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GODINJAK

Annual Review
GODINJAK
Annual review
2011/2012

Zagreb, 2013.
godinjak studija dizajna / school of design annual review 2011/2012

SADRAJ
Contents

Izdava / publisher 7 PREDGOVOR 163 DIPLOMSKI STUDIJ 227 PROJEKTI


Sveuilite u Zagrebu Foreword Graduate programme Projects
Arhitektonski fakultet
Studij dizajna 11 STUDIJ DIZAJNA U 2012. 167 INDUSTRIJSKI DIZAJN 247 DOGAANJA
School of design in 2012 Industrial design Events
Za izdavaa / For the publisher
Stipe Bri 17 PREDDIPLOMSKI STUDIJ 177 VIZUALNE KOMUNIKACIJE 267 IZVEDBENI PROGRAM
Undergraduate programme Visual communication Curriculum outline

21 INDUSTRIJSKI DIZAJN 191 TIPOGRAFIJA 289 STUDENTI


Industrial design Typography Students

53 VIZUALNE KOMUNIKACIJE 195 INTERAKTIVNI MEDIJI 301 VIJEE STUDIJA DIZAJNA,


Visual communications Interactive media POVJERENSTVA, PROGRAMSKI ODBOR
School of Design Council, Committees,
115 TIPOGRAFIJA 201 FILM I VIDEO Programme Board
Typography Film and video
307 AKTIVNOSTI PROFESORA
141 INTERAKTIVNI MEDIJI 209 DIPLOMSKI RADOVI Teachers Activities
Interactive media Masters thesis
311 REGISTAR
147 FOTOGRAFIJA Archive
Photography

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means without permission in writing from the publisher.

ISSN 1848-7823

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godinjak studija dizajna / school of design annual review 2011/2012

PREDGOVOR

IZV. PROF. STIPE BRI Iza nas je dvadesetitrea akademska godina. Prema postignutim
voditelj Studija dizajna rezultatima sa zadovoljstvom moemo ustvrditi da je to bila jo jedna
Arhitektonskog fakulteta
Sveuilita u Zagrebu uspjena godina za na studij. To e svakako potkrijepiti prezentacija
koja slijedi, a koja obuhvaa oba studijska programa. Tu su studentski
radovi nastali u okviru nastavnog programa, projekti koji su realizirani
Roen 1948. godine u Osijeku. 1971. diplomirao izvan nastave u suradnji studija sa drugim subjektima, sudjelovanje na
slikarstvo na Akademiji likovnih umjetnosti u strunim dogaanjima, izlobama kao i druge vannastavne aktivnosti.
Zagrebu, u klasi prof. Miljenka Stania. Od 1968. Kronolokim pregledom uoljivo je programirano usvajanje znanja
do 1972. stalni suradnik u ateljeu arh. Vjence-
slava Richtera. Od 1977. do 1989. lan autorskog i vjetina na preddiplomskom studiju, kao i snano prisustvo istrai-
tima Vizualne komunikacije Centra za industrij- vake komponente na diplomskom studiju.
sko oblikovanje CIO. 1983. lan-osniva Drutva U svom radu studenti pokazuju izuzetnu osvjetenost za civiliza-
dizajnera Hrvatske. Od 1985. do 1989. predsjednik
Drutva dizajnera Hrvatske. 1990. osniva vlastiti cijske probleme suvremenog drutva. Zastupaju kritiko-analitiki
studio Norma International. Od 1986. do 1988. stav prema praksama ekonomije velikih razmjera, uoavaju vrijednost
lan radne grupe za osnivanje i izradu okvirnog kulture i novih tehnologija te zagovaraju drutvenu i ekoloku odgo-
programa Studija dizajna na Sveuilitu u Zagrebu
na kojem, po osnivanju 1989. godine, postaje vornost dizajnera.
predava na kolegiju Projektiranje. Od 2002. do Radovi iz kolegija Projektiranje (industrijski dizajn i dizajn vizualnih
2006. voditelj Studija dizajna. Od 2004. do 2005. komunikacija), te diplomski radovi rezultat su primjene obrazovnog
koordinator radne grupe za izradu studijskog
programa u sklopu bolonjske reforme i koautor procesa koji podrazumijeva povezanost formativnih i informativnih
izvedbenog programa iz kolegija Projektiranje/ predmeta na jednoj razini i proimanje umjetnikog, humanistikog i
vizualne komunikacije 16 (preddiplomski stu- tehnikog podruja na drugoj razini.
dij) i Dizajn vizualnih komunikacija 14 (diplom-
ski studij). Od 2011. godine voditelj Studija dizajna. Ovakav interdisciplinarni edukacijski koncept odredio je i organi-
Osim pedagokog rada kao profesionalni diza- zacijski format Studija od njegovog osnivanja. On na najbolji mogui,
jner autor je vizualnog identiteta niza znaajnih ali naalost usamljeni nain predstavlja integrirano Sveuilite. Inter-
gospodarskih subjekata, institucija, manifesta-
cija i robnih marki (Agrokor, Badel, Ina, Hrvatska institucionalno organiziran Studij je u sklopu bolonjske reforme, a
udruga poslodavaca, Turistika zajednica Split- na osnovu kvalitetnih programa, dobio dopusnice za izvoenje pred-
sko-dalmatinske upanije itd.). diplomskog i diplomskog studija.
Izlagao na mnogim domaim i meunarodnim
izlobama. Uvrten u izlobu Avangardne tenden- Unato izvrsnim rezultatima, administrativno-birokratsko okrue-
cije u hrvatskoj umjetnosti, Zagreb, 2007. godine. nje i uspostavljena legislativa ozbiljno ugroavaju ovaj model. Prema
1982. godine uvrten u stalni postav Muzeja potonjoj Studij formalno nema ni minimalno propisani broj stalno
moderne umjetnosti u New Yorku. Dobitnik mno-
gih nagrada i priznanja. Kao lan tima Vizualne zaposlenih nastavnika da bi uope mogao izvoditi studijski program.
komunikacije CIO-a 1980. godine dobiva godinju Nastavnici koji izvode nastavu, a zaposleni su na fakultetima koji sudje-
nagradu za kulturu RH Vladimir Nazor. luju u organizaciji Studija ne ubrajaju se u propisanu kvotu!? S druge
strane, Studij u uim strunim podrujima, a takvih je zbog razvoja
novih tehnologija i (digitalnih) medija u posljednjem desetljeu vie
nego u bilo kojem drugom podruju, ne moe zapoljavati odgovarajui
kadar jer se podrazumijeva da oni postoje na navedenim fakultetima,
to nije tono! Problem je dodatno eskalirao prilikom reakreditacije
studijskih programa u oujku. Ona je obavljena u sklopu Arhitekton-
skog fakulteta, u tehnikom podruju, a sudjelovanje ostalih fakulteta
uglavnom nije bilo vidljivo.

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Nuno je redifiniranje organizacijskog modela Studija dizajna. Zbog Foreword


prirode podruja, imperativ je jaanje i irenje interdisciplinarne osno-
vice, koji e ujedno osigurati kontinuitet projektu to smo ga zapoeli
prije 23 godine. Novi model podrazumijeva optimalno rjeenje kadrov-
skih, administrativnih, materijalnih i prostornih problema.
U cilju funkcionalnijeg koritenja postojeeg, kao i stavljanja u funk-
ciju do sad nekoritenog prostora, Studij je nakon opsenih tehnikih i
proceduralnih priprema ovog ljeta pristupio rekonstrukciji prostora u
Frankopanskoj 12. Njome se predvia ureenje i tehniko opremanje ASSOCIATE PROFESSOR The twenty third academic year is behind us. According to the accom-
multifunkcionalnog studija za fotografiju, video, film i elektroniku STIPE BRI plished results, we can affirm, with satisfaction, that it has been yet
Head of School of Design
montau, ureenje studija za industrijsko oblikovanje, ureenje velike Faculty of Architecture another successful for our School. The forthcoming presentation, com-
dvorane s ugradnjom prezentacijske tehnike (1. faza), ugradnja prezen- University of Zagreb prising both study programmes, will certainly further support this
tacijske tehnike u studio za vizualne komunikacije, ureenje i oprema statement. There are also students works realised within the curricu-
redakcije za nakladniku djelatnost. Ovaj zahvat e u novoj akademskoj Born in 1948, in Osijek. In 1971 graduated from lum, projects carried out as results of extra-academic cooperation of the
godini osigurati znatno bolje uvjete, kako za izvoenje nastave, tako i the Academy of Fine Arts in Zagreb, Painting School and other entities, participation in professional events, exhibi-
za ostale aktivnosti, prije svega uvoenje prakse gostujuih predavanja Department, in the class of Prof. Miljenko Stan- tions and other extra-curricular activities.
i. From 1968 to 1972 was a permanent associ-
u velikoj dvorani. ate with the architect Vjenceslav Richters studio. A chronological overview clearly brings forward the fact that the
Na kraju elim zahvaliti svim studenticama i studentima koji su nam From 1977 to 1989 acted as an authoring member knowledge and skills acquisition process on the undergraduate level is
protekle akademske godine, u svakom pojedinanom sluaju, priutili of the visual communications design team at the a programmed activity, as much as it underlines a marking presence of
Industrial Design Centre (CIO). In 1983 became a
neponovljivo iskustvo, koje u edukaciji u kreativnom podruju ve co-founding member of the Croatian Designers the explorative component on the graduate level.
odavno nije jednosmjerni proces. Society (HDD). From 1985 to 1989 held the posi- In their work, students demonstrate a remarkable awareness of civi-
Takoer zahvaljujem svim nastavnicima i suradnicima na prinosu tion of President of the Croatian Designers Asso- lisation problems pertinent to the contemporary society. They plead
ciation (HDD). In 1990 established his own studio,
u ostvarenim rezultatima, a upravi Arhitektonskog fakulteta na elu s Norma International. From 1986 to 1988 acted in favour of a critical-analytical standpoint with regard to large-scale
dekanom izv.prof. Borisom Korunjakom na organizaciji Studija. as a member of the working group in charge of economies practice; they are responsive to values of the culture and
founding of the School of Design and drafting of new technologies, and stand up for the social and ecological responsi-
its educational programme framework. After the
Voditelj Studija dizajna Schools foundation in 1989 he became a lecturer bility of a designer.
izv.prof. Stipe Bri in Visual Communications Design. From 2002 to Projects realised in the framework of the Industrial Design and the
2006 he was Head of the School of Design. From Visual Communications Design courses, as well as graduation and mas-
2004 to 2005 acted as coordinator of the working
group in charge of the educational programme ter thesis, come as a result of the implementation of the educational
draft within the Bologna reform of higher edu- process which, on one level, invariably inter-connects formative and
cation, and a co-author of the Visual Commu- informative courses, while, on another level, it interweaves artistic,
nications Design IVI (undergraduate level) and
the Visual Communications Design IIV (gradu- humanistic and technical aspects of the subject matter.
ate level) courses educational programmes. As of Such interdisciplinary educational concept of the School has been
2011 he has been holding the position of Head of determining its organisational format ever since its founding. Though,
the School of Design.
Besides his pedagogical work, his professio- unfortunately, being the only example of its kind, it does represent an
nal activities include a great number of corporate integrated University in the best possible way. Inter-institutionally
identity designs for major industries, institutions, organised within the Bologna reform, and due to its high quality pro-
events and brands (such as Agrokor, Badel, INA,
Croatian Employers Association (HUP), Split and grammes, the School has been granted licences for its undergraduate
Dalmatia County Tourist Board, etc). and graduate studies.
His works were exhibited in numerous dome- Notwithstanding the excellent results, the administrative-bureau-
stic and international exhibitions. He was inclu-
ded in the Avantgarde Tendencies in Croatian Art, cratic environment and the newly set-up legislation severely jeopardise
Zagreb, 2007, exhibition. In 1982 he was included this model. According to the legislation, from the formal aspect, the
in the permanent collection of the Museum of School does not have a minimally prescribed number of permanently
Modern Art in New York. In recognition of his
work, he received a number of awards and prizes. employed teaching staff members necessary for carrying out the study
In 1980, as a member of the CIO Visual Communi- programme. Those who teach while, at the same time, being employed
cations Team, he received the annual award Vla- with faculties which participate in the Schools organisational scheme
dimir Nazor which is the highest Croatian award
in the field of culture. are not included in the prescribed quota!? On the other hand, in more
specific fields of expertise, the number of which, due to the development

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of new technologies and (digital) media, has grown over the last decade STUDIJ DIZAJNA U 2012.
more importantly than in any other domain, the School cannot employ
the corresponding staff as it is understood that they already exist at
other aforementioned faculties, which is not true! The problem has
additionally escalated on the occasion of the recent re-accreditation of
the School, in March of this year. For all technical areas, it was carried
out within the one for the Faculty of Architecture, but the participation
of other faculties was not transparent.
The organisational model of the School of Design does need to be novi okvir Ako su drutvene promjene i nastanak industrijske
redefined. Due to the nature of this particular field, strengthening and paradigme stvorile kontekst za praksu masovnog projektiranja pred-
broadening of its interdisciplinary basis is an imperative, which should meta i komunikacija, kako se onda sadanje promjene mogu povoljno
also grant the continuity of this project that we have initiated 23 years reflektirati na tu istu praksu? Mogu li se iz povijesnih primjera izvui
ago. A new model would have to include an optimal solution to the staff, iskustva za uspostavljanje prakse koja bi uinkovito odgovorila na pro-
administrative, material and space problems. bleme civilizacije? Kriza okoline na svim razinama posve osvjetava
In the summer of this year, following extensive technical and pro- injenicu o potrebi za sustavnim miljenjem o dizajnu jer bit e sve
cedural preparations, the School has undertaken a reconstruction of manje izoliranih financijskih, ekolokih ili socijalnih incidenata . Svaki
its premises in Frankopanska 12, in order to use the existing space in e utjecati na svaki drugi. Stoga, ako je dosad praksa dizajna metodoloki
a more functional manner, while putting in function the space which deduktivno funkcionirala u uskom segmentu zadovoljavanja naruenih
had not been used until present. The reconstruction includes, in pros- potreba, ini se da je danas za sutra mogu ili ak nuan novi okvir pro-
pect, setting up and technically equipping a multifunctional studio aktivne metode koja po sebi stvara nove vrijednosti, za potrebe koje su
for photography, video, film and electronic editing; furnishing of the prepoznate istraivakim metodama. Ako klasino liberalno trite ne
Industrial Design studio and of the big hall with built-in presenta- ponudi dugorono opstajui model za funkcioniranje discipline, nije li
tion equipment (phase 1); furnishing of the Visual Communications onda logino rjeenje pokuati nai novi, upravo-induktivni, projektni
studio with built-in presentation equipment; setting up and furnish- pristup prirodnoj i drutvenoj okolini?
ing of an editorial office for publishing activities. These actions will Studij dizajna pri Arhitektonskom fakultetu na Sveuilitu u Zagrebu
provide much better overall conditions in the coming academic year: ve sedam godina djeluje prema redefiniranim programima u sklopu
for the realisation of the educational programme as much as for other bolonjskog modela. Problematika vezana uz to svakako zasluuje
activities, before all enabling the introduction of the visiting lecturers poseban osvrt a na ovom mjestu vrijedi istaknuti da je u tom novom
practice in the big hall. sustavu jasan pokuaj dizajna ljestvice ambicije u edukacijskom djelova-
In conclusion, I would like to express my gratitude to all students nju institucije. U novom globalnom i lokalnom drutvenom, ekonom-
who, all together and each one among them individually, have given skom i kulturnom okviru u kojem djeluje, Studij svakako trai i svoje
us an opportunity to live a unique experience, which in the process novo mjesto. Tko jo danas 2012. godine s dostatnom sigurnou moe
of education in creative areas has been based on reciprocity for quite novopridolim studentima tvrditi da je ono to ue danas od presudne
some time now. vanosti za trenutak kad e poeti s profesionalnim djelovanjem nakon
I would also like to express my gratitude to the teaching staff and diplomiranja 2017?! Tko moe uope predvidjeti kako e tada izgledati
associates for their contribution in achieving the present results, as well svijet, to e biti vano za materijalnu proizvodnju stvari i komunika-
as to the management of the Faculty of Architecture, led by its dean cija, koje tehnologije presudne, koje drutvene vrijednosti prihvaene?
Boris Korunjak, Associate Professor, for the organisation of the School. A neka vrsta uporita je potrebna.

Head of the School of Design


Stipe Bri, Associate Professor

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nova filozofija Kako je to lijepo i korisno definirao Norbert Bolz, odriva praksa Da bi sve opisano bilo odrivo, da bi opstalo na
dizajn je danas vie spoznajna teorija o materijalnom svijetu nego pro- neki predvidljivo dugi rok nuno je redefinirati edukacijske modele,
jektiranje tih istih stvari. Dakako, da e se materijalne stvari i dalje potaknuti didaktike forme koje potiu ljude da misle svojom glavom
projektirati i proizvoditi, ali kako i za koga i za kakve vrste potreba? i da to to smisle mogu jasno izraziti u javnosti. Nova edukacija u diza-
Nije li interakcija predmeta i korisnika glavni imbenik funkcionira- jnu morala bi prije svega biti okvir za istraivako djelovanje, zasnovana
nja predmetnog svijeta danas? U tom finom prostoru su-odnoenja, problemski a ne disciplinski, a pojedini projekti svakako bi se trebali
zapravo, dizajn je oduvijek i djelovao, ali ono to se jo do ezdesetih izvoditi interdisciplinarno, na tokama dodira znanosti i umjetnosti.
godina prolog stoljea smatralo estetikom (a i danas se u marginal- Uostalom, Tomas Maldonado i ukupni korpus teorije s Ulma to su vrlo
nim kulturama rado tako prosuuje) nije nita drugo nego simbolika dobro elaborirali kasnih ezdesetih, samo to to tada jo nije bilo toliko
dimenzija postojanja, upravo komunikacijska okolina. Nova filozofija jasno. Danas jest. Potreba da se stvara odrivi model materijalnog stva-
dizajna, meutim, vie nee moi biti zasnovna samo na prepoznava- ranja, pa tako i projektiranja predmeta i znaenja, danas je civilizacijski i
nju te dimenzije, jer ona je ve posve iskoritena u komercijalne svrhe, osobni problem istodobno. To je pitanje globalne odrivosti ali i osobne
nego bi trebala biti usmjerena prema samorealizaciji identiteta svakog samorealizacije. Godina 2012. je za Studij dizajna bila jedna od godina
korisnika. I to ne samo kroz materijalno posjedovanje. tranzicije, ali sada s ve jasno definiranim ciljem uspostave stratekog
plana razvoja koji bi omoguio razvoj nove odrive didaktike, relevantne
nova teorija Relacije umjetnosti i industrije povijesno su dale poti- metodologije i fleksibilnost strukture programskog sustava, kako bi se
caja za temeljenje teorije dizajna. Prepoznavanje kulturalnih vrijednosti omoguila kompetentna i brza reakcija same institucije na dinamiku
u industrijskom proizvodu, meutim, danas je standard koji vie nee civilizacijskih mijena u okruenju.
osigurati opstojnost proizvoda samog, jer, naprosto, to je dimenzija koja
se podrazumijeva kao neupitna. to je nova relacija, gdje je novi hori- prof.dr.sc. Fea Vuki
zont interpretacije masovne proizvodnje predmeta i znaenja? Moda
se odgovor na to pitanje krije u drugom: to je i u kolikoj je jo mjeri te
na kakav nain mogua masovna proizvodnja u civilizaciji? Je li globa-
lizacija kapitala, tehnologija i rada dala dostatno dobar okvir za stvarni
civilizacijski napredak, za samorealizaciju svakog sudionika tog procesa?
S druge strane, to ako bi ba svi ljudi na planetu mogli postii zapad-
noeuropski standard svakodnevnog ivljenja? Je li mogue proizvesti
toliko energije, sanirati toliko otpada?

nova metodologija Da bi bilo kakva inovirana ili redifinirana


praksa zaivjela potrebno je utemeljiti novu metodologiju ili barem
metodiku s ambicijom razvoja objektivno provjerljivog sustava. Loci-
ranje dizajna samo u sferu umjetnosti teko da e biti dostatno u kom-
pleksnom interdisciplinarnom svijetu kakav je ve stvoren informacij-
skom revolucijom. Ako je neogranieni svijet subjektivne imaginacije
bio osnova za povijesno formiranje metode dizajna, pa ako je kriznih
tisuudevetsto ezdesetih takav pristup bio nadograen idejom o znan-
stvenosti metode dizajna, to je nova paradigma? Za multidimenzio-
nalni, simultano dogaajui i viestruko problematian svijet samo
interdisciplinarnost, povezivanje s metodama i spoznajama drutvenih
i humanistikih znanosti, ozbiljno shvaanje tehnologije i, naposljetku,
istraivake metode kao neizostavni element nove proaktivne prakse
dizajna. To podrazumijeva stvaranje metoda za koje, moda, jo ni ne
postoji izraz u jeziku.

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School of Design in 2012 new philosophy As Norbert Bolz beautifully and usefully stated,
design can be seen today more as an epistemological theory about the
physical world than the design of those very things. Naturally, material
things will continue to be designed and produced, but the question is
how, for whom and for what sort of purposes? Isnt the object-user inte-
raction the main factor in the way the material world functions today?
That subtle mutual relationship has always, in effect, been the space of
design. However, what used to be regarded as aestheticism before the
new framework If social changes and the emergence industrial 1960s (and which has remained to be true even today in marginal cul-
paradigm helped to create the context for mass-produced object design tures) is nothing but a symbolic dimension of existence, essentially a
and communications, could contemporary changes be taken as a posi- communication environment. It will not be possible to establish a new
tive impact on the same practice? Is history a pool of examples provi- design philosophy based only on the recognition of that dimension
ding experiences for the foundation of a practice which could efficiently because it has already been used up for commercial purposes. Rather,
respond to the problems of contemporary civilization? An all encom- it should be directed towards each users identity realization, and not
passing crisis of the human environment brings a complete awareness exclusively towards material possession.
of the need for systematic deliberation on design due to a decreasing
number of isolated financial, ecological or social circumstances. Each
new theory The relation between art and industry has been
will be affected by the other. Therefore, if the methodology of the design
historically stimulating for the foundation of design theory. Recogni-
practice has so far been deductive in its narrow aspect of meeting the
zing cultural values in an industrial product has, however, been set as
needs of only those who commissioned them, it seems that by following
a standard practice which will not be able to ensure the existence of
the today for tomorrow principle it is possible, or even necessary, to
the product itself, simply because it is considered to be an unassailable
establish a new framework of proactive methods which can create
domain. What is a new relation, where is a new horizon of the interpre-
new values, for the needs which have been recognized and revealed
tation of mass-produced objects and meanings? Maybe the answer to
by research methods. If the classical liberal market fails to offer a long
this question lies in another question: what is mass production, and to
standing surviving model for the functioning of the discipline, does
what extent and in what way is it still possible in a civilization? Has the
an attempt to find a new inductive and project-based approach to the
globalization of capital, technology and labour provided a good enough
natural and social environment offer a logical solution?
framework for the actual progress of the civilisation, for self-actuali-
During the past seven years, the School of Design at the Faculty
sation of each of the participants in the process? On the other hand,
of Architecture, University of Zagreb, has defined and implemented
what would happen if all the people on the planet could attain the
a curriculum in accordance to the Bologna model of higher educa-
Western European living standard? Is it possible to produce so much
tion. Issues related to such a model certainly deserve a special men-
energy, recycle so much waste?
tion. However, here it is worth emphasizing that the new system cle-
arly shows an attempt of enhancing the ambition in the educational
new methodology In order to make any innovating or redefined
aspect of the institution. In the new simultaneously global and local,
practice come to life it is necessary to establish a methodology, or at
social, economic and cultural context in which it operates, the School of
least a method with the ambition of developing an objectively verifiable
Design is most certainly dedicated to searching for its own new position.
system. Positioning design only in the sphere of arts can hardly be suffici-
Is there anyone today, in 2012, who has sufficient confidence to claim
ent in a complex interdisciplinary world which has been born out of the
that the content that is taught today will be of crucial importance for
information revolution. If the infinite world of subjective imagination
recently enrolled students at the moment when they embark on their
formed the basis for the historical development of design methodology,
professional careers after graduation in 2017?!
and if the crisis-laden years of the 1960s added to this approach an idea
of scientific design methodology, what is then a new paradigm? For the
multi-dimensional and simultaneously eventful and varyingly proble-
matic world it is interdisciplinary field, association with the methods
and knowledge of humanities and social sciences, serious understanding
of technology and, finally, research methods as a necessary element of a
new proactive design practice. This entails the creation of methods for
which, maybe, there is still no proper linguistic expression.

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godinjak studija dizajna / school of design annual review 2011/2012 godinjak studija dizajna / school of design annual review 2011/2012

sustainable practice In order to ensure sustainability to the


afore mentioned, and to facilitate its existence for some predictable long
duration it is necessary to redefine educational models and implement
PREDDIPLOMSKI STUDIJ
certain didactic forms which can motivate people to think indepen-
dently and to help themselves clearly and publicly. New design edu-
cation should primarily provide a framework for research, based on
Undergraduate Programme
problem-solving and not discipline oriented approaches. Certain pro-
jects should undoubtedly be dealt with in an interdisciplinary manner,
at the intersection of science and art. All this was well elaborated in
the late 1960s by Tomas Maldonado and the entire theoretical body
of works at the Ulm School of Design. However, it was not clear eno-
ugh then, whereas today it is. The need to create a sustainable model
of material production, including design of objects and meanings, is
today a problem of both civilisation and the individual. It regards global
sustainability but also an individual self-realisation. The year 2012 has
been for the School of Design one of the transitional years, but now it
is with a clearly defined goal to establish a strategic development plan
enabling the development of sustainable didactics, relevant methodo-
logy and flexibility of the curriculum, that the school aims to ensure a
competent and quick response to the dynamically changing civilization
and its impact on the human environment.

Fea Vuki, PhD, associate professor

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godinjak studija dizajna / school of design annual review 2011/2012

Preddiplomski studij dizajna omoguuje obrazovanje i osposoblja- The undergraduate programme of design educates and qualifies
vanje dizajnera za rad u projektnim timovima, na osmiljavanju i designers for work in production teams, in conception and design of
oblikovanju projektantskih zadataka dizajna predmetne i komuni- objects and visual surroundings, with a purpose of satisfying actual
kacijske okoline, s ciljem zadovoljavanja stvarnih ljudskih potreba human necessities in a real environment. The programme includes
u realnom okruenju. Nastava obuhvaa uvoenje studenata u teo- introduction to theoretical, methodical, and practical knowledge
rijsko-metodika i praktino-projektantska znanja i vjetine, upo- and skills, introduction to technical and technological singularities
znavanje s tehniko-tehnolokim zadatostima struke, te upozna- of the profession, and a theoretical frame of a modern profession
vanje s teorijskim okvirom za uspostavljanje moderne profesije na at post-secondary level, through various contents typical for the
visokokolskoj razini, kroz savladavanje razliitih sadraja tipinih interdisciplinary character of design as a profession. Coordinated
za interdisciplinarni karakter dizajna kao profesije. Kroz koordini- combination of practical and theoretical course material aims to
ranu kombinaciju formativnih i informativnih nastavnih sadraja entice all-encompassing orientation to imaginary creation. The
eli se potaknuti svestrana okrenutost imaginativnoj kreaciji. Studij programme offers specialisation in two areas: industrial design
nudi specijalizaciju u dva podruja: industrijskom dizajnu i dizajnu and visual communications design. Therefore, during the first year
vizualnih komunikacija, stoga tijekom prve godine studija studenti of studies the students learn about the basic general principles of
usvajaju temeljna opa naela dizajna i informacije potrebne za izbor design and get information necessary for further orientation, and
usmjerenja, a kasnije daljnja opa znanja te specifina znanja i vje- later they master other general knowledge and specific knowledge
tine odabranog podruja. and skills of the chosen area.
S ciljem cjelovitog usvajanja dizajn procesa u aktualnom realnom In order to completely master the designing process in the actual
okruenju te aktivnog praenja aktualnosti u struci i ukljuivanja environment, to actively follow novelties of the profession and to
u razvoj struke, studenti sudjeluju u projektima suradnje sa stvar- participate in its development, students collaborate with the real
nim gospodarskim i drutvenim subjektima, kroz nastavu u vidu economic and social entities through half semestral projects and
semestralnih projekata te kroz izvannastavne aktivnosti u obliku through extra-curricular activities such as workshops, competitions,
radionica, natjeaja, izlobi i sudjelovanja u aktualnim regionalnim exhibitions, and participation in the actual regional and internati-
i meunarodnim zbivanjima u struci. onal professional events.
Preddiplomski studij omoguuje edukaciju i stjecanje kompe- The undergraduate programme educates and provides compe-
tencija za suradnike poslove na podruju dizajnerskog stvarala- tences for collaborators in the fields of design disciplines as defined
tva prema definiciji icsid-a i icograda-e, kao to su samostalna by icsid and icograda, such as: independent execution of simple
izvedba jednostavnih projektantskih zadataka dizajna predmeta i project assignments in product and system design, collaboration in
sustava, suradnja u razvojno-istraivakim poslovima i projektima, research and development projects and assignments, collaboration
suradnja u specijalistikim istraivanjima, te suradnja u interdis- in specialised research, and collaboration in interdisciplinary teams
ciplinarnim razvojnim, istraivakim, znanstvenim i umjetnikim for development, research, scientific and art issues. The completion
timovima. Zavretkom ovog studija takoer se stjeu kompetencije of this programme also provides the students with the skills needed
za upis diplomskog studija. to enrol in the graduate programme.

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godinjak studija dizajna / school of design annual review 2011/2012

INDUSTRIJSKI DIZAJN
Industrial Design Studio
Kolegij ProjektiranjeIndustrijski dizajn temeljni je formativni The course Industrial Design Studio is a formative course, fundamen-
kolegij u podruju industrijskog dizajna, koji se predaje kroz sve tri tal for gaining practical professional knowledge in the field of indu-
godine studija tijekom prve godine studentima se demonstrira strial design which students take throughout the undergraduate
osnovna znanja i vjetine na temelju kojih izabiru usmjerenje, dok programme during the first year students get familiar with the
se na drugoj i treoj godini omoguuje svladavanje projektantskog fundamental knowledge and skills after which they choose their
procesa potrebnog za stjecanje navedenih kompetencija. Konkretni further orientation, while on the second and third year the students
zadaci i projekti nadovezuju se uz postupno poveanje kompleksno- master the process of designing necessary for the acquisition of the
sti, te uz praktinu primjenu znanja i vjetina steenih na informa- most important skills.
tivnim kolegijima egzaktnih znanja matematike i nacrtne geome- Specific assignments and projects are intertwined and they
trije, vjetine likovnog izraavanja, studiranja oblika i kompozicija, gradually become more complex, as knowledge and skills gained
teorijskih znanja i metodolokih alata, te informacijsko-komuni- at the courses providing additional, theoretical knowledge are put
kacijskih i tehniko-tehnolokih sadraja. Nastava se temelji na into practical use. They include contents that relate to mathematics
individualnom pristupu nastavnik student, a prema strunim i and descriptive geometry, visual expression skills, study of forms
didaktikim kriterijima. and composition, theoretical knowledge and methodological tools,
Edukacija poinje uvoenjem studenata u struku kroz upozna- as well as those related to the domains of information, communica-
vanje s temeljnim predznanjima: analizom prostornih struktura i tion and technology. The courses are based on individual approach
savladavanjem osnovnih vjetina u artikulaciji trodimenzionalnih to students, according to professional and didactic criteria.
oblika, s ciljem uoavanja osnovnih zakonitosti oblika na funkcio- The education process starts with introducing the students to
nalnoj i simbolikoj razini, a nastavlja se usvajanjem procesa kritike the profession by familiarizing them with the basic foreknowledge:
analize i kreativne sinteze kao temeljnog procesa osmiljavanja ino- analysis of space structures and acquisition of basic skills in the arti-
vativnih rjeenja, uz savladavanje osnovnih naina istraivanja i rje- culation of three-dimensional forms, with the purpose of noticing
avanja projektnih okolnosti odnosa proizvoda, korisnika i okoline u the underlying rules of forms at functional and symbolic level. It
aktualnim drutvenim, tehnolokim i gospodarskim uvjetima. Kroz continues with mastering critical analysis and creative synthesis
zavrni rad studenti stjeu znanja i vjetine potrebne za rad u timo- as essential processes in the creation of innovative solutions, and
vima na oblikovanju proizvoda i sustava proizvoda unutar prirodne i learning about the basic research methods as well as about offering
drutvene okoline, a kroz izradu multimedijske prezentacije usvajaju design solutions while keeping in mind the relationship between
temeljne komunikacijske oblike predstavljanja projektnih zamisli. the product, the user and the environment in the actual social,
technological and economic conditions. While working on their
thesis, students obtain complete knowledge and skills needed for
work in teams, designing products within the natural and social
environment. The students also make multimedia presentations
to acquire basic communication forms of presenting their ideas for
design projects.

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PRVI SEMESTAR, TEMA:


ANALIZA OBLIKA
First Semester, Theme: Analysis of Forms

Prvi zadatak studentima postavlja izazov oblikovanja prostorne forme inspi-


rirane principom zlatnog reza (Fibonaccijevog niza). Studenti trebaju anali-
zom prirodne i predmetne okoline u svakodnevnici uoiti i istraiti taj princip,
te ga koristiti kao osnovu vlastite interpretacije predmeta. Cilj zadatka je
potaknuti studente na analitiko promatranje vlastitog okruenja, iz kojeg e
crpiti ideje za oblikovanje; upoznavajui zakonitosti kompozicije trodimen-
zionalnih oblika kroz analizu plohe, volumena, mrene konstrukcije, mate-
rijala, teksture i svjetla. Potrebno je istraiti percepciju tih karakteristika,
te ih artikulirati kao alate u oblikovanju. Tijek zadatka obuhvaa biljeenje
zapaanja i razvijanje ideja skicama i predmodelima, te konanu samostalnu
izradu prostorne forme, koja predstavlja studentovu interpretaciju istrae-
nih fenomena.

The first assignment faces students with the challenge of designing spatial
forms inspired by the golden section principle (Fibonacci sequence). The stu-
dents analyse the natural environment and everyday objects to notice and
to explore that principle, in order to use it as the basis for their own object
interpretation. The aim of the assignment is to encourage the students to
analytically observe their own environment and to use it as a source of ideas
for designing; having learned the regularities of composition of three-dimen-
sional forms through the analysis of surface, volume, network construction, MARINA TROI
material, texture and light. It is necessary to explore the perception of these Kompozicija / Composition
features and to articulate them as designing tools. The assignment includes Mentori/Mentors Mladen Orei, Ivana Fabrio
making notes, developing ideas with sketches and pre-models, and the final MATEJ GORETA
independent realization of a spatial form, which represents the students Kompozicija / Composition
interpretation of the examined phenomena. Mentori/Mentors Zlatko Kapetanovi, Sanja Benceti

NATAA NJEGOVANOVI
Kompozicija / Composition
Mentori/Mentors Mladen Orei, Vedran Kasap

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PRVI SEMESTAR, TEMA: LAURA MRKA


Stropna svjetiljka / Ceiling Lamp
REINTERPRETACIJA SIMBOLIKE I Mentor Mladen Orei
UPOTREBNE VRIJEDNOSTI, Asistent/Assistant Vedran Kasap
VJEBA : RE-HRELI
First Semester, Theme: Reinterpretation of
Symbolic And Functional Values,
Assignment: Re-Hreli
Ovaj zadatak jedan je od najpopularnijih kontinuiranih projekata Studija
dizajna, koji redovito zavrava aukcijom dizajniranih predmeta i prateom
veselicom u prostorima studija. Tema zadatka je prouavanje i artikula-
cija simbolikih znaajki predmeta, te njihove povezanosti i meuodnosa
s uporabnim znaajkama predmeta. Projekt je izrazito lokalnog karaktera,
jer studenti trebaju na Hreliu, zagrebakom sajmu rabljene robe, izabrati
po jedan predmet ija cijena ne prelazi 50 kn, no ija simbolika vrijednost
nudi mogunost metamorfoze u predmet s novom vrijednou. Cilj zadatka
spoznaja je i artikulacija simbolike i dodane vrijednosti predmeta, odno-
sno spoznaja sprege funkcije i simbolike predmeta, njegove uporabe i zna-
enja, te njihova artikulacija pri oblikovanju dodatne vrijednosti predmeta.

This assignment is one of the most popular continued projects of the School
of Design, which regularly ends with the auction of designed products and an
after party at the schools premises. The topic of the assignment is to observe
and articulate an objects symbolic features and their connection and corre-
lation with the objects use. The project has a very local character, since the
students go to Hreli, Zagrebs flea market, and pick an object which does
not cost more than HRK50, but which also has a symbolic worth that offers
possibility of transforming it into an object with new value. The purpose of
the assignment is the comprehension and articulation of an objects symbo-
lic and added value, i.e. understanding the connection between an objects
function and its symbol, between its use and meaning, and their articulation DOMINIK MARKUI
in the formation of an objects additional value. Vjealica-polica / Hanger-Shelf
Mentor Mladen Orei
Asistent/Assistant Vedran Kasap

JURAJ BALEN
Svjetiljka / Lamp
Mentor Zlatko Kapetanovi
Asistent/Assistant Sanja Benceti

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PRVI SEMESTAR, TEMA: INTERPRETACIJA


IDENTITETA, VJEBA: MASKA
First Semester, Theme: Interpretation
of Identity, Assignment: Mask

Trei zadatak u prvom semestru je kratka vjeba kroz koju studenti demon-
striraju steene spoznaje o izraavanju i komunikaciji kroz materijal i oblik,
ali ih se istodobno navodi na promiljanje o okolnostima dizajna, odnosno o
meuodnosima dizajnera (autora), proizvoda i okoline. Zadatak je osmisliti,
oblikovati i prezentirati masku koja odraava vlastiti karakter i osobnost. S
obzirom da se vjeba odvija upravo u vrijeme priprema za karnevale, studenti
imaju priliku spoznati kulturoloke odrednice tog specifinog fenomena i te
spoznaje ugraditi u svoja rjeenja, dok analiza vlastite osobnosti i osmilja-
vanje naina prezentacije navodi studente na promiljanje o jedinstvenosti
i prepoznatljivosti osobnog stila. Stoga zavrna prezentacija, u kojoj svaki
student nosi svoju masku, omoguuje iskustvo koritenja osmiljenog proi-
zvoda, ali i prezentaciju vlastitog naina izraavanja.

The third assignment in the first semester is a short exercise in which stu-
dents demonstrate acquired knowledge about expression and communica-
tion through material and shape. Simultaneously, students are encouraged
to think about the conditions of design, i.e. about the interrelations between
the designer (author), the product, and the environment. The assignment is
to think up, to create and to present a mask that reflects their character and
personality. Since this task happens right in the middle of carnival prepara-
tions, the students have the opportunity to appreciate cultural significance
of this specific phenomenon and to incorporate that knowledge into their
ideas. Analyzing their own personality and thinking of a way to present it
help students examine the uniqueness and recognition of a personal style.
Therefore, the final presentation, during which every student wears his or her
mask, gives students the experience of both using the created product and
of presenting their own way of expression.

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DRUGI SEMESTAR, TEMA: DIZAJN


JEDNOSTAVNOG UPOTREBNOG PREDMETA
Second Semester, Theme: Design of Simple
Products
TONI LJAKA
Stropna svjetiljka / Ceiling Lamp
Mentor Mladen Orei

Zadana tema podrazumijeva dizajn malog uporabnog predmeta za korite-


nje u stambenim, uredskim, ugostiteljskim i slinim prostorima, uz osmi-
ljavanje nove vrijednosti u funkcionalnom, dekorativnom, i/ili emotivnom
smislu, koristei zadani materijal (akril, polikarbonat, forex, PVC folije, EVA
gume) i raspoloivu tehnologiju. U proloj akademskoj godini 2011./2012.
tema je provedena u suradnji je s tvrtkom Tehnoguma, u obliku internog
natjeaja za studente, te je tvrtka dodijelila nagrade najuspjenijim radovima,
a 10 rjeenja bit e realizirano u obliku prototipova. Cilj zadatka usvajanje
je osnovnih znanja i vjetina o procesu dizajna predmeta kao industrijskog
objekta, to znai istraivanje i rjeavanje funkcionalnosti proizvoda, uz
uvaavanje ergonomskih, konstrukcijskih, tehnolokih i estetskih naela, i
njihovu meusobnu usklaenost.

The second assignment is to design a small object usable in houses or flats,


offices, restaurants, and other similar places, and to create new value, in the
functional, decorative, and/or emotional sense, using the assigned material
(acrylic, polycarbonate, forex, PVC foil, EVA rubber) and all the available tech-
nology. During the last academic year 2011/2012, the task was carried out
as a students competition in collaboration with the Tehnoguma Company.
The company presented the most successful students with awards, and ten
solutions will be developed as prototypes. The goal of the assignment is to
master the basic knowledge and skills in designing an industrial object, which
implies research and ensuring the products functionality while taking into
consideration ergonomic, constructive, technological and aesthetic princi-
ples, as well as their mutual coordination.

ZITA NAKI-VOJNOVI
Stalak za pribor za pisanje / Pen Holder
Mentori/Mentors Mladen Orei, Vedran Kasap

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NATAA NJEGOVANOVI
Sustav rasvjete / Lighting System
Mentori/Mentors
Mladen Orei,
Vedran Kasap

ANA VUJASI
Posuda za voe / Fruit Dish
Mentor Mladen Orei

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MATEJ GORETA
Stalak za papir / Paper Holder
Mentori/mentors Zlatko Kapetanovi, Sanja Benceti

ELIZABETA BONJAK
MAJA JANDRI Stolni sat / Table Clock
Stalak / Holder Mentori/Mentors Zlatko Kapetanovi,
Mentori/Mentors Mladen Orei, Vedran Kasap Sanja Benceti

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TREI SEMESTAR, TEMA : REDIZAJN


Third Semester, Theme: Redesign

LOVRO KILJI
Daljinski upravlja / Remote Control PETRA VRDOLJAK
Mentor Zlatko Kapetanovi Ureaj za ljepljenje / Gluing Device
Asistent/Assistant Neven Kovai Mentori/Mentors Zlatko Kapetanovi, Vedran Kasap

Zadana tema studentima postavlja problem funkcionalnog, oblikovnog i/ili


tehnolokog poboljanja i unapreenja postojeeg proizvoda s elektrinim
pogonom, ali za runu uporabu, poput malih kuanskih aparata, alata, uprav-
ljakih konzola i sl, s tim da se treba potovati univerzalnu prepoznatljivost
predmeta. Cilj zadatka kritiko je sagledavanje okoline: upoznavanje kontek-
sta nastajanja i ivotnog vijeka proizvoda; uoavanje njegovih funkcionalnih,
oblikovnih, ekonomskih, tehnikih i ekolokih karakteristika; zatim konstruk-
cijskih i tehnolokih zakonitosti, uz prepoznavanje prednosti i nedostataka
proizvoda kroz propitivanje uporabnih, ergonomskih, estetskih, sociolokih
i psiholokih aspekata.

In the third assignment the students have to improve the functionality, shape
and/or technological features of an existing hand operated electric product,
such as small kitchen appliances, tools, consoles, etc, while at the same time
respecting the universal recognisability of that product. The aim of the assi-
gnment is a critical view of the environment: learning about the concept of
the products creation and its life cycle; noticing its functional, economic,
technical and ecological features as well as its shape and form, structural
and technological patterns. It is also important to recognize the products
advantages and disadvantages by examining ergonomic, aesthetic, social and
psychological aspects of its use.

DOROTEA KUTLEA
Glaalo / Iron
Mentori/Mentors Zlatko Kapetanovi,
Vedran Kasap

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijindustrijski dizajn / undergraduate programmeindustrial design studio

MATIJA POLJAR TAMARA PETRUA


Mikser / Blender Toster / Toaster
Mentor Zlatko Kapetanovi Mentori/Mentors Zlatko Kapetanovi,
Asistent/Assistant Vedran Kasap
Neven Kovai

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ETVRTI SEMESTAR, TEMA : DIZAJN


PROIZVODA ZA CILJANOG KORISNIKA
Fourth Semester, Theme:
Custom Made Design

Ovaj zadatak poinje s uoavanjem problema (elja i potreba) odreene


osobe kolege/ice iz studentske grupe. Potrebno je analizirati njezina ili nje-
gova htijenja i iskustva, kako bi se moglo osmisliti i oblikovati odreeni pro-
izvod kao ekskluzivno rjeenje za izabranog korisnika. U tijek zadatka uklju-
ena je i obavezna valorizacija rjeenja koju daje sam korisnik. Cilj zadatka
usvajanje je osnovnih projektnih okolnosti odnosa proizoda i korisnika, te
uenje primjene i razvijanja metoda analize korisnika te istraivanja njego-
vog okruenja (antropometrija i antropologija), to u konanici dovodi do
kreativne sinteze steenih spoznaja i koncipiranja funkcionalno i oblikovno
inovativnog proizvoda.

The assignment begins with noticing a problem (i.e. desires and needs) of
a particular persona fellow student. It is necessary to analyse her or his
wishes and experience, in order to think of and to design a specific product
as an exclusive solution for the chosen user. The user evaluates the offe-
red solution as part of the assignment. The purpose of the assignment is
to learn about the elementary designing conditions of the product user
relationship, to apply and to develop methods for analysis of users and their
environment (anthropometry and anthropology), which in the end results in
creative synthesis of the acquired knowledge and in the concept of a functi-
onally innovative product with an original form.

LUCIJA NIENO
Pano / Bulletin Board
Mentor Zlatko Kapetanovi
Asistent/Assistant Sanja Benceti

STANISLAV KOSTI
Stalak za obuu / Shoe Rack
Mentor Zlatko Kapetanovi
Asistent/Assistant Sanja Benceti

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ETVRTI SEMESTAR, TEMA : DIZAJN


PROIZVODA ZA IROKO TRITE
Fourth Semester, Theme:
Consumer Product Design

Ova tema je posveena dizajnu proizvoda za nepoznatog korisnika na teme-


lju spoznaja i rjeenja iz prethodnog zadatka. Prije svega, studenti moraju
definirati ciljne skupine korisnika prema zakljucima o eljama i potrebama
poznatog korisnika iz prethodnog zadatka, te analizirati karakteristike novih
potencijalnih korisnika s obzirom na funkcionalne i ergonomske aspekte pro-
izvodnje za tu ciljnu skupinu. Slijedi upoznavanje tehnolokih mogunosti i
zakonitosti serijske proizvodnje, a zatim osmiljavanje i oblikovanje rjeenja
kao industrijskog proizvoda koji odgovara eljama i potrebama nove ciljne
skupine, sa slinim ciljevima kao i u prethodnom zadatku.

The second assignment in the fourth semester is to design a product for an


unknown user on the basis of the knowledge and solutions from the previous
assignment. First of all, students have to define target groups of users based
on their conclusions about wishes and needs of a familiar user from the pre-
vious assignment, and to analyse characteristics of potential users according
to functional and ergonomic aspects of production for that particular target
group. Next they learn about technological possibilities and regularities in
serial production. Finally, they create a solution for an industrial product that
corresponds to wishes and needs of the new target group, with similar goals
as in the previous assignment.

NIKO CRNEVI
Paravani / Screens
Mentor Zlatko Kapetanovi
Asistent/Assistant Sanja Benceti

MARTA BIRKI
Mapa / Portfolio
Mentor Zlatko Kapetanovi
Asistent/Assistant Neven Kovai

DOROTEA KUTLEA
Stalak za novine / Newspaper Rack
Mentor Zlatko Kapetanovi
Asistent/Assistant Neven Kovai

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PETI SEMESTAR, TEMA: DIZAJN


INDUSTRIJSKOG PROIZVODA,
VJEBA : DRVO KAO MATERIJAL ZA
IZRADU STOLICE
Fifth Semester, Theme: Industrial Product
Design, Assignment: Wood as Material
for Chair Production
Ovaj zadatak poinje s istraivanjem dosadanjih postignua u podruju indu- PETRA JELASKA
strijskog dizajna drvenih stolaca, te je u odreenom kontekstu potrebno anali- Stolac / Chair
zirati trenutanu ponudu na tritu i rjeenja drugih dizajnera. Treba upoznati Mentor Mladen Orei
specifinosti materijala i karakteristike njegove obrade, te usvojiti nain kon- Asistent/Assistant Neven Kovai
strukcije pojedinih tipova stolaca. Zadatak se nastavlja projektiranjem vla-
stite konstrukcije stolaca koja zadovoljava osnovne zahtjeve funkcionalnosti,
a temelji se na karakteristikama uoenima i obraenima u analizi. Cilj zadatka
je usvojiti osnovne postavke tretmana i konstrukcije drvenih materijala u teh-
nolokoj proizvodnji, uz uoavanje njihovih realnih karakteristika, mogunosti
i ogranienja, to rezultira samostalnom izradom uzorka stolica.

This assignment begins with the research of what has so far been achieved
in the field of wooden chair industrial design. Certain contexts require the
analysis of the current supply on the market and of other designers solutions.
Students get familiar with the specific properties of the material and with
the characteristics of its processing. They also learn how to make a particu-
lar type of chair. The assignment continues with designing their own chair
structure that meets the basic functional requirements, and is based on the
features that were noticed and elaborated during the analysis. The goal of
the assignment is to master the basics of wooden material treatment and
structure in technological production, to notice its properties, its possibili-
ties and its limitations, all of which then results in the creation of a sample
chair independently.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijindustrijski dizajn / undergraduate programmeindustrial design studio

ANA ARMANO
Stolac / Chair
Mentor Mladen Orei
Asistent/Assistant Neven Kovai

KARLO PAVII
Stolac / Chair
Mentor Mladen Orei
Asistent/Assistant Neven Kovai

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijindustrijski dizajn / undergraduate programmeindustrial design studio

EMA GEROVAC
Stolac / Chair
Mentor Mladen Orei
Asistent/Assistant Neven Kovai

OZANA URSI
Stolac Pegula / Jinxed Chair
Mentor Mladen Orei
Asistent/Assistant Neven Kovai

Priznanje za industrijski dizajn u studentskoj kategoriji / Honourable mention


for industrial design in students category, hdd1112, Zagreb

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijindustrijski dizajn / undergraduate programmeindustrial design studio

ESTI SEMESTAR, TEMA: DIZAJN SUSTAVA


PROIZVODA, VJEBA : EKO NAMJETAJ
Sixth Semester, Theme: System of Products,
Assignment: Eco Furniture

Ovaj je zadatak u pravilu posveen dizajnu kompleksnog sustava, a akadem-


ske godine 2011/2012. bio je tematski vezan uz aktualnu globalnu zabrinutost
u vezi s odravanjem harmonije prirodnog i tehnolokog okruenja. Potreba
za osvjeivanjem ovjekove odgovornosti bila je motiv prikljuivanja Stu-
dija dizajna procesima informiranja, educiranja i djelovanja na uspostavlja-
nju kriterija i standarda odrivog razvoja. U tom se kontekstu, u suradnji s
klasterom Hrvatski interijeri i strunim savjetnicima u podruju ekologije i
odrivog razvoja pokrenuo projekt uspostavljanja standarda ekoloko pri-
hvatljivog namjetaja i dizajniranja elemenata i sustava namjetaja u skladu
s tim kriterijima. U projektu sudjeluju i studenti 2. semestra Diplomskog stu-
dija. Kompleksnost teme ukljuuje informiranje o mnogim podrujima koja
se mogu prepoznati u cjelokupnom ivotnom ciklusu proizvoda, od ideje ili
odluke o nastanku pa do nestanka potrebe za njim. Studentski projekti nastali
su kao reakcija na upoznavanje, istraivanje i artikuliranje osnovnih principa i
podloga za uspostavljanje standarda, te nastoje izraavati one kvalitete koje
se oekuju od suvremenih, odgovorno razvijanih proizvoda.

This assignment is mostly dedicated to the design of a complex system. In


the academic year 2011/2012 it was thematically linked to the actual global
concern about how to maintain the harmony between the natural and tech-
nological environment. The need for raising consciousness about the respon-
sibility of man motivated the School of Design to participate in informing,
educating and acting on criteria and standards of sustainable development.
It was in such a context, in collaboration with the Croatian Interiors cluster
and experts in the fields of ecology and sustainable development, that the
project of creating a standard for ecologically acceptable furniture and for
designing its elements according to those criteria was started. Students of
the Graduate Programme also participate in this project during their second
semester. The complexity of the subject includes learning about many fields
that can be recognized in the life cycle of a product, from the idea of its
creation to the lack of the need for that product. Students projects were
created as their reaction to learning about, researching and articulating the RUER NOVAK-MIKULI IVA MARKOVAC
basic principles for creation of standards, and they are aimed to express the Lampa / Lamp Polica / Shelf
qualities expected from modern, responsibly developed products. Mentor Mladen Orei Mentor Mladen Orei
Asistenti/Assistants Vedran Kasap, Neven Kovai Asistenti/Assistants Vedran Kasap, Neven Kovai

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijindustrijski dizajn / undergraduate programmeindustrial design studio

IVAN VUKMANI
Stolac, stoli, ormari / Chair, small table, cabinet
Mentor Mladen Orei
Asistenti/Assistants Vedran Kasap, Neven Kovai

PETRA JELASKA
Stol, komoda, stolac / Table, chest of drawers, chair
Mentor Mladen Orei
Asistenti/Assistants Vedran Kasap, Neven Kovai

EMA GEROVAC
Stol / Table
Mentor Mladen Orei
Asistenti/Assistants Vedran Kasap, Neven Kovai

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godinjak studija dizajna / school of design annual review 2011/2012

VIZUALNE KOMUNIKACIJE
Visual Communications Studio
Kolegij ProjektiranjeVizualne komunikacije osnovni je formativni The course Visual Communications Studio is the fundamental for-
kolegij u podruju dizajna vizualnih komunikacija, koji se tijekom mative course in the field of visual communications design. It lasts
sve tri godine studija odvija u nekoliko faza. U sklopu prve godine throughout the three years of the undergraduate programme and
studente se uvodi u struku tako to ih se upoznaje s temeljnim it has several phases.
predznanjima i jednostavnijim vjetinama, na osnovu ega odabiru During the first year students are introduced to the profession
daljnje usmjerenje, da bi tijekom druge i tree godine savladavali by acquiring the fundamental knowledge and simpler skills, after
pojedine vrste i faze projektantskih procesa, nune za stjecanje naj- which they choose further orientation. On the second and third
vanijih profesionalnih kompetencija. year students master specific types of designing processes and their
Pojedini zadaci i projekti na kolegiju slijede jedan za drugim phases, all of which are essential for the development of the most
postajui sve sloeniji, te ih studenti rjeavaju uz nunu primjenu important professional competencies. Each assignment and project
znanja i vjetina steenih na informativnim kolegijima; to uklju- follows each other and gradually becomes more complex, so that
uje vjetine likovnog izraavanja (raznolike varijante crtakih i the students solve them through practical use of knowledge and
grafikih disciplina), upoznavanje povijesnog razvoja tiskarstva i skills gained at informative courses providing additional knowledge
tipografije, te njihovih razliitih zakonitosti i izraajnih mogu- and skills. These include visual expression (a variety of drawing and
nosti; zatim ovladavanje osnovama fotografskog snimanja, uenje graphic design disciplines), learning about the history of printing
temeljnih principa oblikovanja interaktivnih web sadraja, i upo- and typography, as well as about its patterns and possibilities of
znavanje studenata s vanim alatima raunalne reprofotografije, expression. Furthermore, students master the basics of photo-
i tako dalje. Naravno, tu je i kontinuirano obrazovanje u teoriji i graphy, the principles of interactive web design, they learn how to
povijesti dizajna te povijesti umjetnosti, to u studenata potie use computer repro-photography tools, and so forth. Needless to
dugorono razvijanje humanistike kulture potrebne svakom aka- mention, there are also lectures on the history of design and art
demskom graaninu, u skladu s osnovnim etikim i estetskim vri- history, encouraging the students to develop long-term humanist
jednostima i mjerilima struke. culture every academic citizen should have, in line with the basic
Na drugoj godini studenti su izabrali vizualne komunikacije ethic and aesthetic values and criteria of the profession.
kao podruje daljnjeg usavravanja i savladavaju osnove oblikova- On the second year students have chosen visual communications
nja informacijskih struktura i sustava, kako bi upoznali formalne as the field of their future professional development. They master
zakonitosti semantikih elemenata i manipulaciju znaenjskim the basics of information structure and system design, in order to
strukturama u procesu komuniciranja. Na treoj godini studenti learn about the formal regularities of semantic elements, and about
savladavaju projektiranje tri osnovna tipa komunikacijskih sustava the manipulation of meaning in the communication process. On
u suvremenim drutvenim zajednicama, te upotpunjuju znanja i the third year students learn how to design three basic types of
vjetine koje njihove kompetencije ine dostatnim da mogu funkci- communication systems in modern societies. They also complete
onirati kao samostalni izvoai dizajn projekata. kolovanje zavrava the knowledge and skills which enable them to use their competen-
izradom interaktivne prezentacije, ime studenti ovladavaju temelj- cies and to become independent project designers. The programme
nim komunikacijskim oblicima predstavljanja projektne zamisli. S ends with the students interactive presentation, which enables
formativnim predmetom projektiranja povezani su i informativni them to master the basic forms of communication in project idea
kolegiji, posebice u pojedinim specifinim podrujima koja pomau presentation. The required design course is intertwined with the
sadrajnom kompletiranju preddiplomskog studija. elective courses, especially in specific fields that help to complete
the curriculum of the undergraduate programme.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

PRVI SEMESTAR, TEMA: ANALIZA


GRAFIKIH STRUKTURAARTIKULACIJA
2D OBLIKA
First Semester, Theme: Analysis of Graphic
StructuresArticulation of 2D Forms

U ovom se zadatku studenti vizualnih komunikacija upoznaju s osnovama


metodologije dizajnerskog promiljanja: potrebno je usvojiti analitiki pri-
stup promatranja okoline, te metode analize i sinteze zbilje koristiti u razvi-
janju ideja prema vizualnim elementima iz neposrednog fizikog okruenja.
Cilj zadatka je na temelju struktura predmeta i materijala prikupljenih foto-
grafiranjem projektirati jednostavne vizualne forme sastavljene od osnovnih
grafikih elemenata (toka, linija, mrea), jasnog i dosljednog ritma, te vr-
stog i skladnog grida, s kojim se studenti u ovom zadatku prvi put susreu.

