd semester
drugi semestar
Dizajn u kontekstu razvoja tehnologije ian bonifai
mentor: Zlatko Kapetanovi
Aditivne tehnologije asistentica / assistant: Sanja Benceti
Tema zadatka u drugom semestru je dizajn u kontekstu razvoja

tehnologije, a akademske godine 2015./2016. vezan je uz aditivne
tehnologije. Rije je o postupcima i ureajima koji se koriste za
izradu prototipova funkcionalnih proizvoda od metala, keramike
i polimera u obliku kapljevine, praha, ica, folija (ono to podra-
zumijevamo pod trodimenzionalnim ispisom). Studenti trebaju
istraiti na koji nain e primjena tih tehnologija promijeniti svi-
jet u kojem ivimo. Prema kriterijima definiranim istraivanjem,
studenti su oblikovali inovativni proizvod na nov nain primje-
nom postojee tehnologije, i/ili primjenom tehnologije koja do
sada u izabranom podruju jo nije bila u uporabi, i/ili potica-
njem razvoja nove tehnologije. Cilj zadatka je upoznavanje kon-
teksta razvoja tehnologija kao vanog za postavljanje i izvedbu
projekta te osmiljavanje rjeenja koja potiu razvoj novih teh-
nologija ili pak primjene postojeih tehnologija na nove naine.
second semester
Design in the context of technology Emorph
development Projekt predstavlja drugaiji pristup interijeru osobnog vozila, a temelji se na pret-
postavci da e automobilska industrija teiti self driving automobilima. Uvoenjem
Additive technologies autopilota otvara se prostor za sve potrebe i situacije poput onih koje se odvijaju
u prostoru u kojem ivimo ili radimo a za koje trenutane verzije automobilskih
The assignment in the second semester focused on design in the interijera nisu projektirane. Osobno vozilo tako postataje mobilni prostor koji e
context of technology development and during the academic year moi ispuniti sve nae potrebe i interakcije. Rjeenje projekta je interijer automo-
bila oblikovan kao opna koja se po elji putnika prilagoava razliitim potrebama
2015/2016 it addressed additive technologies, implying procedu- i situacijama. Opna je oblikovana prema Voronoi uzorku koji omoguava projek-
res and devices used for the creation of prototypes of functional tiranje i komunikaciju transformacija oblika i razliite stupnjeve mekoe povrine
products made from metal, ceramics and polymers in the form of na razliitim mjestima opne.
liquid, powder, wires and foils (anything considered as 3D printing), Emorph

that can be used to improve the quality of life and/or production The project shows another approach to the interior of a personal vehicle, based
in the selected field. Students needed to explore the ways in which on the assumption that the automotive industry will focus on self- driving vehi-
the use of such technologies would change the world we live in. cles. The introduction of autopilot provides room to meet all the requirements and
situations such as those occurring in the premises in which we live or work which
According to the criteria defined in the research, students desi- the current versions of car interiors have not been designed for. Personal vehicles
gned an innovative product in a new way using the existing tech- are hence transformed into mobile premises intended to meet all ones needs and
nology and/or using the technology that had not been previously interactions. The solution provided by the project is a car interior designed like a
membrane which, depending on passenger wishes, adapts to various needs and
used in the selected field and/or through encouragement of the situations. The membrane has been designed based on Voronoi diagram which
use of new technology. The assignment aimed to provide insight enables design and communication between form transformations and different
into the context of technology development that was crucial for degrees of surface softness on different points on the membrane.
the setup and the implementation of the project and the planning
of the solutions that encourage new technology development
or the implementation of the existing technologies in new ways.
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dina bartoli katarina huljev

Exposure Ureaj za pripremu hrane tehnologijom 3d printanja

Exposure je sistem aktivne regulacije svjetla, prirodnoga i umjetnog, na odreenom podruju. Ureaj za pripremu hrane tehnologijom 3D printanja omoguuje kvalitetnu i kontroliranu prehranu svih lanova obitelji u uvje-
Uz pomo tehnologije 4D printa ostvarena je reakcija na okoli i kretanje, ime Exposure izmje- tima suvremenoga urbanog naina ivota, a istovremeno potuje i razvija rituale obiteljskog ivota povezane s prehranom.
njuje svoj oblik i regulira proputanje ili opskrbljivanje svjetlom. Ovisno o potrebi, on se mijenja Priprema jela odvija se fizikom ili glasovnom interakcijom s ureajem. Odabirom i kombiniranjem koliine sastojaka mogue
i dobiva dodatnu funkciju zaklona od sunca, kie i vjetra. Svojim oblikom i materijalima izrade koji je poboljati nutritivne vrijednosti jela, stvarati nove kombinacije okusa i mirisa uz ouvanje vlastitog zdravlja. Takav postupak
ukljuuju alge proizvod se u konanici ponaa kao iva biljka, opravdava nenametljivost u okoliu pripreme hrane ekoloki je isplativiji od klasine pripreme, moe biti zabavna interakcija svih ukuana, a omoguuje i printanje
i obogauje prostor zelenilom. posua za konzumiranje i pohranu u zavisnosti od potreba i prigodama.
Exposure A food preparation device using 3D printing technology

Exposure is a system of active regulation of light, both natural and artificial, in a specific area. A food preparation device using 3D printing technology enables high quality and controlled nutrition of all the family mem-
The use of 4D printing technology resulted in the reaction to the environment and the movement bers against the backdrop of modern urban lifestyle, whilst simultaneously respecting and developing the rituals of family
whereby Exposure changes its form and regulates the passage or the supply of light. Depend- life linked with nutrition. Food preparation occurs through physical or voice-activated interaction with the device. Nutrient
ing on requirements, it changes and gets an additional function of shelter from the sun, the rain values of dishes can be improved through selecting and combining the quantities of ingredients. In addition, new combina-
and the wind. Due to its form and the material used, which includes algae, the product eventu- tions of taste and smell can be provided, whilst simultaneously preserving ones health. This type of food preparation is more
ally behaves like a living plant, justifying its unobtrusiveness in the environment and enriching cost-effective from the ecological stance compared with classical food preparation and it can result in entertaining interac-
the premises with greenery. tion amongst household members. Moreover, it also enables printing of dishware for food consumption and storage depend-
ing on the requirements and occasions.
256 257
andrej uki
mentor: Mladen Orei ivan aban
asistentica / assistant: Andrea Hercog mentor: Mladen Orei
godinja nagrada studija dizajna / annual awards at the school of design asistentica / assistant: Andrea Hercog
Integrirana transradijalna proteza Integrated transradial prosthesis Svemirski hotel Space hotel
3D printana, potpuno integrirana, transradijalna proteza rezultat je istraivanja 3D printed, fully integrated transradial prosthesis is the result of research on 3D printer bio bi lansiran u svemir gdje bi se ponaao kao satelit ili dron, kretao se 3D printer was launched into space where it acted like a satellite or a drone, moving
ogranienja ljudskih ruku i prouavanja prednjih nogu (ruku) drugih primata. Kon- constraints of human arms and the study of front legs (arms) of other primates. oko planeta ili putovao kroz prostor, proizvodei pritom prostore za boravak od around planets or navigating through space, subsequently providing premises for
cepti iz prirode su preuzeti i primijenjeni na ljudsku protezu. Proteza je integrirana, The concepts have been taken over from the Nature and applied to the human prosthesis. dostupnih materijala. Sustav se sastoji od raznovrsnih elemenata koji se spajaju sojourn made from available materials. The system comprises of various features
tj. usaena u ljudski skelet i spojena neuralnim sueljem izravno na ivani sustav, The prosthesis is integrated, i.e., implanted into the human skeleton and con- u potrebne kombinacije. Veom nadogradnjom unutarnji pregradni materijali se which are brought together into the required combinations. Through a large-scale
stvarajui dvosmjernu vezu i osiguravajui propriocepciju proteze, odnosno koor- nected through a neural interface directly with the nervous system, creating mogu reciklirati i ponovo iskoristiti, ime dobivamo interijer koji je prozraan enhancement, the interior partition materials can be recycled and reused, which
diniranu kontrakciju individualnih miia i njihovih skupina. Estetska dimenzija ruke a bi-directional connection and ensuring a proprioception of the prosthesis or i u kojem nema ogranienja kretanja. Prostorni elementi ovog modela svemirskog results in an airy interior in which movement is not restricted. Spatial features of
je varijabilna jer njezin konani izgled ovisi o korisniku. co-ordinated contraction of individual muscles and their groups. The aesthetic hotela podijeljeni su prema osobnim potrebama razliitih funkcija, za spavanje, dru- this space hotel model have been divided based on personal needs and different
dimension of the arm is variable, since its final appearance depends on the user. enje, toalet ili spremite. Sustav je primjenjiv u irokom spektru situacija kao to su functions - for sleeping, socialising, toilet facilities or storage room. The system is
znanstvena istraivanja, izgradnja svemirskih postaja, kolonizacija svemira ili turizam. applicable in a broad range of situations such as scientific research, construction
of space stations, space colonisation or tourism.
258 259
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 voenje by the students upon the completion of the postgraduate study
projekata i upravljanje procesima razvoja dizajna. Na zadacima programme provides them with qualifications for independent
projektiranja vizualnih komunikacija naglaava se sposobnost project development and management of design development
snalaenja u kontekstu realnog okruja, uz obvezno usvajanje processes. The tasks of visual communications design highlight
znanja i vjetina znanstveno utemeljenoga i kritikog proma- the ability of succeeding against the backdrop of real environ-
tranja zbilje, im se izlazi iz uih okvira struke. Studenti odabiru ment, in addition to mandatory acquirement of knowledge and
teme ili probleme od neposrednoga subjektivnoga ili opega skills of the scientific and critical approach to reality which trans-
drutvenog interesa te ue artikulirati svoja opaanja i stavove cends the professional boundaries. Students select the topics
izraajnim sredstvima dizajna, ali i potaknuti i formirati javni or issues of immediate subjective or general interest and learn
diskurs drutvenih skupina posredstvom inovativne vizualne to articulate their observations and attitudes with expressive
komunikacije. U procesu ovladavanja svim aspektima dizajna methods of design, as well as the skill to initiate and maintain
svaki student magistarski kandidattrebao bi individu- a conceptual thread through public discourse amongst social
alnim 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, articulate their own preferences and the potential of their further
u 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 pred- accordance to the fundamental features of the postgraduate
radnju za projekt, kada studenti moraju kompetentno prepo- study programme.
znati i obraditi odreeni/e problem(e), u skladu sa standardima The final year of the postgraduate study programme is based on
akademskog pisanja znanstvenih radova. two interrelated aspects of the final thesis or the Masters the-
Rezultati istraivanja u prvom semestru zavrne godine su sis. The first aspect implies independent theoretical and research
tzv. teorijska teza i istraivaki elaborat koji ukljuuju sve work as prerequisites for the project when students are requi-
relevantne imbenike pripreme za projekt, a koji je nastavak red to identify and tackle a specific problem using the required
istraivanja u realnom kontekstu. U drugom, posljednjem competencies and in compliance with the standards of acade-
semestru, studenti izrauju diplomski projekt kojim pokazuju mic writing of scientific papers.
steenu razinu snalaenja u struci, to podrazumijeva samo- The results of the research during the first semester of the final
stalno voenje projekta i komuniciranje s drugim strukama year are the so called theoretical thesis and the research study
u procesu dizajna. Izborni predmeti na ovoj godini studija usko which imply all the relevant features of the preparation for the
su vezani uz svladavanje samostalnog djelovanja u dizajnu. project, which is a continuation of the research in the real context.
Projekt i teorijska teza/istraivaki elaborat razlikuju kom-
petencije magistra dizajna od prvostupnika te se smatraju
jednako vanim elementima diplome i krajem formativnog
dijela edukacije na ovoj razini u struci.
260 261
godinjak studija dizajna 2015./2016. diplomski studij/dizajn vizualnih komunikacija,1.semestar
school of design annual review 2015/2016 graduate programme/visual communications,1st semester
prvi semestar gala marija vrbani

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
od komunikacijskih formi ili neki anr dizajna iz iroke palete
aktualne vizualne kulture. Izbor ukljuuje tiskane medije, kor-
porativni dizajn i signalistiku, ambalau te sustave vanjskog
oglaavanja, sve do interaktivnih digitalnih tehnologija na razli-
itim platformama. Vano je koristiti alate vizualnih komuni-
kacija u artikulaciji prepoznatih problema, inovativnom izra- KROP
avanju vlastitih stavova, s ciljem poticanja i usmjeravanja T-shirt je vjerojatno najpopularniji odjevni predmet za velik dio mlae
i srednje populacije. Proizvodnja je masovna, a proizvoai se meu-
javnog odnosa o odreenim temama. sobno natjeu novim oblicima i aplikacijama. KROP je viedijelni sustav
kojim je mogue kreirati personaliziranu majicu kratkih rukava uz
mogunost otiskivanja razliitih uzoraka. Majica se kroji iz vie dije-
first semester lova pomou drvenih ablona, a omoguen je izbor vie od 300 vari-
jacija jedne majice. Oblik majice odabire korisnik koji kombinirajui
Design against the Backdrop drvene ablone kreira konani oblik prema svojim eljama. Kroj nudi
etiri osnovna tipa koji omoguuju izbor irine, duine, oblik vratnog
of Real Environment izreza te oblik rukava. Odabranom kombinacijom drvenih ablona
korisnik na tkanini iscrtava oblike koji se nakon izrezivanja spajaju
The first task during the new section of studies on the one hand u eljenu majicu. Drveni oblici na poleini imaju razliite reljefno
elaborates and deepens the knowledge and skills acquired by the izvedene uzorke koje korisnik prema vlastitom odabiru otiskuje na
nastalu majicu i tako kreira unikatni odjevni predmet. Projekt je nagra-
end of the undergraduate studies and on the other hand is used en prvom nagradom u studentskoj selekciji Dana D, 2016. godine.
as an introduction into the production of a postgraduate thesis
during the final year of postgraduate studies. The objective is to KROP
make the students focus upon recognition of the current topics T-shirt is probably the most popular clothing item amongst most
young and middle-aged people. It is a matter of mass production and
and issues in the area of contemporary visual communications, producers compete with new design and apps. KROP is a multiple unit
mass media and digital technologies, as well as within the wider system with which a personalised T-shirt can be designed and diverse
social, economic and political context. Following their decision patterns can be printed on it. The T-shirt is tailored from several parts
using wooden patterns and the opportunity of selection amongst
on the topic area tackled in the task, students opt for a form of over 300 variations of one T-shirt has been provided. The form of the
communication or a design genre amongst a vast array of topics T-shirt is selected by the user who, combining wooden patterns, cre-
and genres in the current visual culture, ranging from print media, ates the final form according to their taste. There are four basic styles
that provide the opportunity to select the width, the length, the form
to corporate design and signalistics, packaging in industry or in the of neck cut-out and the form of the sleeves. Through a selected com-
service sector and out-of-home advertising to interactive digital bination of wooden patterns the user draws forms on the fabric which
technologies using diverse platforms. The use of visual communi- are assembled after the cutting out to make a desired T-shirt. Wooden
forms on the back have diverse plastic patterns that the user selects
cations tools is fundamental in the articulation of the identified and prints on the T-shirt and hence they make a unique clothing item.
problems and in innovative expression of ones attitudes aiming The project won first prize in the student selection on Day D in 2016.
to encourage and focus the public discourse upon specific topics.
262 263
miran bai nikolina kentri

mentor: Stipe Bri mentor: Nenad Dogan
suradnica/associate: Karla Paliska asistentica/assistant: Romana Kajp
Optimizacija uenja redizajnom udbenika Optimisation of learning through redesign of

Reformat u biomedicinskom podruju course books in the field of biomedicine
Reformat je mobilna aplikacija koja omoguuje interakciju meu itateljima dnev- Projekt je potaknut potekoama studenata prve godine The project originated from the difficulties during learning
noga informativnog tiska, iznoenjem reakcija na odabrani novinski tekst, to razvija biomedicinskih studija pri uenju, kao rezultat neod- faced by first year students of biomedicine, as a result
i kritiki pristup novinskim sadrajima. Aplikacija je namijenjena prvenstveno stu- govarajueg oblikovanja strune literature. Istaknut of inadequate design of professional literature. The
dentskoj populaciji jer je analizama utvreno da ona najmanje prati dnevni tisak. je kolegij Anatomija, odnosno literatura Waldeyerova Anatomy course was primarily pointed out or Human
Aplikacija ne sadri novinske tekstove, ve je zamiljena kao poticaj za njihovo pra- anatomija ovjeka, gdje se studenti prvi put susreu Anatomy by Waldeyer, to be more specific, where stu-
enje, omoguivanjem postavljanja i razmjenom komentara na razliite informacije s takvim sadrajem i nainom uenja. Postavljena je dents encounter this type of content and this method of
i novinske lanke. Ona povezuje korisnike stvarajui neku vrstu virtualne zajednice hipoteza kako i sloen sadraj moe biti samodostatan learning for the first time. A hypothesis was made that
ili prostora unutar kojeg je mogue povezivanje s drugim korisnicima na temelju izvor i alat za uenje, ako ga se paljivo oblikuje. Uenje even complex content can be a self-sufficient source
slinih ili razliitih stavova o proitanoj informaciji ili dogaaju objavljenih u tisku. u biomedicinskom podruju podrazumijeva viemje- and a learning tool if it is carefully designed. Studies
Aplikacija moe posluiti i kao izvrstan izvor informacija o kvaliteti tiska, o popular- seno uenje paralelno s nastavom, uz istodobno kori- in the field of biomedicine imply learning for several
nosti odreenih novina ili pojedinih lanaka te tako nudi vrijedan podatkovni izvor tenje vie publikacija i vlastitih biljeki. Gradivo koje months whilst simultaneously attending the lectures
novinskim kuama o korisnicima, njihovim stavovima i potrebama. je izuzetno zahtjevno i opseno, hermetinog teksta and the use of several publications and own notes.
s latinskom terminologijom, nije lako savladivo. Stoga The subject matter is extremely demanding and com-
Reformat redizajn tog udbenika uvodi veliku vanjsku marginu prehensive, with hermetic texts in which Latin terms
Reformat is a mobile app that enables interaction amongst the readers of daily namijenjenu biljekama i fusnotama, a poveana donja are used and it cannot easily be mastered. Hence, the
newspapers, through providing reactions to a selected newspaper text, which margina sadri rjenik s itkijim sustavom hijerarhije re-design of this course book introduces a large exter-
develops a critical approach to newspaper content. The app is primarily intended informacija. Izbor tipografije i grafikih elemenata nal margin intended for notes and footnotes, whilst the
for student population, since it has been concluded following analyses that they poput podcrtavanja bojom i markiranjem najvanijih enlarged bottom margin contains a dictionary with a
hardly ever read the daily newspapers. The app does not include newspaper texts, pojmova omoguuju uinkovitije praenje sadraja legible system of information hierarchy. The selection
but it has been intended as an encouragement for reading them, by enabling the i njegovo lake usvajanje. of typography and the graphic elements such as colour
posting and the exchange of comments to diverse information and newspaper arti- underlining and marking of the most important con-
cles. It connects the users creating a sort of virtual community or a space within cepts ensure a more effective following of content and
which connection with other users is possible based on similar or different attitudes facilitate its mastery.
expressed concerning the information that has been read or the event mentioned
in the newspapers. The app can also be used as an excellent source of informa-
tion about the quality of the newspapers, the popularity of a specific newspaper
or articles and is hence a valuable source of information to newspaper companies
about the users, their attitudes and requirements.
264 265
leona vertu
sara pavlekovi preis mentor: Nenad Dogan
mentor: Stipe Bri komentor/comentor:Veljko van
suradnica/associate: Karla Paliska asistentica/assistant: Romana Kajp
Triola, edukacijski alat Triola, an educational tool Vizualni identitet tradicijskih obrta grada Varadina
igra za pomo u razvoju glazbenih a game for enhancement of development of Obrt je tradicijski zanat voen generacijama s vjetinama prenoenim s koljena na
potencijala kod djece musical potential amongst children koljeno. Od ranoga srednjeg vijeka pa sve do danas, organizirani u razliite bratov-
Triola je edukacijski alatigra za djecu niih razreda Triola is an educational toola game for children in tine, cehove i zadruge, varadinski su obrtnici bili nositelji drutvenoga i gospo-
osnovne glazbene kole koja slui kao pomo pri raz- lower grades of elementary music school intended as darskog ivota u gradu. Svojim statutima uvrivali su svoj znaajan status u gradu
vitku glazbenih potencijala kod djece. Projekt preis- help in development of their musical potential. The pro- i drutvu u cjelini. Zahvaljujui njima grad Varadin se godinama uspjeno razvijao
pituje probleme uenja standardnom metodom rada ject re-examines the problems of learning upon the use kako u ekonomskom tako i opedrutvenom smislu. Vremenom je obrtnitvo poelo
koja ne ukljuuje motoriki, vizualni i auditivni kanal of standard methods of work that do not include motor, gubiti prvotni znaaj i nestajati utjecajem raznih okolnosti pa se pojavila potreba za
primanja informacija i nedovoljnu primjenu, povezivanje visual and auditory channel of information reception njegovom revitalizacijom. Uspostavljanje uinkovitije komunikacije obrtnika s graa-
i vjebe teorije solfeggia u praksi. Cilj igre je stjecanje and insufficient application, connection and theory of nima i turistima jedan je od naina oivljavanja. Isticanje gradskih obrta unificiranom
nauenog doivljaja izmjenjujui i vjebajui auditiv- solfeggio in practice. The objective of the game is to gradskom signalistikom (prigodnim zastavama), brourama i mobilnim aplikacijama,
no-vizualno-motoriko iskustvo. Igra je bazirana na master the experience learnt through exchange and povealo bi dostupnost informacija o lokaciji pojedinih obrta te njihovim proizvo-
kreativnom nainu rjeavanja zadataka iz solfeggia practice of auditory-visual-motor experience. The dima i uslugama, ime bi se stvorila i informacijska mrea varadinskih obrtnika.
karticama sa zadacima iz odreenih podruja, ploom game is based on the creative method of solving tasks
koja odreuje kako rijeiti zadatak te primjere kojima in solfeggio through cards with tasks in specific fields, Visual identity of traditional crafts of the city of Varadin
se zadaci rjeavaju na novi naine. Tako dijete dobiva using the board that determines how to solve a spe- Craft is a traditional trade with skills passed down through generations. Since the
potpuni doivljaj gradiva koje ui. cific task and examples of new methods of task solu- Early Middle Ages, crafts have been organised in diverse fraternities, guilds and
tion. Hence, children gain comprehensive experience co-operatives, Varadin craftsmen have been the cornerstones of both social and
of the subject matter they are learning. economic life of the city. They strengthened their important status both in the
city and in society with their statutes. It was due to them that the city of Varadin
has been developing successfully for years both concerning the economy and its
society in general. Nevertheless, in time craftsmanship started losing its original
importance and disappearing against the backdrop of diverse circumstances and
hence there is currently a need for its revitalisation. Establishing effective com-
munication between craftsmen and the citizens and tourists is one aspect of this
revitalisation. Emphasising city crafts through a unified signalistics (appropriate
flags), brochures and mobile apps would increase the availability of information
about the location of specific crafts and about their products and services, which
would create an information network of Varadin craftsmen.
266 267
school of design annual review 2015/2016 graduate programme/visual communications,2nd semester
drugi semestar nika tecilazi

Dizajn u kontekstu razvoja asistent/assistant: Tomislav Vlaini
komunikacijskih medija annual acknowledgement at the school of design
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
interdisciplinarnoga karaktera dizajnerske profesije i eduka-
cijskog 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 Kampanja za osvjeivanje o internetskom Campaign aiming to raise awareness on abuse of
zlostavljanju maloljetnika minors on the Internet
process of informing the public on a specific issue and directing
Provodei sve vie vremena na internetu, djeca su vrlo esto rtve Due to the fact that they spend an increasing amount of time on
the social potential towards providing a solution. Form and con- sumnjivih sadraja i njihovih autora. Na djejim chatovima, sobama the Internet, children frequently fall victims to suspicious content
tent are correlated and hence the objective of the task is ori- za upoznavanje, pojavljuju se internetski zlostavljai koji vrlo vjeto and their authors. Internet abusers appear on a childs chat rooms,
ginal interpretation of classical forms of media campaigns, yet koriste mrenu anonimnost te njezine komunikacijske alate kako bi where they can get introduced and they considerably skilfully use
uspostavili online odnos s djetetom te ga potencijalno (verbalno) their anonymity and communication tools in order to establish an
through preservation of some of their distinctive features, such zlostavljali. Najee rtve su djevojice od 13 do 18 godina, a da online relationship with a child and hence potentially (verbally) abuse
as campaign title and slogans, to name a few. The task explores njihovi roditelji esto ne znaju nita o tome. U oblikovanju kampa- them. Girls between the ages of 13 and 18 most frequently fall vic-
both research and the creative potential of students against the nje koritene su iste tehnike koje koriste i zlostavljai kako bi se to tims to them and their parents are normally totally unaware of it.
lake dolo do potencijalnih rtava. Formiran je mamac u obliku The techniques used by abusers to reach the potential victims were
backdrop of considerably limited formal postulates which is the aktualnih trendi ukrasa, omiljenih kod tinejderica odreene dobi used in campaign design. A bait was created in the form of actual
most common context of activity during subsequent professi- te su im pridrueni dokumentirani upiti samih predatora. Takav trendy decorations popular with teenage girls and documented
onal life and work. Moreover, the task implies competent preli- mamac uoblien je u formu web-bannera koji se aktivira na stra- questions of the abusers have been presented along with them.
nicama za upoznavanje pri upisu bilo kojeg broja. Svaki upisan broj This type of bait is in the form of a web-banner that is activated
minary research and continuous co-operation with colleagues je potencijalno opasan jer otkriva ili broj mobitela ili neprimjereno on chat pages upon entering any number. Each number entered is
from other lines of work providing the given topic requires it, in godite. Kada potencijalna rtva aktivira ovu lanu reklamu (mamac), potentially dangerous since it reveals the mobile phone number or
line with interdisciplinary features of design profession and edu- pojavljuju se informacije s injenicama vezanima za ovaj problem an inadequate age. When the potential victim activates this fake ad
te se potencijalnoj rtvi otvara mogunost prijave neprimjerenog (bait), information with facts linked with this issue appear and the
cational programme during the graduate study. sadraj na internetu. potential victim is provided the opportunity to report the inappro-
priate content on the Internet.
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miran bai otto kuec

mentor: Stipe Bri mentor: Ivan Doroghy
komentor/comentor:Veljko van komentor/comentor:Veljko van
suradnica/associate: Karla Paliska asistent/assistant:Tomislav Vlaini
Kampanja o problemu naplavina na obalama

grada Dubrovnika Kampanja za Savez izviaa Zagreba
Tema ove kampanje je problem naplavina otpada na Drutvena kampanja za Savez Izviaa Zagreba usmjerena je djeci 7.
obalama grada Dubrovnika i okolice, koje noene mor- i 8. razreda osnovne kole. Koncept se bazira na pokuaju promjene
skim strujama dolaze iz susjednih zemalja. Zbog velikih negativne percepcije izviaa, nastale promjenom nekada poeljnih
koliina otpada, to esto ukljuuje i medicinski otpad, vrijednosti koje izviai vrednuju i danas, poput potovanja drugih,
dubrovaka komunalna sluba je nerijetko potpuno njegovanja fizikih aktivnosti, ouvanja prirodnog okolia i sl. Promi-
nepripremljena. Graani najee prvi naiu na otpad ljajui jezik kampanje bilo je bitno izbjei agresivno negiranje suvre-
no ne znaju kako dojaviti odgovornoj instituciji koja menih vrijednosti ciljane skupine poput drutvenog statusa, uspjeha,
esto indirektno i kasno dozna za problem. Kampanja vanosti materijalnih dobara itd. Klju komunikacije je u prihvaanju
pokuava, koristei emocionalnu privrenost graana injenice da su izviai veini dananjih mladih neto neobino i arhaino,
gradu, motivirati graane na promptno obavjeivanje ali istodobno pokazati kako oni i dalje imaju svoje mjesto u suvreme-
komunalnog poduzea kako bi akcija ienja poela nom svijetu. Jezik internetske komunikacije izabran je kao uinkovito
sa to manje vremenskog odmaka. Motivirajui pla- sredstvo za odailjanje poruke pa se tako u porukama koristi oznaka
kati sadre izmiljena udovita ilustrirana tehnikom # (hashtag), simbol nezaobilazan u suvremenoj internetskoj komu-
kolaa, sastavljenih od fotografija raznog vrsta otpada, nikaciji. Kampanja citira popularne hashtagove koji uz suvremenu
koji su prikazani kako unitavaju Dubrovnik u drama- vizualnu interpretaciju tipinih izviakih motiva dobivaju nov neo-
tinim scenama poput onih iz horor filmova. Slogan ekivan kontekst, drastino drukiji od onoga u aktualnim drutve-
kampanje aludira na juni vjetar koji donosi nevrijeme, nim medijima.
a njime i otpad te ima posebno znaenje u Dubrovniku.
Campaign for Scout Association of Zagreb
Campaign on the issue of waste deposits on Social campaign for Scout Association of Zagreb is intended for chil-
the shores of the city of Dubrovnik dren attending 7th and 8th grade of elementary school. The idea
Thetopicofthiscampaignistheissueofwastedepositsoriginating behind is to attempt to change the negative perception of scouts
from the neighbouring countries that are carried by marine cur- resulting from change of formerly desirable values that scouts even
rentsandreachtheshoresofthecityofDubrovnikanditsoutskirts. currently pursue, such as respecting others, involvement in physical
Duetolargequantitiesofwaste,whichfrequentlyincludesmedical activities and preservation of the natural environment, to name a
waste,theDubrovnik-basedutilityservicesarefrequentlyentirely few. Concerning the language used in the campaign, it was impor-
unprepared. The citizens are normally the first to come across tant to avoid the aggressive negation of contemporary values of
the waste, yet they do not know how to contact the responsible the target group such as social status, success, the importance of
institution which often learns of the problem indirectly and late. material goods, etc. The key to communication is in the acceptance
Using the emotional bond of the citizens the campaign is striving of the fact that most young people currently find scouts unusual and
tomotivatethecitizenstopromptlynotifytheutilitycompanyin archaic, yet it was simultaneously important to show that there is
order to start waste management activities without delay. The still room for them in contemporary world. The language of Inter-
motivationalpostersshowinventedmonstersillustratedusingthe net communication was selected as an effective means for sending
collage technique comprising of photographs of diverse types of a message and hence# (hashtag) has been used in the messages, as
waste. The monsters are presented whilst destroying Dubrovnik a crucial symbol used in the Internet communication. The campaign
in dramatic scenes reminding of horror films. The campaign slo- quotes popular hashtags which are provided a new unexpected con-
gan alludes to the south wind which brings adverse weather and text through a contemporary visual interpretation of typical scout
hence also waste and has specific connotations in Dubrovnik. motifs, drastically different from the one in the actual social media.
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leona vertu
mentor: Nenad Dogan gala marija vrbani
komentor/comentor:Veljko van mentor: Ivan Doroghy
asistentica/assistant: Romana Kajp asistent/assistant:Tomislav Vlaini
Kampanja ADHD
Tema kampanje je poremeaj panje i hiperaktivnosti (ADHD) kod djece, kojoj je cilj educirati i pota-
knuti roditelje i nastavnike na prepoznavanje sindroma i pomo za ublaavanje posljedica. Istrai-
vanja su pokazala da jedno od tridesetero djece u prosjenom razredu pati od ADHD poremeaja.
On se esto ne otkrije na vrijeme pa djeca imaju vee probleme s uenjem i ponaanjem u koli.
Kampanja se sastoji od plakata i web-stranice. Komentari prikupljeni putem objave na facebooku
su kategorizirani prema znaajkama osoba sa sindromom ADHD-a, izvedenima iz izjava djece te
estim pitanjima u vezi s tim problemom. Prema toj kategorizaciji odreene su tri boje koje su na
plakatima isprepletene vizualizirajui ureeni kaos. Interaktivna web-stranica s kojom se pove-
zujemo putem QR coda s plakata. Sadraj weba su razgovori s osobama sa sindromom ADHD-a
o osobnim iskustvima, video kampanje te poveznica na facebookovu skupinu i web-stranicu, gdje
se moe doznati vie informacija, ukljuiti se u radionice i slino.
ADHD Campaign Kampanja Buyourself Buyourself campaign