During this assignment the students of visual communications learn the


basics of designers thinking methodology: it is necessary to adopt analytical
approach to the environment viewing, to analyse and synthesize the reality,
and to use those methods in developing ideas according to the visual ele-
ments from the immediate physical environment. The purpose of the assi-
gnment is to photograph objects and materials and to use their structures
in designing simple visual forms made of basic graphic elements (point, line,
grid), of a clear and coherent rhythm, and of firm and balanced grid, which
the students meet for the first time.

NATAA NJEGOVANOVI DOMINIK MARKUI ANA VUJASI MARKO UREMOVI


Mrea / Grid Toka / Point Linija / Line Mrea / Grid
Mentor Nenad Dogan Mentor Nenad Dogan Mentor Ivan Doroghy Mentor Ivan Doroghy
Asistent/Assistant Marina Jakuli Asistent/Assistant Marina Jakuli Asistent/Assistant Tomislav Vlaini Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

PRVI SEMESTAR, TEMA: ZNAK


OZNAAVANJE U SIMBOLIZIRAJUOJ
FUNKCIONALNOSTI
First Semester, Theme: SignCreating Signs
of Symbolic Functionality

Ovaj zadatak posveen je prouavanju formalnih karakteristika osnovnih HANA TINTOR


grafikih elemenata (u to je ukljuena i uporaba boje), te njihovoj sintezi Signal, sirena, alarm / Signal, Siren, Alarm
sa sadrajem triju zadanih i povezanih pojmova u seriju znakova prepo- Mentor Ivan Doroghy
znatljive simbolike. Oblikujui grafike znakove koji simboliziraju odreene Asistent/Assistant Tomislav Vlaini
sadraje, studenti ue vizualno interpretirati jednostavne sustave znaenja,
to je jedna od osnovnih vjetina u kasnijem projektiranju kompleksnije
vizualne komunikacije.

This assignment is dedicated to the study of formal characteristics of the


basic graphic elements (including the use of colour), and to their synthesis
with three given and connected concepts into a series of signs of recogni-
zable and striking symbolism. By designing graphic signs that symbolize
certain contents, students learn how to visually interpret simple semantic
systems, which is one of the fundamental skills necessary for designing more
complex visual communications.
LAURA MRKA
Signal, sirena, alarm / Signal, Siren, Alarm
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

DOMINIK MARKUI NATAA NJEGOVANOVI


Vrti, kola, fakultet / Day-care Centre, Software, hardware, mrea
School, University / Software, Hardware, Network
Mentor Nenad Dogan Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli Asistent/Assistant Marina Jakuli

VIKTORIA LEA VAVRA MATEJ GORETA


Gradnja, montaa, ruenje / Software, hardware, mrea
Construction, Erection, Demolition / Software, Hardware, Network
Mentor Ivan Doroghy Mentor Stipe Bri
Asistent/Assistant Tomislav Vlaini Asistent/Assistant Luka Bori

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

DRUGI SEMESTAR, TEMA: INFORMACIJSKA


JEDINICAOBLIKOVANJE PLAKATA
ZADANOG SADRAJA
Second Semester, Theme:
Information Unit Designing a Poster with
Assigned Content

Ovim se zadatkom znatno proiruje oekivani dijapazon izraajnih sred-


stavapored osnovnih grafikih elemenata, od studenata se sada trai
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 priku-
pljenih podataka i steenih spoznaja razraditi odgovarajuu strategiju vizu-
alne komunikacije. Kako je ovdje rije o tradicionalnom, statinom tiskanom
mediju, pred studentima je takoer i izazov njegovog osvjeavanja u kontek-
stu sve snanije dominacije digitalnih interaktivnih medija.

This assignment considerably enlarges the expected diapason of the media of


expressionin addition to the basic graphic elements, students are expected
to show competent use of typography, to use illustration and/or photo-
graphy in the interpretation of the chosen content, i.e. in the design of a logo
or a poster for a particular cultural, sport or industrial event. This is the first
assignment in which the students have to analyse the subject of the design
in great detail, based on an actual brief, and to use the accumulated data
and knowledge to elaborate a suitable visual communications strategy. As
the students deal with a traditional, static medium of printed design, they
are faced with the challenge of how to refresh it in the context of more and
more powerful domination of digital interactive media.
REBECCA MESARI
Muziki festival Hartera / Hartera Music Festival
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

JOSIPA PRA
Art & Music Festival Pula
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

DOMINIK MARKUI
25FPS Festival eksperimentalnog filma i videa
/ 25FPS Festival of Experimental Film and Video
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

PAUZA ZA RUAK / LUNCH BREAK / LUNCH BREAK HIPOTEKARNA KRIZA / SUBPRIME MORTAGE / HIPOTECA BASURA

reija: Sharon Lockhart reija: Francisco Javier Rodrguez de Fonseca

10 2

KOTRLJATI SE / TO TUMBLE / TO TUMBLE DONALD PURDIE / DONALD PURDIE / DONALD PURDIE


reija: Lea Titz 11 3
PVC-1 / PVC-1 / PVC-1 9 reija: Rory Alexander Stewart
1
reija: Spiros Stathoulopoulos
BUDUA PROLOST / FUTURE ANTERIOR / INSTANT D'APRS

reija: Muriel Montini


PAUZA ZA RUAK / LUNCH BREAK / LUNCH BREAK HIPOTEKARNA KRIZA / SUBPRIME MORTAGE / HIPOTECA BASURA
SOL / THE SALT / LA SAL

reija: Sharon Lockhart reija: Francisco Javier Rodrguez de Fonseca NEVINOST / INNOCENCE / INOCENCIA
12
ADVENT / ADVENT / ADVENT
8
4
reija: Manuel Jimnez Nez
reija: Ignacio F. Rod reija: Michael Schwarz

10 2 ODLAZAK / LEAVING / LA SORTIE


PUCANJ / ONE SHOT / ONE SHOT
reija: Chus Domnguez
reija: Linda Wendel

ROENDAN / BIRTHDAY / ROOZE TAVALOD IZGUBLJEN / LOST / PERDIDO


13 7
ZAMJENA / ALTERNATION / TANAVOB
reija: Pasha Rostam reija: Aberto Dorado 5
reija: Mehdi Fard Ghaderi
KOTRLJATI SE / TO TUMBLE / TO TUMBLE DONALD PURDIE / DONALD PURDIE / DONALD PURDIE
17 6

SVINJA / PIG / PIG 15 14 DOGAAJ PRED BANKOM / INCIDENT BY A BANK / HNDELSE VID BANK

reija: Lea Titz 11 3 reija: Adam Mason reija: Ruben stlund


PVC-1 / PVC-1 / PVC-1 9 reija: Rory Alexander Stewart
1
reija: Spiros Stathoulopoulos
BUDUA PROLOST / FUTURE ANTERIOR / INSTANT D'APRS

reija: Muriel Montini


16
STRANAC / THE STRANGER / EL EXTRAO

reija: Vctor Moreno


onetake festivalnumbersix
VELIKI PLAN / THE BIG IDEAT / THE BIG IDEA 22 / 11 / 2012 23 / 12 / 2012 24 / 12 / 2012
SOL / THE SALT / LA SAL
reija: Dan Hartley, Richard Shean 19
NEVINOST / INNOCENCE / INOCENCIA ADVENT / ADVENT / ADVENT 4
12 8 reija: Manuel Jimnez Nez UTIHNULA KUA / THE SILENT HOUSE / LA CASA MUDA MALE STVARI/SMALL THINGS/SMALL THINGS

reija: Ignacio F. Rod reija: Michael Schwarz reija: Gustavo Hernndz reija: Michael McLennan

21 36

KATALIZATOR/ CATALYST/CATALYST
20

18 VRAPCI / SPARROWS / SPATZEN 37 reija: Kyle Sandilands, Rory James Wood


IZLAZ / EXIT / AUSSTIEG
OBITELJ HIRSH / THE HIRSHES / THE HIRSHES reija: Jan Speckenbach
ODLAZAK / LEAVING / LA SORTIE redatelj: Jorge Quintela

PUCANJ / ONE SHOT / ONE SHOT reija: Amnon Ron


29

GLUHOA / DEAFNESS / GLUHOTKA 22 35 HURA ZA KRAJ / THE LAST HURRAY / THE LAST HURRAY
reija: Chus Domnguez
reija: Linda Wendel reija: Miroslav Slabopitski 28 reija: Jonathan W. Stokes
JEDANAEST / ELEVEN / ELEVEN

ROENDAN / BIRTHDAY / ROOZE TAVALOD IZGUBLJEN / LOST / PERDIDO reija Lawrence Lim

13 7
ZAMJENA / ALTERNATION / TANAVOB
reija: Pasha Rostam reija: Aberto Dorado 5
reija: Mehdi Fard Ghaderi
U PROLAZU / IN THE PASSAGE / U PROLAZU 23 POMONO SREDSTVO / REMEDY / REMEDY 30
17 6 reija: Kosta orevi reija: Jacques-Louw Pineaar

SVINJA / PIG / PIG 15 14 DOGAAJ PRED BANKOM / INCIDENT BY A BANK / HNDELSE VID BANK
BIJELA POGODBA / WHITE DEAL / LEFKI SIMFONIA

reija: Adam Mason reija: Ruben stlund reija: Yorgos Bougioukos


ZABAVA / THE PARTY / THE PARTY
27 34
reija: Mark Raso

onetake festivalnumbersix
CRVENO I ZELENO / RED AND GREEN / CRVENO I ZELENO 24 TO SAM JA, HELMUT / IT'S ME, HELMUT / ICH BIN'S, HELMUT 31

reija: Vedran Janu reija: Nicolas Steiner

16
STRANAC / THE STRANGER / EL EXTRAO

reija: Vctor Moreno


DVIJE CIGARETE / TWO CIGARETTES / TWO CIGARETTES

reija: Simon Baumann


METAMORFOZE / METAMORPHOSIS / METAMORPHOSIS
33
reija: Sina Azin
OKVIR / THE FRAME / THE FRAME 25 26 9. OUJAK / MARCH 9th / 9. OUJAK 32

reija: Pouria Jahanshad reija: Irena kori

VELIKI PLAN / THE BIG IDEAT / THE BIG IDEA 22 / 11 / 2012 23 / 12 / 2012 24 / 12 / 2012
reija: Dan Hartley, Richard Shean 19

UTIHNULA KUA / THE SILENT HOUSE / LA CASA MUDA MALE STVARI/SMALL THINGS/SMALL THINGS

reija: Gustavo Hernndz reija: Michael McLennan

21 36

KATALIZATOR/ CATALYST/CATALYST
20

18 VRAPCI / SPARROWS / SPATZEN 37 reija: Kyle Sandilands, Rory James Wood


IZLAZ / EXIT / AUSSTIEG
OBITELJ HIRSH / THE HIRSHES / THE HIRSHES reija: Jan Speckenbach
redatelj: Jorge Quintela
reija: Amnon Ron
29

GLUHOA / DEAFNESS / GLUHOTKA 22 35 HURA ZA KRAJ / THE LAST HURRAY / THE LAST HURRAY

reija: Miroslav Slabopitski 28 reija: Jonathan W. Stokes


JEDANAEST / ELEVEN / ELEVEN

reija Lawrence Lim

U PROLAZU / IN THE PASSAGE / U PROLAZU 23 POMONO SREDSTVO / REMEDY / REMEDY 30

reija: Kosta orevi reija: Jacques-Louw Pineaar

BIJELA POGODBA / WHITE DEAL / LEFKI SIMFONIA

reija: Yorgos Bougioukos


ZABAVA / THE PARTY / THE PARTY
27 34
reija: Mark Raso

KLASJA HABJAN CRVENO I ZELENO / RED AND GREEN / CRVENO I ZELENO 24 TO SAM JA, HELMUT / IT'S ME, HELMUT / ICH BIN'S, HELMUT 31

International Illustrative Berlin reija: Vedran Janu reija: Nicolas Steiner

Mentor Stipe Bri


Asistent/Assistant Luka Bori
DVIJE CIGARETE / TWO CIGARETTES / TWO CIGARETTES

reija: Simon Baumann


METAMORFOZE / METAMORPHOSIS / METAMORPHOSIS
33
reija: Sina Azin
OKVIR / THE FRAME / THE FRAME 25 26 9. OUJAK / MARCH 9th / 9. OUJAK 32

reija: Pouria Jahanshad reija: Irena kori

ZITA NAKI-VOJNOVI
One Take Film Festival
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MARINA TROI
ZgEtno
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

MAJA JANDRI MATEJ VUKOVI


Tjedan suvremenog plesa / Contemporary Dance Week Festival Festival znanosti / Festival of Science
Mentor Stipe Bri Mentor Ivan Doroghy
Asistent/Assistant Luka Bori Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

BARBARA BJELI
Queer Zagreb
Mentor Stipe Bri
Asistent/Assistant Luka Bori

NATAA NJEGOVANOVI JANA OBRADOVI


Hrvatski festival jednominutnih filmova Vanka Regule
/ Croatian One-Minute Film FestivalMentor Mentor Nenad Dogan
Nenad Dogan Asistent/Assistant Marina Jakuli
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

DRUGI SEMESTAR, TEMA:


PREDMET/INFORMACIJAPOVEZIVANJE
PREDMETA I ZNAENJA (ODNOS)
Second Semester, Theme:
Object/InformationLinking the Object with
Meaning (Interrelation)

Prvi dodir studenata s marketinkom sferom dizajnerske struke dogaa se


upravo u ovom zadatku. Potrebno je dizajnirati vizualni identitet zadanog
proizvoda (najee prehrambenog) i cjelokupan specifini informacijski
sustav njegove ambalae, to podrazumijeva ne samo izraavanje do sada
upoznatim sredstvima u fazi vizualne sinteze, ve i iscrpnu poetnu analizu
karakteristika proizvoda, njegove pozicije na tritu i odnosa s konkurenci-
jom, te prepoznavanje odgovarajue ciljne skupine potroaa kojima je proi-
zvod namijenjen. Prema rezultatima takvog istraivanja studenti moraju sami
artikulirati projektni zadatak i koncipirati idejno rjeenje koje e posluiti kao
temelj konkretnog dizajnerskog postupka.

The second assignment in the second semester represents the students first
encounter with the marketing sphere of the designer profession. The stu-
dents have to design visual identity of a given product (usually food) and the
entire packaging information, which implies not only expression through
familiar means in the visual synthesis phase, but also a detailed analysis of
the products characteristics, its position on the market and its competition,
as well as recognizing its target consumer groups. According to the results
of such a research, the students have to articulate the designing assignment
and to create a solution that will be used as the basis for the actual desi-
gning procedure.
VIKTORIA LEA VAVRA
Podravka brano / Podravka Flour MAJA PRELEC
Mentor Ivan Doroghy Paka morska sol / Pag Sea Salt
Asistent/Assistant Tomislav Vlaini Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

ZITA NAKI-VOJNOVI
Podravka gris / Podravka Semolina
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

JOSIPA PRA
Viro eer / Viro Sugar
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MAJA JANDRI
Franck kava / Franck Coffee
Mentor Stipe Bri
Asistent/Assistant Luka Bori

MATEJ VUKOVI
Svjee mlijeko Dukat / Dukat Fresh Milk
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

NATAA NJEGOVANOVI
Svjee mlijeko Dukat / Dukat Fresh Milk
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

TREI SEMESTAR, TEMA : INFORMACIJSKE


STRUKTUREODNOS TEKSTA I SLIKE U
SUSTAVU (LAYOUT)
Third Semester, Theme: Information
structuresRelation between image and text in
the System (Layout)

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 krajnjim korisnicima proizvoda i usluga
subjekta, ve njegovim postojeim i potencijalnim poslovnim partnerima i
suradnicima, to e rei kako pri dizajnu valja voditi rauna o specifinim ivotopisi lanova
Ivan Ergovi
predsjednik Uprave

Ivan Ergovi roen je 1956. godine u Od 2001. do 2008. godine bio je lan
Kreimir Dundovi
Uprava za strategiju

Kreimir Dundovi roen je 1968. godine lan Uprave Nexe grupe d.d. Naice je

zakonitostima komunikacije takvim medijem. Prilika je to za studente da Uprave Feriancima (Naice). Srednju strojarsku
tehniku kolu zavrio je u Zagrebu 1975.
godine. Diplomirao je 1982. godine na
Izvrnog odbora HUP-a, a od 2008. do
2011. godine lan Vijea lanica HUP-a.
Od veljae 2011. godine obnaa funkciju
u gradu Koprivnica. Diplomirao je 1993. od 1.9.2005. godine, novim imenovan-
godine na Rudarsko-geoloko-naftnom jem je postao lan Uprave za strategiju.
fakultetu u gradu Zagrebu, a magistrirao lan je Nadzornih odbora u GP Put d.d.

se okuaju u zadatku uobiajenom u radu profesionalnog studija za dizajn


Fakultetu strojarstva i brodogradnje u predsjednika Izvrnog odbora Hrvatske na Ekonomskom fakultetu u Zagrebu Sarajevo i Ingram d.d. Srebrenik.
Zagrebu. Kao pripravnik je radio u R.O. udruge poslodavaca. lan je i Savjeta (MBA). 2000. godine zavrava IEDC
Rade Konar - Elektroureaji Zagreb. za gospodarstvo predsjednika Repub- Bled School of Management, General
U Tvornici cementa Naice poeo je raditi like Hrvatske Management Program, a 2007. godine

ili marketinke agencije, te da dokau svoju kreativnost u zadatku prilino 1983. godine kao inenjer strojarstva u
slubi odravanja. ef Slube strojarskoga
odravanja postao je 1987. godine, a 1990.
od strane Ekonomskog fakulteta u
Zagrebu i u Splitu stekao je ovlatenje
Certificiranog lana nadzornih odbora.
godine tadanji Radniki savjet Tvornice Sudionik je Orcherstrating Winning

ograniene autorske slobode, to e ambicioznijima svakako znaiti izazov cementa Naice postavlja ga za Glavnoga
direktora poduzea. Od 1995. godine
je Generalni direktor Naicecementa
Perfomance, IMD Lausanne. Prije
dolaska u sustav Nexe Grupe, od 1993.
do 1999. godine radio je u Ini d.d. Zagreb

vjetog manevriranja meu zahtjevima razliitih strana ukljuenih u projekt,


d.d. Naice, odnosno od 2001. godine te u razdoblju od 1996. do 1998. godine
predsjednik Uprave. Od srpnja 2003. u INAGIP-u (Milano). U Naicecement
godine predsjednik je Uprave Nexe grupe d.d. Naice dolazi 1999. godine, prvo
d.d. Naice. Predsjednik je Nadzornoga u slubu prodaje da bi potom, odmah

u realnom trinom kontekstu. odbora u tvrtki GP Put d.d. Sarajevo. po osnivanju, postao direktorom tvrtke
Novih djelatnosti, slube koja je zatim
prerasla u Sektor za strategiju, analizu
i akvizicije.

The goal of this assignment is to design standards of annual report layout


(promotional brochure) for a specific business. The students deal with prin- Godinje izvjee Nexe grupe Godinje izvjee Nexe grupe

ted medium that is mostly not intended for the final users of the companys
products and services, but for their current and potential business partners
and associates, which means that the students have to keep in mind the spe-
cific aspects of communication through such a medium. It is also an opportu-
nity for the students to try completing a typical professional design studio or
marketing agency task, and to demonstrate their creativity in an assignment
with rather restricted freedom of expression. Ambitious students will surely Pismo predsjednika
Uprave
Iza nas je jo jedna izazovna i teka
poslovna godina. Negativan trend iz
2009. godine, koji se u naem sektoru
Ako promatramo koliinske prodajne
uinke za 2010. godinu, opeka, crijep,
vapno i keramike ploice biljee rast u
U skladu s takvim uvjetima poslovanja,
smanjena su i investicijska ulaganja u
svim segmentima pa su ona u 2010. godini
na strategiju razvoja poslovanja pojedine
grupe proizvoda, u konanici ostvariti
rast poslovnih prihoda u 2011. godini.
Plan ulaganja u energetiku predstavlja
novi strateki iskorak Nexe Grupe, od
kojega u narednom razdoblju oekujemo

accept this task as a challenge of skilful manoeuvring between demands of prvenstveno ogleda kroz smanjenje
obujma infrastrukturnih i graevinskih
radova, nastavljen je i u 2010. godini te
odnosu na 2009. godinu. Ostali segmenti
biljee pad ostvarenih prodajnih koliina
u odnosu na 2009. godinu.
iznosila 96,4 milijuna kn na razini Nexe
Grupe, u usporedbi s 165,5 milijuna kn
ostvarenih u 2009. godini.
Isto tako, revidiran je i strateki plan
investicija koji je smanjen na 62 milijuna
EUR-a u razdoblju 2011. - 2015. godine.
prostor za razvoj poslovanja i dugoroni
rast te snaniju profitabilnost poslovanja
kompanije.
je Nexe Grupa prolu godinu zavrila s U jesen 2010. godine Uprava je us-

different parties involved in the project, in the context of the real market. 1,25 milijardi kn ukupnoga konsolidiranog
prihoda, to je 14,4% manje u odnosu
na 2009. godinu.
Nexe Grupa ostvarila je 1,43 milijardi
kn ukupnih rashoda, to je 1,8% manje
u odnosu na ostvarene rashode u 2009.
Predvianja o padu poslovnih aktivnosti su
se, naalost, ostvarila, a ionako oteane
uvjete poslovanja dodatno optereuju
vojila i Poslovni plan ulaganja u ob-
novljive izvore energije u razdoblju
2011. - 2015. vrijedan 90 milijuna eura,
godini. Sve to, rezultiralo je konsolidiranim problemi s naplatom potraivanja te koji podrazumijeva ulaganja u bioplinska
Promatrajui konsolidirane prihode od gubitkom Nexe Grupe u iznosu od 170,3 openiti problemi naega gospodarstva postrojenja i postrojenja na biomasu za
prodaje, oni su ostvareni u ukupnom milijuna kn i unato posebnoj pozornosti poput fiskalnih i parafiskalnih optereenja, proizvodnju topline i struje.
iznosu od 1,10 milijardi kn, to je za 12,9% usmjerenoj ka kontroli svih trokova. Do- rasta cijena energenata, nefleksibilnoga
manje u odnosu na ostvareni konsolidi- datno, 2010. godinu obiljeilo je i negativno radnog zakonodavstva itd.
rani prihod od prodaje u 2009. godini. poslovanje segmenta graenja uz- U skladu s takvom situacijom, uzimajui
Naicecement, Regija Hrvatska i Regija rokovano izostankom infrastrukturnih i u obzir ostvarene proizvodno prodajne
Bosna i Hercegovina biljee pad konso- graevinskih projekata, kao i negativan pokazatelje za 2010. te projekcije za 2011.
lidiranih poslovnih prihoda u odnosu na rezultat tvrtke Bilokalnik Drvo d.o.o. godinu i dalje, krajem 2010. godine pristupili
2009. godinu dok Regija Srbija biljei rast. Koprivnica, od kojeg se uinci investici- smo aktivnostima izmjene or- ganizacije
jskoga ulaganja tek oekuju u narednim kojoj je cilj kroz djelotvornije upravljanje
godinama. Nexe Grupom, bolju kontrolu trokova, Ivan Ergovi, dipl. ing
.
smanjenje trokova rada te usmjerenost Predsjednik Uprave

Godinje izvjee Nexe grupe Godinje izvjee Nexe grupe

2010 2009 2010 2009


Izvjetaj o Poslovni prihodi 1.186.491 1.186.491 Izvjetaj o Dugotrajna imovina 1.732.239 1.805.839
sveobuhvatnoj dobiti Prihodi od prodaje
Ostali poslovni prihodi
1.099.171
87.320
1.099.171
87.320
financijskom poloaju Nematerijalna imovina
Nekretnine, postrojenja i oprema
18.239
1.556.743
14.112
1.546.236
Ulaganja u povezana drutva 86.355 175.229
Trokovi redovnog poslovanja (1.232.068) (1.218.012)
Ulaganja u pridrueno drutvo 1.505 1.992
Utroene sirovine, materijal i energija (623.924) (623.924)
POtraivanja za dane zajmove 44.065 42.819
Trokovi osoblja (248.040) (248.040)
Goodwill 7.398 9.678
Amortizacija imovine (140.099) (140.099)
Odgoena porezna imovina 14.108 14.108
Ostali trokovi poslovanja (220.005) (220.005)
Kratkotrajna imovina 2.837.210 2.887.446
Ukupan gubitak / dobit poslovanja (45.577) 119.499
Zalihe 403.976 349.804
Ukupni financijski rezultat (128.096) (92.460) Potraivanja od kupaca 567.621 548.791
Financijski prihodi 67.985 127.886 Potraivanja za dane zajmove 48.449 128.611
Financijski rashodi (196.081) (220.346) Novac i novani ekvivalenti 42.132 16.629
Plaeni trokovi budueg razdoblja 28.396 29.550
Udio u dobiti pridruenog drutva 2.173
Imovina namijenjena prodaji 14.477 8.262
(Gubitak) / dobit prije oporezivanja (171.500) 11.580
Obveze 482.127 1.019.223
Porez na dobit (9.546) (31.429)
Obveze po leasingu i obveznicama 438.238 976.441
(Gubitak) nakon oporezivanja (181.046) (19.849)
Dugorona rezerviranja 22.519 20.702
Nekontrolirajui interesi 10.699 2.938 Odgoena porezna obveza 21.370 22.080
(Gubitak) Grupe (170.347) (16.911)
Ukupni sveobuhvatni dobitak (174.345) (35.844)

ANTA BUEVI
Nexe Grupa / Nexe Group
Mentor Nenad Dogan Godinje izvjee Nexe grupe Godinje izvjee Nexe grupe

Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

S T R U K T U R A O P E R AT I V N I H T R O KO VA ( T I S U A K N )
Financijski pokazatelji

Pokazatelj Jedinica mjere I. - VI. 2011. I. - VI. 2010. T R O KO V I L E T E N J A +35


ukupan prihod min kn 714 678 Ostali prihodi iz poslovanja manji su za 5% od ostvare-
ukupan troak min kn 814 809 nih u istom razdoblju prethodne godine najveim dijelom
operativni rezultat min kn -91 -130 zbog prihoda/trokova od rezervacijskog sustava koji se T R O KO V I O D R AVA N J A +5
neto rezultat min kn -100 -132 zbog drugaijeg naina fakturiranja najveeg dobavljaa
EBIT min kn - - od 2011. godine iskazuje po neto principu. Operativni 2 010
T R O KO V I U S LU G A P U T N I C I M A +12
EBITDA min kn -41.56 -68.92 trokovi vei su za 7% od ostvarenih u istom razdoblju
2 011
EBIT mara % - - prethodne godine.
EBITDA mara % -6.00 -11.42 U S LU G E U Z R A N O M P R O M E T U +24
jedinini troak (operativni) kn/ A SKM 0.72 0.70
jedinini prihod (operativni) kn/ A SKM 0.62 0.55
putniki yield (u EUR/RPKM) cent/ RPKM 13.17 13.29 Financijsko poslovanje T R O KO V I P R O M O C I J E I P R O DA J E +13
prosjean broj zaposlenih 1.139 1.148
Na kraju promatranog razdoblja ostvaren je operativni A M O R T I Z AC I J A -10
gubitak u visini od 91,1 mln kn, a ukljuivanjem finan-
cijskih trokova (trokova financiranja flote i trokova/
prihoda promjene teaja) krajnji gubitak od 100 mln kn, O P I A D M I N I S T R AT I V N I T R O KO V I -2 0
to je za 24% bolji rezultat od ostvarenja u istom raz-
4 | Croatia Airlines 16 | Croatia Airlines doblju prethodne godine. Operativni prihodi rastu 15% Annual Report 2011 | 17
Annual Report 2011 | 5 zbog veih prihoda od putnikog prometa u odnosu na V R S TA P R I H O DA ( T I S U A K N )
Prometni pokazatelji isto razdoblje prethodne godine. Putniki prihodi takoer 0 50 10 0 15 0 200 25 0 300
su ostvarili rast od 21%, to je rezultat porasta broja put- Unutar operativnih trokova rast su ostvarili trokovi lete-
OPIS I. - VI. 2011. I. - VI. 2010. nika od 19% u prvih est mjeseci. Prihodi od prijevoza 70 0 18 P R I J E V OZ T E R E TA
nja, trokovi odravanja zrakoplova, trokovi usluga put-
nalet (km) DIST 000 7.944 7.266 tereta manji su za 4% od ostvarenih u istom razdoblju nicima, trokovi usluga u zranom prometu te trokovi
12 6 16
broj uzlijetanja FLTS 13.032 11.966 prethodne godine. 600 O S TA L I P R I H O D prodaje i promidbe. Trokovi letenja poveani su rastom
stopa promjene % 9 1 13 3 trokova goriva zbog porasta cijena. Trokovi usluga put-
operativno vrijeme BH 17.749 16.271 500 560 PUTNIKI PRIHOD
nika vei su zbog poveanja broja putnika, veih trokova
stopa promjene % 9 7 kosignacijske prodaje te veih trokova kabinskog oso-
480
prevezeni putnici RPAX 000 838 706 Pokazatelji produktivnosti 400 blja zbog novog kolektivnog ugovora.
stopa promjene % 19 -8 Indeks Trokovi odravanja zrakoplova vei su zbog promjene
prevezena roba i pota CGO T 1.610 1.537 Pokazatelj I. - VI. 2011. I. - VI. 2010. 2010/ 2011 300 ugovorenog naina fakturiranja i priznavanja trokova
stopa promjene % 5 -16 zaposleni (tkm/ zaposlenom) 46.266 38.483 38.483 koji su u 2010. godini bili uplaivani kao maintenance
ostvareni putniki km RPKM min 574 478 zrakoplov (BH/ dan) 7.5 7.3 7.3 200 reserve te su se tek po obavljenom radu priznavale u
raspoloiva sjedala - km ASKM min 903 845 gorivo (tkm/ tona) 2.743 2.464 2.464 troak. Trokovi usluga u zranom prometu vei su zbog
putniki faktor popunjenosti PLF % 63.6 56.6 10 0 veih trokova zranih luka i trokova kontrole lete koji
ostvarivi tonski km TKM min 53 44 prate porast naleta koji raste za 9%. Trokovi promo-
raspoloivi tonski km A TKM min 101 94 0 cije i prodaje vei su zbog veih trokova promocije i
teinski faktor popunjenosti WLF % 52.5 46.9 oglaavanja novih linija i trokova provizija uzrokovanih
2 011 2 010
veom prodajom.

MATEA BRKI
Croatia Airlines
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli
Ljudski potencijali i ulaganja

Na kraju drugog kvartala planom je predvieno 1.182 Prema zadnjim projekcijama na globalnoj razini predvia
djelatnika, 68 djelatnika vie u odnosu na poetak godi- se rast putnikog prometa od 4,4%, a zbog spomenute
ne. U promatranom razdoblju planirano je zapoljavanje dunike krize te uvoenja novih putnikih taksi oekuje
sezonskog kabinskog osoblja, te etiri pilota za potrebe se da e europsko trite generirati najslabiji rast od
operiranja na zrakoplovima tipa Q400. Broj djelatnika BROJ Z APOSLENIH 3,9%. Prirodne katastrofe i nuklearna kriza u Japanu,
stvarno je porastao za 36 djelatnika te je kompanija na nemiri na Bliskom Istoku i Sjevernoj Africi te nagli porast
kraju drugog kvartala s lokalno zaposlenima u predstav- cijena nafte uzrok su revidiranoj procjeni IATA o oeki-
nitvima dostigla broj od 1.150 djelatnika. Ostvareno 12 0 0 vanoj dobiti industrije za 2011. godinu koja je u lipnju
je poveanje operativnog osoblja za 8% u odnosu na 434 N E O P E R AT I V N O sniena sa 8,6 milijardi dolara na 4 milijarde dolara.
428
poetak godine zbog zapoljavanja dva nova pilota za OSOBLJE
10 0 0
potrebe redovitog operiranja na zrakoplovima Q400, te
zapoljavanja sezonskog kabinskog osoblja radi potreba Poslovno okruenje i rizici poslovanja
pokrivanja ljetnog reda letenja. 800

72 2 74 8 O P E R AT I V N O Presjek globalne ekonomije u 2010. pokazuje da je svijet


600 OSOBLJE prebrodio najteu financijsku krizu ove generacije. Global-
6 | Croatia Airlines na je recesija popustila, no svijet jo uvijek proivljava nje- Annual Report 2011 | 7
ne posljedice. I dalje vlada visoka nezaposlenost, dunika
400 kriza u Europi ne jenjava, a oporavak je vrlo neujednaen.
Via inflacija i znatno fiskalno pootravanje nastavit e
koiti oporavak, usprkos oivljavanju industrijske proi-
200
zvodnje u svijetu. Nastavit e se ozbiljne tenzije i zamke
koje ukljuuju i kreditnu krizu eurozone, rizik od fluktuaci-
0 je teaja te porast cijena proizvoda i energije. Rastua ci-
O S T VA R E N O PL AN
jena nafte biti e novi izazov napretku svjetske ekonomije. Ekonomski oporavak, usprkos krizi u Europi, potaknuo
Utjecaj globalne gospodarske krize na zrani promet je rast trita i poveao koritenje usluga aviokompanija,
polako nestaje. to je dovelo do rasta profitabilnosti u zrakoplovnoj in-
Broj neoperativnog osoblja smanjen je za 3% u odnosu dustriji. Godina 2011. donosi e daleko vie izazova, a
na kraj 2010. godine zbog odlazaka djelatnika i neza- najznaajniji faktori koji bi mogli negativno utjecati na
poljavanja zamjena. Najvei dio ulaganja u kolovanja rast profitabilnosti zranih prijevoznika i nivo potranje
odnosi se na kolovanja operativnog osoblja koja su ope- za uslugama zranog prometa su cijene nafte te mjere
rativno nuna, a ukljuuju pilotska kolovanja za Q400, tednje koje su usvojile europske zemlje kako bi se uhva-
redovite simulatorske provjere pilota te kolovanja sezon- tile u kotac s dunikom krizom. Veina glavnih indeksa
skog kabinskog osoblja. kolovanje operativnog osoblja upuuje na jaanje svjetske trgovine i gospodarskog ra-
ini vie od 94% ukupnih ulaganja u ljudske potencijale, sta, to je pozitivno za perspektivu zrakoplovne industrije.
a ulaganje u kolovanje neoperativnog osoblja, s obzirom Rast potranje biljee prijevoznici diljem svijeta, meutim
na krizu, svedeno je na minimum. zbog politike nestabilnosti u nekim se regijama moe
oekivati i smanjenje potranje.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

TREI SEMESTAR, TEMA : INFORMACIJSKE


STRUKTURE OBLIKOVANJE
INFORMACIJSKE MAPE
Third Semester, Theme:
Information Map Design VANJA PERKOVI
Urban Republic
Mentor Stipe Bri
Asistent/Assistant Luka Bori

Ovaj se zadatak izravno nadovezuje na prethodni sada je potrebno diza-


jnirati promotivni korporativni kalendar u dvanaest 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 informativne,
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 promo-
tivni materijal.

This assignment is directly correlated to the previous onethis time the


students design twelve-sheet promotional corporate calendar for the same
business client. It is essential to analyse the characteristics of this printed
medium, its most common use, the clients methods of communication, as
well as to set target groups that will profit from such a calendar, either by
receiving information or from an aesthetic point of view. The calendar is a
more flexible medium of communication, since it addresses a much wider
audience than the annual report. However, it is also necessary to find a cre-
ative balance between the original designers interpretation of the client and
the full use of the medium that is after all a promotional material.

LANA GRAHEK
Muzej suvremene umjetnosti Zagreb
/ Museum of Contemporary Art, Zagreb
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MATEA BRKI
Swatch
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

ZRINKA HORVAT
Urban Republic
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

ANTA BUEVI MATKO BUNTI


Vans Levis
Mentor Nenad Dogan Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli Asistent/Assistant Marina Jakuli

78 79
Piktogrami se osmiljeni takoer u stilu
cijeloga koncepta, gdje prevladava
Muzej Vizualni identitet 11.1. piktogrami 117 minimalizam i jednostavnost prikaza. Za
Suvremene Knjiga standarda razliku od plonog znaka, piktogrami su
Muzej Vizualni identitet 11.1. piktogrami 117
Umjetnosti linijski iscrtani te tako bliski s logotipom, ali
Suvremene Knjiga standarda
Zagreb i tipografijom koja se koristi u odreivanju
Umjetnosti
cjelokupnog vizualnog identiteta i signalistici.
Zagreb
godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio debljina linije piktograma uvijek prati debljinu
linije tipografije uz koju se nalazi.
Invalidi Muki | enski WC Strelica Lift Stepenice Audio vodi Ovim minimalistikim rjeenjima piktograma
stvoren je sklad sa samim postavom muzeja

Invalidi Muki | enski WC Strelica Lift Stepenice Audio vod

ETVRTI SEMESTAR, TEMA: INFORMACIJSKI Piktogrami se osmiljeni takoer u stilu


cijeloga koncepta, gdje prevladava
minimalizam i jednostavnost prikaza. Za
Piktogrami se osmiljeni takoer u stilu
cijeloga koncepta, gdje prevladava

SUSTAV OBLIKOVANJE VIZUALNOG razliku od plonog znaka, piktogrami su


linijski iscrtani te tako bliski s logotipom, ali
i tipografijom koja se koristi u odreivanju
minimalizam i jednostavnost prikaza. Za
razliku od plonog znaka, piktogrami su
linijski iscrtani te tako bliski s logotipom, ali

IDENTITETA I SIGNALISTIKE
cjelokupnog
Duan vizualnog identitetaProjekcijska
i signalistici. Garderoba Knjinica Bar Kavana Restoran
i tipografijom koja se koristi u odreivanju
debljina linije piktograma uvijek prati debljinu
dvorana
cjelokupnog vizualnog identiteta i signalistici.
linije tipografije uz koju se nalazi.
debljina linije piktograma uvijek prati debljinu
Invalidi Muki | enski WC Strelica Lift Stepenice Audio vodi Ovim minimalistikim rjeenjima piktograma

Fourth Semester, Theme:


linije tipografije uz koju se nalazi.
stvoren je sklad sa samim postavom muzeja
Invalidi Muki | enski WC Strelica Lift Stepenice Audio vodi Duan Projekcijskarjeenjima piktograma
Ovim minimalistikim Garderoba Knjinica Bar Kavana
stvoren je skladdvorana
sa samim postavom muzeja

Information SystemDesigning Visual Identity


elements and Their Regulation (Signalization)
Duan Projekcijska Garderoba Knjinica Bar Kavana Restoran Zabranjeno Zabranjeno Zabranjen Zabranjen Zabranjen Zabranjen Zabranjen Zabranjeno
dvorana fotografiranje telefoniranje unos oruja ulaz ivotinjama unos hrane i pia unos kiobrana putnih torbi puenje
Duan Projekcijska Garderoba Knjinica Bar Kavana Restoran
bljeskalicom
dvorana

Ova kompleksna vjeba podrazumijeva dizajn sustava vizualnog identiteta Zabranjeno


fotografiranje
Zabranjeno
telefoniranje
Zabranjen
unos oruja
Zabranjen
ulaz ivotinjama
Zabranjen
unos hrane i pia
Zabranjen
unos kiobrana
Zabranjen
putnih torbi
odreenog subjekta i skupine pravila koja ga reguliraju, to e rei da se stu- bljeskalicom

denti moraju upustiti u izradu cjelokupnog prirunika grafikih standarda


vizualne komunikacije. Subjekti su raznoliki, no obuhvaaju institucije, tvrtke
i udruge mahom iz vladinog ili nevladinog sektora, koje djeluju primarno u
sferi javnog dobra (bilo da je rije o prometnoj infrastrukturi, medicinskoj Zabranjeno
fotografiranje
Zabranjeno
telefoniranje
Zabranjen
unos oruja
Zabranjen
ulaz ivotinjama
Zabranjen
unos hrane i pia
Zabranjen
unos kiobrana
Zabranjen
putnih torbi
Zabranjeno
puenje
Zabranjeno Zabranjeno Zabranjen Zabranjen Zabranjen Zabranjen Zabranjen Zabranjeno
zatiti, sportskim aktivnostima, kulturnoj ponudi ili neem drugom). Rije bljeskalicom
fotografiranje
bljeskalicom
telefoniranje unos oruja ulaz ivotinjama unos hrane i pia unos kiobrana putnih torbi puenje

je o zahtjevnom zadatku, koji nakon analize subjekta i istraivanja njegova


socijalnog, politikog i ekonomskog aspekta, trai dizajn znaka i logotipa,
prouavanje njihovog odnosa, odabir karakteristine tipografije, i dizajn
svih korporativnih aplikacija u kojima se ogleda primjena osnovnog vizual-
nog identiteta. Zatim, signalistika obuhvaa dizajn informacijskog sustava
i pojedinanih elemenata za oznaavanje i komunikaciju u prostorima jav-
nog sadraja. Ovim zadatkom proiruje se prethodni, budui da je rije o
istoj skupini subjekata. Detaljno istraivanje svih relevantnih razina subjekta
(od opsega njegove javne djelatnosti, analize rasporeda i znaenja sadraja
unutar njegovih prostora, do definiranja ciljne skupine kojoj je sadraj nami-
jenjen) prethodi oblikovanju elemenata signalistike sustava tipografije,
sustava slikovnih simbola, informacijskih jedinica unutar sustava (panoa,
tabli, putokaza i sl.) i sustava koritenih boja, to takoer treba prikazati u
odgovarajue dizajniranom priruniku grafikih standarda.

The first assignment in the fourth semester is complex and it consists of


designing visual identity system for a particular entity, and a set of rules
that regulate it. This means that students have to make an entire manual of
graphic standards for visual communications. Entities are diverse and they
include institutions, companies and associations from government and non-
government sectors, which primarily deal with public good (road infrastruc-
ture, medical care, sport activities, culture, etc). It is a demanding assignment,
because after the analysis of the entity, and of its social, political and eco- Muzej
Suvremene
Vizualni identitet
Knjiga standarda
5.1. varijanta 1odnos znak/logotip
5.1.1. pozitiv
24

Umjetnosti

nomic aspects, the students design the sign and the logo, and observe how
Muzej Vizualni identitet
Zagreb Suvremene Knjiga standarda
Umjetnosti
Zagreb
they interrelate. They also choose characteristic typography, and design all
corporate applications in which the basic visual identity is used. Furthermore,
signage includes information system design and design of specific elements Muzej
Suvremene
Umjetnosti
Zagreb
Vizualni identitet
Knjiga standarda
5.3. varijanta 3 odnos znak/logotip
5.3.1. pozitiv
36

for signage and communication in public spaces. The second assignment in Muzej
Suvremene
Umjetnosti
Zagreb
Vizualni identitet
Knjiga standarda
5.4. varijanta 4 odnos znak/logotip
5.4.1. pozitiv
42

the fourth semester broadens the first one, as it deals with the same group of
entities. Detailed research of all relevant levels of the entity (from the range ALMA AVAR
of its public activity, through the analysis of the arrangement and meaning of Zooloki vrt grada Zagreba / Zagreb ZOO Muzej Muzej Muzej Suvremene Muzej
the objects in its interior, to the definition of the target group) precedes the Mentor Stipe Bri Suvremene Suvremene Umjetnosti Zagreb Suvremene
Umjetnosti Umjetnosti Umjetnosti
design of signage elementstypography system, system of picture symbols, Asistent/Assistant Luka Bori Zagreb Zagreb Zagreb
information units inside the system (boards, plates, signposts, etc) and the
system of the colours used, which also needs to be shown in an appropriately
designed graphic standard manual.

MATEA BRKI
Muzej suvremene umjetnosti Zagreb
/ Museum of Contemporary Art, Zagreb
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

Kapaljka Kapaljka
Sjekira
Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli
u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do
Analizom muzeja doao sam do ideje prikazati razvoj
proizvoda koji i danas koristimo. Tehnologija/tehnika je irok proizvoda koji i danas koristimo. Tehnologija/tehnika je irok
logotipa, kao i sami odjeli u muzeju koji prikazuju razvoj
Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli
tehnologije od samih ispitivanja i pokuaja do proizvoda
u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do
koji i danas koristimo. Tehnologija/tehnika je irok
proizvoda koji i danas koristimo. Tehnologija/tehnika je irok proizvoda koji i danas koristimo. Tehnologija/tehnika je irok

Axe

Analizom muzeja doao sam do ideje prikazati razvoj


Dropper Dropper logotipa, kao i sami odjeli u muzeju koji prikazuju razvoj
tehnologije od samih ispitivanja i pokuaja do proizvoda
Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli koji i danas koristimo. Tehnologija/tehnika je irok
u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do
proizvoda koji i danas koristimo. Tehnologija/tehnika je irok proizvoda koji i danas koristimo. Tehnologija/tehnika je irok
Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli Analizom muzeja doao sam do ideje prikazati razvoj logotipa, kao i sami odjeli
u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do u muzeju koji prikazuju razvoj tehnologije od samih ispitivanja i pokuaja do
proizvoda koji i danas koristimo. Tehnologija/tehnika je irok proizvoda koji i danas koristimo. Tehnologija/tehnika je irok

ATROGASTVO
REFIGHTING

BORNA AARON GREVI


Tehniki muzej / Technical Museum
PRVI
PRVIKAT
KAT PRIZEMLJE
PRIZEMLJE Mentor Ivan Doroghy
LEVEL
LEVELONE
ONE GROUND
GROUNDFLOOR
FLOOR
Asistent/Assistant Tomislav Vlaini
ASTRONAUTIKA
ASTRONAUTIKASSPLANETARIJEM
PLANETARIJEM
ASTRONAUTICS
ASTRONAUTICSWITH
WITHPLANETARIUM
PLANETARIUM

ZEMLJOMJERSTVO
ZEMLJOMJERSTVO
GEODESY
GEODESY
WC
WC
RESTROOM
RESTROOM
KABINET
KABINETNIKOLE
NIKOLETESLE
TESLE
NIKOLA
NIKOLATESLAS
TESLAS
CABINET
CABINET

OSNOVE
OSNOVEPOLJODJELSTVA
POLJODJELSTVA
ESSENTIAL
ESSENTIALAGRICULTURE
AGRICULTURE
PRVI
PRVIKKAT
AT
LEVEL
LEVELONE
ONE
PRIZEMLJE
PRIZEMLJE
GROUND
GROUNDFLOOR
FLOOR

VATROGASTVO
VATROGASTVO
FIREFIGHTING
FIREFIGHTING
IZLAZ
IZLAZ
TRANSFORMACIJA
TRANSFORMACIJAENERGIJE
ENERGIJE EXIT
EXIT
ENERGY
ENERGYTRANSFORMATION
TRANSFORMATION

PROMETNA
PROMETNASREDSTVA
SREDSTVA VANJA PERKOVI
TRANSPORT
TRANSPORT
Muzej suvremene umjetnosti Zagreb
RUDARSTVO
RUDARSTVO / Museum of Contemporary Art, Zagreb
MINING
MINING

Mentor Stipe Bri


Asistent/Assistant Luka Bori

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

TIHANA ARE
rc Mladost Zagreb / Sports and
Recreation Centre Mladost Zagreb
Mentor Stipe Bri
Asistent/Assistant Luka Bori

LANA GRAHEK Me unarodni/domai odlazak


International/domestic departure

Zrana luka Zagreb / Zagreb Airport Me unarodni/domai dolazak


International/domestic arrival
Mentor Nenad Dogan Registracija putnika
Asistent/Assistant Marina Jakuli Check-in

Registracija putnika
Self check-in

WC
Toilette

Preuzimanje prtljage
Baggage claim

Izgubljena prtljaga
Lost and found

Kolica
Trolley

Rent-a-car
Rent-a-car

Carina
Customs check

Pregled putovnica
Passport check

ATM
Bankomat
ATM

VISA
Vize
Visas

DUTY Duty free shop


FREE Duty free shop

Pokretne stepenice
Escalator

Dizalo
Elevator

e kaonica
Waiting room

Naplata parkinga
Parking payment

Informacije
Information

Informacije
Information
Vi ste ovdje Suvenirnica
You are here Gift shop

Transfer
Transfer

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MUZEJ
Sekundarna signalistika Vizualni identitet i signalistika bolnice
SUVREMENE
UMJETNOSTI
ZAGREB

ANTA BUEVI
Klinika za djeje bolesti Zagreb
/Childrens Hospital Zagreb
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

KLINIKA ZA DJEJE BOLESTI


ZAGREB

ZRINKA HORVAT
Muzej suvremene umjetnosti Zagreb
/Museum of Contemporary Art, Zagreb
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini
Primarna Signalistika Vizualni identitet i signalistika bolnice
4. semestar Vizualne komunikacije, Studij dizajna, Arhitektonski fakultet 2011/12

Biokemijski laboratorij
Pedijatrijska ambulanta Pedijatrijska ambulanta
Upis bolesnika

1. kat

Wc za invaLidE Muki i Enski Wc projEkcijska dvorana itaonica kafi

Wc za invaLidE Muki i Enski Wc projEkcijska dvorana itaonica kafi

duan gardEroba info puLt dizaLo stEpEnicE

4. semestar Vizualne komunikacije, Studij dizajna, Arhitektonski fakultet 2011/12


duan gardEroba info puLt dizaLo stEpEnicE

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

PETI SEMESTAR, TEMA: KOMUNIKACIJSKI


SUSTAVIDENTITET GRUPE PROIZVODA
Fifth Semester, Theme: Communication
SystemIdentity of Product Groups

Vjeba projektiranja identiteta grupe proizvoda naprednija je i zahtjevnija ANDREA FRANI


varijanta posljednje vjebe iz drugog semestra studija. Dok je tada bilo Pip med
potrebno oblikovati vizualni identitet pojedinanog prehrambenog proi- Mentor Nenad Dogan
zvoda i dizajnirati informacijski sustav njegove ambalae, sada se to mora Asistent/Assistant Marina Jakuli
uiniti za grupu od tri povezana proizvoda iz istog sektora, te ih predstaviti
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 krovnog 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 studenta.

The first assignment in the fifth semester is a more advanced and more
demanding variety of the second assignment in the second semester of the
undergraduate programme. Back then it was necessary to create visual iden-
tity of a food product and to design information on its packaging. Now the
students have to do the same task for a group of three connected products
from the same sector, and to represent them as a unique brand, which also
needs to be created and designed by the students on the basis of an already
existing one. Every product has to have its own perceptible identity, without
jeopardising the coherence of the brands primary visual identity. Needless to
say, independent project work is preceded by the analytical research of the
entity and of the market, which is an unavoidable part of the job, and which
will be very common in the students future professional work.

TESSA BACHRACH-KRITOFI DINA MILOVI


Durum tjestenina / Durum Pasta Ekozona (Aceto Balsamico, Pirovo brano, Jeam)
Mentor Ivan Doroghy /Ecozone (Balsamic vinegar, Spelt flour, Barley)
Asistent/Assistant Tomislav Vlaini Mentor Stipe Bri
Asistent/Assistant Luka Bori

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

ANA SOMEK
Franck kava / Franck Coffee
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

MAJA SUBOTI
Durum tjestenina / Durum Pasta
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

MARKO HRASTOVEC
Franck Snack
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

PETI SEMESTAR, TEMA: KOMUNIKACIJSKI


SUSTAVOGLAAVANJE
Fifth Semester, Theme:
Communication system Advertising

Kao i u prethodnim semestrima, i sada je drugi zadatak neposredno povezan s


prvim, ali ovaj put se istim subjektom bavi drugi student, s ciljem oblikovanja
oglaivakih sredstava za grupu proizvoda, to je standardni dio promotiv-
nog procesa. Zadatak je teak utoliko to student sve elemente oglaivake
kampanje mora osmisliti sam (na temelju prethodno dizajniranog 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 provedenog
istraivanja. Tako je student istodobno i marketinki strunjak, i dizajner, i
copywriter, i ilustrator, a mentori i asistenti u ulozi su svojevrsnih art direk-
tora. Cilj zadatka je usvojiti osnove svih vjetina koje se u marketinkoj praksi
smatraju neizostavnima.

As in the previous semesters, the second assignment is directly linked to the


first one, but this time another student deals with the same entity, in order
to design advertising media for a group of products, which is a standard
part of promotion. The task is difficult because the student has to define all
the elements of the advertising campaign single-handedly (on the basis of
the brands previously designed visual identity)title and slogan, images
(photos or illustrations), a series of posters and advertisements, as well as
the whole strategy of how to implement the adverts into public space, which
is also done on the basis of independently conducted research. In this way
the student becomes a marketing expert, a designer, a copywriter and an
illustrator at the same time, while the supervisors and assistants assume the
role of art directors. The purpose of the assignment is to master the basics of
all the skills that are considered crucial in the marketing practice. DORA LUGARI
Klara Mari tjestenina / Klara Mari Pasta
Mentor Stipe Bri
komentor/coMentor Veljko van
Asistent/Assistant Luka Bori

KATARINA RATKAJ
sms Evergreen
Mentor Nenad Dogan
komentor/coMentor Veljko van
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

ANDREA FRANI ANA SOMEK


Mikado Premium Pasta i basta
Mentor Nenad Dogan Mentor Nenad Dogan
komentor/coMentor Veljko van komentor/coMentor Veljko van
Asistent/Assistant Marina Jakuli Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

DORA BILANDI
Pip med / Pip Honey
Mentor Ivan Doroghy
komentor/coMentor Veljko van
Asistent/Assistant Tomislav Vlaini

MARKO HRASTOVEC
Franck kava / Franck Coffee
Mentor Ivan Doroghy
komentor/coMentor Veljko van
Asistent/Assistant Tomislav Vlaini

Explignatur sumquatur, officti quia sequas ea nemolora net volum rerspidit autaesc ienest, quiatiis quibus maio. Odi
reium ab is eturio con ped qui alitae. Itaque aut evenderum remporporum aut ullest, que dollorerum in nihitiis ra ne
aditi as mi, conse dolorecto inullis voluptatios ut aut aliqui blaborat ea desero mincipi.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

ESTI SEMESTAR, TEMA: KOMUNIKACIJSKI


SUSTAV KOMUNIKACIJA AUTORSKOG
UMJETNIKOG SADRAJA
Sixth Semester, Theme: Communication
systemCommunication of Authors Artistic
Content

Pri kraju svog preddiplomskog studija, student se vraa plakatu kao jednom
od najzahvalnijih medija vizualne komunikacije, 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 teatarska sadraja odabrana
iz repertoara jednog kazalita, pri emu valja podjednako voditi rauna o
bazinom potivanju literarnog predloka predstava, odraavanju specifi-
nosti redateljskih pristupa, a treba imati na umu i da serija plakata mora
odraavati i originalni karakter kazalita, odnosno funkcionirati kao element
njegovog vizualnog identiteta, onako kako ga vidi student. Pravi izazov za
zavrnu godinu trogodinjeg studija!

Towards the end of their undergraduate programme, the students go back


to the poster as one of the most rewarding visual communications media.
The students use design media to interpret another authors theatre show,
and thus they participate in a collective process of creation that is typical of
theatre. The goal is to design a series of posters for the promotion of three
theatre plays chosen from one theatres repertoire. It is equally important
to follow the rules of the original literary work, to express the producers
specific approach, and to keep in mind that the series of posters has to reflect
the originality of the theatre itself, i.e. to function as an element of its visual
identity, as seen by the student. A real challenge for the final year of the
three-year programme!

MAJA SUBOTI
Teatar &TD
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

TESSA BACHRACH-KRITOFI
Teatar Exit
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

LUKA REICHER
Gavella
Mentor Stipe Bri
Asistent/Assistant Luka Bori

MARINA URAN PULIG


Teatar &TD
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MARKO HRASTOVEC
Teatar &TD
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

FRANKA TRETINJAK
Teatar Exit
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

ESTI SEMESTAR, TEMA: KOMUNIKACIJSKI


SUSTAV U ODGOVARAJUIM MEDIJIMA
MULTIMEDIJALNA PREZENTACIJA
Sixth Semester, Theme: Communication System in
Corresponding MediaMultimedia Presentation MARKO CVJETI
Zaboravljeni grad / Forgotten City
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

Zavrni zadatak preddiplomskog studija po prvi put doputa studentima da


sami osmisle i odaberu sadraj kojim e se baviti i koji e istraivati kori-
stei znanja i vjetine steene 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 osobnoj promociji ili na promiljanju odreenog
fenomena u studentovoj okolini, ali zavrna prezentacija mora biti ostvarena
u medijima i izraajnim sredstvima koji najbolje komuniciraju kako indivi-
dualnost studenta, tako i kompleksnost odabranog problema. Poticaj je to
studentima da na pojave i probleme oko sebe reagiraju u skladu sa svojim
ivotnim pozivom.

In the final assignment of the undergraduate programme students are


allowed for the first time to choose and create the subject of their work on
their own. They also have to conduct research, using the knowledge and skills
acquired during the previous years of their studies. The students are asked to
show a clear professional attitude, to define their position and to articulate
their own opinion in the context of modern visual communications, as well
as to demonstrate their attitude towards the problem or the field that they
have chosen. The project assignment can be based on personal promotion,
or on the consideration of a specific phenomenon in the students surro-
undings. However, the final presentation has to be done in the media that
communicate best, either when it comes to the students individuality, or
the complexity of the problem that the student chose to solve. It encoura-
ges the students to react on phenomena and problems around them in line
with their vocation.

Projekt Zaboravljeni grad bavi se problemom naputenih prostora u Zagrebu


i njihovim znaenjem i funkcijom u dananjem okruenju. Cilj ovog projekta
je ponovo aktivirati prostore koji su nekada imali jako gospodarsko i indu-
strijsko znaenje, a danas su naputeni i ruevni. Aktivacija bi se trebala
postii implementacijom odreenih grafikih elemenata u pojedine objekte,
a potom bi se pomou tih povezanih vizuala etnjom kroz objekt publici
ispriala pria o njemu. U ovoj fazi projekta obraen je prostor stare tvornice
vlakova Gredelj.

The Forgotten City project deals with the issue of abandoned spaces in the
city of Zagreb and with their meaning and function in the present day surro-
undings. The project aims to reactivate spaces that used to be of great eco-
nomic and industrial importance, but today they are abandoned and ruinous.
The reactivation should be achieved by the implementation of certain graphic
elements into some structures. Those connected visuals would then be used
during a walk around the facilities to tell the audience its story. This phase
of the project dealt with the old Gredelj train factory.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MARKO HRASTOVEC
SamospoznajaSamopromocija
/Self-awarenessSelf-promotion
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

JURICA KOLETI
ig-zg
Mentor Stipe Bri
Asistent/Assistant Luka Bori

S obzirom da autor ve sedam godina svakodnevno putuje istom eljezni-


kom rutom Ivani GradZagrebIvani Grad, odluio je ovim radom saku-
piti i zaokruiti steena iskustva. Rad obrauje problem novih putnika koji
se u vlaku i eljeznikom sustavu ne snalaze najbolje, a cilj je poboljati im
kvalitetu putovanja korisnim savjetima. U kreiranom vodiu nalaze se razne
prie s opetovanih vonji, recenzije stanica i njihovih objekata, kao i razliiti
trikovi i upute za novopeene putnike. Vodi je podijeljen u deset stranica
za deset stanica, te se glavni tekst ita dvosmjerno, kako bi doarao dva
smjera putovanja, te zbog dva razliita teksta za odreenu stanicu (ovisno o
orijentaciji itanja). Trei tekst uz stanicu uputa je za zanimljivije putovanje,
oznaen kao Mala tajna za veliku vonju.

In view of the fact that the author has been travelling on the same railway
route Ivani GradZagrebIvani Grad every day for the past seven years,
he decided to collect and to integrate those experiences in this work. The
work deals with the problem of new passengers who have difficulties in fin-
ding their way on the train or in the railway system, and it aims to improve
the quality of their travels with some useful advice. This guide tells the sto-
ries of repeated train rides; it also gives a review of the train stops and their
facilities, as well as instructions for the newly fledged passengers. The guide
is divided in ten pages for ten train stops. The main text is read in both ways
to give the idea of a round-trip journey, and because there are two different
texts for each stop (depending on the readers direction). The third text that
accompanies a train stop is an instruction for a more interesting journey,
named Little secret for a big ride.

Kroz vlastito shvaanje dizajna i predstavljanje najintimnijih faza kroz koje


autor prolazi za vrijeme trajanja projekta, izbjegavajui fotografije gotovih
radova kao uvrijeeni, jedini prikaz za vrednovanje, on nastoji predstaviti
sebe i svoj dizajn. Konana forma je hibrid dnevnika (kronoloki poredan i
strukturiran sadraj, osobna razmiljanja) i asopisa, a definirala ju je sama
vrsta sadraja, ali i autorovi afiniteti pri odabiru medija kroz koji e se naj-
lake izraziti.

The author tries to represent himself and his design through his own under-
standing of design and through the presentation of the most intimate phases
that an author goes through during a project. The author avoids photographs
of already completed work as the usual or the only outline for evaluation.
The final form is a hybrid of a journal (chronologically ordered and struc-
tured content, personal thoughts) and a magazine, defined by the content
itself, but also by the authors affinities in the choice of the easiest medium
for expression.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

MAJA SUBOTI DORA BILANDI


Hou Park / I Want a Park Hrelle
Mentor Nenad Dogan Mentor Ivan Doroghy
Asistent/Assistant Marina Jakuli Asistent/Assistant Tomislav Vlaini

U elji da svoj grad uini ugodnijim i humanijim asopis Hrelle dekodira i demistificira konzume-
za ivot, autorica je odluila pokrenuti inicijativu ristike vizuale spektakla, a njegovo oblikovanje
osvjetavanja graana Rijeke o nedostatku zele- parafraza je modnih asopisa poput Elle, Cosmo-
nih povrina u gradu, s ciljem poticanja graan- politan, Grazia, GloriaIn itd. asopis je i svoje-
skog aktivizma u rjeavanju tog problema. Kako vrstan manifest stila ivota odreene subkulture
smo (pre)zasieni vizualnim obavjesnicima, bilo je mladih koji ive u Zagrebu. Ispituje kako oni per-
potrebno odmaknuti se od tradicionalnih naina cipiraju poznati zagrebaki buvljak Hreli i ljude
komunikacije, stoga se krenulo u pothvat zelene koji tamo rade, te na irem planu, kakav je njihov
gerile. To je obuhvaalo bojanje gradskih povr- odnos spram drutvenih normi koje im se svakod-
ina u zeleno, te postavljanje balona od helija na nevno nameu.
obojano mjesto, s piktogramom i imenom akcije,
te linkom za online prezentaciju projekta. Tako The Hrelle magazine decodes and demystifies
je svrha projekta Hou park potaknuti u graana consumerist visuals of a spectacle. Its design is
interes za donoenjem odluka o poboljanju a paraphrase of fashion magazines such as Elle,
neposrednog urbanog prostora i razvijanja i ras- Cosmopolitan, Grazia, GloriaIn, and so forth.
poreda zelenih povrina. The magazine also represents a kind of a life-
style manifesto of a subculture of young people
Her desire to turn her city into a more pleasurable living in Zagreb. The magazine examines their
and more humane place for living led the author perception of the Zagreb flea market Hreli and
to start an initiative in order to make the citizens of the people who sell there. On a larger scale,
of Rijeka aware of the lack of green areas in their the magazine examines their attitude towards
city. She wanted to encourage the citizens acti- the social norms that are imposed upon them
vism in dealing with this problem. Since we are every day.
(over)exposed to visual information, it was nece-
ssary to step back from traditional means of com-
munication. For this reason, the green guerrilla
project was started, which included painting
some areas of the city in green. Helium balloons
were then placed on the painted areas, and they
carried the pictograph, the name of the project,
and the link for the projects online presentation.
The purpose of the I want a Park project is to
stimulate the citizens interest in making decision
about the improvement of their immediate urban
environment by the creation of green areas.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

DINA MILOVI
Oriinali
Mentor Stipe Bri
Asistent/Assistant Luka Bori

FRANKA TRETINJAK
Om Nom Nom
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

Projekt Om Nom Nom spoj je dizajna, dizajna hrane, nutricionizma i svje-


tonazora koji podrazumijeva zdrav ivot. Ponueno rjeenje je proizvod
u obliku zdravog sendvia kao konkurencije uobiajenim slatkiima, gric-
kalicama i ostaloj hrani namijenjenoj djeci. Dio projekta obrauje problem
uvjeravanja djece da kontinuirano kupuju proizvod, radi ega je osmiljen
sustav kodova poput onih za nagradne igre, kojima se ukljuuje u raunalnu Oriinali je alternativni turistiki vodi kroz Split. Oriinal je udak origi-
online igru. Kako igra ne bi izgubila na zanimljivosti, postoji sustav prikuplja- nalan, jedinstven i neponovljiv izgledom, odijevanjem, govorom, ponaanjem
nja bodova u kojem igra nadograuje i jaa svoj virtualni lik, to se postie itd, najee i vrlo duhovita osoba. Split je grad koji se upozna tek kada se
kodovima s novih sendvia. upoznaju njegovi glavni protagonisti oriinali. Za upoznavanje splitskih
ulica treba upoznati one koji ih ispunjavaju, one koji svakom uglu daju drugu
The Om Nom Nom project is a combination of design, food product design, priu. Ovaj vodi govori upravo o tome.
nutritionism and healthy lifestyle. The offered solution is a product in form
of a healthy sandwich as an alternative to the usual sweets, snacks and other Oriinali is an alternative tourist guide for the city of Split. An oriinal is
foods given to children. One part of the project deals with the issue of persu- an eccentrica person who is original, unique and inimitable in appearance,
ading the children to continue buying the product. For that purpose, the aut- speech, behaviour, etc, and often also very witty. Split is a city you can get
hor created a system of codes, similar to the one in prize games, and linked familiar with only when you have met its protagoniststhe oriinali. To
with an online computer game. In order to keep the game interesting, there get to know the streets of Split, it is necessary to meet the people who fill
is a system for collecting points, in which the players upgrade and add power them, those who give a different story to every corner. The guide speaks
to their virtual characters with codes from newly purchased sandwiches. precisely about that.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijvizualne komunikacije / undergraduate programmevisual communications studio

DORA LUGARI MARINA URAN PULIG


Miastenie gravis Zagreb Street Poetry
Mentor Stipe Bri Mentor Nenad Dogan
Asistent/Assistant Luka Bori Asistent/Assistant Marina Jakuli

Temelj projekta Zagreb Street Poetry misao je da stanovnici grad trebaju


vratiti sebi samima, a da bi to uinili moraju proizvesti svoj prostor i svoje
vrijeme. Ideja poezije koja prolaznike salijee sa zidova, s ulinih ograda i s
povrina trgova, nije neposredno prosvjetiteljska; ali isticanje udatva jav-
nog prostora poezijom koja je jo uvijek provokativna prije svega ima namjeru
te javne povrine vratiti prolaznicima. U prekidima rutine, u tokama loma
koje ivot nepovratno mijenjaju, iz naoko besmislene zbrke dogaaja razvija
se smisao, pojam, zajednitvo u duhu.

The underlying idea behind Zagreb Street Poetry project is the thought that
citizens should reconquer their city, and in order to do such a thing, they
have to create their own space and their own time. The idea of poetry that
is thrown upon the passers-by from walls, fences and squares is not directly
enlightening; however, setting off the eccentricity of a public space with
poetry, which has still kept its provocative quality, is intended primarily to
give that public space back to passers-by. When the routine is interrupted,
at breakage points that change life irreversibly, the apparently meaningless
series of events turns into meaning, idea, and spiritual unity.

Projekt osvjetava ljude o fenomenu miastenie gravis, autoimune bolesti


koja izaziva slabost miia. Konceptualno, projekt je takav da na duhovit
nain upozorava na potekoe s kojima se oboljeli nose u svakodnevnom
ivotu. Pri komunikaciji poruke koriste se akreditacije koje se mogu nositi
oko vrata ili negdje objesiti, te platnena torba i majica, oblikovana tako da se
moe nositi na dva naina.

The project raises awareness on the phenomenon of miastenie gravis, which


is an autoimmune disease that causes muscle weakness. Conceptually, the
project is such that it warns in an amusing way about the difficulties that
the people who suffer from this disease encounter in their everyday life. The
message is communicated with the help of accreditation tags that can either
be worn around the neck or hung up somewhere, and linen bags and T-shirts,
made in such a way that they can be worn in two different ways.

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godinjak studija dizajna / school of design annual review 2011/2012

TIPOGRAFIJA
Typography
Cilj preddiplomskog studija je stvaranje osnovnog, upotrebljivog The goal of the undergraduate programme is to give students fun-
fundusa znanja o tipografiji. Studenti se upoznaju s osnovnim ter- damental knowledge of typography, such that they can use in their
minima (tipografija, pismo, font, mjerne jedinice...), osnovnom future work. The students learn the basic terminology (typography,
klasifikacijom pisama (serifni/bezserifni; konstrukcija translacije typeface, font, typographic units of measure, etc), the basic type-
i ekspanzije; naslovna pisma i pisma za tekui tekst...), osnovnim face classification (serif/sans serif; construction of translation and
parametrima manipulacije (horizontalni pokret spacing, kerning, expansion; headline fonts and text fonts, etc), the basic manipula-
tracking, veliina pisma te vertikalni pokret prored i veliina tion parameters (horizontal movement spacing, kerning, tracking,
pisma) i povjeu tipografske discipline. Studenti se takoer upo- font size and vertical movement line spacing and font size), and
znaju s osnovama tipografskog sloga, proporcijama, formatima i the history of typography. The students also learn the basics of typo-
hijerarhijom teksta. graphy layout, proportions, formats and text hierarchy.
Nakon preteno tehnikih vjebi s prve, studenti se na drugoj i After mostly technical exercises during the first year, the second
treoj godini susreu s kompleksnijim zadatcima poput oblikovanja and third year offer more complex assignments such as designing
knjiga, asopisa te digitalnog pisma. Uz aktivno povezivanje znanja books, magazines and digital typefaces. While actively combining
usvojenih prethodnih godina, od studenata se oekuje razumjeva- all the skills and knowledge from previous years, the students are
nje sadraja te mogunost interpretacije istog na razne naine. expected to understand the content and interpret it in various ways.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

PRVI SEMESTAR, TEMA: NATAA NJEGOVANOVI


Mentori/Mentors Damir Brali, Nikola urek
UPOTREBA MREE U TIPOGRAFIJI
SEATTLES
1980 Grunge or Seattle
Sound, a sub-genre

First Semester, Theme: Use of a Typographic Grid


1992 of alternative
rock emerged as

ALTERN ATIVE
a fusion of punk,
alternative, and
heavy metal

G R U N GE
Green River
Skin Yard
March of Crimes
Spliinuma

M USIC SCEN E In the minds of most people, Seattle, Washing-


A grouping of Malfunkshun demos and recordings from the early-to-mid
1980s were released on Stone Gossard and Regan Hagar's Loosegroove label
in 1995, as Return to Olympus, which was the largest major label release of
the band's material.

and Temple of the Dog; though few went on to


Lords Of The Wasteland ton, is famous for two things: grunge music and achieve the same global suc cess as Kurt Cobain

U slijedu vjebi koje se niu od jednostavnijih do kompliciranijih studenti Mother Love Bone
Starbucks coffee. But while it's unlikely that you'll
have to leave your home town for a taste of what
and Eddie Vedder's explosive outfits.
With a sound that took its roots from North-
Bill Murray
Hard Time Starbucks has to offer, it's certainly true that, in western punk bands, heavy metal and indie-rock,

savladavaju osnove tipografske raspodjele plohe poglavito kroz metodolo- My favorite Elvis quote is,
The only thing colors can do for
me is shine my shoes.
Deranged Adiction
order to experience the essence of grunge rock and
its heritage, Seattle is an essential place to visit for
grunge has been closely associated with Genera-
tion x in the usa, as both phenomena arose at the
any self-respecting music buff. same time in popular culture. But while Genera-

giju vicarske tipografske kole (J.M.Brockmann, E.Ruder...). Posebna panja Alfred Molina
Isaach De Bankol

Im sorry to disappoint you,


Feedback
10 Min Warning
Grunge rock a form of alternative rock that
became popularized in the early 1990s put Seattle
tion x is marked primarily for its cynical, alienated
and pessimistic view of life, grunge music was

Coffee
but there is nothing wrong. Really.
Do you want a
firmly on the road map of any tour of American equally replete with satire and humor, as various
usmjerena je kako tretmanu tekueg teksta (na mikro razini) tako i logici cigarette? I could invent something bad for you.
Sorry, Mudhoney musical cities. In fact, the roots of grunge rock are releases by Nirvana and Mudhoney, among other,
theyre French.
so closely entwined with Seattle that the genre is demonstrate well.
But, you could
Soungarden even referred to as 'Seattle Sound' by some - a label While the 'death' of grunge is generally said to
sustavnog rasporeda svih elemenata na stranici (na makro razini).
save one for later...

Temple Of The Dog that's testament to the suc cess of local grunge have begun with the suicide of Kurt Cobain in 1994,
bands like Nirvana and Pearl Jam. the fundamentals of the grunge spirit still seem
Jack White Pearl Jam But while Nirvana and Pearl Jam are often seen to hold true in Seattle's modern musical climate.
as figureheads of Seattle grunge, a variety of bands Many hallmark elements of grunge have stood the
Alice In Chains

and
You know, the beauty
of quitting is,
Cate Blanchett helped make the genre a universally ac cepted test of time and even translated into other music
now that Ive quit...
musical movement. In essence, grunge music in Se- genres not least the practices of head-banging,
In a series of exercises going from simple to more complicated, students Iggy Pop
I can have one.
When you cant
afford something,
its really expensive.
...
attle revolved around Sub Pop - a record label that
was propelled to fame by the suc cess of Nirvana,
crowd-surfing and moshing.

master the basics of typographic surface distribution, especially through the Soundgarden and Mudhoney; eventually becoming
And then when you can
Cigarettes and
coffee, man. synonymous with the Seattle Sound. Other popular
Thats a combination. grunge bands of the era included Alice in Chains

Swiss School methodology (J.M.Brockmann, E.Ruder, etc). Special attention


Cigarettes
145 / Faded Flannel Faded Flannel / 146

Vinny Vella

is given to the treatment of flowing text (on a micro level) and to the logic of I really wish you
hadnt done that.
I had it the right

systematic layout of all the elements on a page (on a macro level). Roberto Benigni color, the right
Steve Buschemi
temperature.
I drink a lot of coffee before I go to sleep It was just right.
I used to drink it
so I can dream faster. every single night...
up until it was time
Taylor Mead
to go to sleep.
Used to make me Let's pretend this coffee is champagne.
dream faster. To celebrate life.

1980 'Godfathers of Grunge' along Lineup 1980


Renee French

MALFU N KSH U N
You better go get yourself something
to eat, and something good.
Get some coffee and cigarettes!
with bands such as Green Andrew Wood lead vocals

River and The Melvins, Kevin Wood guitar


Dave Rees bass guitar
2 3 Malfunkshun was at the very Dave Hunt drums

1988
Return to Olympus
forefront of what would (Loosegroove Records,
1995).
become the massive Seattle
Malfunkshun: The Lineup '80'88
2006 music scene. Andrew Wood Story
(Hip-O-Select/UMe,
2011). Andrew Wood lead vocals,
bass guitar
Malfunkshun, while not much of a typical grunge band with their they formed Temple of the Dog in 1990, to pay tribute to Wood, re- Kevin Wood guitar


Hip-hop artists (and cousins) GZA and RZA of the Twins glam-rock lead singer, should be mentioned for their lead singer leasing one self-titled album in 1991. Regan Hagar drums
Wu-Tang Clan drink naturally caffeine-free herb-
al tea and have a conversation with the waiter, Andrew Wood, who would prove to be a very influential part of what Fellow Seattle band Alice in Chains dedicated their debut album
Bill Murray, about the dangers of caffeine and became grunge. The band was known for their live performances, Facelift to Wood while the song 'Would?' included in their second
Cousins? nicotine. During this conversation GZA makes a
reference to how he would drink lots of coffee costumes, and alter egos that each band member shared. album, Dirt, was written about Wood and other singers who had died
No
British actors Alfred Molina and Steve
before going to bed so his dreams would whip
by similar to the camera-shots at the Indy 500,
Alex Descas and Isaach De Bankol are a
couple of friends who meet and talk over
Problem
Andrew Patrick Wood (born January 8, 1966 March 19, 1990) was as a result of drugs. In the liner notes of Alice in Chains' Music Bank Lineup '06'10
Coogan have a conversation over some very similar to the same reference that Steven
some coffee and cigarettes. Alex has no an American musician best known as the lead singer for grunge box set collection, Jerry Cantrell said of the song: 'I was thinking a lot
tea. (Coogan offers Molina a French cig- problems, or so he answers to Isaachs
arette, but Molina saves his for later.)
Wright did in the first segment. Murray requests
repeated questioning. At the end of the bands Malfunkshun and Mother Love Bone. about Andrew Wood at the time. We always had a great time when Shawn Smith lead vocals
that GZA and RZA keep his identity secret, while
Molina compliments Coogans designer GZA and RZA inform Murray about nontradition-
scene, Alex takes out a pair of dice and Wood formed Malfunkshun, in 1980, with his brother Kevin and we did hang out, much like Chris Cornell and I do. There was never Kevin Wood guitar
jacket but notes that it will make him rolls three sets of doubles. It could be as-
hot in the 85 degree Los Angeles heat.
al methods to relieve his smokers hack.
sumed that Alex Descas has an excessive Regan Hagar. The band used alter ego personas onstage, with Wood really a serious moment or conversation, it was all fun. Andy was a Mike Hommel drums
Molina works up to presenting his evi- Jack Shows Meg gambling problem but to him it is not a using the name Landrew the Love Child. Though the band only had hilarious guy, full of life and it was really sad to lose him. But I always Thorsten Rock- guitar
problem because of what he can roll.
dence that the two are distant cousins. His Tesla Coil Notice he doesnt roll the dice in front of
two songs released, 'With Yo' Heart (Not Yo' Hands)' and 'Stars-n-You', hate people who judge the decisions others make. So it was also Rob Day bass guitar
Coogan rebuffs Molina until Katy Hansz
asks Steve Coogan for an autograph, his friend. on the Deep Six compilation album,they are often cited as 'founding directed towards people who pass judgments.
and Coogan wont give out his phone Features Jack and Meg White of the band fathers' of the Seattle's grunge movement. It was during his time in In 1992, PolyGram reissued both Shine and Apple as the compila-
number to Molina. Then when Alfred The White Stripes having some coffee
Molina gets a call from his friend Spike and cigarettes. They play themselves, al- Malfunkshun that Wood started relying heavily on drugs, entering tion album Mother Love Bone, while the song 'Chloe Dancer/Crown of
Jonze, Coogan tries to make amends,
Somewhere though the scene seems to perpetuate
Cousins Cate Blanchett plays herself and a fictional rehab in 1985. Thorns' was included on the soundtrack to the film Singles. The same
but it is too late, and he regrets missing
the chance to make the connection. Al- in California
the bands former pretense that they are
indeed siblings. Jack shows Meg his Te-
and non-famous cousin named Shelly, whom
she meets over some coffee in the lounge of
By 1988, Malfunkshun had disbanded and Wood began jamming year, Los Angeles band Faster Pussycat wrote the song 'Mr. Lovedog', Current
though they say they are in LA, the seg- sla coil that he says he built himself and with former Green River members Stone Gossard and Jeff Ament, per- from the album Whipped!, in tribute to Wood. Bradley Torreano, of
ment was actually shot in Brooklyn at
Galapagos, Williamsburg. Filmed in 1993 as the short Coffee and
waxes intellectual on the achievements
of Nikola Tesla. In the beginning, Jack
a hotel. There is no smoking in the lounge,
as the waiter informs Shelly (but not until forming briefly as the cover band Lords of the Wasteland. They soon Allmusic, stating that the song 'offered a sad elegy to another charis- Members
Cate is gone). Shelly tells Cate about her boy-
Cigarettes - Somewhere in California, seems upset that Meg doesnt share his friend, Lee, who is in a band. She describes began writing original material and formed Mother Love Bone the matic figure in the metal world.'
and won the Short Film Palme dOr at excitement, and it takes Meg some coax-
the Cannes Film Festival.In this seg- ing to get Jack to agree to show Meg his
the music style as hard industrial, similar to same year, adding guitarist Bruce Fairweather and former 10 Minute In 1993, Seattle post-grunge band Candlebox released their self- Kevin Wood guitar
the band Iggy describes. Cate tells Shelly she
ment musicians Iggy Pop and Tom Waits Tesla Coil. He introduces the line, Nikola looks forward to meeting Lou someday.
Warning and Skin Yard drummer Greg Gilmore to the lineup. The title debut featuring the single 'Far Behind.' Written in memory of An- Jeff Loftis lead vocals
smoke cigarettes to celebrate that they
quit smoking, drink some coffee and
Tesla perceived the earth to be a conduc-
Rene following year, the band signed a deal with PolyGram, issuing a six- drew Wood. Wood's former band mate Stone Gossard compiled early Mike Stone drums
tor of acoustical resonance. Intrigued
make awkward conversation. by this concept, Meg repeats the phrase song EP, Shine, before going on to tour, supporting The Dogs D'Amour. Malfunkshun recordings, releasing the compilation album Return Rob Day bass
and clinks her coffee cup at the end of
Joseph Rigano and Vinny Vella have a Towards the end of the year, the band recorded their debut album, to Olympus, through his Loosegroove Records label, in 1995. In 2005,
the segment to produce a ringing noise,
and she looks pensively out into the dis-
conversation over coffee about the dan- Apple, which was scheduled for release in 1990. director Scot Barbour completed production on the documentary,
gers of smoking. The silent Vinny Vella
Champagne tance before a cut to black. Cinqu Lee
Jr. also appears to beg his father for Due to his struggle with drug addiction, Wood checked himself Malfunkshun: The Andrew Wood Story. The film documents Wood's
plays a waiter in this segment. In the end,
the coil breaks, and Meg and the Waiter
money, which is given in exchange for into rehab in 1989, hoping to get clean for the release of Mother Love music career as well as his family background.
affection, which is not provided.
Strange This is the original clip from 1986. Short Coffee Originally the 1989 short Coffee and offer suggestions as to why it might be Bone's debut album. On March 16, 1990, Wood was found in a coma-
and Cigarettes with Roberto Benigni and Ste- Cigarettes, Memphis Version aka Cof- broken. Finally Meg says something that
to Meet ven Wright having a conversation about coffee fee and Cigarettes II this segment tose state, by his girlfriend, having overdosed on heroin. Wood was
Jack seems to agree to, and he leaves to
You and cigarettes. features Joie Lee and Cinqu Lee as the go home and check it out. This particu- taken to hospital and placed on life support, however, he died three
titular twins and Steve Buscemi as the lar vignette is full of White Stripes motifs
waiter who expounds on his theory on such as childhood innocence, Nikola Te- Delirium William Bill Rice and Taylor Mead spend days later.
their coffee break having a nostalgic conver-
Elvis Presleys evil twin. Cinqu Lee also sla, their sibling relationship, and a little
sation, whilst Janet Baker singing Ich bin der
In the year following his death, Wood's former room mate Chris
appears in Jack Shows Meg his Tesla
Coil. The scene also features a recount-
red wagon.
Welt abhanden gekommen from Mahlers Cornell, of Soundgarden, wrote two songs, 'Reach Down' and 'Say
Early during the segment, Down on the
ing of the urban legend that Elvis rac- Street by The Stooges (Iggy Pops best-
Rckert-Lieder appears from nowhere. Wil- Hello 2 Heaven', in tribute to his late friend. Cornell then approached
liam Rice repeats Jack Whites line, Nikola
Rene French (playes herself) drinks coffee Those istly disparaged African-Americans in a known band) is played in the background.
Tesla perceived the earth as a conductor of Wood's former bandmates, Gossard and Ament about releasing the A grouping of Malfunkshun demos and recordings from the early-to-mid
while looking through a gun magazine. E.J. magazine interview at one time. The song is from the album Fun House,
Rodrguez plays the waiter anxious to be of Thingsll which Jack has noted to be the best
acoustical resonance. It is possible to inter- songs as singles, before collaborating on an album. Adding drummer 1980s were released on Stone Gossard and Regan Hagar's Loosegroove label
pret the relevance of this line to the constant in 1995, as Return to Olympus, which was the largest major label release of
service Kill Ya rocknroll record ever made. Matt Cameron and future Pearl Jam lead guitarist Mike McCready, the band's material.
recurrent themes throughout the seemingly
unconnected segments.

145 / Faded Flannel Faded Flannel / 146

4 5

IVANA HRABAR
Mentori/Mentors Damir Brali, Nikola urek

GRU N GE PIO NEERS

1980 1985
M. McReady C. Friel R. Friel D.Newcombe
J. Ament B. Fairweather S. Avencio

M. McReady C. Friel R. Friel


DERANGED ADICTION #2

G. Gilmore B. Fairweather
WARRI OR / SHAD OW
MAGGOT BRAI NS

BLI ND HORSE
SHAD OW #2
R.Hagar

S. Gossard J. Ament A. Wood G. Gilmore B. Fairweather


B. Fairweather S. Gossard J. Ament A. Wood R. Hagar
Croatian Magazine / April 2012 Croatian Magazine / April 2012
Food & Drinks Food & Drinks

Qualis

LO RDS OF TH E WASTE LAN D #2


Fina sarma sarma may also be called yaprak dolmas filled leaf predominantly Muslim regions, sarma finishing
or simply dolma stuffed thing. Dolma, which prop- sarma by baking it in oven which gives it distinctive

MOTH E R LOVE BON E


S. Gossard J. Ament A. Wood R. Hagar
erly refers to stuffed vegetables, is often conflated flavor. sarma is one of the staple meals for festive oc-

J. Ament B. Fairweather S. Avencio

H. Yammamoto K. Thayl C. Cornell


with sarma. Besides the savory dish of leaf - wrapped casions like Christmas, New Year, easter, birthdays,

LO RDS OF TH E WASTE LAN D


filling, sarma in greek can also refer to sweet pas- family saint patrons day (slava) etc. also, there are

K. Wood A. Wood R. Hagar


rex

MALFU N KSH U N #2
tries similar to baklava, saray sarma and fstk sar- various serbian recipes of sarma prepared in accord-

DERANGED ADICTION
ma, which are prepared by wrapping phyllo dough ance to Orthodox Christian religious restrictions on

MALFU N KSH U N

SOU N DGARDEN
A.Wood K.Wood
around a mixture of crushed nuts and syrup. using meat and animal fat during period of lent.

SPLI NUMA

A. Vincent
Minced meat (usually beef, pork, veal, or a combi- lenten sarma is usually stuffed with rice, shredded
nation thereof, but also lamb, goat, sausage and vari- carrots, onions, seasonings, occasionally walnuts
ous bird meat such as duck and goose), rice, onions. or even chunks of smoked fish, and cooked in water
Various spices, including salt, pepper and various and vegetable oil. it is also cooked by italians who

talis
local herbs are mixed together and then rolled into were exiled from Dalmatia after World War ii, es-
large plant leaves, which may be cabbage (fresh or pecially those who now live in northwestern italy.
pickled), chard, sorrel, vine leaf (fresh or pickled) or italian writer enzo Bettiza included arambaii (sar-
broadleaf plantain leaves. the combination is then ma) as one of the five central meals of Dalmatian

S. Turner M. Arm A.Vincent S. Gossard J. Ament


boiled for several hours. While specific recipes vary cuisine in his autobiographical book esilio (exile).
across the region, it is uniformly recognized that the unlike other eastern european cultures, the people
best cooking method is slow boiling in large clay of southeastern europe overwhelmingly use sour
pots. a special ingredient, flour browned in fat in cabbage as opposed to fresh cabbage. at the end of

grex

A.Vincent B. Fairweather M. Arm S. Gossard J. Ament


romania, where it may also contain finely chopped the autumn, families traditionally prepare the sour

S. Turner M. Arm A.Vincent J. Ament

OUTRIGGER / TAL GOETTLI NG / TAL

D. House G. Gilmore M. Cameron


onion, or ajmpren in slovenian), is often added at the cabbage (as whole cabbage, or as individual leaves,

GREEN RIVER #2

WARM DRIVE / HARD TIME


adresa

MrEPP LIMP RICHERDS


3 Boulevard Montmartre

T. Goettling D. Krusen
S. Gossard S. Turner

S. Turner M. Arm
02. louvre - Bourse

D. Krusen J.Clint
DOCARY BOYS

GRE EN RIVER
Paris, France 75002

SKI N YARD
GREEN RIVER #3
telefon
+006321-457-396-121
mobitel

M. Cameron
S. Turner M. Arm
+00358- 114-456-7000-23

FEE DBACK
MUDHON EY
e mail
monmartreparis@gmail.com

D. McKagen G. Gilmore S. Varewale P. Solger


Sarma is a savory dish of grape, cabbage or

S. Varewole P. Solger G. Gilmore D. House


sarma means a wrapped thing in
chard leaves rolled and wrapped around a turkish language, from the verb sarmak
to wrap or to roll .a may also be called

G. Gilmore P. Jackson B. Beaulew


filling often.

P. Jackson D. Krusen B. Beaulew


yaprak dolmas

10 M I N WARN I NG #2
10 M I N WARN I NG
B. Sheppard S. Gossard

D. McKagen G. Gilmore
P. Jackson D. Krusen
MARCH OF CRIMES

AGE NT BOY

TH E LIVI NG
THE BOI BS
12 13

ETERN ITY
ZITA NAKI-VOJNOVI 145 / Faded Flannel Faded Flannel / 146

Mentori/Mentors Damir Brali, Nikola urek

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

TREI SEMESTAR, TEMA :


PREZENTACIJA PISMA LANA GRAHEK
Third Semester, Theme: Typeface Specimen Sentinel
Mentori/Mentors Nikola urek, Damir Brali

ZRINKA HORVAT
Swift
Mentori/Mentors Nikola urek, Damir Brali

Type specimen je knjiica koja predstavlja pismo (typeface) u punom opsegu Swift je tipografsko pismo nizozemskog dizajnera Gerarda Ungera objavljeno
i u razliitim tipografskim situacijama. Radi se o svojevrsnoj osobnoj iskaznici 1985. za Linotype Font Foundry. Type specimen se osim knjiice s karakteri-
pisma koja sadri podatke o samom pismu, njegovom dizajneru, izdavau stinim prikazima pisma sastoji i od omota koji se rastvara u plakat oblikovan
fonta, pripovijest o nastanku... Ona sadri potpun pregled porodice (prikaz kao novinska duplerica.
svih karakteristinih slovnih znakova svakog pojedinog reza, ligatura, alter-
nacija i ostalih specifinosti), preporuke za uporabu (prikaz rezova u razlii- Swift is a typeface designed by Dutch designer Gerard Unger and published
tim veliinama, proredima i poravnanjima, prikaz blokova teksta za rezove in 1985 for Linotype Font Foundry. In addition to the booklet with typeface
koji su namijenjeni slaganju kontinuiranog teksta) i ostale tehnike podatke. characteristics, the type specimen contains a cover that unfolds into a poster
Takoer, to je i pria o pismu ispriana na zanimljiv, originalan i prikladan the size of a centrefold.
nain. Oblikovanje knjiice moe biti vrlo eksperimentalno ali i tradicionalno
u pristupu i konanom rezultatu pod uvjetom da su sadrani svi obavezni ele-
menti te da postoji jasna stilska poveznica knjiice i samog odabranog pisma.

Type specimen is a booklet that represents typeface in its full range and in
different typographic situations. It is a kind of typeface identity card that
holds information about the typeface itself, about its designer and its font
publisher, and the story of its birth... The booklet contains the complete
family tree (all the characteristic glyphs of a specific typeface, ligatures,
alternations and other specifics), instructions for use (display of type styles in
different sizes, line spacing and alignment, display of blocks of text for type-
faces that are intended for continued text) and other technical information.
Moreover, it is also a story about typeface told in an interesting, original
and adequate way. The booklet design can be very experimental, but it can
also be traditional in its approach and final result, assuming that it contains
all the essential elements, and that there is a clear connection between the
style of the booklet and of the selected typeface.

Type specimen pisma Sentinel inspiriran je playbill kazalinim plakatima


s kraja 19. i poetka 20. stoljeanjihovom tipinom estetikom i upotre-
bom slab-serifnih pisama. Sam specimen je zapravo poster A1 formata koji
se sklapa u A5 knjiicu. Svi primjeri veliina pisma opisi su playbill plakata
i uvode nas u posve rastvoren format, koji je replika jednog od kazalinih
plakata iz 19. stoljea.

Sentinel type specimen is inspired by playbill theatre posters from the end
of the 19th and the beginning of the 20th centuryby their typical aesthetic
and the use of slab serif typeface. The specimen itself is actually an A1 for-
mat poster that folds into an A5 booklet. All the examples of font sizes are
descriptions of playbill posters and they lead us to the completely unfolded
format, which is a replica of one of the 19th century theatre posters.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

TREI SEMESTAR, TEMA :


OBLIKOVANJE PISMA
Third Semester, Theme: Typeface Design

LANA GRAHEK MATEA BRKI


Polu Qalm
Mentori/Mentors Nikola urek, Damir Brali Mentori/Mentors Nikola urek, Damir Brali

Studenti se tehnikom vjebom LetterModela (konstrukcijske metode slova) Stencil font Qualm rezultat je zadatka u kojem
uvode u oblikovanje pisma (type design). Rije je o metodi proizaloj iz pisa- je trebalo razviti pismo prema odreenim para-
nja irokim perom (broad nib). Njome se studenti upoznaju s logikom kontra- metrima. Osnovna ideja bila je stvoriti pismo koje
sta i konstruktivnim elementima slova. Paraleno, studenti iste principe uvje- odie istoom, elegancijom i mirnoom pokreta,
bavaju kroz kontinuiranu i komplementarnu vjebu pisanja irokim perom a s druge strane akcentirati otvore stencila zavr-
kojom neposredno savladavaju i ritam pisanja (spacing, kerning, leading) kao etcima poteza na pojedinim slovnim znakovima.
i kaligrafske elemente. Nakon ove pripremne faze studenti oblikuju pismo Svaki slovni znak je odreen dvama oblicima
prema zadanim parametrima (konstrukcija, kontrast, x-visina). Zavrna osnovnim i alternativnim rjeenjem. Alternativna
faza je digitalizacija i oblikovanje funkcionalnog fonta. rjeenja zamiljena su za koritenje na poetku i
na kraju rijei, ali i unutar rijei ako to doputa
Technical exercise called LetterModel (construction techniques for letters) susjedni slovni znak.
introduces students to type design. It is a method created from the broad nib,
through which the students learn about the logic of contrast and construc- Stencil font Qualm is the result of the assi-
tive elements of types. Simultaneously, the students practice those principles gnment in which the students had to develop a
in continued and complementary practice of the broad nib, through which typeface according to defined parameters. The
they directly master both the rhythm of writing (spacing, kerning, leading) central idea was to create a typeface that con-
and the calligraphic elements. After this preparation phase, the students veys clear, elegant and smooth motion, but also
design a typeface according to the given parameters (construction, con- to emphasize stencil openings with final strokes
trast, x-height, etc). The final phase is digitalization and the designing of a on some characters. Each character is determi-
functional font. ned by two forms basic and alternative soluti-
ons. Alternative solutions are meant to be used
at the beginning and at the end of a word, but
also within the word, if the next character allows
such a usage.

Polu je translacijsko pismo nastalo iz eksperimenata u kombiniranju oblih i


uglatih detalja unutar slova. Pismo je primjenjivo u veim dimenzijama (dis-
play) kao i za kontinuirani tekst, gdje se detalji gube.

Polu is a translation typeface created from experimental combining of round


and angular details within a character. The typeface is usable both in larger
dimensions (display) and in flowing text, where details disappear.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

ETVRTI SEMESTAR, TEMA:


TIPOGRAFSKA HIJERARHIJA I STRUKTURA
Fourth Semester, Theme: Typographic Hierarchy
and Structure
MAJA SUBOTI
Part
Mentori/Mentors Damir Brali, Nikola urek

Zadatak je oblikovati imaginarni asopis proizvoljne tematike. Naglasak je Tema ovog asopisa je umjetnost performansa.
na tipografskom tretmanu sadraja koji izlazi iz graenja unutarnje logike Cijeli asopis izveden je iz formata A0, bez reza-
asopisa, uspostavi hijerarhija teksta, mree, rubrika, navigacije te konano nja ili lijepljenja. Trebalo je pronai nain slaga-
zavrava oblikovanjem letteringa za glavu/logotip asopisa i serije naslov- nja papira kako se asopis nakon to se proita
nica. Ovaj kompleksan zadatak spaja sadraj i formu to potie studente asopis vie ne bi mogao sloiti u poetno sta-
na kritiko razmiljanje, istraivanje i komunikacijski jasnu artikulaciju teme nje. Time se na neki nain objektu daje perfor-
kojom se bave. mativna dimenzija. Performans se u umjetnosti
najee odnosi na dogaaj u kojem jedna osoba,
The assignment is to design an imaginary magazine of an arbitrary topic. The performer, ili grupa ljudi izvode, tj. ponaaju se
emphasis is put on the typographic treatment of the content which comes na odreeni nain za drugu grupu ljudipubliku.
out of the magazines inner logic, text hierarchy, grid, columns, navigation, Ponekad je granica izmeu performera i publike
and ends with the design of the lettering for the magazines logo and a series vrlo mala, jer je cilj performansa uvui publiku u
of covers. This complex assignment connects form and content, which enco- samu sr radnje kako bi i oni postali dio perfor-
urages the students to think critically, to do research, and to clearly commu- mansa. Na taj nain publika prikazano doivljava
nicate and articulate the topic that they are dealing with. izravnim putem. Pristup oblikovanju ovog aso-
pisa rukovodio se istim performativnim princi-
pima. Radi lakeg snalaenja pri itanju asopisa
svaki spread je kodiran vlastitom bojom.

The topic of this magazine is the art of perfor-


mance. The entire magazine is done in A0 for-
mat, without cutting or pasting. It was necessary
to find a way to fold paper so that it cannot be
returned to the initial state after the magazine
was read. This feature gives the object a cer-
tain dimension of performance. Performance in
art most commonly refers to an event in which
one person, called the performer, or a group of
people perform, i.e. behave in a certain way for
other peoplethe audience. Sometimes the line
between the audience and the performer is very
thin, because the goal of a performance is to
include the audience into the act itself so that
they become a part of the performance. The audi-
ence thus experiences the performance directly.
The approach to the designing of this magazine
was guided by the same performance principles.
For easier reading of the magazine each spread
is coded by its own colour.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

LANA GRAHEK MATEA BRKI


Worn Copy Clean
Mentori/Mentors Damir Brali, Nikola urek Mentori/Mentors Damir Brali, Nikola urek

Worn copy je asopis o lo-fi glazbi. Lo-fi (low fidelity) Clean je asopis o zdravoj prehrani iji je sadraj obu-
je anr koji veinom obuhvaa glazbu snimljenu jefti- hvaen u tri knjiice, koje funkcioniraju kao zasebni ele-
nim etverokanalnim snimaem na kasete. Prikazujui menti. Plava knjiica simbolizira lunatost u prehrani, i
kvalitetu snimanja i presnimavanja kaseta, te sam glaz- predstavljena je najveim formatom. U njoj su zastu-
beni doivljaj, asopis se sastoji od dva sloja. Glavni sloj pljeni grafovi pojedinih namirnica u obliku piktograma.
(crni) bavi se lo-fi glazbenicima; njihovim biografijama, Bijela knjiica simbol je neutralnog stanja organizma, to
intervjuima i recenzijama albuma. Sloj koji povremeno doaravaju i same dimenzije kvadratnog oblika. Njezin
proviruje (plave boje) i uplie se u glavni bavi se njihovim sadraj je Clean program u trajanju od 21 dan i recepti
glazbenim uzorima kao da su neiju kasetu presnimili, obroka. uta knjiica je najmanjih dimenzija. Ona sim-
pa glazba zbog same kvalitete medija u nekim trenu- bolizira kiselost u organizmu i sastoji se od niza kratkih
cima izviruje iz pozadine, ili se moe uti njen utjecaj. tekstova vezanih uz detoksikaciju organizma, kao temu
Plavi sloj varira u veliini i koliini teksta, te nagibu, kao asopisa. Samostalne knjiice predstavljaju omjer hrane
metafora sluajnosti presnimavanja. kakav bi trebalo unositi u organizamnajvie lunatog,
a najmanje kiselog. Presjek svih triju knjiica sloenih u
Worn copy is a magazine about lo-fi music. Lo-fi (low omot predstavlja stanje naega organizma prije nego li
fidelity) is a genre associated mostly with music recor- ponemo s Clean programomnajvei je postotak kise-
ded with inexpensive four channel cassette recorder. log, a najmanji lunatog.
In its two layers, the magazine portrays the quality of
cassette recording and copying, as well as the musi- Clean is a healthy diet magazine. Its contents are divi-
cal experience itself. The main layer (black) deals with ded in three small books that function as separate ele-
lo-fi musicians: their biographies, interviews and album ments. The blue book symbolizes alkalinity in diet and it
reviews. The blue layer, which occasionally peeps out is represented by the biggest format. It contains graphs
and interferes with the main layer, deals with their of certain groceries in form of pictographs. The white
musical role modelsas if they recorded somebody book symbolizes the organisms neutral state, which is
elses cassette, and now that music in certain moments evoked by its dimensions in the shape of a square. It con-
appears from the background due to low quality of the tains the 21-day Clean programme and the recipes for
medium, or so that its influence can be heard. The blue the meals. The yellow book is the smallest. It symbolizes
layer varies in size, amount of text and inclination, as a acidity of the organism and it contains a series of short
metaphor of accidental recording. texts about detoxification as the main topic. The books
viewed independently represent the recommended ratio
of food intakemore alkaline, less acid. Cross-section
of all three books folded into the jacket represents the
state of our body before we start the Clean progra-
mme acid-forming foods take the largest and alkaline-
forming foods the smallest proportion.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

PETI SEMESTAR, TEMA: TIPOGRAFSKA


LINEARNOST I EKSPONENCIJALNOST Kao i kod veine Faulknerovih romana radnja je prilino zamrena i na As in most Faulkners novels, the plot is quite complicated and at times dif-
Fifth Semester, Theme: Typographic Linearity MARKO HRASTOVEC momente teko prohodna, a sr radnje ponajbolje se ita iz unutarnjih ficult to read, whereas the gist is best interpreted in the characters inner
As I Lay Dying monologa likova koji su u ovom oblikovanju naglaeni svim raspoloivim monologues. This kind of book design emphasizes the inner monologues by
and Exponentiality Mentori/Mentors Damir Brali, Nikola urek sredstvima od veliine i vrste pisma do formata. Dijelovi knjige upakirani all available meansfrom font size and type to the format. Parts of the book
su unutar tih monologa i nemogue je prodrijeti do kompletnog sadraja are wrapped inside those monologues and it is impossible for the reader to
IcoGrada Exellence Award, hdd1112, Zagreb; a da itatelj doslovno ne rastrga stranice knjige. Ovakav pristup donekle reach the complete content without literally tearing apart the pages of the
Posebno priznanje irija / Special recognition of the jury, je odjek Freudovih teorija o podsvijesti pod ijim utjecajima je bio i sam book. Such approach to some extent echoes Freuds theories of the uncon-
Magdalena festival, Maribor, Slo autor teksta. scious, which influenced the author himself.

Knjiga, definirana u tradicionalnom smislu, stari je medij i ima svoju sintaksu,


tj. ima u dobroj mjeri utvrene obrasce, odnose i pravila prenoenja infor-
macija koja valja potovati. Ona mora prenijeti tekstualnu, misaonu informa-
ciju primjereno i optimalno. U prvoj fazi zadatka studenti oblikuju izabrano
djelo unutar tradicionalnog kanona dok se u drugoj fazi, u eksperimentalnoj
interpretaciji, od njega svjesno odmiu. Svrha zadatka je propitivanje pozi-
cije knjige u digitalnom dobu u kojem su informacije digitalizacijom postigle
razinu kompresije koji znatno nadilazi mogunosti knjige; njen konzervator-
ski imperativ je time zauvijek poljuljan. Takodjer odavno je poljuljana i njena
funkcija najpopularnijeg prijenosnika znanja (tu ulogu preuzima internet i
televizija). I pored toga, zbog svoje formalne sagledljivosti, analognosti i
izradi po ovjekovoj mjeri, knjiga je zadrala kredibilitet i vezanost s nama u
zajednikom vremenu i prostoru. U tom smislu je i cilj zadatka eksperimen-
talne interpretacije istraiti njena medijska ogranienja i upotrebiti ih kao
prednosti kroz koje e do izraaja doi njeni neupitni spoznajni potencijali.

A book, as defined in the traditional sense, is an old medium with its own syn-
tax, i.e. it has well-defined patterns, relations and rules for exchanging infor-
mation that need to be respected. A book has to convey textual thoughts
in an appropriate and optimal manner. In the first phase of the assignment
the students shape the selected piece of literary work within the traditional
canon, whereas in the second phase of experimental interpretation, they
consciously move away from it. The purpose of the assignment is to question
the role of the book in the digital age in which digitalised information has
reached a level of compression that by far exceeds the potential of a book;
its conservative imperative is thus permanently jeopardised. Just as its role
of the most popular transmitter of knowledge is long gone (the role was
taken over by the internet and television). Nevertheless, because of its well
laid-out form and analogy, and because of the fact that it is made to satisfy
the readers desire, the book has kept its credibility and is still linked to us in
space and time. Therefore, the goal of this experimental interpretation assi-
gnment is to explore the limits of the book as a medium and to turn them
into advantages that show the undeniable cognitive potential of a book.

U prvom dijelu zadatka oblikovana je knjiga po tradicionalnim pravilima obli-


kovanja knjiga. U ovom sluaju je to Faulknerov roman As I Lay Dying ije
je prvo izdanje iz 1930. iskoriteno kao polazina toka. Preuzet je orginalni
format, a slova s naslovnice su digitalizirana, proirena na cijelu abecedu te
koritena i za naslove. Oblikovni elementi knjige (osim papira) su primarno
crne boje kako bi do izraaja doli unutarnji monolozi (svojevrsni dekoder
radnje) koji su po uzoru na postupak rubifikacije naglaeni crvenom bojom.

The first part of the assignment was to design a book according to the tra-
ditional rules of book design. In this case the book was William Faulkners
novel As I Lay Dying and its first edition from 1930 was used as a starting
point. The original format was kept, and the letters from the books cover
were digitalized, made into the whole alphabet and then used in headings as
well. The designed elements of the book (apart from paper) are mostly black
in order to emphasize the inner monologues (which are a certain decoder of
the plot) that are colored in red, along the lines of the rubification process.

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LUKA REICHER
elava pjevaica / The Bold Soprano
Mentori/Mentors Damir Brali, Nikola urek

U drami elava pjevaica, primjeru teatra apsurda, Eugene Ionesco propituje In his exemplar theatre of absurd play called The Bold Soprano, Eugene Ionesco
ulogu jezika, liavajui ga komunikacijske svrhe i pretvarajui ga u formu. questions the role of language by taking away its communicative purpose. The lan-
Jezik se raspada na klieje i floskule. Pri oblikovanju knjige propitivani su svi guage is decomposed into clichs and empty phrases. The design process examined
FRANKA TRETINJAK njeni elementi i njihove ulogekorice, uvez, pokazna vrpca, naslovnica, sadr- all elements of the book and their rolescovers, binding, book string, title page,
Rashomon aj, naslovi, paginacija, navigacija, biljeke... Svaki element se liavanjem svoje content, headings, page layout, navigation, footnotes... Each element was deprived
Mentori/Mentors Damir Brali, Nikola urek utilitarne funkcije, prelaenjem u formalizam nastojao dovesti do apsurda. of its utilitarian function and transformed to formalism that leads to the absurd.

U dizajn knjige interpolirani su elementi tradi-


cionalnog japanskog oblikovanja (ilustracije, tre-
tman naslova, uvez) na nain kojim se od itatelja
zahtijeva da, rukujui knjigom i sklapajui blo-
kove i redoslijed teksta, provede vlastitu istragu
i donese prosudbu. Blokovi teksta, razbijeni ne-
konvencionalnim nizanjem stranica, zahtijevaju
dodatni angaman pri itanju. Masa knjige simbo-
lizira lakou kojom se kroz iskaze iskrivljuju stvarni
dogaaji i uvlai itatelja kao osmog svjedoka.

Elements of traditional Japanese design (illustrati-


ons, headings, binding) were interpolated into the
design of the book in the way that requires the
reader to manipulate the book. By forming blocks
of text and choosing their order, the readers con-
duct their own investigation and make a judge-
ment. Blocks of text, broken by unconventional
sequence of pages, demand extra attention from
the reader. The weight of the book symbolizes the
lightness in twisting the real events when repor-
ting a story. The reader becomes part of the plot
as the eighth witness.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

JURICA KOLETI PAVAO PRGOMET


Scar Tissue Adventures of Huckleberry Fin
Mentori/Mentors Damir Brali, Nikola urek Mentori/Mentors Damir Brali, Nikola urek

Knjiga je oblikovana prema zakonitostima i ogranienjima slaganja teksta


pisaom mainom kojom je autor knjige fasciniran. Prema nekim izvorima
ova knjiga je prva koja je pisana izravno na pisaoj maini. Otisnuti listovi su
uvezeni jo jednom inovacijom 19. stoljeastrojnim ivanjem. Jedino to
povezuje prednju i stranju koricu knjige je neprekinuti niz tako povezanih
listova kako bi se potencirao dojam neprekinutog i jednosmjernog toka ita-
nja. Na taj je nain stvorena poveznica s najjaim simbolom iz knjige, rijekom
Mississippi. Karakteristike prijeloma koje proizlaze iz upotrebe pisae maine
su format knjige, irina bloka teksta, mogunost koritenja dviju boja, lijevo
poravnanje te uporaba monospaced pisma.

The book was designed in line with the regularities and limitations of putting
together a typewritten text, which fascinates the author. According to some
sources, this book was the first one ever written directly on a typewriter.
Typewritten pages were bound with the use of another 19th century invention
sewing machine. The only connection between the front and the back cover
of the book is the uninterrupted sequence of sheets of paper bound in this
way to give the impression of uninterrupted one-way reading flow. This
feature created a link with the strongest symbol from the book, the Missi-
Scar Tissue je autobiografska knjiga frontmena grupe Red Hot Chili Peppers, ssippi river. The characteristics of a break typical for the use of a typewriter
Anthonyja Kiedisa. Osnovni sadraj knjige uvijek se nalazi na recto (desnim) are the books format, width of a block of text, possibility to use two colours,
stranicama na kojima su cenzurirane rijei vezane uz stvari koje su ugroavale left alignment, and the use of monospaced typeface.
ivot ovog glazbenika. Na verso (lijevim) stranicama izdvojene su cenzuri-
rane rijei na istim pozicijama na kojima se pojavljuju na prethodnoj stranici.
Naslovi poglavlja nalaze se na verso stranicama zajedno s cenzuriranim rije-
ima, a budui da je papir gotovo proziran uslijed male gramature, itatelj
kroz njega vidi poglavlje na kojemu se nalazi. Na hrptu, jedinom vrstom
dijelu knjige, nalazi se infografika koja prikazuje kljune cenzurirane pojmove
po poglavljima. Knjiga nije uvezana koricama zbog simbolike ivota na rubu.

Scar Tissue is the autobiography of the Red Hot Chili Peppers front man,
Anthony Kiedis. The essential content is always on the recto (right) side of
the book. On those pages the words linked with things that jeopardized the
life of this musician were censored. On the verso (left) pages the censored
words are shown on the same places where they appear on the previous
pages. Chapter headings are written on the verso pages together with the
censored words, and since the paper is almost transparent due to its low
density, the reader can see through it and read the name of the chapter. The
spine, the only hard part of the book, contains infographics that shows key
censored words per chapter. The book is not bound in covers on purpose, in
order to symbolize living on the edge.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

ESTI SEMESTAR, TEMA : INTERPRETACIJA LUKA PERI


Beastie Boys To The Five Boroughs
SADRAJA KROZ TIPOGRAFIJU Mentori/Mentors Damir Brali, Nikola urek
Sixth Semester, Theme: Interpretation
S obzirom da je tema albuma New York, autora su inspirirali karakteristini Considering that New York is the theme of the album, the author was inspi-
of Content Through Typography elementi plana grada. Rjeenje je bilo simulirati tlocrt grada koji je oblikovan red by characteristic elements of the city map. The solution was to simulate
tako da ini imena pjesama. Svaka pjesma ima svoj modul u kojem je nacr- a city map designed in such a way to make the names of the songs. Each
MARKO HRASTOVEC tano ime pjesme. Format je 4860cm. Svaki modul je formata 1212cm s song has its own module that carries the name of the song. The format is
Blur 13 primarnom funkcijom pakiranja CD-a, a nakon to se ono otvori, korisnik ga 4860cm. Each module has 1212 cm format, with CD packaging as its
Mentori/Mentors Damir Brali, Nikola urek moe iskoristiti kao plakat. primary function, but once it is unfolded, the owner can use it as a poster.

Veza tipografije i glazbe postoji u zajednikom interesu za harmoniju, pro-


porciju, ritam... Studentski zadatak je transgresija glazbe u jezik dizajna i
to uz rigidna ogranienja (upotreba samo tipografskih izraajnih sredstava,
redukcija na jednu do maksimalno dvije boje). Pojam ambalae je ovdje iroko
i donekle apstraktno postavljenvie kroz njenu simboliku nego utilitarnu
funkciju. Tipografska aproprijacija glazbe temelji se na analizi njenog protoka
i zarobljenosti u vremenu kao i njene povijesti i konteksta u kojem je nastala.

The connection between typography and music lies in their common interest
in harmony, proportion, rhythm, etc. Students assignment is to transgress
music into design language, with strict limitations (use of only typographic
means of expression, use of only one or two colours). In this context the term
packaging is broadly and somewhat abstractly definedmore through its
symbolic than its utilitarian function. Typographic appropriation of music is
based on the analysis of its flow and imprisonment in time, as well as on its
history and the context in which it was made.

Omot albuma 13, nazvanog prema broju pjesama, sastavljen je od jednako


toliko dijelova. Svaki izlazi iz standardnog formata omota za proporcionalnu
duinu pjesme te stvara svojevrsnu vremensku lentu albuma koja na sebi nosi
tekstove i njihovo vrijeme pojavljivanja unutar pjesme.

The cover of the album 13, named after the number of songs, is composed
of just as many pieces. Each piece comes out of the standard format pro-
portionally to the length of the song and thus creates a kind of the albums
time sash that carries both lyrics and the times when they appear in the song.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

DORA BILANDI
Panda BearPerson Pitch
Mentori/Mentors Damir Brali, Nikola urek

Distorziranim slovima i ritminim ponavljanjem uspostavljen je princip ana- Distorted letters and rhythmical repetition create a principle analogous to the
logan nainu na koji je Panda Bear producirao ovaj albumto je eksperimen- way in which Panda Bear produced this albumit is an experimental collage
talni kola sloen od postojeih pjesama razliitih izvoaa i anrova. Kad se made of songs by different performers and from different genres. When you
knjiica brzo lista, slova postaju animirana i ritmina. Za bolje razumijevanje turn the pages very quickly, the letters become animated and rhythmical. For
koncepta potrebno je posluati album. better understanding of the concept it is necessary to listen to the album.