The campaign addresses the topic of attention deficit hyperactivity disorder (ADHD) in children, Cilj kampanje je poticanje na instrumentalni nain kupovine stvari. Istodobno, na The objective of the campaign is to encourage the purchase of items in an instru-
aiming to teach and encourage parents and teachers to identify the syndrome and provide help ironian nain osvijestiti da ne kupujemo predmete koje stvarno trebamo, ve izmi- mental way. Moreover, simultaneously to raise awareness of the fact that one does
to alleviate the consequences. Research has shown that one in thirty children in an average class ljene vrijednosti koje namee suvremeni marketing. Danas sve vie ljudi kupuje not purchase items one really needs, but invented values imposed by the contem-
suffers from ADHD. This is frequently not identified on time and hence children have considera- ekspresivno, voeni vlastitim emocijama, a ne stvarnim potrebama. Kreiran je porary marketing instead. An increasing number of people currently purchase in
ble problems with learning and behaviour at school. The campaign comprises of a poster and a web-shop koji slui kao kanal komunikacije, a zamiljen je kao mjesto na kojem se an expressive way, driven by their own emotions rather than actual needs. Hence,
website. Comments collected upon Facebook post have been categorised according to the fea- prodaju najpoeljnije ljudske vrijednosti, osobine ili emocije, simboliki utjelovljene a web-shop has been created intended as a communication channel and a sales
tures of persons with ADHD obtained from statements of children and frequently asked questions u postojeim proizvodima koje nam nudi agresivni marketing. U okviru razliitih outlet that provides the most desirable human values, features or emotions, sym-
concerning this problem. According to this categorisation three colours have been selected and online servisa postavljeni su banneri koji korisnika upuuju na kreirani web-shop bolically embodied in existing products offered by aggressive marketing. Banners
have been intertwined on the posters visualising the organised chaos. The interactive website koji svojim izgledom podsjea na postojee online trgovine i kojim poinje online have been placed within diverse online services aiming to attract the attention
can be reached using the QR code indicated on the poster. Web content comprises of conversa- kampanja. Korisnik na njemu moe kupiti eljeni proizvod kojem su dodani opisi of the users to the created web-shop whose appearance reminds of the existing
tions with persons with ADHD about their personal experiences, the video campaign and links to i poruke preuzeti s postojeih oglasnih poruka. Kupnja proizvoda korisnika vodi do online stores and is aimed to start the online campaign. The user can purchase
the Facebook group and the website where further information is provided and one can apply finalne poruke o potrebi razumnije kupnje onoga to zaista trebamo te da se ljudske the desired product to which descriptions and messages have been added that
for participation in workshops, etc. vrijednosti ne mogu kupiti kako sugeriraju reklamne kampanje. were taken over from the existing advertisements.Product purchase leads the user
towards the final message about the need for a more sensible purchase of what
we actually need and pointing out that human values cannot be purchased as is
normally suggested in advertising campaigns.
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Projektiranje Font
pisma Design
Na diplomskom studiju tipografsko obrazovanje provodi se Throughout the Graduate Study Programme an insight into
primarno na kolegiju Projektiranje pisma. Za razliku od pred- typography is provided primarily during the course entitled
diplomskih tipografskih kolegija koji se na brojnim vjebama Typeface design. As opposed to typography courses during the
bave irokim spektrom tipografskih situacija, na diplomskom Undergraduate Study Programme which address a vast array of
studiju je teite na produbljivanju odreenih gledita discipline. typographic situations during a large number of practical clas-
Svladavanjem nastavnih sadraja kolegija studenti e stei ses, during the Graduate Study Programme the focus is placed
sposobnosti tipografskog oblikovanja s naglaskom na cje- on gaining a deeper insight into specific aspects of this discipline.
lovito promiljanje procesa oblikovanja pisma i oblikovanja Through mastery of the course content students will acquire
s pismom. Kolegij se temelji na istraivakom radu i speci- typographic design skills with a special emphasis on comprehen-
jalizaciji 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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godinjak studija dizajna 2015./2016. diplomski studij/projektiranje pisma, 1.i 2.semestar
school of design annual review 2015/2016 graduate programme/font design,1st and 2nd semester
prvi i drugi semestar miran bai

mentor: Nikola urek
Tipografsko istraivanje demonstrator: Marko Hrastovec
Ova vjeba protee se tijekom oba semestra te je grubo podi-

jeljena na dva dijela: istraivanje i produkciju. Studentice i stu-
denti slobodni su sami izabrati temu kojom se ele baviti te se
oekuje da do kraja zimskog semestra postave idejno rjeenje
projekta. Ljetni semestar je posveen primarno postavljanju
i oblikovanju izvedbenog rjeenja. Iako postoji tendencija da
rezultati kolegija budu autorska pisma, medij i format zavr-
nog rjeenja nisu definirani.
first and second semester

Typographic Research
This task extends through two semesters and has been roughly
divided into two sections: research and production. The stu-
dents are free to choose the topic they are interested in and are
expected to present the conceptual design of the project by the
end of winter semester. The summer semester is dedicated pri-
marily to implementation and design of the conceptual design.
There is a tendency for course results to be original fonts, yet the
media and the format of the final solution have not been defined.
Darsa Darsa
Darsa je pismo nastalo za posebnu signalistiku Dubrovnika, odnosno Darsa is a font designed for the street signs specific of Dubrovnik, i.e.
njegove stare gradske jezgre. Ploe koje su razmjetene po ulicama for its historic nucleus. The plaques located throughout the streets of
Staroga grada sadre natpise svih duana, kafia i znamenitosti to the Old Town provide inscriptions of all the stores, coffee shops and
se u njima nalaze, a s obzirom na to da su ulice Dubrovnika uglavnom monuments in the area, since the streets of Dubrovnik are mainly
uske i skuene, namijenjene su itanju iz manjih udaljenosti. Stoga je narrow and cramped and the plaques are hence intended to be read
bilo mogue u projektiranju pisma manje razmiljati o optimizaciji za from small distances. Consequently, upon street sign design there
signalistiku, a vie o samoj identitetskoj osnovi grada. Pismo preuzima was more room for consideration of the identity of the city, rather
konstrukciju kaligrafskih natpisa naenim u povijesno relevantnim than of the optimisation of the street signs. The font takes over the
nautikim kartama, ali i dalje u odreenoj mjeri zadrava znaajke construction of calligraphy inscriptions found in historically relevant
pisama optimiziranih za signalizaciju, poput velike x-visine i same nautical charts, yet it still considerably retains the features of the
irine pojedinih znakova. Postoji nekoliko verzija pisama: bold, light typeface optimised for street signs, such as large x-height and the
i bold italic, uz razne ligature i brojke to omoguuje daljnje oblikova- width of individual glyphs. There are several font variants, such as bold,
nje hijerarhijske strukture ploa. Takoer, zamiljeno je da se signali- light and bold italic, with different ligatures and number styles which
zacija grada nalazi na platnima, odnosno tkanini te tako upotpunjuje enables further design of hierarchical structure of the plaques. More-
vizualni dojam stare gradske jezgre Dubrovnika. over, the idea is to provide street signs on canvas, i.e. cloth and hence
enhances the visual impression of the historic nucleus of Dubrovnik.
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godinjak studija dizajna 2015./2016. diplomski studij/projektiranje pisma, 1.i 2.semestar
school of design annual review 2015/2016 graduate programme/font design,1st and 2nd semester
borjan pavlek leona vertu

mentor: Nikola urek mentor: Nikola urek
demonstrator: Marko Hrastovec demonstrator: Marko Hrastovec
Zola Zola Modra Modra

Zola je display script pismo nastalo kao svojevrsno usustavljenje posebnih kaligrafskih Zola is a display script font designed as a specific systematisation of specific cal- Modra je serifno pismo niskoga kontrasta, nastalo iz poteza translacije za primjenu Modra is a serif low-contrast font, created from translation for the application of
detalja proizalih iz pisanja brush perom. Ideja je bila da se stvori pismo koje moe ligraphic details that originated from writing using a brush pen. The idea behind it kontinuiranog teksta u knjigama i magazinima, uz oblikovan display style za naslove. current text in books and magazines, with a designed display style for headlines.
trpjeti razne kontekste i privlaiti svojom estetikom koja je formulirana konstrukci- was to design a font that could be used in different contexts and attract through Pismo je razvijeno u tri stila regular s kaligrafskim italicom i verzijom display kako The typeface has been developed in three styles with italic calligraphy and the dis-
jom neprekinute ekspanzije. Takoer, s obzirom na posebnost brusha kao alata koji its aesthetics which has been formulated through a construction of uninterrupted bi se mogao primjenjivati kao cjelina u nekom radu. Sadri: small capse, old style play version in order to be used as a unit in some work. It comprises of small caps,
potie spektar ligatura, slovni znakovi, a naroito verzali, imaju nekoliko varijacija, expansion. Moreover, concerning the specific features of the brush pen as a tool figures i proportional numbers. old style figures and proportional numbers.
ovisno o susjednim znacima. Tako usprkos gotovo metronomskom, mehanikom that encourages a broad range of ligatures, glyphs and primarily upper-case letters
ritmu i vrstoj konstrukciji pismo ne gubi svoj primarni karakteronaj humani. have several variations, depending on the characters placed next to them. Hence,
irrespective of almost a metronomic, mechanical rhythm and a solid construction,
the font does not lose its primary character featurethe humane.
278 279
Film Film
i video and Video
Film i video je teorijsko-praktini kolegij u okviru kojeg se stu- Film and video is a theoretical-practical course within which stu-
denti usmjeravaju na temeljne znaajke filmskog i video stva- dents are provided a basic insight into film and video creativity.
ralatva. Cilj kolegija je studentima pruiti teoretska i praktina The objective of the course is to provide students with theoretical
filmska znanja te im ponuditi mogunost vizualnog promilja- and practical knowledge on film and give them the opportunity
nja i kreativnog izraavanja filmskim izraajnim sredstvima for visual thinking and creative expression through expression
u mediju koji je est pratitelj njihove profesije. Rezultat autor- methods used in film - the media that is frequently used in their
skog djelovanja studenata su filmske vjebe koje sami realiziraju. profession. The result of original student work are filmmaking
U prvom semestru studenti su mogli birati izmeu sljedeih exercises done independently by the students.
vjebi: izrade kratkog dokumentarnog autobiografskog ili sni- During the first semester students were given the opportunity
manja biografskog filma o voljenoj osobi. to choose among the following exercises: the making of a short
Ovisno o smjeru diplomskog studija, u drugom su semestru documentary autobiographical film or the making of a biograp-
studenti Industrijskog dizajna snimali videospot, a studenti hical film about a loved one.
vizualnih komunikacija reklamu za drutveno korisnu ili huma- Depending on the department of the graduate study programme
nitarnu kampanju, koju su prethodno osmislili i razradili na students had enrolled in, during the second semester students of
kolegiju Kreativna komunikacija pod mentorstvom profe- Industrial Design made a video clip, whereas students of Visual
sora Veljka vana. Communications made an advertisement for a socially responsi-
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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godinjak studija dizajna 2015./2016. diplomski studij/film i video,1.i 2.semestar
school of design annual review 2015/2016 graduate programme/film and video,1st and 2nd semester
dina bartoli ivana banfi

Moakbiografski film MoakA biographical film umicaautobiografski film A small forestAn autobiographical film
Film je nostalgian prikaz ala za rodnim selom koje propada pod pri- The film is a nostalgic expression of a regret resulting from the fact Film je autobiografski portret mlade studentice Ivane Banfi koja The film provides an autobiographical portrait of a young student Ivana
tiskom vremena. Prisjeajui se naina ivota u oskudici, bez struje that the native village has been deteriorating against the backdrop cijeli ivot prolazi kroz traumu to nosi jednako ime i prezime kao Banfi who has throughout her life been faced with a trauma of her
i vode, ivopisnim crticama iz djetinjstva sjetno opisuje nekadanje of the passage of time. Through vivid storiettes the film casts light poznata pjevaica IBee. Pria se sastoji od tri paralelna intervjua Iva- name and surname being identical to the popular Croatian singer IBee.
zajednitvo ljudi i sreu unato neimatini. U bijegu od stresnog on the way of life in extreme poverty, without water and electric- ninih najvanijih ljudi u ivotu, a to su njezin deko, mama i najbolja The story comprises of three parallel interviews of the most impor-
ivota mir pronalazi u vlastitoj kui iz djetinjstva, na vrhu brda Skitaa. ity and melancholically describes the former tightly knit community prijateljica. Oni u zanimljivoj raspravi pojanjavaju kakva je zapravo tant people in Ivanas lifeher boyfriend, her Mum and her best
and the happiness of people irrespective of poverty. Running away Ivana i koje sve smijene situacije prolazi. girlfriend. During an interesting discussion they explain what Ivana
from the stressful life, peace has been found in the protagonists own is actually like and describe the humorous situations she encounters.
childhood home on top of the hill Skitaa.
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katarina huljev sara pavlekovi preis

Dobar, bolji najgoribiografski film Good, better, the worstA biographical film Mirjana Preis Superstarbiografski film Mirjana Preis SuperstarBiographical film
Uradak je inspiriran najboljim prijateljstvima koja esto, suprotno od The work has been inspired by best friendships that frequently and Ovaj portretni dokumentarac prati djeli kreativnog procesa stvaranja This documentary portrait follows a fragment of a creative process
oekivanog, znaju okonati kada se te osobe odlue na zajedniki surprisingly end when persons opt for cohabitation. This is a story jedne koreografkinje za novu predstavu. Plesom, koji ona koristi kao of a female choreographer for a new performance. The dance that
suivot. Ovo je pria o najboljem prijateljstvu. Prvi dio filma, u kojem about best girlfriends. The first part of the film, which shows the most medij izraavanja vlastitog lika i onoga to on eli ispriati, prikazuje she uses as a medium of expression of her own character and what
su snimljeni najdepresivniji i najdisfunkcionalniji trenuci, predstavlja depressing and dysfunctional moments, depicts the period in which se osobni segment istraivanja pokreta u ranim fazama nastanka ideje she is striving to tell, shows a personal segment of research on move-
razdoblje kada sam ivjela s najboljom prijateljicom te je u izrii- I lived with my best girlfriend and is in explicit contrast with the sec- za jedan vei projekt. Unato viegodinjem iskustvu koreografkinje, ment in various phases of the evolution of an idea for a larger-scale
tom kontrastu s drugim dijelom filma koji predstavlja vrijeme kada ond part of the film which depicts the period in which we decided to lm preispituje uvijek iznova ranjiv trenutak prilikom izlaganja onoga project. Irrespective of the long-term experience of the female cho-
smo odluile ivjeti zasebno i pokazuje one najlue i najzabavnije live apart and shows the craziest and the most entertaining moments osobnoga kao i trenutak preispitivanja same sebe kroz novo djelo. reographer, the lm continuously analyses the constant vulnerability
zajednike trenutke. Na kraju, ba kada pomislimo da smo prebrodile we spent together. At the end, when we thought all the difficulties during personal expression, as well as the moment of self-analysis
sve teke trenutke, priopuje mi da odlazi studirati u inozemstvo... had been tackled, she tells me she is leaving home to study abroad. through a new piece of work.
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dina bartoli sara pavlekovi preis

Real lifepromidbeni film Real lifePromotional film Le TigreDeceptaconglazbeni spot Le TigreDeceptaconMusic video
Projekt je nastao kao odgovor na problem koji je sve prisutniji u dana- The project was intended to provide a solution to the problem that Glazbeni spot, hommage je pjesme Deceptacon, amerikog elek- The music video is a homage to the song entitled Deceptacon, by
njem drutvu, a to je opsjednutost mobilnim ureajima i prekomjerno has become increasingly present in modern society and that is the troclash benda Le Tigre, s kraja 90-ih godina prolog stoljea. Pje- the American electroclash band Le Tigre from the end of 1990s. The
bavljenje njima. Provodei vrijeme na drutvenim mreama, raznim obsession with mobile devices and their excessive use. Whilst we spend sma je specifina zbog svoje aerobicon koreograje, a bend je spe- song is specific due to its Aerobicon choreography and the band for
stranicama i aplikacijama, bilo dok hodamo gradom, ekamo tramvaj, time on social networks, various websites and apps, irrespective of cian zbog svojeg inovativnog DIY pristupa pri stvaranju muzike te their innovative DIY approach to the creation of music and the use
sjedimo u parku, mi zapravo proputamo sve ono to nas okruuje. whether we are walking through the city, waiting for the tram, or koritenja jeftine elektronike opreme. Spot koristi elemente kore- of low budget electronic equipment. The music video uses elements
Tako mladi u tri tematski povezane reklame, zbog neprestanoga sitting in the park, we are actually missing out on all that surrounds ograje i kostimograje u okviru kojih se eksperimentalno poigrava of choreography and costume design within which it experimentally
gledanja u smartphone, proputa ivotne prilike. ali se obitelji i pri- us. Hence, a young man during three thematically linked adverts s prostorom, likovima, bojama, kompozicijama i samim kontekstom. plays with the space, characters, colours, compositions and the con-
jateljima na nedostatak sree, a da je samo podigao pogled mogao misses some once-in-a-lifetime opportunities because of his con- Takoer, na jednoj razini preispituje mogunosti i opsege jeftine (DIY) text. Moreover, on one level it also analyses the potential and the
je upravo on biti glavni sretnik cijele prie. tinuous staring at his smartphone. He complains to his family and produkcije spotova. scope of no budget DIY production of music videos.
friends about the absence of good luck, whilst he could have been
really lucky had he only taken a look around.
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Interaktivni mediji Interactive Media
Kolegij interaktivnih medija na prvoj diplomskoj godini studija The Interactive Media course during first year of study at the
uvodi dizajnera u polje razvoja digitalnog produkta od kon- Graduate Study Programme introduces designers into the area
cepta do realizacije web-stranice ili mobilne aplikacije. Uloga of development of a digital product from the concept to the
dizajnera je u ovom pristupu viedimenzionalna i oekuje od implementation of a website or a mobile app. Designers have a
pojedinca osmiljavanje koncepta projekta u odnosu na profil multi-dimensional role in this approach and individuals are expe-
korisnika, konteksta u kojem se korisnik nalazi te problema koji cted to provide a project concept in relation to the user profile,
se nastoji rijeiti. Iz istraivakog procesa proizlazi jasan profil the user context and the problem for which the solution is stri-
korisnika koji je definiran njegovom ivotnom dobi, navikama, ving to be provided. A clear user profile is provided through the
interesima, eljama, problemima i ostalim imbenicima koji research process, defined by their age, habits, interests, wishes,
utjeu na percepciju i motivaciju koritenja digitalnog proi- problems and other features that impact on the perception of
zvoda. Zbog konteksta studija i resursa koji su na raspolaga- and the motivation to use a digital product. Due to the context
nju, studenta se potie da osmiljava projekt koji proizlazi iz of the study and the available resources, students are encoura-
osobnog interesa za odreeno podruje ivotne aktivnosti. ged to develop a project that results from their own interests in
Sljedei korak je stavljanje u fokus korisnika unutar neke a specific area of life activity.
aktivnosti ili situacije koju se opisuje nizom zadataka (engl. The next step is to bring the user into focus within an activity or
use cases) koje korisnik pokuava rijeiti koritenjem digital- a situation that is described through a broad range of use cases
nog proizvoda. Nakon obuhvatne analize korisnika, situacije which the user is striving to solve through the use of a digital
i zadataka koje oblikuju korisniko iskustvo, izrauje se pro- product. The app prototype is created following a comprehen-
totip aplikacije. Pristup realizaciji prototipa naslanja se na sive analysis of the user, the situation and use cases that define
znanje i iskustvo kolegija Osnova interaktivnih medija, gdje user experience. The approach to prototype implementation is
su studenti praktino upoznati s konceptima prototipova based on the knowledge and experience of the course Funda-
low-fidelity i hi-fidelity. Pored zadatka izrade prototipa stu- mentals of Interactive Media, where students are provided a
denti trebaju izraditi dokument vizualnih standarda aplikacije practical insight into the concepts of low-fidelity and hi-fidelity
koji u realnom okruju slui kao referencija vizualne definicije prototypes. In addition to the assignment of prototype creation,
komponenti proizvoda drugim dizajnerima, programerima students need to prepare a document on visual standards of the
i produkt menaderima. application which in real environment is used as a reference for
a visual definition of product components to other designers,
programmers and product managers.
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godinjak studija dizajna 2015./2016. diplomski studij/interaktivni mediji,1.semestar
school of design annual review 2015/2016 graduate programme/interactive media,1st semester
prvi semestar
nikolina fuzul
Razvoj digitalnog produkta mentor: Emil Flatz
U prvom semestru diplomskog studija studenti bi trebali raspo-

lagati osnovnim teorijskim znanjem i pojmovima interaktivnih
medija. Cilj tijekom semestra je razviti kod studenata samo-
stalnost izvedbe sloenijega digitalnog produkta definicijom
koncepta, analizom profila korisnika te izvedbenim rjeenjem
prototipa s prezentacijom UI-ja kroz hi-fidellity prototip koji
obuhvaa vizualni identitet aplikacije, grafike standarde i nji-
hovu implementaciju korisnikim sueljem.
first semester
Digital product development
During the first semester of the Graduate Study Programme
students are expected to show basic theoretical knowledge and
interactive media concepts. The objective of this semester is
for students to develop independence in design of a more com-
plex digital product through a definition of concept, user profile
analysis and a detailed design of a prototype with the presen-
tation of UI through a hi-fidelity prototype that includes visual
identity of the app, graphic standards and their implementation
through a user interface.
MoodBoardin MoodBoardin
Osnovna funkcija ove web-stranice jest kreiranje vlastitih mood- The main purpose of this website is to create its own mood boards
boardova u svrhu odreenih tema ili osnova pri oblikovanju nekih to provide specific topics or basics for design of some projects. Three
projekata. Nude se tri osnovne mogunosti odnosno alata, a to su: basic opportunities or tools have been given, such as adding of visual
dodavanje vizualnog sadraja (fotografije, slike...), kljunih rijei content (photography, painting, etc.), keywords and a range of col-
(keywords) i dodavanje paleta boja. Osim toga, korisniku je omo- ours. Moreover, users have been given the opportunity to browse
gueno pregledavanje ostalih moodboardova na stranici. through other mood boards on the website.
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gala marija vrbani michelle antonia kovaevi

Portfolio
Cilj ovog projekta je da se odmakne od klasinog naina prikazivanja portfolio websi-
teova te je sam web zamiljen kao moja vlastita soba po kojoj su razmjetene stvari, Art Up
tj. radovi kako bi bili i u stvarnom ivotu, npr. plakati su na zidu, odjea na vjealici. Art up je drutvena web-stranica namijenjena ilustratorima koji su i veliki poklonici kompjutorskih igara. Korisnici
Soba/zid je prikazan tehnikom ilustracije te moe ii u nedogled, ovisno o tome kako Art Upa su vizualni kreatori likova svojih omiljenih igara, a stranica im prije svega omoguuje da svoje radove
se dodaju nove stvari. U poetku je sve crno-bijelo, a kad se miem proe po klika- dijele unutar drutvene mree. Pored standardnog dijeljenja i meusobnog oznaivanja radova s popularnom
bilnom objektu pokae se njegova realna fotografija te je mogue dobiti vie infor- Like funkcijom, korisnici stranice mogu sudjelovati i u raspravama o koritenim alatima u procesu ilustracije
macija. Korisnik zapravo istrauje sobu te na taj nain dolazi do mojih informacija. likova te dobiti ili dati savjet o odreenom aspektu kreativnog procesa. Primarna funkcija stranice je globalno
povezivanje ilustratora slinih afiniteta i interesa za pojedinu igru ili omiljenog heroja.
Portfolio
This project aims to move away from the classical way of presentation of portfolio Art Up
websites and hence the idea behind the website is to provide a room of my own in Art up is a social networking website intended for illustrators who are also passionate gaming enthusiasts. Art
which objects, i.e. works have been placed in a way to resemble real lifeposters Up users are creators of visual graphics for the characters in their favourite video games and the website gives
are on the wall and clothing on the clothes rack. The room/the wall has been pre- them the opportunity to share their work inside the social network. In addition to the standard sharing and
sented using illustration technique and it can go on ad infinitum depending on the mutual reactions to pieces of work using the popular Like function, the website users can also participate in
way new objects are added. Initially everything is black and white, yet when one discussions about the tools used during the process of character illustration and both give and receive pieces
scrolls a computer mouse wheel on a clickable object its real photograph appears of advice on a specific aspect of the creative process. The specific objective of the website is global networking
and additional information is provided. The user actually explores the room and amongst illustrators of similar affinities and interests in a specific game or a favourite hero.
is in that way provided my information.
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drugi semestar
miran bai
Standardizacija digitalnog produkta mentor: Emil Flatz
U drugom semestru diplomskog studija studenti ve imaju

definirane osnovne dizajnerske elemente web-stranice koje
detaljno razrauju te putem analize i standardizacije defini-
raju UI standarde aplikacija pojedinih komponenti. Rezultat je
izrada dokumenta standarda aplikacije koji u realnom okruju
slui drugim dizajnerima i programerima kao baza za daljnje
proirivanje platforme i implementaciju novih funkcionalno-
sti digitalnog produkta. Kao referencija standardizacije stu-
dente se upoznaje sa smjernicama Google Material Design.
second semester
Information unit
Digital product standardisation
In the second semester of the Graduate Study Programme stu-
dents are already given defined basic design elements of the
website which they hence comprehensively elaborate on and
through analysis and standardisation they define UI standards
for web-based applications for individual components. The result
is preparation of documents for standards of application that in
real environment is used by other designers and programmers
as a basis for further expansion of the platform and implemen-
tation of new functionalities of the digital product. Students are
introduced to Google Material Design guidelines as a reference
for standardisation.
Bucketlist
Bucketlist je web-stranica u kojoj korisnici postavljaju
sami sebi ciljeve koje ele ostvariti prije svoje smrti.
Kroz svijet serije Seinfeld prezentirano je korisniko
iskustvo. Put do samog ispunjenja cilja je ispunjen broj-
nim anegdotama koje se dijele meu prijateljima koji ih
mogu komentirati i time bodriti autora cilja da ga ispuni.
Bucketlist
Bucketlist is a website in which users set goals they
wish to achieve before their death. User experience
has been presented against the backdrop of the series
Seinfeld. The path towards the achievement of the
goal abounds with anecdotes shared amongst friends
who can comment on them and hence encourage the
author to achieve the goal.
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otto kuec nikolina kentri