TESSA BACHRACH-KRITOFI
The White Stripes Elephant
Mentori/Mentors Damir Brali, Nikola urek

Nagrada za najbolji dizajn vizualnih komunikacija u


studentskoj kategoriji / Award for best visual communications
design in student category, hdd1112, Zagreb

Dizajn omotnice ploe sastoji se iskljuivo od tipografije koja je otisnuta, The design of the record cover consists solely of imprinted, physically
fiziki dekonstruirana, a zatim ponovo skenirana sa svim runim intervenci- deconstructed typography, which was then re-scanned with all the inter-
jama, dekomponiranim naslovom i samim tekstovima pjesama, varijacijama ventions done by hand, decomposed title and lyrics, variations in typograp-
u veliini tipografije, rezova, leadinga, kerninga i trackinga. U skladu s prepo- hic size, style, leading, kerning and tracking. In line with the bands recogni-
znatljivom estetikom samog benda naglaeni su crveni i crni elementi s dosta zable aesthetic, red and black elements were emphasized by a lot of white
bjeline, koja pak dodatno pojaava izgrebane, podcrtane, dekomponirane that gives an additional emphasis to scratched, underlined, decomposed
detalje u dizajnu. design details.

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

ESTI SEMESTAR, TEMA: DIGITALIZACIJA


I REINTERPRETACIJA POSTOJEEG PISMA
Sixth Semester, Theme: Digitalisation and Re-
interpretation of an Existing Typeface
TESSA BACHRACH-KRITOFI HRVOJE DOMINKO
Polet Doyald Script
Mentori/Mentors Nikola urek, Damir Brali Mentori/Mentors Nikola urek, Damir Brali

Revival postojeeg, a nedigitaliziranog pisma vee studente uz tipograf- Pismo Doyald Script nastalo je kao revival posto-
sku tradiciju i upuuje ih na istraivanje tipografske povijesti s naglaskom jeeg letteringa. Istraujui rukom pisane slovne
na hrvatsko tipografsko nasljee. Rekonstrukcija i nadogradnja naenog kompozicije autor je odluio napraviti pismo
pisma odvija se u dvije faze. Prva se bavi kreiranjem to vjernije digitalne prema letteringu tipografa Doyalda Younga.
inkarnacije pisma, dok u drugoj studenti oblikuju vlastitu, subjektivnu rein- Doyald Script u sebi nosi prepoznatljivu konstruk-
terpretaciju istog. ciju slova Doyalda Younga uz dodatak ukrasnih
poteza koji su autorov doprinos ovome pismu.
Revival of an existing, non-digital typeface connects the students with the
typographic tradition and it directs them to do a research on the history Doyald Script typeface was developed as a revi-
of typography, with special attention on Croatian typographic heritage. val of the existing lettering. During his research
Reconstruction and expansion of the found typeface happens in two pha- of hand-written letter compositions, the author
ses. The first phase is the creation of a digital incarnation of the typeface, as decided to make a typeface based on the lette-
true to the original as possible, whereas in the second phase the students ring of typographer Doyald Young. Doyald Script
design their own, subjective reinterpretation of the same typeface. carries Doyald Youngs recognizable letter con-
struction, while the author contributed to this
typeface by adding ornaments.


Glyph set
Glyph set
Glyph set
Ligature
Ligature
Glyph set
Ligature
Ligature

Polet je revival tipografije asopisa Polet, inspiriran i nazvan po poznatom

abcdegh
Glyph set


Kurenti

glasilu. Kako je velik dio stranica Poleta bio posveen stripu, rocku, foto-


grafiji i slinim medijima izraavanja mladih, inilo mi se primjerenim obli-


ijklmnopq
kovati font kojim e se i danas moi ispisati nazive slinog sadraja ili stila.
Karakteriziraju ga jednostavne zaobljene, suene forme. Font svojim imenom
i dizajnom postaje posveta jednom razdoblju grafikog dizajna, asopisu i

tuvwyz

ljudima koji su ga stvarali.

1234567890

Glyph set
Brojke i dijakritike

Polet is a revival of the Polet magazine typography, inspired and named after 82 pt
120 pt

the well-known magazine. Since a large part of the magazine was dedicated
100 pt
pt

to comics, rock, photography, and similar media preferred by young people, 100

.,:;-_?!"&/=
100 pt
100 pt

it seemed appropriate to design a font which can be used today to write


similar content or style. It is characterized by round, narrow forms. Through
its name and design, the font has become a dedication to one era of graphic
design, to the magazine and the people who created it. 150 pt

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godinjak studija dizajna / school of design annual review 2011/2012 preddiplomski studijtipografija / undergraduate programmetypography

JURICA KOLETI MARKO HRASTOVEC


Logika Sans & Unicase Film Type System
Mentori/Mentors Nikola urek, Damir Brali Mentori/Mentors Nikola urek, Damir Brali

Logika Unicase je reinterpretacija zidnog natpisa u hau- Tipografski sustav rezultat je opsenijeg bavljenja geometrijskim formama i
storu u Masarykovoj ulici u Zagrebu. Natpis je runog openito sustavima kojima se mogu dobiti slovni oblici. Zavreni sustav poro-
porijekla, a kurenti i verzali su iste veliine (unicase), s dica protee se kroz 4 stupnja, od potpuno geometrijskih oblika do njihove
razliitim varijantama istih slovnih znakova. Digitalna suvremene reinterpretacije. Kako se takve forme obino veu uz arhitek-
verzija je niskokontrastno pismo s pet verzija svakog tonske ablone, kao dodatak slovnim oblicima nalaze se razliite vrste kota
slovnog znaka, koji se nasumino odabiru prilikom pisa- i dodatni set verzala i brojaka.
nja. Sans verzija je zadrala niski kontrast, veliku x-visinu
i otre detalje koji se iz tanjeg u deblji rez transformiraju The typographic system is the result of extensive work with geometric forms
u tupe, te slova poprimaju potpuno nove oblike. and type system in general. The completed family system has four levels,
from purely geometric forms to modern reinterpretations of those forms.
Logika Unicase is the reinterpretation of a wall slogan As such forms are normally associated with architectural stencils, besides
found in a hallway in Masarykova Street in Zagreb. The the characters there are also different kinds of heights and an additional set
slogan was hand-written, uppercase and lowercase of uppercase letters and numbers.
letters have the same size (unicase), with different vari-
eties of the same characters. The digital version is a low-
contrast typeface with five versions for each character
that are selected randomly while used in writing. The
sans typeface version has kept low contrast, large x-hei-
ght and sharp details that become blunt in thick strokes,
and the characters assume completely new styles.

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godinjak studija dizajna / school of design annual review 2011/2012

INTERAKTIVNI MEDIJI
Interactive Media
Kolegij Osnove interaktivnih medija fokusiran je na teoriju i praksu The course Interactive Media Basics is focused on the graphic design
grafikog dizajna unutar podruja digitalnih interaktivnih medija. theory and practice within the field of digital interactive media. The
Utjecaj novih digitalnih tehnologija sve vie mijenja nain na koji influence of new digital technologies keeps changing the way in
se izraavamo i na koji komuniciramo, te kako doivljavamo svijet which we express ourselves and communicate, and how we experi-
oko sebe. S obzirom da sve vie komuniciramo putem interaktivnih ence the world around us. Considering that we communicate more
digitalnih medija, uloga dizajnera u promiljanju i oblikovanju tih and more through interactive digital media, the designers role in
interaktivnih sadraja i prezentacija od izuzetne je i stalno rastue thinking about and designing interactive content and presentati-
vanosti. Kroz predavanja, vjebe i projekte cilj kolegija je kod stu- ons has become increasingly important. The goal of this course is
denata stvoriti razumijevanje i interes za ovo podruje koje je u stal- to provoke students understanding and interest in this constantly
nom razvoju. Na koji se nain to podruje dizajna razlikuje od tradi- developing field through lectures, exercises and projects. The course
cionalnih medija te kako u tom kontekstu pristupiti promiljanju deals with the ways in which this field of design differs from traditi-
i oblikovanju interaktivnih sadraja teme su kojima se kolegij bavi. onal media and it teaches the students how to approach interactive
Osnove interaktivnih medija bave se dizajnom mobilnih aplikacija design. The fundamentals of interactive media deal with mobile
te dizajnom za web. Kolegij studentima prenosi praktina znanja, applications design and web design. The course gives the students
tehnike i vjetine koje e im pomoi u samostalnom projektiranju practical knowledge, techniques and skills that will be very useful
suvremenih interaktivnih rjeenja. when they start designing their own modern interactive solutions.

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MATEA BRKI
Cimed
Mentor Ian Bori
asistent/Assistant Tin Kadoi

Koncept aplikacije Cimed zasniva se na tzv. arobnom napitku, odnosno


spoju cimeta i meda (ci+med). Kao zamjenu za farmaceutske lijekove, nudi
recept i upute za pripravak nainjen primarno od cimeta i meda. Mogue je
odabrati popis tegoba/stanja za koje traimo lijek te pogledati recept, upute,
dodati alarme i pogledati komentare drugih korisnika.

The concept of Cimed application is based on the so-called magic potion,


i.e. on the mixture of cinnamon and honey. It offers a recipe and instructions
how to make the potion based primarily on cinnamon and honey, as a substi-
tute for pharmaceutical drugs. We can select the symptoms/conditions that
we wish to treat from the list, and we can look up the recipe and instructions,
add alarms, or read other users comments.
VANJA PERKOVI
Move
Mentor Ian Bori
asistent/Assistant Tin Kadoi

Cilj aplikacije Move potaknuti je korisnika na kretanje, kroz mogunosti pra- The aim of the Move application is to motivate the user for movement by
enja navika kretanja. Uz pomo pozadinskog rada, aplikacija je konstantno different options for keeping track of the users habits. With the help of
upaljena, te prati nae kretanje. Kretanje moemo definirati kroz katego- background operation, the application is constantly turned on, and it keeps
rije hodanja, tranja ili vonje a kroz cijelu su aplikaciju provedeni elementi track of our movement. The movement can be defined through the cate-
gamificationa. gories of walking, running or driving, and gamification elements are used
throughout the application.

NINA IVANOVI
Street Art Museum
Mentor Ian Bori
asistent/Assistant Tin Kadoi

Aplikacija se bavi mapiranjem i katalogiziranjem


uline umjetnosti. Uz pretraivanje po kljunoj
rijei, opcije koje nudi su pregled po umjetniku,
lokaciji, tagovima, te pregled mape grada. Jedi-
nina stranica svakog umjetnika prikazuje njegov
kratki opis, popis radova s pripadajuim fotogra-
fijama, te mapu radova tog autora.

The application is used to make maps and cata-


logues of street art. In addition to the key word
search, it offers options of search by the artist,
location, tags, and a view of the city map. The
page of each artist shows the artists short
description, the list of the artists work along
with the photographs, and also the map of the
authors work.

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ALMA AVAR
Weather Station
Mentor Ian Bori
asistent/Assistant Tin Kadoi

Weather Station je aplikacija koja omoguava da korisnik slua glazbu u Weather Station is an application that enables the user to listen to music
skladu s vremenskom prognozom. Mogue je jednostavno odabrati koju according to the weather forecast. We can simply choose the music we want
glazbu elimo sluati u kojim vremenskim prilikama, te podijeliti to s prija- to listen to in certain weather conditions, and we can also share it with our
teljima. Aplikacija se sastoji od tri osnovna dijela player, zajednica i mogu- friends. The application has three partsthe player, the community and the
nost customiziranja aplikacije. option for customising the application.

LANA GRAHEK
Abigail
Mentor Ian Bori
asistent/Assistant Tin Kadoi

Abigail je aplikacija koja na razliite naine pomae u organizaciji i boljem Abigail is an application that in many different ways helps you in better orga-
iskoritavanju vremena. Cilj je to vie sprijeiti prokrastrinaciju i odgaanje nisation and use of your time. Its purpose is to prevent procrastination of
zadataka koje smo si postavili, te poveati efikasnost. Aplikacija to omo- the tasks that we need to fulfil, and to increase efficiency. The application
guava alatima to-do lista, kalendara, budilica te audio zapisnika biljeaka. makes it possible with tools such as to-do list, calendar, alarm clock and
audio recordings of notes.

IVOR VRBOS
+OSC
Mentor Ian Bori
asistent/Assistant Tin Kadoi

+OSC je aplikacija za beino kontroliranje vizualizacija, te jedina aplikacija


koja nudi kreaciju layouta samih kontrola unutar aplikacije. Uz veliki popis
kontrolora, svaki od njih se moe prilagoditi specifinom projektu. Aplikacija
nudi i odabir definiranih layouta kontrola.

+OSC is the name of the application for weightless control of visualisations,


and the only application that offers layout design for the controls within
the application. There is a long list of controllers, and each of them can be
adjusted to a specific project. The application also offers a choice of defined
control layouts.

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FOTOGRAFIJA
Photography
Fotografija je samostalna vizualna umjetnost, ali i osnova izraavanja In addition to being an autonomous visual art, photography also
u bliskim joj medijima, te se kao takva izuava na fotografskim kole- forms the basis for expression in the media immediately related
gijima Studija dizajna. U dananje vrijeme fotografsko obrazovanje to photography. As such, it is researched in photography courses at
spada u ope obrazovanje, a pogotovo u obrazovanje profesional- the School of Design. Today, knowledge of photography belongs to
nog dizajnera. Osnove fotografskog znanja preduvjet su za pravilno general education, and especially to higher education in design. The
promiljanje i izraavanje fotografskom slikom. Kolegij Fotografija fundamental knowledge in photography is a precondition for proper
sadrajno odreuju upoznavanje teorijskih osnova tehnike fotogra- conceptual photographic thinking and visual expression. The course
firanja i kompozicije fotografske slike, te fotografiranje analognim Photography introduces students to the basic theoretical knowledge
fotoaparatom, diapozitiv i c/b fotografskim materijalom kroz izved- of photographic techniques and composition, while the practical
beni program vjebi, a s ciljem razvijanja fotografskog umijea i spo- sections of the courses in photography equip students with the abi-
sobnosti predoavanja stvarnosti fotografijom. lities to use analogue cameras, slides and black and white photograp-
Kolegij Fotografija i film 1 i 2 u svom praktinom programu sadri hic material. The aim of the course is to develop students photograp-
pouavanje o boji i filmskom svjetlu, a u teoretskom dijelu poi- hic skills and abilities for representing reality through photography.
nje se uiti o osnovama fimske teorije. Studenti ovog kolegija bave The courses Photography and Film 1 & 2 provides students with
se sloenijim postupcima fotografskog izraavanja, upoznavanjem practical knowledge about colour and film lighting and basic the-
teorije i praktinog fotografiranja u uvjetima postojeeg svjetla i oretical knowledge of film theory. Students attending the courses
u fotografskom studiju, s profesionalnom umjetnom rasvjetom u have to deal with complex procedures of photographic expression.
kontroliranim svjetlosnim uvjetima. U oba preddiplomska kolegija They learn about the theory and practice of photographing in
studenti se pod mentorskim vodstvom Stanka Hercega i Aleksan- natural lighting conditions and in a photographic studio in artifi-
dre Dabanovi bave slobodnim fotografskim temama ali i zadanim cial lighting under controlled conditions. Under the supervision of
vjebama primijenjenom fotografijom kao vrlo monim medijem Stanko Herceg and Aleksandra Dabanovi, students of both courses
za bolje izraavanje u svojim kreativnim dizajnerskim projektima. individually choose a photographic topic and do predefined exer-
cises; that is, they deal with the concept of applied photography
which they often use as a powerful medium in order to find the best
expression for their creative design projects.

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MAJA BOKOVI
Reportaa / Reportage
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ALMA AVAR
Arhitektura / Architecture
Mentor Stanko Herceg
asistent/Assistant
Aleksandra Dabanovi

MATKO BUNTI
Slobodna tema / Free Topic
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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FRANKA TRETINJAK
Crno bijelo u boji / Black and White in Colour
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ADRIANA PAVELI
Toplo-hladno / Warm-Cold
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ANA OLI
Poznati predmet / Familiar Object
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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TESSA BACHRACH-KRITOFI
Koloristiki akcent / Colour Accent
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

TESSA BACHRACH-KRITOFI
Nezasiene boje / Unsaturated Colours TIHANA ARE
Mentor Stanko Herceg Portret / Potrait
asistent/Assistant Aleksandra Dabanovi Mentor Stanko Herceg
asistent/Assistant
Aleksandra Dabanovi

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ANA ARMANO
Koloristiki trozvuktercijari / Tertiary Colours
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi FRANKA TRETINJAK
Koloristiki trozvuksekundari/Secondary Colours
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

RUER NOVAK MIKULI


Koloristiki trozvukprimari/Primary Colours
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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TESSA BACHRACH-KRITOFI
Svjetlo arulje / Light Bulb Light
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

MAJA SUBOTI
Svjetlo neona / Neon Light
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ADRIANA PAVELI
Svjetlo natrija / Natrium Light
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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KARLO PAVII
Svjetlo svijee / Candle Light
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ADRIANA PAVELI
Portret u studiju / Studio Portrait
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

FRANKA TRETINJAK
Svjetlo ive / Mercury Light
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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IVAN VUKMANI
Visoki tonski klju / High Key Tone
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

ADRIANA PAVELI
Visoki tonski klju / High Key Tone
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

LUKA REICHER
Akt u studiju / Studio Nude
Mentor Stanko Herceg
asistent/Assistant Aleksandra Dabanovi

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preddiplomski
studija
studijfotografija
dizajna / school of
/ undergraduate
design annual programmephotography
review 2011/2012

DIPLOMSKI STUDIJ
Graduate Programme

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Obrazovanje dizajnera u tehnoloki uvjetovanom i globalno umre- Design education in technologically conditioned and globally
enom drutvu predmet je kontinuiranog razvoja. Osim zadovo- networked society is a subject to continuous development. Along
ljavanja potreba i rjeavanja problema u kontekstu industrijskog with the satisfying needs and problem solving activities within the
dizajna i vizualnih komunikacija, dizajn se danas bavi unapree- context of industrial design and visual communications, design
njem ivotnih i drutvenih scenarija, kreiranjem doivljaja i pro- today is occupied with life and social scenario improvements, crea-
jektiranjem strategija koje su predmet dizajnerskog promiljanja. ting experience and strategies as subjects of design thinking process.
Umjesto percipiranja svoje publike kao pasivnih konzumenata, The design public nowadays is considered as complex, deman-
dizajn ih danas tumai kao kompleksna, zahtjevna i nepredvidiva ding and unpredictable beings rather than passive consumers.
bia. Na temelju spoznaje o materijalnoj kulturi i primjene kriti- Except designing the actual products, students design circum-
kog miljenja, studenti se uz projektiranje predmeta i komunikacija stances under which products are to be used. They actually design
bave i dizajniranjem okolnosti njihove upotrebe, dizajnom scenarija. scenarios based on their understanding of material culture and
Takva definicija dizajna podrazumijeva savladavanje vjetina koje su critical thinking. Such definition of design implies acquiring skills
potrebne za refleksivno istraivanje i koncipiranje ivota ljudi, za they need for reflex research and to conceptualize human life, for
razumijevanje gospodarstva, drutva i kulture na globalnoj razini, understanding societys economy and culture on global level, as well
kao i za stvaranje preduvjeta za odrivo predvianje budunosti. as to create preconditions for the anticipation of sustainable future.
Studente se osposobljava za rad u kreativnoj industriji, za suradnju Students train for work in creative industries, to collaborate in
u multidisciplinarnim timovima na promisljanju sloenih strategija, multidisciplinary teams on complex strategies, as well as for inde-
te za samostalno, poduzetniko djelovanje. pendent entrepreneurship.
Na diplomskom studiju cilj edukacije stjecanje je kompetencija Graduate level of education is aiming to give inherent competen-
imanentnih zvanju magistra dizajna. Te kompetencije ukljuuju ces for the Masters of Design. These competences include ability for
sposobnost samostalne provedbe projekata kao rezultata teorijsko- independent project execution based on the theory and research, as
istraivakog rada, te koncipiranje i upravljanje strategijama i pro- well as to bring concepts and manage developmental design strate-
cesima razvoja dizajna s ciljem unapreenja drutvenih i gospodar- gies and processes, in order to enhance social and economic systems.
skih sustava. Program diplomskog studija zasniva se na kritikom Graduate studies program is based on critical and creative rese-
i kreativnom istraivanju suvremenih fenomena utemeljenom na arch of contemporary phenomena, on the grounds of understan-
razumijevanju specifinog dizajnerskog promiljanja i intenzivnoj ding the specific design thinking processes along with the intense
koheziji teorijsko-metodolokih i praktino-projektnih kolegija. cohesion among theoretical methodological and practical design
Mnoge suvremene pojave nije mogue razumjeti bez poznavanja studio courses.
i primjene naprednih istraivanja kroz artikulirane metodoloke It is impossible to understand numerous contemporary features
sustave, te analitikog i kritikog pristupa obradi tih pojava. Cilj ovla- without knowledge and appliance of the advanced research thro-
davanja navedenim vjetinama jest promiljanje vlastitog djelovanja, ugh articulated methodological systems, as well as without their
kao i smisla struke, osobito u uvjetima promjena kroz koje prolazi analytical and critical elaborations. The aim of acquiring the fore-
suvremeno drutvo i materijalna kultura. Programom se nastoje mentioned skills is to encourage thinking about one owns work as
nadii stereotipni okviri discipline. Istraujui zajedniko ili prekla- well as about the meaning of the profession especially under the
pajue polje znanstvenih i umjetnikih disciplina, stvaraju se uvjeti conditions of the changes contemporary society and material cul-
za propitivanje metoda i prirode dizajnerskog djelovanja, naina ture are going through.
produkcije i oblika komunikacije. Suvremena dizajnerska praksa The intention is to go beyond the stereotyped frameworks of the
realizira se u irokom podruju koje dotie i psihologiju, antropolo- discipline. Research of the joint or overlapping fields of scientific
giju, drutvene fenomene, dizajn usluga, interakcija i doivljaja, kao and artistic disciplines create conditions for questioning methods,
i materijalnu te nematerijalnu kulturu. Obrazovne metode diplom- nature of design, ways of production and forms of communication.
skog studija primarno se odnose na stjecanje iskustva studenata u Contemporary design practice is realised in broad range inclu-
teoriji i kritici, kao i u metodolokim vjetinama, na poznavanje ding psychology, antropology, social phenomena, design of services,
suvremenih tehnologija i materijala, te na realizaciju projekata s interactions and experience as well as material and non-material
gospodarskim subjektima u okolnostima realnog okruenja. culture. Educational methods of the graduate studies are primarily
related to acquiring students experience in theory and critical thin-
king, methodological skills, understanding contemporary techno-
logy and materials, as well as project realisation with manufacturers
under the conditions of realistic surrounding.

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INDUSTRIJSKI DIZAJN
Industrial Design Studio
U podruju industrijskog dizajna na diplomskom studiju naglasak The courses in the field of industrial design within the graduate
se u zadacima projektiranja stavlja na vjetinu snalaenja u kon- programme focuses through practical design assignments on the
tekstu realnog okruenja, s primarnim ciljem usvajanja i primjene resourcefulness skills in relation to the real-life environment, with
kritikog miljenja, metoda istraivanja, kao i tehnika upravljanja a primary goal of encouraging the adoption and expression of cri-
projektnim timovima. Zadaci zahtijevaju samostalni odabir tema tical thinking, use of research methods and strategies for managing
iz neposrednog ivotnog okruenja, to podrazumijeva kontinui- project teams.
rana opaanja fenomena suvremenog ivota, sloena istraivanja The assignments require an individual choice of topics from the
njihovih drutvenih, gospodarskih i tehnolokih aspekata, kao immediate living environment, which presupposes continuous
konkretnu osnovu sintetikog dijela drutveno i gospodarski anga- observation of contemporary life events, complex research of their
iranih projekata. Pored samoiniciranih tema, studenti sudjeluju u social, economic and technological aspects as a concrete basis for
projektima koji su rezultat konkretne suradnje s pojedinim tvrt- the synthesis phase of the design process related to socially and
kama i obrtima, na unapreenju poslovnih strategija, kao i promi- economically relevant projects. In addition to individually selec-
ljanju novih proizvoda i sustava. Pri projektiranju se primjenjuju ted topics, students also participate in the projects which resulted
znanja o suvremenim tehnologijama u smislu njihove implementa- from a concrete cooperation with certain firms and trades by hel-
cije u projekte dizajna, na razini trenutne primjene, ali i konceptual- ping them improve their business strategies and conceptualisation
nih vizija razvoja. Cilj je, dakle, usavriti steena znanja i vjetine te of new products and systems. In the design process they use the
omoguiti studentu magistarskom kandidatu voenje projekata knowledge about contemporary technology and their implemen-
i upravljanje procesima razvoja dizajna u svim njegovim aspektima. tation in the final products, on the level of their temporary use, but
Pritom je svakom studentu omogueno da kroz individualni rad s also of further conceptual development. The aim is, therefore, to
mentorom, komentorom, te vanjskim suradnicima, kao i odabirom improve the acquired knowledge and skills and enable students to
izbornih kolegija formulira vlastite sklonosti i otkrije mogunosti manage projects and design development process in all its aspects.
za svoju specijalizaciju. Each student is provided with an opportunity to discover his or her
Druga godina zavrna je u formativnom smislu i zasniva se na own tendencies and possibilities of specialisation through indivi-
dva povezana segmenta zavrnog rada magistarske diplome. U dual work with mentors, co-mentors or other associate lecturers and
prvom segmentu (treem semestru) studente se usmjerava i potie through selection of elective courses according to specific interests.
na samostalni teorijski i istraivaki rad kao predradnje za projekt. The second, final formative year, is based on two interrelated
Studenti trebaju pokazati razinu zrelosti u prepoznavanju problema, segments of the master thesis. The first segment (third semester)
spoznavanju potreba i utjecaja okoline te bitnih funkcionalnih i directs and motivates students to individually engage in theoreti-
semantikih datosti za poetak elaboracije diplome. cal thinking and research which represents a preparation stage for
Po zavretku semestra studenti predaju zavrni tekst teorijske the final design project. Students are required to show maturity in
teze/istraivakog elaborata koja ukljuuje i sve relevantne imbe- recognizing a design problem, needs of the real environment and its
nike pripreme za projekt kao rezultata istraivanja u stvarnom kon- influences, as well as important functional and semantic elements
tekstu. Potom u zavrnom semestru, po prihvaanju teksta, izrauju needed for the elaboration of the final design.
diplomski projekt koji treba pokazati njihovo snalaenje u struci, na At the end of the semester students hand in the final texts con-
razini koja podrazumijeva samostalno voenje projekta, upravlja- taining their theoretical hypotheses/research reports which include
nje procesima razvoja dizajna i komuniciranje s drugim strukama all relevant factors of the preparation for the final projects as a result
u procesu dizajna. Izborni predmeti na ovoj godini studija usko su of the research in a real-life environment. In the final semester, after
vezani uz savladavanje samostalnog djelovanja u dizajnu. Projekt i their texts have been accepted, students carry out their graduation
teorijska teza/istraivaki elaborat razlikuju kompetencije magistra projects which show their skills in the design process and practice,
dizajna od prvostupnika, te se smatraju jednako vanim elementima both in terms of individual project management, management of
diplome i krajem formativnog dijela edukacije na ovoj razini u struci. the design process development and communication with other
professions during the design process. The final design project and
the theoretical hypothesis/research report are considered equally
important parts of the graduation process and present the academic
elements which differentiate master level from the bachelor level.

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PRVI SEMESTAR, TEMA:


DIZAJN U REALNOM OKRUENJU
First Semester, Theme: Real-life Environment
Design

Prvi zadatak na diplomskom studiju industrijskog dizajna svojevrsni je uvod u ANDREA IMI
osmiljavanje i izradu diplomskog rada na sljedeoj, posljednjoj godini studija. Socijalna interakcija Donji grad / Social InteractionLower Town
Zadatak zahtijeva odabir teme iz neposrednog ivotnog okruenja, te ana- Mentor Zlatko Kapetanovi
lizu njenih drutvenih, gospodarskih i tehnolokih aspekata, kao istraivanje Asistenti/Assistants Sanja Benceti, Ivana Fabrio
povijesnog razvoja pojava ili problema koji se pri tome javljaju. Naposljetku,
nuno je utvrditi aktualno stanje fenomena koji se prouavaju i pokuati Kako je okvir ovog zadatka bio dizajn u realnom okruenju, kao polazna toka
predvidjeti njihov budui razvoj, nakon ega slijedi postavljanje projektnog istraivanja odabran je grad Zagreb, koji se pokazao idealnim poligonom za
zadatka, odnosno ciljeva dizajnato, kako i za koga. Svrha zadatka jest svojevrsni socijalni eksperiment. Istraivanje je poelo kratkim uvidom u
dizajnirati sustav proizvoda i/ili usluga kao pokuaj rjeenja uoenih pro- povijesni razvoj grada i pojedinih etvrti, te se nastavilo dokumentiranjem
blema i oblikovnu artikulaciju postavljenog koncepta, te kao izraz vlastitih postojee situacije na javnim prostorima irega gradskog sredita. Otkriva-
stavova i vizija. njem velike povrine neiskoritenih i neureenih blokovskih dvorita stvorena
je idealna podloga za daljnji smjer istraivanja. Sljedea faza odnosila se na
The fist assignment in the graduate programme of industrial design is a form sama dvorita. U razgovorima sa stanarima otkriveno je veliko nezadovolj-
of introduction to the conceptualisation of the final design as part of the stvo trenutnim stanjem dvorita, dok se analizom postojeih katastarskih
graduation thesis on the second and the last year of the programme. The podloga utvrdila gotovo nerjeiva situacija s obzirom na nesreenost vla-
assignment includes the selection of a topic (design problem) from a living snikih odnosa. Stanari i njihova dobra volja prepoznati su kao jedino sred-
environment and analysis of it social, economic and technological aspects, stvo intervencije. Stoga je provedena anketa kojom se evaluirao meusobni
as a form of research into the historical development of phenomena or odnos stanara. Rezultati su potvrdili ranije prikupljene informacijenajvei
problems related to the topic. Finally, it is necessary to establish a current problem, ujedno i uzrok nesreenosti dvorita, jest nedovoljno poznavanje i
state of the researched phenomena and to predict their future development, interakcija meu stanarima. Cilj istraivanja time je postao pronalazak naina
which is followed by the definition of a project assignment or the goals of kojim bi se odravala konstantna razina socijalne interakcije meu stanarima,
the designwhat, how and for whom. The purpose of the assignment is te je i konano rjeenje materijalizacija samo jednog od nekoliko moguih
to design a system of products and/or services as an attempt to solve the varijanti rjeenja.
perceived problems and the formal articulation of the proposed concept
according to their personal attitudes and visions. Since the assignment presupposed a real environment design, the city of
Zagreb was chosen as the starting point of the research, which showed to
be an ideal case for some form of social experiment. The research included a
short historical development of the city and its quarters, and documentation
of the existing situation in public spaces in the wider city centre area. Large,
unused and neglected interior courtyards of building blocks presented an
ideal basis for further research. The following stage was related to those
courtyards. Conversations with the tenants reveals a great dissatisfaction
with the current state of these spaces, while an analysis of cadastral docu-
ments confirmed almost unsolvable problems of ownership. The tenants and
their good will were seen as the only means of intervention. It was there-
fore decided to conduct a questionnaire survey in order to evaluate mutual
relationships of the tenants. The results confirmed the earlier information-
based assumptionthe biggest problem, and at the same time the cause
of the poor state of the courtyards was insufficient familiarity and interac-
tion among the tenants. The goal of the research was thereby turned into a
solutiona way which could maintain a constant level of social interaction
among the tenants. The final solution is therefore the materialisation of only
one of several possible ones.

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MARTA ANI-KALIGER
Kampanja za recikliranje u gradu Zagrebu
/Recycling Campaign in the City of Zagreb
Mentor Zlatko Kapetanovi
Asistenti/Assistants Sanja Benceti, Ivana Fabrio

Nedovoljno recikliranje i odvajanje otpada veliki je problem u svim zemljama i Insufficient recycling and selection of waste is a great problem faced by MARIO DOBREEVI
zato je izrazito vano da Zagreb kao glavni grad Hrvatske promijeni i pobolja all countries. That is why it is extremely important for Zagreb, as the capi- Prozorigami / Imaginograms
svoj nain gospodarenja otpadom. Istraivanje je pokazalo da je, osim pro- tal of Croatia, to change and improve its waste management. Research has Mentor Zlatko Kapetanovi
mjene zakona i organizacije sustava za odgovorno gospodarenje otpadom, shown that, in addition to the changes of regulations and organisation of Asistenti/Assistants Sanja Benceti, Ivana Fabrio
jako vano educirati i motivirati graane da prihvate taj nain djelovanja. the responsible waste management, it is important to educate and motivate
Osmiljen je koncept dugorone kampanje podijeljene u tri koraka. Prvi dio citizens to accept proposed way of living and behaviour. The assignment Analizirajui ekaonice zagrebakih bolnica i ambulanti (Traumatoloka u Research on waiting rooms in Zagreb hospitals and emergency rooms (Tra-
kampanje trebao bi osvijestiti graane o problemu, drugi motivirati, a trei is a concept of a long term campaign divided into three phases which are Drakovievoj, Klinika za djeje bolesti Zagreb, Dom zdravlja Zaprei...), uma Clinic in Drakovi Street, Childrens Hospital Zagreb, Medical Centre in
educirati kako bi mogli poeti primjenjivati novi sustav. Prikazana klupa dio necessary for the adoption of the new system. The first part includes brin- kao i ponaanje pacijenata i njihove pratnje u tim prostorima, dolo se do Zaprei...), and an analysis of the behaviour of patients and accompanying
je drugog koraka kampanje, ija je svrha pokazati graanima da recikliranje ging awareness to the citizens about the problem, while the other includes zakljuka kako je najee rije o hladnim mjestima u kojima prevladava people led to the conclusion that these rooms are cold spaces replete with
materijala nije uzaludno jer se oni koriste u proizvodnji predmeta koje sva- motivation and the third education. The bench presented here is part of the nervoza, napetost i stres, a nedostaje empatije i sadraja za osobe koje neurosis, tension and stress, and lacking in empathy and contents for the
kodnevno susreemo. Napravljena je od jednakih aluminijskih prola, od kojih second campaign phase and its purpose is to show the citizens that recycling tamo provode (ne)odreeno vrijeme. S ciljem da se pronae rjeenje koje bi people who spend (un)determinate amount of time in them. The goal of the
je 5% izraeno od sirovog aluminija i obojano u crno, a ostatak je u original- materials are not useless since they are used in the production of objects we sugeriralo alternativu zapaenom ponaanju (prevrtanje papira i mobitela project is to provide an alternative to the perceived behaviour (twirling a
noj boji aluminija proizvedenog od recikliranog materijala. Klupa komunicira see and use everyday. The bench was made from identical aluminium profiles po rukama, preetavanje, nervozno cupkanje nogom), osmiljen je koncept piece of paper or a mobile phone, walking up and down, nervous leg shaking).
poruku da se za istu koliinu energije od recikliranog materijala moe proi- 5 % of which was made from raw aluminium and painted black, while the rest koji se temelji na jednom papiru (2020cm), s tekstom koji je mogue pro- The proposed solution comprises a piece of paper (2020 cm) with a text
zvesti 95% vie nego od aluminija dobivenog iz prirodnih sirovina. is from recycled material painted in the natural colour of aluminium. The itati tek kada se po uputama koje se nalaze na poleini papir presavine na which can be read only by folding the paper in a proper way according to
bench conveys the message that 95 % more of the product can be created odreeni nain, otkrivajui tri vjebe koje bi mogle pomoi ljudima u tom the instruction on its back. It then reveals three exercises which could help
from recycled material which was produced with the same amount of energy trenutku (vjebe oputanja, koncentracije, disanja). Nakon to se papir pre- people while they wait for medical examination (relaxation, concentration
as natural aluminium. savine te je tekst mogue normalno proitati, takoer se moe odlijepiti traka and breathing exercises). After reading the text, people can remove a piece
s poleine tog origamija te ga nalijepiti na bilo koju povrinu u ekaonici (zid, of adhesive tape from this origami and stick it onto any surface in the wai-
prozore, vrata), kreirajui jedan novi doivljaj i identitet cjelokupnog prostora. ting room (wall, windows, doors) creating thereby a new experience and
identity of the space.

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DRUGI SEMESTAR, TEMA:


DIZAJN U KONTEKSTU RAZVOJA
TEHNOLOGIJEEKO NAMJETAJ
Second Semester, Theme: Design in
the Context of Technological Development MARIJA RUI, MARTA ANI-KALIGER
Sustav namjetaja / Room for Youngsters
Eco-furniture Mentor Mladen Orei
Asistent/Assistant Sanja Benceti

Tema zadatka u drugom semestru jest dizajn u kontekstu razvoja tehno-


logije, a akademske godine 2011/2012. vezan je uz projekt uspostavlja-
nja standarda ekoloko prihvatljivog namjetaja i dizajniranja elemenata i
sustava namjetaja u skladu s tim kriterijima. Projekt je pokrenut u suradnji
s klasterom Hrvatski interijeri, a u njemu takoer sudjeluju studenti estog
semestra Preddiplomskog studija. Motiv jest reagirati na aktualnu globalnu
zabrinutost u vezi s odravanjem harmonije prirodnog i tehnolokog okru-
enja, i prikljuiti se procesima informiranja, educiranja i djelovanja na tom
podruju. U suradnji sa strunim savjetnicima iz podruja ekologije i odri-
vog razvoja istraila su se mnoga podruja koja odreuju cjelokupni ivotni
ciklus proizvoda od ideje ili odluke o nastanku, pa do nestanka potrebe za
njim, te su donesene smjernice za uspostavljanje principa, kriterija i stan-
darda odgovornog razvoja proizvoda. Studentska rjeenja nastoje kreativno
i inovativno zadovoljiti osnovne zahtjeve te simboliziraju takav pristup. U
nastavku projekta rjeenja e biti i realizirana te podvrgnuta ocjenjivanju U okviru teme ekolokog namjetaja, ciljna skupina ovog projekta bili su mladi
ekoloke podobnosti. ljudi dobi od tinejderske do tridesetih godina. Primijeeno je da mladi danas
esto ive u sobama koje ne odgovaraju njihovim eljama i potrebama, te je
The topic of the second semester assignment is the design in the context of provedeno istraivanje na tu temu, iz kojeg su proizali temelji za konani
technological development. In the year 2011/2012 it was connected to the proizvod tri razliita komada namjetaja. Anketa je pokazala da stol i ormar
project whose goal was to establish standards for ecologically acceptable esto ne odgovaraju potrebama korisnika, stoga je projekt posveen upravo
furniture and design of elements and systems of furniture in accordance to tim komadima, a iz tog rjeenja proizaao je i dodatni komad za odlaganje
the set criteria. The project was launched in cooperation with the Croatian stvari. Svi komadi su jednostavni, a korisnik ih lako moe prilagoavati svo-
Interiors Cluster, and it included works of undergraduate students attending jim potrebama. Sastoje se od jednakih profila od masivnog drva, te ploha od
sixth semester. The motive was to respond to the present global concern drvenih ploa, to je proizvedeno od lokalnog drva s FSC certifikatom i bez
about maintaining harmonious relationship between the natural and tech- tetnih tvari. Svi komadi dolaze u flat pack pakiranju i korisnik ih lako moe
nological environment, and to engage in the process of informing, educating sam sastaviti i rastaviti. Osim osnovnih komada predvieni su i dodatni limeni
and actively working in that area. Cooperation with professional advisers komadi razliitih oblika kojima si korisnik moe individualizirati namjetaj i
from the field of ecology and sustainable development led to research of prilagoditi ga svojim potrebama, a ostavljen je i prostor za improvizaciju i
many areas which define an entire life cycle of a product, from the moment dodavanje svojih elemenata.
it is conceived, decided to be produced to the moment it ceased to be used.
The cooperation also gave birth to principles, criteria and standards of res- The assignment related to the topic of ecological furniture envisaged the
ponsible product development. Students designs attempt to creatively and target group whose age ranged from teenagers to the thirty-year-olds. Jud-
innovatively meet the basic requirements and to symbolize such an approach. ging from general observation, young people today often live in rooms which
The next stage of the project entails the creation of a final product and its do not satisfy their wishes and needs. The conducted research on this topic
evaluation of ecological acceptability. yielded results which were taken as the basis for the final productthree
different pieces of furniture. The survey conducted among young people
showed that the wardrobe and desk do not meet their needs. The project was
therefore dedicated to solving the problem of these items and simultaneo-
usly gave birth to another piece of storage furniture. All pieces are simple in
design, and users can easily adapt them to their needs. The framework was
made from full wood while the surfaces are from wooden panels produced
from local wood with FSC certificate and containing no toxic ingredients.
All pieces are plat packed and users can easily assemble and disassemble the
pieces. In addition to the based pieces, there are also additional variously
shaped tin elements which users can make individual shapes and adjust the
furniture according to their needs. The furniture also leaves some space for
improvisation and adding of users elements.

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FILIP PERAI
Namjetaj za odlaganje / Storage Furniture
Mentor Zlatko Kapetanovi
Asistent/Assistant Sanja Benceti

MARIO DOBREEVI Otpad koji nastaje pri krojenju drva skladiti se s namjerom da se iskoristi za Waste created in the process of cutting wood is stored for some future pro-
Stol za dnevni boravak / Sitting Room Table neki budui proizvod ili za ogrjev, to nisu idealna rjeenja. Nekima je pre- ducts or firewood, which is not the ideal use. Wood briquette processing is
Mentor Mladen Orei rada za brikete ekonomski neprihvatljiva, a predvianje dimenzija i planiranje for some economically unacceptable, and dimension prediction and effici-
Asistent/Assistant Sanja Benceti iskoristivosti iznimno je rijetko. Specifinost ove vrste otpada je ta to je ency planning extremely rare. Specific characteristics of this sort of waste
materijal vrhunske kvalitetejednake onoj od koje se proizvodi namjetaj. are its exceptional quality of the materialequal to those from which fur-
Koncept je proizaao iz ciljeva i zahtjeva postavljenih u kontekstu zadatka Teko se iskoritava zbog toga to je razliitih dimenzija i nema proizvoda niture is made. It is difficult to use to because its dimensions vary and there
Eko namjetaj, a svode se na stavljanje konstruktivnih karakteristika masiv- koji su prilagoeni tom problemu. Stoga je glavna ideja projekta bila osmisliti are no products which are adapted to that problem. The main idea of the
nog drva u prvi plan, te isticanje vizualnog i taktilnog doivljaja materijala proizvod koji e se prilagoditi problemu i s minimalnom obradom iskoristiti project was, therefore, to come up with a product which can be adapted to
kroz reduciranu koliinu njegove upotrebe nastalu koritenjem standardizi- nestandardiziranu grau, pri tome ispunivi zahtjeve ekologije i serijske proi- this problem be made from minimally processed, un-standardized material
ranih dimenzija tijekom proizvodnje. Time se obuhvaaju etiri bitna procesa zvodnje. Rjeenje je sustav koji se sastoji od dva proizvodapolice i vjealice. and meet the demands of both ecology and serial production. The solution
u ivotnom ciklusu proizvoda: manufakturni, transportni, odrivi i reciklani. Proizvodi se sastoje od jedne cijevi i razliitih vrsta otpadnog drva, koje imaju is a system which includes two productsa shelf and a hanger. They consist
Rjeenje se temelji na stolu za dnevni boravak koji se sastoji od pet drvenih razliitu duljinu, irinu i debljinu, s tim da ni jedna polica ni vjealica nije ista. of one pipe and various forms of waste wood of different length, width and
gredica (od hrastovine ili oraha) i staklene plohe. Sve su gredice priblino Nakon to se selektira odgovarajue drvo, ono se minimalno obrauje. Na thickness. Not a single hanger or shelf is identical to any other. After suitable
slinih dimenzija (kako bi se reducirala dodatna obrada tijekom proizvodnje cijev se slau komadi drva po elji (jedino pravilo: polica ima standardiziranu wood object is selected, it is minimally processed. Wooden pieces are placed
i pojednostavila standardizacija), spajaju se na istovjetan nain (pod kutem nogu koja obvezno mora biti na dnu), a ljepilo se ne koristi. on the pipe (the only rule is that the shelf has a standardized leg which nece-
od 45), te tako dre i dodatno stabiliziraju staklenu plohu stola. ssarily needs to be on the bottom) without the use of glue.

The concept came out of the goals and requirements posed in the assignment
Eco furniture, which include focusing on the constructive characteristics of
full wood and stressing the visual and tactile experience of the material thro-
ugh its reduced use, which was made possible by standardizing dimensions
during production. This integrates four significant processes in the life cycle
of a product: manufacturing, transportation, sustainability and recycling. The
solution was based on a sitting room table consisting of five wooden strips
(oak or walnut) and a glass surface. All the strips are similar in dimensions (in
order to reduce additional processing during production and simplify stan-
dardisation), and they are joined in the same way (at the angle of 45), and in
that way support the glass surface and make it additionally stable.

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VIZUALNE KOMUNIKACIJE
Visual Communications Studio
Na prvoj godini diplomskog studija edukacija se nastavlja s ciljem The educational goals of the first year of the graduate programme
stjecanja kompetencija imanentnih zvanju magistra dizajna, koje include imparting competencies which facilitate students indi-
studente osposobljava za samostalno voenje projekata i upravlja- vidual project management and design development. Courses in
nje procesima razvoja dizajna. Na zadacima projektiranja vizualnih visual communications focus on the abilities of students to respond
komunikacija naglaava se sposobnost snalaenja u kontekstu real- well in their professional relationship to the real environment by
nog okruenja, s primarnim usvajanjem tehnika upravljanja pro- acquiring principles and methods necessary for the management
jektnim timovima, ali i znanja i vjetina znanstveno utemeljenog i of project teams, but also knowledge and skills of scientifically gro-
kritikog promatranja zbilje. Studenti odabiru teme ili probleme od unded and critical interpretation of reality. Students choose topics
neposrednog subjektivnog ili opeg drutvenog interesa, te ue arti- or problems of immediate personal or general social interest. They
kulirati svoja opaanja i stavove izraajnim sredstvima dizajna, ali i learn to articulate their observations and views through expressive
potaknuti i formirati javni diskurs drutvenih skupina posredstvom means offered by design, but also to entice and form a public dis-
inovativne vizualne komunikacije. Smisao zadataka projektiranja, course for various social groups by way of innovative visual com-
dakle, jest usavriti steena znanja i vjetine te osposobiti studenta munications. The goal of the design assignment is, therefore, to
magistarskog kandidata za voenje projekata i upravljanje proce- advance prior knowledge and skills and equip graduate students
sima razvoja dizajna u svim njegovim aspektima. U tom bi procesu with skills for design project management and development in all
svaki student trebao individualnim radom s mentorom i odabirom its aspects. That process should include students articulation of
izbornih kolegija artikulirati vlastite sklonosti i otkriti mogunosti personal inclinations and discovery of possibilities of their future
svoga daljnjeg razvoja, pri emu se podrava i potie suradnja sa stu- development through individual work with a supervisor and selec-
dentima i strunjacima iz razliitih disciplina povezanih s dizajnom, tion of appropriate electives. Cooperation with other students and
u duhu temeljnog karaktera studija. experts from various disciplines related to design is both supported
Druga, zavrna godina studija temelji se na dva povezana and encouraged.
segmenta zavrnog rada, odnosno magistarske diplome. Prvi The second, final year of the graduate programme is based on
segment podrazumijeva samostalni teorijski i istraivaki rad kao two segments of the graduation thesis. The first segment entails
predradnju za projekt, kada studenti moraju kompetentno prepo- an individual research project and exploration of theoretical lite-
znati i obraditi odreeni problem(e), u skladu sa standardima aka- rature as preparation for the final design project. In order to com-
demskog pisanja znanstvenih radova, pri emu je kljuno spoznati plete it, students need to recognize and analyze specific problem(s)
potrebe i utjecaje okoline na odabrani fenomen, te vane funkcio- in accordance to the standards of academic principles of scientific
nalne i semantike datosti za poetak elaboracije diplome. paper writing at which it is crucial to know the needs and impacts
Rezultati istraivanja u prvom semestru zavrne godine su tzv. of the environment on the selected phenomenon, and important
teorijska teza i istraivaki elaborat, koji ukljuuju sve relevantne functional and semantic elements for the elaboration of the gra-
imbenike pripreme za projekt, koji je nastavak istraivanja u real- duation project.
nom kontekstu. U drugom, zavrnom semestru, ako je tekst prihva- Research results in the first semester of the second year are the so
en, studenti izrauju diplomski projekt kojim pokazuju steenu called theoretical hypothesis and research report. They include all
razinu snalaenja u struci, to podrazumijeva samostalno voenje relevant elements of the preparation for the design project, which
projekta i komuniciranje s drugim strukama u procesu dizajna. is an extension of research in the real environment. In the second
Izborni predmeti na ovoj godini studija usko su vezani uz savla- semester of the second year students create their graduate design
davanje samostalnog djelovanja u dizajnu. Projekt i teorijska teza/ project, given that their textual work is accepted. With their design
istraivaki elaborat razlikuju kompetencije magistra dizajna od they show professional competence which entails individual design
prvostupnika, te se smatraju jednako vanim elementima diplome project management and communication with other professions
i krajem formativnog dijela edukacije na ovoj razini u struci. during the design process. Elective courses on this years progra-
mme are closely related to mastering individual work in design. The
design project and theoretical hypothesis/research report are the
elements which differentiate the master level from the bachelor
level, and are considered equally important elements in the process
of obtaining a graduation degree.

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PRVI SEMESTAR, TEMA: DIZAJN U


KONTEKSTU REALNOG OKRUENJA
First semeter, Assignment: Design within TOMISLAV ESTAK
Vizualni identitet plakata za HNK Varadin
Real-life Environment /Visual identity of the poster for the HNK in Varadin
Mentor Ivan Doroghy
Asistent/Assistant Tomislav Vlaini

Golden Bra, Magdalena Festival, Maribor, Slo

Prvi zadatak u novom poglavlju studiranja s jedne strane razrauje i pro- Hrvatsko narodno kazalite u Varadinu i Klub
dubljuje znanja i vjetine steene pri kraju preddiplomskog studija, a s Rogoz dio su iste zgrade i koriste isti oglaivaki
druge slui kao odreeni uvod u izradu diplomskog rada na zavrnoj godini. prostor. Kako bi se naglasilo dijeljenje zajedni-
Kljuno je usmjeriti senzibilitet studenata prema prepoznavanju aktualnih kog radnog i reklamnog prostora osmiljen je
tema i problema u podruju suvremenih vizualnih komunikacija, masovnih koncept plakata u plakatu. Plakati se tijekom
medija i digitalnih tehnologija, ali i u irem drutvenom, ekonomskom i poli- dana ponaaju poput klasinih kazalinih plakata,
tikom kontekstu. Po odabiru tematskog podruja koje e u zadatku obra- a nou oglaavaju koncerte, tulume i radionice.
ivati, studenti se opredjeljuju za neku od komunikacijskih formi ili neki anr Promjena iz dnevnog u nono stanje omoguena
dizajna iz iroke palete aktualne vizualne kulture, od tiskanih medija (knjige, je postavljanjem plakata unutar city light kio-
monografije, zbornici, novine...), preko korporativnog dizajna i signalistike, ska, te ilustrativnim intervencijama na stranjoj
ambalae u podruju industrije ili uslunih djelatnosti, te sustava vanjskog strani plakata.
oglaavanja (serije plakata i sl.), sve do interaktivnih digitalnih tehnologija
na razliitim platformama. Vano je koristiti alate vizualnih komunikacija The Croatian National Theatre (HNK) in Varadin
u artikulaciji prepoznatih problema i inovativnom izraavanju vlastitih sta- and the Rogoz Club are situated in the same buil-
vova, s ciljem poticanja i usmjeravanja javnog diskursa o odreenim temama. ding and use the same advertising space. A wish
Rije je o vjetinama i kompetencijama nunima svakome magistru dizajna, to emphasize this shared working and adverti-
stoga ovaj zadatak predstavlja neizbjenu prvu stavku diplomskog studija sing space led to the concept of a poster within
vizualnih komunikacija. a poster. Such posters can be standard theatre
posters during day, informing about plays, and
The first assignment students are faced with in the graduate programme concert posters at night, informing about con-
adds, on the one hand, to the knowledge and skills acquired in the under- certs, parties and workshops. The shift from a day
graduate programme, and on the other hand, presents a certain introduction to a night use is made possible by placing them
to the creation of the final design project, that is, the graduation thesis. It in city light boxes and by adding illustrations on
is crucial to direct students awareness towards recognizing contemporary their back sides.
topics and problems in the field of visual communications, mass media and
digital technologies, but also the wider social, economic and political con-
texts. After choosing a topical field for their assignment students select one
of communication forms or design genre of contemporary visual culture,
ranging from print media (books, monographs, collection of papers, news-
paper), corporative design and signage, packaging design for industrial
or service sectors, and outdoor advertising (poster series and the like), to
interactive digital technologies on various platforms. It is important to use
the tools of visual communications in articulating the recognized problem
and innovatively expressing personal views and attitudes, with the goal of
enticing and directing public discourses about certain topics. These tools
skills and competencies which each graduate student should possess, which
makes this assignment inevitably a primary step in the graduate programme
in visual communications.

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KARLA PALISKA SANDRO DUJMENOVI


Besmrtnik / The Immortal Monografije Grupe estorice / Monographs on the Group of Six Authors
Mentor Stipe Bri Mentor Nenad Dogan
Asistent/Assistant Luka Bori Asistent/Assistant Marina Jakuli

Rije je o seriji monografija suvremenih hrvatskih umjetnikaDimitrija Bai-


evia Mangelosa, Mladena Stilinovia i Vlade Marteka, to je izbor iz zami-
ljene biblioteke Grupe estorice. Dizajn se temelji na izboru lo-fi materijala
obinih A4 papira Vlade Marteka, neobraenih ljepenki i folija, te uveza kla-
manjem u knjigama Mladena Stilinovia, i pisanja olovkom, karakteristinog
za sve umjetnike. Rjeenje se oslanja na modernistiku estetiku formatom
i mreom od dvanaest kolumni, te odabirom tipografije kao odrazom raz-
doblja u kojem ovi umjetnici djeluju, kreirajui sustav i pruajui dovoljno
slobode buduim dizajnerima pri oblikovanju monografija ostalih autora
Grupe estorice.

The project consists of a series of monographs of contemporary Croatian


artistsDimitrije Baievi Mengelos, Mladen Stilinovi and Vlado Martek,
selected from an envisaged publishing series on the Group of Six Authors.
Rad predstavlja istraivanje osnova knjige kao tiskanog medija u razdoblju The work represents research on books as print media in the period when The design was based on lo-fi materials which include simple A4 paper sheets
kada digitalni mediji otvaraju prostor novom definiranju knjige i promjeni digital media invite new definitions and a change in the ways we perceive corresponding to Marteks works, unprocessed cardboard, transparencies,
naina na koji ju percipiramo. to je uope knjiga danas? Kako paradoks books. What is a book today? How the paradoxical e-book, which does not and stapled binding suggestive of Mladen Stilinovis books, and pencil wri-
e-knjige, koja ne udovoljava ni jednom kriteriju definiranja tradicionalne meet a single criterion of traditional book definition, impact our perception ting characteristic of all group members. The design solution draws on the
knjige, utjee na nau percepciju iste? Rad je promiljanje potencijala fizike of it? The work represents a process of thinking about potentials of a physical modernist aesthetics in its format and twelve-column grid, and typography
knjige, odosno njenih specifinih kvaliteta neprevodivih u prostor digitalnog book, its specific qualities which cannot be transferred into a digital expe- which reflects the period of these artists activity. The idea was to create a
iskustva: forme (volumena, taktilnih efekata, itd...), te odnosa forme i njenog rience: form (volume, tactile effects, etc), and the relationship between its system and offer enough space for future interventions in the design of the
utjecaja na italako iskustvo. Te aspekte istraujem kroz pokuaj prostorne form and its impact of the experience of reading. These aspects are explo- monographs on other members of the group.
konfiguracije djela Besmrtnik Jorgea Louisa Borgesa, potragom za sustavom red through an attempt to spatially configure Jorge Louis Borges work The
pretvorbe sadraja u originalnu formu. Ideja je bila izazvati intimni kontakt i Immortal by looking for a system which can transform the content into an
interakciju s knjigom, te u konanici naglasiti prostornost objekta kroz dobi- original form. The idea was to establish an intimate contact and interaction
vanje jedinstvenog suvenira italakog iskustva. between the reader and the book and emphasize the spaciousness of the
object by making it a unique souvenir of the reading experience.

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ANDRIJA MUDNI
kola i video igre / School and video games
IVA HRVATIN Mentor Ivan Doroghy
Turistika signalizacija / Tourism Signage Asistent/Assistant Tomislav Vlaini
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli Golden Bra, Magdalena festival, Maribor, Slo

Ovaj projekt nastoji rijeiti gorui problem meu mladimanedostatak


motivacije i interesa za stjecanjem znanja. Zamisao je bila objediniti zabavne
elemente raunalnih igara i kolski program u kreaciji dinaminog sustava
temeljenog na zadacima i nagradama za uenike koji ih ispunjavaju, pa je
napravljen popis elemenata zbog kojih raunalne igre izazivaju relativnu
ovisnost. Gotovo svaka raunalna igra ima nekakav bodovni sustav gdje se
skuplja imaginarna valuta i koristi se u osvajanju novih opcija. S bodovima
se esto dobivaju vizualni trofeji, samo ikone ili crtei koji predstavljaju na
uspjeh, i nai ih prijatelji mogu vidjeti. to ako bi svaki zadatak bio izazov koji
se nagrauje odreenim brojem bodova i trofejem, ovisno o vaem uspjehu?
to ako bi ocjene zapravo bile zbroj bodova koje ste tako osvojili? Mogunost
biranja koje ete zadatke tako rijeiti (unosi se element donoenja odluka)
takoer je neto to bi moglo ojaati nau motivaciju. Ova vrsta sustava
podrava i rang-listu bodova, jer kompeticija sigurno poveava motivaciju
nekih korisnika. Pri dizajnu sustava mnogi su drugi faktori uzeti u obzir; a
rezultat je pristupano korisniko suelje koje slui kao baza podataka, gdje
svaki uenik ima svoj profil. Na njemu moe provjeriti svoj trenutni status
i napredak u svakom predmetu (zadatke, bodove, trofeje, rang-liste, itd.)
Profil takoer slui kao rokovnik i drutvena mrea preko koje uenici mogu
komunicirati, razmjenjivati biljeke, pronalaziti informacije i razgovarati sa
svojim profesorima.

This project attempts to solve an acute problem among young peoplethe


lack of motivation and interest in acquiring knowledge. The idea is to inte-
grate entertaining elements of computer games with the school curriculum
for the creation of a more dynamic system based on assignments and awards
for pupils. One part of the project was also a list of elements of computer
games which can create some form of addiction. Almost every game has a
scoring system according to which players collect imaginary currency and
use it for completing successive levels. Scores are often awarded with a visual
trophy, icons or drawings which stand for the players success visible to all
other players. What if every school assignment was a challenge awarded with
U posljednjih pet godina Rovinj kao turistika destinacija stagnira prema Rovinj has been shown by the majority of statistics related to tourism to have a certain number of credits and a trophy, dependent on the pupils achieve-
veini statistika. Sadanje ciljne skupine turista u ljetnoj sezoni mlade su obi- stagnated as a tourist destination in the last five years. The present profile ments? What if grades were actually a sum of credits? A possibility to choose
telji srednje klase, neto manje studenti i mladi, te turisti tree dobi. Zajed- of tourist visiting in summer are young middle class families, students and which assignment to complete in that way (decision making process is the-
niki im je interes kulturna batina podruja, to je uz prirodne ljepote osnova young people to a smaller extent, and people in the third age of life. Their reby introduced) is also something which can entice motivation. This sort of
turistike ponude Rovinja. No, ne uvia se kako je te osnove potrebno kate- common interest is cultural heritage of the area, which is, in addition to system supports ranking of credits because competition most certainly hei-
gorizirati u koherentni sustav gradskih atrakcija; stoga se ovaj projekt temelji natural sites, Rovinjs basic tourist offer. It has not been realized, however, ghtens motivation of some users. The design process took into consideration
na ideji predstavljanja mjesne povijesti i tradicije sustavom tematskih tura that this basic offer needs to be organized into a coherent system of city many other factors which all resulted in a user-friendly interface serving as
koje turiste potiu da krenu u samostalno otkrivanje grada. Te ture pripovi- attractions. This project is therefore based on the idea to represent the local a data base of personal profiles belonging to each pupil. The profile contains
jedaju prolost grada kroz sve bitne punktoverazne znamenitosti, lokacije history and tradition by a system of thematically organized routes which can the current status and improvements in each subject (assignments, credits,
vanih dogaaja, tradicionalne obrte i gastronomske poslastice. Sadraji tura entice tourists to explore the city individually. The routes present the history trophies, rankings etc.). The profiles also serve as a personal organizer and a
obuhvaaju povijest grada, njegovu sakralnu i profanu tradiciju, te povezuju of the city through all important pointslandmarks, locations of important social network on which pupils can communicate with each other, exchange
vie razina razvoja Rovinja u cjelovitu sliku. Svaka tura sastoji se od tri cje- events, traditional crafts and dishes of the local gastronomy. The content notes, find information and communicate with their teachers.
line: tematske broureturistikog vodia, pratee signalistike u odree- of the routes comprises the citys religious and secular tradition and they
nom gradskom prostoru, te paketa suvenira usko povezanih s temom ture. connect several different historical layers of Rovinj into a unique picture. The
Predstavljene su prie o rovinjskim tabacchinama; o batani, brodogradnji i design of each route comprises three segments: thematic brochuretourist
ribarstvu; te pria o poznatoj i zaslunoj obitelji Hutterott. Ovim fleksibilnim guide, signage system in a particular urban area, and souvenirs closely rela-
sustavom Rovinj moe biti predstavljen u onoliko tura koliko pukih legendi ted to the topic of each route. The stories about the city include the Rovinj
i pria iz prolosti moe ponuditi. tabacchini (female workers in the tobacco industry), batana (fishing boat),
shipbuilding and fishing, the esteemed Hutterott family etc. This flexible
system can help Rovinj present itself with as many routes as there are local
legends and stories about the past.

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MIHOVIL VARGOVI
Mobilna aplikacija za dijabetiare / Mobile Application for Diabetics
Mentor Stipe Bri
Asistent/Assistant Luka Bori

Best Newcomer, Magdalena festival, Maribor, Slo

MARINA JUKI
Iz fotelje do Papue Nove Gvineje / From an Armchair to Papua New Guinea
Mentor Stipe Bri
Asistent/Assistant Luka Bori

Mihovil Marinovi (r. 1985.), student menadmenta i vaterpolist i Toni Talaja Mihovil Marinovi (born 1985), a student of management and a water polo
(r. 1985.), diplomirani politolog, u studenom 2011. krenuli su na low-bud- player and Toni Talaja (born 1985) a graduate in political science, embarked
get putovanje Dalekim istokom. Proli su kroz 14 drava i boravili u oko in November 2011 on a low-budget journey in the Far East. They travelled in
50 gradova. Cilj im je bio upoznati kulture istonih zemalja, ostvariti nova 14 countries and visited around 50 cities. Their aim was to become familiar
poznanstva i dobro se provesti. S ciljem olakavanja njihove komunikacije s with the culture of eastern countries, meet new people and have fun. Wis-
domom, te kako bi se omoguilo zainteresiranima da iz fotelje prate nji- hing to facilitate their communication with the people at home, and make
hovo putovanje, autorica ih je podrala kreacijom interaktivne web stranice it easier for all those interested to follow the voyages from their armchairs
dnevnika putovanja. U kontekstu vizualnih komunikacija htjelo se ispitati this project came to life in a form of an interactive web sitea travel journal. Projekt se bavi prehranom dijabetiara, vrlo vanom stavkom odravanja The project deals with diabetic nutrition, which is an important element
kako dizajn funkcionira u uvjetima stvarnog vremena, odnosno kako e se In the context of visual communications the idea behind the project was to njihovog zdravlja. Postoji nekoliko problema. Deklaracije proizvoda u praksi in maintaining their health. There are, however, several problems. Product
razvijati za vrijeme samog putovanja. Putnicima je prije polaska uruen obra- explore the ways in which design can function in real-time conditions and ne govore nita jer su samo birokratski popis sastojaka, te se mijeaju one s labels practically do not say anything because they are just a bureaucratic
zac za biljeenje najvanijih injenica s putovanja, kulturolokih saznanja i how it can develop during the travels. Prior to departure, the travellers were razliitom logikom. Istiu se sastojci u razliitim koliinama, dok se podsvje- list of ingredients, and there are different systems of labelling. Ingredients
osobnih doivljaja. Prilikom svake promjene lokacije, putnici bi ispunili obra- given a form in which to record the most important facts from the travels, sno gubi ukupna koliina sastojaka u ambalai, a postoje i nedostaci u dizajnu. are given in different amounts, while the entire packaged amount is subcon-
zac, poslali ga autorici putem e-maila, a onda bi nastali odgovarajui vizuali cultural insights and personal experiences. With each new location the forms Dijabetiar mora napamet preraunavati nutrijente za svoju koliinu obroka, sciously lost. Evident are also design-related shortcomings. Diabetic have to
za tu lokaciju. Cilj projekta bio je i poigrati se formom putopisnih blogova, koji would be emailed to the author of the web site who would create appropri- a zatim to isto pretvarati u ugljikohidratne jedinice, kako bi sebi znao odrediti learn by heart the ways in which to calculate nutrients for their meals, and
su esto optereeni tekstom, s tek tu i tamo pokojom fotografijom ili rutom ate visuals for the previously visited location. The aim of the project was to ispravnu dozu inzulina. Zadaa osmiljene aplikacije je olakati usporedbu i to convert them into carbohydrate units to be able to determine sufficient
prikazanom Google Maps servisom. Ova web stranica omoguuje posjeti- play with the form of travelling blogs often containing too much text and izbor proizvoda u procesu kupnje, te slaganje obroka i preraunavanje. Apli- dosage of insulin. The purpose of the application is to facilitate comparison
teljima bolje razumijevanje sadraja integrirajui tekst, video i fotografije very few photos or routes shown in Google Map. This web site, however, ena- kacija razrauje i problem vizualnog prikaza alfanumerikih podataka, to and selection of products in shopping, composition of foods and calcula-
na pregledan nain. Svakom gradu kroz koji su putnici proli pripada jedna bles users to better understand the content through clearly organized and se rjeava opcijom skeniranja bar kodova prehrambenih proizvoda. Projekt tion. The application also deals with the problem of visual representation
infografika. Kaotina kompozicija ilustracije daje dojam statinog filma, pa se integrated textual, video and photographic material. Each city visited by the predvia obaveznu suradnju korisnika s dijabetologom i stvaranje vlastite of numerical data which is solved with the possibility of scanning bar codes
jednim pogledom na kartu dobiva openiti doivljaj grada. Klikom na svaku travellers belongs to one infographic. A chaotic composition of illustrations baze podataka. of products. This product envisages necessary cooperation of users with
od ilustracija u infografici dolazi se do dodatnih informacija o lokaciji. Svaka in an infographic seems like a static film and a single look at the map results diabetes specialists and the creation of a personal database.
infografika sastoji se od informacija o gradu, aktivnostima putnika, kulturi, te in a general impression of a city. By clicking on each of the illustrations user
iu i piu. Tako grafika ostaje pregledna, a posjetitelj filtrira one informacije receives information of the location. Each infographic is composed of the
koje ga zanimaju. following categories: information about city, travellers activities, culture,
gastronomy. Such an organisation keeps the graphics clear, and user can
filter most interesting information.

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DRUGI SEMESTAR, TEMA:


DIZAJN U KONTEKSTU RAZVOJA
KOMUNIKACIJSKIH MEDIJA
Second Semester, Theme: Design within the
Development of Communication Media VANESSA ERKA KUSTEC MARINA JUKI
Iskljui do kraja / Power Them Off Obrti u srcu grada / Crafts in the Heart of the City
Mentor / Mentor Nenad Dogan Mentor Stipe Bri
Asistent / Assistant Marina Jakuli Asistent/Assistant Luka Bori

Ovaj zadatak polazi od premise suprotne prethodnome zadatku, iako im


je kontekst prilino slian. Ovoga se puta od studenta trai osmiljavanje
multimedijalne drutveno angairane kampanje na odreenu temu, to e
rei da forma (u irem smislu) prethodi odabiru teme, jer je kljuno ovla-
dati vjetinama agitacije i persuazije, ali i kvalitetne dvosmjerne komunika-
cije u procesu informiranja javnosti o odreenom problemu i usmjeravanja
drutvenog potencijala za njegovo rjeavanje. Sadraj i forma su, naravno, u
korelaciji, pa je cilj zadatka upravo originalno interpretirati klasine oblike
medijskih kampanja, no uz zadravanje nekih njihovih karakteristinih eleme-
nata, poput naslova kampanje, slogana i tome slino. Moe se rei kako se u
ovom zadatku ispituju istraivaki potencijali i kreativni kapaciteti studenata
u okruenju relativno ogranienih formalnih postulata, to je najei kon-
tekst djelovanja u kasnijem profesionalnom ivotu i radu. Dakako, zadatak
podrazumijeva kompetentno preliminarno istraivanje i kontinuiranu surad-
nju s kolegama iz drugih struka, ako to odabrana tema zahtijeva, u duhu
interdisciplinarnog karaktera dizajnerske profesije i edukacijskog programa
diplomskog studija.

The premise of the assignment is contrary to the previous one, although they
share a rather similar context. The students are required to create a socially
engaging multimedia campaign on a given topic. In other words, the form (in
a wide sense of the term) precedes the choice of the topic because it is nece-
ssary to master the skills in agitation and persuasion but also of two-way
communication in the process of informing the public about a certain pro-
blem and directing social potential towards its solution. Content and form
are, naturally, correlated so the aim of the assignment is to interpret classical Elektrini ureaji i tijekom rada u stand-by nainu troe energiju ak do
forms of media campaigns in a new, original way, while maintaining some of 15% mjesene potronje. Veinu tih ureaja (televizor, digitalni prijamnik, hi-fi
their characteristic elements, like campaign titles, slogans and the like. This linija...) koriste mlai tinejderi od 12 do 15 godina i vano je za njih da se naue
assignment can be said to explore research potential and creative capacities boljim navikama. Maskota drutvene kampanje Iskljui do kraja nastala spo-
of students in relatively limited formal conditions, which is the most frequent jem elemenata simbolikog prikaza tednjekasice prasice i fizikog trodi-
situation in the practice of a professional designer. The assignment, naturally, menzionalnog dijela, odnosno utinice. Promotivni paket kampanje ukljuuje
presupposes competently carried out preliminary research and a continued est naljepnica za utinice, 180 novia i info kartica. Novii na sebi imaju Stari zagrebaki obrti dio su identiteta grada jo od trinaestog stoljea. U Ever since the 13th century, old handicrafts have formed part of the identity
cooperation with colleagues from different professions, if necessitated by napisanu vrijednost troenja tijekom jedne noicca. 12h u stand-by nainu dananje vrijeme krize i recesije kada su ljudi okrenuti sve veoj potronji of Zagreb. Today, in the time of economic crisis and growing consumma-
the topic, which is the spirit of the interdisciplinary character of the design rada. Tinejderi bi uz dogovor s roditeljima za svaki ureaj koji iskljue dobili i kupovini jeftine uvozne robe, ovi mali, ali korisni segmenti gospodarstva tion of cheap imported goods, these small, but useful segments of the local
profession and educational methodology of the school. odgovarajuu koliinu novia. Na kraju mjeseca tinejder ima pravo traiti svakog dana nestaju s karte grada. Mali obrtnici nude kvalitetne proizvode economy have been disappearing from the city map. Small craft businesses
dodatni deparac u ukupnom iznosu novia, oko 120150 kn. i usluge, popravke korisne svakome, no graani su ih ili zaboravili ili uope offer quality products and services, but the citizens have forgot them or
nisu svjesni njihova postojanja. Uvrtavanjem u turistiku ponudu grada obrti have never been aware of their existence. By introducing them as a tourist
Electronic devices take up to 15% of monthly energy consumption when they bi dobili novu priliku za odravanje tradicije i izlazak iz drutvene izolacije. offer of the city, these businesses would get a new opportunity to maintain
work in the stand-by mode. Most of these devices (TV set, digital receiver Atrakcija za turiste ujedno bi postala i atrakcija za graane, koji se esto the tradition and to come out of social isolation. Tourist attraction would
box, hi-fi system...) are used by young teenagers from 12 to 15 years of age. It ugledaju na strance. Prema toj pretpostavci osmiljena je web stranica koja become attraction for the citizens who usually appropriate tourist behaviour.
is important for them to learn better habits. The mascot of the Power Them sadri kompletan popis zagrebakih obrta, koji su rasporeeni i oznaeni That assumption has led to the creation of a web site containing a compre-
Off social campaign was created by combining elements of a symbolic repre- na interaktivnoj mapi starog zagrebakog centra. Graani i turisti mogli bi hensive list of Zagreb crafts located and marked on an interactive map of
sentation of savingpiggy bank, and a physical three-dimensional element kreirati svoje rute obilazaka, pretraivati proizvode i usluge koji ih zanimaju the old part of Zagreb. Both citizens and tourists could create their own rou-
socket. The promotional package of the campaign includes six stickers for te biljeiti svoja iskustva. Kako bi se obrte istaknulo u moru korporativnih tes, browse through products and services and record their experiences. In
sockets, 180 coins and info cards. Coins are marked with the value corres- oglasa na zagrebakim ulicama, oblikovan je standardizirani vizualni sustav, order to make the crafts prominent in the sea of corporate ads in the streets
ponding to night energy consumptionaround 12 hours in the stand-by koji jasno oglaava lokacije obrtnikih radnji te popise proizvoda i usluga of Zagreb, the project includes a standardized visual system which clearly
mode. Teenagers could make a deal with their parents to receive a certain koje obrtnici nude. marks the locations of craft shops and list of their products and services.
amount of coins for every device they power off. At the end of a month
a teenager could rightfully ask additional pocket money of 120150 kuna.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski studijvizualne komunikacije / graduate programmevisual communications studio

IVA HRVATIN
Antibully kampanja / Anti-Bullying Campaign
Mentor Nenad Dogan
Asistent/Assistant Marina Jakuli

Bullying je problem koji se javlja u cijelome svijetu, pa tako i u Hrvatskoj,


a kvalitetna borba protiv vrnjakog nasilja iziskuje mnogo vie od oglai-
vake kampanjeona trai uporite u kolskoj i djejoj psihologiji i sociologiji,
kako bi se drutvo moglo pravilno educirati, a stopa nasilja smanjiti. Cilj ove
anti-bullying kampanje zato je intervencija, a ne prevencijaosmiljena je
kampanja u kojoj dijete moe sudjelovati, a moe ju i samostalno oblikovati.
Stoga je osnovni cilj kampanje edukacija, provuena kroz zabavne sadraje
poput interaktivnih igara, proizvodnje vlastitih anti-bully promo materijala
i raznih drugih uradi sam sadraja na webu. Kampanja je predstavljena slo-
ganom challenge accepted, inae dobro poznatom mlaim generacijama, a
promotivni flyeri i stickeri pozivaju djecu na akciju i aktivno sudjelovanje u
KARLA PALISKA borbi protiv nasilja u kolama.
Kampanja za promicanje rodne ravnopravnosti / Gender Equality Campaign
Mentor Stipe Bri Bullying is today a recurrent problem in the entire world, including Croatia.
Asistent/Assistant Luka Bori A successful fight against violence demands more than just an advertising
campaign. It needs to be grounded in the school and child psychology and
Kampanja promicanja rodne ravnopravnosti nastala je kao odgovor na pro- sociology, in order to properly educate the society and decrease violence.
blem nedovoljne informiranosti graana o problemu diskriminacije na teme- The aim of the anti-bullying campaign is therefore intervention and not
lju spola, afirmirajui zakonski okvir koji se protiv toga bori. Kampanja se preventionthe campaign is envisaged to include childrens creative par-
referira na zbornik Rodna ravnopravnost i diskriminacija u Hrvatskoj, objav- ticipation in it. The main objective of the campaign is to educate through
ljen 2012. godine, koji je nastao na temelju istraivanja Percepcija, iskustva i entertaining tools such as interactive games, creation of individual anti-bull-
stavovi o rodnoj diskriminaciji u RH, to su ga proveli Odsjek za psihologiju ying promotional material and various other contents with the use of do-it-
i Odsjek za sociologiju Filozofskog fakulteta, Fakultet politikih znanosti i yourself online tools. The slogan of the campaignchallenge acceptedis
Institut za drutvena istraivanja. Strategija kampanje glasi Od informacije well known among younger generations. Flyers and stickers invite children

faza
faza4:
4:irenje
irenjerijei
rijei
i edukacije do reakcije! Osnovni medij kampanje je razglednica s prateom to actively participate in the fight against violence in schools.
infografikom, te web stranica s edukativnim sadrajem. Uloga razglednica je
pobuditi interes ciljnih skupina, zahvaljujui specifinom intimnom karakteru
tog medija. Web stranica, s druge strane, osim statistiki obraenih podataka
i zakljuaka provedenog istraivanja nudi takoer i mogunost preuzimanja (sa(sa
weba u stvarni
weba prostor/kole)
u stvarni prostor/kole)
svih tiskanih materijala koritenih u kampanji, te prostor za raspravu.

Gender equality campaign has been created as a response to the insuffici-


ently informed public opinion about the problem of gender-based discrimi-
nation. By affirming the legal framework of the gender equality, the cam-
paign refers to the collection of papers Gender Equality and Discrimination
in Croatia that was published in 2012 as a result of research Perception,
Experiences and Attitudes about Gender Discrimination in the Republic of
Croatia. The research was conducted by the Departments of Sociology and
Psychology of the Faculty of Humanities and Social Sciences, Faculty of Poli-
tical Sciences and the Institute of Social Research. The campaign strategy
From information to education to reaction! The main campaign media con-
sists of a postcard with the accompanying infographic and an educational
web site. The purpose of the postcard is to spark interest in the target gro-
ups with its specifically intimate character. The web site, on the other hand,
offers statistical data and conclusions of the conducted research, enables
download of all printed material used in the campaign, and offers space for
public discussion.

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godinjak studija dizajna / school of design annual review 2011/2012

TIPOGRAFIJA
Typography
Savladavanjem nastavnih sadraja ovog kolegija studenti i studen- By mastering the course material in typography students acquire
tice e stei sposobnosti tipografskog oblikovanja s naglaskom na skills in typographic design and special awareness of the integra-
cjelovito promiljanje procesa oblikovanja pisma i oblikovanja s tive approach to the process of designing fonts and designing with
pismom. Kolegij objedinjuje znanja iz mikro tipografskog i makro fonts. The course combines the knowledge from micro typography
tipografskog smjera i osposobljava studente i studentice za istrai- and macro typography and equips students with skills for research
vaki rad i tipografsko izraavanje u razliitim oblikovnim kontek- and typographic expression in different design contexts and a wide
stima i kroz iroki spektar medija. range of media.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski studijtipografija / graduate programmetypography

MIHOVIL VARGOVI ANDRIJA MUDNI


Norma Sans & Sans Condensed Milosz Sans & Slab
Mentori/Mentors Nikola urek, Damir Brali Mentori/Mentors Nikola urek, Damir Brali

Posebno priznanje na meunarodnom


studentskom natjecanju Type Milosz 2011 /
Honorable mention at international student
competition Type Milosz 2011, pl

Pisma Miosz Sans i Miosz Slab nastavak su


razvoja porodice Miosz iz prethodne akadem-
ske godine. Rije je o pismima namijenjenima
kontinuiranom tekstu, s meusobno ujednae-
nom x-visinom i debljinom poteza, kako bi funk-
cionirale zajedno. Oba pisma sadre velik broj
ligatura kojima se rjeavaju problemi koji nastaju
prije svega u hrvatskom i poljskom, ali i u ostalim
europskim jezicima.

The Miosz Sans and Miosz Slab typefaces result


from a continual development of the Miosz font
family in the previous academic year. These type-
faces are intended for continuous text with equal
x-height and thickness of stroke in order to fun-
ction together. Both typefaces contain a great
number of ligatures which help solve problems
primarily with the Croatian and Polish languages,
Pismo Norma Sans dizajnirano je za putokazne table na prometnicama. but some other European languages as well.
Projektiranju pisma prethodilo je istraivanje u podrujima itljivosti i pre-
poznatljivosti slovnih znakova te analiza postojeih tipografija koritenih
u cestovnoj signalizaciji. Pismo karakterizira niski kontrast, velika x-visina,
kratki ascenderi i descenderi, otvorene forme, optike korekcije te proporcije
prilagoene hrvatskim dijakriticima.

The Norma Sans typeface has been designed for the purposes of road sign
posts. The design of this typeface was preceded by research related to the
levels of legibility and recognizability of letters and by an analysis of the fonts
used in road signage. The typeface is characterized by a low contrast, tall
x-height, short ascenders and descenders, open forms, optical corrections
and the proportions adjusted to the Croatian diacritics.

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godinjak studija dizajna / school of design annual review 2011/2012

INTERAKTIVNI MEDIJI
Interactive Media
Kolegij Interaktivni mediji fokusiran je na teoriju i praksu grafikog The course Interactive Media focuses on the theory and practice of
dizajna unutar podruja digitalnih interaktivnih medija. Utjecaj graphic design related to digital interactive media. The influence of
novih digitalnih tehnologija sve vie mijenja nain na koji se izra- digital technologies has increasingly changed the ways we commu-
avamo i na koji komuniciramo, te kako doivljavamo svijet oko sebe. nicate, self-expression and perception of the world around us. Since
S obzirom da sve vie komuniciramo putem interaktivnih digitalnih there is a growing use of interactive digital media for communica-
medija, uloga dizajnera u promiljanju i oblikovanju tih interaktiv- tion, the role of designers in conceptualising and designing these
nih sadraja i prezentacija od izuzetne je i stalno rastue vanosti. interactive media and presenting contents is growing in importance.
Kroz predavanja, vjebe i projekte cilj kolegija je kod studenata The lectures and practical work on projects within the course impart
stvoriti razumijevanje i interes za ovo podruje koje je u stalnom understanding and create interest in students for this developing
razvoju. Na koji se nain to podruje dizajna razlikuje od tradici- field. The topics dealt with in the course cover issues related to the
onalnih medija te kako u tom kontekstu pristupiti promiljanju i ways this area of design is distinguished from the traditional media
oblikovanju interaktivnih sadraja teme su kojima se kolegij bavi. and to the ways in which to approach to conceptualizing and desi-
Na kolegiju Interaktivni mediji, kroz koncepciju i oblikovanje gning interactive media.
mobilne aplikacije i dizajna za web, trai se od korisnika istraivaki The course assignment includes the creation of a concept and
i eksperimentalni rad unutar zadanih okvira. Naglasak je na stvara- design of a mobile application and a web site for which students
nju nove vrijednosti u lokalnom drutvu s rezultatima na globalnoj are required to conduct research and experiments within a given
razini. Propitujemo kako na inovativan nain iskoristiti potencijale framework. The focus is on creating new value in the local commu-
digitalnih tehnologija u svrhu poboljanja ili unapreenja kvalitete nity with global results. Inquiries are made into innovative ways of
naih ivota, individualno i kao zajednice. using the potentials of digital technologies in order to improve the
quality of our individual and communal lives.

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MARINA STANEV MIHOVIL VARGOVI


Terraneo Festival Hrvatske eljeznice / Croatian Railways
Mentor Ian Bori Mentor Ian Bori
asistent/Assistant Tin Kadoi asistent/Assistant Tin Kadoi

Kroz promiljanje sadraja bitnog za festival i njegove posjetitelje, ova web Envisaged to provide content relevant to the festival and its visitors, this Online stranica Hrvatskih eljeznica stavlja u fokus modul za provjeru ter- The Croatian Railways website focuses on the module for the information
stranica stavlja u fokus izvoae i njihovu prezentaciju. Novosti i informacije web site focuses on the festival performers and their presentation. News mina dolaznih i odlaznih vlakova i rezervaciju karata. Uz to, predstavljene about train arrivals and departures and ticket reservation. In addition, the site
za kampere na drugoj su razini komunikacije. Modularni grid omoguava and information for campers are on the second level of communication. A su i servisne informacije H-a kao i akcije koje se esto provode. Reduci- also contains service information about the Croatian Railways and special
prilagodbu layouta svakom tipu ureaja, dok se rupe popunjuju uzorkom modular grid facilitates the adjustment of the layout to every type of device, rano suelje omoguava brzu i jednostavnu dostupnost informacijama s offers and campaigns organized by the company. A reduced interface enables
grafikog koda. while the holes are filled with a graphic code pattern. mobilnih ureaja. faster and simpler access to information from mobile devices.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski studijinteraktivni mediji / graduate programmeinteractive media

SANDRO DUJMENOVI MARINA JUKI


Hrvatska turistika zajednica / Croatian National Tourist Board Terraneo Festival
Mentor Ian Bori Mentor Ian Bori
asistent/Assistant Tin Kadoi asistent/Assistant Tin Kadoi

Zadatak oblikovanja online stranice Hrvatske turistike zajednice jest odgo- The assignment of designing an online site for the Croatian National Tou- Modularnim gridom koji se provlai kroz cijelu online stranicu Terraneo A modular grid covering the entire online site of the Terraneo Festival
voriti na potrebe razliitih tipova posjetitelja. Tako, primjerice, na stranicu rist Board is to meet the needs of its various users. The site is, for example, Festivala, pokuava se predstaviti razliiti tip sadraja, koji se kodira i bojom attempts to present various information categories which are also colour-
preko raunala dolaze korisnici koji se tek informiraju o Hrvatskoj, kao i turi- visited by users from their desktops who want information about Croatia as izvoai, multimedija, novosti i servisne informacije. Grid omoguava inte- codedperformers, multimedia, news and service information. The grid ena-
sti koji putem mobilnih ureaja (na svojoj destinaciji) trae najblii dogaaj, well as tourists who want to find on their mobile devices (in a destination in rakciju sa sadrajem bez otvaranja nove podstranice, te na taj nain otvara bles interaction with the content without opening new pages and thereby
restoran, ili neki drugi sadraj. Croatia) a nearby event, restaurant, or something else. mogunost bezbrojnim varijacijama layouta. creates possibilities for countless variation of the layout.

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godinjak studija dizajna / school of design annual review 2011/2012

FILM I VIDEO
Film and Video
Premda se odnos dizajna i filma povijesno manifestirao u raznim Although the relationship between design and film has taken dif-
oblicima, moemo ga odrediti kao vrstu sinergiju. Dizajn i film ferent forms in the course of history, we can define it as a strong
nisu svoje veze ostvarivali iskljuivo kroz esto ekonomski uvjeto- synergy. Design and film have not establish mutual connection
van proces filmske produkcije, ve dijelei teoretske pojmove poput exclusively through economically conditioned process of film pro-
vizualne komunikacije, a zatim i kroz usmjerenost na izraajno kori- duction, but through sharing theoretical concepts, such as visual
tenje prostora te mogueg utjecaja na razliite segmente drutva u communications, and through adherence to expressive use of space
kojem djeluju. Mogua komplementarnost dizajna i filma osnova with potential impact on various segments of society. Possible com-
je kolegija Film i video u okviru diplomskog Studija dizajna. Uspo- plementary relationships between design and film are the basis of
stavljen kao teoretsko-praktini kolegij u okviru kojeg se studenti the course Film and Video in the graduate programme of the School
usmjeravaju na temeljne znaajke filmskog i video stvaralatva, cilj of Design. The course combines theoretical and practical aspects
kolegija je studentima ponuditi mogunost vizualnog promiljanja which introduce students to fundamental characteristics of work
i autorskog djelovanja u mediju koji je est pratitelj njihovog sada- in the fields of film and video. The aim is to provide students with
njeg i budueg djelovanja. Rezultat autorskog djelovanja studenata skills of visual thinking and individual activities in the media which
su filmske vjebe koje sami izvedbeno ostvaruju pod mentorstvom frequently accompany their present and future work. The result of
svojih profesora, Stanka Hercega i Slavena Zeevia. students authorial works comes in the form of film exercises which
they do under the supervision of their professors, Stanko Herceg
and Slaven Zeevi.

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SANDRO DUJMENOVI
La peau
TOMISLAV ESTAK Mentor Stanko Herceg
Kompozicija 6.A.K. / Composition 6.A.K. asistent/Assistant Slaven Zeevi
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski studijfilm i video / graduate programmefilm and video

MARIJA RUI
Voyage
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

MARTINA GRANI
Anatomy of a Process
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

VANESSA ERKA
Pazi snima se / Attention, the cameras rolling
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski studijfilm i video / graduate programmefilm and video

MARINA JUKI
Doruak / Breakfast
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

IVA HRVATIN
Sweet Valentine
Mentor Stanko Herceg
asistent/Assistant Slaven Zeevi

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godinjak studija dizajna / school of design annual review 2011/2012

DIPLOMSKI RADOVI
Graduation Thesis

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radoviindustrijski dizajn / master thesisindustiral design

SANJA ROTTER
Materijalne i nematerijalne vrijednosti drva
/ Material and Immaterial Value of Wood
smjer/course Industrijski dizajn/Industrial Design
Mentor Mladen Orei
Komentor/co-mentor Vedran Kasap

Nagrada za najbolji koncept u studentskoj kategoriji


/ Award for the best concept in the student category,
hdd1112, Zagreb

Projekt predstavlja koncept ivotnog ciklusa ovjeka i drva kroz etiri faze
roenje/djetinjstvo, mladost, zrelost i starost/smrt, nazvane po godinjim
dobima Proljee, Ljeto, Jesen i Zima. Arhetipski principi koji odreuju svaku
od tih faza, grade i oblikuju predmete. U artefakte je ugraeno vie razina
simbolikih i strukturalnih procesa. Na materijalnoj razini, to su faze od tre-
nutka rezanja materijala, preko oblikovanja i konstrukcije, sve do dekonstruk-
cije materijala na samom kraju. Na simbolikoj razini, to su ideje o znaenju
svake faze u procesu ivota, i o procesu transformacije od organizma do
predmeta. Funkcija i oblik koji je slijedi prate ivotni ciklus proizvoda od
nastajanja pa do raspadanja.

The project represents a concept of the life cycle of humans and wood thro-
ugh four phasesbirth/childhood, youth, adulthood and old age/death
named after the four seasonsSpring, Summer, Autumn and Winter. The
products are built and designed according to the archetypal principles which
determine each of the phases. Several symbolic and structural processes
have been built in the artefacts. On the material level, these phases include
cutting of wood, design and construction and deconstruction at the very
end. On the symbolical level, they include ideas about the meaning of each
phase in life and of the transformation process from an organism to the
object. The function and form follow the life cycle of the product from its
production to decay.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radoviindustrijski dizajn / master thesisindustiral design

KATARINA PERI
Urbana oprema nove generacijeKyoto, kartonski objekt
/New-Generation Urban EquippmentKyoto, Cardboard Object
smjer/course Industrijski dizajn/Industrial Design
Mentor Mladen Orei
Komentor/co-mentor Vedran Kasap

Ideja promjene temeljna je karakteristika svakoga grada. Prostor (nepomi-


nim formama definiran kao trajan i odreen) doivljava kontinuirane pro-
mjene kroz privremene okupacije za sve tipove namjena i aktivnosti. Uzi-
majui u obzir dinamiku nove generacije, infrastruktura takvih okupacija
postaje urbana oprema ije su temeljne karakteristike privremenost i laka
izmjenjivost. Kyoto je objekt zamiljen kao dio takve opreme. Nainjen je od
valovite ljepenke i kartona, ija ekoloka narav, tehnike karakteristike i cijena
odgovaraju takvim kriterijima. vrsta konstrukcija bez ljepljenja omoguava
da se objekt koristi kao stolac ili stoli. Realnu primjenu nalazi u opremanju
raznovrsnih manifestacija, povremenih okupljanja, festivala, izlobi i osta-
lih kratkotrajnih dogaanja. Pogodan je za raznovrsne grafike aplikacije, te
tako postaje jednostavna platforma za irok spektar diferenciranja. Kyoto je
lako prenosiv i izraen u tri veliine koje omoguuju modularne kombinacije
i brze modifikacije prostora. Upeatljiv oblik ini ga snanim komunikacij-
skim sredstvom i identitetskim markerom, ime postaje predmet igre i elje.

Transformation is the fundamental characteristic of every city. Space (defi-


ned by immovable forms as specific and durable) is subject to continuous
changes by being exposed to temporary occupancy for different purposes
and activities. Taking into consideration the dynamics of a new generation,
the infrastructure of such a type of occupancy becomes urban equipment
characterised by temporality and easy adaptability. Kyoto is an object envi-
saged as part of that equipment. It is created out of corrugated fibrebo-
ard and cardboard whose ecological and technical characteristics and price
correspond to the new demand. Its firm glue-less structure makes possible
its transformation into a chair or a coffee table. It can be used as equipment
for various events, temporary gatherings, festivals, exhibitions and the like.
It is suitable for various graphic applications thereby becoming a simple plat-
form for a wide range of differentiation. Kyoto is a mobile object and comes
in three sizes which allow for combinations of modules and quick spatial
modifications. Its distinct shape makes it a powerful means of communica-
tion, an identity marker, and an object of play and desire.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radoviindustrijski dizajn / master thesisindustiral design

NERA NEJAMI
Ispreplitanje urbane i prirodne scenografije otoka Braa
/Merging the Urban and Natural Scenery of the Island of Bra
smjer/course Industrijski dizajn/Industrial Design
Mentor Mladen Orei
Komentor/co-mentor Ivana Fabrio

Scenografija otoka naglaava meuovisnost urbanog i prirodnog pejzaa. Taj


homogeni odnos postupno je postao heterogen, a otoni resursi neravno-
mjerno koriteni. Kroz rad se prepoznalo vrijednosti iz prolosti, te pokualo
odgovoriti na pitanja o budunosti otoka, na primjeru dijelova njegove june
strane, koja u malom reprezentativno obuhvaa aktualne probleme otonog
okolia. Panova vidilica povezuje istonu i zapadnu stranu otoka ona je
postojei put i lungomare, koji se penje i do 750m visine i prua promatranje
isjeaka otoka koji sadre zaboravljenu scenografiju: naputena pastirska sela,
tajanstvene samostane i crkvice, te prirodne fenomene. Zbog ispreplitanja
priobalja i unutranjosti otoka, Vidilica je kopnena jednako koliko i morska.
Na njoj se nalaze razliite toke koje oznaavaju mjesta skretanja prema
crkvici, samostanu, pastirskom selu ili prirodnom fenomenu. Neke prizivaju
klasinu signalistiku, dok su druge oblikovane u duhu umjetnike instalacije
ili urbane opreme ovisno o karakteru prostora i onome to nam otkrivaju.
Neke su statine i tradicionalne, dok su druge interaktivne i suvremene te
platforma za druge intervencije. Cilj projekta bio je otkriti niz nepoznatih
prostora koji e potaknuti lokalno stanovnitvo da ih prepoznaju kao mjesta
samostalnog djelovanja i neposredne koristi. Premda projekt obuhvaa 21
toku, obraene su reprezentativne etiri na konceptualnoj razini, a jedna
na razini izvedbenog rjeenja.

The islands scenery manifests itself through the interdependence of urban


and natural landscape. That homogenous relationship has gradually become
heterogeneous with unevenly used resources of the island. The research
has resulted with recognized values inherited from the past and the thesis
attempts to provide solutions to the future development of the island based
on certain areas in its south part which represents in small scale the overall
problems of the island environment. The Panova vidilica walkway connects
the eastern and western part of the island. It climbs uphill reaching 750 m
in height and offers views of one section of the island featuring forgotten
scenery: desolate shepherds dwellings, a mysterious monastery and church,
and natural beauties. Due to the close connection of the littoral and the hin-
terland of the island, Vidilica is both a continental walkway and a seashore
promenade. It contains different spots which mark the ways leading to the
church, monastery, shepherds dwellings or natural sites. Some of them recall
standard signage, while others are designed to resemble art installations or
urban equipment, depending on the characteristics of the space and what
they reveal. Some are static and traditional, while others are interactive and
contemporary and can serve as platforms for future design. The aim of the
project was to discover a number of unknown spaces which can entice the
local population to recognize them as places which can foster individual
activities and have immediate benefit. Although the project comprises 21
Selaki zaseoci
spots, only representative ones were analysed and presented four on the
level of conceptual design and one on the level of detail design. Arheoloki park Brkata

Park Vidovica
Perunova staza

Plemiki konfin
Gornji Bra
Smokovje

Blataka kapetanija
Bol
Braka Poljica

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radoviindustrijski dizajn / master thesisindustiral design

MIA KLEMENI
Integracija lokalnog identiteta u dizajnerski proizvod / Integration of Local
Identity Into A DesignSynergy Between The Town Of Novi Vinodolski
And The Loinj Hotel
smjer/course Industrijski dizajn/Industrial Design
Mentor Mladen Orei

Rjeenja su inspirirana fenomenom dualnosti, koja proima grad i njegovu


okolinu. Hotel Loinj primjer je cjeline sastavljene od dviju suprotnosti. Zbog
toga se rjeenje temelji na dualnosti materijala, boja i formi. Osnovni ele-
ment rjeenja je maskiranje, kako samog prostora i predmeta u njemu, tako
i osoba u interijeru. Preuzimanje novih identiteta interpretira se prostorom.
Elementi namjetaja sjedinjuju se s elementima interijera, kao to i gosti kroz
interakciju s pojedinim elementima stjeu nove uloge i preoblikuju prostor.
Vieznani fenomen maskiranja interpretiran je oblikovnom formom, kako
bi se identitet na posjetitelja reflektirao to jednostavnije i zabavnije. Cijeli
prostor artikuliran je u duhu makara i mesopusta, kako bi se alegorijski pre-
nijele informacije o lokalnim osobitostima. Naglasak je na igri smirenih boja,
bijelih i plavih tonova, koje su ujedno i karakteristine boje grada, prema
opem vizualnom identitetu Kvarnera. Intervencije u interijeru dogaaju se
u prostorima hotelskog kafia i recepcije.

Design solutions were inspired by the phenomenon of duality which perme-


ates the town and its surrounding. The Loinj Hotel exemplifies a complex
made up of two contrary principles. The design is therefore based on the
duality of materials, colours and forms. The basic element of the design con-
sists of masking the space and objects in it, as well as people in the interior.
The process of assuming new identities is interpreted by the space. Furniture
is merged with the interior, and hotel guests get new roles and redesign the
space through interaction with individual elements. Multiple meanings of
masking are interpreted by a designed form so as to achieve reflection of
identity on the visitor as simple and as entertaining as possible. The entire
space is articulated in the spirit of carnival and masks in order to allegori-
cally convey information about local characteristics. Emphasis is given to
the interplay of colours, blue and white tones, which are the characteristic
colours of the town, as part of the general visual identity of Kvarner. Inter-
ventions in the interior are reserved for the space occupied by the hotel caf
and the reception desk.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radovivizualne komunikacije / master thesisvisual communication

MARIJA JUZA
Balkanski vizualni sistemi/Balkan Visual Systems
smjer/course Vizualne komunikacije/Visual Communications
Mentor Stipe Bri
Komentor/co-mentor Luka Bori

Balkanski vizualni sistemi eksperimentalni su projekt propitivanja komplek-


snog vizualnog identiteta Balkana putem etiri vizualna pristupa unutar
kojih su projektirani fleksibilni vizualni sistemi pomou kojih se Balkan moe
posredovati i vizualizirati. Balkanski vizualni sistemi zasnivaju se na pret-
hodnom istraivanju Vizije identiteta Balkana u kojem su istraene antro-
poloke, socijalne i povijesno-politike dimenzije pojma Balkan, te saete
vizualne reprezentacije poimanja njegovog identiteta u dananjoj vizualnoj
kulturi. Tokom istraivanja kreiran je i blog na kojem su prikupljeni i obra-
eni brojni vizualni materijali (www.balcans.tumblr.com). Balkanski vizualni
sistemi sastoje se od 4 vizualna sistema koji posreduju identitet Balkana
kroz razliite vizualne pristupe: slikovni sistemi, fotopisma, interpretacije i
intervencije. Ovi hibridni dizajn sistemi inspirirani su Balkanom te pokuavaju
izraziti segmente njegovog identiteta dok istodobno mogu biti i ire upo-
trijebljeni kao sredstva istraivanja slike i znaenja ili kao kreativni sistemi u
dizajnu vizualnih komunikacija. Komuniciranje Balkana putem slika, sistema
znaenja i elemenata vizualnih komunikacija, dio je i vee potrage za onakvim
dizajnom vizualnih komunikacija koji bi taj fenomen mogao izraziti, istrpjeti
i iskomunicirati. www.balkan.babushke.com

Balkan Visual Systems is an experimental project which questions the visual


identity of the Balkans through four visual approaches and through design of
flexible visual systems by which the Balkans can be perceived and visualized.
Balkan Visual Systems is based on a prior research entitled Visions of the
Balkans Identity which examined the anthropological, social, historical and
political dimensions of the concept of the Balkans, summing up the visual
representations of the perceptions of its identity in todays visual culture.
During this research, many visual materials were collected and processed
through surveys and a research blog (www.balcans.tumblr.com). The Balkan
Visual Systems consists of 4 visual systems that mediate visual identity of
the Balkans through different visual approaches: Image systems, Photofonts,
Interpretations and Interventions. They are hybrid design systems, inspired
by the Balkans, trying to express complex segments of its identity which
anyone can use as a means of exploring images and meanings, or as inspi-
rational and creative systems in visual communications design. Conveying
the Balkans through images, symbolic systems and elements of visual com-
munications is a part of a larger questto design visual communications
system which could express, keep up and communicate the phenomenon of
the Balkans. www.balkan.babushke.com

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radovivizualne komunikacije / master thesisvisual communication

JELENA JUKI
Interaktivni udbenik iz povijesti / Interactive History Textbook
smjer/course Vizualne komunikacije/Visual Communications
Mentor Nenad Dogan
Komentor/co-mentor Marina Jakuli

Interaktivni udbenik iz povijesti zamiljen je kao vremenska crta po kojoj se This interactive history textbook is conceived as a time line with exclusively
navigira iskljuivo horizontalnim kretanjem. Na toj crti se nalaze naslovna horizontal navigation. It consists of a cover page, contents and six teaching
stranica, sadraj i est nastavnih cjelina. Za potrebe ovoga projekta realizirani units. The teaching unit Croatia and the World in the Second World War
su svi karakteristini dijelovi udbenika i nastavne cjeline Hrvatska i svijet za and all the parts in the textbook dealing with the topic have been used and
vrijeme Drugog svjetskog rata. Nastavne cjeline odvojene su bojom, a unutar adapted for the purposes of this project. The teaching units are differentia-
gore navedene izabrani su kljuni dogaaji, te su u skladu s vremenskim sli- ted by colour, and within the WWII unit key events were selected and have
jedom pozicionirani na crtu s lijeva na desno. Svaka je godina podijeljena na been displayed along the timeline in the chronological order from left to right.
dvanaest polja koja predstavljaju mjesece, kako bi se dogaaji mogli to pre- Each year is divided into twelve fields representing the months in order to
ciznije postaviti. Tijek vremena takoer je naglaen bojom, jer svaku godinu enable precise arrangement of the events. The course of time is also stressed
unutar nastavne cjeline oznaava sve tamnija nijansa. Klikom na naslovnu in colour by marking each year within a teaching unit b with a darker shade
stranicu ulazimo u sadraj udbenika gdje odabirom odreene cjeline dola- from the previous one. By clicking on the cover page users enter the con-
zimo na njen poetak, preskaui cjeline prije nje. No, horizontalnim kreta- tents of the textbook where they can select certain units and directly go to
njem po vremenskoj crti moemo pregledati sve nastavne cjeline bez obzira their beginning pages. Horizontal movement along the timeline provides an
na to gdje su smjetene. Sadraj o svakome od dogaaja na vremenskoj crti overview of all units. Information about each event marked on the timeline
grupiran je u est kategorija: slike, osnovni tekst, interaktivne mape, audio is grouped into six categories: images, basic text, interactive maps, audio
i video sadraji, te dodaci. Svakoj od kategorija pridodana je i odgovarajua and video contents and additional material. Each category can be accessed
ikona koja predstavlja gumb za paljenje i gaenje odreenog sadraja. Od through an icon. The number of categories varies for each event, since some
dogaaja do dogaaja varira broj kategorija, jer o nekima postoji puno mate- events can be represented with various forms of information, while others
rijala za kreiranje svih kategorija; dok o drugima ne postoje npr. video ili audio cannot contain video or audio contents and there is no point in creating new
sadraji, ili nema smisla formirati mapu, ovisno o karakteristikama dogaaja. maps depending on the characteristics of each event.

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godinjak studija dizajna / school of design annual review 2011/2012 diplomski radovivizualne komunikacije / master thesisvisual communication

GORAN OA
Kastrum / Castrum
smjer/course Vizualne komunikacije/Visual Communications
Mentor Nenad Dogan
Komentor/co-mentor Marina Jakuli

Stvaranjem nove platforme za izraavanje stavova, predstavljanje osobne


dinamike pojedinaca te njihova kreativnog stvaralatva, stvorili bi se pre-
duvjeti za prikazivanje Splita kao kreativnog grada. Na taj nain bi identitet
zajednice primarno promiljali graani koji pritom sami sebi postaju ciljna
skupina, to je naposljetku klju opstanka identitetskog sustava. Kastrum
je multidsciplinarna web platforma koja se bavi kulturnim razvojem grada
Splita tj. razvojem i predstavljanjem njegovih kreativnih potencijala. Sinergija
koja e biti stvorena kreativnom dinamikom unutar mree projekta Kastrum
generirat e trenutno nevidljivi grad. Split, odreen isprepletanjem indivi-
dualnih identiteta kroz vizualizaciju irokog spektra kreativnih praksi, kao
virtualno mjesto susreta, istodobno javni i privatni prostor, toka u kojoj se
raa neformalni identitet, dovoljno jak i homogen da transformira postojeu
identitetsku mapu grada.

The creation of a new platform for expressing individual views and opinions,
for presenting personal dynamic of individuals and their creative work could
form preconditions for representing Split as a creative city. Identity of the
community could in that way be formed primarily by the citizens themselves
who address their own issues and become their own target groups, which is
crucial for maintaining identity. Castrum is a multidisciplinary web platform
which deals with cultural development of Split, that is, the development and
presentation of its creative potentials. The synergy formed by the creative
dynamics within the network of the Castrum project will presently generate
an invisible city. By defining the city though intertwined individual identities
and visualisation of a wide range of creative practices, it can become a vir-
tual meeting place, both a private and public space. It can become a point
which gives birth to informal identity, strong and homogeneous enough to
transform the existing identity map of the city.

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LUKA PREDRAGOVI
Torchio 24
smjer/course Vizualne komunikacije/Visual Communications
Mentor Ivan Doroghy
komentor/co-mentor Tomislav Vlaini

Projekt Torchio 24 propituje oblikovanje knjige i ulogu dizajnera kao njezinog


itatelja i oblikovatelja. Kroz tri teksta istog autora prikazano je kako obli-
kovanje knjige ne treba pratiti gotove formule, ve je mogue svakoj knjizi
pristupiti na neuobiajen i osoban nain. Torchio 24 predstavlja u potpunosti
subjektivan pogled na sadraj i njegov utjecaj na itatelja/dizajnera. Okupio je
potpuno razliito oblikovane knjige, vanjtinom ih vizualno povezao i stvorio
istaknut identitet istoimene izdavake kue. Torchio 24 knjige nisu nuno
oblikovane kako bi se konzumirao originalni knjievni tekst, ve je ostavljen
prostor dizajneru da tipografskim intervencijama i opremom oblikuje tekst,
ime nastaje potpuno novo i drukije knjievno djelo.

The Torchio 24 project explores book design and the role of a designer as
someone who both reads it and gives it a form. Three texts by the same
author have been used to demonstrate that book design should not adhere
to formulas and standards but that it is possible to have an unusual and per-
sonal approach. The project represents an entirely subjective interpretation
of the book content and its impact on the reader/designer. It included com-
pletely different book designs which led to the creation of a common deno-
minator for their exterior visual characteristics and design of the identity of
the publishing company with the same name. The Torchio 24 books have
not been necessarily designed to allow for the consumption of the original
literary texts. They rather leave some space for the designer to intervene
typographically, thereby designing the texts and creating new and different
literary works.

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godinjak studija dizajna / school of design annual review 2011/2012

PROJEKTI
Projects
projekti / projects

Izvannastavni projekti unazad nekoliko godina postali su neizo- In the past several years extracurricular projects of the school have
stavan dio programa Studija dizajna, u oba strukovna opredjelje- become an unavoidable part of both the programme in visual com-
nja industrijskom dizajnu i vizualnim komunikacijama. Rije je o munications and the industrial design. They represent continuous
kontinuiranom nizu heterogenih suradnji koje profesori i studenti cooperation which professors and students have with various par-
organiziraju s raznolikim subjektima kulture, medija i industrije, u tners from the fields of culture, media and industry, which is in the
duhu interdisciplinarnog karaktera Studija i profesije dizajna, pri spirit of the interdisciplinary character of the school and the design
emu je neprekidan razvoj usvajanjem znanja i iskustava iz srod- profession. In that process, it is both an educational necessity, as
nih struka njihova imanentna edukativna i profesionalna potreba. well as a professional one, to continuously acquire new knowledge
S jedne strane, ovi izvanredni projekti omoguuju studentima da and experience from related professions in order to ensure self-
se ve tijekom kolovanja okuaju u radu na zadacima u realnom development. These projects enable students to test their own
drutvenom okruenju, to ih upoznaje s velikim potencijalima, ali skills in creating designs in the real-life environment during their
i odreenim ogranienjima koja ih ekaju u buduem profesional- studies. Such an experience introduces them to great potentials but
nom ivotu. Studenti ue kako vjetine usvojene na projektantskim also limitations awaiting them in their future professional life. In
i ostalim formativnim kolegijima preddiplomskog i diplomskog stu- the course of the work on the projects, students learn how to use
dija primijeniti u realnoj praksi; tijekom projekta kroz neprekidne the skills acquired in practical and theoretical undergraduate and
konzultacije sa svim ukljuenim stranama razvijaju timski duh i graduate courses. Through constant consultation with all the par-
rafiniraju svoje vjetine verbalne i vizualne artikulacije problema, ties involved in the projects, students develop capabilities for team
prezentacije rezultata svoga rada i njihove evaluacije, i u konanici work; they refine verbal and visual skills in articulating problems,
imaju zadovoljstvo vidjeti kako njihove kreacije ive samostalni present results of their work and evaluation. Finally, have the ple-
ivot, podlone reagiranju publike kojoj se obraaju. Ukratko, stu- asure of observing how their designs embark on an individual life
denti upoznaju cjelokupni proces inicijacije, razrade i finalizacije and become subject to reactions and comments by the audience to
projekata, bilo da se radi o dizajniranju sustava namjetaja, osmi- whom they are intended. In short, students become familiar with
ljavanju komunikacijskih sustava i vizualnih identiteta kulturnih the process of conceptualization, development and finalisation of
priredbi, ili o neemu drugome. U svakom sluaju, svaka suradnja projects, whether the product is furniture, communication systems,
u tom smislu predstavlja dragocjeno iskustvo koje e mnogima od visual identity, cultural event etc. In any case, any sort of similar
njih olakati ulazak u profesionalne vode i donijeti prijeko potrebne cooperation represents a valuable experience which can facilitate
materijale za ono to dizajnera prije svega predstavlja klijentima students entry into profession and bring indispensable materials
njegov, odnosno njezin portfolio. which present designers to clients the designers portfolio.
S druge strane, ovakvi projekti znae vjerojatno najbolju In addition, these projects also present probably the best possible
moguu promociju Studija dizajna u irem drutvenom kontek- promotion of Zagrebs School of Design in the wider social context,
stu, predstavljajui ga kao relevantan subjekt razliitih inovacija i presenting it as a relevant generator of various innovations and as a
respektabilnu obrazovnu ustanovu koja odgaja talentirane, mato- respectable academic institution which educates talented, creative,
vite, radine i odgovorne profesionalce, to se najee i potvruje diligent and responsible professionals. Success of the students in
u kasnijem svakodnevnom radu studenata, a to i je profesorima their later professional years earns reputation for the school which
najvee mogue priznanje. is the biggest possible recognition and acknowledgment of the pro-
fessors professionalism.