Pole Position
Pole position je web socijalna platforma za ljubitelje automobila. Korisnici mogu
kreirati prilagoene liste objava prema vrlo specifinim kriterijima (npr. terenska
amerika vozila izmeu 1970. i 1980. godine). Svaku listu moe dopunjavati kori-
snik dok ne istekne rok popunjavanja, nakon ega lista postaje galerija objava koju
korisnici mogu pratiti, dijeliti i komentirati. Dokument web-standarda, nainjen
za ovaj projekt, predstavlja predloak koji slui kao podloga za daljnje proirivanje
platforme u vizualnom smislu i referencija je drugim dizajnerima i programerima
koji e raditi na njegovoj primjeni.
Pole Position
Pole position is an online social platform for automotive enthusiasts. Users can
create adjusted lists of posts according to highly specific criteria (e.g. American
off-road vehicles dating back between 1970 and 1980). Users are entitled to add
items to each list until the expiry of the deadline, following which the list becomes
a gallery of posts that can be followed, shared and commented on by the users.
D30 D30
D30 je projekt web-stranice koji nudi kolekciju iza- D30 is a website design project which provides a range
zova za dizajnere i likovne umjetnike da odravaju of challenges for designers and visual artists to maintain
tonus svojih kreativnih miia u odnosu na repetitivnu their muscle tone against the backdrop of a repetitive
prirodu svakodnevnice. Cilj svakog izazova je jednak: nature of everyday life. All the challenges are aiming to
da probudi, energizira i vjeba kreativne dijelove nae awake, energise and practice the creative segments of
osobnosti te ih ini primjenjivima kako u osobnim tako ones personality and make them applicable in creative
i u profesionalnim kreativnim projektima. projects both at the personal and professional level.
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roko jurjevi, ivan klanac, dora doko, mirta filipovi,

karla kocijan, leonarda komen, lucija novosel, petra pikor,
paula kova, lucija mati marijana imag, jovana vlaisavljevi
Where to Zagreb
WhereToZagreb.com je web-stranica turistike ponude Grada
Zagreba. Lokacije podijeljene u kategorije prema aktivnostima ili
potrebama posjetitelja pruaju uvid u raznoliku ponudu grada, od
gastronomije, smjetaja do izletita i zabave. Rad je ostvaren kao
skupni zadatak, a studenti su mogli izabrati podruje u kojem su htjeli
pridonijeti projektu (tipografija, vizualni identitet, copy/slike, grid...).
Where to Zagreb
WhereToZagreb.com is a website on tourism programmes provided
by the City of Zagreb. Locations divided into categories according to
activities or visitor needs provide an insight into rich programmes of
the city ranging from gastronomy and accommodation to excursion
sites and entertainment. This was the result of group work and students
could choose the area they wanted to address and hence contribute
to this project (typography, visual identity, copy/pictures, grid, etc.).
4Frame 4Frame
4Frame je web-stranica socijalne mree koja omoguuje korisnicima 4Frame is a website of a social network that enables the users to
da izraze i podijele svoje svakodnevno raspoloenje nizom psiholokih express and share their everyday mood through a broad range of
parametara i time kreiraju jedinstvenu krivulju sebe. Takoer, aplika- psychological parameters and hence create a unique personal curve.
cijom boje korisnik moe odabrati svoju prevladavajuu emociju koja Furthermore, through application of colours the users can select the
mu je obojila dan. Trenutno psiholoko stanje oblikuje vizualni iden- dominant emotion that has coloured their specific day. The current
titet svakom korisniku mree i prua svim ostalim korisnicima razno- psychological condition gives form to the visual identity for each user
lik vizualni uvid u svoje raspoloenje i prijatelja. Rad je ostvaren kao of the network and provides all the other users with a diverse visual
skupni zadatak, a studenti su mogli izabrati podruje u kojem su htjeli insight into both personal mood and their friends mood. This was
pridonijeti projektu (tipografija, vizualni identitet, copy/slike, grid...). the result of group work and students could choose the area they
wanted to address and hence contribute to this project (typography,
visual identity, copy/pictures, grid, etc.).
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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 and animation, to name a few and uses them to address the
u doticaj dolaze ovjek i manje ili vie kompleksni mehaniki increasingly frequent situations where people are faced with
i/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 in real environment, highlighting the redesign of difficult situa-
i raunalnih i/ili mehanikih sustava istraivanjem i kontekstu- tions one encounters on a daily basis.
alizacijom 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 2015/2016 graduate programme/interaction design,1st semester
miran bai, stela cvijanovi, nikolina kentri, petra modri, maja prelec marina bitunjac, monika moevi, borjan pavlek, leona vertu, toni ljaka
mentor: Vedran Kasap mentor: Vedran Kasap
Interpretacijsko interakcijski objekt za osjetilo mirisa Interpretacijsko interakcijski objekt za osjetilo opipa
Projekt je zamiljen u obliku edukativno-interaktivnog sustava koji korisnika ui Projektno rjeenje sastoji se od sedam kutija privrenih na zid, od kojih svaka
o procesu recepcije mirisnog podraaja. Projekt omoguuje stvaranje vlastitih asocija- tematizira odreeno osjetilno tjelece i osjet koji mu pripadaPacinijevo, Ruf-
cija i emocija te nas pouava o moguim upotrebnim vrijednostima odreenih mirisa. finijevo, Krauserovo, Merkelovo i Meissnerovo tjelece, dok se u posljednoj kutiji
Na poetku procesa korisnik uzima ulogu estice mirisa te je vodi po predvienoj nalazi broura. Dubina svake kutije demonstrira dubinu u koi na kojoj se odreeno
liniji, a receptori su (poput onih u nosnoj upljini) spuve s tri razliita mirisa (citrus, tjelece nalazi. Posjetitelj uvlai ruku u pojedinu kutiju gdje doivljava razliit osjet,
lavanda, vanilija) na koje se prisloni figurica kako bi poprimila jedan od mirisa. Figu- teksturu, toplinu, hladnou, golicanje ili bol. Na taj nain izravno doivljava osjet
ricu vodi dalje do asocijacija, emocija i primjene te se izvlae kartice s pojmovima opipa kroz medij koe ija se svojstva istrauju.
koje se mogu zadrati ili vratiti. Cilj je nauiti korisnika to je miris i koji put on pri-
jee od ulaska u nos do odreenog dijala mozga kako bi ga mogli osvijestiti. Projekt Interpretation and interaction object providing tactile stimuli
je nainjen tako da bude zanimljiv i djeci i odraslima. Project solution comprises of seven boxes mounted on the wall, each of which
shows a specific sensory corpuscle and the corresponding sensePacini, Ruffini,
Interpretation and interaction object providing olfactory stimuli Krauser, Merkel and Meissner corpuscle, whilst the last box includes a brochure. The
The idea behind the project was to provide an interactive educational system that depth of each box illustrates the layer of the skin at which a specific corpuscle is
will teach the user about the process of reception of olfactory stimuli. The project to be found. The visitor puts their hand into a specific box where they experience
gives the opportunity to create ones own associations and emotions and teaches a diverse sense, texture, warmth, cold, tickling or pain. Hence, they are provided
on the potential value of specific scents. At the beginning of the process the user direct experience of the sense of touch through the skin whose features are explored.
takes the role of an odorant particle and leads it along the specific line and the
receptors (such as those in the nasal cavity) are sponges with three diverse scents
(citrus, lavender, vanilla) onto which the figurine is placed so that it absorbs one of
the scents. The figurine is hence led further towards the associations, the emotions
and usability and cards containing concepts are drawn that can be kept or returned.
The objective is to teach the user about scents and the path they traverse from
their entrance into the nasal cavity to a specific part of the brain in order for us to
become aware of them. The project is intended to arouse interest amongst both
children and adults.
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tin buri, karmela gudiek, michelle kovaevi, ivan aban sara pavlekovi preis, gala marija vrbani, nika tecilazi, katarina huljev, iva vuemilovi-grgi
Interpretacijskointerakcijski objekt za osjetilo vida Interpretation and interaction object providing visual stimuli Interpretacijskointerakcijski objekti za osjetilo sluha
Skupom analognih interaktivnih izloaka interpretiraju se osnovne znaajke ljudskog Fundamental features of human eye and the sense of sight have been interpreted Interpretacijsko edukacijski sustav podijeljen je na tri cjeline koje simboliziraju vanj-
oka i osjetila vida. Korisnicima se na zabavan i jednostavan nain prezentiraju dije- through a group of analogue interactive exhibits. Through an entertaining and sko, srednje u unutranje uho. Posjetitelj ulaskom u prostor na simbolikoj razini
lovi organa vida s osnovnim funkcijama pomou kojih se vizualno percipira okolina. a simple method users are presented components of organs of sight and their basic postaje zvuk i pokree dijelove mehanikog sustava pomou kojih mu se prezentira
Znaajke funkcioniranja ovog osjetila prezentirane su prostornim instalacijama functions through which the environment is visually perceived. The features of the funkcioniranje odabranih dijelova uha. Posjetitelji se interakcijom s etiri mehanika
s pominim segmentima. Prikazano je ponaanje unjia i tapia u promjenjivom sense of sight have been presented through spatial installations with movable seg- izloka educiraju o funkcioniranju odreenih dijelova slunog sustava, prikupljanju
intenzitetu svjetla, kretanje i lom svjetlosti u dijelovima oka kao i proces oblikova- ments. The reactions of cones and rods have been presented against the backdrop i pojaavanju zvuka, shvaaju ulogu bubnjia, ekia i nakovnja. Pokretanjem tekuine
nje slike od lee do mozga te razliitosti percepcije slike kod ovjeka i odabranih of changing light intensity, the movement and the refraction of light in different u punici stvara se proces pretvaranja frekvencije zvuka u elektrini impuls. Interpre-
ivotinjskih vrsta. Takvim se nainom prezentacije, koji zahtijeva sudjelovanje posje- components of the eye, as well as the process of image formation from the lenses tacijski objekti postavljeni po prostoru izlobe na jednostavan nain pribliavaju kori-
titelja u pokretanju mehanikih interpretacijskih sustava, omoguuje bre i lake to the brain and differences of perception of images between humans and selected snicima razliitih profila i dobnih skupina sloene procese recepcije zvukova iz okoline.
prenoenje eljenih informacija i spoznaja do krajnjega korisnika. animal species. This method of presentation, requiring visitor involvement in moving
the mechanical interpretational systems, enables an accelerated and a simplified Interpretation and interaction object providing auditory stimuli
transfer of required information and insights to the end user. Interpretation and educational system has been divided into three parts that symbolise the
outer, the middle and the inner ear. Upon entering the premises the visitor at a symbolic
level is transformed into sound and sets in motion parts of a mechanical system through
which they are presented the functioning of the specific ear parts. Through interaction
with four mechanical exhibits the visitors are educated about the functioning of specific
parts of the auditory system, collecting sound waves and increasing the sound volume,
providing a deeper insight into the role of the eardrums, the hammer and the anvil. The
setting in motion of the fluid in the cochlea results in the process of transformation of
audio frequency into electrical impulse. Interpretational objects located throughout the
exhibition premises in a straightforward way provide the users of diverse profiles and age
groups with an insight into complex processes of reception of sounds surrounding them.
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dina bartoli, otto kuec, matea jurevi, nikolina fuzul, ian bonifai karmela gudiek, nikolina kentri, matej goreta, iva vuemilovi-grgi, borjan pavlek
Interpretacijsko interakcijski objekt za osjetilo okusa flo FLO

Interaktivna instalacija interpretira mehanizme pretvaranja osjetila okusa od unosa FLO (Female leaking organizer) je sustav koji prati FLO (Female leaking organizer) is a system that fol-
hrane do impulsa u mozgu. Slijedei put hrane, koji je simboliki prikazan kretanjem mjesene cikluse ene. Dijelom senzora smjete- lows womens menstrual cycle. Information is collected
velikih kuglica te njihova okusa prikazanih malim kuglicama, nailazimo na prepreke nih u narukvici i WC koljci prikupljaju se informacije through some of the sensors located in the bracelet and
objanjene i opisane zanimljivim injenicama, razumljivim svim dobnim skupinama. poput tjelesne temperature, razine reproduktivnih in the toilet bowl, such as a womans body tempera-
Hrana kao materija brzo izlazi iz procesa kreiranja osjetila okusa, dok se osjet kao hormona i sl., to se obrauje i organizira pomou ture, the level of reproductive hormones, etc., which is
impuls jednostavnim mehanizmima kree sve do mozga, gdje ga se percipira kao osjet. pametnih ureaja. Ostali senzori unutar doma obav- hence processed and organised using smart appliances.
ljaju funkciju prepoznavanja znaajki lica te omogu- Other sensors located throughout the home perform
Interpretation and interaction object providing gustatory stimuli uju personaliziranu komunikaciju s veim brojem the function of facial feature recognition and enable
Interactive installation interprets mechanisms of transformation of taste signals korisnika unutar istog prostora u raznim situaci- personalised communication with a large number of
from food intake to neural impulses. Following the path traversed by food, that is jama. Svi su ureaji povezani internetom. Ovisno o users within the same premises in diverse situations.
symbolically depicted through movement of huge balls, and its taste, shown through fizikim i emotivnim stanjima ene, FLO omoguuje All the appliances are Internet-connected. Depending on a
small balls, one encounters obstacles which are explained and described using inter- upravljanje dijelom ureaja u kuanstvu, optimizira womans physical or emotional state, FLO enables partial
esting facts, intelligible for all age groups. Food as substance soon exits from the uvjete u neposrednoj okolini, podeava svjetla, tem- running of household appliances, optimises the conditions
process of creation of the sense of taste, whilst the stimulus moves as an impulse peraturu prostora, preporuuje audio ili video sadr- in the immediate environment, adjusts the lighting, the
through simple mechanisms towards the brain where it is perceived as a sense. aj. Pomou ovog sustava korisnica moe po potrebi temperature in the premises and it recommends audio or
podijeliti dio prikupljenih podataka i sa svojim lije- video contents. Through this system the user can share
nikom. Sustav komunicira s korisnicom pomou ava- some of the data collected with her physician if required.
tara Flo, koji se pojavljuje na pametnim ureajima Moreover, the system communicates with the user via ava-
te je na suptilan i duhovit nain potie i podsjea tar Flo that appears on smart appliances and reminds her
na zdrave ivotne navike. Educirajui je o vlastitom of healthy habits in a subtle and witty way. Educating the
tijelu, FLO omoguuje i jai osjeaj samopouzdanja. user about her own body, FLO also boosts self-confidence.
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school of design annual review 2015/2016 graduate programme/interaction design,2nd semester
monika moevi, nika tecilazi, maja prelec, miran bai, matea jurevi dina bartoli, ian bonifai, tin buri, otto kuec
Reelcycle Reelcycle Workmood

Koncept projekta temelji se na injenici The project concept is based on the fact Workmood je rezultat temeljitog istraivanja i promiljanja ivota i radnih navika
da je energija neunitiva i samo prelazi iz that energy is indestructible and it is sim- studenata koji rade i ue kod kue. Projektom se nudi rjeenje za problem nedo-
jednog oblika u drugi. Sustav uz pomo ply transferred from one form to another. statka koncentracije, softverom kojemu je zadatak na suptilan nain regulirati radne
senzora maksimizira iskoristivost energije The system uses sensors to maximise the uvjete studenta. Zamiljeno je da softver ima na raspolaganju svjetsku bazu poda-
i nenametljivo ukljuuje sve pojedince utilisation of energy and it unobtrusively taka pomou koje usporeuje navike svog studenta s drugim korisnicima, kako bi
koji svojim svakodnevnim aktivnostima includes all the individuals contributing to tijekom odreenog vremena to preciznije shvatio potrebe i radne navike studenta
pridonose kuanstvu i cijeloj zajednici. the household and the entire community i stvorio za njih odgovarajue uvjete. Softver tako sam ui kakvu glazbu, koje svjetlo
Sustavu se pridonosi svim uobiajenim through their everyday activities. The sys- i koje postavke na raunalu i mobitelu odgovaraju studentu za svaku uoenu radnju.
fizikim aktivnostimaod vonje bicikla tem is enhanced through all the regular Sve to na kraju rezultira kvalitetnijim, brim i ugodnijim radnim ozrajem unutar
do otkljuavanja vrata. Prikupljena ener- everyday physical activitiesfrom cycling vlastitog prostora.
gija pohranjuje se u zajedniku bateriju to unlocking the door. The collected energy
na razini odreene zajednice. Popratna is stored into a joint battery at a specific Workmood
aplikacija omoguuje praenje prikupljene community level. The accompanying app Workmood is a result of a comprehensive research and reflection on life and work
energije na razini vlastitog kuanstva enables the monitoring of the collected habits of students who work and study at home. The project provides a solution
i grada. Omogueno je preusmjeravanje energy at the level of ones household to the problem of a lack of concentration through a software intended to regulate
energije u eljenu svrhu ili pohranjivanje and the city. The opportunity of direct- the working conditions of students in a subtle way. The idea behind is to provide
u zajedniku bazu iz koje se racionalno ing energy for a specific purpose has been a global database for the software that compares the habits of a specific student
rasporeuje do korisnika. Opcija scan provided or of energy storage into a com- with other users in order to gain a deep insight into the needs and work habits of
omoguuje nadzor trenutne razine pri- mon basis from which it is rationally allo- a specific student and over a period of time be able to provide the required con-
kupljene energije uz popis njenih pro- cated to the users. The scan option ena- ditions. Hence, the software learns about the type of music, the lighting and the
izvoaa. Razmjenom scana na dru- bles the monitoring of the current level computer and mobile phone settings appropriate for the student for each of the
tvenim se mreama motivira zajednica of collected energy in addition to the list monitored activities. It eventually results in a higher quality, faster and more com-
i omoguuje razvoj zdrave konkurencije. of its producers. The community is moti- fortable work environment inside ones premises.
Trenutna energetska uinkovitost poje- vated through the exchange of scan on
dine sredine dostupna je u obliku bojom social networks and healthy competition
kodiranog holograma. is enabled. The current energy efficiency
in a specific community is available in the
form of a colour-coded hologram.
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Diplomski Graduation
radovi Theses
Diplomski rad se temelji na cjelovitoj obradi utvrenih tema, A graduation thesis is based on comprehensive approach to speci-
a sastoji se od dva dijela: istraivako-teorijskog dijela i projekt- fic topics and comprises of two sectionsthe theory section and
nog 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 kompetencija ted at the Council of the School of Design.
i postizanje ishoda uenja pri rjeavanju problema iz podruja The thesis shows student competences and study results in pro-
koja su bila sadraj njegova studija te koritenje teorijskoga blem solving related to the field of interest, as well as imple-
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 2013./2014. su ukljuivali podruja poput dizajna The theses in the field of industrial design during the academic
proizvoda i njihovih sustava, dizajna urbane opreme, razvoja year 2013/2014 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 2013./2014. ukljuivali su irok raspon tema od The graduation theses in visual communications during the aca-
obrazovanja, kulture, medija, turizma pa sve do sporta. Zajed- demic year 2013/2014 covered a vast array of topics ranging
nika karakteristika 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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sveuilini diplomski studij university graduate studies

Magistri Masters
Barbara Bjeli Mateo Grubii

Razvoj djeje kreativnosti Doivljaj glazbe u digitalnom okruju/uloga dizajna
Development of a childs creativity Music experience in digital environment/the role of design
mentor: Ivan Doroghy mentor: Ivan Doroghy
komentor/comentor: Tomislav Vlaini komentor/comentor: Tomislav Vlaini
Elizabeta Bonjak Klasja Habjan

Arhiva radionica Korporativni identitet Muzeja suvremene umjetnosti
Iskustvo kuhanja za osobe s invaliditetom Corporate identity for the Museum of Contemporary Art
Cooking experience for people with disabilities mentor: Nenad Dogan
komentori/comentors: Romana Kajp, Emil Flatz
komentorica/comentor: Sanja Benceti
Ana Herceg
Monika Daki Dizajn doivljaja plivanja kao terapije astme
Odlaganje osobnih predmeta u stambenom prostoru Design of swimming experience as asthma therapy
Placing personal objects in living space mentor: Zlatko Kapetanovi
mentor: Mladen Orei

komentorica/comentor: Andrea Hercog Ivana Hrabar
Kako uspjeno ukljuiti starije osobe u digitalno doba
Lana Grahek How to successfully involve elderly people into the digital era
Eksperimentalno izdavatvo: prijenos iz digitalnog mentor: Ivan Doroghy
u tiskani medij/osobne arhive komentor/comentor: Tomislav Vlaini
Experimental publishing: transfer from digital to print -

personal archives Maja Jandri
mentor: Ivan Doroghy Privremeno stanovanje u kontekstu krize
komentor/comentor: Tomislav Vlaini
Temporary housing in the context of the crisis
mentor: Mladen Orei
Borna Aaron Grevi komentorica/comentor: Andrea Hercog
Dokumentacija i arhiviranje zastarjelih natpisa
na podruju Zagreba
Documenting and archiving outdated street signs
in the Zagreb area
mentor: Stipe Bri
suradnica/associate: Karla Paliska
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godinjak studija dizajna 2015./2016. sveuilini diplomski studij/magistri
school of design annual review 2015/2016 university graduate studies/masters
Igor Kolar Nataa Njegovanovi Tamara Petrua Viktoria Lea Vavra

to je automobil bez vozaa Suvremeni radni prostori/poslovanje u stanu Drevna znanja u kontekstu suvremenoga Revitalizacija obiteljske tradicije i obrta Igrake Vavra
What is a car without the driver? Contemporary work premises/working from home zapadnog drutva Revitalisation of a family tradition and craft Toys Vavra
mentor: Mladen Orei mentor: Mladen Orei Ancient knowledge in the context of contemporary mentor: Mladen Orei
komentorica/comentor: Andrea Hercog komentorica/comentor: Andrea Hercog western society komentorica/comentor: Andrea Hercog
mentor: Mladen Orei
Vitomira Martinjak Adriana Paveli komentorica/comentor: Andrea Hercog Valetino Veeri
Uloga vizualnih komunikacija u unaprjeenju kvalitete Implementacija virtualnog svijeta i tehnologije annual acknowledgement at the school of design Bespilotna letjelica za traganje i spaavanje
ivota djece u djejim domovima na izdvojenom primjeru u djeju igru i okoli Search and rescue drone
djejeg doma A.G. Matoa Implementation of virtual world and technology into childs Josipa Pra mentor: Zlatko Kapetanovi
The role of visual communication in improvement of life play and the physical environment godinje priznanje studija dizajna /
Zagreb iz perspektive graana/igra kao kljuni annual acknowledgement at the school of design
quality of children in childrens homes, tak-ing the specific mentor: Mladen Orei
komentorica/comentor: Andrea Hercog element za razvoj kreativnog identiteta zajednice
example of the childrens home A.G.Mato
Zagreb from the citizens perspective/game as a key element Zita Naki-Vojnovi
mentor: Stipe Bri
suradnica/associate: Karla Paliska for the development of the creative community identity
Karlo Pavii Identitetski sustav grada Samobora
mentor: Stipe Bri
Kamen/suvremeni pristup tradicionalnom suradnica/associate: Karla Paliska Identity system of the City of Samobor
Lovro Miokovi hrvatskom materijalu mentor: Nenad Dogan
komentori/comentors: Romana Kajp, Veljko van
Node/digitalna platforma za kolaboraciju Stone/a contemporary approach to traditional Hana Tintor
Node/digital platform for collaboration Croatian material
Drvo/slikovnica koja raste s djecom Ana Vuko
mentor: Stipe Bri mentor: Mladen Orei
suradnica/associate: Karla Paliska komentorica/comentor: Andrea Hercog The tree/picture book that grows with children
Biljeenje popularne internetske kulture
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp Documenting popular Internet culture
Laura Mrka Vanja Perkovi godinje priznanje studija dizajna / mentor: Ivan Doroghy
annual acknowledgement at the school of design komentor/comentor: Tomislav Vlaini
Elementi stambenog prostora koji unaprjeuju Uloga dizajna u vizualizaciji podataka
odnos ovjeka i predmeta o klimatskim promjenama
Features of living spaces that improve the relationship The role of design in visualising climate change data Martina Uki Lara ic
between the humans and the object mentor: Nenad Dogan Budui scenarij urbanoga javnog prostora Revitalizacija Trenjevakog trga
mentor: Mladen Orei komentorica/comentor: Romana Kajp The future scenario of urban public space Revitalisation of Trenjevka square
komentorica/comentor: Andrea Hercog godinja nagrada studija dizajna /
annual awards at the school of design mentor: Stipe Bri mentor: Ivan Doroghy
suradnica/associate: Karla Paliska komentori/comentors:Veljko van, Tomislav Vlaini
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godinjak studija dizajna 2015./2016. diplomski studij/diplomski radovi/industrijski dizajn,3. i 4.semestar
school of design annual review 2015/2016 graduate programme/graduation theses/industrial design,3rd and 4th semester
adriana paveli
mentor: Mladen Orei
komentorica/comentor: Andrea Hercog
Implementacija virtualnog svijeta i tehnologije Implementation of the virtual world and technology in childs play and
u djeju igru i fiziku okolinu the physical environment
Projekt predstavlja interaktivnu didaktiku igraku u obliku robota. Cilj je projekta The project is actually an interactive didactic toy in the form of a robot. The objec-
implementirati nove tehnologije i virtualan svijet u materijalan svijet igraaka i igre. tive of the project is to implement new technologies and the virtual world into the
Preuzimajui prednosti iz virtualnoga i materijalnog svijeta igre, informiranjem, material world of toys and play. New values that result from the implementation
istraivanjem i dizajnerskim promiljanjem o formi, funkciji i ideji, nastojalo se doi of these two worlds were provided by using the advantages both of the virtual and
do novih vrijednosti koje su rezultat implementacije dvaju svjetova. Igraka-robot the material world of play, as well as by providing information and through research
prilagouje se djetetu pomou programa koji se temelji na odreivanju karaktera and provision of design concepts about the form, the function and the idea. The
pojedinoga korisnika prema Myers-Briggsovoj metodi. Igraka tako omoguuje toy robot is adapted to the child through a programme based on the identification
individualan pristup svakom djetetu, uz interakciju koja se ostvaruje raznim sen- of the personality type of a specific user using Myers-Briggs method. The toy ena-
zorskim podraajima, zvunim, vizualnim i taktilnim. bles an individual approach to each child, in addition to the interaction achieved
through various sensory, auditory, visual and tactile stimuli.
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ana herceg
STIV STIV
sustav za trening i igru u vodi kao oblik terapije a system for training and playing in water as a form of therapy for
oboljelima od astme children suffering from asthma
Projekt je nastao kako bi se djeci s astmom olakale vjebe terapijskog plivanja The project is intended primarily to facilitate swimming as a therapeutic exercise
i uinile ga pristupanijim uz odreene sportske rekvizite i tehnike plivanja i disanja. for children suffering from asthma, as well as to make it more appealing through
Njime se moe postii novi, zabavniji doivljaj i poveati motivaciju. STIVsustav the use of various sports equipment items and swimming and breathing techniques.
za trening i igru u vodi je rezultat ovog istraivako-konceptualnog rada. To je A new and a more entertaining experience can be provided and hence motivation
sustav elemenata na napuhavanje, plonih gradivnih elemenata te manjih runih can be increased. STIVa system for training and playing in water is the result of
rekvizita. Cijeli sustav projektiran je tako da nudi iznimno mnogo mogunosti this both research and conceptual work. It is a system that comprises of inflatable
slaganja, a zbog prirode materijala i oblika svi su elementi vrlo lagani i pristupani items, as well as of flat building block items and smaller hand-held sports equip-
za rukovanje. U ovisnosti o vrsti aktivnosti, elementi se mogu koristiti za pliva- ment. The entire system has been designed in order to provide a huge number of
nje, puzanje, pretravanje, preronjavanje, skakanje, sputanje, leanje, odmaranje combinations, whilst, due to the nature both of the material and the forms, all the
i druge oblike aktivnosti u vodi. items are very light-weight and easy to use. Depending on the type of activity, the
items can be used for swimming, crawling, running, diving, underwater diving, slid-
ing, lying, resting and other aquatic activities.
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elizabeta bonjak
komentorica/comentor: Sanja Benceti
Prostor za kuhanje s hendikepiranim osobama Premises for cooking with the disabled
Restoran s otvorenim tipom kuhinje, okruje je koje potie na komunikaciju, sudje- A restaurant with an open-plan type of kitchen is an environment that encourages
lovanje i drutvenu interakciju pojedinaca, bez obzira na njihove posebnosti. Otvo- communication, involvement and social interaction of individuals, irrespective of
reni prostor kuhinje koja otkriva svaki korak u pripremi hrane, omoguuje pristup their specific features. The open-plan kitchen reveals each step in food prepara-
hendikepiranim osobama pripremi hrane ravnopravno s profesionalnim osobljem. tion process, provides access to food preparation for the disabled on a par with
Projekt tako omoguuje hendikepiranim osobama da ive neovisnije i postanu rav- the professional staff. Hence, the project gives the disabled the opportunity to lead
nopravni aktivni sudionici svoje lokalne zajednice, a more independent life and be on an equal footing with the others, as well as to
become active participants in their local communities.
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laura mrka
mentor: Mladen Orei
komentorice/comentors: Ivana Fabrio i Andrea Hercog
Elementi stambenog prostora u funkciji unaprjeivanja Features of residential premises intended to improve
odnosa ovjeka i predmeta human-object interaction
Potreba za posjedovanjem materijalnog, esto povezan s osjeajem sigurnosti The need to own material property is frequently linked with the feeling of security
i udnjom za statusom, sve ee zamjenjuje tenju za humanijim odnosom prema and striving for social status and it increasingly frequently replaces the striving for
blioj i iroj okolini. Pri tome dominantnu ulogu ima koliina predmeta koju elimo, a more humane relationship both with the immediate and the broader surround-
stvarajui nam privid osobne vrijednosti kao pojedinca. Dizajn bi trebao biti sred- ings. The fundamental role is assumed by the quantity of items one is aiming to own,
stvo edukacije iji je cilj postupno promijeniti slijed vrijednosti, gdje bi doivljaj which will give one an impression of personal value. Design is an educational tool
predmeta trebao bi biti ispred vizualnog dojma. Predmeti oko nas postali su dio whose objective is to gradually change the sequence of values, where the expe-
svakodnevne automatizirane sredine, liene istinskog doivljaja. Polazina toka rience of an object is supposed to precede its visual impression. The objects that
ovoga rada je vizualne prirode, ali se idejni koncept zasniva na zamisli o promjenji- surround us have become a part of everyday automated surroundings, deprived
vosti kao sastavnog dijela ivotnog ciklusa ovjeka i njegova okruja. Promjenu ini of genuine experience. The idea behind this project is of visual nature, yet its con-
dojam svojevrsne nedovrenosti, asimetrije, neoekivanosti, to korisnika potie na cept is based on the idea of changeability as an integral part of human life cycle
imaginaciju i slobodu djelovanja. Naglasak je na doivljaju sustava putem procesa and their surroundings. The change comprises of an impression of a kind of incom-
iznenaenja, otkrivanja i upoznavanja s objektima. pleteness, asymmetry and unexpectedness, which encourages the users imagina-
tion and freedom to act. The focus is on the experience of the system through the
process of surprise, revelation and acquaintance with objects.
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lea vavra
mentor: Mladen Orei
Igrake Gumbeki kao revitalizacija obiteljske tradicije i obrta Gumbeki toys as a revitalisation of a family tradition and craft
Igrake Vavra Vavra Toys
Gumbeki su igrake od tekstila koje se sastoje od vie elemenata spojenih u cjelinu. Gumbeki are toys made from fabric that comprise of several features integrated into
Projekt sadri 16 glavnih dijelova od kojih je mogue sastaviti etiri razliite igrake. a whole. The project comprises of 16 main parts from which four different toys can
Izbor vrste i koliine elemenata ostavljen je korisniku. Uz glavne dijelove postoje be assembled. The user is given the opportunity to select the type and the quantity
i dodatni, manji oblici, koji mogu imati uloge oiju, ruku, nogu, repa ili uiju. Svi of features. Besides the main parts, there are also additional, smaller forms that
dijelovi mogu se meusobno spajati gumbima tako da se moe sloiti bezbroj razli- can assume the role of the eyes, hands, legs, tail or ears. All the parts can be con-
itih kombinacija. Svatko moe sloiti svoju vlastitu igraku slaui razliite oblike nected with buttons (Gumbeki means Little Buttons) and hence an endless number
i time razvijati osobnu matu i kreativnost. Tekstilni elementi razliitih tekstura uz of combinations can be assembled. Anyone can assemble their own toy through
gumbe proizvodu daju karakter i vizualnu prepoznatljivost, a istodobno pomau combinations of various forms and in that way develop ones own imagination and
razvoju senzomotorikih sposobnosti. Koritenjem jednobojnih materijala ostav- creativity. Fabric features of different textures with buttons provide the product
ljen je prostor za intervenciju i personalizaciju crtanjem, slikanjem ili ivanjem, with a character and a visual recognition, whilst it simultaneously helps in senso-
tako da dijete igraku moe dovriti samo ili uz pomo roditelja. rimotor skill development. The use of monochrome materials provides room for
intervention and personalisation through drawing, painting or sewing and so the
child can complete the toy on their own or with the help of their parents.
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maja jandri
mentor: Mladen Orei
Privremeno stanovanje u kriznim uvjetima Emergency housing

Dizajnom okoline koja ukljuuje korisnika u procese koritenja i pruanja pomoi The design of the surroundings that include the user in the processes of use and pro-
u izbjeglikom kampu mogue je osnaiti osjeaj jednakosti, samopouzdanja, viding help in a refugee camp gives the opportunity to strengthen the sense of equality,
autonomije i neovisnosti o humanitarnoj pomoi. Takav dizajn okoline moe olak- self-confidence, autonomy and independence from humanitarian aid. Such design of the
ati provoenje zadanih mjera, smanjiti trokove opreme i radne snage, promicati surroundings can help in the implementation of specific measures, lower the costs both
sudjelovanje te u konanici pridonijeti osjeaju neovisnosti i autonomije korisnika. of equipment and labour, promote participation and eventually contribute to the sense of
Osmiljen je modularni sustav jedinica za privremeno stanovanje u kriznim uvjetima, user independence and autonomy. A modular system of units for emergency accommoda-
u situacijama kada se raseljene ljude smjeta u velike prostore (dvorane, atore, hale). tion has been provided, for the situations when the displaced people are accommodated
Sustav se prilagouje svakom pojedincu ili skupini te omoguuje personalizirano in huge premises (halls, tents, gyms). The system adapts to each individual or group and
koritenja prostora. Modularni sustav elemenata omoguuje osnovne funkcije privre- enables personalised use of the premises. A modular system of items enables the basic
menog stanovanja: spavanje, privatnost, odlaganje. Svaku jedinicu mogue je spajati u functions of temporary housing: sleeping, privacy, storage. Each unit can be integrated into
sustav i koristiti na bezbroj naina. Koritenje elemenata je proizvoljno i preputeno a system and used in a broad range of ways. The use of items is arbitrary and up to the user
korisniku ime se prilagouje funkcionalnim i emocionalnim potrebama pojedinca. and it is hence adapted to meet both the functional and emotional needs of individuals.
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nataa njegovanovi
mentor: Mladen Orei
Suvremeni radni prostori Modern office premises

poslovanje u prostoru stanovanja doing business in residential premises
Layers Blended Living sustav je pokustva koji omoguuje preobrazbu dnevnog Layers Blended Living is a furniture system that enables the transformation of a
boravka odnosno blagovaonice u radni prostor. Sastoji se od dva elementa, stola living room or a dining room into office premises. It comprises of two items, a desk
i police-paravana. Stol funkcionira na dvije razine ime omoguuje dvostruku upo- and a shelf intended as a partition. The desk functions at two levels which enables a
rabu bez premjetanja stvari. Donja razina stola predviena je za rad nakon kojeg dual use without the rearrangement of items. The lower level of the desk is intended
se, zajedno sa svom radnom opremom, zatvara pokrovom od aluminijskih profila. for work, after which, together with all the work equipment, it can be closed with
Pokrov potom postaje nova vrsta ploha za blagovanje i ostale aktivnosti. Okomiti an aluminium profile cover. The cover then becomes a new solid surface for dining
rasklopni element sadri sve prijeko potrebno za uredski rad poput ormaria za and other activities. A perpendicular unfolding furniture item contains all the pre-
pohranu, ladica, polica, vjealica te magnetne i plutene ploe. Rasklapanjem panela requisites for office work, such as a storage cabinet, a chest of drawers, shelves,
pod kutom od 120 stupnjeva, ovaj element postaje prostorna pregrada koja odje- hangers and both the magnetic and the cork bulletin boards. Through demount-
ljuje ostatak doma od radnog prostora ime se omoguuje vea koncentracija na ing of the panel under 120 degree angle this furniture item is intended as a parti-
rad i stvaranje kvalitetnije radne atmosfere. Sustav predstavlja idealno rjeenje za tion that separates the rest of the household from the office premises, which ena-
manje prostorenjegova multifunkcionalna priroda oslobaa ivotne prostore od bles a higher level of concentration that is required for work and creates a higher
pretrpanosti, ne uskraujui pritom funkcionalnost i komfor. quality work environment. The system is an ideal solution for small premisesits
multifunctional features prevent cluttering in the living premises, without affecting
functionality and comfortableness.
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tamara petrua
mentor: Mladen Orei
godinje priznanje studija dizajna
annual acknowledgements at the school of design
Predmet kao ekstenzija ovjeka Object as a human extension

Svaki predmet svojevrsna je ekstenzija ovjeka. U ovom je projektu taj imbenik oso- Each object is in a way a human extension. In this project this factor has been pri-
bito naglaen jer mu je osnovna namjena biti ovjekov produetak, medij koji moe marily highlighted, since its specific objective is to be a human extension, as well as
olakati dolazak do kvalitetnijeg stanja duha odnosom, komunikacijom i razvijanjem media that can assist in reaching a higher quality spiritual state through a relation-
povjerenja. Bit projekta je stvaranje odnosa s predmetom kojim predmet dobiva ship, communication and development of trust. The project is primarily intended
vrijednost, a ovjek je taj koji mu u potpunosti daje vrijednost, znaenje i smisao. to establish interaction with an object through which value, the meaning and the
Projektom se istrauju pitanja o tome to bi bilo kada bismo imali prazan pred- scope will be fully given to the object by the human. Moreover, the project analy-
met, lien primarne funkcije te kakav bi odnos pritom nastao. Oblikovanim pred- ses what would happen if we had an empty object, deprived of function and what
metom ispituje se problematika odnosa ovjeka s predmetnom i okolinom te nji- interaction would be established in that case. The designed object is intended to
hovo vrednovanje. analyse the issue of interaction between a human and an object as well as with
the surroundings and their assessment.
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valentino veeri
Bespilotna letjelica za traganje i spaavanje

Bespilotna letjelica za traganje i spaavanje hibrid je izmeu multirotora i letjelice
s fiksnim krilima. Ova kombinacija pokazala se najpokretljivijom u ogranienim
prostorima te iznimno stabilnom u loim vremenskim uvjetima. Predloeni dizajn
omoguuje i iznimno nisku potronju goriva zbog toga to fiksna krila pruaju
dodatni uzgon uz malu potronju energije. Letjelica je pogonjena s dva vea elek-
trina motora koji pokreu propelere promjera 25 cm te s dvije manje elektrine
turbine. Za snalaenje u prostoru letjelica se oslanja na sustave za navigaciju kao
to su radar, GPS, mnogobrojni akcelerometri, 3D kamera te navigacijsko raunalo.
Usto koristi standardnu aviosignalizaciju da bi u svakom trenutku bila vidljiva drugim
letjelicama, spasiocima kao i nestalim osobama. Kako bi bespilotna letjelica mogla
pronai nestale osobe opremljena je nizom senzora i kamera, koji imaju pogled od
180 stupnjeva na teren ispod nje koji pretrauje. Zvunik, laserski projektor i stro-
boskopska svjetla, koji se nalaze na letjelici, imaju svrhu dati osobi do znanja da je
pronaena te da je spasilaka ekipa na putu da je spasi. U trupu letjelice je teretni
prostor u kojem se nalazi kapsula s medicinskom prvom pomoi, neto hrane, 0,75
litara vode kao i komunikacijski ureaj sa signalnom svjetiljkom.
A drone for search and rescue missions

A drone for search and rescue missions is a hybrid between a multi-rotor and a fixed-
wing aircraft. This combination has proved as the most dynamic in confined spaces
and extremely stable in adverse weather conditions. The proposed design enables
also extremely low fuel consumption due to the fact that fixed wings provide an
additional lift and low energy consumption. The aircraft is provided with two larger
electric motors which move the propellers of 25 cm in diameter and two smaller
electric turbines. The aircraft uses navigation systems such as radar, GPS, a large
number of accelerometers, a 3D camera and a navigation computer. Moreover, it
uses standard aircraft signalling in order to be continuously visible to other aircraft,
rescuers, as well as the missing persons. The drone is equipped with a broad range
of sensors and 180-degree cameras in order to be able to find the missing persons.
The loudspeaker, laser projector and strobe lights that the aircraft is provided with
are intended to let the person know they have been found and that the rescue
team are on their way to save them. The fuselage includes a cargo compartment
in which a capsule with first aid kit is located, as well as some food, 0.75 litres of
water and a communication device with signal lamp.
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godinjak studija dizajna 2015./2016. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2015/2016 graduate programme/graduation theses/visual communications,3rd and 4th semester
klasja habjan
mentor: Nenad Dogan
komentori/comentors: Romana Kajp, Emil Flatz
Korporativni identitet Muzeja suvremene umjetnosti Corporate identity of the Museum of Contemporary Art
Ciljevi korporativnog identiteta muzeja podrazumijevaju bolje pozi- The objectives of corporate identity of the museum imply improved
cioniranje u zajednici i uspostavu emotivnih i didaktinih spona koje positioning in the community and establishment of emotional and
ine pravu mo i ulogu muzeja. Reformirani muzej potie iskustvo didactic connections that account for a real power and the role of
i kreativnost, u emu mladi ele aktivno sudjelovati. Vizualni iden- the museum. A reformed museum encourages experience and crea-
titet, temeljen u logotipu, izraen je stiliziranom formom zapadne tivity which young people are striving to actively participate in. Visual
fasade po kojoj je Muzej prepoznatljiv. Koncept interaktivne fasade, identity, based on the logo, has been expressed through a stylised
u obliku golemog videoekrana, na odreeni nain i okolinu muzeja form of the western facade by which the Museum is recognisable.
i publiku pretvara u sudionika koji promovira muzejski sadraj. Kam- The concept of interactive facade in the form of a huge video screen
panja Muzej pun pria, sloganom Za pravu priu doi u MSU, poziva in a way transforms both the Museum surroundings and the pub-
na aktivno sudjelovanje mladih posjetitelja. Putem web-platforme lic into participants promoting the Museum content. The campaign
mladi upisuju osobne interpretacije umjetnikih djela i na taj nain entitled Museum Full of Stories, with its slogan For a Real Story Visit
stvaraju duhovite, poetine, apsurdne legende. iri ocjenjuje i odabire the Museum of Contemporary Art, is inviting young visitors to active
najkreativnije koji postaju plakati muzeja ili legende uz izloeno djelo. participation. Through a web platform young people post their per-
sonal interpretations of artworks and hence create witty, poetic and
absurd explanatory panels. The expert panel evaluates and selects
the most creative ones and they are hence transformed into Museum
posters or explanatory panels placed beside the exhibited artwork.
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vanja perkovi
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp
godinja nagrada studija dizajna / annual awards at the school of design
Web-portal Climate Change Perspective Climate Change Perspective web portal

Climate Change Perspective informativni je web-portal koji omo- Climate Change Perspective is an informative web portal that pro-
guuje tri razliita pogleda na klimatske promjene u zavisnosti od vides three different stances on climate change depending on the
izvora informacija. Tamnoplavom pozadinom oznaen je objektivni source of information. The dark blue background marks the objec-
izvor informacija, utom pozadinom oznaen je izvor koji prenagla- tive source of information, the yellow background marks the source
ava opasnost klimatskih promjena i svijetlom pozadinom oznaen which overemphasises the danger of climate change, whilst the bright
je izvor informacija koji relativizira opasnosti. Prelaskom s jedne na background shows the information source that considers danger as
drugu boju pozadine mijenjaju se podaci i informacije, ime je omo- relative. Both data and information change by passing from one
guena njihova usporedba. Prouavanjem razlika u prezentaciji infor- background colour to another, which enables their comparison. By
macija i podataka korisnik moe kritiki promiljati sadraj i razlikovati studying the differences in presenting both the information and the
objektivne od subjektivnih informacija te mogue manipuliranje njima. data, the user can critically analyse the content and tell the differ-
ence between objective and subjective information and the potential
information manipulation.
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zita naki-vojnovi
mentor: Nenad Dogan
komentori/comentors:Romana Kajp, Veljko van
Identitetski sustav grada Samobora Identity system of the city of Samobor

Jedna od bitnih zadaa kulture openito, pa tako i dizajna, opleme- One of the important roles of both culture and design in general is
njivanje je i uvrivanje veza zajednice i odreenog mjesta. Zajed- also improvement and strengthening of connections between the
nica sa svim svojim pripadnicima i njihovim vrijednostima ini neko community and a specific city. The community and all its members
mjesto onakvim kakvim ono jest, i tako na neki nain odreuje iden- and their values account for and in a way define the identity of a city.
titet mjesta. Vrlo esto, pa tako i sluaju grada Samobora, identitet The identity of a city is frequently not clearly expressed which often
nije jasno artikuliran, to esto rezultira pogrenim percipiranjem results in faulty perception by its own citizens. In order to avoid such
i od strane vlastitih graana. Da bi se izbjegle ove situacije dizaj- situations, design needs to be used to re-define the identity of a city
nom je potrebno (re)definirati identitet grada i njegove zajednice te and its community and help it to deepen the insight into its environ-
joj pomoi u boljem shvaanju svoje okoline, ali i sebe same. Ciljevi ment, as well as into itself. The objectives to be achieved through
koji bi se postigli kvalitetnim vizualnim identitetom su: a high quality visual identity are as follows:
pomoi graanima bolje razumijevanje povijesnoga, kulturnoga, help citizens in deepening their insight into the historical, cultural,
ekonomskoga i drutvenog konteksta njihova grada economic and social context of their city
stvaranje kvalitetne komunikacijske podloge na kojoj e se novi create a high quality communication background in which the
identitet vremenom i po potrebi moi razvijati bez gubitka vla- new identity will develop in time and as required without the loss
stitog znaenja of its own meaning
ostvariti kvalitetnu komunikaciju i prezentaciju identiteta grada establish high quality communication and presentation of city
s unutarnjom i opom javnosti. identity with the internal and the general public.
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ivana hrabar
SOS. net SOS. net

Sos.net je sustav koji razliitim elementima rjeava mnogobrojne Sos.net is a system that solves a large number of problems linked
probleme vezane uz nedovoljnu ukljuenost starijih osoba u digitalni with insufficient involvement of elderly people in the digital world
svijet. Rjeenje je ponueno u obliku platforme kojom je mogue using diverse features. The solution offered is in form of a platform
pruiti podrku i edukaciju u svladavanju internetske komunikacije. through which it is possible to provide support and training in master-
Problemi koji se pokuavaju rijeiti iznimno su razliiti pa je umjesto ing the Internet communication. Problems that need to be solved are
univerzalnog rjeenja ponuen niz pojedinanih modula koji mogu extremely different and hence a vast array of individual modules that
funkcionirati zajedno ili u kombinaciji. Osnova sustava je modul can function together or in combination has been provided instead
kojim se pokuava rijeiti najraireniji problem, problem motiva- of a universal solution. The system is primarily based on the mod-
cije. U aplikaciji Boo, pomozi!, kao motivacija posluila je elja za ule intended to solve the most widespread problemthe problem
odravanjem redovitih kontakata s mlaim lanovima obitelji. Osim of motivation. In the application named Boo, help! the motivation
motivacije, funkcija aplikacije je ukloniti drugi najvei problem koji was provided by the wish to maintain regular contacts with younger
se pojavljuje kod uenja starijih, a to je strah od pogreke za to je family members. In addition to motivation, the app is intended to
predviena mogunosti stalnog kontakta s osobom koja poduava. address the second largest problem faced upon tuition of the elderly
Omogueno je i sudjelovanje volontera i starijih registriranih lanova fear of making a mistake which has been tackled by the opportu-
sos.net zajednice u procesu edukacije. nity of continuous contact with the tutor. Moreover, participation
of volunteers and older registered members of sos.net community
is also included in the educational process.
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mateo grubii
Meta, online glazbena platforma Meta, an online music platform

Uloga dizajna u doivljaju glazbe The role of design in musical experience in
u digitalnom okruju the digital environment
Odabranoj temi se moe pristupiti iz dva smjera. Jedan je podupira- The selected topic can be addressed from two directions. One is
nje uvjerenja o uinkovitosti kao glavnom cilju dizajna u digitalnom through support of the belief in effectiveness as the principal objec-
okruju, u kojem se usmjerenost na korisnika smatra imperativom. tive of design in the digital environment in which user orientation
Drugi smjer nastoji kritiki preispitati takva uvjerenja, dizajniranjem is considered imperative. The other direction is striving to critically
proizvoda, usluga ili doivljaja nastalima na alternativnom sustavu re-examine such beliefs through design of products, services or expe-
vrijednosti. Meta je online glazbena platforma nastala kao odgovor riences created against the backdrop of an alternative value system.
na kritiko promiljanje o ulogama glazbenika, sluatelja i glazbenih Meta is an online music platform created as a response to critical
platformi u suvremenoj glazbenoj industriji. Cilj platforme nije stva- re-examination of the roles of musicians, audiences and music plat-
ranje uinkovitijega poslovnog modela utemeljenog na eksploataciji forms in the contemporary music industry. The objective of the plat-
korisnikih podataka, osnove dananje digitalne ekonomije. Fokus je form is not the creation of a more effective business model based on
na objektu koji spaja sve tri strane, glazbeno djelo kao kulturni pro- exploitation of user data, the basis of the current digital economy.
izvod kojeg svakodnevno konzumiramo. Promjenom temeljnih vri- The focus is on the object that brings together the three aspects, a
jednosti koje platforma utjelovljuje mijenja se i njeno grafiko suelje. piece of musical work as a cultural product consumed on a daily basis.
The graphic interface of the platform is altered trough changes of
fundamental values conveyed by it.
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borna aaron grevi

mentor: Stipe Bri
Dokumentacija i arhiviranje starih zagrebakih Documentation and archiving of old street name
ulinih natpisa inscriptions in Zagreb
Projekt se temelji na kreiranju digitalnog arhiva za dokumentiranje The idea behind the project was to create a digital archive for doc-
i arhiviranje starih ulinih natpisa. Digitalni arhiv funkcionira poput umenting and archiving of old street name inscriptions. The digital
web-stranice na koju se korisnik registrira i moe aktivno sudjelo- archive functions like a website to which the user registers and can
vati u ouvanju dijela kulturne batine. Ideja je da se detaljno analizira hence actively participate in the preservation of a segment of cul-
uoeni ulini natpis poevi od godine njegova nastanka, klasifika- tural heritage. The idea is to perform a detailed analysis of a specific
cije i stila pisma, vrste obrta koji oznauje itd. Sadraji se arhiviraju street name inscription commencing from the year of its inception,
prema lokaciji, to omoguuje da se provede klasifikacija prema vrsti the classification and the style of the font, the type of craft it refers
tehnike izvedbe i stila pisma, karakteristinima za odreeni dio grada. to, etc. The content is archived according to location which enables
S obzirom na nedostatak ope vizualne kulture, a posebno one tipo- the performance of classification according to the type of design
grafske, ovakav projekt bi omoguio ouvanje, a time i bolje upozna- technique and font style characteristic for a specific part of the city.
vanje i razumijevanje vanog dijela kulturne i povijesne batine grada. Against the backdrop of lack of general visual culture, primarily con-
cerning typography, such a project would enable the preservation and
hence also a deeper insight into and comprehension of an important
aspect of cultural and historical heritage of the city.
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josipa pra
mentor: Stipe Bri
Interaktivna igra Interactive game

Ali to nije sve, Zg But that is not all, Zg
Zagreb je grad s mnogo kreativnih potencijala koje naalost mlai Zagreb is a city with great creative potential which is unfortunately
stanovnici grada esto ne prepoznaju. Nepoznavanjem sadraja frequently unrecognised by its younger inhabitants. Due to their not
grada i njegova potencijala ne doivljavaju grad Zagreb kao sredinu being acquainted with the programmes provided by the city and its
podobnu za pozitivne promjene. Projekt interaktivne igre ima za cilj potential, they do not consider the city of Zagreb as an environment
potaknuti mlade na istraivanje grada u kojem ive. Budui da su u suitable for positive changes. The objective of this interactive game
svakom trenutku meusobno povezani mobitelima, mobilna aplikacija project is to encourage young people to explore the city they live in.
(igra) kljuni je medij projekta. Aplikacija na jednostavan, zabavan, Since they are always connected through their mobile phones, the
ali u isto vrijeme edukativan nain aktivira mlade za otkrivanje novih mobile app (game) is the crucial media of the project. The app involves
neistraenih gradskih sadraja i prostora. Oznaivanje pronaene young people in the discovery of new unexplored programmes and
lokacije omogueno je uobiajenom oznakom za toku interesa na spaces provided by the city in a simple, entertaining, yet simultane-
planu grada, a dodane tri tokice upuuju na mogunost da svaki ously also an educational way. It is possible to mark the identified
korisnik dopuni sadraj odabrane toke interesa. To omoguuje location using the common symbol for a point of interest on the
sukreiranje gradskih sadraja i sagledavanje grada iz nove perspektive. city map, whilst the triple dot punctuation mark added indicates
the opportunity for each user to add the selected points of interest.
That enables the scanning of city programmes and looking at the
city from different perspectives.
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barbara bjeli
Razvoj djeje kreativnosti Child creativity development

Cilj projekta bio je omoguiti i olakati verbalno i vizualno izraavanje The specific objective of the project was to enable and facilitate both
djece jedinstvenim sustavom za vjebanje imaginacije. Zamiljeno je the verbal and the visual expression of children through a unique system
da se u tu svrhu iskoristi medij likovnog izraavanja koje je djetetu for imagination practice. The media of visual expression was selected
blisko jer za to ima razvijene osnovne vjetine. Prikladnim medijem due to children being so familiar with it and due to the fact that their
i temama bliskim djetetu moglo bi se osigurati dovoljno slobode za basic skills are sufficiently developed for that purpose. Appropriate
njegov vlastiti izraz i imaginativno rjeavanje problema. Rjeenje je media and topics children are familiar with could provide sufficient
zamiljeno u obliku drutvene igre koja je u potpunosti modularna freedom for their expression and imaginative solutions to problems.
i u velikoj mjeri ovisi o djejem udjelu. Igra se odvija uz pomo dva The solution designed as a social game that is entirely modular and
glavna elementa, podloaka i dvije kockice, koji omoguuju puno highly depends on child contribution. The game is played using two
sudjelovanje u stvaranje i razvoju igre. Nekoliko je razliitih podloaka main components, pads and two dice that enable full participation
s oznaenim putanjama i po dijelu kojih djeca crtaju prema razliitim in the creation and development of the game. There are several dif-
zadacima koje dobivaju bacanjem kockice s razliitim ivotinjskim ferent pads with marked trajectories and children draw on some of
likovima. Crteima izraavaju situacije u kojima se ivotinje mogu their parts according to diverse assignments they get by throwing
nai, a bacanjem druge kockice s crnim i bijelim poljima odreuju the dice with different animal figures. They show situations animals
tijek igre, zavisno od toga na koje ih kockica uputi. can be faced with by drawings, whilst by throwing the other dice
with black and white sides they decide on the course of the game,
depending of the instructions on the dice.
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hana tintor
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp
Drvo Tree
slikovnica koja raste s djetetom a picture book that grows together with the child
Projekt Drvoslikovnica koja raste s djetetom, utemeljen je na ideji The project entitled Treea picture book that grows together with
o potrebi kvalitetnoga kreativnog rjeenja slikovnice za djecu pred- the child, is based on the idea of a requirement for a quality creative
kolske dobi, koja se razlikuje od postojeih, s ciljem pozitivnog utje- solution for a preschool picture book that differs from the existing
caja na njihov rast i razvoj. Ponueno rjeenje rezultat je vlastitoga ones and is aiming to positively impact on child growth and devel-
kritikog stava prema nainima na kojima se djecu priprema za ita- opment. The solution provided is the result of own critical attitude
nje, razumijevanje, razmiljanje i komuniciranje i openito za proces of the ways in which children are prepared for reading, thinking
obrazovanja. Radi se o slojevitom rjeenju koji problemu pristupa na and communication and in general for educational process. It is a
nekoliko razina, prati odrastanje djeteta i omoguuje mu kreativnu stratified solution that approaches the problem from several levels,
intervenciju uz aktivno sudjelovanje odrasle osobe. Ukljuena je vizu- following childs growing up and enables their creative interven-
alna, auditivna i taktilna komponenta sudjelovanja u procesu, ita- tion with active participation of an adult. It includes a visual, audi-
njem, prianjem, crtanjem i igrom, to sve zajedno utjee na djetetov tory and tactile component of participation in the process, through
emocionalni, intelektualni i socijalni razvoj. Ova slikovnica pokuaj je reading, storytelling, drawing and playing which all together affect
da se drukijim pristupom itanju, prianju i openito stvaralakom the childs emotional, intellectual and social development. This pic-
izraavanju, potakne radoznalost, istraivanje i kritiko razmiljanje ture book is an attempt to encourage curiosity, research and critical
u djece odreene dobi. thinking amongst children of a specific age group using a different
approach to reading, storytelling and creative expression in general.
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lara ic
komentori/comentors:Veljko van, Tomislav Vlaini
Taj i taj festival &Ta i ta platforma So-and-so festival & So-and-so platform
Taj i taj festival je udruga, inicijativa i organizacija koje djeluju na podruju Stare So-and-so festival is an association, an initiative and organisation operating on
Trenjevke. Festival se odrava jednom godinje, od svibnja do srpnja. Aktivnosti se the territory of Stara Trenjevka city district. The festival is held once a year from
odravaju jednom tjedno u veernjim satima na Trenjevakom trgu. Prve godine May to July. The activities are performed once a week in the evenings at Trenjevka
odravanja organizira se Ta i ta izloba koja predstavlja sudionike. Njena svrha je Square. The first year it was held the exhibition entitled So-and-so exhibition took
da se posjetitelji upoznaju s radom i aktivnostima udruga te je svojevrsni teaser za place, intended to present the participants. Its objective is to introduce the visitors
sam festival. Web-platforma omoguuje umreavanje aktivnih udruga, inicijativa to the work and the activities of the associations and is a kind of teaser for the
i organizacija koje djeluju na interesnom podruju te njihovo otvaranje k stanovni- festival. The web-platform enables networking amongst active associations, initia-
cima Trenjevke. Jednostavnim i brzim nainom filtriranja sadraja korisnik dolazi tives and organisations operating in the area of interest and their opening towards
do eljenih informacija, a ima mogunost ukljuiti se u program festivala. Pomou Trenjevka inhabitants. Through a straightforward and fast method of content fil-
web-platforme mogue je glasanje za osobnog favorita, to mu otvara mogunost tering the user acquires the desired information and they get the opportunity to
organizacije eventa u jednom od osam zadanih termina. Naziv festivala, platforme become involved in the festival programme. Voting for personal favourites is pos-
i dogaanja Taj i taj, Ta i ta, To i to, Tako i tako, Tog i tog, Tom i tom, oslanja se na kolokvi- sible through a web-platform, which provides the opportunity for event organisa-
jalno skraivanje naziva Trenjevakog trga, kraticom od dva slova T i t. tion in one of eight specified time slots. The name of the festival, the platform and
the event So-and-so, On a so-and-so date, In a so-and-so way etc., is based on
the colloquial abbreviation of the name of Trenjevka Square in Croatian, which
then in Croatian reads starting with T and t.
352 353
martina uki
mentor: Stipe Bri
Humanizacija javnoga urbanog prostora Humanisation of public urban space

Projekt se bavi problemima prostora na okretitu Savski most u Zagrebu i neisko- The project addressed the topic of space on the Sava Bridge terminal in Zagreb
ritenim potencijalima toga zaputenog prostora. U projektu se propituje kako je and the unexploited potential of this neglected space. The project looks into the
mogue dizajnom jedan neugledni prometni koridor pretvoriti u funkcionalno mje- possibilities of transforming a plain traffic corridor through design into a func-
sto ugodne atmosfere. Pored standardnih praktinih elemenata poput nadstrenice, tional venue with a pleasant atmosphere. In addition to standard practical features
stepenita okrenutog prema rijeci te prigodnog zelenila, projekt predvia interaktivnu such as a porch, a staircase facing the river and appropriate greenery, the project
klupu koja u interakciji s korisnicima omoguuje zadovoljenje razliitih potreba uz includes an interactive bench which in interaction with the users enables the meet-
reprodukciju zvukova iz prirode. Projekt nudi oputenije i ugodnije koritenje svih ing of diverse needs along with the reproduction of Nature sounds. Moreover, the
funkcija autobusnoga i tramvajskog stajalita. project enables a more relaxed and a more comfortable use of all the functions
of bus and tram station.
354 355
Studenti
Diplomskog studija
Graduate Programme
Students
godinjak studija dizajna 2015./2016. studenti diplomskog studija
school of design annual review 2015/2016 graduate programme students
1. godina 1st Year 1. godina 1st Year

Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Dina Bartoli Ian Bonifai Stela Cvijanovi Andrej uki Matej Goreta Karmela Gudiek Miran Bai Marina Bitunjac Tin Buri Nikolina Fuzul Matea Jurevi Nikolina Kentri Stani Michelle
Ana Herceg Katarina Huljev Monika Moevi Petra Modri Maja Prelec Ivan aban Antonia Kovaevi Borjan Pavlek Sara Pavlekovi Preis Vanja Perkovi Nika Tecilazi Hana Tintor
Otto Kuec
Toni ljaka Iva Vuemilovi-Grgi Leona Vertu Gala Marija Vrbani
358 359
godinjak studija dizajna 2015./2016. studenti diplomskog studija
school of design annual review 2015/2016 graduate programme students
2.godina 2nd Year 2.godina 2nd Year

Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Elizabeta Bonjak Monika Daki Maja Jandri Igor Kolar Laura Mrka Nataa Njegovanovi Barbara Bjeli Lana Grahek Borna Aaron Grevi Mateo Grubii Klasja Habjan Ivana Hrabar
Adriana Paveli Karlo Pavii Tamara Petrua Ana oli Viktoria Lea Vavra Valentino Veeri Vitomira Martinjak Lovro Miokovi Zita Naki-Vojnovi Josipa Pra Martina Uki Ana Vujasi
Ana Vuko Lara ic
360 361
Diplomski studij
Izvedbeni program
Graduate Programme
Curriculum Outline
godinjak studija dizajna 2015./2016. diplomski studij/izvedbeni program
school of design annual review 2015/2016 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 prof.dr.sc. Anka Mieti / PhD, full 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 / lecturer
Znanstvenoistraivake metode / Scientific Research Methodology 15 15 2 prof.dr.sc. Anka Mieti / PhD, full 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
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 / teaching assistant
Kreativni laboratorij 12 18 2 45 0 3.5 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 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 / assistant professor
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 prof. Nenad Dogan / associate professor pred. Flatz Emil / 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 / teaching assistant
Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Robert imetin / associate professor
Kreativni laboratorij 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
364 365
godinjak studija dizajna 2015./2016. diplomski studij/izvedbeni program
school of design annual review 2015/2016 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

Upravljanje dizajnom / Design Management 30 0 3 doc.dr.sc. Vatroslav kare / associate professor doc.dr.sc. Morana Fuduri / associate professor
Socijalni dizajn / Social Design 15 15 2.5 doc.mr.sc. Ivana Fabrio / assistant professor
60 5.5
Industrijski dizajn 3 30 90 19.5 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
120 19.5 210 30
Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc. mr. sc. Sanja Benceti / MSc, assistant professor
60 5
Dizajn vizualnih komunikacija 3 30 90 19.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Visual Communications 3 prof. Nenad Dogan / associate professor doc. Tomislav Vlaini / assistant professor
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 / assistant professor
Diplomaobrana / Graduation ThesisPresentation 10

120 19.5 210 30
Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
60 5
366 367
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 cific area of work of the School of Design that was organised
u 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 okrujem 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 standard- as an important factor of economic growth and development.
nu 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.
368 369
godinjak studija dizajna 2015./2016. projekti
school of design annual review 2015/2016 projects
Radionica
Studij dizajna na pancirfestu
Tijekom trajanja festivala pancirfest izraena je instalacija od
mobila razliitih oblika i veliina. Mobili su montirani na kon-
strukciju postavljenu u dijelu ulice Jurja Habdelia, jednoj od
najfrekventnijih ulica u sreditu Varadina.
Radionicom se eljelo upoznati lokalno stanovnitvo i posje-
titelje pancirfesta razliitih uzrasta s osnovnim metodama
dizajna kroz oblikovanje i izradu dijela mobila koji postaju inte-
gralni dio unaprijed projektirane instalacije nastale u sklopu
nastave prve preddiplomske godine u okviru predmeta Pro-
jektiranje i industrijski dizajn 2 na Studiju dizajna.
Na radionici su sudjelovali studenti 1. preddiplomske godine,
graani grada Varadina i posjetitelji pancirfesta.
Workshop
School of Design at pancirfest Festival
An installation made from mobile parts of different sizes and
shapes was created during the pancirfest Festival. Mobile
interactive installations have been mounted on the constru-
ction erected in a segment of Jurja Habdelia Street, one of
the busiest streets in the centre of Varadin.
The workshop was intended to provide the local population
and pancirfest visitors of different age groups with an insight
into the basic design methods through design and creation
of some mobile installations which became an integral part
of the previously designed installation that had been created
during the lectures in the first year of undergraduate study
programme within the course entitled Design - Industrial
Design 2 at the School of Design.
Students attending the first year of undergraduate study pro-
gramme, Varadin citizens and pancirfest Festival visitors
participated in the
Marko Breljak (PR sluba pancirfesta/pancirfest PR), Matija Barovi, Otto Kuec, Josipa Gjergja, Dominik Badel (studenti/stu-
dents), Jelena Toth (direktorica turistikog ureda Varadina/Director of the Tourist Board of Varadin), Vedran Kasap, Ozana
Ursi, Nataa Njegovanovi (voditelji radionice/Workshop Managers)
(s lijeva na desno/left to right)
370 371
Suradnja Studija dizajna

i Akademije dramskih umjetnosti karla oti, dorja horvati, karla novak
mentor: Nenad Dogan
Projekt KRADU 2016. asistenti/assistants: Romana Kajp, Tomislav Vlaini
Od 05. do 10. travnja 2016.Projekt je nastao kao rezul-

tat suradnje Studija dizajna i Akademije dramskih umjetnosti
povodom desete obljetnice Kazaline revije Akademije dram-
skih umjetnosti (KRADU).
Ovaj projekt ima viestruko znaenje kako za studente Studija
dizajna tako i za Studij dizajna kao instituciju. Radei na ovom
projektu studenti stjeu neophodnu praksu u radu s realnim
klijentima a istovremeno se razvija interfakultetska suradnja
sastavnica zagrebakog sveuilita.
Co-operation between the School of

Design and the Academy of Dramatic Arts
KRADU Project 2016
5th10th April 2016. The project was developed through
co-operation between the School of Design and the Academy
of Dramatic Arts to mark the tenth anniversary of the Theatre
review of the Academy of Dramatic Arts (KRADU).
This project has a multiple meaning both for the students at
the School of Design and the School of Design as an institu-
tion. Whilst working on this project students gain the invalua-
ble practical experiences in working with real clients, whereas
they simultaneously also develop inter-faculty co-operation
at the University of Zagreb.
Vizualni identitet projekta KRADU 2016. rad je skupine studenata The visual identity of KRADU Project 2016 was the result of work of a group of students at the
preddiplomskog studija dizajna: Karle oti, Dorje Horvati i Karle Undergraduate Study Programme at the School of Design: Karla oti, Dorja Horvati and Karla
Novak. Rjeenje se temelji na interaktivnim plakatima koji sadravaju Novak. The solution provided is based on interactive posters that include the inscription: ALREADY
natpis: ve 10 godina kradu, a sastavljeni su od ulaznica na kojima 10 YEARS OF KRADU (the acronym KRADU is identical as the word stealinga pun), and they have
je poruka ukradi ulaznicu, koje se mogu otrgnuti s plakata. Logo i been made up of entry tickets that contain a message steal an entry ticket, which can be ripped
slogani aplicirani su i na ostale promotivne materijale, ljepljive trake, off the posters. The logo and the slogans have been used also on other promotional materials,
ruksake i u brouri. Treba istaknuti da je rjeenje osvojilo treu nagradu adhesive tapes, rucksacks and in the brochure. It has to be highlighted that the solution won third
na DANU D u selekciji najboljih mladih dizajnera. prize at D-DAY event upon selection of the best young designers.
372 373
petra kovaevi, mirjam milas, klara zaher ena begevi, rafael mili
asistenti/assistants: Romana Kajp, Tomislav Vlaini asistenti/assistants: Romana Kajp, Tomislav Vlaini
Koncept ovog rjeenja temelji se na osvjetavanju i usmjeravanju iji je Prijedlog identiteta za 10. KRADU temelji se na ideji da se simboliki inter-
glavni vizualni element forma strelice koju upotpunjuje izmjenjeni Sha- pretiraju razliiti stilovi kazalinog izraza, na to upuuje i slogan upoznaj
kespeareov citat: Ii ili ne iipitanje je suvino. Projekt zapoinje tea- sva lica kazalita. Navedena ideja vizualno je interpretirana upotrebom
serima ime se stvara upeatljivi vizualni kod. Pribliavanjem poetka razliitih tipova pisama za svako slovo logotipa.
festivala vizualnim elementima se dodaje program. Dan prije otvorenja
festivala postavljaju se oznake po plonicima i stupovima kako bi se vizu- A proposal for the identity for the 10th Theatre Review of the Academy
alno povezale dvije lokacije odravanja i dodatno usmjerilo panju javnosti. of Dramatic Art (KRADU) is based on symbolic interpretation of differ-
ent styles of theatrical expression, which has been pointed out in the
The idea behind this solution focused on raising awareness and guidance slogan get to know all the faces of theatre. The stated idea has been
whose main visual feature was the form of an arrow enhanced by an visually interpreted through the use of different types of fonts for each
altered Shakespeare quote: To go or not to gothe question is super- letter of the logo.
fluous. The project commences with teasers which create an impressive
visual code. As the festival opening approaches, the visual features are
being enhanced with a programme. On the day before the opening of
the festival, signs are placed both on pavements and poles in order to
provide a visual connection between the two festival venues and addi-
tionally attract public attention.
374 375
TIN BURI leona vertu miran bai gala marija vrbani nikolina kentri
Plakate za pojedinane predstave, izvedene na reviji, oblikovala je skupina

studenata 1. godine diplomskog studija dizajna: Miran Bai, Marina Bitunjac, Tin
Buri, Nikolina Fuzul, Nikolina Kentri, Otto Kuec, Sara Pavlekovi Preis, Gala Marija
Vrbani, Leona Vertu, Nika Tecilazi. Leona Vertu oblikovala je plakat za projekt:
Pravda Kazaline platforme Regionalne mree akademija. Znaajno je da je taj pro-
jekt osvojio rektorovu nagradu u kategoriji velik timski znanstveni i umjetniki rad.
Posters for individual performances presented at the review were designed by

a group of students at the 1st year of Graduate Study Programme at the School of
Design: Miran Bai, Marina Bitunjac, Tin Buri, Nikolina Fuzul, Nikolina Kentri, Otto
Kuec, Sara Pavlekovi Preis, Gala Marija Cvetkovi, Leona Vertu and Nika Tecilazi.
Leona Vertu, designed the poster for the project entitled: Justice performed by
the theatre group named Kazalina platforma (Theatre Platform) of the Regional
Network of Academies. It has to be pointed out that the project won Deans Award
in the category big teamwork projects in both science and arts.
marina bitunjac otto kuec nikolina kentri nikolina fuzul
376 377
ena begevi mirjam milas, klara zamer karla oti, anja nikoli
mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Ivan Doroghy
Religiofonija Religiophony asistentica/assistant: Romana Kajp asistentica/assist.: Romana Kajp asistentica/assist.: Romana Kajp
Na poziv kolega s Muzike akademije Sveuilita u Zagrebu, kao Upon invitation by the colleagues from the Academy of Music of
organizatora, Studij dizajna ukljuio se u pripremu interdiscipli- the University of Zagreb, as the organiser, the School of Design
narnoga glazbeno-scenskog projekta Religiofonija, zajedno s Aka- became involved in the preparation of an interdisciplinary music
demijom dramskih umjetnosti i Akademijom likovnih umjetnosti. and visual art project entitled Religiophony, in co-operation with
Simfonija orijenta, praizvedena pod imenom Religiofonija 1934. the Academy of Dramatic Arts and the Academy of Fine Arts.
godine, hrvatskoga glazbenika Josipa tolcera Slavenskog, The Symphony of the Orient, by the Croatian composer Josip tolcer
u sedam stavaka prikazuje glavne svjetske religije i Chaos. Slavenski, presented the major world religions and Chaos in seven
Ovo glazbeno djelo izveli su Simfonijski orkestar i Zbor movements and was first performed in 1934 entitled Religiophony.
Muzike akademije uz suradnju studenata Akademije dram- This musical composition was performed by the Symphony Orc-
skih umjetnosti i Akademije likovnih umjetnosti, u dvo- hestra and the Choir of the Academy of Music in co-operation
rani Vatroslava Lisinskog unutar ciklusa Lisinski subotom. with the students from the Academy of Dramatic Arts and the
Na internom natjeaju za oblikovanje plakata i programske Academy of Fine Arts at the Vatroslav Lisinski Concert Hall wit-
knjiice, namijenjenih ovom dogaaju, sudjelovale su studen- hin the cycle Lisinski Saturdays.
tice preddiplomskog studija dizajna, smjera Vizualne komu- Karla oti, Anja Nikoli, Mirjam Milas, Klara Zaher and Ena Beg- Idejna rjeenja koriste isprepletene
nikacije: Karla oti, Anja Nikoli, Mirjam Milas, Klara Zaher evi students of Visual Communications attending the Under- segmente razliitih religijskih simbola
kao podlogu na kojoj se nalaze infor-
i Ena Begevi, ije je idejno rjeenje odabrano za izvedbu. graduate Study Programme at the School of Design participa- macije o glazbeno scenskom projektu.
Iskustvo s ovog projekta pokazuje sve potencijalne prednosti ted in the internal competition for poster design and programme
suradnje studenata razliitih disciplina unutar Sveuilita u Zagrebu. booklet for this specific event and their conceptual design was The conceptual design uses intertwined
segments of different religious symbols as
selected as the best. a background that provides information
The experience gained from this project shows all the potential about both the music and scenic project.
advantages of co-operation amongst students of different dis-
ciplines within the University of Zagreb.
Odabrano rjeenje plakata slobodnim rasporedom tipo-

grafskih elemenata i njihovim pretapanjem, na simboliki
nain izraava temu preplitanja glazbenih tema razlii-
tih religija i konanu kulminaciju u kaosu.
The selected solution for the poster, through a free

arrangement of typographic features and their merg-
ing, in a symbolic way expresses the topic of overlap-
ping of music themes in different religions and the final
culmination in chaos.
378 379
Radionica
VITA VREBAC Paula obat Dorja Horvati
Muzejsko-dokumentacijski centar (MDC) mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Ivan Doroghy
Muzejsko-dokumentacijski centar je u povodu obiljeavanja

60 godina djelovanja, u suradnji sa Studijem dizajna, orga-
nizirao radionicu sa svrhom oblikovanja serije plakata za tu
vrijednu obljetnicu. Odravanje radionice potaknula je ga
Leanne Manfredi iz Victoria and Albert Museuma u Londonu,
za vrijeme svog boravka u MDC-u, kojom prigodom je odrala
i predavanje o kreativnim industrijama.
Na radionici su sudjelovale studentice preddiplomskog studija
dizajna, smjera Vizualne komunikacije: Dorja Horvati, Paula
obat i Vita Vrebac. Radionicu i prezentaciju rezultata radio-
nice vodio je prof. Ivan Doroghy. U ime MDC-a organizaciju
radionice vodila je ga Tonika Cukrov.
Rezultati ove radionice pokazali su s koliko kreativnog potencijala
studenti Studija dizajna pristupaju temama iz realnog okruja.
Workshop
Museum Documentation Centre (MDC)
Museum Documentation Centre in co-operation with the School
of Design organised a workshop aiming to design a series of
posters to mark its 60th anniversary. Mrs Leanne Manfredi from
the London-based Victoria and Albert Museum encouraged the
holding of this workshop during her stay at MDC when she deli-
vered a lecture about creative industries.
Dorja Horvati, Paula obat and Vita Vrebac, students of Visual
Communications attending the Undergraduate Study Programme
at the School of Design participated at the workshop. Idejno rjeenje plakata koristi fragmente razliitih artefakata koji Osnova vizualnog rjeenja plakata temelji se na ideji da se arhivsko dokumentacij- Razliite funkcije i sadraji Muzejsko-dokumentacijskog centra ispisani su vodoravno
The professor Ivan Doroghy led the workshop and delivered a kolanom kompozicijom simboliki izraavaju sloeni sadraj i sustav ska i informacijska djelatnost Muzejsko - dokumentacijskog centra prikae u duhu i okomito istom tipografijom to sugerira sloenu strukturu Centra. Meusobno
presentation of workshop results. Mrs Tonika Cukrov was in Muzejsko - dokumentacijskog centra. Stilskim izrazom rjeenje se suvremenih komunikacijskih tehnologija. Vizualizacija odreenog matematikog isprepleteni asociraju mreu ija je dinamika dodatno izraena sustavom razlii-
namjerno oslanja na duh konstruktivizma. koda stvara apstraktnu kompoziciju lienu opisnog tumaenja sadraja. tih nijansi boja.
charge of workshop organisation on behalf of MDC.
Workshop results showed the immense creative potential of the The conceptual design of the poster uses fragments of different arte- The idea behind the visual solution of the poster was to present the archival, docu- Different functions and programmes of the Museum Documentation Centre have
students at the School of Design upon addressing topics from facts which, through a collage composition, symbolically express mentation and information activity of the Museum Documentation Centre through been written both horizontally and vertically using identical typography which sug-
both the complex content and system of the Museum Documenta- the latest communication technologies. The visualisation of a specific mathemat- gests a complex structure of the Centre. Being mutually intertwined they remind
real environment. tion Centre. Through its stylistic expression, the solution intention- ical code creates an abstract composition deprived of a descriptive interpreta- of a network whose dynamics has been additionally expressed through a system
ally relies on the spirit of constructivism. tion of content. of different shades of colours.
380 381
Dogaanja Events
U poglavlju Dogaanja predstavljene su vanije aktivno- The most significant extracurricular activities organized at the
sti koje su se odvijale tijekom aktualne akademske godine, School of Design during the past academic year are presented in
a nisu usko povezane s redovnom nastavom na Studiju dizajna. the Events chapter. This sections shows record of major events
Nastojalo se zabiljeiti vanije dogaaje u kojima su sudjelo- that included participation of current students and professors,
vali aktualni studenti i nastavnici, bilo da je rije o promociji like the new graduates promotions, exhibitions, presentations
novih diplomanata, o izlobama, prezentacijama ili nekim dru- or other professional events. It is important to reach the wider
gim strukovnim manifestacijama. Predstavljanje znaajnijih public through promotion of such events, as they reflect the
aktivnosti iroj javnosti vano je jer one izraavaju strukovnu professional flexibility of both students and professors. Such
mobilnost i studenata i profesora. One imaju vanu ulogu activities play key role in creating informal liaisons with other
i u neformalnom povezivanju Studija dizajna s drugim strukov- professional institutions and initiatives, which is indispensable
nim institucijama i inicijativama to je takoer iznimno vano for the development of the culture of design in this environment.
za napredak kulture dizajna na ovim prostorima. What needs to be pointed out is that such activities complement
Valja istai kako se takvim aktivnostima nadopunjuje nastavni the curricular program and open students to possibilities of acqu-
program to studentima otvara mogunost za usvajanje soci- iring social skills necessary for their future professional careers.
jalnih vjetina, vanih za buduu profesionalnu karijeru.
382 383
godinjak studija dizajna 2015./2016. dogaanja
school of design annual review 2015/2016 events
pancirfest
Studij dizajna ve osmu godinu svojim radionicama
sudjeluje u programu varadinskog festivala pan-
cirfest. Ovogodinja radionica zapoela je tijekom
semestralnog zadatka prve preddiplomske godine
u okviru predmeta Projektiranje industrijski dizajn
2, s temom prostornih interaktivnih instalacija u
funkciji urbane opreme i interpretacije specifino-
sti grada Varadina.
U suradnji s Turistikom zajednicom grada Varadina
definiran je zadatak i u nekoliko navrata organizi-
rani su obilazak i prezentacija znamenitosti grada
te idejna i finalna rjeenja studenata Studija dizajna.
Nakon zavretka semestra odabrano je rjeenje
inspirirano izlocima u varadinskom Entomolo-
kom muzeju, a dizajnirano je tako da bude organski
dodatak bogatoj ponudi iskustava na pancirfestu.
Instalaciju pod nazivom Roj karakteriziraju jednostav-
nost, interaktivnost, atmosferinost i senzorni uitak.
pancirfest Festival Marko Breljak (PR pancirfesta)
The School of Design has been participating with its

workshops at the Varadin-based pancirfest Festi-
val for eight consecutive years. This years workshop
commenced during the semestral assignment in the
first year of undergraduate study programme wit-
hin the course entitled DesignIndustrial Design 2,
addressing the topic of spatial interactive installa-
tions intended as urban equipment and interpreta-
tion of the specific features of the city of Varadin. Marko Breljak (PR pancirfesta), Vedran Kasap, Prof. Zlatko Kapetanovi,
The assignment was defined in co-operation with Prof. Mladen Orei
the Tourist Board of Varadin which has organi-
sed sightseeing and delivered presentations on the
monuments of the city, as well as the conceptual
design or final solutions provided by the students at
the School of design several times thus far.
A solution inspired by the exhibits displayed at the
Entomology Department at the Varadin-based
City Museum was selected following the end of the
semester. The solution was designed as an orga-
nic addition to the rich programme of experiences
provided at pancirfest Festival.
The installation entitled A Swarm was characteri-
sed by simplicity, interactivity, a specific atmosp-
here and sensory pleasure.
384 385
Galerija Studija dizajna Tanja Tandara, Prof. Stipe Bri, Tijana Vidovi, mr.sc. Inga Stojanovi, Marija Ivankovi, Prof. Mladen Orei
Izloba HAI (s lijeva na desno/left to right)
Lucija Novosel, Veronika Kova, Lucija Mati, Ivan Klanac, Leonarda Komen, Jan Marin, Paula Kova, Karla
Hrvatske autentine igrake Kocijan, Erika Filipan (s lijeva na desno/left to right)
Ovom izlobom predstavljen je projekt HAI (Hrvat-

ske autentine igrake) kojim je suradnjom Studija
dizajna i udruge poVUcizakulturu dizajnirana serija
od tridesetak igraaka inspiriranih hrvatskom bati-
nom, a odrana je u galeriji Studija dizajna tijekom
listopada 2015. godine.
Idejne zaetnice projekta su mr. sc. Inga Seme Stoj-
novi i Tijana Vidovi, prof., a projekt je proveden u
okviru programa 2. semestra ak. god. 2014./2015.
i kolegija Projektiranje i Industrijski dizajn pod men-
torstvom doc. Sanje Benceti, doc. Ivane Fabrio,
prof. Zlatka Kapetanovia i prof. Mladena Oreia.
Izloba je ostvarena u suradnji s doc. Andreom
Hercog, a film i fotografije potpisuje Ane Vujasi.
HAI Exhibition
Traditional Croatian childrens toys
This exhibition presented the project entitled HAI
(Traditional Croatian childrens toys) comprising of
a series of around thirty toys designed through the
co-operation between the School of Design and the
association poVUcizakulturu. The toys were inspired
by the national heritage. The exhibition was held
at the School of Design Gallery in October 2015. Iz kataloga izlobeVanost igre neupitna originalna iskustva kojima smo te vrijednosti pre- From the exhibition catalogueThe impor- and experiences. They will attract attention through when they need to co-operate, they will learn how to
The ideas behind the project were provided by Inga je tijekom cijelog ivota, a posebno u ranim godi- nosili. Na tome se, u pravilu, temelji razvoj zajed- tance of play is indisputable throughout ones life and provision of new insights and achievements, aiming receive, as well as how to share and lose.
Seme Stojnovi, M.Sc and Tijana Vidovi, prof. and nama kada je ona, zapravo, temeljna aktivnost dje- nice, osigurava opstojnost i gradi identitet. Osvrt primarily during the earliest years of life when play is to go beyond recognition and primarily to understand How much of this and in what way to master all of
the project was implemented within the programme teta. U igri djeca stjeu znanja i vjetine, upoznaju prema unatrag nazivamo batinom, a unaprijed actually the basic activity of children. Whilst playing, and interpret. The criteria adopted imply the basic this in only several years? Through play! Or, even
of the second semester during the academic year svijet koji ih okruuje te na temelju tih iskustava gledajuito su resursi potencijalnog prosperiteta. children acquire knowledge and skills, they become values that we will never give up, as well as indicate better, with HAI toys! One need not be deceived into
2014/2015 and the courses Design and Industrial grade vlastitu osobnost i pripadnost drutvu. Igru U svakom sluaju, kontinuitet stvaranja ne smijemo acquainted with the world that surrounds them and, original experiences through which such values had believing that we are talking only about several years,
design under the mentorship of the assistant profe- esto promatramo kao aktivnost oprenu radu, iako prekinuti, a batina nam tako postaje neiscrpan izvor based on these experiences, they build their own been transmitted. This rule is the basis of commu- hence we are inviting the parents and educators, as
ssors Sanja Benceti and Ivana Fabrio, as well as the uglavnom ima iste komponentemotivaciju, ori- nadahnua za stvaranje novih doivljaja i iskustava, personality and a sense of belonging to the society. nity development, as it ensures existence and builds well as grandparents to join in the play. We were
professors Zlatko Kapetanovi and Mladen Orei. jentire, interakciju i nagradu u smislu ugode, kada usklaenih s vremenom i drutvom, a da pritom Play is often considered as an activity contrary to identity. A retrospection is considered as heritage, playing during the making of these toys and we will
The exhibition was implemented in co-operation radimo ono to volimo. Moemo zakljuiti da igra ivotne vrijednosti ne ugroavamo nego produ- work, although it normally comprises of identical whilst if we look towards the futurethese are the continue doing that, as this is only the beginning of
with the assistant professor Andrea Hercog, fea- nije manje ozbiljna ili odgovorna aktivnost, naro- bljujemo. Izvornim interpretacijama niza artefa- components - motivation, orientation, interaction resources for potential prosperity. our game inspired by heritage.
turing the film and photographs by Ana Vujasi. ito i po tome to su oni koji rade igrajui se, uin- kata pokuali smo potaknuti zanimanje za hrvatsku and reward in the sense of pleasure, when one does Continuity of creation must certainly never be interrup-
kovitiji i zadovoljniji. Jo je uvjerljivije prihvatimo li bogatu batinu, dok e se prave vrijednosti otkriti what one is fond of. A conclusion can be reached that ted, whilst heritage hence becomes an endless source Mladen Orei
da se igrajui djeca razvijaju u svim podrujima, to tek interakcijom u igri. Djeca e tako, ovisno o rje- play is not a less serious or a less responsible activity of inspiration for the creation of new adventures
doista znai da rade na sebi. enju, imati priliku spontano usvajati znanja i stje- than work, primarily because those involved in play and experiences in harmony with the time and the
Trebaju li pravila igre biti unaprijed odreena? Mogu cati iskustva o vrijednostima kao to su potenje, are more effective and more satisfied. This is even society and living values are not threatenedthey
li im pri tome pomoi pretjerano atraktivne igrake iskrenost, povjerenje. Moi e se kreativno izra- more convincing if one accepts the fact that, whilst are enhanced instead. Through original interpreta-
upitnog smisla? Treba li igraka na prvi pogled rei avati i komunicirati, stjecat e vjetine koje e ih playing, children develop in all aspects, which actually tions of a broad range of artefacts we have strived
ba sve? Time se, naime, odlikuje vei dio ponude initi sigurnijim, prepoznat e kad se moraju sami means they are working on their own development. to arouse the interest in the rich Croatian heritage,
igraaka na tritu. potruditi, a kad moraju suraivati, nauit e dobi- Do the rules of playing need to be predefined? Can whereas the true values will be revealed only through
Naravno, ne! To saznanje motiviralo nas je da osmi- vati, ali i dijeliti, gubiti... overly attractive toys whose purpose is questiona- interaction whilst playing. Consequently, depending
slimo kvalitetnije igre i igrake koje potiu samopo- Koliko toga i kako to svladati u samo nekoliko godina? ble assist them in that? Does a toy really need to on the solution provided, children will be given the
uzdanje, inventivnost i kreativnost, koje svoj smisao Igrom! Ili jo bolje, igrakama HAI! Ali ne treba se convey the entire story at first sight? Most toys opportunity to spontaneously acquire knowledge and
nalaze u provjerenim vrijednostima i iskustvima. One zavaravati da je to samo nekoliko godina, stoga currently available on the market do that. experiences about values such as honesty, sincerity
e privlaiti irenjem novih spoznaja i postignua, pozivamo roditelje i odgojitelje, bake i djedove da That is certainly not desirable! That notion motiva- or trust. They will have the opportunity for creative
a svrha im nije tek prepoznati nego razumjeti i inter- se i oni igraju. Mi smo se igrali stvarajui ove igrake ted us to provide higher quality games and toys that expression and communication, acquiring skills that
pretirati. Ve sami kriteriji pritom navode na osnovne i nastavit emo jer ovo je tek poetak nae igre boost ones self-confidence, inventiveness and crea- will make them safer; they will recognise the situation
vrijednosti kojih se nikada neemo odrei kao i na inspirirane batinom. tivity whose sense lies in previously recognised values in which they need to do their best on their own and
386 387
Galerija Studija dizajna