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EST POGLEDA NA SOBU


Six views on a room
Voditelji projekta/project leaders
Mladen Orei, Studij dizajna/School of Design
Tatjana Kos, Hrvatski interijeri, d.o.o./Croatian Interiors Ltd
LUKSUZNA HOTELSKA SOBA / LUXURIOUS HOTEL ROOM
Nagrada CBTour / CBTour Award Kategorija/Category
36. Inova Zlatno odlije / 36 Inova Golden Award studenti/Students Vlatka Leskovar, Filip Havranek, Marija Rui
voditelji grupe/head of group Zlatko Kapetanovi, Mladen Orei, Kristina Lugonja

Projekt est pogleda na sobu potaknulo je nekoliko motiva. S jedne strane, Six views on a room is project which was set in motion by several elements.
Hrvatska je zemlja orijentirana ka turizmu, ali bez jasne strategije i prepo- On the one hand, Croatia is a tourism oriented country, but having no clear
znatljivosti. S druge strane, na ovom podruju postoji veliko iskustvo i tra- strategy and distinction. On the other hand, it is a country with a lot of experi-
dicija u proizvodnji namjetaja koja godinama sustavno nazaduje; obrazuju ence and tradition in furniture manufacturing which has gradually been regre-
se mladi dizajneri iji se kreativni potencijal ne prepoznaje, a oprema se ssing for years. It is also a country which mainly imports equipment and which
uglavnom uvozi. Kako je posljednjih godina Studij dizajna u sklopu svoga educates designers whose creative potential stays unrecognized. During the
programa redovno osmiljavao projekte namijenjene realnom okruenju, a last several years the School of Design has insisted on projects intended for
klaster Hrvatski interijeri izrazio potrebu za zajednikim proizvodom, usta- the use in the real environment, and it established cooperation with the Cro-
novila se suradnja i partnerstvo u razvoju proizvoda s novim vrijednostima u atian Interiors cluster, which expressed a need for shared projects, in terms of
turistikoj djelatnosti Hrvatske. developing new value products for Croatian tourist industry.
Prije svega, ovaj bi projekt trebao biti inspiracija turistikim djelatnicima u This project should primarily be an inspiration to tourist workers in setting
postavljanju novih kriterija osmiljavanja karaktera usluge, a time i doivljaja new criteria for service characteristics and consequently tourist experience.
boravka. Svaki ugostitelj, lokalitet, regija, a i zemlja doivljavaju se na vie Each owner of food and drink business, every tourist place, region or a coun-
razina, pa i time ostvaruju li pretpostavke i elje turista. Tko dolazi u Hrvat- try is experienced by visitors on several levels, including the experience rela-
sku, to ga motivira i privlai te to ini hrvatski identitet osnovna su pitanja ted to the satisfaction of tourists needs and wishes. This project therefore
na koja se eli odgovoriti ovim projektom. Naravno, odgovori moraju pratiti tries to answer to the basic questions such as who comes to Croatia, what
suvremene potrebe, a rjeenja treba traiti u originalnosti autohtonog i izra- motivates and attracts them and what is Croatian identity. Naturally, the
ajnosti tradicionalnog, s time da to nije pogled unatrag, ve uspostavljanje answers should reflect contemporary needs and solutions should be looked
kontinuiteta u promicanju onih vrijednosti koje iskreno proizlaze iz hrvatske for in original authenticity and traditional expressiveness. This, however, does
civilizacijske biti i okvira ove kulture. not mean turning back to the past, but establishing continuity in promoting
Za industriju namjetaja projekt treba biti primjer da Hrvatska svojim pro- those values which are truthful essence of the Croatian life and culture.
izvodom moe biti konkurentna, ako se u njega ugrade nove, prepoznatljive This project should provide an example to the furniture industry of the
vrijednosti dobivene sinergijom iskustva, razumijevanja i kreativnosti, prema ability of Croatian products to be competitive, if they are imbued with new,
naelima iskrenog i odgovornog promiljanja svrhe nastajanja proizvoda. recognizable values created by a synergy of experience, understanding and
Vano je poznavati bit proizvoda kako bi ga se kontinuirano unaprjeivalo, creativity, according to the principles of truthful and responsible develo-
dalo mu karakter i postiglo povjerenje korisnika. U tome nije presudna ni pment of the products purpose. It is important to know the essence of the
tehnologija ni stanje gospodarstva, nego svijest o potrebama, sposobno- product in order to work on its competitive features, to give it a character
stima i potencijalima. and reach users trust. This process necessitates neither technology nor eco-
Projekt je nastao s ciljem da preraste u stvarnost i zaivi u gospodarskom, nomic wealth but the consciousness about the needs, abilities and potentials.
ali i kulturolokom smislu. Naravno, to e se dogoditi ako turistiki djelatnici The aim is to turn the project into reality and launch its economic and
prepoznaju ansu da u suradnji s dizajnerima i proizvoaima mogu svojim cultural life. Naturally, this is possible only if tourist workers recognize the Luksuzna soba odstupa od klasinog pojma luksuza i propituje nove vrijed- Luxury room departs from the classical idea of luxury and explores new
objektima dati ona obiljeja i zanimljivosti koje e gost prepoznati i cijeniti. opportunity of entering into cooperation with designers and manufacturers nosti: tiinu, lakou, iskrenost, nenametljivost, izvornost, element iznena- values: silence, lightness, truthfulness, unobtrusiveness, originality, element
Takav gost dovodi novog gosta. Novi gost treba novi krevet. Novi krevet in order to provide their own facilities with such features and attraction which enja, osobni pristup, i ostale vrijednosti koje predstavljaju luksuz suvre- of surprise, personal approach and other values which represent the luxury
treba dati novi doivljaj. To treba osmisliti. Treba i proizvesti. Nije li to krug guests will recognize and appreciate. Such a guest brings a new guest. New menog (urbanog) ovjeka. Bogatstvo sveukupnog dojma i novog iskustva of a contemporary (urban) person. The richness of the total impression and
koji se prieljkuje? guests need new beds. New beds need to be given new experience. That nadomjeuje potrebu za materijalnim vrijednostima koje nisu preduvjet new experience makes up for the need of material values, which are not
Provedena su iscrpna istraivanja turizma kao fenomena u kontekstu needs to be created and produced. Isnt this the desired development? ostvarenja ekskluzivnosti. Pristup se moe objasniti pojmom turizma doiv- prerequisite for exclusivity. The approach can be explained with the con-
povijesnog razvoja i suvremenih trendova; istraeni su potencijalni izvori There has been extensive research on tourism within a historical develo- ljaja, a prepoznatljivost destinacije ovdje je vrlo bitna. Tako se usklaeno- cept of experience tourism, and the distinction of the destination is here
inspiracija u prirodnim i kulturolokim karakteristikama lokaliteta i regija; pment and contemporary trends. The research included potential sources of u cjelokupne ponude s posebnostima lokacije turistu prua toliko eljeni extremely important. The harmonious relationship of the total tourist offer
analizirana su oekivanja i potrebe suvremenog turista, konzultirali su se inspiration in the natural and cultural characteristics of places and regions, doivljaj autohtonog. and the particularities of the location provide tourists with much desired
strunjaci turistikih djelatnosti, te su proueni relevantni propisi i standardi. and analysis have been made of the expectations and needs of contemporary authentic experience.
Postavljene su osnove koncepta i jasni kriteriji za projektiranje, te je uz isku- tourists. Tourism experts have been consulted and relevant regulations and
stvo i vjetine djelatnika proizvodnih tvrtki izvedeno est prototipova soba standards studied. Groundwork has been laid for the concept and clear desi-
za turistiki smjetaj. gning criteria and the experience and skills of the manufacturers have been
est sobasvaka na svoj nain interpretira viziju razvoja turizma, ali i used to create six prototypes of rooms for tourist accommodation.
realnost potencijala sprege dizajna, proizvodnje i turizma. Six roomseach interprets its own vision of tourism development but also
the real potential lying in the integration of design, manufacturing and tourism.

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DIZAJN FREI DIZAJN NAMJETAJA ZA HOTELSKE SOBE I APARTMANE


/ DESIGN FREI FURNITURE FOR HOTEL ROOMS AND APARTMENTS
Kategorija/Category
studenti/Students Marija Tizaj, Anamaria Sever, Mia Vui, Kristina Miroevi
voditelj grupe/head of group Neven Kovai

HOTELSKA SOBA ZA ZDRAVSTVENI I WELLNESS TURIZAM


/ HEALTH AND WELLNESS TOURISM HOTEL ROOM
Kategorija/Category
studenti/Students Ika Perai, Luka Jelaska, Sanja Tuek
voditelji grupe/head of group Sanja Benceti, Mladen Orei

Wellness soba prati preobrazbu turistikog ivota, odnosno postavljanje


kvalitete ivljenja, brige o zdravlju i sigurnosti ljudi u sredite pozornosti. U
tom procesu rue se unificirani oblici dokolice, i kada materijalne vrijednosti
prestanu biti najvaniji dio turistikog boravka, rezultat je potraga za zdra-
vim ambijentima. Informacije i spoznaje prikupljene istraivanjem dale su
bitne odrednice za koncipiranje prostora sobe. U nju su ugraene odreene
kvalitete koje se temelje na bogatstvu autohtonih raznolikosti i elemenata
Dizajn frei karakterizira unaprjeenje poznatih pristupa oblikovanju namje- prostora koji saimaju senzibilitet i strukture oblikovanja ovog podneblja, te
taja u najzastupljenijoj ponudi hotelskog smjetaja srednje i vie kategorije. turista ine prijemivim aspektima ponude vanima za zdravlje.
To su: varijabilnost niz individualnih elemenata koji se lako meusobno
kombiniraju; fleksibilnost prilagodljivost sobama razliitih dimenzija i tlo- Wellness room reflects the transformation of tourist life, or in other words,
crtnog rasporeda; ekspresivnost odabirom materijala, tekstura i povrin- setting the quality of life, care for health and security of people into the
ske obrade omoguava se to kvalitetnije uklapanje u specifini kontekst centre of attention. That process destroys the unified forms of leisure, and
hotela, podneblja i regije; te ekonominost koriste se logine i jednostavne when material values ceased to be the most important aspect of tourist visit,
konstrukcije zbog vee konkurentnosti unutar zadanog trinog segmenta. the result is a search for healthy environments. Research information and
conclusions set the basic guidelines for conceptualization of this room. It
Design Frei is characterised by advanced approaches to designing furniture contains certain qualities based on rich authentic versatility and spatial ele-
in the most frequent type of accommodation in middle and high category ments which sum up the design sensibility and structures of this environment
hotels. They are: variability a number of individual elements which can be and make tourists susceptible to the aspects of the tourist offer which are
easily mutually combined: flexibility adaptability to the rooms of various important for their health.
dimensions and floor plans; expressivity selection of materials, textures
and surface treatment enables furniture to complement the specific context
of the hotel, environment and region; and cost-effectiveness the use of
logical and simple structures to reach bigger competitiveness within the
given market segment.

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SUSTAVI NAMJETAJA ZA HOSTELE HOTELSKA SOBA ZA EKO-TURIZAM / HOTEL ROOM FOR ECO-TOURISM
/ HOSTEL FURNITURE SYSTEMS Kategorija/Category
Kategorija/Category studenti/Students Livija Filipi, Marta Ani-Kaliger, Vedran Erceg
studenti/Students Sandra Maglov, voditelji grupe/head of group Marijan Orei, Mladen Orei
Ena Priselec, Kristina Crnek Vidovi
ilustracije/illustration Ena Jurov
voditelj grupe/head of group Vedran Kasap

Hosteli su podruje u ekspanziji sa specifinom esteti-


kom, proizalom iz leernosti cijelog naina putovanja
i samog koncepta ponude. Uoeno je da vlasnik esto
sam intervenira u prostor, ime mu daje originalnost
i karakter, to otvara bogat prostor za oblikovanje
opreme hostelskih soba. U ovom rjeenju standardizirani
su samo osnovni modularni elementi, a irok kreativni
prostor definiranja osobnosti je individualiziran.

Hostels are currently an expanding market. They have


particular aesthetics deriving from the casualness of tra-
velling and the very concept of the tourist offer. Hostel
owners frequently equip and decorate their spaces by
themselves which gives the hostels originality and a spe-
cial character. That, in turn, creates enough room for
designing furniture for hostel rooms. This project inclu-
des standardisation of only the basic modular elements,
with enough space being left for individual expression
and personal creativity.
Eko soba prati karakteristike sve popularnijeg eko-turizma. Eko-putnicima Eco-room reflects all the characteristics of growingly popular eco-tourism.
nude se prirodno ouvani prostori, koritenje jednostavnih vrsta smjetaja, Eco-travellers are offered preserved natural spaces, the use of simple types
strogo pridravanje zatite okolia, ukljuujui i ogranien broj posjetitelja. U of accommodation, strict adherence to environment protection principles
skladu s time, gosti koji koriste takvu vrstu odmora ekoloki su osvijetene i and rules, including a limited number of visitors. In accordance with that,
obrazovane osobe, koje istrauju i potuju kulturu i obiaje lokalnog stanov- such tourists are ecologically aware and educated people who explore and
nitva, te se prilagouju podruju u koje dou. respect the culture and tradition of the local people, and adjust to the area
where they spend their vacations.

SMALL & FRIENDLY MEETINGS HOTELSKA SOBA


/ SMALL & FRIENDLY MEETINGS HOTEL ROOM
Kategorija/Category
studenti/Students Nera Nejami, Luka Gobin, Ruer Novak-Mikuli (suradnik)
voditelj grupe/head of group Ivana Fabrio

Poslovna soba rezultat je istraivanja o doivljajima i potrebama zahtjevne


kategorije turista tzv. novih putnika. Uoeno je da turisti sve manje vre-
mena provode u hotelskim sobama jer su usmjereni na istraivanje lokalne
kulturne i gastronomske ponude, te razonodu. Zbog skraenog prosjenog
boravka putnika na jednome mjestu, kvaliteta usluga i sadraja postaje va-
nija od samih prostornih kapaciteta. Projektirana u skladu sa zahtjevima i
eljama novog putnika, organizacija sobe maksimalno iskoritava skueni
prostor preklapanjem funkcija pojedinih elemenata interijera, to rezultira
inovativnim, hibridnim tipologijama namjetaja.

Business room resulted from research on experiences and needs of the


demanding group of tourists the so called new travellers. According to
research, tourists spend discernibly less time in hotel rooms because they
are focused on the exploration of the local culture, gastronomy and enter-
tainment. Due to average shortening of stays in one place, the quality of
service and programmes become more important than accommodation. The
room has been designed in accordance with the requirements and wishes of
the new traveller. The organization of the room enables maximal usage of a
small space by giving multiple functions to interior elements which results
in innovative, hybrid types of furniture.

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MEUNARODNE RADIONICE
INKLUZIVNOG DIZAJNA :
EXTRA/ORDINARY DESIGN
International Workshops of Inclusive Design:
Extra/Ordinary Design
Nagrada za najbolji koncept u profesionalnoj kategoriji, hdd1112, Zagreb
Award for the best concept in the professional category, hdd1112, Zagreb

Projekt Extra/Ordinary Design pokrenut je 2011. u suradnji s Helen Hamlyn The Extra/Ordinary Design project was launched in 2011 in cooperation with
Centrom za dizajn pri Royal College of Art iz Londona, a uz podrku British the Helen Hamlyn Centre for Design at the Royal College of Art in London,
Council Hrvatska i Hrvatskog dizajnerskog drutva, kako bi studenti dizajna and supported by the British Council Croatia and the Croatian Association
i profesionalni dizajneri imali prilike ne samo upoznati teorijsku osnovu, ve of Designers. It provided an opportunity for design students and professio-
i stei praktino iskustvo primjene metodologije inkluzivnog dizajna. nals to learn about the theory and gain practical experience in adopting an
Druga u seriji radionica odrana je u oujku 2012. godine u Osijeku i Beli- inclusive design methodology.
u, u suradnji s udrugama Slap i NEOS iz Osijeka, te udrugom Zvono iz Beli- The second in a series of workshops was held in March 2012 in Osijek and
a. Radionicu su vodile Julia Cassim (Helen Hamlyn Centar za dizajn pri Royal Belie, in cooperation with the Osijekbased NGOs, Slap and Neos, and
College of Art, London) i Sanja Benceti (Studij dizajna). the Belie-based Zvono. The workshop was headed by Julia Cassim (Helen
Tijekom 5 dana trajanja radionice, etiri interdisciplinarna tima dizajnera, Hamlyn Centre for Design at the Royal College of Art, London) and Sanja
osoba s potekoama i voditelja proizvodnji, koje su vodili iskusni britanski Banceti (School of Design, Zagreb)
dizajneri i eminentni domai kolege, suraivali su na osmiljavanju novih pro- During the five-day workshop, four interdisciplinary teams of designers,
izvoda, proizvodnih procesa, ambalae, prezentacije i distribucije proizvoda, people with difficulties and project managers, all coordinated by experienced
izradi prototipova i osmiljavanju vizualnog identiteta. Dizajneri su stekli British and esteemed Croatian designers, cooperated on the creation of new
nova znanja, iskustva i spoznaje o inkluzivnom dizajnu i socijalnoj inkluziji, te products, production processes, packaging, presentation and distribution of
o prednostima i nainima sudjelovanja stvarnih korisnika u projektima dizajna, products, prototype creation and shaping visual identity. Designers gained
osobito onih s potekoama u interakciji sa svakodnevnom okolinom. Ova new experience, acquired new knowledge about inclusive design and social
radionica proirila je dosadanja znanja i iskustvo na lokalnu razinu istone inclusion, and about advantages and ways real users can participate in design
Hrvatske, ali je i omoguila proirenje djelovanja metodologije na socijalnu projects, especially those people who have difficult relationship and interac-
inkluziju, odnosno postizanje konkurentnosti na tritu rada osobama koje tion with their everyday environment.
su zbog bive ovisnosti bile iskljuene, ime projekt dodatno naglaava iru This workshop disseminated the existing knowledge and experience in
drutvenu odgovornost dizajna. S obzirom na realno lokalno stanje diza- East Croatia, but it also enabled broadening of the methodological scope to
jna i gospodarstva, ova radionica dizajnerima je takoer omoguila iskustvo, include social inclusion, that is, to achieve labour market competitiveness
upoznavanje tehnologija i mogunost afirmacije kroz realizaciju proizvoda. of the people whose former addiction excluded them from the market. The
Udruge-partneri i zaposlenici stekli su uvid u mogunosti i naine komuni- project thus additionally emphasizes a wider social responsibility of design.
kacije i suradnje s dizajnerima, te prednosti ukljuivanja dizajna u poslovni With regard to the reality of the local design and economy, this workshop
proces. Radionica je osnaila komunikaciju unutar samih udruga i potaknula also enabled designers to gain experience, to learn about new technologies
znaajnije sudjelovanje zaposlenika s potekoama u procesu razvoja novih and to affirm themselves through the products they created. NGO partners
proizvoda. Kroz izlobe i medijsko praenje projekta strunoj i iroj javnosti and employees gained an insight into the possibilities and ways of com-
demonstriran je ne samo inkluzivni dizajn, ve i znaaj dizajna openito kao munication and cooperation with designers, and advantages from including
alata konkurentnosti. design into the business process. The workshop helped built communication
Projekt s proizvodima nastalima tijekom radionice predstavljen je na festi- within the NGOs and stimulated significant participation of workers with dif-
valu mladih dizajnera Dan D u lipnju 2012. godine, te bienalnoj izlobi hrvat- ficulties in the process of new product development. Exhibitions and media
skog dizajna 1112 u studenom 2012. godine, gdje mu je dodijeljena nagrada covered projects provided the public information about inclusive design and
u kategoriji Koncepta. the general importance of design as a tool for achieving competitiveness.
The project and the products created in the course of the workshops were
presented at the festival of young designers, D Day, in June 2012, and at the
biannual exhibition of Croatian design 1112 in November 2012 where it was
awarded in the category for Best Concept.

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8. KRADUKAZALINA REVIJA
8th KRADUTheatre Festival
28.3.1.4.2012.
Akademija dramskih umjetnosti/Academy of Dramatic Arts, Zagreb

Kazalina revija Akademije dramske umjetnosti tradicionalna je scenska The Theatre Festival of the Academy of Dramatic Arts is an event which has
manifestacija koju jo od sredine devedesetih u prostorima ADU organizi- been organized since the mid-1990s by the students of the Academy. It is
raju sami studenti, a odrava se bijenalno, izmjenjujui se s filmskom revijom held in the Academy building biennially, alternating with the F.R.K.A. film
F.R.K.A. Prole se akademske godine 2011./2012. KRADU odravala osmi put. festival. The academic year 2011/2012 was the eighth year of the KRADU
Studenti ADU prvi put su ostvarili suradnju sa studentima Studija dizajna, koji festival. Academy students cooperated for the first time with students of
su kreirali cjelovit vizualni identitet festivala, kao i njegove web stranice, a the School of Design who created the entire visual identity of the festival
izradili su i plakate za svih jedanaest studentskih predstava na repetoaru. and its web site and made posters for all eleven students plays in the reper-
Takoer, u prostorima ADU tijekom trajanja festivala bila je upriliena izloba toire. During the festival the Academy building was a venue of an exhibition
njihovih radova. Osim uspjene kolaboracije s naim studentima, studenti showing works of design students. In addition to successful collaboration
ADU suraivali su i sa studentima Muzike akademije u pripremi pojedinih with design students, the Academy students also collaborated in certain
predstava, stoga je 8. KRADU doista predstavljala kompleksni, integrirani plays with the students of the Music Academy in Zagreb. The 8th KRADU
zajedniki projekt mladih kreativaca u vie relevantnih podruja kulture, te festival was rally a complex, integral project of creative young people in
putokaz kako bi se kontinuirane suradnje na Sveuilitu u Zagrebu ubudue several cultural areas. It was also a shiny example of how future cooperative TESSA BACHRACH-KRITOFI,
mogle odvijati. Pri tome je bitno napomenuti kako je prije svega rije o stu- projects at the University of Zagreb might look like. It is also important to DINA MILOVI
dentskoj inicijativi u kojoj su upravo oni imali primarnu i odluujuu ulogu. mention that this was primarily a student initiative in which they had the I FRANKA TRETINJAK
Studentice Tessa Bachrach-Kritofi, Dina Milovi i Franka Tretinjak, zadu- most important and definitive role. Vizualni identitet KRADU
ene za dizajn vizualnog identiteta, uzele su u obzir da se KRADU u svojoj The design of the festivals visual identity was in the hands of the students / KRADU Visual Identity
promociji ve tradicionalno dotie aktualnih tema u drutvu; pa su se odlu- Tessa Bachrach-Kritofi, Dina Milovi and Franka Tretinjak who took into
ile nadovezati na sveprisutne naznake pada drutvenog i kulturnog morala. consideration that the KRADU festival has a traditional promotion which Mentor Nenad Dogan
Slogan Svi kradu, mi dramimo! upuuje na u drutvu zanemarene pozitivne addresses hot social topics. They thus decided to build the identity on the Asistenti/Assistants
vrijednosti. Dizajn inspiriran estetikom policijskih traka uoljiv je i upozo- basis of the evident and ubiquitous signs of the destruction of social and Luka Bori, Tomislav Vlaini
rava. Osim karakteristine ute boje sadri i tipografiju JeanLuc, prema Jean cultural morals. The slogan Svi kradu, mi dramimo! (All steal, we dramatize)
Luc Godardu, priznatom velikanu svijeta dramske umjetnosti. Takav kod, suggests the social neglect of positive values. The design was inspired by the
svodei elemente promocije na zajedniki nazivnik, daje jak i prepoznatljiv aesthetic of the police tape. In addition to the characteristic yellow colour
vizualni identitet. the letters were written in the JeanLuc font, named after the French director
Nadalje, studenti prve godine diplomskog studija vizualnih komunikacija Jean Luc Godard, a luminary of the world of cinema. By providing a common
(Sandro Dujmenovi, Marija Gaparovi, Martina Grani, Iva Hrvatin, Marina denominator to all the elements of the promotion, this code becomes a
Juki, Daria Marinovi, Andrija Mudni, Karla Paliska, Marina Stanev, Vane- strong and recognizable visual identity.
ssa erka, Tomislav estak, Made Turinovi i Mihovil Vargovi), podijeljeni u Furthermore, first-year graduate students of visual communications
tri tima pod vodstvom mentora i asistenata Nenada Dogana i Marine Jakuli, (Sandro Dujmenovi, Marija Gaparovi, Martina Grani, Iva Hrvatin, Marina
Stipe Bria i Luke Boria, Ivana Doroghyja i Tomislava Vlainia; kreirali Juki, Daria Marinovi, Andrija Mudni, Karla Paliska, Marina Stanev, Vanessa
su jedanaest plakata za predstave na repertoaru, koje reijski, dramaturki erka, Tomislav estak, Made Turinovi and Mihovil Vargovi) were divided
i glumaki (te u svakom drugom pogledu) potpisuju studenti ADU. Dakle, into three teams and supervised by Nenad Dogan, Marina Jakuli, Stipe Bri,
preduvjet kvalitetnom dizajnu plakata bila je intenzivna suradnja s autorima Luka Boria, Ivan Doroghy and Tomislav Vlaini. They created eleven posters
predstava, kolegama s razliitih, ali ipak bliskih fakulteta, koja e se, nadamo for the plays performed at the festival, which were directed, written, and
se, nastaviti i u budunosti. acted in by the Academy students. The precondition for good poster design
was therefore a close and active cooperation between the creators of the
plays, colleagues from different, yet related academic disciplines. Such colla-
boration will hopefully continue in the future.

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ANDRIJA MUDNI MIHOVIL VARGOVI


Maruzzella Oko stola / Around the Table
Mentor Ivan Doroghy Mentor Stipe Bri
asistent/assistant Tomislav Vlaini asistent/assistant Luka Bori

MARINA JUKI KARLA PALISKA


Ona i On (Skica sjene jednog odnosa) to se dogodilo / What Has Happened
/ Her and Him (Shadow Sketch of a Relationship) Mentor Stipe Bri
Mentor Stipe Bri asistent/assistant Luka Bori
asistent/assistant Luka Bori

SANDRO DUJMENOVI MARTINA GRANI


Zagrebaki pentagram / Zagreb Pentagram Vlastita soba / Personal Room
Mentor Nenad Dogan Mentor Stipe Bri
asistent/assistant Marina Jakuli asistent/assistant Luka Bori

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godinjak studija dizajna / school of design annual review 2011/2012 projekti / projects

IVA HRVATIN, MARIJA GAPAROVI


I ivjeli su sretno / And They Lived Happily
Mentor Nenad Dogan
asistent/assistant Marina Jakuli

VANESSA ERKA TOMISLAV ESTAK DARIA MARINOVI, MADE TURINOVI


Interes prema surovome ivotu nestao je poput dima Igra / Game Kaos iza kulisa / Chaos Behind the Scene
/ Interest in Harsh Life Vanished in Smoke Mentor Ivan Doroghy Mentor Ivan Doroghy
Mentor Nenad Dogan asistent/assistant Tomislav Vlaini asistent/assistant Tomislav Vlaini
asistent/assistant Marina Jakuli

MARINA STANEV
Kako ljube bludnice / Love of Courtesan
Mentor Stipe Bri
asistent/assistant Luka Bori

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godinjak studija dizajna / school of design annual review 2011/2012 projekti / projects

FOTOGRAMI
Photograms
26.30.6.2012.
Toyota Creative Dimensions, Zagreb

Tijekom akademske godine 2011./2012., uz vodstvo mentora, profesora


Stanka Hercega i asistentice Aleksandre Dabanovi, pokrenut je projekt gdje
su studenti Studija dizajna i Arhitektonskog fakulteta uili o jednoj od tehnika
izrade fotografije, procesu kreacije fotograma. Fotogram je fotografska slika
napravljena bez upotrebe kamere. Postavljanjem objekta izravno na foto-
osjetljiv materijal kao to je foto-papir (koji sadri kemikalije koje reagiraju na
svjetlost), te osvjetljavanjem fotopapira i sadraja na njemu u kontroliranim
uvjetima dobivamo negativ obrisa predmeta. Rezultat ovog procesa su sjene
predmeta koji je bio postavljen na foto-papir, a one variraju tonom i ovise o
transparentnosti predmeta koji se nalazio na samom papiru. Nakon to se
foto-papir izloi svjetlosti u kontroliranim uvjetima, gdje u prostoriji u kojoj
se proces odvija jedini izvor svjetlosti jest crvena arulja (jer je foto-papir
osjetljiv na cijeli spektar svjetlosti osim na crvenu boju), stavljamo osvijetljeni
papir u razvija (vrsta kiseline) na odreeni vremenski period. Nakon otprilike
jedne minute poinju se pojavljivati obrisi predmeta, i gdje su povrine bile
zatiene od svjetlosti ostat e bijele boje, a ostatak slike e pocrniti. Nakon
to se negativ slike pojavi na foto-papiru, ispiremo kemikalije u vodi te sliku
stavljamo u fiksir (vrsta luine) na otprilike 15 minuta, gdje se negativ na
foto-papiru fiksira kako ne bi izblijedio na svjetlu. Tehnikom izrade foto-
grama koristili su se mnogi poznati fotografi i umjetnici kao to su Man Ray,
Lszl Moholy-Nagy, Christian Schad, Imogen Cunningham, Pablo Picasso i
drugi. Ovim projektom htjeli smo pribliiti studentima fotografiju kao vrstu
umjetnosti, kao vizualni eksperiment koji otvara sferu izraavanja zastarje-
lom tehnologijom koja je danas skoro potpuno zapostavljena, a moe poslu-
iti kao osvjeenje u svijetu zasienom digitalnom tehnologijom.

In the academic year 2011/2012, professor Stanko Herceg and his assistant
Aleksanda Dabanovi launched a project which introduced to students of
the School of Design and Faculty of Architecture the technique of making
photograms. A photogram is a photographic image made without a camera.
Placing an object directly onto the light-sensitive material, such as photo-
graphic paper (which contains light reactive chemicals) and exposing it to
light in controlled conditions, achieves the result which is a negative shadow
image of the object. The shadows vary in tone and they depend of the degree
of the objects transparency. After the photographic paper is exposed to light
in controlled conditions, in a darkroom where the only source of light is a
red light bulb (since the photographic paper is sensitive to the entire colour
spectrum except for red), the paper is inserted in a developing agent (type
of acid) and left in it for a certain amount of time. After about a minute
contours of the object start appearing in the paper. The areas of the paper
which stayed in shadow will remain white, whereas the rest of the paper will
become darker. After the negative image appears, chemicals are washed off
in water and the image is inserted into a fixer (alkaline solution) for about 15
minutes in which the negative is being fixed so not to fade due to light. Pho-
tograms were created by many famous photographers and artists such as
Man Ray, Lszl Moholy-Nagy, Christian Schad, Imogen Cunningham, Pablo
Picasso and others. The goal of the project was to familiarize students with
photography as a form of art, as a visual experiment which creates the space
for expression with the help of outdated technology which is today almost
completely neglected, but can be used in refreshing ways in todays world
filled with digital technology.

244 245
godinjak
projekti / projects
studija dizajna / school of design annual review 2011/2012

DOGAANJA
Events

247
dogaanja / events

Ako rubrika Projekti predstavlja izvannastavnu aktivnost u ijoj je If the section Projects presents extracurricular activities partially
organizaciji Studij dizajna neposredno sudjelovao, ili je kao ustanova organized by the School of Design, than the section Events can be
bio ukljuen u neki segment njenog osmiljavanja, tada je rubrika dedicated to events and festivals in which the school participated
Dogaanja posveena manifestacijama i festivalima na kojima je together with other higher education institutions, or events wit-
Studij dizajna sudjelovao zajedno s drugim visokokolskim usta- hin certain projects which were open to the general public. This
novama, ili je rije o prateim programima odreenih projekata section also includes the traditional faculty gatherings and cere-
koji su bili otvoreni za javnost. Takoer, u ovu rubriku ulaze tra- monies, such as inauguration of first-year undergraduate students,
dicionalna fakultetska dogaanja i ceremonije, poput inauguracije students who have obtained their ba or ma degree in design and
novih prvostupnika, magistara i diplomaca dizajna, ali i leernije more casual gathering such as the popular and frequented Re-
veselice kao to je vrlo popularna i posjeena Re-Hreli aukcija, koja Hreli auction which is held each year, several days before Christmas.
se svake godine odrava par dana prije Boia. Ukljueni su i neki There are also Croatian and regional professional competitions at
domai, ali i regionalni strukovni natjeaji na kojima su studenti which design students achieved enviable success, thus building up a
postizali zavidne uspjehe, irei tako dobar glas o fakultetu i zajed- good reputation about the school and the shared efforts of students
nikim nastojanjima studenata i profesora. No, Dogaanja prikazuju and their professors. On the whole, Events show another, internal,
i jednu drugu, internu, iroj javnosti moda nepoznatu stranu Stu- and widely unfamiliar side of the School of Design. It shows it as
dija dizajna prikazuju ga kao oputeno mjesto druenja i stjecanja a relaxed place for creating friendships, as a place with stimulating
prijateljstava, kao poticajno mjesto provoenja slobodnog vremena atmosphere for spending free time and intense, dynamic socializa-
i intenzivne, dinamine socijalizacije; ukratko, kao drugi dom kako tion. In short, it is almost a second home to both students and the
njegovih polaznika, tako i djelatnika. U razvijanju takve pozitivne i staff. In nurturing such a positive and hospitable atmosphere an
gostoljubive atmosfere sve veu ulogu ima i Klub studenata dizajna, increasingly important role is played by the Club of Design Students.
osnovan prije par godina, koji u popularnom Podrumu, svojemu It was founded several years ago, with a meeting place in the popular
sjeditu u Frankopanskoj 12, postaje odluujui faktor poveziva- Podrum (Cellar) in 12 Frankopanska Street, and it has become a
nja studenata razliitih godina i smjerova, te generator suptilnih, determining factor in creating bonds among students of different
dobrodolih promjena i dobrog raspoloenja vidljiv razlog za opti- academic years and programmes and generating subtle, welcoming
mizam u godinama koje dolaze. changes and good spiritan obvious reason for optimism in the
years to come.

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

PROMOTIVNI TAND STUDIJA DIZJANA


NA SMOTRI SVEUILITA U ZAGREBU /
SCHOOL OF DESIGN PROMOTION STAND NASTUP STUDIJA DIZAJNA NA AMBIENTI
AT THE UNIVERSITY FAIR IN ZAGREB 2011. / PARTICIPATION OF THE SCOOL OF PREZENTACIJE PROJEKTA EST POGLEDA RE-HRELI AUKCIJA / RE-HRELI
13.15.10.2011., Studentski centar Sveuilita DESIGN IN THE AMBIENTA FAIR NA SOBU / PRESENTATIONS OF THE AUCTION
u Zagrebu 19.23.10.2011., Zagreb PROJECT SIX VIEWS ON A ROOM 22.12.2011., Zagreb

U vrijeme odravanja smotre u Hrvatskoj su bili Na 38. Ambienti, meunarodnom sajmu namje- Svake godine, nekoliko dana prije Boia, Stu-
odravani parlamentarni izbori te su mediji bili taja, unutarnjeg ureenja i pratee industrije, dij dizajna organizira aukciju radova nastalih
zasieni predizbornim kampanjama politikih Studij dizajna predstavio je u suradnji s klasterom u sklopu drugog zadatka na prvoj godini pred-
stranaka koje su svim sredstvima pozivale sta- Hrvatski interijeri jedan od svojih najambicioznijih diplomskog studija, na kolegiju Projektiranje
novnike da glasaju za njih. Kao to je strankama projekata est pogleda na sobu. U projektiranju industrijski dizajn. Tako je bilo i pred Boi 2011.
cilj dobiti glas stanovnika tako je i fakultetima predstavljenih prototipova est soba sudjelovale Studenti su u razdoblju od nekoliko tjedana udah-
i studijima na smotri cilj privui studente da u su dvije generacije studenata voene mentorima nuli novi ivot ve pohabanim i zaboravljenim
procesu dravne mature odaberu njihov fakul- i asistentima, u izvedbi dvadesetak proizvoaa predmetima, pronaenima na popularnom Hre-
tet odnosno studij kao potencijalni izbor. Studij i opremaa, lanova klastera. Prototipovi su bili liu, najpoznatijem zagrebakom sajmu rabljenih
dizajna je stoga za vrijeme i u prostorima smo- izloeni u cjelovitom ambijentalnom obliku, a na stvari. Nekada su ti predmeti disali punim pluima,
tre pomou brojnih plakata, letaka i naljepnica centralnom izlobenom prostoru multimedijalno ispunjavajui funkciju zbog koje su i nastali, no
autori/authors Ivan Vukmani, Ana Armano, vodio agresivnu kampanju stereotipnim politi- je prezentiran istraivaki i konceptualni segment Projekt est pogleda na sobu nakon Ambiente zbog zuba vremena i ubrzane modernizacije isto
Marko Hrastovec, Franka Tretinjak, Luka Reicher, kim vizualnim jezikom, nezaobilaznim floskulama projekta. Studij je takoer na zasebnom izlo- kontinuirano se predstavlja na vanim sajmo- tako su i nestali. Sada su najsretnije predmete
Andrija Mudni, Katarina Peri te neostvarivim predizbonim obeanjima. tand benom prostoru predstavio tridesetak radova vima u Hrvatskoj i inozemstvu u cilju uspostav- mladi kreativci Studija dizajna izabrali za pola-
Mentori/Mentors Tomislav Vlaini, Luka Bor- Studija dizajna je postao scenografija za ima- studenata na temu stolca, izvedenih u obliku ljanja poslovnih kontakata. Posebno treba ista- znu toku svoga drugoga studentskog rada, te ih
i, Vedran Kasap ginarnu konferenciju za novinare na kojemu su modela-prototipova. Ukupan nastup ocijenjen knuti uspjean nastup na sajmu u Riminiju, Italija, ponudili na licitaciji kako bi provjerili njihovu novu
nosea lica stranke/studija primala zainteresirane je izuzetno uspjenim, to je pratio i znaajan gdje prezentacija projekta izaziva velik interes i vrijednost. Aukcija se odravala u dvorinom
graane/studente te komunicirala svoje politike/ medijski interes. pohvale strune publike. Prezentacije u suradnji prostoru Studija dizajna, gdje je dvjestotinjak
studijske programe. s klasterom Hrvatski interijeri pomae i Hrvatska posjetitelja ustro dizalo palice; kako bi pokazali
gospodarska komora. voditelju aukcije, stand-up komiaru Ivanu ariu,
During the University Fair Croatia held general SAJAM SIA GUEST, 26.29. studenoga 2011., da prihvaaju ponuenu cijenu. U vedrom i vese-
elections so the media was replete with election Rimini, Italija lom tonu studenti su skupili simbolinu novanu
campaigns of political parties which used all the SAJAM GAST, 21.25.oujka 2012., Split svotu koju su pametno uloili u irenje spoznajnih
means possible to call on citizens to vote for SAJAM PROMOHOTEL, 28.31. oujka 2012., obzora i jaanje svoje ope informiranosti.
them. Just as the goal of the parties was to obtain Rovinj
votes of people, so the objective of faculties and DANI TURIZMA I ENOGASTRONOMIJE, 9.12. Each year, several days before Christmas the
universities presented at the fair was to interest svibnja 2012. godine, Zagreb School of Design organizes an auction of stu-
students in choosing a particular faculty of study dents works created as their second assignment
programme in the process of high school gradua- Following the Ambienta Fair, the project has within the course Industrial Design on the first
tion examination. The School of Design therefore been continually presented at important fairs and year of the undergraduate programme. The auc-
conducted an aggressive campaign during and One of the most ambitious projects of the School exhibitions in Croatia and abroad with an aim of tion was held in 2011 as well. In the period of
at the venue of the fair with numerous posters, of DesignA Room with Six Views, was presen- establishing business contacts. Special attention several weeks students gave a new life to worn
flyers and stickers designed in accordance with ted in cooperation with the Croatian Interiors clu- should be given to the fair in Rimini, Italy, where out and forgotten objects, found and bought at
a stereotypical political visual language with cli- ster at the 38th Ambienta Fair, an international the project raised great interest and earned com- popular Hreli, the most famous flea market in
chd statements and unreal election promises. fair of furniture, interior design and supporting mendations from professionals. Presentations of Zagreb. Those objects used to have a wholesome
The School of Design stand became in that way industry. The design of the exhibited prototypes the project in cooperation with the Croatian life, fulfilling the purpose for which they had been
a scenery for an imaginative press conference at of the six rooms were created by two generations Interiors cluster were supported by the Croatian made. However, time had taken its toll on them
which the prominent faces of the parties/school of students supervised by the staff of the school, Chamber of Economy. and modernisation had made them disappear. The
accepted interested citizens/students and com- and produced by twenty manufacturers and desi- SIA GUEST FAIR, 2629 Nov 2011, Rimini, luckiest of them were chosen by young creative
municated their political/academic programmes. gners, all cluster members. The prototypes were Italy students of the School of Design to be the star-
exhibited in their integral environment, and the GAST FAIR, 2125 Mar 2012, Split ting point of their second projects and were later
research and concept behind the project were PROMOHOTEL FAIR, 2831 Mar 2012, Rovinj auctioned so as to prove their newly acquired
presented in multimedia in the central section DAYS OF TOURISM AND ENOGASTRONOMY, value. The auction was held in the courtyard of
of the exhibition space. The school also showed 912 May 2012, Zagreb the School of Design building where about two
in a separate exhibition space thirty prototypes hundred visitors swiftly waved their auction bats
of chairs created by design students. The entire in order to show the auctioneer, the stand-up
participation was assessed as extremely succe- comedian Ivan ari, that they accepted the bid. In
ssful, which also raised significant media interest. a cheerful and vivacious atmosphere the students
raised a symbolic amount of money which they
cleverly invested in broadening their knowledge
and awareness.

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POSJET IZLOBI NIKO KRALJ EDU ZGRAF


NEPOZNATI POZNATI DIZAJNER / VISIT 15.3.5.4.2012.
TO THE EXHIBITION NIKO KRALJTHE Galerija ULUPUH-a, Galerija PU, Teatar &TD,
UNKNOWN FAMOUS DESIGNER Galerija Permanenta / ULUPUH Gallery, PU
15.12.2011.4.3.2012., Ljubljana, Slovenija Gallery, &TD Theatre, Permanenta Gallery

U oujku 2012. studenti 2. i 3. godine preddi-


plomskog studija industrijskog dizajna posje-
tili su izlobu Niko Kraljnepoznati poznati
dizajner, odranu u Muzeju arhitekture i obli-
kovanja u Ljubljani. Pod strunim vodstvom
kustosice pele ubic i u pratnji docentice Sanje
Benceti, studenti su imali priliku detaljno upo-
znati sveukupni rad, ali i specifine informacije
o pojedinim projektima Nike Kralja, jednog od
najznaajnijih industrijskih dizajnera u povijesti
dizajna na prostoru bive Jugoslavije. Njegova
inovativna rjeenja, nastala racionalnim i lucid-
nim koritenjem specifinih svojstava materijala, U sklopu ZGRAFA 11 organiziran je program
obiljeila su domai dizajn namjetaja i interijera namijenjen studentima dizajna i njihovim rado-
druge polovice 20. stoljea. Iscrpne informacije vima, koji se sastojao od meunarodne izlobe
i mogunost opservacije izloaka studentima Krenimo od poetka te EduZgraf radionice. U
predstavljaju dragocjeno iskustvo, primjenjivo sklopu EduZgraf strunih radionica pozvani su
u vlastitim projektnim zadacima na studiju i u dizajneri Dejan DragosavacRuta, dizajner i SPLITINTERACTIONS The Department of Visual Communications
buduem strunom radu. vizualni umjetnik Igor Kuduz i kolektiv Blender.hr Radionice dizajna interakcija, Umjetnika Design at the Art Academy in Split continued
koji se u svojoj praksi dotiu pitanja alternativnih Akademija / Interaction Design with its tradition of holding interaction work-
In March 2012, second and third year under- komunikacijskih i drutvenih potencijala vizual- Workshop, Art Academy, Split shops splitinteractions. In addition to dealing
graduate students of industrial design visited nih komunikacija. Radionice su bile fokusirane na 14.19. 3.2012. with specialists topics in interaction design, the
the exhibition Niko KraljUnknown Famous problem sudjelovanja grafikog dizajna i vizualnih purpose of the workshops was, among other
Designer which was mounted at the Museum komunikacija u javnoj sferi te traenje puteva za Odsjek za dizajn vizualnih komunikacija Umjet- things, to promote an interdisciplinary approach
of Architecture and Design in Ljubljana. Guided odgovorne i dijaloke komunikacije. nike akademije u Splitu nastavio je tradiciju odr- to education which is especially necessary and
by the curator pela ubic, and accompanied by avanja radionica interakcija. Uz specijalistike stimulating in the field of design. The topic of
assistant professor Sanja Benceti, the students The international exhibition of graphic design sadraje iz podruja dizajna interakcije, svrha the 6th workshop was Hybrid Cities within which
had an opportunity to gain detailed information and visual communications ZGRAF 11 also com- radionice je promovirati interdiscplinarni pristup participants explored, critically analyzed and
about the entire oeuvre and individual projects prised an international exhibition of works by obrazovanju koji je osobito potreban i poticajan u offered solutions to the issues related to the use
by Niko Kralj, one of the most important figures design students. The exhibition was preceded by podruju dizajna. Tema 6. radionice bila je hibridni of new technology in the context of future cities,
in the history of design in former Yugoslavia. His the EduZgraf workshops, some of which were gradovi u okviru koje su sudionici promiljali, kri- access to their citizens and relationship between
innovative solutions, created by rational and lucid headed by designer Dejan DragosavacRuta, tiki problematizirali i ponudili rjeenja vezana uz the real and virtual urban spaces. Seven-day long
use of specific characteristic of materials, mar- designer and visual artist Igor Kuduz and the koritenje novih tehnologija u kontekstu buduih workshops, each attended by thirty participants,
ked the Yugoslavian furniture and interior design Blender.hr collective who deal with in their pro- gradova, njihove dostupnosti graanima te odno- were headed by Nelly Ben Hayoun (University of
of the second half of the 20th century. Detai- fessional life the issues of alternative communi- sima stvarnog i virtualnog urbanog prostora. Tri- Westminster, Kingston University) and Michael
led information about the designs as well as the cation and social potential of visual communi- deset sudionika sedmodnevnih radionica vodili Smyth (Edinburgh Napier University). The work-
opportunity to observe and analyze them was a cations. Problems addressed by the workshops su Nelly Ben Hayoun (University of Westminster, shop participants also included five students from
valuable experience which can be useful in their included the participation of graphic design and Kingston University) i Michael Smyth (Edinburgh the School of Design: Marta Ani-Kaliger, Marija
own project assignments in the course of studies visual communications in the public sphere and Napier University). U radionicama je sudjelovalo i Rui, Kazimir Samoanec, Luka Predragovi and
and in their future careers as well. the ways which can enable responsible and dia- pet studenata Studija dizajna: Marta Ani-Kaliger, Marina Mijatovi. The 7th interaction workshop
logical communication. Marija Rui, Kazimir Samoanec, Luka Predrago- 2011 entitled Contemporary Utopias was held in
vi i Marina Mijatovi. Sedma radionica interakcija 1924 March 2012 and was facilitated by Ivica
2011. pod naslovom Suvremene utopije odrana je Mitrovi, assistant professor at the Art Academy
od 19. do 24. oujka 2012. pod vodstvom voditelja in Split. The project Splitopia dealt with utopian
Ivice Mitrovia, docenta Umjetnike akademije u future scenarios for the city of Split, and was cre-
Splitu. Projekt Splitopija bavio se utopijskim sce- ated under the supervision of the DashnDem duo
narijima budunosti grada Splita a nastao je pod (Demitrios Kargotis and Dash McDonald, lectur-
mentorstvom britanskog dvojca Dash&Dem ers at Coventry University) as a result of the Bet-
(Demitros Kargotis i Dash McDonald, predavai ter safe than sorry brief. The project also included
na Coventry University) kao rezultat briefa Better the participation the School of Design students
safe than sorry. U projektu su sudjelovali studenti Marina Juki and Ivor Vrbos in collaboration with
Studija dizajna: Marina Juki i Ivor Vrbos u suradnji other Croatian and international students.
s kolegama studentima iz Hrvatske i inozemstva.

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

INAUGURACIJA PRVOSTUPNIKA I
MAGISTARA DIZAJNA / INAUGURATION
OF THE NEW GENERATIONS OF
BACHELORS AND MASTERS DIZAJNER : AUTOR ILI UNIVERZALNI
svibanj/May, 2012., Gliptoteka HAZU VOJNIK AKCIJA! / DESIGNER : AUTHOR
/ Glyptotheque, Croatian Academy OR UNIVERSAL SOLDIER ACTION!
of Sciences and Arts, Zagreb 28.31. 3., 2012., Beograd

Nakon zavrenog trogodinjeg preddiplomskog i/ Meunarodna strukovna konferencija (Grafiki)


ili dvogodinjeg diplomskog Studija dizajna, pret- Dizajner: Autor... odrala se u prostorima Kultur-
hodno ispunivi sve zakonom predviene uvjete, nog centra Beograd i na prateim lokacijama od
studenti stjeu akademski naslov prvostupnik, 28. do 31. oujka 2012. godine. etverodnevna
odnosno magistar dizajna, te im se na sveanoj serija predavanja, rasprava, radionica i izlobi
promociji daju odgovarajue diplome. Promocija priznatih autora, dizajnera i teoretiara iz Srbije,
novih generacija prvostupnika i magistara pred- regije i Europe bila je prije svega namijenjena
stavlja zavrni in i krunu njihova viegodinjeg studentima umjetnikih fakulteta i fakulteta za
truda i zalaganja. Prigoda je to i za predstavljanje dizajn, ali i mladim profesionalcima i iroj publici.
novih generacija javnosti i od posebnog je znaaja Tree izdanje konferencije, s podnaslovom Akcija!,
kako za Studij dizajna, tako i za njegove studente. bavilo se mogunou uinkovitog bunta dizaj-
Ceremonija podjele akademskih naslova najsvea- nera protiv postojeeg poretka, tj. problemom
niji je in. Otvorena je javnosti, te se stoga tradi- uinkovitog drutvenog angamana. Tu su i
cionalno odrava u Gliptoteci HAZU. Ovom sve- pitanja koja su organizatori postavili sudioni-
anou zaokruuje se znaajan razdoblje ivota cima konferencije: ivimo u sustavu koji s lako- zavrnoj prezentaciji. Vrlo je zanimljivo i sljedee: slogan Designer in a real life the participants
studenata, nakon ega poinje njihov put u samo- om upija svaku kritiku akciju i ve u slijedeem ova konferencija, kao i Zgraf 11 (u novonastalom explored the efficiency and the real boundaries of
stalno bavljenje strukom kojoj od tog trenutka i trenutku pretvara je u dio svojeg stroja. Ima li studentskom segmentu EduZgraf), svoju kon- the design practice and its impact on social chan-
formalno pripadaju. u naim zatvorenim svjetovima, svakodnevno cepciju temelji na angairanom First Things First ges. Some of the recognized problems included
Prisutnima na sveanosti inauguracije prvo- zagledanima samo u vlastiti tanjur i ekran, jo Manifestu iz 1964. i 2000. godine koji afirmira freedom of speech in electronic media, corruption,
stupnika i magistra dizajna obratio se Dekan Arhi- volje i snage za akciju? Jesu li strategije otpora prioritete graanskog aktivizma i kritikog djelo- plastic waste problems, legalization of light drugs,
tektonskog fakulteta Sveuilita u Zagrebu, prof. postojeem poretku i aktivna borba odgurnute vanja u struci. Oito je to smjerokaz kojim starija fur production, light pollution, ethnic tolerance...
mr.sc. Boris Korunjak, a diplome prvostupnicima na drutvenu i profesionalnu marginu? Je li nam generacija dizajnera nastoji usmjeriti djelovanje i This ambitious repertoire of acute world problems
i magistrima uruili su profesor Zlatko Kapetano- varljiva sigurnost margine dovoljna? razvoj najmlaih kolega: beskompromisni pristup were approached by the participants in a way that
vi i docentica Sanja Benceti. U sklopu programa odrana je i radionica koju vlastitom pozivu. they were supposed to come up with solutions
je vodio docent Damir Brali uz asistenciju Luke which could achieve, at least on a micro level, real
After finishing three years of undergraduate, and/ Boria i Darija Devia. Pod motom Dizajner u The international professional conference (Grap- and measurable change, avoiding thus armchair
or two years of graduate programme and with all stvarnom ivotu polaznici su ispitivali uinkovi- hic) Designer: Author... took place at the Cultural activism which does not solve actual problems
fulfilled requirements prescribed by the law, stu- tost i stvarne granice djelovanja dizajnera i nje- Centre and other venues in Belgrade, Serbia, on solvable by design, but exhausts itself in stating
dents are entitled for the academic title of Bache- govog utjecaja na promjene u druvu. Neki od 28-31 March 2012. A four-day long programme the obvious. Another characteristic of the soluti-
lor, or Master of Design. In accordance they rece- prepoznatih problema bili su: sloboda izraavanja included presentations, discussions, workshops ons should be the iterative characteristics of the
ive the appropriate certificate or diploma at the u elektronikim medijima, korupcija, problem pla- and exhibitions by esteemed authors, designers design process, or, in other words, professional
inauguration ceremony. Inauguration of the new stinog otpada, legalizacija lakih opojnih droga, and theoreticians from Serbia, the region and designs were supposed to be replicated by ama-
generations of bachelors and masters represents noenje krzna, svjetlosno zagaenje, etnika tole- Europe. They addressed issues of interest primarily teurs, which would confirm the strength, massive
their final, crowning act of perennial efforts during rancija... Ovom ambicioznom repertoaru goruih to students of academic programmes in arts and scale and efficiency of the original designs. Faced
their studying period. The inauguration ceremony svjetskih problema sudionici su morali pristupiti design, but also to other young professionals and with such a project the participants responded
is a chance to introduce these new generations na nain da svojim rjeenjima barem na mikro the general public. With the subtitle Action! this well, showing a considerable intellectual interest
to the public and, as the most solemn act, it is razini ostvare realnu i mjerljivu promjenu, i tako conference explored the possibility of effective and curiosity. In their works, they touched upon
of the outmost importance for students as well izbjegnu salonski aktivizam koji ne rjeava kon- revolt of designers against the current system, that the relationship between the private and the
as for the School of Design. The ceremony, tra- kretne probleme, u segmentu u kojem se dizaj- is, the issue of a more effective social involvement. public, virtual and real, total democracy, design
ditionally taking place at the Glyptotheque of the nom doista mogu rijeiti, ve se troi u jalovom That view brought about the questions posed by of events and traditions
Croatian Academy of Sciences and Arts is opened prokazivanju oitog. Druga karakteristika rjee- the organizers to the conference participants: Do Students showed great maturity and ability to
to the public. It presents the end of an important nja trebala je biti ponovljivost procesa dizajna tj. we live in a system which easily accepts criticism think outside the box and their works were very
segment in the life of each student, after which rjeenje dizajnera morali su moi ponoviti ama- and turns it in the next moment into a part of its successful and explicit, and rather well noticed at
they formally belong to their professions. teri, to bi potvrdilo njegovu snagu, masovnost machinery. Is there in our closed up worlds, con- the final presentation. An interesting fact is that
Professor Boris Korunjak, MA, dean of the i uinkovitost. Suoivi se s ovakvim projektnim stantly focused only on our personal sustenance the concept of this conference, just like Zgraf 11 (in
Faculty of Architecture, University of Zagreb, zadatkom sudionici su izvrsno reagirali, pokazavi and home screens, any more willingness and desire a new segment of student participation, EduZgraf)
addressed the attendees at the inaugural cere- znaajan intelektualni interes i znatielju. U svo- for action? Have resistance strategies and active is based on the socially engaged the First Things
mony of the graduates and the masters of design, jim su se radovima dotakli tema odnosa javnog i battle against the system been pushed onto the First manifests from 1964 and 2000, which affirm
while their diplomas were presented to them by privatnog, virtualnog i realnog, totalne demokra- social and professional margins? Is the illusive priorities of civic activism and professional criti-
professor Zlatko Kapetanovi and assistant pro- cije, dizajna dogaaja i dizajna obiaja... Studenti security provided by the margin satisfactory? cal approach. It is obvious in what direction the
fessor Sanja Benceti. su pokazali veliku zrelost i sposobnost razmilja- The conference programme included a wor- older generation of designers tries to lead the work
nja izvan kutije, a njihovi radovi bili su u kona- kshop headed by Damir Brali, and assisted by and development of young colleagues: towards
nici vrlo uspjeni i lucidni, te veoma zapaeni na Luka Bori and Dario Devi. Spurred by the uncompromised approach to their own vocation.