Studij dizajna na Smotri Izloba analognih
sveuilita 2015. fotografija
Studij dizajna se tradicionalno predstavio na Smo- Galerija Studija dizajna, 29. travnja20. svibnja 2016.
tri sveuilita, ali ovaj put na zajednikom tandu U dananje vrijeme, osnovno poznavanje i izraa-
s Arhitektonskim fakultetom. Studenti su zainteresi- vanje fotografskim medijem stvar je ope kulture.
ranim srednjokolcima nastojali pribliiti dizajnersku Analogna fotografija je poseban nain analiziranja
struku, program Studija dizajna i ope informacije i promiljanja okoline koji iziskuje sigurnost, preci-
o uvjetima upisa. Smotra sveuilita odrana je od znost i izrazitu usredotoenost. To je istodobno kul-
12. do 14. studenog 2015. u prostorima Studentskog tura promatranja, sredstvo komunikacije i pustolovina.
centra u Zagrebu. Izloene fotografije rezultat su vjebi u sklopu
Vizualni identitet i promotivnu kampanju Smotre kolegija Fotografija i Fotografija i film 1, koje su pod
sveuilita osmislila je skupina studenata Studija mentorstvom profesora Stanka Hercega i asistenta
dizajna i Akademije dramskih umjetnosti: Petra Pavela Posavca snimili studenti tree preddiplomske
Grubii i Otto Kuec sa Studija dizajna te Tajana godine Studija dizajna u razdoblju od dva semestra.
Bakota, Lovro Mrden i Filip Zadro s Akademije dram- Zadatak vjebi bio je upoznati studente s foto-
skih umjetnosti. grafskim filmom (dijapozitivom) kao medijem te ih
Osnovna ideja temelji se na prikazu brojnih smje- suoiti s njegovim mogunostima ali i zahtjevima.
rokaza koji mogu pomoi srednjokolcima u lak- Radovi izloeni na ovoj izlobi pokazali su zrelost
em snalaenju u umi informacija i pronalaenju autora na tehnikoj, a posebno na kreativnoj razini.
eljenog smjera. Posebno valja istaknuti injenicu kako je izloba iza-
zvala izuzetno zanimanje kulturne javnosti, o emu
svjedoe brojni pozitivni osvrti u tiskanim medijima.
School of Design at the University of
Zagreb Fair 2015
School of Design Gallery Lucija Rupi, Karla Novak, Dorja Horvati,
The School of Design traditionally presented itself Matea Bertina, Karla oti, Prof. Stanko
at the University of Zagreb Fair, yet this time at the Analogue photography exhibition
Herceg, Luka Dundovi, Marta Badurina
joint stand with the Faculty of Architecture. Stu- School of Design Gallery, April 29May 20, 2016. (s lijeva na desno/left to right)
dents were striving to present the design profession Basic insight and expression through the media
to the interested secondary school students, as well of photography is currently considered as public
as the programme of the School of Design and pro- awareness. Analogue photography implies a spe-
vide the general information about enrolment con- cial way of analysing and reflecting on the surrou-
ditions. The University of Zagreb Fair was held from ndings that requires safety, accuracy and extreme
12th to 14th November 2015 at the Zagreb-based focus. It is simultaneously a culture of observa-
Student Centre premises. tion, a means of communication and an adventure.
Visual identity and promotional campaign of the The exhibited photographs resulted from practi-
University of Zagreb Fair was designed by a group cal classes within the courses Photography and
of students at the School of Design and the Aca- Photography and Film 1, which, under the men-
demy of Dramatic Arts: Petra Grubii and Otto torship of the professor Stanko Herceg and the
Kuec from the School of Design and Tajana Bakota, assistant Pavel Posavec, were taken by third year
Lovro Mrden and Filip Zadro from the Academy of students attending the Undergraduate Study pro-
Dramatic Arts. gramme at the School of Design during the period
The idea behind was the presentation of a large of two semesters. Practical classes were inten-
number of signposts intended to help secondary ded to introduce students to photographic film
school students in finding their way in a plethora of (slide film) as a media and face them with both its
information, as well as finding the desired direction. potential and requirements. The work exhibited at
this exhibition showed the maturity of the pho-
tographers at the technical level and primarily at
the creative level. It is important to highlight the
fact that the exhibition aroused immense interest
of the public involved in culture, as shown by a
broad range of reviews throughout the print media.
388 389
Studij dizajna na
Tjednu dizajna School of Design at Design Week
Tjedan dizajna, manifestacija koja ve treu godinu Design Week, an event that has been held for the
okuplja dizajnere, gospodarstvenike, studente i iroku third consecutive year bringing together designers,
publiku radi popularizacije dizajna, odrana je 3.8. businessmen, students and broader public, was
svibnja u galeriji Lauba u Zagrebu. Privukla je 18000 held between 3rd and 8th May at the Zagreb-ba-
posjetitelja, a imala je dodatne sadraje i na tride- sed Lauba Gallery, aiming to popularise design. It
setak lokacija u gradu. attracted 18,000 visitors and it also provided addi-
Studij dizajna tradicionalno svake godine sudjeluje tional programmes at around thirty locations thro-
s revijalnim prezentiranjem najuspjenijih student- ughout the city.
skih radova, a ove godine nastupao je s tematskom School of Design traditionally participates at Design
izlobom radova namijenjenim najmlaim korisni- Week every year delivering a presentation of the
cima. Pod motom Goetheove izreke Najvei ovjek most successful student work. This year it partici-
uvijek ostaje dijete, izloba je koncipirana tako da pated with a thematic exhibition of work intended
interaktivnou s predmetima posjetitelji doive for the youngest users. It used the slogan inspired
znaajke i vrijednosti izloenih predmeta. Time je by Goethe The greatest man remains always a
izloba funkcionirala i kao igraonica za velike i male. man-child, the idea behind the exhibition was to
Prezentirani su radovi: Zvutka Karle Kocijan; iu- provide the visitors with the opportunity to expe-
lin Erike Filipan; Znatieljna nit Jovane Vlaislavlje- rience the exhibited objects, as well as their features
vi; Pagus Paule Kova; Taktilna slikovnica Zrinke and values, through interactivity with these obje-
Horvat; Tink Things Dorje Benussi; Moj pervi abe- cts. Hence, the exhibition functioned as a workshop
cedarij Grgo Petrova i (od)blok(iraj) Klasje Habjan. both for children and adults.
The following work was presented: Zvutka by Karla
Iz kataloga izlobeU dananjem drutvu pre- Kocijan; iulin by Erika Filipan; Znatieljna nit (A It is not surprising that students showed immense inte-
vladava miljenje da se sve moe prebrojati, izmjeriti Curious Thread) by Jovana Vlaislavljevi; Pagus by rest in the topics concerning playing and growing up
i razvrstati. Uspjean proizvod mjeri se koliinom Paula Kova; Taktilna slikovnica (A Tactile Picture healthy. The design process reminded them of all the
prodanih primjeraka, uspjena usluga cijeni se uku- Book) by Zrinka Horvat; Tink Things by Dorja Benu- experiences that shaped them through play. More-
pnim brojem korisnika. Drutvene mree vrednuju ssi; Moj pervi abecedarij (My First Alphabet Book) over, they analysed and included the contemporary
popularnost brojem likeova. Djeca su u okviru ko- by Grgo Petrov and (od)blok(iraj) ((Un)block) by pedagogical, health-related and cultural features.
lovanja opsjednuta izraunom prosjeka ocjena jer Klasja Habjan. Through their projects students raised awareness
je to mjerilo njihova znanja. of the importance of design, addressing the since-
Na Studiju dizajna smatra se da kreativna djelat- From the exhibition catalogueThe prevai- rest userschildren.
nost ne moe biti mjerena na takav nain. Kreativ- ling opinion in modern society is that everything can We are hoping that children will exploit these expe-
nost se razvija u poticajnom okruju. esto je i sam be counted, measured and classified. A successful riences and accept the criterion of good design as
proces kreiranja jednako vaan kao i konaan rezul- product is measured by the number of items sold, an important reference in their lives.
tat. Projekt esto postaje katalizator putem kojeg whilst a successful service is assessed by the total
student oblikuje stavove i interese. Svakom fazom number of users. Social networks rank popularity
projekta otkrivaju se nove mogunosti i proiruju by the number of likes. Throughout their schoo-
vlastite spoznaje. ling children are obsessed with calculation of the
Na ovogodinjem Tjednu dizajna u Zagrebu pre- average grade, as this is considered a measure of
zentirani su studentski projekti nastali u poticajnoj, their knowledge.
interdisciplinarnoj atmosferi kolegija Industrijski Creative activity at the School of Design cannot be
dizajn, odnosno Vizualne komunikacije. measured in this manner. Creativity is developed in
Ne udi to su studenti s velikim zanimanjem pri- an encouraging environment. The process of cre-
stupili temama vezanim uz igru i zdravo odrastanje. ation is sometimes equally important as the final
Procesom projektiranja prisjetili su se svih iskustava result. The project often becomes a catalyser thro-
koja su ih putem igre formirala, ali su i istraili te ugh which students form their attitudes and intere-
uvrstili suvremene pedagoke, zdravstvene i kultu- sts. Each project stage provides new opportunities
roloke sastavnice. Studenti putem svojih projekata and deepens ones insights.
razvijaju svijest o vanosti dizajna i obraaju se naj- This years Zagreb-based Design Week saw the pre-
iskrenijim korisnicimadjeci. sentation of student projects created in an encoura-
Nadamo se da e djeca iskoristiti ova iskustva i ging interdisciplinary environment of the courses of
usvojiti kriterij dobrog dizajna kao vano mjerilo Industrial design or Visual Communications.
u svom ivotu.
390 391
Predstavljanje knjige
Fee Vukia
Automobil, jedna povijest
7. svibnja 2016.
Lauba,Tjedna dizajna
Od kotaa do McLuhanaKnjiga Automobil, uje onim vrijednostima koje su stvorile automo- There is much more to the use of the wheel than freedom and the possibility of impulsive movement.
jedna povijest lako bi naslovom mogla zavarati ita- bil i koje je on, proizveden, stvarao. Iako kronoloki merely an idea the invention of the wheel. A broad The subsequent chapters address the issue of indu-
telja. Kada otvorimo vrata knjige (korice, dakako, ali poredana, poglavlja tematski obrauju najzanimljivije range of other circumstances are also required in strial aesthetics, from Marinettis enthusiastic fervour
valja pohvaliti dosjetku Negre Nigoevi koja je likovno fenomene. Ve u poetku, govorei o parnom stroju order to give a broader purpose to this wheel, inc- for the automobile to the Bugatti family, the author
opremila naslovnicu tipinom automobilskom kvakom, i industrijskoj revoluciji, Vuki tehnologiju razumije luding horses or bovines that will pull the carriage shows the way the automobile started getting the
sugerirajui da otvaranjem ulazimo u svijet automobila), kao drugu prirodu, ime jasno definira tehniku kao and the requirement for freight transport. Con- contours of an artistically designed object, yet he
ve e nas prva stranica sadraja zauditi. Umjesto novi prostor opstanka. Stoga ve prvi automobil, onaj sequently, cars are also more than an ingenious puts it all yet again into a social context and cultural
(oekivane) kronoloke povijesti automobila, od prvih na paru, glomazan i praktiki neupotrebljiv, nago- invention and they imply the meeting of a require- relationships, showing a close connection between
modela do dananjih jurilica, naslovi deset poglavlja vjeuje vlastitu budunost, onu koju danas ivimo. ment at its inception. When this requirement is met, the production of automobiles and apartments. Did
jasno upuuju na to da se radi o sveobuhvatnom Radikalna promjena vremena i prostora koju donosi it results in new requirements, changing the culture, you know, for instance, that Le Corbusiers ideas
i originalnom pristupu. prva serijska proizvodnja automobila jest ona ista the customs, social relations, the system of values about low-income housing projects and T-Model
Od kotaa do McLuhana, u etiri bi se rijei prepriala promjena koju je donijela ve eljeznica (za koju je and the economy, amongst others. This is the topic by Ford were parts of the same story?
knjiga. Zavrti kota!, naslov je prvog poglavlja u kojem Habermas rekao da je svijetu donijela novi kalendar), of the book by Vuki - the car as an economic, cul- The American Night is the title of the chapter that
se uistinu zapoinje izumom kotaa prije gotovo etiri ali kae Vuki, s individualnom slobodom i mogu- tural, artistic and social phenomenon, rather than speaks for itself. Vuki uses film topics and titles
tisuljea, a posljednje, deseto poglavlje nosi podna- nou impulzivnoga kretanja. merely as a means of transport. Nevertheless, the several times in order to put into context the cul-
slov McLuhan i dalje. S obzirom na to da je McLuhan Slijede poglavlja koja tematiziraju pojavu industrijske history of the automobile as a product could not tural values of a specific period through images and
predviao (a to nije predviao?) kako e dananji estetike. Od Marinettijeva oduevljenja automobi- be avoided, ranging from old-timer unique giants, notions. The chapter primarily focuses on Harley Earl,
automobil u budunosti biti obina igraka, prisje- lom do obitelji Bugatti, autor nam pokazuje kako je the reputable T-model by Ford, to the contempo- the legend of General Motors, the most influential
amo se da su i drevni Meksikanci izumili kota, ali su automobil poeo dobivati konture umjetniki obli- rary electric limousines with sophisticated electro- figure concerning styling and aesthetic changes of
ga koristili samo kaoigraku. Izbjei emo McLuha- kovanog predmeta, ali opet to smjeta u drutveni Prof. Fea Vuki The book by Fea Vuki nics. However, upon disassembling a car into sheet new models. Who would have said that the idea of
novske asocijacije na ovu zanimljivu injenicu i ostati kontekst i kulturne odnose, pokazujui kako su pro- The Cara History presented on 7th metal, iron, rubber, plastics and colour even the best face lifting dates back to such a long time ago, since
samo pri konstataciji da Meksikanci nisu koristili kota izvodnja stanova i automobila usko povezani. Jeste li, May 2016 within the Design Week mechanic will not achieve status, earn reputation, we are talking about mid-20th century?
kao pomo u prevoenju tereta zbog jednostavnog primjerice, znali da su Le Corbusierove ideje jeftinih find dreams and the yearning, or fulfil the Ameri- It is important to highlight also the chapter entitled
razloga to nisu imali ivotinje koje bi kola s kota- stanova i Fordov T model dio iste prie? From the wheel to McLuhanThe title of the can dream and the American values, they will not Pop Design which is interesting, since it provides a
ima mogle vui. Ova nam digresija otvara prostor Amerika no naslov je poglavlja koji govori sam za book The Cara History could easily mislead the experience the flaming sixties, the artistic tenden- brief history of advertising of automobiles. At that
za potpuno razumijevanje onoga o emu Vuki pie. sebe. Vie puta Vuki posee za filmskim temama reader. Upon opening the door of the book (its covers, cies, the futurism or market competition. There is time automobile was already an established status
Kao to za upotrebu kotaa nije dovoljna samo i naslovima kako bi slikom, predodbom kontekstuali- of course, yet the idea of Negra Nigoevi needs to none of it in the automobile. Not if one is not able symbol and communicational values of the adverti-
dosjetkaizum kotaa, ve itav niz drugih okolnosti zirao kulturne vrijednosti nekog razdoblja. Najvei dio be pointed out for the design of the front cover pro- to see it. Luckily, Vuki was able to do that and sement were based on promises of happiness, free-
koje tom kotau daju smisao, od konja ili goveda koji poglavlja posveen je Harleyu Earlu, legendi General viding it with a typical car door handle, suggesting hence by reading (and looking at) this interesting dom and erotics. Technical features were already
e kola vui do potrebe da se neto prenese. Tako Motorsa, tvorcu stylinga i kozmetikim preinakama that upon opening the book one enters the world book, the reader is provided an authentic history of secondary importance or entirely unimportant.
i automobil nije samo genijalan izum, ve i zadovolje- novih modela. Tko bi rekao da je ideja face liftinga of cars), one remains bewildered at the sight of the of the automobile, as well as the history of human- The fate of the Edsel, a model by Ford, was consi-
nje jedne potrebe u nastajanju. Potrebe koja, zadovo- tako stara, rije je o sredini 20. stoljea? first page of the content. Instead of the (expected) kind. Since the history of the automobile is not derably interesting. The model failed irrespective of
ljena, stvara nove zahtjeve, mijenjajui kulturu, obiaje, Zanimljivo je i poglavlje Pop Design u kojem nas Vuki chronological history of cars, from the first models and cannot be anything but the history of human- abundant advertising and it proved (yet again) that
drutvene odnose, sustav vrijednosti, gospodarstvo... vodi kroz kratku povijest oglaavanja automobila. to the contemporary fast cars, the titles of ten chap- kind, the history that establishes new relationships, products need to be in accordance with the promi-
To je tema Vukieve knjige, automobil kao gospodar- U to je doba automobil ve izgraeni statusni sim- ters of the book clearly show both its comprehensive a new culture and new values. sed values both concerning its appearance and form.
ski, kulturni, umjetniki i socijalni fenomen, a ne puko bol i komunikacijske se vrijednosti oglasa temelje na and original approach. The author dedicated ten equally interesting chap- The book by Vuki is extremely interesting, both due
prijevozno sredstvo. Naravno, neizbjeno je obuhvatiti obeanjima sree, slobode i erotike. Tehnike poje- From the wheel to McLuhan, could be a brief sum- ters to the values that created the automobile and to the comprehensive insight it provides into the
povijest automobila kao proizvoda, od starih unikatnih dinosti ve su tada bile sporedne ili sasvim nebitne. mary of the book. Spin the Wheel! is the title of the those that the automobile, once produced, created history of the automobile industry and the appro-
grdosija, zatim glasovitoga Fordovog T modela, do Zanimljiva je sudbina Fordovog modela Edsel. Model first chapter that commences the story with the in turn. Irrespective of the chronological order, the ach that considers all the relevant features requi-
dananjih elektrinih limuzina sa sofisticiranom elek- je propao usprkos jakom oglaavanju, pokazalo se invention of the wheel almost four thousand years chapters thematically address the most interesting red for a comprehensive insight into the importance
tronikom. No ni najbolji mehaniar nee, ako rastavi (opet) kako proizvod ve izgledom i oblikom mora ago, whereas the tenth chapter, which is also the final, phenomena. At the beginning of the book, talking of automobile for human history. The chapters are
automobil, uz lim, eljezo, gumu, plastiku i boju, nai biti u suglasju s obeanim vrijednostima. has a subtitle McLuhan and Onwards. Since McLu- about the steam engine and the industrial revolu- interesting, content-related and inspirational. One
status, ugled, snove, enju, nee nai ameriki san Vukieva je knjiga iznimno zanimljiva, koliko zbog han had anticipated (he anticipated a broad range tion, Vuki considers technology as second nature, can hope that several of the theses provided or the
i amerike vrijednosti, nee nai uzavrele ezdesete, temeljitog uvida u povijest automobilske industrije, of things) that modern cars of the future will be just which clearly defines technology as a new means of chapters of the book will be further elaborated on
umjetnie tenedencije, futurizam, trino natjecanje toliko i zbog pristupa koji u obzir uzima sve bitne ele- ordinary toys, we reminded ourselves of the fact that survival. Hence, the first automobile, the one with by the author as separate topics in the future, eit-
i konkurenciju. Nita od toga u automobilu nema. mente kojima se do kraja moe razumjeti znaenje also ancient Mexicans invented the wheel, yet they the steam engine, although bulky and practically her in a new book or in new books.
Nema, ako ne znamo gledati. Vuki, sreom, zna to ga automobil ima u ljudskoj povijesti. Poglavlja used it only as a toy. We will avoid McLuhans allu- useless, indicated its own future, the future we are The book was published by UPI-2M PLUS d.o.o. and
i zato emo, itajui (i gledajui) ovu zanimljivu knjigu, su zanimljiva, sadrajna i inspirativna. Moemo se sions to this interesting fact and point out only the currently living. A radical change of both time and the Faculty of Architecture, School of Design, the
saznati pravu povijest automobila, ali onda i povijest nadati da e poneke teze ili poglavlja autor u budu- statement that Mexicans did not use the wheel to space resulting from the first serial production of University of Zagreb.
nas samih. Jer povijest automobila nije i ne moe nosti razraditi kao zasebne teme. U nekoj novoj knjizi help them in freight transport for the simple reason vehicles was the same change brought about by Veljko van
biti nita drugo nego povijest ovjeka, povijest koja ili nekim novim knjigama. that they did not have animals that could pull the the railway (concerning which Habermas stated
stvara nove odnose, novu kulturu i nove vrijednosti. Nakladnici knjige su: UPI-2M PLUS d.o.o. i Arhitek- carriages with wheels. This digression leaves room that it provided the world with a new calendar),
Deset podjednako zanimljivih poglavlja autor posve- tonski fakultet, Studij dizajna, Sveuilite u Zagrebu. for a deep insight into the issue addressed by Vuki. yet, according to Vuki, it also provided individual
Veljko van
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Prezentacija igraaka HAI Inkluzivna radionica za

Trei Festival igraaka djecu s autizmom
Ivani Grad Galerija Studija dizajna
U Ivani Gradu je od 21. do 22. svibnja odran trei Galerija Studija dizajna, 30. svibnja 2016.Studij
Festival igraaka na kojem je predstavljen i projekt dizajna je u sklopu izlobe ovjek je mjerilo svih
HAIhrvatske autentine igrake, nastale na Stu- vrijednosti organizirao inkluzivnu radionicu za djecu
diju dizajna u suradnji s udrugom Povucizakulturu. s posebnim potrebama. Udruga OPA za promicanje
Pored pruanja mogunosti da djeca doive iskustvo vizualne kulture organizirala je dolazak desetero
igranja s novim igrakama, na Festivalu su odrani autistine osnovnokolske djece s njihovim prati-
razgovori o edukativnom, ali i trinom potencijalu teljima i roditeljima ukljuenim u rad Saveza Udruga
igraaka u okviru kojih su ostvareni i zanimljivi kon- za autizam Hrvatske.
takti za daljnji razvoj projekta HAI. Nakon obilaska izlobe i upoznavanja s izlocima,
djeca su u prostoru Galerije sudjelovala u radio-
nici na temu izrade vlastite igrake. Materijal za
The third edition of Toy Festival in radionicu, primjeren svakom polazniku, osigurala
Ivani Grad je reena Udruga. S obzirom na specifinost pola-
Presentation of HAI toys znika, studenti kao autori izloenih igraaka aktivno
su sudjelovali u radionici.
The third edition of Toy Festival was held in Ivani
Grad from 21st to 22nd May. The project entitled
HAITraditional Croatian childrens toyswas pre-
sented at the festival. The toys were made at the School of Design Gallery
School of Design in co-operation with the associa- An inclusive workshop for children
tion Povucizakulturu. with autism
The Festival provided children with the opportunity School of Design Gallery, May 30 2016. During
to experience what it feels like to play with the new the exhibition entitled Man is the Measure of all
toys. In addition, organised discussions about both Values the School of Design organised an inclu-
educational and market potential of toys were held sive workshop for children with special needs. OPA
during the Festival and interesting contacts were Association for the Promotion of Visual Culture
established to further develop HAI project. organised the arrival of ten autistic children who
attend elementary school and their assistants and
parents involved in the work of the Croatian Union
of Associations for Autism.
After visiting the exhibition and becoming acqu-
ainted with the exhibits, the children participated
in the workshop held at the Gallery addressing the
topic of making of ones own toy. The Association
provided the materials for the workshop to meet
the needs of each participant.
Concerning the specific requirements of the atten-
dees, students as the makers of the exhibited toys
also actively participated in the workshop in order
to gain insight into user experience and test their
own projects.
394 395
Izloba /ovjek je mjerilo

svih vrijednosti School of Design Gallery
Galerija Studija dizajna Exhibition / Man is the Measure of
all Values
Od 25. svibnja do 15. lipnja 2016.Jedan od zna- May 25 to June 15 2016.The exhibition of stu-
ajnih dogaaja kojeg je organizirao Studij dizajna dent work entitled Man is the Measure of all Values
tijekom manifestacije Mjesec kreativnih i kulturnih was amongst the most important events organised
industrija, i time se aktivno u nju ukljuio, bila je by the School of Design during the event entitled
izloba studentskih radova pod naslovom ovjek je A Month of Creative and Cultural Industries in which
mjerilo svih vrijednosti. U okviru ove izlobe orga- the School actively participated. Several workshops
nizirano je i nekoliko radionica. Parafraza Prota- were organised during the exhibition. The parap-
gorine misli, uzeta kao naslov, govori i o osnovnoj hrase of the idea expressed by Protagoras, taken
ideji ove izlobe. U dananjem drutvu prevladava as the title, shows the idea behind the exhibition.
miljenje da se sve moe prebrojiti, izmjeriti i razvr- The belief that everything can be counted, mea-
stati. Uspjenost proizvoda mjeri se koliinom pro- sured or classified is predominant in contempo-
danih komada, a uspjenost usluge ukupnim brojem rary society. Product success is measured by the
korisnika. Drutvene mree mjere nau popularnost quantity of the sold items, whilst the success of a
brojem likeova. Djeca su ve tijekom kolovanja service provided is measured by the total number
opsjednuta izraunom prosjeka ocjena. Visina pro- of users. Social networks measure ones popularity
sjeka mjerilo je opeg znanja. by the number of Likes. Throughout their schooling
Studij dizajna promovira stav da se kreativna dje- children are obsessed by the calculation of grade
latnost ne moe mjeriti na takav nain. Ona bi se point average which is considered as an indicator
trebala razvijati u poticajnom okruju, a sam proces of their general knowledge.
oblikovanja jednako je vaan kao i konaan rezul- The School of Design promotes the attitude that a
tat. Studentski projekti, predstavljeni na ovoj izlobi, creative activity cannot be measured in this manner.
koncipirani su na humanistikom naelu izraenom Creative activities are supposed to be developed in
u naslovu ove izlobe. an encouraging environment, whereas the design
Studenti su, radei na izloenim projektima, propi- process is of equal importance as the final result.
tivali teme vezane uz igru i zdravo odrastanje kao i The idea behind student projects presented at this
razvijanje svijesti o vanosti dizajna u tom procesu. exhibition is a humanistic principle pointed out in Boris Ljubii (lijevo/left)
Radovi se prvenstveno obraaju djeci kao najiskreni- the exhibition title.
jim korisnicima, ali jednako tako i roditeljima, odga- During their work on the exhibited projects, stu-
jateljima i pedagozima. dents analysed topics linked with play and growing
Ovim i slinim iskustvima nastoje se usvojiti mjerila up healthy and they also raised awareness about
o tome kako je dobar dizajn vaan u svakodnevnom the importance of design during this process. The
ivotu. U okviru izlobe organizirano je i nekoliko projects primarily address children as the sincerest
radionica namijenjenih djeci. users, yet also their parents, teachers and educators.
These and similar experiences are intended to point
out the fact that quality design is important in
everyday life. Several workshops for children were
organised during the exhibition.
Marijo Petrak (lijevo/left)
Ana Vujasi, Erika Filipan, Prof. Zlatko Kapetanovi,

Marijo Petrak, Inja Kavuri Kireta, Prof. Mladen Orei,
Prof. Stipe Bri, Klasja Habjan, Mirjam Milas
396 397
Dan otvorenih vrata

Studija dizajna
Ova manifestacija odrana je 1. lipnja 2016. u Franko-
panskoj 12., a namijenjena je prvenstveno srednjo-
kolskim uenicima koji razmiljaju o upisu na Studij
dizajna kao i onima kojima je posjet Studiju dizajna
prilika za prvi susret s dizajnerskom strukom. U dva
termina, u 12 i 15 sati, organiziran je skupni obilazak
uionica i radionica, nazonost studentskim prezen-
tacijama, a odran je i razgovor o uvjetima upisa te
preddiplomskoga i diplomskog studiranja. Posjeti-
telje su kroz program vodili Andrea Hercog i Sanja
Benceti s odjela Industrijskog dizajna te Tomislav
Vlaini i Romana Kajp s odjela Vizualnih komunika-
cija. Sudionici su mogli dobiti odgovore na mnoga
pitanja vezana uz proceduru razredbenih ispita, ali Asistent/Assistent Andrea Hercog
i upoznati se s drugim temama vezanim za razli-
ita podruja suvremenog dizajna. Tom je prigodom
u Galeriji Studija dizajna organizirana izloba student-
skih projekata vezanih uz igru i zdravo odrastanje pod
naslovom ovjek je mjerilo svih vrijednosti. Odziv
posjetitelja, brojna pitanja i komentari, pokazali su
zanimanje mladih za dizajn, a time i svu opravdanost
organiziranja ovakvih manifestacija. To je istodobno
bila izvrsna prilika za prezentaciju Studija dizajna.
Open Door Day at the School of Design

This event was held on 1st June 2016 in Frankopanska
12 and it was intended primarily for secondary school
students who were considering the enrolment at the
School of Design, as well as those for whom the visit
to the School of Design was the first opportunity for
an insight into the design profession. A group visit to
the lecture halls and workshops was organised at noon
and at 1 p.m. Moreover, the opportunity to attend stu-
dent presentations was given, as well as the oppor-
tunity for a conversation about admission criteria to
both Undergraduate and Graduate Study Programmes.
The visitors were hosted by Andrea Hercog and Sanja Prof. Stanko Herceg (desno/right)
Benceti from Industrial Design Department and Tomi-
slav Vlaini and Romana Kajp from Visual Commu-
nications Department. The participants were given
answers to a broad range of questions concerning
the classification test procedure, as well as provided
an insight into other topics concerning different fields
of contemporary design. An exhibition of student pro-
jects linked with play and growing up healthy entitled
Man is the Measure of all Values was held at the School
of Design Gallery to mark the occasion. Visitor turnout
and a large number of questions and comments showed
the immense interest of young people in design and
it hence provided a justification for organising similar
events. It was simultaneously an excellent opportunity
for the presentation of the School of Design.
398 399
Dva primjera sa Organizacija projekta / Project organiseRS:

Arhitektonski fakultet Sveuilita u Zagrebu, Studij dizajna
Studija dizajna: i Centar za mirovne studije /
Faculty of Architecture at the University of Zagreb, School of Design and
Dizajn za drutvene Centre for Peace Studies
promjene Organizacija izlobe / Exhibition organisers:
Hrvatsko dizajnersko drutvo / HDD galerija u suradnji sa Studijem dizajna
U Galeriji Hrvatskog dizajnerskog drutva, od 2. exhibition which was jointly organised by the Croa- Croatian Designers Association / Croatian Designers Association Gallery
do 15. lipnja 2016., odran je prvi od dva izlobena tian Designers Association and the School of Design. in co-operation with the School of Design
postava objedinjena nazivom Dva primjera sa Stu- The exhibition points out the importance of consi- Voditelj galerije i inicijator ciklusa / Gallery Manager and Exhibition
dija dizajna: Dizajn za drutvene promjene. Rije dering design in a broader context, in this case in the Cycle Initiator:
je o temeljitoj prezentaciji projekta realiziranog u context of society, human rights and social change. Marko Golub
suradnji Studija dizajna i Centra za mirovne studije The exhibition entitled Design for Social Change
2014. i 2015. godine, a koji se na teorijski i praktini does not focus exclusively on the artefacts or final Autori koncepcije izlobe / Exhibition concept provided by:
nain bavio temama ksenofobije i rasne diskrimina- products, since it primarily aims to present both the Ivana Fabrio, Petra Vrdoljak, Dorja Benussi
cije. Autori koncepcije izlobe su Ivana Fabrio, Petra process and the dynamics of co-operation between Grafiki dizajn / Graphic design:
Vrdoljak i Dorja Benussi, a izlobu su zajedniki orga- the attendees of the course entitled Social Design, Dorja Benussi
nizirali Hrvatsko dizajnersko drutvo i Studij dizajna. as well as the attendees of the Peace Studies at the Dizajn postava / Exhibition design:
Izloba ukazuje na vanost promiljanja dizajna u Centre for Peace Studies, their mentors, associa- Petra Vrdoljak
irem kontekstu, u ovom sluaju kontekstu drutva, tes and asylum seekers. Moreover, an overview of
ljudskih prava i drutvene promjene. different levels at which designers can participate in Suradnice Centra za mirovne studije / Centre for Peace Studies Associates:
Izloba Dizajn za drutvene promjene nije usredo- similar projects was provided, including their com- Julija Kranjec, Emina Buinki i Tea Vidovi
toena iskljuivo na artefakte ili finalne proizvode, prehensive programme strategies, communication Studenti kolegija Socijalni dizajn Studija dizajna / Students attending
koliko na pokuaj da se prikae proces i dinamika tactics, participatory and inclusive scenarios, acti- Social Design at the School of Design:
suradnje izmeu polaznika kolegija Socijalni dizajn, vities and interventions, interior equipment of the Niko Crnevi, Lucija Nieno, Ana oli, Matija poljar, Zrinka Horvat, Stanislav
polaznika Mirovnih studija CMS-a, njihovih mentora co-operative for intercultural exchange, or prepa- Kosti, Franka Speti, Adriana Paveli, Mario Jeki, Katarina Ratkaj, Slavica Farka,
i suradnika te samih traitelja azila. Isto tako, prika- ration and implementation of educational materials, Iris Klari, Petra Vrdoljak, Mario Jeki, Anta Buevi, Ana Somek, Luka Bori, Sanja
zane su i razliite razine na kojima dizajneri mogu whilst striving to address the problems of prejudices, Kuzmanovi, Antonio Karaa, Igor Kolar, Marta Birki, Maja Bokovi, Kristina
sudjelovati u ovakvim projektima, bilo da je rije xenophobia and racism from different perspectives Crnek Vidovi, Janja Rokar, Dora Lugari, Dorja Benussi, Matea Brki, Tihomir
o cjelovitim programskim strategijama, komunika- and target groups. Julija Kranjec, Emina Buinki and Filipec, Ena Priselec, Ivona Milo, Alma avar, Lana Grahek, Tea Pavi, Martin
cijskim taktikama, participativnim i inkluzivnim sce- Tea Vidovi co-operated on the project. Peranovi, Dorotea Kutlea, Hrvoje Dominko, Matija Guli, Karlo Pavii, Luka Peri.
narijima, aktivnostima i intervencijama, opremanju Studenti kolegija Emancipacija kulturnog pluralizma u vrijeme izbjeglitva
interijera zadruge za interkulturalnu razmjenu, ili neformalnog obrazovnog programa Mirovnih studija Centra za mirovne
osmiljavanju i realizaciji edukativnih materijala kojima studije / Students attending the Emancipation of Cultural Pluralism
se iz razliitih rakursa i za razliite ciljane skupine in the Times of Exile at the informal educational programme of Peace
nastoji adresirati problem predrasuda, ksenofobije Studies provided by the Centre for Peace Studies:
i rasizma. Suradnice na tom projektu bile su: Julija Lana Pavi, Zinka Mujki, Katarina Perokovi, Maja Valenti, Ivan Lipanovi, Ana
Kranjec, Emina Buinki i Tea Vidovi. Mieri, Vlatka Lacmanovi, Kristina Mavar, Ana Marija Mileusni.
Two Examples from the School of Design:

Design for Social Change
The first of the two displays under the name Two
Examples from the School of Design was held from
2nd to 15th June 2016: Design for Social Change at
the Gallery of the Croatian Designers Association. It
is a comprehensive presentation of the project imple-
mented through co-operation between the School of
Design and the Centre for Peace Studies in 2014 and
2015, aimed at addressing the topics of xenophobia
and racial discrimination both from the theoretical
and the practical stance. Ivana Fabrio, Petra Vrdo-
ljak and Dorja Benussi provided the idea behind the
Prof. Zlatko Kapetanovi, Marko Golub (HDD), Asistent/Assistent Ivana Fabrio Petra Vrdoljak, Stanislav Kosti
(s lijeva na desno /left to right)
400 401
Dva primjera sa
Studija dizajna
Svjetla budunosti
U Galeriji HDD-a otvorena je 7. srpnja 2016. izloba
Svjetla budunosti, drugi od dva izlobena postava
objedinjena nazivom Dva primjera sa Studija diza-
jna. Nizom svjetlosnih instalacija u galerijskom pro-
storu predstavljeni su koncepti studenata prve godine
diplomskog studija Studija dizajna, nastalih na kole-
giju Industrijski dizajn 2 u sklopu zadatka pod naslo-
vom Dizajn u kontekstu razvoja tehnologije. Radovi
su utemeljeni na predvianjima inovativne upotrebe
svjetla i umjetne rasvjete u interaktivnim ambijentima
budunosti. Osim propitivanja uloge dizajna i potrebe
za razvojem novim uvjetima primjerenijih metodo-
logija u kreativnom postupku, studenti su ispitivali
i mogue ishode svojeg djelovanja: to je sve mogue
postii i kakav utjecaj, naroito na doivljajnoj razini,
moe imati njihovo eksperimentiranje, odnosno raz-
matranje kreativnih potencijala koje razvoj tehnologije
daje. Na otvorenju izlobe odran je razgovor o toj
temi s prof. Mladenom Oreiem, prof.mr.sc. Zlat-
kom Kapetanoviem, doc.mr.sc. Ivanom Fabriom,
Andreom Hercog te studentima Studija dizajna.
Tamara Petrua, Lea Vavra, Laura Mrka, Nataa Njegovanovi (s lijeva na desno/left to right)
Two Examples from the School of Design:

Lights of the future
The exhibition entitled Lights of the Future, the second Organizacija projekta / Project organised by:
of the two displays under the name Two Examples Studij dizajna, Arhitektonski fakultet Sveuilita u Zagrebu
from the School of Design, was opened on 7th July Koncepcija izlobe / The idea behind the exhibition:
2016 at the Gallery of the Croatian Designers Asso- prof. Mladen Orei, Andrea Hercog
ciation. The ideas provided by first year students
of the graduate study programme at the School Mentori / Mentors:
of Design were presented at the Gallery premises prof. Mladen Orei, prof.mr.sc.Zlatko Kapetanovi
through a broad range of light installations crea- Asistenti / Assistants:
ted during the course Industrial Design 2 within the doc.mr.sc. Ivana Fabrio, Andrea Hercog
assignment under the name Design in the Context Studenti / Students:
of Technology Development. The works were based Nataa Njegovanovi, Laura Mrka, Viktoria Lea Vavra, Tamara Petrua
on anticipations of innovative use of light and artifi-
cial lighting in interactive ambiences of the future. In Tehnika podrka / Technical support:
addition to analysing the role of design and the need Vedran Kolac, Ivan Liik
for development of new methodologies that are more Dizajn postava / Display design:
adequate against the backdrop of the new conditions prof. Mladen Orei, Andrea Hercog
during the creative process, students analysed also Grafiki dizajn / Graphic design:
all the possible consequences of their activity: what Tamara Petrua
can be achieved and what impact can be exerted
through experimentation or analysis of the creative Organizacija izlobe / Exhibition organised by:
potential provided by technological development Hrvatsko dizajnersko drutvo / HDD galerija u suradnji sa Studijem
primarily concerning the level of experience. A con- dizajna, Arhitektonski fakultet Sveuilita u Zagrebu.
versation on this topic was held during the opening The Croatian Designers Association / the Gallery of the Croatian
of the exhibition with the professors Mladen Orei Designers Association in co-operation with the School of Design,
and Zlatko Kapetanovi, M.Sc, as well as with Ivana Faculty of Architecture of the University of Zagreb.
Fabrio, M.Sc, Assistant Professor, Andrea Hercog and Voditelj Galerije i inicijator ciklusa / Director of the Gallery
students from the School of Design. and the initiator of the cycle:
Marko Golub
402 403
Dan D 2016.
Nagrade studentima Day D 2016
Awards received by students at the
Studija dizajna School of Design
Vie je studenata Studija dizajna, skupno ili samo-

Many students at the School of Design participated
stalno, sudjelovalo svojim radovima na izlobi mla-
and presented their work both independently or in a
dih autora u okviru Dana D 2016. godine u Pogonu
group at young designers exhibition within Day D
Jedinstvo/Movara, Zagreb.
2016 in the Zagreb-based Pogon Jedinstvo/Movara.
Gala Marija Vrbani, studentica diplomskog studija
Gala Marija Vrbani, student of Visual Communi-
smjera Vizualnih komunikacija, izloila je rad KROP
cations at the Graduate Study Programme, exhibi-
(mentori: prof. Ivan Doroghy, doc. Tomislav Vlaini).
ted her work entitled KROP (mentors: Ivan Doroghy,
Karla oti, studentica preddiplomskog studija smjera
Professor and Tomislav Vlaini, Assistant Professor).
Vizualnih komunikacija, izloila je prijedlog dizajna
Karla oti, student of Visual Communications at
ambalae za sladolede Ledo (mentori: prof. Ivan
the Undergraduate Study Programme, exhibited
Doroghy, doc. Tomislav Vlaini).
the packaging design proposal for Ledo ice cream
Skupina Kradljivice koju ine: Karla Novak, Dorja
(mentors: Ivan Doroghy, Professor and Tomislav
Horvati, Karla oti, izloile su vizualni identitet
Vlaini, Assistant Professor).
festivala KRADU (mentori: prof. Nenad Dogan, doc.
Kradljivice Group comprising of Karla Novak, Dorja
Tomislav Vlaini, asist. Romana Kajp).
Horvati and Karla oti, exhibited the visual identity
Skupina studenata na 6. semestru preddiplomskog
of KRADU festival (mentors: Nenad Dogan, Professor,
studija smjera Vizualnih komunikacija: Vita Vrebac,
Tomislav Vlaini, Assistant Professor and Romana
Kajp, Teaching Assistant).
Dorja Horvati, Karla oti, Karla Novak, Mirjam
A group of students attending the 6th semester of
Milas, Klara Zaher, Ivona Vuri, Anja Nikoli, Mikela
Cvitanovi, izloila je seriju kazalinih plakata (men-
Visual Communications at the Undergraduate Study
tori: prof. Nenad Dogan, prof. Ivan Doroghy, prof.
Programme comprising of Vita Vrebac, Dorja Hor-
Stipe Bri, doc. Tomislav Vlaini, asist. Romana
vati, Karla oti, Karla Novak, Mirjam Milas, Klara
Kajp). Tom je prilikom meunarodni iri, iji su la-
Zaher, Ivona Vuri, Anja Nikoli and Mikela Cvitano-
vi, exhibited a series of theatre posters (mentors:
novi: Jesse Howard, Nataa Muovi, Gerg Kovcs
Nenad Dogan, Professor, Ivan Doroghy, Professor,
i Silvio Lorusso, odluio prvom nagradom nagraditi
rad Gale Marije Vrbani, KROP (DIY t-shirt pack), koji
Stipe Bri, Professor, Tomislav Vlaini, Assistant
je nastao na diplomskom studiju smjera Vizualnih
Professor and Romana Kajp, Teaching Assistant).
komunikacija. Moreover, the international expert panel compri-
Treom nagradom nagraen je rad skupine Kradljivice
sing of Jesse Howard, Nataa Muovi, Gerg Kovcs
koju ine studentice dodiplomskog studija Studija
and Silvio Lorusso decided to give first prize to the
dizajna smjera Vizualnih komunikacija: Karla oti,
work by Gala Marija Vrbani, KROP (DIY t-shirt pack),
Dorja Horvati i Karla Novak. Rije je o vizualnom
which she designed during her Graduate Study Pro-
identitetu festivala KRADU.
gramme at Visual Communications Department.
Posebnim priznanjem iri je nagradio Andreja ukia,
Third prize was granted to the work by Kradljivice
studenta smjera Industrijski dizajn diplomskog stu-
Group comprising of female students of Visual Com-
dija Studija dizajna za rad Stolica, koji je nastao
munications at the Undergraduate Study Programme
pod mentorstvom prof. Mladena Oreia i asist.
at the School of DesignKarla oti, Dorja Horva-
Andree Hercog. ti and Karla Novak concerning the visual identity
Te nagrade jo jednom su potvrdile kvalitetu novih
of KRADU festival.
generacija mladih dizajnera koje se obrazuju na
The expert panel granted a special recognition award
Studiju dizajna Arhitektonskog fakulteta Sveuili-
to Andrej uki, a student of Industrial Design at
ta u Zagrebu. the Graduate Study Programme of the School of
U sklopu edukativnog dijela programa Dana D, na
Design for his work The Chair, under the mentors-
kojemu su odrana izlaganja obrazovnih ustanova,
hip of Mladen Orei, Professor and Andrea Hercog,
Studij dizajna imao je prezentaciju programa pred-
Teaching Assistant.
diplomskoga i diplomskog studija.
These awards have yet again confirmed the quality
of new generations of young designers attending
the School of Design at the Faculty of Architecture
of the University of Zagreb.
Within the educational segment of the D-Day pro-
gramme,which included lectures delivered by edu-
cational institutions, the School of Design delivered
a presentation both of the Undergraduate and the
Graduate Study Programme.
404 405
Hacking IKEA Hacking IKEA
Festival Design District Zagreb, s partnerskom A three-day competition workshop entitled Hacking
s tvrtkom IKEA Hrvatska u lipnju 2016., organizirao IKEA was organised by the Festival Design District
je trodnevnu natjecateljsku radionicu pod nazivom Zagreb with the partner company IKEA Hrvatska
Hacking IKEA. in June 2016.
Na radionici su, pod mentorstvom docentice Ivane Professional designers, students at the School of
Fabrio, dizajnerice Nine Baun i vedskog dizajnera Design, DIY enthusiasts and artists participated
Erika Olovssona, sudjelovali profesionalni dizajneri, at the workshop in the project of creation of new
studenti dizajna, DIY entuzijasti i umjetnici u pro- unique solutions through hacking of the existing
jektu stvaranja novih jedinstvenih rjeenja hakira- products by IKEA under the mentorship of Ivana
njem postojeih IKEA-inih proizvoda. Fabrio, Assistant Professor, the designer Nina Baun
Tema ovogodinjeg natjecanja bila je ivot u kuhinji and Erik Olovsson.
i oko nje, a cilj je projekta motivirati i ohrabriti na The topic of this years competition was Life in the
traenje novih vrijednosti, mogunosti i inspiracije kitchen and around it and the specific objective of
u postojeim poznatim, globalno rasprostranjenim the project was to motivate and encourage the
IKEA-inim proizvodima. Od sudionika su oekivana search for new values, opportunities and inspiration
jedinstvena i neoekivana rjeenja koja su rezultat amongst the popular existing and globally available
znanja, talenata i vjetina, kako bi se personalizirao products by IKEA. The participants were expected to
predmetni okoli i prilagodio vlastitim navikama, provide unique and unexpected solutions resulting
potrebama ili eljama. from knowledge, talent and skills in order to perso-
Sudionici Hacking IKEA radionice promiljali su prena- nalise the settings in question and adapt it to their
mjenu ili modifikaciju proizvoda odabranih u posto- own habits, requirements and wishes.
jeem asortimanu tvrtke IKEA kako bi dobili (novu ili The participants of Hacking IKEA workshop refle-
dodatnu) funkciju vezano uz pripremu, konzumaciju cted on conversion or modification of products
ili skladitenje hrane. selected from the existing product range by IKEA
Pobjednik ovogodinjeg natjecanja bio je tandem in order to provide them with (a new or additional)
studenata industrijskog dizajna, kojeg ine Luka Pale- function concerning preparation, consumption or
strina Mazi i studentica Josipa Tadi. Svojim radom storage of food.
kojega su nazvali Pasta osvojili su najvie glasova The winners of this years competition were Luka
strunoga irija, prema ijem miljenju su najdublje Palestrina Mazi and Josipa Tadi, students of Indu-
proniknuli u pojam hakiranja, dajui novi kontekst strial Design. Their work entitled Pasta received the
i novu vrijednost postojeem Ikeinom proizvodu. highest number of votes by the expert panel who
Osvojili su sudjelovanje na manifestaciji Democratic expressed the opinion that this work provided the
Design Days te priliku da o produkt dizajnu ue na deepest insight into the concept of hacking, putting
samome izvoru IKEA-eu vedskome gradu lm- the existing IKEA product into a new context and
hultu, gdje je smjetena IKEA of Sweden. giving it a new value. They won the opportunity to
Ovi studenti sudjelovali su na radionici: Luka Pale- participate at the event Democratic Design Days,
strina Mazi, Josipa Tadi, Otto Kuec, Miran Bai, as well as an opportunity to learn about product
Maja Jandri i Viktoria Lea Vavra. design at the source of IKEAthe Swedish city of
lmhult, which is the headquarters of IKEA of Sweden.
Luka Palestrina Mazi, Josipa Tadi, Otto Kuec,
Miran Bai, Maja Jandri and Viktoria Lea Vavra
were the students participating at the workshop.
Josipa Tadi, Luka Palestrina Mazi
406 407
Galerija Studija dizajna

Inkluzivna radionica za Galerija Studija dizajna
djecu sa sranim bolestima Radionica Recikloigrokazz!
Galerija Studija dizajna, 2. lipnja 2016. U sklopu izlobe Galerija Studija dizajna,20.lipnja 2016.to se dogaa
ovjek je mjerilo svih vrijednosti, Studij dizajna je kada dopustimo snovima i sanjarenju da postanu dio
u suradnji s Udrugom OPA i Udrugom Veliko srce nae svakodnevice? Koji su razlozi zbog kojih neto
malom srcu, neprofitnom humanitarnom udrugom doivljavamo realno, stvarno i ozbiljno, a sve ostalo
lijenika, zdravstvenog osoblja i roditelja djece s pri- proglaavamo neozbiljnom igrarijom? Svoje odgo-
roenim sranim grekama i drugim sranim bole- vore na ova pitanja pokuala su dati djeca niih razreda
stima, organizirao posebnu radionicu. osnovnih kola, koja su uz pomo multidisciplinarnog
I za ovu radionicu je organiziran dolazak osnovno- umjetnika Gorana Lelasa, od raznih dostupnih mate-
kolske djece s roditeljima ukljuenim u rad nepro- rijala koje bi mnogi nazvali smeem, oblikovala pred-
fitne udruge lijenika, zdravstvenog osoblja i rodi- mete prema vlastitim idejama i snovima. Zadatak je
telja djece s priroenim sranim grekama i drugim bio da svatko prema svojoj elji, ovisno o odabranom
sranim bolestima. Nakon obilaska izlobe i upo- materijalu, osmisli igraku, lutku, uporabni predmet ili
znavanja s izlocima, djeca su u prostoru Galerije objekt i smisli mu ime. Kreirani objekt nastavlja svoj
sudjelovala u radu radionice s temom radionike ivot i funkcionira u oba svijeta, realnom i imaginar-
terapijecrtanje fraktala. nom. Djeca tu transformaciju prihvaaju bezrezervno,
Materijal je i za ovu radionicu osigurala Udruga a odrasli se ipak moraju prisjetiti poznate izreke kako
OPA, a djeji crtei nastali tijekom radionice bili su Najvei ovjek uvijek ostaje dijete. Udruga OPA orga-
naknadno izloeni u prostorijama Klinike za pedi- nizirala je i ovom prilikom dolazak djece na radionicu
jatriju KBC-a Zagreb. kao i materijal neophodan za rad na radionici. Kako se
radionica odravala tijekom izlobe ovjek je mjerilo
svih vrijednosti, studenti kao autori izloenih projekata
School of Design Gallery imali su priliku upoznati se s g. Lelasom i njegovim
An inclusive workshop for children iskustvima oblikovanja, produkcije i franize igraaka.
with heart disease
School of Design Gallery, June 2 2016. During the
exhibition entitled Man is the Measure of all Values, School of Design Gallery
School of Design organised a special workshop in Recikloigrokazz! workshop
co-operation with OPA Association and the Asso- School of Design Gallery, June 20 2016. What happens
ciation Big Heart to Small Heart, a non-profit huma- when one lets dreams and daydreaming become a
nitarian organisation of doctors, health professio- part of ones everyday life? What are the reasons due
nals and parents of children with congenital heart to which one experiences something as real, actual
defects and other cardiac diseases. and serious, whilst everything else is declared as a
The arrival of children attending elementary school reckless childs play? Children attending lower ele-
with their parents involved in the work of the non-pro- mentary school attempted to provide answers to
fit organisation of doctors, health professionals and these questions and, with the assistance of a multi-
parents of children with congenital heart defects disciplinary artist Goran Lelas, using different availa-
and other cardiac diseases was organised also in ble materials which many would consider as rubbish,
this occasion. they designed objects based on their own ideas and
After visiting the exhibition and becoming acquain- dreams. The assignment was for everyone to design
ted with the exhibits, the children participated in the a toy, a doll, a usable object or any other object and
workshop held at the Gallery addressing the topic name it according to their own wishes and depen-
of workshop therapy drawing fractals. ding on the material selected. The designed object
The materials for this workshop were provided by continues its life and functions in both the real and
OPA Association, whilst childrens drawings created the imaginary world. Children absolutely accept this
during the workshop were subsequently exhibited transformation, whilst adults still need to remember
at the premises of the Department of Pediatrics at the well-known sayingThe Biggest Amongst Us
the University Hospital Centre Zagreb. Remain Children Forever.OPA Association organised
the arrival of children to the workshop and it also pro-
vided the materials required for the work. Since the
workshop was held during the exhibition Man is the
Measure of all Values, students as the holders of the
exhibited projects had the opportunity to meet Mr
Lelas and become acquainted with his experiences
in design, production and franchise of toys.
408 409
Nagrada bivim
Galerija Studija dizajna studentima Studija dizajna
Izloba radova studenata na natjeaju parikog
Studija dizajna muzeja Louvre
Listopad 2016.Izlobom najboljih radova osam- Najposjeeniji i najpoznatiji svjetski muzej, pariki
desetak studenata Studija dizajna, nastalih na kole- Louvre, raspisao je poetkom prole godine pozivni
gijima Projektiranjeindustrijski dizajn i Projekti- natjeaj za novi vizualni identitet na kojem je,
ranjevizualne komunikacije, u akademskoj godini u konkurenciji najboljih francuskih dizajnera, studija
2015./2016., nastavlja se praksa prezentiranja stu- i agencija, pobijedio upravo rad u kojem su sudjelo-
dentskih dostignua domaoj strunoj i iroj javnosti. vali i mladi hrvatski dizajneri, bivi studenti Studija
Izloba, koja ve postaje tradicionalna, vrhunac je dizajna: Sandro Dujmenovi i Marko Hrastovec. Oni
godinje djelatnosti Galerije Studija dizajna i u krat- su sudjelovali u projektu na poziv francuske branding
kom vremenu svog djelovanja u potpunosti je oprav- agencije Dream On, koja je razvijala cjeloviti prijed-
dala svoje postojanje. Ova galerija potvruje se kao log vizualnog identiteta muzeja. Mladi dizajnerski
mjesto odvijanja raznovrsnih programa vezanih ne dvojac za ovu je priliku osmislio tipografije Louvre
samo uz neposredan rad Studija dizajna, nego i pro- Sans te Louvre Serif, koji e sljedeih pet godina biti
grama organiziranih u suradnji s drugim subjektima slubena i ekskluzivna tipografija muzeja, nakon
koji vide prednosti u suradnji sa studijem. ega slijedi mogunost trajnog otkupa.
Na izlobi je bilo mogue vidjeti irok raspon stu-
dentskih pristupa kao i usporediti razliite rezultate
studentskog rada unutar istih projektnih zadataka. Former students of the School of Design
awarded at the competition of the
Louvre Museum
School of Design Gallery At the beginning of last year, the Louvre Museum,
Exhibition of work by the students at the most visited and the most famous museum in
the School of Design the world, invited a tender for a new visual iden-
October 2016The exhibition of the best work by tity in which the work presented by young Croatian
around eighty students at the School of Design cre- designers, Sandro Dujmenovi and Marko Hrasto-
ated during the courses DesignIndustrial Design vec former students at the School of Design, was
and DesignVisual Communications during the aca- selected amongst the best French designers, design
demic year 2015/2016, yet again presented student studios and agencies. The Croatian designers par-
achievements to the domestic professional and bro- ticipated in the project upon invitation by Dream
ader public. The exhibition, which has already been On, a French branding agency, which developed
considered as traditional, is the pinnacle of activity the comprehensive proposal of visual identity of
of the School of Design Gallery at the annual level the Museum.
and it has fully justified its existence irrespective of Hence, the young Croatian designers provided typo-
the short period that has elapsed since its inception. graphies Louvre Sans and Louvre Serif which will be
This Gallery has been established as a venue inten- the official typographies of the Museum that has the
ded for the presentation of various programmes exclusive right to use them over the next five years,
linked not only with the direct work of the School retaining the possibility of permanent purchase.
of Design, but also with the programmes organi-
sed in co-operation with other entities which have
recognised the advantages of co-operation with the
School. The exhibition presented a broad range of
student approaches and also provided an oppor-
tunity to compare different results of student work
within identical project assignments.
410 411
Terenska nastava
Odlazak u mirovinu Grafiki materijali Field work
Graphic materials and
Ivana Trumbetaa i Grafiki proizvodi Graphic products
Nakon vie od petnaest godina rada U duhu je nastave na Studiju dizajna da bene ambalae. Najznaajniji segment In line with the lectures normally deli- dents were provided an insight into 24th May 2016: at Radin Print d.o.o.
u mirovinu je otiao domar Studija dizajna, se studenti to je mogue ee i vie posjeta bio je obilazak Projektnog odjela, vered at the School of Design students the basic methods of communication students were introduced to the overall
Ivan Trumbeta. Malom sveanou upoznaju sa stvarnim izazovima koji u kojem timovi dizajnera i tehnologa need to be as frequently as possible between designers and paper suppliers. manufacturing sequence during the
obiljeen je njegov odlazak, kojom ih oekuju u buduoj profesionalnoj zajedniki rade na oblikovanju najsu- thoroughly introduced to the real 20th April 2016: students visited production in the field of magazine
su se prilikom nastavnici zahvalili karijeri. Na tom tragu je organizirana vremenije ambalae u ovome dijelu challenges they are about to face Istragrafika d.o.o., where they were print. During the visit students were
g. Trumbetau na svemu to je u okviru nastava iz kolegija Grafiki materijali europskog trita. throughout their future professional introduced to the overall production provided an overview on how stan-
svog djelokruga rada uinio za uspje- 1/2 i Grafiki proizvodi, te su u ak. god. 6.svibnja 2016. studenti su posje- career. Consequently, lectures were process in the production of folding dardised control of colour reprodu-
an rad Studija dizajna. 2015./2016., izmeu ostalih, organizi- tili grafiko-tiskarsku tvrtku Denona organised accordingly in the courses cardboard boxes and food packaging. ction in print works in the real system
rana i gostovanja u prostoru Fakulteta d.o.o., gdje su se upoznali s cjelokupnim Graphic materials 1/2 and Graphic The most important aspect of the visit which can be followed and measured
kao i posjeti nekima od vodeih gospo- proizvodnim procesom u proizvodnji products and hence visiting lectures, was the tour around the Design Depar- from monitors in design studios to
The retirement of Ivan darskih subjekata iz podruja grafike meko i tvrdo uvezanih knjiga, asopisa amongst others, were organised during tment, in which teams of designers the final product.
Trumbeta proizvodnje. Ovdje navodimo samo te drugih proizvoda u ponudi tvrtke. the academic year 2015/2016 at the and technologists work jointly on the
neke od tih, najznaajnijih poduzea. Velika se pozornost obratila pojanje- School of Design premises, as well as design of the most modern packaging
After over fifteen years of work the 17.studenog 2015. u zgradi Fakulteta nju komunikacije dizajnera s pripre- visits to some of the leading economic in this segment of the European market.
janitor at the School of Design, Ivan strunjaci iz tvrtke Europapir Adria mnim odjelom tiskare koji je na iznimno entities in the field of graphic produ- 6th May 2016: students visited
Trumbeta, was retired. His retirement d.o.o. odrali su prezentaciju komplet- visokoj europskoj razini u ovoj tvrtki. ction. We are hereby listing only some a graphic-printing company Denona
was marked by a small ceremony during nog asortimana dizajnerskih i tiskar- 24.svibnja 2016. u tvrtki Radin print of the most significant companies. d.o.o., where they were introduced to
which the professors expressed their skih papira koji se mogu nabaviti na d.o.o. studenti su se upoznali s cjelo- 17th November 2015: experts from the entire production process in the
gratitude to Mr Trumbeta for his ove- europskom tritu. Uz bogat pregled kupnim proizvodnim slijedom pri pro- Europapir Adria d.o.o delivered a pre- production of both hardcover and
rall contribution within the scope of kataloga svih prezentiranih papira i kar- izvodnji u segmentu revijalnog tiska. sentation at the School of Design paperback books, magazines and other
his work to the successful operation tona studentima je pojanjen osnovni Tijekom posjeta moglo se vidjeti kako premises of the complete product products provided by the company.
of the School of Design. nain komunikacije izmeu dizajnera u realnom sustavu djeluje standar- range of designer and printing paper A special attention was paid to expla-
i dobavljaa papira. dizirana kontrola reprodukcije boja available on the European market. In nation of communication between desi-
20.travanja 2016. studenti su posjetili u tisku koja se moe pratiti i mjeriti addition to a comprehensive over- gners and the Preparatory Department
Istragrafiku d.o.o., gdje su upoznati od monitora u dizajnerskom studiju view of catalogues of all the paper of the printer which in this company is
s cjelokupnim proizvodnim procesom to gotovog proizvoda. and cardboard types presented, stu- at an extremely high European level.
u proizvodnji sloivih kutija i prehram-
412 413
Vedran Klanac
Luka Peri i Marina Juki (Ocean Media)
Gostujua predavanja na Od dizajn studija do Izazov dizajna videoigara
Studiju dizajna softverske agencije pod pritiskom trita
Kao dodatni oblik informiranja studenata o uim i irim aspek- Luka i Marina, bivi studenti Vizualnih komunikacija Petak trinaesti bio je rezerviran za predavanje
tima dizajnerske struke, Studij dizajna omoguio je gostovanja Studija dizajna, danas su voditelji dizajnerskog tima Vedrana Klanca iz tvrtke Ocean Media o temi: Iza-
u Infinumu, jednoj od vodeih agencija za razvoj zov dizajna videoigara pod pritiskom trita. Pred-
predavaa iz razliitih podruja koja jesu ili mogu biti u direk- web i mobilnih aplikacija. Infinum se nalazi iza nekih stavio je svijet videoigara nekad i sad, trendove
tnoj ili indirektnoj vezi s dizajnom. od popularnih projekata u Hrvatskoj i inozemstvu u dinaminoj trinoj utakmici i kulturi videoigara kao
Tako su srijedom poslijepodne studenti mogli uti i vidjeti pre- poput Muzeja prekinutih veza, Tvornice snova, Erste oblika (ne samo) zabave u postindustrijskom drutvu.
mBanking, Moj Vip, mHPB, AgentCASH, Dolcela, Predavanje su dopunile prezentacije kolega s 1. dodi-
zentacije o profesionalnim iskustvima dizajnera, bivih stude- Expansive iPad app i mnogih drugih. Kada ne rade za plomske godine: Dominika Perovia, Dominka Badela
nata Studija dizajna ili strunjaka iz mnogih podruja koja na klijente s drugim lanovima tima organiziraju radi- te Matije Jandri.
bilo koji nain ukljuuju dizajn. onice i interna predavanja te dizajnerske radionice.
Predavanje otkriva zato su se nakon kratkoronog
Prezentacije se nerijetko nastavljaju neformalnim druenjima iskustva u printu i oglaavanju odluili prebaciti Vedran Klanac (Ocean Media)
studenata i gostujuih predavaa, to obogauje postojeu u digitalne vode. Prisutni su mogli saznati vie Video game design challenge under
pedagoku praksu temama koje esto iz objektivnih razloga o specifinim etapama i metodama problem-so- market pressure
lvinga, koje se mogu usvojiti iskljuivo u realnim
nije mogue obuhvatititi aktualnim nastavnim programom. situacijama. emu slui UX istraivanje, wirefra- A lecture delivered by Vedran Klanac from Ocean
meovi, prototipi, u kojoj fazi poeti s UI dizajnom Media addressing the issue of Video game design
i dizajnom interakcija, kako komunicirati s klijentima challenge under market pressure was scheduled on
Visiting Lecturers at the i programerima te kada pustiti proizvod na trite, Friday the 13th. He presented the world of video
games both in the past and currently, trends in
neke su od tema koje su predavai pribliili prisutnima.
School of Design
dynamic market competition and video game
culture as a form (not only) of entertainment in
Aiming to provide an additional form of student information on post-industrial society.The lecture included the
Luka Peri and Marina Juki presentations delivered by the colleagues from
both narrow and broad aspects of design profession, The School From a design studio to a first Undergraduate Study Programme: Dominik
of Design provided the opportunity to attend visiting lectures software agency Perovi, Domink Badel and Matija Jandri.
addressing the topics in diverse fields that are or could be dire- Luka and Marina, former students of Visual Com-
munications at the School of Design, are currently
ctly or indirectly linked with design. design team leaders in Infinum, one of the leading
Hence, on Wednesday afternoons students had the opportu- web and mobile application development agen-
nity to attend presentations showing professional experiences cies. Infinum was the agency behind several popu-
lar projects both in Croatia and abroad such as the
of designers, former students at the School of Design or experts Museum of Broken Relationships, Dream factory,
in a broad range of fields that include design in any way. Erste mBanking, My Vip, mHPB, AgentCASH, Dolcela
Presentations were frequently followed by informal socialising and Expansive iPad app, amongst a large number of
others. When they do not work for their clients, they
between students and visiting lecturers, enriching the current are involved in organising workshops and internal
pedagogical practices with topics that are often not included lectures, as well as design workshops in co-opera-
in the current curriculum due to objective reasons. tion with other team members.
The lecture reveals why they decided to become
involved in the digital sphere after a short-term
experience in print and advertising. The attendees
had the opportunity to gain insight into specific
steps and methods of problem-solving which can
be mastered exclusively in real situations. The lectu-
rers addressed the issues such as the purpose of UX
research, wireframes, prototypes, in which phase to
become involved in UI design and interaction design,
how to communicate with clients and program-
mers and when to launch a product on the market.
414 415
Damjan Geber (Brigada)

Kako uspjeno prodati Damjan Geber (Brigada)
How to successfully sell ones work,
svoj rad, a ne sebe rather than oneself
Damjan Geber osniva je i kreativni direktor agencije Damjan Geber is the founder and the Creative Director
Brigada. Diplomirao je arhitekturu na Sveuilitu of Brigada Agency. He graduated from the Univer-
u Zagrebu, a uu specijalizaciju na podruju diza- sity of Zagreb, narrowly specialising in point of sale
jna prodajnih mjesta i psihologije potroaa stekao design and consumer psychology during his educa-
je putem edukacije u Japanu, Izraelu i Engleskoj. tion in Japan, Israel and England.
Brigada je osnovana 2010. kao prva full service kre- Brigada was founded in 2010 as the first full service
ativna agencija specijalizirana za prostornu komuni- creative agency specialised in spatial communication,
kaciju, osmiljavanje cjelovitih prodajnih koncepata provision of comprehensive sales concepts and inte-
i integraciju brandinga s prostorom. Meu mnogim gration of branding into the premises. In addition to
domaim i inozemnim nagradama Brigada je osvo- a large number of national and international awards,
jila i RED DOT, najveu europsku nagradu za dizajn Brigada also received the RED DOT Award, the highest
i trine komunikacije. award in Communication Design at the European level.
Predava je studente upoznao sa specifinostima The lecturer has introduced the students to the spe-
procesa rada unutar Brigade kroz multidisciplinarni cific features of work within Brigada through a mul-
pristup temeljen na detaljnim interdisciplinarnim tidisciplinary approach based on detailed interdis-
istraivanjima. Istaknuo je da je za uspjean projekt ciplinary research. He pointed out that, in addition
bitno, osim dobrog dizajna, krenuti od analize ljud- to good design, the success of the project primarily
skog ponaanja i psihologije potroaa, percepcije depends on starting from analysis of human beha-
vizualne komunikacije i prostornog navoenja, sve viour and consumer psychology, perception of visual
do klasine analize prostornih ogranienja. Pravil- communication and spatial navigation, only to include
nom interpretacijom i primjenom dobivenih rezultata classical analysis of spatial constraints. A good, solid
stvara se dobar, vrst temelj koji se zatim nadogra- base is created through relevant interpretation and
uje kvalitetnim dizajnom. application of achieved results, which is subsequen-
tly upgraded with quality design.
416 417
Vijee
Povjerenstva
Programski odbor

Council
Committees
Programme Board
418
godinjak studija dizajna 2015./2016. vijee, povjerenstva, programski odbor
school of design annual review 2015/2016 council, committees, programme board
lanovi vijea studija dizajna predstavnici studenata preddiplomskog studija

school of design council members student representatives undergraduate programme
prof.dr.sc. Bojan Baleti / PhD, full professor 1. godina / 1st year

doc.mr.sc. Sanja Benceti / MSc, assistant professor Tea Sinovi
prof. Stipe Bri / associate professor
prof. Nenad Dogan / associate professor 2. godina / 2nd year
prof. Ivan Doroghy / associate professor industrijski dizajn: Dora Doko
pred.dr.sc. Kreimir Dragievi / PhD, lecturer vizualne komunikacije: Ivan Klanac
doc.dr.sc. Nikola urek / associate professor
doc.mr.sc. Ivana Fabrio / assistant professor 3. godina / 3rd year
pred. Flatz Emil / lecturer industrijski dizajn: Luka Dundovi
doc.dr.sc. Morana Fuduri / associate professor vizualne komunikacije: Anja Nikoli
prof.dr.sc. Ivica Grbac / PhD, full professor
izv.prof.dr.sc. Tatjana Haramina / PhD, associate professor predstavnici studenata diplomskog studija
izv.prof. Stanko Herceg / associate professor student representatives graduate programme
asist. Andrea Hercog / teaching assistant
izv.prof. Boris Ilekovi / associate professor 1. godina / 1st year
prof.dr.sc. Tanja Jurevi-Luli / PhD, full professor industrijski dizajn: Iva Vuemilovi Grgi
asist. Romana Kajp / teaching assistant vizualne komunikacije: Otto Kuec
prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
doc. Vedran Kasap / assistant professor 2. godina / 2nd year
asist. Inja Kavuri Kireta / teaching assistant industrijski dizajn: Tamara Petrua
v.pred. Zlatko Klanac / senior lecturer vizualne komunikacije: Lovro Miokovi
pred.dr.art. Ivana Knez / PhD, lecturer
pred. Dina Korper emva / lecturer dekan
prof.dr.sc. Melita Kovaevi / PhD, full professor dean
prof.dr.sc. Dorian Marjanovi / PhD, full professor
asist. Tomislav Martinec / teaching assistant prof.mr.sc.Boris Korunjak / MA
prof.dr.sc. Anka Mieti / PhD, full professor
prof.dr.sc. Milan Opali / PhD, full professor voditelj studija dizajna
prof. Mladen Orei / associate professor head of the school of design
pred. Jelena Parizoska / lecturer
prof.dr.sc. Jurica Pavii / PhD, full professor prof. Stipe Bri / associate professor
pred. Mario Petrak / lecturer
pred.dr.sc. Ivana Podnar / PhD, lecturer tajnik
asist.Pavel Posavec / teaching assistant university secretary
pred. Nives Serti / lecturer
v.pred.mr.sc. Nikoleta Sudeta / MA, senior lecturer dipl.iur.Tihana Grgi Ovald / J.D.
prof.dr.sc. Mladen ercer / PhD, full professor
doc. Robert imetin / associate professor voditelj ispostave studija dizajna
doc.dr.sc. Marija imi Horvath / associate professor head of the school of design branch office
doc.dr.sc. Vatroslav kare / associate professor Vinja Krajnovi
v.asist.dr.sc. Stanko kec / PhD, lecturer
asist.mr.sc. Roberto Vdovi / MSc, teaching assistant voditelj u studentskoj referadi studija dizajna
doc. Tomislav Vlaini / assistant professor assistant in the school of designs student administration office
izv.prof.dr.sc. Fea Vuki / PhD, full professor
pred.dr.sc.Vlatka Wertheimer / PhD, lecturer Sanja Bui
doc.dr.sc. Dragan eelj / associate professor
asist. Hrvoje ivi / teaching assistant
doc.dr.sc. Ivica upi / associate professor
pred. Veljko van / lecturer
420 421
godinjak studija dizajna 2015./2016. vijee, povjerenstva, programski odbor
school of design annual review 2015/2016 council, committees, programme board
programski odbor povjerenstvo za obranu diplomskog rada povjerenstvo za pripremu i provedbu povjerenstvo za ocjenu sposobnosti vizualnog miljenja i
programme committee na diplomskom studiju dizajna razredbenog postupka na preddiplomskom studiju likovnog izraavanja (1.i 2. selekcijski krug)
committee for the graduation theses and final examination committee for admission to undergraduate programme committee for assessing visual thinking and artistic expression
in graduation programme (1st and 2nd rounds of selection process)
doc.mr.sc. Sanja Benceti / MSc, assistant professor industrijski dizajn / industrial design prof. Stipe Bri / associate professor vizualne komunikacije / visual communications
prof. Stipe Bri / associate professor Sanja Bui
prof. Nenad Dogan / associate professor doc.mr.sc. Ivana Fabrio / assistant professor prof. Nenad Dogan / associate professor prof. Stipe Bri / associate professor
prof. Ivan Doroghy / associate professor prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor prof. Ivan Doroghy / associate professor prof. Nenad Dogan / associate professor
doc.mr.sc. Ivana Fabrio / assistant professor prof.dr.sc. Anka Mieti / PhD, full professor doc.mr.sc. Ivana Fabrio / assistant professor prof. Ivan Doroghy / associate professor
asist. Andrea Hercog / teaching assistant prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant pred.Mario Petrak / teaching assistant
prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist.Romana Kajp / teaching assistant doc. Tomislav Vlaini / teaching assistant
prof.dr.sc. Anka Mieti / PhD, full professor tajnik/secretary: prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor
prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant doc. Vedran Kasap / assistant professor industrijski dizajn / industrial design
doc. Tomislav Vlaini / teaching assistant asist. Inja Kavuri Kireta / teaching assistant
izv.prof.dr.sc. Fea Vuki / PhD, associate professor vizualne komunikacije / visual communications prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
pred.Veljko van / lecturer asist.Pavel Posavec / teaching assistant izv.prof. Boris Ilekovi / associate professor
prof. Stipe Bri / associate professor doc. Tomislav Vlaini / teaching assistant prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor
prof. Nenad Dogan / associate professor izv.prof.dr.sc. Fea Vuki / PhD, associate professor prof. Mladen Orei / associate professor
povjerenstvo za nagrade studija dizajna prof. Ivan Doroghy / associate professor
school of design awards committee izv.prof. Stanko Herceg / associate professor
izv.prof.dr.sc. Fea Vuki / PhD, associate professor povjerenstvo za ocjenu sposobnosti vizualnog miljenja i povjerenstvo za provoenje i ocjenu intervjua
prof. Nenad Dogan / associate professor likovnog izraavanja (1.i 2. selekcijski krug) na preddiplomskom studiju
prof. Ivan Doroghy / associate professor tajnik/secretary committee for assessing visual thinking and artistic expression committee for admission to undergraduate programme
doc.mr.sc. Ivana Fabrio / assistant professor doc. Tomislav Vlaini / teaching assistant (1st and 2nd rounds of selection process)
prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor prof. Stipe Bri / associate professor
prof.dr.sc. Anka Mieti / PhD, full professor prof. Stipe Bri / associate professor prof. Nenad Dogan / associate professo
prof. Mladen Orei / associate professor povjerenstvo za obranu diplomskog rada prof. Nenad Dogan / associate professor prof. Ivan Doroghy / associate professor
izv.prof.dr.sc. Fea Vuki / PhD, associate professor na dodiplomskom studiju prof. Ivan Doroghy / associate professor asist. Andrea Hercog / teaching assistant
committee for holding and assessing asist. Andrea Hercog / teaching assistant asist.Romana Kajp / teaching assistant
undergraduate programme interviews izv.prof. Boris Ilekovi / associate professor prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
povjerenstvo za predlaganje kandidata za rektorovu nagradu prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor prof.dr.sc. Anka Mieti / PhD, full professor
candidate proposal committee for rectors award produkt dizajn / product design prof. Mladen Orei / associate professor prof. Mladen Orei / associate professor
pred.Mario Petrak / teaching assistant pred.Mario Petrak / teaching assistant
prof. Nenad Dogan / associate professor doc. Tomislav Vlaini / teaching assistant pred.dr.sc. Ivana Podnar / PhD, lecturer
doc.mr.sc. Ivana Fabrio / assistant professor grafiki dizajn / graphic design asist.Pavel Posavec / teaching assistant
prof.dr.sc. Anka Mieti / PhD, full professor izv.prof.dr.sc. Fea Vuki / PhD, associate professor
izv.prof. Stanko Herceg / associate professor prof. Stipe Bri / associate professor povjerenstvo za ocjenjivanje prezentacijskih mapa doc. Tomislav Vlaini / teaching assistant
prof. Nenad Dogan / associate professor presentation map assessment committee
izv.prof. Stanko Herceg / associate professor prof. Ivan Doroghy / associate professor povjerenstvo za pripremu i provoenje razredbenog
izv.prof.dr.sc. Fea Vuki / PhD, associate professor izv.prof. Boris Ilekovi / associate professor postupka na diplomskom studiju
prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor committee for admission to graduate programme
doc.mr.sc. Sanja Benceti / MSc, assistant professor

prof. Stipe Bri / associate professor
prof. Nenad Dogan / associate professor
doc.dr.sc. Nikola urek / associate professor
doc.mr.sc. Ivana Fabrio / assistant professor
prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor
prof.dr.sc. Anka Mieti / PhD, full professor
prof. Mladen Orei / associate professor
pred.dr.sc. Ivana Podnar / PhD, lecturer
izv.prof.dr.sc. Fea Vuki / PhD, associate professor
422 423
Registar
Archive
godinjak studija dizajna 2015./2016. registar
school of design annual review 2015/2016 archive
2015/2016
nastavnici upisani na sveuilini upisani na sveuilini sveuilini preddiplomski sveuilini diplomski nagrade i priznanja
teaching staff preddiplomski studij diplomski studij studijprvostupnici studijmagistri studija dizajna
students enrolled in the students enrolled in the university undergraduate university graduate awards and acknowledgement
university undergraduate studies university graduate studies studiesbachelors studiesmasters at the school of design
Baleti Bojan imetin Robert Andrei Josip Bartoli Dina oti Karla Bjeli Barbara godinja nagrada
Benceti Sanja imi Horvath Marija Ari Mirna Bai Miran Grubii Petra Bonjak Elizabeta preddiplomski studij
Bri Stipe kare Vatroslav Badel Dominik Bitunjac Marina Jurina Viktoria Daki Monika annual award
Dogan Nenad kec Stanko Bagi Tomislav Bonifai Ian Kara Mihovil Grahek Lana undergraduate programme
Doroghy Ivan Vdovi Roberto Barovi Matija Buri Tin Kasun Dora Grevi Borna Aaron
Dragievi Kreimir Vlaini Tomislav Benc Helena Cvijanovi Stela Koica Juraj Grubii Mateo Luka Palestrina Mazi
urek Nikola Vuki Fea Borovac Ines uki Andrej Kovai Filip Habjan Klasja projektiranjeindustrijski dizajn
design courseindustrial design
Fabrio Ivana Wertheimer Vlatka Boroviki Leonard Fuzul Nikolina Leustek Iva Herceg Ana
Flatz Emil eelj Dragan Brki Matea Goreta Matej Lonar Elizabeta Hrabar Ivana Ivana Baanek
Fuduri Morana ivi Hrvoje Dodi Paola Gudiek Karmela Maltar Matej Jandri Maja projektiranjevizualne komunikacije
design coursevisual communications design
Grbac Ivica upi Ivica Filipovi Mirta Herceg Ana Mareli Klara Kolar Igor
Haramina Tatjana van Veljko Gajski Karlo Huljev Katarina Milas Mirjam Martinjak Vitomira
Herceg Stanko Gjergja Josipa Jurevi Matea Mili Rafael Miokovi Lovro godinja nagrada
Hercog Andrea Voditelj radionice/ Habjan Jakov Kentri Stani Nikolina Nikoli Anja Mrka Laura diplomski studij
Ilekovi Boris Workshop facilities manager Hodak Monika Kovaevi Michelle Antonia Novak Karla Naki-Vojnovi Zita annual award
Jurevi-Luli Tanja Ivica Turi Jandri Matija Kuec Otto Petrov Grgo Njegovanovi Nataa graduate programme
Kajp Romana Kepert Anja Moevi Monika Rubini Lucija Paveli Adriana
Kapetanovi Zlatko voditelj/head Klasi Antonio Modri Petra Salari Petra Pavii Karlo Andrej uki
industrijski dizajn
Kasap Vedran Bri Stipe Lacmanovi ani Pavlek Borjan Sunek Valentina Perkovi Vanja industrial design
Kavuri Kireta Inja Letica Marta Pavlekovi Preis Sara anti Paula Petrua Tamara
Klanac Zlatko Matuli Marija Perkovi Vanja muc Eva Pra Josipa Vanja Perkovi
dizajn vizualnih komunikacija
Knez Ivana Miji Matko Prelec Maja obat Paula Tintor Hana visual communications rial design
Korper emva Dina Moja Ana aban Ivan Tadi Josipa Uki Martina
Kovaevi Melita Mori Ramona ljaka Toni Udovii Mladen Vavra Viktoria Lea godinja priznanja
Marjanovi Dorian Perovi Dominik Tecilazi Nika Vui Mirko Veeri Valentino annual acknowledgements
Martinec Tomislav Petrov Josipa Tintor Hana Vukovi Matej Vuko Ana
Mieti Anka Pikor Petra Vertu Leona ic Lara NikaTecilazi
Opali Milan Pulji Hana Vrbani Gala Marija Evamuc
Orei Mladen Rebec Andrea Vuemilovi-Grgi Iva FilipKovai
Parizoska Jelena Rupi Lucija Andrej uki
Pavii Jurica Ruin Iva TamaraPetrua
Petrak Mario Sinovi Tea ValentinoVeeri
Podnar Ivana Stojakovi Hana projektiranjeindustrijski dizajn
Posavec Pavel arlija Zoe design courseindustrial design
Serti Nives ulenti Vana Hana Tintor
Sudeta Nikoleta Taneski Tea projektiranjevizualne komunikacije
ercer Mladen Zidi Neva Marija design coursevisual communications design
426 427
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
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
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
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
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
428 429
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
430 431
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
432 433
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 facilities manager 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
434 435
2010/2011
Bai Marcel Opali Milan Bari Valentina Anderlon Sanda Barbari Petra Ani-Kaliger Marta Bogovac Mia
Bae Joko Orei Marijan Birki Marta Bosazzi Laura Bastai Saa Dobreevi Mario Boljar Hrvoje
Baklia Darko Orei Mladen Bokovi Maja urija Vina uki Zoran Gaparovi Marija Burazin Anamaria
Baleti Bojan Pap Klaudio Brki Matea Filipi Livija Jelini Ante Gobin Luka Dizdar Bor
Benceti Sanja Pavii Jurica Buevi Anta Fura Aleksandra Pavlovi Jan Grani Martina Mastrovi Keti
Bogner Andrija Pelc Milan Bunti Matko Juki Jelena Plahtan Andrej Guli Matija Matkovi Katarina
Bori Ian Rendi Mioevi Marija Crnevi Niko Juza Marija Rak Marijana Hrvatin Iva Mihaljevi Niko
Bori Luka Daniel Sria Velimir uki Andrej Kritofi Bojan Sablji Branimir Juki Marina Miliki Petra
Bori Neda Stergarek Stanko Falica Vedran Leskovar Vlatka Serdarui Mislav Kolar Igor Milovac Maa
Brali Damir Sudeta Nikoleta Grahek Lana Maglov Sandra kali Vedrana Marinovi Daria Peirko Tihana
Bri Stipe ercer Mladen Grevi Borna Aaron Nejami Nera Volf Kristina Mudni Andrija Rimac Ana
Bukovan Miljenko torga Mario Grubi Sara Predragovi Luka Vuci Luka Paliska Karla Vinkovi Leopold
orkalo Dinka Tadej Sonja Herceg Ana Samoanec Kazimir Zadro Ante Perai Ika Zlatec Katarina
Dabanovi Aleksandra Tonkovi Zdenko Horvat Zrinka imeg eljko Perai Filip
Dekovi Damir Vdovi Roberto Ivanovi Nina oa Goran Rui Marija
Dogan Nenad Vlaini Tomislav Jeki Mario Tizaj Marija Sekuli Ana
Doroghy Ivan Vrani Zvonko Kosti Stanislav Tuek Sanja Sever Anamaria
urek Nikola Vuki Fea Kutlea Dorotea Vinski Ivor erka-Kustec Vanessa
uri Nemec Dubravka Waldgoni Renata Martinjak Vitomira Zorko Stjepan neler Hana
Fabrio Ivana Zeevi Slaven Miokovi Lovro Tomi Ana Maria
Filetin Tomislav eelj Dragan Nieno Lucija Turinovi Made
Filipovi Nikola iljak Vilko Perkovi Vanja Vargovi Mihovil
Geiger Marija upi Ivica Petrua Tamara Vilipi Marko
Grbac Ivica Prgomet Kristina Vranko Hannah
Hajsig Boica Voditelj radionice/ Radas Donat Vui Mia
Haramina Tatjana Workshop facilities manager are Tihana
Herceg Stanko Ivica Turi avar Alma
Hrnevi Juraj kilji Lovro
Ilekovi Boris voditelj/head oli Ana
Jakuli Marina Kapetanovi Zlatko poljar Matija
Jernei eljko Vrdoljak Petra
Juras Ivan ic Lara
Jurevi Tanja
Jurkovi Miljenko
Justi Sinia
Kamenov Krunoslav
Kapetanovi Zlatko
Kasap Vedran
Kauzlari Zlatko
Keller Goroslav
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Kovai Neven
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
Morsan Boris
Munger Marcela
436 437
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 facilities manager 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
438 439
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 facilities manager 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
440 441
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 facilities manager 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
442 443
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 facilities manager Veljai Antonija Indof Janez Voditelj radionice/ Rotter Sanja Udovii Mirta
Jernei eljko Ivica Turi Vilipi Marko Jernei eljko Workshop facilities manager 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
444 445
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 facilities manager Volf Kristina Vuli Ivana Ilekovi Boris Workshop facilities manager 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
446 447
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 facilities manager 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 facilities manager 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
448 449
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 facilities manager Prizmi Damir Podnar Anamarija
Indof Janez Voditelj radionice/ Serdarui Mislav Jernei eljko Ivica Turi Radovanovi Ivana Podnar Nikolina
Ivanevi Radovan Workshop facilities manager 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
450 451
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 facilities manager 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 facilities manager 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
452 453
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 facilities manager 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
454 455
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
456 457
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
458 459
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
460 461
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 Sveuilite u Zagrebu / University of Zagreb of the publishing of the Annual review of the School of Design.
doc. dr. sc. Nikola urek
doc. mr. sc. Ivana Fabrio Akademija dramskih umjetnosti / Academy of Dramatic Arts
izv. prof. Stanko Herceg
izv. prof. Boris Ilekovi Muzika akademija / Academy of Music
prof. mr. sc. Zlatko Kapetanovi
asist. Inja Kireta Kavuri Fakultet elektrotehnike i raunarstva / Faculty of Electrical Engineering and Computing
prof. Mladen Orei
izv. prof. dr. sc. Fea Vuki Hrvatsko dizajnersko drutvo / Croatian Designers Association
glavni urednik / editor-in-chief Hrvatska obrtnika komora / Croatian Chamber of Trades and Crafts
prof. Ivan Doroghy
Muzejsko dokumentacijski centar / Museum Documentation Centre
pomonica glavnog urednika / assistant to editor-in-chief
Romana Kajp Puko otvoreno uilite Zagreb / Public Open University Zagreb
tekstovi / texts Galerija Bernardo Bernardi / Bernardo Bernardi Gallery

prof. Stipe Bri
prof. Ivan Doroghy Turistika zajednica grada Varadina / Varadin Tourist Board
prof. mr. sc. Zlatko Kapetanovi
prof. Mladen Orei pancirfest / Spancirfest
izv. prof. dr. sc. Fea Vuki
Centar za mirovne studije / Centre for Peace Studies
prijevod / translation
Luana Banek Udruga poVUci za kulturu / PoVUci za kulturu Association
pred. Jelena Parizoska
Udruga OPA / OPA Association
prijelom / layout
prof. Nenad Dogan Udruga veliko srce malom srcu / Big Heart to Small Heart Association
fotografije / photography Savez udruga za autizam djece / Croatian Union of Associations for Autism
Pavel Posavec
Ana Vujasi Istragrafika
Ivan Posavec
Arhiv Studija dizajna Lauba
lektor / lector UPI2M PLUS

Kaligraf
IKEA
priprema / prepress
Kaligraf
tisak / printing
Kerschoffset
462 463
464

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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

anketa 2016 _9 Survey 2016 _9

godinje nagrade i priznanja _13 annual awards and acknowledgements _13

diplomski studij/graduate programme

diplomski studij _243 graduate programme _243

projekti _369 projects _369

Prof. Stipe Bri, Professor Stipe Bri

Anketa 2016. Survey 2016

Godinje nagrade i priznanja

Godinje nagrade i priznanja Awards presented by the

godinja nagrada studija dizajna godinja nagrada studija dizajna

Luka Palestrina Mazi Ivana Baanek

mentor: Nenad Dogan

godinja nagrada studija dizajna godinja nagrada studija dizajna

Andrej uki Vanja Perkovi

Preddiplomski i diplomski studij

Predmet kao ekstenzija ovjeka

godinja priznanja studija dizajna nikatecilazi hana tintor

Drutvena kampanja protiv internetskih

Projektiranje Design Course

prvi semestar mirna ari

U prvom zadatku studenti trebaju analizom prirodnoga

leonard boroviki lucija rupi tea sinovi marija matuli

Zvunik Metronom Orah Def

Loud speaker Metronome Walnut tree Tambourine

neva marija zidi vana ulenti jakov habjan anja kepert

Ananas Punica Ptije pero Mikroskop

Prvi zadatak studentima postavlja izazov oblikovanja prostorne

Tema zadatka drugog semestra prve preddiplomske godine je

Flekto Roj Udaraljka

Flekto A swarm Percussion

Drava u gradu (urbana oprema) Labirint Stari grad

State within the city (urban equipment) Old Town Labyrinth

I ja sam bio tu panit Vizure grada

trei semestar luka palestrina mazi

Tema zadatka Redizajn je unapreenje postojeih malih kuan-

Electric toothbrush Electric knife Hand massager

andreja lovrekovi jan marin

Runi mikser Multimetar (unimer) Putno kuhalo Parno glaalo

Hand blender Multimeter (Unimer) Portable stove Steam iron

etvrti semestar lucija novosel erika filipan

U etvrtom semestru preddiplomskog studija studenti usvajaju

A socialising game link

Waist purse pillow Ruksak za vanjski boravak

Buksak Prea, kalupi i jedinica za odlaganje papira Torba za asopise/stalak za prodaju

peti semestar valentina sunek luka dundovi

Stolac i fotelja za hotele

Serija God Serija Unda

God series Unda series

josipa tadi eva muc

matea bertina jasna zorii

Serija IKO Serija Alta

IKO series Alta series

Zavrni zadatak u 6. semestru predstavlja najsloeniji projekt

Pomoni brod Balena Pomoni brod

viktoria jurina klara mareli

Urbana stajalita javnog prijevoza Element za odlaganje biootpada

Urban public transport stops A facility for biological waste disposal

U ovom se zadatku studenti vizualnih komunikacija upo-

Gradnja, Montaa, Ruenje

Banka, tedionica, Mjenjanica