254 255
godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

Milin, te poznati professor emeritus Arhitekton-


skog fakulteta, dr. sc. Nikola Filipovi.
U odnosu na svoje prvo izdanje, DA festival,
unato jednakom vremenu trajanja (dva dana), vid-
FESTIVAL STUDENATA ARHITEKTURE I ljivo je narastao, organizatori su ostvarili vrijedne
DIZAJNA: DA FESTIVAL / ARCHITECTURE suradnje, to nedvojbeno predstavlja kvalitetan
AND DESIGN STUDENTS FESTIVAL : DA temelj za nastavak razvoja festivala i daljnje i vr- IZLOBA FOTOGRAMI / EXHIBITION
FESTIVAL e povezivanja studenata ovih struka iz Hrvatske, PHOTOGRAMS
MAGDALENA 2.3.6.2012., Arhitektonski fakultet/ Faculty of ali i regije, te ireg inozemstva. 26.30.6.2012., Toyota Creative
17.19.5.2012., Maribor, Slovenija / Slovenia Architecture Dimensions, Zagreb
The DA Festival is an event showing works by stu-
Magdalena, poznati mariborski festival kreativne dents of the Faculty of Architecture and School of Otvorenje izlobe Fotogrami, pod vodstvom
komunikacije, namijenjen prije svega mlaim Design in Zagreb. It is organized by the Students mentora, profesora Stanka Hercega i asistentice
generacijama dizajnera vizualnih komunikacija, Club and the Culture Association with the aim of Aleksandre Dabanovi, u organizaciji studentica
jedna je od najznaajnijih regionalnih strukovnih promoting architecture and design students. The Dore Bilandi, Adriane Paveli i Ozane Ursi, odr-
manifestacija, i odvija se u pravilu jednom godi- importance and interconnection of these two alo se u utorak, 26. lipnja 2012. u zagrebakom
nje. etrnaesta Magdalena predstavila je uobia- professions was the main reason behind the idea prostoru Toyota Creative Dimensions. Izloba je
jeni niz zanimljivih izlobi, radionica i predavanja to launch such a project and to establish coope- bila otvorena do 30. lipnja. Na izlobi publika je
meunarodno afirmiranih dizajnera. Organiziran ration between students of the School of Design imala priliku vidjeti radove studenata Studija diza-
je i tradicionalni natjeaj, na vrlo dobrom glasu and the Faculty of Architecture in order to inform jna i Arhitektonskog fakulteta, nastale u sklopu
u profesionalnoj i studentskoj zajednici, u sklopu the public about the projects they deal with in the projekta izuavanja fotograma, specifine tehnike
kojega struni iri dodjeljuje prve i druge nagrade course of their education, which, unfortunately, izrade fotografije bez upotrebe kamere. Rije je
(Golden Bra i Silver Bra), i posebna priznanja u often stay hidden somewhere in the drawers of the o zadatku na kolegiju Fotografija i film 1, na tre-
kategorijama posveenima veini disciplina vizu- DA festival je festival studenata Arhitekture i faculties. The objective of the event it to achieve oj godini preddiplomskog Studija dizajna, koji
alnih komunikacija. Dodjeljuje se i glavna, uni- Studija dizajna koji je nastao u organizaciji Kluba affirmation of young and talented students who je zbog velikog zanimanja studenata prerastao
verzalna nagrada festivala, zvana Magdalena, za studenata dizajna i udruge Kultra. Festival se prije wish to offer new, fresh and creative ideas in the u samostalni projekt, te u konanici i u izlobu.
sveukupno najbolji rad prijavljen na natjeaj, koji svega zalae za promicanje studenata s podruja field of visual communications design, industrial
je otvoren za profesionalce i studente, i ne pravi arhitekture i dizajna. Briga za vanost i poveza- design, interior design, typography, photography The Photograms exhibition, organized by stu-
razliku izmeu radova jednih i drugih. iri 14. nost ovih dviju srodnih struka osnovna je nit vodi- and film, and architecture, urban planning, housing, dents Dora Bilandi, Adriana Paveli and Ozana
Magdalene, kojim je predsjedavao njemaki diza- lja koja je mlade ponukala da se odlue na ovakav and other areas of the professions. The aim is also Ursi, and supervised by Professor Stanko Herceg
jner i kreativni strateg Steffan Stauber, glavnu je projekt i da se zajednikom suradnjom studenata to inform the public about student projects and and assistant Aleksandra Dabanovi, was opened
nagradu dodijelio studentima preddiplomskih sa Studija dizajna i Arhitekture upozna javnost their indisputable quality often awarded at various on Tuesday, 26 June 2012 on the premises of the
studija vizualnih komunikacija i industrijskog The famous festival of creative communication, in other categories for the works they had cre- sa sadrajima i projektima kojima se oni bave festivals in Croatia and abroad. Toyota Creative Dimensions in Zagreb. The exhi-
dizajnaIvanu Orinu Vrkau, Marinku Murgiu Magdalena, taking place in Maribor is intended ated within the academic programme of the tokom studiranja i koji na alost vrlo esto ostaju The second DA Festival was held in 2012 and its bition was opened until 30 June, and presented
i Rueru Novaku Mikuliu, za multimedijalni primarily for young generations of visual commu- school. The school can therefore be said to have u ladicama fakulteta. Najvaniji je cilj afirmacija programme was enriched with two visiting exhi- works by students of the Faculty of Architecture
projekt Canvas Community, kompleksnu oglai- nications designers. It is one of the most signifi- achieved a great success. It is also important to mladih i talentiranih studenata koji ele ponuditi bition. One showed works by the students of the and School of Design which had been created
vaku kampanju za proizvoaa papira, inicijalno cant professional events, and it is organized once mention that the design competition exhibition nove, svjee i kreativne ideje na podruju diza- Faculty of Architecture at the University of Bel- within the photogram making project, a tech-
nastalu kao odgovor na brief prestinog britan- a year. The 14th Magdalena presented a number presented all submitted entries, without a special jna vizualnih komunikacija, industrijskog dizajna, grade, and the other featured works by students nique of making photographs without the use of
skog natjeaja D&AD, gdje je rad uao ui izbor of interesting exhibitions, workshops and lectures selection. The students awarded at the festival dizajna interijera, tipografije, fotografije i filma, te from the Department of Visual Communications camera. The project was conceived as a student
finalista. Pored uspjenog trojca, iri 14. Magda- held by internationally renowned designers. The are the following: arhitekture, urbanizma, stanovanja i ostalih disci- Design at the Art Academy in Split, and architec- assignment in the course Photography and Film
lene u ostalim je kategorijama nagradio i mnoge festival also included the traditionally organized plina iz struke. Cilj je takoer i jae upoznavanje ture students of Split University. Zagrebs School 1, held on the third year of the School of Designs
druge nae studente, koji su se prijavili uglavnom competition which accepts entries by professi- MAGDALENA: Ivan Orin Vrka, Marinko Murgi, javnosti sa studentskim projektima i njihovom of Design has had in the last several years a succe- undergraduate programme. Due to a great inte-
s projektima kreiranima u sklopu nastave, stoga onals and students equally, with which it achie- Ruer Novak Mikuli. neospornom kvalitetom koja je esto nagraena ssful cooperation with the University of Split. The rest of students, it grew into an independent pro-
se moe rei kako je Studij dizajna u cjelini ostva- ves positive reputation in both professional and GOLDEN BRA: Tomislav estak, Andrija Mudni, na raznim festivalima, kako kod nas u Hrvatskoj, exchange of students and professors between ject which ended in an exhibition.
rio izniman uspjeh. Takoer, bitno je napomenuti student circles. Competition entries are awarded Jurica Koleti, Vina urija, Marina Mijatovi, tako i na meunarodnom planu. the two cities and their faculties is considerably
kako su na natjeajnoj izlobi bili predstavljeni with first and second awards (Golden Bra and Marko Hrastovec, Luka Reicher, Katarina Peri, Drugi po redu DA festival 2012. bio je oboga- enhanced by the participation in the Interaction
svi prijavljeni radovi, bez posebne selekcije. U Silver Bra) by the jury which also awards special Luka Peri, Ivan Orin Vrka, Marinko Murgi, en i s dvije gostujue izlobe: predstavljanjem workshops organized by the colleagues in Split. In
nastavku slijedi popis svih nagraenih studenata. commendations for the categories related to Ruer Novak Mikuli. studenata Arhitektonskog festivala s beograd- addition, an inescapable part of the DA Festival is a
visual communications. Best Newcomer: Mihovil Vargovi. skog sveuilita, kao i pregledom radova stude- number of guest lecturers ranging from esteemed
The main award of the festival, Magdalena, is SILVER BRA: Tessa Bachrach-Kritofi, Karla Pali- nata Odsjeka za dizajn vizualnih komunikacija professionals to the present and former students
awarded for the best competition entry. The jury ska, Zrinka Buljubai, Bojan Kritofi, Ivan Umjetnike akademije, te studija Arhitekture of all institutions included in the project. Enterta-
of the 14th Magdalena, which included German Orin Vrka, Luka Peri. Sveuilita u Splitu. S potonjima zagrebaki Studij ining, interesting and stimulating lectures at the
designer and creative strategist Steffan Stau- POSEBNO PRIZNANJE IRIJA/SPECIAL JURY COMM- dizajna uspjeno surauje unazad nekoliko godina, last festival were held by Nikola Radeljkovi from
ber, handed the main award to students of the ENDATION: Antonio Karaa, Marko Hrastovec. a meusobna fluktuacija studenata, ali i profesora the Numen/For Use studio of industrial design,
undergraduate programme in visual communi- znaajno je pospjeena sudjelovanjem na radio- representatives of the XYZ design studio, product
cations and industrial design Ivan Orin Vrka, nicama Interakcija u organizaciji splitskih kolega. designer Filip Gordon Frank, the NFO architectural
Marinko Murgi and Ruer Novak Mikuli for Takoer, neizostavni dio DA festivala gostujua su studio, photographer Mare Milin, and the estee-
the multimedia project Canvas Community, a predavanja, na kojima se predstavljaju kako pre- med professor emeritus Nikola Filipovi from the
complex advertising campaign for a paper manu- kaljeni strunjaci, tako i sadanji i bivi studenti Faculty of Architecture.
facturer. The work had initially been created as svih institucija ukljuenih u projekt. Zabavna, The second DA Festival has discernibly grown,
a response to the brief of the prestigious D&AD zanimljiva i poticajna predavanja na proteklom despite the same duration of the event (2 days) and
competition where it was short listed. In addi- su festivalu odrali Nikola Radeljkovi iz studija the organizers established valuable cooperation
tion to these successful contestants, many other za industrijski dizajn Numen/For Use, predstavnici which arguably represents a sound basis for the
students of the School of Design were awarded dizajn studija XYZ, produkt dizajner Filip Gordon future development of the festival and further and
Frank, arhitektonski biro NFO, fotografkinja Mare stronger connections between students of these
professions in Croatia, in the region and wider.

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

DAN D / D-DAY
15.17.6.2012.
Stara klaonica/Old Slaughterhouse, Zagreb

Budui da je Dan D festival namijenjen prije svega


mladim autorima, organizatori (Hrvatsko dizaj-
nersko drutvo i agencija Pepermint) od samog
poetka izravno surauju s naim studentima, te
ih ukljuuju ne samo u izlaganje, nego i u kreiranje
identiteta festivala, promotivnih materijala i ele-
menata postava izlobi i drugih dogaanja u Sta-
roj klaonici. Grafiki tim Dana D 2012. (odranog
od 15. do 17. lipnja) u sastavu: Mihovil Vargovi,
Tomislav estak, Vanessa erka i Andrija Mudni
uz mentorstvo asistenata Damira Bralia i Luke
Boria zadatak je shvatio jednako ozbiljno,
odmaknuo se od dosadanjih rjeenja i ponudio
neto novo. Vodei se zahtjevom ekonominosti,
ali i meusobne kompatibilnosti dizajna postava
i dizajna vizualnog identiteta, gotovo sva dvodi-
menzionalna i trodimenzionalna oprema Dana D
izvedena je iz istog materijala valovitih ljepenki
koje su studentima i organizatorima bile na ras-
polaganju zahvaljujui suradnji i donaciji tvrtke
Box ambalaa. Produktaki tim, u sastavu: Marija
Rui, Marta Ani-Kaliger, Filip Perai, Anamaria
Sever i Mario Dobreevi uz mentorstvo profe-
sora Mladena Oreia u istom je materijalu Istodobno, da bi multifunkcionalnost bila Pored sudjelovanja u organizaciji i dizajniranja Since the D Day Festival is dedicated primarily to The project design team, which included the badges and coasters for drinks during breaks.
projektirao cijeli sustav za postavljanje izlobi, dodatno zadovoljena, osnovna serija plakata festivala (a pojedini sadanji i bivi studenti tako- young people, the organizers (the Croatian Asso- students Marija Rui, Marta Ani-Kaliger, Filip However, this is not all. During the promotional
panoe, postamente, stolce, itd. Sustav i elementi tiskana na valovitim ljepenkama funkcionirala je er su sudjelovali u sredinjoj izlobi Dana D 2012, ciation of Designers and the Pepermint Agency) Perai, Anamaria Sever and Mario Dobreevi, campaign of the D Day and very authors of its
postava uvaavaju injenicu da se u sam ambi- i kao serija ablona iz kojih se izrezuju svi rekviziti D-Sajmu), Studij dizajna predstavio se i izdvoje- have from the very start cooperated with design and Professor Mladen Orei as their super- visual identity, the process of designing, printing
jent, zbog zatite, ne smije intervenirati, te su i suveniri Dana D. Tako svaki plakat, s otisnutim nom kolektivnom izlobom studenata razliitih students and directly included not only their visor, designed from the same material the and mounting of the posters was continually
stoga predviene debele ploe valovite ljepenke logotipom i osnovnim informacijama o festivalu, godina, nazvanom Studij dizajna sad!, na kojoj su works for the exhibition but their creativity for entire exhibition furniture panels, platforms being photographed. The photos were distri-
koje simuliraju pozadinski zid i slue kao ploha u sebi ujedno sadri i predmete poput dizajner- predstavljeni radovi nastali u sklopu raznih kole- shaping the festivals identity, designing promoti- and stands, chairs etc. The exhibition design buted all around and they functioned as a short
za izlaganje plakata ili vjeanje drugih artefakata. skih naoala, lepeza za sparni lipanj, generikih gija tijekom akademske godine 2010./2011. Tako onal material and exhibition elements and events and its elements are respectful of the fact that narration about the students, their work and the
Sam namjetaj pak predvia mogunost spaja- legendi za tandove izlagaa, bedeva i podme- se Studij dizajna uspjeno i na vie razina predsta- organized in the Old Slaughterhouse. The graphic the environment should not have any addi- process of creating D Day 2012. The identity of
nja i kombiniranja u vee cjeline, a pri dizajnira- taa za pie u pauzama obilaska. No, to nije sve, vio na svjeoj i kvalitetnoj manifestaciji, koja je uz design team of the D Day 2012 (held on 1517 tional interventions due to protection. The- the festival therefore comprised not only static
nju vodilo se rauna o tome da se samom kon- jer se za promotivnu kampanju Dana D i samih one tradicionalne bijenalnu Izlobu hrvatskog June) included the students Mihovil Vargovi, refore, thick sheets of corrugated fibreboard visuals but also a story behind the promotional
strukcijom doskoi fragilnosti materijala u za autora njegova vizualnog identiteta proces diza- dizajna i Zgraf, meunarodni festival vizualnih Tomislav estak, Vanessa erka and Andrija Mud- simulate a background wall and serve as sur- material and young people who wanted to tell it.
njega pomalo neuobiajenoj funkciji. I grafiarski jniranja, tiskanja i stavljanja plakata u upotrebu komunikacija u samo dvije godine odravanja ni who were supervised by teaching assistants of faces for mounting posters and other artefacts. In addition to participating in the organisation
i produktaki tim bili su u potpunom dosluhu i kontinuirano fotografirao, a te su se fotografije nedvojbeno postala tree najvanije domae the School of Design, Damir Brali and Luka Bor- The exhibition furniture offers a possibility of and the design of the festival (certain present and
sinergiji, a izniman interes i otvorenost ovakvom distribuirale do zadnjeg trenutka kao prava mala strukovno dogaanje. i. They took their job seriously and broke away combining elements into bigger complexes, former students also participated in the central
eksperimentu pokazala je i sama Box Ambalaa narativna serija o studentima, njihovom radu i from the usual practice by offering something while proper attention was given to solving exhibition of the D Day 2012, D-Market), the
kao tvrtka-partner. tijeku nastajanja Dana D 2012. Identitet Dana new. Guided by the demands for cost-efficiency the problem of material fragility with the very School of Design presented itself at a group exhi-
D tako se sastojao ne samo od statinih vizuala, and compatibility between the exhibition design structure. Both teams worked in harmony and bition of selected works by students of various
nego i od prie koja stoji iza promotivnih materi- and the visual identity design, almost all two- synergy, and an exceptional interest and readi- study programmes, which was called The School
jala te mladih ljudi koji su je eljeli ispriati. dimensional and three-dimensional equipment ness for such an experiment was demonstrated of Design Now! The exhibition featured students
for the festival was created out of the same by the partnering company Box Packaging. works created within various courses during the
materialcorrugated fibreboard which was at In order to satisfy the need for multifun- academic year 2010/2011. In addition to the tra-
the students and organizers disposal owing to ctional features of design, the basic series of ditional events such as the biennial Exhibition of
the cooperation with the packaging company posters printed on corrugated fibreboards Croatian Design and Zgrafinternational festival
Box and their donation of the material. functioned also as stencils from which all the of visual communications, the School of Design
props and souvenirs for the D Day were cut out. has been successfully presented on several levels
That is why each poster, with a printed logo and at this fresh and noteworthy event which has
basic information about the festival, also con- become in only two years the third most impor-
tained objects such as designers glasses, fans tant Croatian professional happening.
for hot June, generic labels for exhibition stands,

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

LJETNA KOLA MOTOVUN / MOTOVUN


YOUNG CREATIVE CHEVROLET 2012 SUMMER SCHOOL
2.7.2012. 6.11.8.2012., Motovun

Young Creative Chevrolet godinji je europ- At the end of 2011, students of the School of U sklopu Ljetne kole arhitekture i urbanizma
ski natjeaj za uenike i studente primijenjenih Design in Zagreb participated for the first time Arhitektonskog fakulteta Motovun 2012. od 6. do
umjetnosti i dizajna, pokrenut prije est godina s in the Young Creative Chevrolet competition and 11. kolovoza udjela u radu uzeo je i Studij dizajna
tri osnovna cilja: promicanje kreativnosti, podrka they achieved extraordinary success. The gene- kroz interdisciplinarnu radionicu koju su vodili asi-
mladim umjetnicima na poecima njihovih kari- ral topic was the slogan Make it happen which stenti Luka Bori i Vedran Kasap. U sklopu radi-
jera i promicanje kljunih vrijednosti Chevroleta, entailed interpretation of the idea about a life full onice dva predavanja je odrala i docentica Sanja
etvrtog po redu najjaeg branda meunarodne of opportunities, no matter what you want to do, Benceti na temu Inkluzivni dizajn i Dizajn doiv-
industrije automobila. Natjeaj organizira ogra- change or be, now is the time to make it happen ljaja u turizmu. Predavanje o inkluzivnom dizajnu
nak Chevrolet Europe u suradnji s predstavnicima (citation from the competition leaflet). The first uputilo je na znaajan porast starije populacije i
tvrtke u pojedinim zemljama, a program natjeaja award at the national level went to Maja Subo- oekivanja ljudi s potekoama za socijalnom inte-
je takav da se na njega prijavljuju kole i fakul- ti and Ivan Orin Vrka who gave a photographic gracijom i ravnopravnim sudjelovanjem u svakod-
teti zajedno sa svojim uenicima i studentima. interpretation of the slogan. Ivan Orin Vrka also nevnom ivotu, a koji predstavljaju izazov uobi-
Svake godine natjeaj sve vie raste i dobiva sve won the first award in the visual communications ajenim postavkama o nainima kako proizvodi i
vei publicitet, kao i respektabilnu reputaciju u category with a T-shirt design with the slogan usluge trebaju biti dizajnirani.
struci kojoj je namijenjen. Natjecanje se odvija u Never tire. We hope that this year some new kids Drugo predavanje je tematiziralo injenicu
kategorijama mode, fotografije, videa i vizualnih will be equally, if not even more, successful at the da zahvaljujui novim sustavima komunikacije,
umjetnosti, od kojih svaka dobiva zaseban brief u competition. a u skladu s evolucijom zahtjeva i elja na tri-
skladu s opom temom natjeaja. Prvi krug natje- tima ekonomski razvijenih drutava, korisnici
aja odvija se na nacionalnoj razini, a pobjednici zamjenjuju uloge pasivnog promatraa u procesu
u svim kategorijama po izboru strunog irija razvoja i inovacija i umjesto jednostavnog procesa
nastavljaju natjecanje na europskoj razini, gdje im izbora i koritenja unaprijed dizajniranih proizvoda
se prua mogunost izdanog novanog dobitka i i sustava oekuju kompleksnu mogunost prila-
prilika za obrazovanje i stairanje na perspektiv- godbe prema osobnim zahtjevima i oekivanjima.
nim mjestima u vodeim tvrtkama u odreenom The Young Creative Chevrolet is an annual Euro- Uvodno predavanje o metodologiji istraivanja The Motovun summer school of architecture professor Damir Brali. The strategic objective
podruju struke. pean design competition for pupils and students u dizajnu odrao je docent Damir Brali. Radio- and urbanism organised by the Faculty of Arc- of the workshop was to get an interdisciplinary
Krajem 2011. godine Studij dizajna sa svojim of secondary schools of applied arts and uni- nica je strateki ciljala pokuaj interdisciplinarnog hitecture and taking place on 611 August 2012, view of the natural and cultural characteristics of
se studentima prvi put prijavio na Young Crea- versity design programmes. It was launched six uvida u stanje prirode i kulture u Motovunu i oko- included an interdisciplinary workshop by the Motovun and its surrounding for the purpose of
tive Chevrolet i ve su premijernim sudjelovanjem years ago with three fundamental objectives: to lici, a u svrhu istraivanja moguih tema za budue School of Design headed by teaching assistants research of potential topics for future workshops
ostvarili izniman uspjeh. Osnovna tema proteklog promote creativity, support young artists at the radionice koje bi vrlo iroko tretirale pozicionira- Luka Bori and Vedran Kasap. Two lectures on which could take a broad approach in applying
najeaja glasila je Make it happen, to je podra- beginning of their careers and to promote the nje metodologije dizajna u realno okruenje. U inclusive design and experience design in tourism design methodology into a real-life environment.
zumijevalo interpretaciju ideje o ivotu punom key values of Chevrolet, the fourth largest brand radionici su sudjelovali studenti Franka Tretinjak, was held as part of the workshop by assistant The participants of the workshop included the
prilika, bez obzira to elite uiniti, promijeniti in the global automotive industry. The competi- Dominik Markui, Nataa Njegovanovi, Petra professor Sanja Benceti. The lecture on inclu- following students: Franka Tretinjak, Dominik
ili biti, sada je vrijeme da to ostvarite (iz promo- tion is organized by Chevrolet Europe in coopera- Vrdoljak, Petra Jelaska i Nina Ivanovi. sive design brought to light the realisation of a Markui, Nataa Njegovanovi, Petra Vrdoljak,
tivnog teksta natjeaja). Na nacionalnoj razini tion with the firms representatives from various Radovi s radionice predstavljaju skicu stanja u significant growth in the number of elderly peo- Petra Jelaska and Nina Ivanovi.
natjeaja, najuspjenijom se pokazala interpre- countries, and the procedures entails application gradu i okolici, nakon preliminarnog istraivanja i ple and expectations that people with difficulties Following a preliminary research and anal-
tacija ove krilatice koju su u kategoriji fotografije of individual secondary schools and universities analize situacije u izgraenoj strukturi i prirodnim have of social integration and equal participation ysis of the situation in the built environment
ostvarili studenti Maja Suboti i Ivan Orin Vrka, together with their pupils and students. The karakteristikama prostora. Specifinosti Moto- in everyday life. All that represents a challenge to and natural characteristics of Motovun, the
osvojivi prvu nagradu. Ivan Orin Vrka ovaj je competition grows with each year and gains big- vuna i njegove mikrolokacije istaknute su kao the usual perceptions of the ways products and works created at the workshop came to repre-
uspjeh samostalno ponovio i u kategoriji vizu- ger publicity and respectable reputation in the resurs za budua istraivanja i analizu potencijala services should be designed. sent a sketch of the situation in the town and its
alnih umjetnosti, gdje je njegov dizajn za liniju profession. It contains the categories of fashion, za intervenciju dizajna kao interaktivnog genera- The second lecture addressed the fact that surrounding area. Particularities of Motovun and
majica na zadanu temu, pod geslom Never tire, photography, video and visual arts, each of which tora promjene. U tu svrhu radovi s radionice pred- the evolution of market demands of economi- its micro location were marked as resource for
takoer proglaen najboljim. Nadamo se da e gets a separate brief in accordance with the loili su neke inicijalne koncepcije kao poticaj za cally developed societies and new communica- future research and analysis of potentials in order
neki novi klinci u aktualnoj akademskoj godini na general topic of the competition. The first round daljnji dijalog o temi grada. Zavrna prezentacija i tion systems lead to the transformation of users to make possible for design to act as interactive
ovom natjeaju ostvariti podjednak uspjeh, ako takes place on a national level and the winners in diskusija odrana je skupa s prezentacijom radova who shed the role of passive observers of deve- generator of changes. For that purpose the wor-
ne i vei! each of the categories, elected by a professional studenata arhitekture lopment and innovation. Instead of simple choo- kshop works offered initial concepts as an enco-
jury, continue competing on the European level. sing and using pre-designed products and system, uragement for further dialogue about the town.
The awards at this level include a rather signifi- they expect complex possibilities of adjustment The final presentation and discussion on the topic
cant amount of money and an opportunity for according to their own requirements and expec- was held together with the presentation of works
further education or internship in specific profe- tations. The introductory lecture on design by architecture students.
ssional fields in leading firms. research methodology was held by assistant

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

RADIONICA STUDIJA DIZAJNA NA


PANCIRFESTU / SCHOOL OF DESIGN
WORKSHOP AT PANCIRFEST
24.8.1.9.2012., Varadin

Ve etiri godine Studij dizajna i varadinski pan- Fokus protekle radionice bio je na osmilja-
cirfest, festival dobrih emocija (odnosno kvali- vanju i izradi jednostavnih elemenata urbane
tetne glazbe, kazalita, filma te openito kulture opreme, ime se pokualo odgovoriti na nove
u okruenju ulice i urbane gradske vreve) konti- potrebe grada Varadina u vrijeme odravanja
nuirano surauju sa zajednikim ciljem poticanja pancirfesta, kada je diljem gradskih prostora
i oivljavanja gospodarstva, industrije, turizma i izvanredno povean protok ljudi iz svih krajeva
kulture u lokalnom kontekstu. Svake se godine zemlje, ali i regije. Cilj je bio sinergijom industrij-
u vrijeme odravanja festivala, u posljednjem skog dizajna i vizualnih komunikacija uoiti novo-
tjednu kolovoza, odravaju studentske radionice, nastale promjene i trenutano reagirati proizvod-
otvorene za javnost, na kojima se metodolokim njom urbane opreme od lako dostupnih i jeftinih
i multidisciplinarnim pristupom kreiraju i razvijaju materijala. To je podrazumijevalo objekte koji In the last four years, the School of Design and The last years workshop focused on the
projekti koji e pomoi lokalnoj zajednici. Zadaci su samo u tom odreenom razdoblju ispunja- the organizers of pancirfestthe festival of creation of simple elements of urban equi-
radionica kreirani su za odreene lokalne subjekte, vali potrebe za odmorom ili zabavom, rjeavali good emotions (that is, good music, theatre, film pment, which was an attempt to respond to new
a od studenata sudionika oekuje se ponuda problem otpada, signalistike i sl, uz reference na and generally, culture that goes on in the streets demands of the city of Varadin in the period of
izvedivih i isplativih rjeenja prilagoenih mogu- lokalne specifinosti i identitet u irem kontek- of Varadin) have been collaborating with the the festival, when a lot of urban spaces receive
nostima tehnologije lokalnih tvrtki i proizvoaa. stu regije i grada, ali i uem kontekstu pojedinih common goal of stimulating and reviving the a large number of people from all parts of the
Na ovakav se nain najiroj javnosti predstavljaju dijelova grada, ulica, zgrada i sl. Svi su elementi local economy, industry, tourism and culture. country and the region. The aim of the workshop
projekti koji istodobno afirmiraju kulturu i praksu urbane opreme bili nainjeni od papirne grae, Each year in the last week of August, the festival was to use the synergy of industrial design and
dizajna, ali i niz lokalnih vrijednosti i specifinosti odnosno kartona zbog njegove ekonominosti programme includes workshops for students but visual communications so as to determine newly
koje sudionici originalno interpretiraju i oboga- i ekoloke prirode. Takoer, bitno je napome- also open to the general public. The workshops emerging changes and immediately react to
uju. Prednost ovakvog pristupa je i u tome to nuti kako je neposredno prije poetka festivala are based on methodological and interdiscipli- them by creating urban equipment from easily
proizvode kreirane na radionici mogu odmah ispi- (zakljuno s 24. kolovoza), u izlobenom prostoru nary approaches to the creation and development attainable and cheap materials. That entailed
tati krajnji korisnici graani Varadina i ostali Gradske trnice odrana izloba svih radova koji of projects which can help the local community. only the facilities which in that particular time
posjetitelji festivala. su nastali na radionicama Studija dizajna i panci- Since workshop projects are envisaged to be of were required to meet leisure and entertainment
rfesta od 2009. do 2011. godine, koja je posluila use to the community, the participating students demands of visitors. Solutions were found for
kao uvod u ovogodinju radionicu. U njoj su pak are expected to offer a range of cost-effective the problems of waste, signage, etc., taking into
sudjelovali studenti Dora Bilandi, Niko Crnevi, and feasible solutions adjusted to the technologi- consideration the local particularities and iden-
Mario Dobreevi, Nikica Jurkovi, Dina Milov- cal possibilities of particular local companies and tity in the wider context of the city and region,
i, Adriana Paveli, Katarina Peri, Sanja Rotter, manufacturers. This way the public is presented but also in a narrow sense of certain parts of the
Marina Troi i Ozana Uri, a radu su ih vodili with projects and products that affirm both the city, streets, buildings etc. All the elements of the
asistenti Luka Bori i Vedran Kasap, uz suradnju culture and practice of design, but also a number urban equipment were made from cardboard due
meunarodno priznatog dizajnera Vanje Cuculia. of local values and particularities which the par- to its cost-efficient and ecological characteristics.
Kao i proteklih godina, produkti studenata ticipants originally interpret and enrich with their It is also important to mention that immedia-
uspjeno su se uklopili u ivot grada Varadina creativity. The advantage of such an approach lies tely before the beginning of the festival (until and
i kreativnu energiju pancirfesta, nastavljajui in the fact that the products created in the wor- including 24th August), Varadins Public Library
kontinuitet koji e sigurno i dalje rasti. kshops can be evaluated by end usersthe citi- hosted an exhibition of all the works created in
zens of Varadin and other festival visitors. the festival workshops from 2009 to 2011 which
served as an introduction to this years workshop.
Its participants included the students Dora Bilan-
di, Niko Crnevi, Mario Dobreevi, Nikica
Jurkovi, Dina Milovi, Adriana Paveli, Kata-
rina Peri, Sanja Rotter, Marina Troi and Ozana
Uri. They were supervised by Luka Bori and
Vedran Kasap, research and teaching assistants at
the School of Design, in collaboration with Vanja
Cuculi, an internationally renowned designer.
Similarly to the previous years, students pro-
ducts were successfully integrated into the city
life and the creative energy of pancirfest, con-
tinuing the cooperation which will certainly keep
growing in the future.

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godinjak studija dizajna / school of design annual review 2011/2012 dogaanja / events

IZLOBA HRVATSKOG DIZAJNA 1112 /


EXHIBITION OF CROATIAN DESIGN 1112
13.9.15.11.2012., Muzej za umjetnost i
obrt / Museum of Arts and Crafts, Zagreb

Bijenalna Izloba hrvatskog dizajna u organiza- This years laureate of ICOGRADA Excellence
ciji Hrvatskog dizajnerskog drutva sredinja je Award was our student Marko Hrastovec. His
domaa strukovna manifestacija koja od 1999. work As I Lay Dying was awarded for its original
godine predstavlja kompetentan i relevantan typographic interpretation of William Faulkners
pregled najvanijih grana dizajna: vizualnih world famous classic piece of literature. The
komunikacija, industrijskog dizajna, dizajna elek- design was created within the third year course
tronikih/interaktivnih medija, dizajna ambalae, Typography. Other winning participants in the
postava izlobi, signalizacije i prostorne grafike, student categories were Tessa Bachrach-Kritofi
dizajnerskog koncepta, te modnog, odnosno for the best visual communications design The
odjevnog dizajna. Prilikom sveanog otvaranja White Stripess LP cover, created also within the
izlobe meunarodni ocjenjivaki sud dodjeljuje course Typography (supervisors: Nikola urek
nagrade u svakoj od spomenutih kategorija, i to and Damir Brali); Ozana Uri has been given
za profesionalce i za studente, a studenti Studija HDDs Commendation in the category of pro-
dizajna, koji se godinama kontinuirano predstav- duct/industrial design for the work Jinxed Chair
ljaju na Izlobi, redovito su i meu nagraenima. (mentors: Mladen Orei, Vedran Kasap), and
Ocjenjivaki sud ove je godine djelovao u Sanja Rotter has been awarded by HDD for the
sastavu: informacijski arhitekt Vanja Bertalan, best design concept for the work Wood: Mate-
grafiki dizajner i tipograf Nikola urek, indu- rial / Integinble (mentors: Mladen Orei, Veda-
strijski dizajner Neven Kovai, modni dizajner i ran Kasap).
likovni umjetnik Silvio Vujii, grafika dizajne- Upravo je ove godine laureat te znaajne The biennial exhibition of Croatian design, orga- In addition to students, HDD award for the
rica Narcisa Vukojevi, industrijski dizajner Jure nagrade na student Marko Hrastovec, a dodi- nized by the Croatian Association of Designers best concept in professional category was given
Miklavc (Slovenija), te grafiki dizajner Mirko jeljena mu je za rad As I Lay Dying, originalnu (HDD) is the major professional event in the to Julia Cassim and Sanja Benceti, teaching
Ili (SAD). Dakako, dodjeljuju se i Velika nagrada tipografsku interpretaciju knjievnog klasika country which has since 1999 presented a com- assistant in the course Industrial Design, and
HDD-a, kao i Nagrada za ivotno djelo, no one, Williama Faulknera, nastalu u sklopu kolegija plete and relevant overview of the most signifi- mentor for the course Inclusive Design in the
naravno, ne dotiu studentsku kategoriju. Ali, Tipografije na treoj godini studija. Ostali laureati cant branches of design: visual communications, graduate programme. The awarded concept was
zasebna nagrada ICOGRADA Excellence Award, u studentskim kategorijama su Tessa Bachrach- industrial design, electronic/interactive media the inclusive design workshops entitled Extra-
pod pokroviteljstvom i u tradiciji krovnog svjet- Kritofi za najbolji dizajn vizualnih komunikacija design, the design of packaging, exhibitions, ordinary Design, which were held in Osijek last
skog udruenja dizajnera vizualnih komunikacija, omot ploe The White Stripes, kreiran takoer signage and spatial graphics, design concepts and year. The participants of the workshops included
svake se godine dodjeljuje ukupno najboljem radu na kolegiju Tipografije (mentori: Nikola urek i fashion design. At the ceremonial opening of the not only students of the School of Design, but
u podruju vizualnih komunikacija, bez obzira je Damir Brali); zatim Ozana Uri, koja je primila exhibition the international jury awards prizes in of many other related faculties, and professional
li rije o profesionalnoj ili studentskoj kategoriji. Priznanje HDD-a u kategoriji produkta/industrij- each of the aforementioned categories, for both designers interested in the topic. All the awarded
skog dizajna za rad Stolica Pegula (mentori: Mla- professional and student works. Students of the works were created in the course of the acade-
den Orei, Vedran Kasap); te Sanja Rotter, koja School of Design have been for years presenting mic year 2011/2012 and they showed once again
je osvojila Nagradu HDD-a za najbolji dizajnerski their works at the exhibition, and have regularly the vitality and quality of the study programme.
koncept, za svoj diplomski rad Wood: Material been awarded. They also proved a great value of joint efforts of
/Intangible (mentori: Mladen Orei, Vedran This years jury was comprised of information students, professors and the entire staff of the
Kasap). Pored studenata, Sanja Benceti, asisten- architect Vanja Bertalan, graphic designer and School of Design.
tica na kolegiju ProjektiranjeIndustrijski dizajn, typographer Nikola urek, industrial designer
te nositeljica kolegija Inkluzivni dizajn na diplom- Neven Kovai, fashion designer and artist Silvio
skom studiju, zajedno s Juliom Cassim osvojila je Vujii, graphic designer Narcisa Vukojevi, indu-
Nagradu HDD-a za najbolji koncept u profesio- strial designer Jure Miklavc (Slovenia), and graphic
nalnoj kategoriji, za osmiljavanje radionica inklu- designer Mirko Ili (USA). HDDs Grad Prix and
zivnog dizajna Extraordinary design, koje su se Life Award have been given to esteemed profe-
prole kalendarske godine odrale u Osijeku, a ssionals. However, the special Excellence Award
na njima su osim studenata Studija dizajna sudje- awarded by ICOGRADA, under the auspices and
lovali i studenti s drugih srodnih fakulteta, ali i according to the tradition of this top world asso-
zainteresirani profesionalci. Svi nagraeni radovi ciation of visual communications designers, is
nastali su tijekom akademske godine 2011./2012, awarded each year to the best work in the field
te su jo jednom pokazali vitalnost i kvalitetu stu- of visual communications, regardless whether it
dijskog programa, ali i dokazali veliku vrijednost belongs to a student or professional category.
zajednikih napora studenata, profesora i ostalog
fakultetskog osoblja.

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IZVEDBENI PROGRAM
Curriculum Outline

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PREDDIPLOMSKI STUDIJ

1. GODINA 1. SEMESTAR 2. SEMESTAR NOSITELJI KOLEGIJA SURADNICI

Zajedniki predmeti Pred. Vjebe ects Pred. Vjebe ects


ProjektiranjeIndustrijski dizajn 1, 2 15 30 3.5 15 30 3.5 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
ProjektiranjeVizualne komunikacije 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Crtanje 1, 2 0 30 2.5 0 30 2.5 izv.prof. Boris Ilekovi
prof.dr.sc. Ivan Juras
izv.prof. Marcela Munger
Kompozicija 1, 2 15 15 2.5 15 15 2.5 prof. Marcel Bai
Plastino oblikovanje 1, 2 15 15 2.5 15 15 2.5 v.pred. Marija Rendi-Mioevi
prof. Renata Waldgoni
Vizualna kultura 1, 2 30 0 2.5 30 0 2.5 izv.prof.dr.sc. Milan Pelc
Uvod u dizajn 1, 2 15 15 2.5 15 15 2.5 izv.prof.dr.sc. Fea Vuki
Povijest pisma i tipografije 15 15 2 0 0 doc. Damir Brali
Teorija tipografije 1 0 0 15 15 2 doc.dr.sc. Nikola urek doc. Damir Brali
Osnove informacijskog dizajna 15 15 2 0 0 doc. Damir Brali
3d modeliranje i vizualizacija 0 0 15 15 2 prof.dr.sc. Bojan Baleti asist.mr.sc. Roberto Vdovi
Matematika 1, 2 15 15 2 15 15 2 v.pred.mr.sc. Juraj Hrnevi
v.pred. Zlatko Klanac
Nacrtna geometrija i perspektiva 1, 2 15 15 2.5 15 15 2.5 v.pred.mr.sc. Boica Hajsig
v.pred.mr.sc. Nikoleta Sudeta
Engleski za dizajn / Njemaki za dizajn 1, 2 15 15 2 15 15 2 v.pred.mr.sc. Neda Bori
pred. Dubravka uri Nemec
Tjelesna i zdravstvena kultura 1, 2 0 30 0 30 v.pred.mr.sc. Zvonko Vrani
420 30 420 30

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2. GODINA 3. SEMESTAR 4. SEMESTAR NOSITELJI KOLEGIJA SURADNICI

Zajedniki predmeti Pred. Vjebe ects Pred. Vjebe ects


Crtanje 3, 4 0 30 2.5 0 30 2.5 izv.prof. Boris Ilekovi
prof.dr.sc. Ivan Juras
izv.prof. Marcela Munger
Povijest umjetnosti 1 30 0 2.5 0 0 prof.dr.sc. Miljenko Jurkovi
Povijest umjetnosti 2 0 0 30 0 2.5 v.pred.mr.sc. Krunoslav Kamenov
Metodologija dizajna 15 15 2.5 0 0 prof.dr.sc. Goroslav Keller
Fotografija 0 0 15 30 3 izv.prof. Stanko Herceg doc. Aleksandra Dabanovi
Engleski za dizajn / Njemaki za dizajn 3, 4 15 15 2 15 15 2 v.pred.mr.sc. Neda Bori
pred. Dubravka uri Nemec
Osnove intelektualnog vlasnitva 0 0 30 0 2 pred. Dina Korper emva
Tjelesna i zdravstvena kultura 3, 4 0 30 0 30 v.pred.mr.sc. Zvonko Vrani
150 9.5 165 12

Predmeti smjera industrijski dizajn


ProjektiranjeIndustrijski dizajn 3, 4 15 45 6.5 15 45 6.5 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
Konstruiranje pomou raunala 15 30 3 0 0 prof.dr.sc. Dorian Marjanovi asist. Damir Dekovi
doc.dr.sc. Mario torga
Ergonomija 1, 2 30 0 3 30 0 2 izv.prof.dr.sc. Tanja Jurevi-Luli
prof.dr.sc. Diana Mili
Mehanika 1, 2 30 0 3 30 0 2.5 prof.dr.sc. Zdenko Tonkovi
Osnove konstrukcija 0 0 15 15 2 prof.dr.sc. Milan Opali doc.dr.sc. Dragan eelj
Konstrukcije drvnih proizvoda 1 0 0 15 30 3 prof.dr.sc. Ivica Grbac v.asist.dr.sc. Ivica upi
165 15.5 195 16

Izborni predmeti smjera industrijski dizajn*


Crtanje akt 1, 2 0 30 2.5 0 30 2 prof. Zlatko Kauzlari
izv.prof. Darko Baklia
Osnove interaktivnih medija 1, 2 15 15 2.5 15 15 2 pred. Ian Bori asist. Tin Kadoi
Grafiki materijali i tisak 1, 2 15 15 2.5 15 15 2 v.pred.dr.sc. Tomislav Kosi
60 5 30 2

Predmeti smjera vizualne komunikacije


ProjektiranjeVizualne komunikacije 3, 4 15 45 6.5 15 45 6.5 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Teorija tipografije 2, 3 15 30 3 15 30 3 doc.dr.sc. Nikola urek doc. Damir Brali
Grafiki proizvodi 1, 2 30 15 2.5 15 0 2 v.pred.dr.sc. Tomislav Kosi
Grafiki materijali i tisak 1, 2 30 15 3 15 15 2 v.pred.dr.sc. Tomislav Kosi
Osnove interaktivnih medija 1, 2 15 30 3 15 30 2.5 pred. Ian Bori asist. Tin Kadoi
240 18 195 16

Izborni predmeti smjera vizualne komunikacije**


Crtanje akt 1, 2 0 30 2.5 0 30 2 izv.prof. Darko Baklia
prof. Zlatko Kauzlari
Ergonomija 1, 2 30 0 2.5 30 0 2 izv.prof.dr.sc. Tanja Jurevi-Luli
prof.dr.sc. Diana Mili
Tipografijaraunarski slog 1, 2 15 15 2.5 15 15 2 izv.prof.dr.sc. Klaudio Pap
prof.dr.sc. Vilko iljak
30 2.5 30 2
* Upisuje se 60 sati predavanja/vjebi (ECTS 5)
**Upisuje se 30 sati predavanja/vjebi (ECTS 2.5)

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3. GODINA 5. SEMESTAR 6. SEMESTAR NOSITELJI KOLEGIJA SURADNICI

Zajedniki predmeti Pred. Vjebe ects Pred. Vjebe ects


Uvod u povijest dizajna 30 0 2.5 0 0 izv.prof.dr.sc. Fea Vuki
Marketing 1, 2 30 0 2 30 0 2 prof.dr.sc. Jurica Pavii
Psihologija za dizajnere 0 0 30 0 2 izv.prof.dr.sc. eljko Jernei
Uvod u ekoloku psihologiju 30 0 2 0 0 prof.dr.sc. Dinka orkalo Biruki
Socijalna ekologija 0 0 15 15 2 izv.prof.dr.sc. Anka Mieti asist.dr.sc. Marija Geiger Zeman
90 6.5 90 6

Predmeti smjera industrijski dizajn


ProjektiranjeIndustrijski dizajn 5, 6 15 75 8 15 75 8 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
Konstrukcije drvnih proizvoda 2 30 15 3 0 0 prof.dr.sc. Ivica Grbac v.asist.dr.sc. Ivica upi
Konstrukcije proizvoda iz plastike 0 0 30 30 4.5 doc.dr.sc. Tatjana Haramina
Drvni proizvodi 0 0 30 0 2 prof.dr.sc. Andrija Bogner
Elementi arhitektonskog projektiranja 1, 2 15 30 3.5 15 30 3.5 prof.dr.sc. Nikola Filipovi doc. Sinia Justi
Strojarske konstrukcije 30 15 3 0 0 izv.prof.dr.sc. Tanja Jurevi-Luli
prof.dr.sc. Diana Mili
225 17.5 225 18

Izborni predmeti smjera industrijski dizajn*


Fotografija i film za industrijski dizajn 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg doc. Aleksandra Dabanovi
Tehnike prezentiranja pomou raunala 1, 2 15 15 2.5 15 15 2.5 struni suradnik Vedran Kasap
Likovne vjebeilustracija 1, 2 15 15 2.5 15 15 2.5 izv.prof. Ivan Doroghy asist. Inja Kavuri Kireta
Scenografija 1, 2 30 15 3.5 30 15 3.5 prof. Zlatko Kauzlari
izv.prof. Darko Baklia
75 6 75 6

Predmeti smjera vizualne komunikacije


ProjektiranjeVizualne komunikacije 5, 6 15 75 8 15 75 8 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Fotografija i film 1, 2 15 45 4 15 45 4 izv.prof. Stanko Herceg doc. Aleksandra Dabanovi
Raunarska reprofotografija 1, 2 30 15 3.5 15 15 2.5 izv.prof.dr.sc. Klaudio Pap
prof.dr.sc. Vilko iljak
Prostorni problemi dizajna 0 0 15 30 3.5 prof.dr.sc. Boris Morsan izv.prof. Stanko Stergarek
Oglaavanje 15 15 2 0 0 pred. Veljko van
225 17.5 225 18

Izborni predmeti smjera vizualne komunikacije*


Likovne vjebeilustracija 1, 2 15 15 2.5 15 15 2.5 izv.prof. Ivan Doroghy asist. Inja Kavuri Kireta
Scenografija 1, 2 30 15 3.5 30 15 3.5 izv.prof. Darko Baklia
prof. Zlatko Kauzlari
Dizajn fonta i kaligrafija 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek doc. Damir Brali
Elementi arhitektonskog projektiranja 1, 2 15 30 3.5 15 30 3.5 prof.dr.sc. Nikola Filipovi doc. Sinia Justi
Tehnike prezentiranja pomou raunala 1, 2 15 15 2.5 15 15 2.5 struni suradnik Vedran Kasap
Grafike tehnike 1, 2 0 30 2.5 0 30 2.5 doc. Josip Bae
75 6 75 6

* Upisuje se 75 sati predavanja/vjebi (ECTS 6)

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Undergraduate Programme

FIRST YEAR 1st SEMESTER 2nd SEMESTER COURSE LEADERS ASSOCIATES AND ASSISTANTS

Joint Courses Lectures Exercises Credits Lectures Exercises Credits


Industrial Design Studio 1, 2 15 30 3.5 15 30 3.5 Zlatko Kapetanovi, MSc, associate professor Sanja Benceti, MSc, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assistant
Visual Communications Studio 1,2 15 30 3.5 15 30 3.5 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Drawing 1, 2 0 30 2.5 0 30 2.5 Boris Ilekovi, associate professor
Ivan Juras, PhD, full professor
Marcela Munger, associate professor
Composition 1, 2 15 15 2.5 15 15 2.5 Marcel Bai, full professor
Theory of Form 1, 2 15 15 2.5 15 15 2.5 Marija Rendi-Mioevi, senior lecturer
Renata Waldgoni, full professor
Visual Culture 1, 2 30 0 2.5 30 0 2.5 Milan Pelc, PhD, associate professor
Introduction to Design 1, 2 15 15 2.5 15 15 2.5 Fea Vuki, PhD, associate professor
History of Script and Typography 15 15 2 0 0 Damir Brali, assistant professor
Theory of Typography 0 0 15 15 2 Nikola urek, PhD, assistant professor Damir Brali, assistant professor
Basic Information Design 15 15 2 0 0 Damir Brali, assistant professor
3d Modelling and Visualisation 0 0 15 15 2 Bojan Baleti, PhD, full professor Roberto Vdovi, MSc, teaching assistant
Mathematics 1, 2 15 15 2 15 15 2 Juraj Hrnevi, MA, senior lecturer
Zlatko Klanac, senior lecturer
Descriptive Geometry and Perspective 1, 2 15 15 2.5 15 15 2.5 Boica Hajsig, MA, senior lecturer
Nikoleta Sudeta, MA, senior lecturer
English for Design / German for Design 1, 2 15 15 2 15 15 2 Neda Bori, MA, senior lecturer
Dubravka uri Nemec, lecturer
Physical Education 1, 2 0 30 0 30 Zvonko Vrani, MA, senior lecturer
420 30 420 30

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SECOND YEAR 3rd SEMESTER 4th SEMESTER COURSE LEADERS ASSOCIATES AND ASSISTANTS

Joint Courses Lectures Exercises Credits Lectures Exercises Credits


Drawing 3, 4 0 30 2.5 0 30 2.5 Boris Ilekovi, associate professor
Ivan Juras, PhD, full professor
Marcela Munger, associate professor
Art History 1 30 0 2.5 0 0 Miljenko Jurkovi, PhD, full professor
Art History 2 0 0 30 0 2.5 Krunoslav Kamenov, MA, senior lecturer
Design Methodology 15 15 2.5 0 0 Goroslav Keller, PhD, full professor
Photography 0 0 15 30 3 Stanko Herceg, associate professor Aleksandra Dabanovi, assistant professor
English for Design/ German for Design 3, 4 15 15 2 15 15 2 Neda Bori, MA, senior lecturer
Dubravka uri Nemec, lecturer
Intellectual Property Basics 0 0 30 0 2 Dina Korper emva, lecturer
Physical Education 3, 4 0 30 0 30 Zvonko Vrani, MA, senior lecturer
150 9.5 165 12

Courses in the Industrial Design Programme


Industrial Design Studio 3, 4 15 45 6.5 15 45 6.5 Zlatko Kapetanovi, MSc, associate professor Sanja Benceti, MSc, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assitant
Computer-Aided Design 15 30 3 0 0 Dorian Marjanovi, PhD, full professor Mario torga, PhD, assistant professor
Ergonomics 1, 2 30 0 3 30 0 2 Tanja Jurevi-Luli, PhD, associate professor
Diana Mili, PhD, full professor
Mechanics 1, 2 30 0 3 30 0 2.5 Zdenko Tonkovi, PhD, full professor
Mechanical Engineering Basics 0 0 15 15 2 Milan Opali, PhD, full professor Dragan eelj, PhD, assistant professor
Wooden Products Engineering 1 0 0 15 30 3 Ivica Grbac, PhD, full professor Ivica upi, PhD, senior teaching assistant
165 15.5 195 16

Elective Courses in the Industrial Design Programme*


Figure Drawing 1, 2 0 30 2.5 0 30 2 Darko Baklia, associate professor
Zlatko Kauzlari, full professor
Interactive Media Basics 1, 2 15 15 2.5 15 15 2 Ian Bori, lecturer Tin Kadoi, teaching assistant
Graphic Materials and Printing 1, 2 15 15 2.5 15 15 2 Tomislav Kosi, PhD, senior lecturer
60 5 30 2

Courses in the Visual Communications Programme


Visual Communications Studio 3, 4 15 45 6.5 15 45 6.5 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Theory of Typography 2, 3 15 30 3 15 30 3 Nikola urek, PhD, assistant professor Damir Brali, assistant professor
Graphic Products 1, 2 30 15 2.5 15 0 2 Tomislav Kosi, PhD, senior lecturer
Graphic Materials and Printing 1, 2 30 15 3 15 15 2 Tomislav Kosi, PhD, senior lecturer
Interactive Media Basics 1, 2 15 30 3 15 30 2.5 Ian Bori, lecturer Tin Kadoi, teaching assistant
240 18 195 16

Elective Courses in the Visual Communications Programme**


Figure Drawing 1, 2 0 30 2.5 0 30 2 Darko Baklia, associate professor
Zlatko Kauzlari, full professor
Ergonomics 1, 2 30 0 2.5 30 0 2 Tanja Jurevi-Luli, PhD, associate professor
Diana Mili, PhD, full professor
Computer Type Layout 1, 2 15 15 2.5 15 15 2 Klaudio Pap, PhD, associate professor
Vilko iljak, PhD, full professor
30 2.5 30 2
* Students attend 60 hours of lectures/exercises (ECTS 5)
**Students attend 30 hours of lectures/exercises (ECTS 2.5)

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THIRD YEAR 5rd SEMESTER 6rd SEMESTER COURSE LEADERS ASSOCIATES AND ASSISTANTS

Joint Courses Lectures Exercises Credits Lectures Exercises Credits


Introduction to the History of Design 30 0 2.5 0 0 Fea Vuki, PhD, associate professor
Marketing 1, 2 30 0 2 30 0 2 Jurica Pavii, PhD, full professor
Psychology for Designers 0 0 30 0 2 eljko Jernei, PhD, associate professor
Introduction to Ecological Psychology 30 0 2 0 0 Dinka orkalo Biruki, PhD, full professor
Social Ecology 0 0 15 15 2 Anka Mieti, PhD, associate professor Marija Geiger Zeman, PhD, teaching assistant
90 6.5 90 6

Courses in the Industrial Design Programme


Industrial Design Studio 5, 6 15 75 8 15 75 8 Zlatko Kapetanovi, MA, associate professor Sanja Benceti, MA, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assistant
Wooden Products Engineering 2 30 15 3 0 0 Ivica Grbac, PhD, full professor Ivica upi, PhD, senior teaching assistant
Plastic Products Engineering 0 0 30 30 4.5 Tatjana Haramina, PhD, assistant professor
Wooden Products 0 0 30 0 2 Andrija Bogner, PhD, full professor
Elements of Architectural Design 1, 2 15 30 3.5 15 30 3.5 Nikola Filipovi, PhD, full professor Sinia Justi, assistant professor
Mechanical Engineering Design 30 15 3 0 0 Tanja Jurevi-Luli, PhD, associate professor
Diana Mili, PhD, full professor
225 17.5 225 18

Elective Courses in the Industrial Design Programme*


Photography and Film for Industrial Design 1, 2 15 30 3.5 15 30 3.5 Stanko Herceg, associate professor Aleksandra Dabanovi, assistant professor
Computer-Aided Presentation Techniques 1, 2 15 15 2.5 15 15 2.5 Vedran Kasap, expert associate
Illustration 1, 2 15 15 2.5 15 15 2.5 Ivan Doroghy, associate professor Inja Kavuri Kireta, teaching assistant
Stage Design 1, 2 30 15 3.5 30 15 3.5 Darko Baklia, associate professor
Zlatko Kauzlari, full professor
75 6 75 6

Courses in the Visual Communications Programme


Visual Communications Studio 5, 6 15 75 8 15 75 8 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Photography and Film 1, 2 15 45 4 15 45 4 Stanko Herceg, associate professor Aleksandra Dabanovi, assistant professor
Digital Repro Photography 1, 2 30 15 3.5 15 15 2.5 Klaudio Pap, PhD, associate professor
Vilko iljak, PhD, full professor
Spatial Design Problems 0 0 15 30 3.5 Boris Morsan, PhD, full professor Stanko Stergarek, associate professor
Advertising 15 15 2 0 0 Veljko van, lecturer
225 17.5 225 18

Elective Courses in the Visual Communications Programme*


Illustration 1, 2 15 15 2.5 15 15 2.5 Ivan Doroghy, associate professor Inja Kavuri Kireta, teaching assistant
Stage Design 1, 2 30 15 3.5 30 15 3.5 Darko Baklia, associate professor
Zlatko Kauzlari, full professor
Font Design and Calligraphy 1, 2 15 30 3.5 15 30 3.5 Nikola urek, PhD, assistant professor Damir Brali, assistant professor
Elements of Architectural Design 1, 2 15 30 3.5 15 30 3.5 Nikola Filipovi, PhD, full professor Sinia Justi, assistant professor
Computer-Aided Presentation Techniques 1, 2 15 15 2.5 15 15 2.5 Vedran Kasap, expert associate
Graphic Techniques 1, 2 0 30 2.5 0 30 2.5 Josip Bae, assistant professor
75 6 75 6

* Students attend 75 hours of lectures/exercises (ECTS 6)

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DIPLOMSKI STUDIJ

1. GODINA 1. SEMESTAR 2. SEMESTAR NOSITELJI KOLEGIJA SURADNICI

Zajedniki predmeti Pred. Vjebe ects Pred. Vjebe ects


Sociologija kulture 0 0 15 15 3 izv.prof.dr.sc. Anka Mieti asist.dr.sc. Marija Geiger Zeman
Teorija i povijest dizajna 1, 2 15 15 3 15 15 3 izv.prof.dr.sc. Fea Vuki
Umjetnost danas 0 0 30 0 2 v.pred.mr.sc. Krunoslav Kamenov
Znanstvenoistraivake metode 15 15 2 0 0 pred.dr.sc. Geran Marko Mileti
Razvoj koncepata i strategija 15 15 3 0 0 doc. Ivana Fabrio
Film i video 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg asist.mr.sc. Slaven Zeevi
135 11.5 135 11.5

Predmeti smjera industrijski dizajn


Industrijski dizajn 1, 2 15 60 7.5 15 60 7.5 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
Interieur 1, 2 15 30 4 15 30 4 doc.mr.sc. Sonja Tadej
Izbor materijala 15 30 3.5 0 0 prof.dr.sc. Tomislav Filetin
Suvremene tehnologije materijala 0 15 30 3.5 prof.dr.sc. Mladen ercer
165 15 165 15

Izborni predmeti smjera industrijski dizajn*


Elektronska slika 1, 2 15 30 3.5 15 30 3.5 doc. Miljenko Bukovan
Kolegiji sa Sveuilita 45 0 3.5 45 0 3.5
45 3.5 45 3.5

Predmeti smjera vizualne komunikacije


Dizajn vizualnih komunikacija 1, 2 15 60 7.5 15 60 7.5 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Kreativna komunikacija i drutvo 1, 2 15 30 4 15 30 4 pred. Veljko van
120 11.5 120 11.5

Izborni predmeti smjera vizualne komunikacije**


Projektiranje pisma 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek doc. Damir Brali
Interaktivni mediji 1, 2 15 30 3.5 15 30 3.5 pred. Ian Bori asist. Tin Kadoi
Elektronska slika 1, 2 15 30 3.5 15 30 3.5 doc. Miljenko Bukovan
Kolegiji sa Sveuilita 45 0 3.5 45 0 3.5
90 7 90 7

* Upisuje se 45 sati predavanja/vjebi (ECTS 3.5)


**Upisuje se 90 sati predavanja/vjebi (ECTS 7)

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2. GODINA 3. SEMESTAR 4. SEMESTAR NOSITELJI KOLEGIJA SURADNICI

Zajedniki predmeti Pred. Vjebe ects Pred. Vjebe ects


Teorija i povijest dizajna 3 30 0 6 0 0 izv.prof.dr.sc. Fea Vuki
Tehnike prezentiranja 15 15 2 0 0 doc. Ivana Fabrio
Upravljanje dizajnom 30 0 3 0 0 prof.dr.sc. Goroslav Keller
Poslovno upravljanje 30 0 3 0 0 prof.dr.sc. Velimir Sria
120 14 0

Predmeti smjera industrijski dizajn


Industrijski dizajn 3 15 75 13.5 0 0 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
Industrijski dizajnDiploma 0 0 0 210 20 izv.prof.mr.sc. Zlatko Kapetanovi doc.mr.sc. Sanja Benceti
izv.prof. Mladen Orei doc. Ivana Fabrio
struni suradnik Vedran Kasap
asist. Neven Kovai
Diplomaobrana 0 0 0 0 10
90 13.5 210 30

Izborni predmeti smjera industrijski dizajn*


Inkluzivni dizajn 30 0 2.5 30 0 2.5 doc.mr.sc. Sanja Benceti
Kolegiji sa Sveuilita 30 0 2.5 30 0 2.5
30 2.5 30 2.5

Predmeti smjera vizualne komunikacije


Dizajn vizualnih komunikacija 3 15 75 13.5 0 0 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Dizajn vizualnih komunikacijaDiploma 0 0 0 210 20 izv.prof. Stipe Bri asist. Luka Bori
izv.prof. Nenad Dogan asist. Marina Jakuli
izv.prof. Ivan Doroghy asist. Tomislav Vlaini
Diplomaobrana 0 0 0 0 10
90 13.5 210 30

Izborni predmeti smjera vizualne komunikacije*


Inkluzivni dizajn 30 0 2.5 0 0 doc.mr.sc. Sanja Benceti
Kolegiji sa Sveuilita 30 0 2.5 0 0
30 5 0

* Upisuje se 30 sati predavanja/vjebi (ECTS 2.5)

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Graduate Programme

FIRST YEAR 1st SEMESTER 2nd SEMESTER COURSE LEADERS ASSOCIATES AND ASSISTANTS

Joint Courses Lectures Exercises Credits Lectures Exercises Credits


Sociology of Culture 0 0 15 15 3 Anka Mieti, PhD, associate professor Marija Geiger Zeman, PhD, teaching assistant
Theory and History of Design 1, 2 15 15 3 15 15 3 Fea Vuki, PhD, associate professor
Art Today 0 0 30 0 2 Krunoslav Kamenov, MA, senior lecturer
Scientific Research Methods 15 15 2 0 0 Geran Marko Mileti, PhD, lecturer
Concept and Strategy Development 15 15 3 0 0 Ivana Fabrio, assistant professor
Film and Video 1, 2 15 30 3.5 15 30 3.5 Stanko Herceg, associate professor Slaven Zeevi, MA, teaching assistant
135 11.5 135 11.5

Courses in the Industrial Design Programme


Industrial Design 1, 2 15 60 7.5 15 60 7.5 Zlatko Kapetanovi, MA, associate professor Sanja Benceti, MA, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assistant
Interior Design 1, 2 15 30 4 15 30 4 Sonja Tadej, MA, assistant professor
Selection of Materials 15 30 3.5 0 0 Tomislav Filetin, PhD, full professor
Contemporary Materials Technologies 0 15 30 3.5 Mladen ercer, PhD, full professor
165 15 165 15

Elective Courses in the Industrial Design Programme*


Electronic Images 1, 2 15 30 3.5 15 30 3.5 Miljenko Bukovan, assistant professor
Courses at the University (free choice) 45 0 3.5 45 0 3.5
45 3.5 45 3.5

Courses in the Visual Communications Programme


Visual Communications Design 1, 2 15 60 7.5 15 60 7.5 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Creative Communication and Society 1, 2 15 30 4 15 30 4 Veljko van, lecturer
120 11.5 120 11.5

Elective Courses in the Visual Communications Programme**


Type Design 1, 2 15 30 3.5 15 30 3.5 Nikola urek, PhD, assistant professor Damir Brali, assistant professor
Interactive Media 1, 2 15 30 3.5 15 30 3.5 Ian Bori, lecturer Tin Kadoi, teaching assistant
Electronic Images 1, 2 15 30 3.5 15 30 3.5 Miljenko Bukovan, assistant professor
Courses at the University (free choice) 45 0 3.5 45 0 3.5
90 7 90 7

* Students attend 45 hours of lectures/exercises (ECTS 3.5)


**Students attend 90 hours of lectures/exercises (ECTS 7)

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SECOND YEAR 3rd SEMESTER 4th SEMESTER COURSE LEADERS ASSOCIATES AND ASSISTANTS

Joint Courses Lectures Exercises Credits Lectures Exercises Credits


Theory and History of Design 3 30 0 6 0 0 Fea Vuki, PhD, associate professor
Presentation Techniques 15 15 2 0 0 Ivana Fabrio, assistant professor
Design Management 30 0 3 0 0 Goroslav Keller, PhD, full professor
Business Management 30 0 3 0 0 Velimir Sria, PhD, full professor
120 14 0

Courses in the Industrial Design Programme


Industrial Design 3 15 75 13.5 0 0 Zlatko Kapetanovi, MA, associate professor Sanja Benceti, MA, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assistant
Industrial DesignGraduation Thesis 0 0 0 210 20 Zlatko Kapetanovi, MA, associate professor Sanja Benceti, MA, assistant professor
Mladen Orei, associate professor Ivana Fabrio, assistant professor
Vedran Kasap, expert associate
Neven Kovai, teaching assistant
Graduation ThesisOral Presentation 0 0 0 0 10
90 13.5 210 30

Elective Courses in the Industrial Design Programme*


Inclusive Design 30 0 2.5 30 0 2.5 Sanja Benceti, MA, assistant professor
Courses at the University 30 0 2.5 30 0 2.5
30 2.5 30 2.5

Courses in the Visual Communications Programme


Visual Communications Design 3 15 75 13.5 0 0 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Visual Communications DesignGraduation Thesis 0 0 0 210 20 Stipe Bri, associate professor Luka Bori, teaching assistant
Nenad Dogan, associate professor Marina Jakuli, teaching assistant
Ivan Doroghy, associate professor Tomislav Vlaini, teaching assistant
Graduation ThesisOral Presentation 0 0 0 0 10
90 13.5 210 30

Elective Courses in the Visual Communications Programme*


Inclusive Design 30 0 2.5 0 0 Sanja Benceti, MA, assistant professor
Courses at the University (free choice) 30 0 2.5 0 0
30 5 0

* Students attend 30 hours of lectures/exercises (ECTS 2.5)

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STUDENTI
Students

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godinjak studija dizajna / school of design annual review 2011/2012 studenti / students

1. GODINA PREDDIPLOMSKOG STUDIJA


1st Year Undergraduate Programme

Juraj Balen Valentina Bari Marina Bitunjac Barbara Bjeli Elizabeta Bonjak Vedran Falica Toni ljaka Hana Tintor Marina Troi Marko Uremovi Viktoria Lea Vavra Matej Vukovi

Iva Franji Martina Gelo Matej Goreta Borna Aaron Sara Grubi Karmela Gudiek Ana Vujasi
Grevi

Klasja Habjan Ivana Hrabar Maja Jandri Hana Japudi Tena Kelemen Dominik Markui

Rebecca Mesari Laura Mrka Zita Naki-Vojnovi Nataa Njegovanovi Jana Obradovi Fran Orani

Maja Prelec Josipa Pra Donat Radas Matija Sviben Ivan aban Lovro kilji

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godinjak studija dizajna / school of design annual review 2011/2012 studenti / students

2. GODINA PREDDIPLOMSKOG STUDIJA


2d Year Undergraduate Programme

INDUSTRIJSKI DIZAJN / INDUSTRIAL DESIGN VIZUALNE KOMUNIKACIJE / VISUAL COMMUNICATIONS

Marta Birki Maja Bokovi Niko Crnevi Andrej uki Ana Herceg Stanislav Kosti Matea Brki Anta Buevi Matko Bunti Lana Grahek Zrinka Horvat Nina Ivanovi

Dorotea Kutlea Lucija Nieno Tamara Petrua Kristina Prgomet Ana oli Matija poljar Mario Jeki Paula Kasa Vitomira Martinjak Lovro Miokovi Vanja Perkovi Pavao Prgomet

Petra Vrdoljak Ana Somek Tihana are Alma avar Lara ic

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godinjak studija dizajna / school of design annual review 2011/2012 studenti / students

3. GODINA PREDDIPLOMSKOG STUDIJA


3rd Year Undergraduate Programme

INDUSTRIJSKI DIZAJN / INDUSTRIAL DESIGN VIZUALNE KOMUNIKACIJE / VISUAL COMMUNICATIONS

Ana Armano Kristina Crnek Vedran Erceg Ema Gerovac Josipa Gregorina Filip Havranek Tessa Bachrach Dora Bilandi Marko Cvijeti Hrvoje Dominko Slavica Farka Tihomir Filipec
Vidovi Kritofi

Petra Jelaska Luka Jelaska Dorja Komazli Iva Markovac Kai Ana Matulina Kristina Miroevi Andrea Frani Rajko Greguri Hrvoje Grubii Marko Hrastovec Iva Jankov Nikica Jurkovi

Ruer Novak-Mikuli Nenad Ocvirek Adriana Paveli Karlo Pavii Ena Priselec Janja Rokar Ena Jurov Antonio Karaa Leila Kasumovi Anja Knezi Jurica Koleti Dora Lugari
Mijatovi

Franka Speti Ozana Ursi Ivan Vukmani Dina Milovi Marinko Murgi Tea Pavi Luka Peri Katarina Ratkaj Luka Reicher

Maja Suboti Marina uran Pulig eljka Tkalec Franka Tretinjak Ivor Vrbos Ivan Orin Vrka

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godinjak studija dizajna / school of design annual review 2011/2012 studenti / students

1. GODINA DIPLOMSKOG STUDIJA


1st Year Graduate Programme

INDUSTRIJSKI DIZAJN / INDUSTRIAL DESIGN VIZUALNE KOMUNIKACIJE / VISUAL COMMUNICATIONS

Marta Ani-Kaliger Mario Dobreevi Sandra Maglov Filip Perai Marija Rui Ana Sekuli Laura Bosazzi Sandro Dujmenovi Aleksandra Fura Marija Gaparovi Martina Grani Iva Hrvatin

Anamaria Sever Andrea imi Sanja Tuek Marko Vilipi Marina Juki Daria Marinovi Andrija Mudni Karla Paliska Marina Stanev Vanessa erka

Tomislav estak Made Turinovi Mihovil Vargovi Ivor Vinski Stjepan Zorko

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godinjak studija dizajna / school of design annual review 2011/2012 studenti / students

2. GODINA DIPLOMSKOG STUDIJA


2d Year Graduate Programme

INDUSTRIJSKI DIZAJN / INDUSTRIAL DESIGN VIZUALNE KOMUNIKACIJE / VISUAL COMMUNICATIONS

Hana Ciliga Matija Cvetkovi Dora urkesac Livija Filipi Ana Gorianec Branka Kipke Vina urija Jelena Juki Marija Juza Bojan Kritofi Marina Mijatovi Luka Predragovi

Mia Klemeni Vlatka Leskovar Ivan Levak Nera Nejami Katarina Peri Sanja Rotter Petra Prgomet Romana Roakovi Kazimir eljko imeg Goran oa
Samoanec

Marija Tizaj Kristina Vugrinski

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godinjak studija dizajna / school of design annual review 2011/2012

VIJEE STUDIJA DIZAJNA


POVJERENSTVA
PROGRAMSKI ODBORI
School of Design Council
Commettees
Programme Board

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LANOVI VIJEA STUDIJA DIZAJNA POVJERENSTVA PROGRAMSKI ODBOR

doc. Bae Joko, ALU izv.prof. Orei Mladen, AF Dekan prof.mr.sc. Boris Korunjak Povjerenstvo za obranu diplomskog Povjerenstvo za pripremu i prof.dr.sc. Bojan Baleti
prof. Bai Marcel, ALU izv.prof.dr.sc. Pap Klaudio, GF Tajnik dipl.iur. Deanka Hirjan rada na Diplomskom studiju provedbu razredbenog postupka izv.prof. Stipe Bri
izv.prof. Baklia Darko, ALU prof.dr.sc. Pavii Jurica, EF Industrijski dizajn: na preddiplomskom studiju izv.prof. Nenad Dogan
prof.dr.sc. Baleti Bojan, AF izv.prof.dr.sc. Pelc Milan, vs Voditelj ispostave Studija doc. Ivana Fabrio doc.mr.sc. Sanja Benceti izv.prof. Ivan Doroghy
doc. Benceti Sanja, AF vii pred. Rendi Mioevi Marija, AF dizajna Vinja Krajnovi izv.prof.dr.sc. Anka Mieti asist. Luka Daniel Bori doc. Ivana Fabrio
prof.dr.sc. Bogner Andrija, F prof.dr.sc. Sria Velimir, EF izv.prof. Mladen Orei / izv.prof. Stipe Bri prof.dr.sc. Tomislav Filetin
pred. Bori Ian, vs izv.prof. Stergarek Stanko, Suradnik u studentskoj rEFeradi izv.prof.mr.sc. Zlatko Kapetanovi Sanja Bui izv.prof.mr.sc. Zlatko Kapetanovi
asist. Bori Daniel Luka, vs Agronomski fakultet Studija dizajna Sanja Bui izv.prof.dr.sc. Fea Vuki izv.prof. Nenad Dogan izv.prof.dr.sc. Anka Mieti
vii pred.mr.sc. Bori Neda, AF vii pred.mr.sc. Sudeta Nikoleta, AF +lanovi koji se imenuju u odnosu izv.prof. Ivan Doroghy izv.prof. Mladen Orei
doc. Brali Damir, vs prof.dr.sc. ercer Mladen, FSB na temu rada doc.dr.sc. Nikola urek Izv.prof.dr.sc. Fea Vuki
izv.prof. Bri Stipe, AF, voditelj Studija dizajna doc.dr.sc. torga Mario, FSB Vizualne komunikacije: doc. Ivana Fabrio
doc. Bukovan Miljenko, vs doc. Tadej Sonja, AF izv.prof. Stipe Bri / izv.prof. Ivan Doroghy asist. Marina Jakuli
prof.dr.sc. orkalo Dinka, FF prof.dr.sc. Tonkovi Zdenko, FSB izv.prof. Nenad Dogan izv.prof.mr.sc. Zlatko Kapetanovi
doc. Dabanovi Aleksandra, vs asist.mr.sc. Vdovi Roberto, AF doc.dr.sc. Nikola urek struni suradnik Vedran Kasap
asist. Dekovi Damir, FSB asist. Vlaini Tomislav, vs izv.prof. Stanko Herceg izv.prof. Mladen Orei
izv.prof. Dogan Nenad, AF vii pred.mr.sc. Vrani Zvonko, vs izv.prof.dr.sc. Fea Vuki asist. Tomislav Vlaini
izv.prof. Doroghy Ivan, AF izv.prof.dr.sc. Vuki Fea, AF +lanovi koji se imenuju u odnosu izv.prof.dr.sc. Fea Vuki
pred. uri Nemec Dubravka, vs prof. Waldgoni Renata, AF na temu rada
doc. urek Nikola, UMAS asist.mr.sc. Zeevi Slaven, vs Povjerenstvo za ocjenu sposobnosti
doc. Fabrio Ivana, AF pred. emva Korper Dina, vs Povjerenstvo za obranu diplomskog vizualnog miljenja i likovnog
prof.dr.sc. Filetin Tomislav, FSB doc.dr.sc. eelj Dragan, FSB rada na dodiplomskom studiju izraavanja (1. i 2. Selekcijski krug)
prof.dr.sc. Filipovi Nikola, vs prof.dr.sc. iljak Vilko, GF Grafiki dizajn: izv.prof. Stipe Bri
asist.dr.sc. Geiger Marija, Institut Ivo Pilar vii asist.dr.sc. upi Ivica, F izv.prof. Stipe Bri izv.prof. Nenad Dogan
prof.dr.sc. Grbac Ivica, F pred. van Veljko, vs izv.prof. Nenad Dogan doc.dr.sc. Nikola urek
vii pred.mr.sc. Hajsig Boica, AF izv.prof. Ivan Doroghy izv.prof. Boris Ilekovi
doc.dr.sc. Haramina Tatjana, FSB predstavnici studenata izv.prof. Stanko Herceg prof.dr.sc. Ivan Juras
izv.prof. Herceg Stanko, AF Preddiplomski studij v.pred.dr.sc. Tomislav Kosi izv.prof.mr.sc. Zlatko Kapetanovi
vii pred.mr.sc. Hrnevi Juraj, AF 1. godina: Matija Sviben izv.prof.dr.sc. Milan Pelc struni suradnik Vedran Kasap
izv.prof. Ilekovi Boris, vs 2. godina: Tamara Petrua (industrijski Produkt dizajn: asist. Inja Kavuri Kireta
asist. Jakuli Marina, vs dizajn), Matea Brki (vizualne komunikacije) prof.dr.sc. Ivica Grbac izv.prof. Mladen Orei
izv.prof.dr.sc. Jernei eljko, FF 3. godina: Dorja Komazli (industrijski dizajn), doc.dr.sc. Tatjana Haramina v.pred. Marija Rendi-Mioevi
prof.dr.sc. Juras Ivan, vs Maja Suboti (vizualne komunikacije) izv.prof.mr.sc. Zlatko Kapetanovi
izv.prof.dr.sc. Jurevi Tanja, FSB Diplomski studij izv.prof.dr.sc. Anka Mieti
prof.dr.sc. Jurkovi Miljenko, FF 1. godina: Marta Ani-Kaliger izv.prof. Mladen Orei Povjerenstvo za pripremu i
doc. Justi Sinia, AF (industrijski dizajn), Martina Grani izv.prof.dr.sc. Fea Vuki provoenje razredbenog postupka
vii pred.mr.sc. Kamenov Krunoslav, ALU (vizualne komunikacije) na diplomskom studiju
izv.prof.mr.sc. Kapetanovi Zlatko, AF 2. godina: Marija Tizaj (industrijski dizajn), Povjerenstvo za provoenje i ocjenu doc.mr.sc. Sanja Benceti
asist. Kadoi Tin, vs Luka Predragovi (vizualne komunikacije) intervjua na preddiplomskom studiju izv. prof. Stipe Bri
stru.surad. Kasap Vedran, TV doc. Damir Brali izv.prof. Nenad Dogan
prof. Kauzlari Zlatko, ALU izv.prof. Stipe Bri izv.prof. Ivan Doroghy
asist. Kavuri Kireta Inja, vs ALU* Akademija likovnih umjetnosti izv.prof. Nenad Dogan doc.dr.sc. Nikola urek
prof.dr.sc. Keller Goroslav, EF AF* Arhitektonski fakultet doc.dr.sc. Nikola urek doc. Ivana Fabrio
vii pred. Klanac Zlatko, AF EF* Ekonomski fakultet doc. Ivana Fabrio izv.prof.mr.sc. Zlatko Kapetanovi
asist. Kovai Neven, vs FF* Filozofski fakultet izv.prof.mr.sc. Zlatko Kapetanovi izv.prof. Mladen Orei
vii pred.dr.sc. Kosi Tomislav, vs FSB* Fakultet strojarstva i brodogradnje struni suradnik Vedran Kasap izv.prof.dr.sc. Fea Vuki
prof.dr.sc. Marjanovi Dorian, FSB GF Grafiki fakultet izv.prof. Mladen Orei
prof.dr.sc. Mili Diana, GF F umarski fakultet izv.prof.dr.sc. Milan Pelc
pred.dr.sc. Mileti Geran Marko, TV Tehniko veleuilite izv.prof.dr.sc. Fea Vuki
Institut Ivo Pilar vs vanjski suradnik
izv.prof.dr.sc. Mieti Anka, Institut Ivo Pilar
prof.dr.sc. Morsan Boris, AF * Fakulteti potpisnici sporazuma
izv.prof. Munger Marcela, vs o organizaciji i provoenju
prof.dr.sc. Opali Milan, FSB nastave na Studiju dizajna.

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SCHOOL OF DESIGN COUNCIL MEMBERS COMMITTEES PROGRAMME COMMITTEE

Bae Joko, assistant professor, ALU Munger Marcela, associate professor, vs dean Boris Korunjak, MA Committee for the Graduation Committee for Admission to Bojan Baleti, PhD, full professor
Bai Marcel, full professor, ALU Opali Milan, PhD, full professor, FSB university secretary Deanka Hirjan, J.D. Theses and Final Examination Undergraduate Programme Stipe Bri, associate professor
Baklia Darko, associate professor, ALU Orei Mladen, associate professor, AF head of the school of design in Graduation Programme Sanja Benceti, MA, assistant professor Nenad Dogan, associate professor
Baleti Bojan, PhD, full professor, AF Pap Klaudio, PhD, associate professor, GF Stipe Bri, associate professor Industrial Design: Luka Daniel Bori, teaching assistant Ivan Doroghy, associate professor
Benceti Sanja, assistant professor, AF Pavii Jurica, PhD, full professor, EF Ivana Fabrio, assistant professor Stipe Bri, associate professor Ivana Fabrio, assistant professor
Bogner Andrija, PhD, full professor, F Pelc Milan, PhD, associate professor, vs Head of the School of Design Anka Mieti, PhD, associate professor Sanja Bui Tomislav Filetin, PhD, full professor
Bori Ian, lecturer, vs Rendi Mioevi Marija, senior lecturer, AF Branch Office Vinja Krajnovi Mladen Orei, associate professor / Nenad Dogan, associate professor Zlatko Kapetanovi, MA, associate professor
Bori Daniel Luka, teaching assistant, vs Sria Velimir, PhD, full professor, EF Zlatko Kapetanovi, MA, associate professor Ivan Doroghy, associate professor Anka Mieti, PhD, associate professor
Bori Neda, Ma, senior lecturer, AF Stergarek Stanko, associate professor, Assistant in the School of Designs Fea Vuki, PhD, associate professor Nikola urek, PhD, assistant professor Mladen Orei, associate professor
Brali Damir, assistant professor, vs Faculty of Agriculture Student Administration Office Sanja Bui + members appointed in relation Ivana Fabrio, assistant professor Fea Vuki, PhD, associate professor
Bri Stipe, associate professor, AF, Sudeta Nikoleta, MA, senior lecturer, AF to the thesis topic Marina Jakuli, teaching assistant
Head of School of Design ercer Mladen, PhD, full professor, FSB Visual Communications: Zlatko Kapetanovi, MA, associate professor
Bukovan Miljenko, assistant professor, vs torga Mario, PhD, assistant professor, FSB Stipe Bri, associate professor / Vedran Kasap, expert associate
orkalo Dinka, PhD, full professor, FF Tadej Sonja, assistant professor, AF Ivan Doroghy, associate professor Mladen Orei, associate professor
Dabanovi Aleksandra, assistant professor, vs Tonkovi Zdenko, PhD, full professor, FSB Nenad Dogan, associate professor Tomislav Vlaini, teaching assistant
Dekovi Damir, teaching assistant, FSB Vdovi Roberto, MA, teaching assistant, AF Nikola urek, PhD, assistant professor Fea Vuki, PhD, associate professor
Dogan Nenad, associate professor, AF Vlaini Tomislav, teaching assistant, vs Stanko Herceg, associate professor
Doroghy Ivan, associate professor, AF Vrani Zvonko, MA, senior lecturer, vs Fea Vuki, PhD, associate professor Committee for Assessing Visual Thinking
uri Nemec Dubravka, lecturer, vs Vuki Fea, PhD, associate professor, AF + members appointed in relation and Artistic Expression (1st and 2nd
urek Nikola, assistant professor, UMAS Waldgoni Renata, full professor, AF to the thesis topic rounds of selection process)
Fabrio Ivana, assistant professor, AF Zeevi Slaven, MA, teaching assistant, vs Stipe Bri, associate professor
Filetin Tomislav, PhD, full professor, FSB emva Korper Dina, lecturer, vs Committee for the Graduation Nenad Dogan, associate professor
Filipovi Nikola, PhD, full professor, vs eelj Dragan, PhD, assistant professor, FSB Theses and Final Examination in Nikola urek, PhD, assistant professor
Geiger Marija, PhD, teaching assistant, iljak Vilko, PhD, full professor, GF Undergraduate Programme Boris Ilekovi, associate professor
Institute Ivo Pilar upi Ivica, PhD, senior teaching assistant, F Graphic Design: Ivan Juras, PhD, full professor
Grbac Ivica, PhD, full professor, F van Veljko, lecturer, vs Stipe Bri, associate professor Zlatko Kapetanovi, MA, associate professor
Hajsig Boica, MA, senior lecturer, AF Nenad Dogan, associate professor Vedran Kasap, expert associate
Haramina Tatjana PhD, assistant professor, FSB student representatives Ivan Doroghy, associate professor Inja Kavuri Kireta, teaching assistant
Herceg Stanko, associate professor, AF Undergraduate Programme: Stanko Herceg, associate professor Mladen Orei, associate professor
Hrnevi Juraj, MA, senior lecturer, AF 1st year: Matija Sviben Tomislav Kosi, PhD, senior lecturer Marija Rendi-Mioevi, senior lecturer
Ilekovi Boris, associate professor, vs 2nd year: Tamara Petrua (industrial design), Milan Pelc, PhD, associate professor
Jakuli Marina, teaching assistant, vs Matea Brki (visual communications) Produkt dizajn / Product Design: Committee for Admission to
Jernei eljko, PhD, associate professor, FF 3rd year: Dorja Komazli (industrial design), Ivica Grbac, PhD, full professor Graduate Programme
Juras Ivan, PhD, full professor, vs Maja Suboti (visual communications) Tatjana Haramina, PhD, assistant professor Sanja Benceti, MA, assistant professor
Jurevi Tanja, PhD, associate professor, FSB Graduate Programme: Zlatko Kapetanovi, MA, associate professor Stipe Bri, associate professor
Jurkovi Miljenko, PhD, full professor, FF 1st year: Marta Ani-Kaliger Anka Mieti, PhD, associate professor Nenad Dogan, associate professor
Justi Sinia, assistant professor, AF (industrial design), Martina Grani Mladen Orei, associate professor Ivan Doroghy, associate professor
senior lecturerKamenov Krunoslav, ALU (visual communications) Fea Vuki, PhD, associate professor Nikola urek, PhD, assistant professor
Kapetanovi Zlatko, MA, associate professor, AF 2nd year: Marija Tizaj (industrial design), Ivana Fabrio, assistant professor
Kadoi Tin, teaching assistant, vs Luka Predragovi (visual communications) Committee for Holding and Assessing Zlatko Kapetanovi, MA, associate professor
Kasap Vedran, expert associate, TV Undergraduate Programme Interviews Mladen Orei, associate professor
Kauzlari Zlatko, full professor, ALU ALU* Academy of Fine Arts Damir Brali, assistant professor Fea Vuki, PhD, associate professor
teaching assistant Kavuri Kireta Inja, vs AF* Faculty of Architecture Stipe Bri, associate professor
full professorPhD Keller Goroslav, EF EF* Faculty of Economics and Business Nenad Dogan, associate professor
senior lecturer Klanac Zlatko, AF FF* Faculty of Humanities and Social Sciences Nikola urek, PhD, assistant professor
Kovai Neven, teaching assistant, vs FSB* Faculty of Mechanical Engineering and Naval Architecture Ivana Fabrio, assistant professor
Kosi Tomislav, PhD, senior lecturer, vs GF Faculty of Graphic Arts Zlatko Kapetanovi, MA, associate professor
Marjanovi Dorian, PhD, full professor, FSB F Faculty of Forestry Vedran Kasap, expert associate
Mili Diana, PhD, full professor, GF TV Polytechnic of Zagreb Mladen Orei, associate professor
Mileti Geran Marko, PhD, lecturer, vs vanjski suradnik Milan Pelc, PhD, associate professor
Institute Ivo Pilar Fea Vuki, PhD, associate professor
Mieti Anka, PhD, associate professor, * Faculties-signatories of the Agreement on
Institute Ivo Pilar the organisation and implementation of the
Morsan Boris, PhD, full professor, AF teaching programme at the School of Design.

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AKTIVNOSTI PROFESORA
Teachers Activities

307
godinjak studija dizajna / school of design annual review 2011/2012 aktivnosti profesora / teachers activities

NIKOLA UREK STANKO HERCEG ZLATKO KAPETANOVI VEDRAN KASAP MLADEN OREI

Uz svoj predavaki rad na Studiju dizajna i Uz predavanje i mentorski rad na kolegijima Foto- Izv. prof. mr.sc. Zlatko Kapetanovi tijekom ak. Krajem akademske godine 2011./2012., struni Uz mentorski rad na kolegijima Projektiranje Indu- During the 2011/2012 academic year, besides his
Odsjeku za vizualne komunikacije Umjetnike grafija, Fotografija i Film 1 i 2, te Film i video 1 i 2 godine 2011./2012. bio je lan meunarodnog suradnik Vedran Kasap je zajedno s Vanjom strijski dizajn, Mladen Orei tijekom akademske work as mentor in Industrial Design courses, Mla-
akademije u Splitu, doc.dr.sc. Nikola urek tije- na Studiju dizajna, Stanko Herceg je vanjski preda- irija natjeaja iF Design Talent 2012, namijenje- Cuculiem (Studio Cuculi) i Draganom Luci- godine 2011./2012. potie i vodi suradnju Studija den Orei initiated and led the cooperation of
kom akademske godine 2011./2012. primio je pri- va na Akademiji dramske umjetnosti u Zagrebu. nog studentima i mladim profesionalnim diza- jom Ratkovi u sklopu Izlobe hrvatskog dizajna dizajna sa gospodarstvom na razvojnim projek- the School of Design with the economy, in deve-
znanje meunarodne udruge Type Directors Club Odrao je samostalnu fotografsku izlobu Blow jnerima, kojeg svake godine organizira udruga 1112 primio Priznanje HDD-a u podruju dizajna tima te organizira prezentacije radova studenata lopment projects, while he also organised presen-
(New York)Nagradu za izvrsnost u podruju up/Blow down u Muzeju suvremene umjetnosti iF International Forum Design GmbH, jedna postava izlobi, signalizacije i prostorne grafike Studija dizajna na izlobama i sajmovima. Pokree tations of the School of Design students' works
type dizajna. Takoer, dobitnik je nagrade AICA Istre u Puli (2012.). Takoer, 2011. bio je lan ocje- od najcjenjenijih svjetskih udruga za organiza- u profesionalnoj kategoriji, a za projekt Plitvike i vodi projekt Eko namjetaj u suradnji sa klaste- at exhibitions and fairs. He initiated and led the
(International Association of Art Critics Award) njivakog irija Pula film festivala, a 2012. lan ciju dizajn natjeaja (www.ifdesign.de). Svaki je dolineprojektiranje sustava informiranja i rom Hrvatski interijeri u kojem su partneri Hrvat- Eco furniture project in collaboration with the
za svoje tipografije Marlene, Delvard i Plan Gro- ocjenjivakog suda natjeaja Creative Reporter. lan trebao pregledati oko 230 radova. Tako- signalizacije za NP Plitvika jezera, koji je naru- ske ume i Hrvatska gospodarska komora. Takoer Hrvatske ume (Croatian Forests) company and
tesque. Tipografija Marlene osvojila je i priznanje Koautor je udbenika Digitalno doba masovni er, 2011. prof. Kapetanovi bio je lan meu- ila Turistika zajednica Opine Rakovica. vodi suradnju Studija dizajna sa tvrtkom Tehno- the Croatian Chamber of Economy, both mem-
Letter2, kao jedna od najboljih u razdoblju od mediji i digitalna kultura, izdava Sveuilite narodnog irija Izlobe hrvatskog dizajna 0910, guma. Organizira izlobu studenata Studija diza- bers of the Croatian Interiors cluster. He also
2001. do 2011, po izboru Association Typograp- u Zadru, listopad 2011. Direktor je fotografije a 2010. bio je i predsjednik ocjenjivakog suda At the end of the academic year 2011/2012, jna na temu dizajna stolica, na meunarodnom acted as the key person in cooperation between
hique Internationale. Zajedno s kolegama Andre- igrano-eksperimentalnog filma Svi uvjeti za natjeaja za dizajn namjetaja i opreme dje- assistant professor Vedran Kasap, Vanja Cucu- sajmu namjetaja, unutranjeg ureenja i pratee the School of Design and the Tehnoguma Com-
jem Kratkyem i Peterom Biakom dobitnik je priu Lukasa Nole iz 2011. godine, a takoer je jih vtia, u sklopu projekta Drvo je prvo (nosi- li (Cuculi Studio) and Dragana Lucija Ratkovi industrije Ambienta. Organizira i vodi projekt est pany. Within the Ambienta Fair, the Internatio-
Nacionalne nagrade dizajna Slovake za kreaciju i direktor fotografije eksperimentalnog filma Od telji projekta: Hrvatska gospodarska komora i were jointly awarded by HDD in the fields of exhi- pogleda na sobu koji osvaje slijedee nagrade: nal Furniture, Interior Decoration and Supporting
tipografije Nara. Odravao je predavanja u Splitu, do Mirande Herceg iz 2012. S tim je filmovima Ministarstvo regionalnog razvoja, umarstva bition design, signage and spatial graphics design nagradu CBTour, Nagradu za najbolju inovaciju u Industry Fair, he organised an exhibition of the
Bratislavi i Den Haagu. Bio je lan meunarodnog sudjelovao na sljedeim domaim, regionalnim i vodnog gospodarstva, u suradnji s Hrvat- in professional category. The awarded project turizmu 2011. te meunarodno Zlatno odlije na School of Design students' works dedicated to
irija na Izlobi hrvatskog dizajna 1112 u organiza- i meunarodnim festivalima: Dani hrvatskog skom komorom arhitekata i inenjera u gra- was Plitvike dolinedesign of information 36. Inovi, tradicionalnoj nacionalnoj izlobi inova- the design of chairs. He organised and led the
ciji Hrvatskog dizajnerskog drutva. filma (Zagreb), Split film festival, 25 FPS (Zagreb), diteljstvu, te Hrvatskog dizajnerskog drutva). system and signage for the Plitvika jezera Nati- cija. Kao mentor dobiva nagradu Red Dot design Six Views on a Room project which has won the
Message to Man (St. Peterburg), Kasseler Dokfest Ak. godine 2010./2011. primio je i nagradu natje- onal Park, commissioned by the Tourist Board of award u Essenu, za rad Oblo studenta Marka CBTour award for the best innovation in tourism
In addition to his academic activities at the School (Kassel) i Alternative Film Video (Beograd). aja A Design u Italiji, u kategoriji drutveno Rakovica Municipality. Pavlovia. Za svoj mentorski rad osvaja i 2012 in 2011, and an international Gold medal at the
of Design in Zagreb and at the Department of odgovornog dizajna, kao mentor studentice CEI Award of the International Design Contest 36th Inova, the traditional national innovations
Visual Communications of the Art Academy in As a lecturer in the courses Photography, Pho- Edite Baraba na njenom diplomskom radu Sun- Trieste Contemporanea za rad Mlinac, studen- exhibition. As a mentor, he was awarded the Red
Split, PhD Nikola urek, assistant professor, was tography and Film 1 and 2, Film and Video 1 and flowerSolar Powered Lunchbox. tice Ene Priselec. Mentor je i nagraenih radova Dot design award in Essen for the work Oblo by
awarded for his creative work. In the academic 2, and as a supervisor of students work at the Stolica Pegula studentice Ozane Uri i projekta the student Marko Pavlovi, and the 2012 CEI
year 2011/2012 he received the Award for Exce- School of Design, Stanko Herceg also teaches During the academic year 2011/2012 was appo- Wood: Material/ Intangible studentice Sanje Award of the International Design Contest Trie-
llence in Type Design given by the Type Direc- courses at Zagrebs Academy of Dramatic Arts. inted as a member of the international jury for iF Rotter, nagraenih na Izlobi hrvatskog dizajna ste Contemporanea, for the work Mlinac by the
tors Club international association from New He exhibited at the solo photographic exhibition Design Talent Competition. The competition is 1112. Koautor je referata Didaktika igraka Oblo student Ena Priselec. He was also mentor of the
York. He also received an award by the Interna- Blow up/Blow down at the Museum of Contem- organised each year by the iF International Forum na znanstveno-strunom skupu Projekti i projek- awarded works Jinxed Chair by the student Ozane
tional Association of Art Critics for his typefaces porary Art of Istria in Pula (2012). In 2011 he was Design GmbH for design students and young tni menadment u Zagrebu i Doivljaj u turizmu Uri and the Wood: Material/Intangible by the
Marlene, Delvard and Plan Grotesque. Marlene a member of the Pula Film Festival jury, and in designers, and it is one of the most respected na strunom skupu Trendovi u opremanju hotela student Sanja Rotter, awarded at the Exhibition
was selected by the Association Typographique 2012 a member of the jury at the Creative Repor- association specialised in organising design com- u Splitu. Na Danu D sudjeluje kao voditelj projekta of Croatian Design 1112. He was the co-author
Internationale for commendation at the Letter2 ter competition. He co-authored the textbook petitions (www.ifdesign.de). Each member of the dizajna postava izlobe, koji je rezultat suradnje of the report Didactic toy Oblo presented at
competition as one of the best typefaces in the entitled Digital Age Mass Media and Digital international jury reviewed about 230 projects. Studija dizajna i Hrvatskog dizajnerskog drutva. the scientific-professional conference Projects
period 20012011. As part of the designer group Culture, published by the University of Zadar in In 2011. prof. Kapetanovi was also appointed as lan je ocjenjivakog suda natjeaja Donacija and Project Management held in Zagreb, and
consisting of himself, Andrej Kratky and Peter October 2011. Hercegs film work includes the a member of the international jury for the 0910 godine, Zagrebake banke i Hrvatske obrtnike the report Experience in Tourism presented
Biak, urek received Slovakias National Prize position of the director of photography in Lukas Croatian Design Exhibition. In 2010. he was a komore za najuspjenije projekte iz podruja tra- at the professional conference Trends in Hotel
for the design of the Nara typeface. He held lec- Nolas 2011 film All Conditions for a Story and president of the jury for the daycare centre fur- dicijskog obrtnitva. Furnishings held in Split. At the D Day festival
tures in Split, Bratislava and Den Haag. He was Miranda Hercegs experimental film From to niture and accessories, organised by the Croatian he participated as Head of the exhibition design
also a member of the international jury at the 1112 in 2012. The films were shown at the following Chamber of Economy, Ministry of Regional Deve- project, as a result of the collaboration between
Exhibition of Croatian Design organized by the Croatian, regional and international festivals: The lopment, Forestry and Water Management, and the School of Design and the Croatian Associa-
Croatian Association of Designers. Days of Croatian Film (Zagreb), Split Film Festi- Croatian Designers Association. In academic year tion of Designers. He is a member of the Jury of
val, 25 FPS (Zagreb), Message to Man (St. Peter- 2010/2011 was awarded with ADesign Award, the Donation of the Year contest for the best
sburg), Kasseler Dokfest (Kassel) and Alternative Italy, in the socialy responsible design category, project in the field of traditional crafts, organised
Film Video (Belgrade). as mentor for the SunflowerSolar Powered by the Zagrebaka banka bank and the Croatian
Lunchbox graduation project by Edita Baraba. Chamber of Trades and Crafts.

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godinjak studija dizajna / school of design annual review 2011/2012 godinjak studija dizajna / school of design annual review 2011/2012

REGISTAR
MILAN PELC FEA VUKI

Veljau 2012. proveo je u Leipzigu kao gostujui Dekan Arhitektonskog fakulteta prof.mr.sc. Boris The dean of the Faculty of Architecture, Boris Koru-
znanstvenik na Geisteswisscenschaftliches Zen- Korunjak i prodekan za meunarodnu suradnju njak, and the vice dean for international coopera-

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trum Ostmitteleuropa (GWZO), pri Sveuilitu prof.dr.sc. Fea Vuki boravili su od 13. do 16. svibnja tion, Dr. Fea Vuki, visited on 13-16 May the Aatlo
u Leipzigu. Tema istraivanja bila je umjetnost i u Helsinkiju, kako bi se na Aalto School of Arts, Design School of Arts, Design and Architecture in Helsinki in
kultura srednje Europe u doba dinastije Jagelovia and Architecture bolje upoznali s finskim modelom order to gain insight into the Finish model of further
(Europa Jagellonica 1386.1572.). Suraivao je u visokog obrazovanja u domeni dizajna i arhitekture. education in the domain of design and architecture.
pripremi meunarodne izlobe Europa Jagellonica Ostvareni su brojni radni sastanci i postavljeni solidni Having attended numerous meetings with the Finish
1386.1572.: Art and Culture in Central Europe temelji za buduu suradnju dva fakulteta. colleagues they managed to lay a solid groundwork
under the Jagiellonian Dinasty. Izloba je otvorena Dr.sc. Fea Vuki sudjelovao je kao voditelj for the future collaboration of the two faculties.
19. svibnja 2012. u Kutnoj Hori (eka), u rujnu je jednog workshopa na znanstveno-strunoj kon- Vuki participated as a workshop facilitator in
prela u Varavu, dok u prosincu prelazi u Potsdam. ferenciji Balcan Locus Phocus, a koja je odrana the professional and scientific conference Balkan
Milan Pelc je 23. 2. 2012. odrao na GWZO Leipzig na Fakultetu dizajna i vizualne komunikacije, Eko- Locus Phocus which was held at the Faculty of
javno predavanje pod naslovom Kunst und ihre nomsko sveuilite, u Izmiru Turska, od 28. do 30. Design and Visual Communications at the Izmir
Auftraggeber in Kroatien zur Zeit der Jagellonen lipnja. Konferenciju je suorganizirala Parsons The University of Economics, Turkey, in the period
(1490.1526.). Od 29. do 31. oujka 2012. sudje- New School iz New Yorka. U sklopu konferencije 2830 June. The conference was co-organized by
lovao je na meunarodnom skupu posveenom je diplomirana dizajnerica Marija Juza prezentirala the Parsons The New School for Design in New
povjesniaru umjetnosti Josefu Strzygowskom u razvijeni dio sviojeg diplomskog rada Balcan Type- York. Marija Juza, a graduated designer, presented
njegovom rodnom gradu Bielsko/Biala u Poljskoj. face and Visual System. a development of her graduation thesis on the Bal-
Odrao sam referat pod naslovom Josef Strzy- Sudjelovao je takoer u stvaranju sadraja na kan Typeface and Visual System.
gowsky und kroatische Kunstgeschichte. znanstvenom simpoziju s meunarodnom recenzi- Dr. Vuki participated in the international sci-
jom Design Frontiers: Territories, Concepts, Tech- entific conference Design Frontiers: Territories,
Pelc spent February 2012 in Leipzig as a guest lec- nologies koj je u organizaciji International Comitee Concepts, Technologies which is organized by
turer at the Geisteswisscenschaftliches Zentrum for Design History Studies ove godine odran na the International Committee for Design History
Ostmitteleuropa (GWZO) at Leipzig University. University of Sao Paolo, Brazil od 04. do 06. rujna. Studies and held at the University of Sao Paolo in
His research was related to the art and culture U zborniku simpozija objavio je znanstveni rad Art Brazil in 46 September 2012. His scientific paper
of Central Europe during the reign of the Jagie- Criticism and the Semantic Construction of the Art Criticism and the Semantic Construction of
llonian Dynasty (Europa Jagellonica 13861572). Concept of Design. the Concept of Design was published in the confe-
He collaborated on the international exhibition Sudjeluje kao predava na znanstvenom sim- rence proceedings with international peer review.
Europa Jagellonica 13861572: Art and Culture poziju s meunarodnom recenzijom The Mate- Another Vukis paper presentation entitled
in Central Europe under the Jagiellonian Dyna- rial Culture of Sport, koji je u organizaciji Design The Quest for Multicultural Reason: Visual Identity
sty which was opened on 19 May 2012 in Kutna History Society ove godine odran na University of of Mediterranean Games and Cold War Europe was
Hora (The Czech Republic). In September the same Brighton, School of Arts and Design, od 13. do 16. given at the scientific conference The Material Cul-
year it was presented in Warsaw and it is planned rujna. Odrao je izlaganje na temu The Quest for ture of Sport organized by the Design History Soci-
to be shown in Potsdam. On 23 February 2012 Multicultural Reason: Visual Identity of Mediterra- ety and held at the University of Brighton, School of
Pelc held a public lecture entitled Kunst und ihre nean Games and Cold War Europe. Arts and Design on 1316 September 2012.
Auftraggeber in Kroatien zur Zeit der Jagellonen Tijekom srpnja 2012. iz tiska je izila knjiga Teo- In July 2012, a university textbook Theory and
(14901526) at the GWZO Leipzig. He participa- rija i povijest dizajna, kritika antologija, sveuilini History of Design, Critical Anthology was edited and
ted in the international congress dedicated to Josef udbenik koji je priredio i predgovorom popratio prefaced by Dr. Fea Vuki. The book was published
Strzygowski with the presentation entitled Josef dr.sc. Fea Vuki. Knjigu je objavio Arhitektonski by the Faculty of Architecture, University of Zagreb
Strzygowsky und kroatische Kunstgeschichte. The fakultet Sveuilita u Zagrebu i Golden marketing and the Golden Marketing Tehnika knjiga publis-
conference was held in this art historians home Tehnika knjiga. hing company. He also published the following paper:
town of Bielsko-Biala in Poland. Objavljeni znanstveni lanci: 1. Melancholy Quest for Reason, Circles of Inter-
1. Melancholy Quest for Reason, Circles of Inter- ference, Csorba Silla, Edith, Franceschi, Branko
ference, Csorba Silla, Edith, Franceschi, Branko (editor), Budapest, Zagreb: Kassak Muzeum,
(ur.), Budapest, Zagreb : Kassak Muzeum, Budapest, Institut za istraivanje avangarde,
Budapest, Institut za istraivanje avangarde, Zagreb, 2012, p.1635.
Zagreb, 2012., str.1635. 2. Design for Tomorrow, ICOGRADA Design Educa-
2. Design for Tomorrow, ICOGRADA Design Educa- tion Manifesto 2011 / Bennett, Audrey; Vulpinari,
tion Manifesto 2011 / Bennett, Audrey; Vulpinari, Omar (editor). Montreal: International Council of
Omar (ur.). Montreal: International Council of Graphic Design Associations, 2011, p.136139.
Graphic Design Associations, 2011., str. 136139. 3. Crta nejasnog razgranienja: vizualna kultura
3. Crta nejasnog razgranienja: vizualna kultura devedesetih u Hrvatskoj, Povijest hrvatskog
devedesetih u Hrvatskoj, Povijest hrvatskog jezika, Knjievnost i kultura devedesetih, (Blurry
jezika, Knjievnost i kultura devedesetih, Zbor- Dividing Line: visual culture in Croatia of the
nik radova 40. seminara Zagrebake slavistike 1990s) Zbornik radova 40. seminara Zagrebake
kole/Mianovi, Kreimir (ur.). Zagreb: Filo- slavistike kole / Mianovi, Kreimir (editor).
zofski fakultet Sveuilita u Zagrebu, Zagre- Zagreb: Filozofski fakultet Sveuilita u Zagrebu,
baka slavistika kola, 2012., str.169182. Zagrebaka slavistika kola, 2012, p.169182.
4. Kultura wizualna lat osiemdziesiatych w 4. Kultura wizualna lat osiemdziesiatych w
Chorwacji, Chorwacja lat osiemdziesiatych XX Chorwacji, Chorwacja lat osiemdziesiatych
wieku, kultura, jeyyk, literatura, Malczak, Les- XX wieku, kultura, jeyyk, literatura, Malczak,
zek; Pycia, Paulina; Ruttar, Anna (ur.), Katowice: Leszek; Pycia, Paulina; Ruttar, Anna (editor),
Uniwersytet Slaski, Wydawnictwo Gnome, Katowice: Uniwersytet Slaski, Wydawnictwo
2011., str.7188. Gnome, 2011, p.7188.

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godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2011/2012

Nastavnici / Teaching Staff Upisani na sveuilini pred- Upisani na sveuilini Dodiplomski sveuilini sveuilini preddiplomski sveuilini diplomski studij
diplomski studij/ students diplomski studij/ students studijdiplomanti / studij Prvostupnici / Magistri/ university
Bai Marcel Munger Marcela enrolled in the university enrolled in the university pre-bologna graduates university undergraduate graduate studiesmasters
Bae Joko Opali Milan undergraduate studies graduate studies studies Bachelors
Baklia Darko Orei Mladen Borkovi Karolina Cvetkovi Matija
Baleti Bojan Pap Klaudio Balen Juraj Ani-Kaliger Marta Geli Svjetlana Armano Ana urkesac Dora
Benceti Sanja Pavii Jurica Bitunjac Marina Dobreevi Mario Klemens Vedran Bachrach-Kritofi Tessa Levak Ivan
Bogner Andrija Pelc Milan Bjeli Barbara Dujmenovi Sandro Lonari Igor Bilandi Dora Mijatovi Marina
Bori Neda Rendi Mioevi Marija Bonjak Elizabeta Gaparovi Marija Ljubi Dolores Crnek Vidovi Kristina Prgomet Petra
Bori Ian Sria Velimir Franji Iva Grani Martina Mikulandra Morana Cvijeti Marko Rotter Sanja
Bori Luka Daniel Stergarek Stanko Gelo Martina Hrvatin Iva Zeli Matija Erceg Vedran Ciliga Hana
Brali Damir Sudeta Nikoleta Goreta Matej Juki Marina Farka Slavica Filipi Livija
Bri Stipe ercer Mladen Gudiek Karmela Marinovi Daria Filipec Tihomir Juki Jelena
Bukovan Miljenko torga Mario Habjan Klasja Mudni Andrija Frani Andrea Juza Marija
orkalo Dinka Tadej Sonja Hrabar Ivana Paliska Karla Gerovac Ema Klemeni Mia
Dabanovi Aleksandra Tonkovi Zdenko Jandri Maja Perai Filip Gregorina Josipa Kritofi Bojan
Dekovi Damir Vdovi Roberto Japundi Hana Rui Marija Greguri Rajko Nejami Nera
Dogan Nenad Vlaini Tomislav Kelemen Tena Sekuli Ana Hrastovec Marko Peri Katarina
Doroghy Ivan Vrani Zvonko Markui Dominik Sever Anamaria Jankov Iva Predragovi Luka
urek Nikola Vuki Fea Mesari Rebecca Stanev Marina Jelaska Luka oa Goran
uri Nemec Dubravka Waldgoni Renata Mrka Laura erka Vanessa Jelaska Petra Tizaj Marija
Fabrio Ivana Zeevi Slaven Naki-Vojnovi Zita estak Tomislav Jurkovi Nikica imeg eljko
Filetin Tomislav eelj Dragan Njegovanovi Nataa imi Andrea Jurov Ena
Filipovi Nikola iljak Vilko Obradovi Jana Turinovi Made Karaa Antonio
Geiger Marija upi Ivica Orani Fran Vargovi Mihovil Kasumovi Leila
Grbac Ivica van Veljko Prelec Maja Vilipi Marko Knezi Anja
Hajsig Boica Pra Josipa Koleti Jurica
Haramina Tatjana Voditelj / Head Sviben Matija Lugari Dora
Herceg Stanko Stipe Bri aban Ivan Markovac Iva
Hrnevi Juraj ljaka Toni Milovi Dina
Ilekovi Boris Tintor Hana Miroevi Kristina
Jakuli Marina Troi Marina Novak-Mikuli Ruer
Jernei eljko Uremovi Marko Pavi Tea
Juras Ivan Vavra Viktoria Lea Peri Luka
Jurevi Tanja Veeri Valentino Priselec Ena
Jurkovi Miljenko Vukovi Matej Reicher Luka
Justi Sinia Vujasi Ana Rokar Janja
Kadoi Tin Suboti Maja
Kamenov Krunoslav Tkalec eljka
Kapetanovi Zlatko Tretinjak Franka
Kasap Vedran Ursi Ozana
Kavuri Kireta Inja Vrbos Ivor
Kauzlari Zlatko Vrka Orin Ivan
Keller Goroslav Vukmani Ivan
Klanac Zlatko
Korper emva Dina
Kosi Tomislav
Kovai Neven
Marjanovi Dorijan
Mili Diana
Mileti Geran Marko
Mieti Anka
Morsan Boris

312 313
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2010/2011

Nastavnici / Teaching Staff Upisani na sveuilini pred- Upisani na sveuilini Dodiplomski sveuilini sveuilini preddiplomski sveuilini diplomski studij
diplomski studij/ students diplomski studij/ students studijdiplomanti / studij Prvostupnici / Magistri/ university
Bai Marcel Orei Marijan enrolled in the university enrolled in the university pre-bologna graduates university undergraduate graduate studiesmasters
Bae Joko Orei Mladen undergraduate studies graduate studies studies Bachelors
Baklia Darko Pap Klaudio Barbari Petra Bogovac Mia
Baleti Bojan Pavii Jurica Bari Valentina Anderlon Sanda Bastai Saa Ani-Kaliger Marta Boljar Hrvoje
Benceti Sanja Pelc Milan Birki Marta Bosazzi Laura uki Zoran Dobreevi Mario Burazin Anamaria
Bogner Andrija Rendi Mioevi Marija Bokovi Maja urija Vina Jelini Ante Gaparovi Marija Dizdar Bor
Bori Ian Sria Velimir Brki Matea Filipi Livija Pavlovi Jan Gobin Luka Mastrovi Keti
Bori Luka Daniel Stergarek Stanko Buevi Anta Fura Aleksandra Plahtan Andrej Grani Martina Matkovi Katarina
Bori Neda Sudeta Nikoleta Bunti Matko Juki Jelena Rak Marijana Guli Matija Mihaljevi Niko
Brali Damir ercer Mladen Crnevi Niko Juza Marija Sablji Branimir Hrvatin Iva Miliki Petra
Bri Stipe torga Mario uki Andrej Kritofi Bojan Serdarui Mislav Juki Marina Milovac Maa
Bukovan Miljenko Tadej Sonja Falica Vedran Leskovar Vlatka kali Vedrana Kolar Igor Peirko Tihana
orkalo Dinka Tonkovi Zdenko Grahek Lana Maglov Sandra Volf Kristina Marinovi Daria Rimac Ana
Dabanovi Aleksandra Vdovi Roberto Grevi Borna Aaron Nejami Nera Vuci Luka Mudni Andrija Vinkovi Leopold
Dekovi Damir Vlaini Tomislav Grubi Sara Predragovi Luka Zadro Ante Paliska Karla Zlatec Katarina
Dogan Nenad Vrani Zvonko Herceg Ana Samoanec Kazimir Perai Ika
Doroghy Ivan Vuki Fea Horvat Zrinka imeg eljko Perai Filip
urek Nikola Waldgoni Renata Ivanovi Nina oa Goran Rui Marija
uri Nemec Dubravka Zeevi Slaven Jeki Mario Tizaj Marija Sekuli Ana
Fabrio Ivana eelj Dragan Kosti Stanislav Tuek Sanja Sever Anamaria
Filetin Tomislav iljak Vilko Kutlea Dorotea Vinski Ivor erka-Kustec Vanessa
Filipovi Nikola upi Ivica Martinjak Vitomira Zorko Stjepan neler Hana
Geiger Marija Miokovi Lovro Tomi Ana Maria
Grbac Ivica Voditelj / Head Nieno Lucija Turinovi Made
Hajsig Boica Kapetanovi Zlatko Perkovi Vanja Vargovi Mihovil
Haramina Tatjana Petrua Tamara Vilipi Marko
Herceg Stanko Prgomet Kristina Vranko Hannah
Hrnevi Juraj Radas Donat Vui Mia
Ilekovi Boris are Tihana
Jakuli Marina avar Alma
Jernei eljko kilji Lovro
Juras Ivan oli Ana
Jurevi Tanja poljar Matija
Jurkovi Miljenko Vrdoljak Petra
Justi Sinia ic Lara
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
Opali Milan

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2009/2010

Nastavnici / Teaching Staff Upisani na sveuilini pred- Upisani na sveuilini Dodiplomski sveuilini Sveuilini preddiplomski Sveuilini diplomski studij
diplomski studij/ students diplomski studij/ students studijdiplomanti / studij Prvostupnici / Magistri/ university
Bai Marcel Opali Milan enrolled in the university enrolled in the university pre-bologna graduates university undergraduate graduate studiesmasters
Bae Joko Orei Marijan undergraduate studies graduate studies studies Bachelors
Baklia Darko Orei Mladen Bauer Tina Bonai Marita
Baleti Bojan Pap Klaudio Armano Ana Baron-Brljevi Sarah Beus Maja Anderlon Sanda Cviti Filip
Benceti Sanja Pavii Jurica Bachrach-Kritofi Tessa Bogovac Mia Blaki Vlatka Balen Nevena Devi Dario
Bogner Andrija Pelc Milan Bilandi Dora Burazin Anamaria Blaini Petra Bosazzi Laura Ile Dragana
Bori Ian Rendi Mioevi Marija Cvijeti Marko Ciliga Hana Bogei Marko Cipri Darija Ivani Kristina
Bori Luka Daniel Sria Velimir Dominko Hrvoje Cvetkovi Matija Bojko Irina urija Vina Ivai Dino
Bori Neda Stergarek Stanko Farka Slavica Dizdar Bor Bri Bernardo Filipi Livija Lemac Matea
Brali Damir Sudeta Nikoleta Frani Andrea urkesac Dora Broni Matea Fura Aleksandra Lugonja Kristina
Bri Stipe ercer Mladen Gerovac Ema Gorianec Ana Cuculi Helena Jelai Vanessa Lana Matas Maja
Bukovan Miljenko torga Mario Gregorina Josipa Kipke Branka Frgai Lucija Juki Jelena Miloloa Kreimir
orkalo Dinka Tadej Sonja Grubii Hrvoje Klemeni Mia Hudina Lana Juza Marija Nigoevi Negra
Dabanovi Aleksandra Tonkovi Zdenko Hrastovec Marko Levak Ivan Jovanovac Marko Kolar Maja Orbani Ana
Dekovi Damir Vdovi Roberto Jelaska Petra Mastrovi Keti Kadoi Tin Leskovar Vlatka Oroli Jasmina
Dogan Nenad Vlaini Tomislav Karaa Antonio Matkovi Katarina Klasi Jelena Maglov Sandra Tevi Ana
Doroghy Ivan Vodopija Mirjana Kasa Paula Mihaljevi Niko Klemeni Nina Maltar Sonja Veenaj Andrija
urek Nikola Vrani Zvonko Kirasi Kreimir Mijatovi Marina Komparak Draga Matijevi Petra Zelmanovi Jaa
uri Nemec Dubravka Vuki Fea Koleti Jurica Miliki Petra Korper emva Nika Nanut Ivan ivi Hrvoje
Fabrio Ivana Waldgoni Renata Komazli Dorja Milovac Maa Kovai Ana Predragovi Luka
Filetin Tomislav Zeevi Slaven Lugari Dora Peirko Tihana Kovai Mia Samoanec Kazimir
Filipovi Nikola eelj Dragan Markovac Iva Prgomet Petra Magi Ivan imeg eljko
Geiger Marija iljak Vilko Milovi Dina Rimac Ana Mari Mia oa Goran
Grbac Ivica upi Ivica Paveli Adriana Roakovi Romana Mazinjanin Damir Tantegl Danko
Hajsig Boica Pavii Karlo Vinkovi Leopold Pavlek Gordana Tizaj Marija
Herceg Stanko Voditelj / Head Peri Luka Vugrinski Kristina Rede Vedran Topi Dinko
Hrnevi Juraj Kapetanovi Zlatko Prgomet Pavao Zlatec Katarina Rukavina Petra Tuek Sanja
Ilekovi Boris Ratkaj Katarina Segulin Petra Zorko Stjepan
Indof Janez Rokar Janja Sivaki Bojan
Jakuli Marina Somek Ana Sokolean Maja
Jernei eljko Speti Franka Stipii Tanja
Juras Ivan Suboti Maja eerkadi Samir
Jurevi Tanja uran Pulig Marina Tomljenovi Elvis
Jurkovi Miljenko Tretinjak Franka Veljaa Ivan
Justi Sinia Ursi Ozana Vuenik Marko
Kamenov Krunoslav Vukmani Ivan Vuji Alan
Kapetanovi Zlatko Vuleti Ivona
Kasap Vedran Zeman Andrea
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
Munger Marcela

316 317
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2008/2009

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

318 319
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2007/2008

Nastavnici / Teaching Staff Upisani na sveuilini pred- Dodiplomski sveuilini Sveuilini preddiplomski
diplomski studij/ students studijdiplomanti / studij Prvostupnici /
Alfirevi Ivo Orei Mladen enrolled in the university pre-bologna graduates university undergraduate
Bai Marcel Pap Klaudio undergraduate studies studies Bachelors
Baklia Darko Pavii Jurica Abramovi Janja
Baleti Bojan Pelc Milan Anderlon Sanda Bili Zlata Bobanovi Sikirica Duga
Benceti Sanja Rendi Mioevi Marija Babi Sonja Boras elimir Boljar Hrvoje
Bogner Andrija Rogi Ivan Bosazzi Laura Brknja Andrea Bonai Marita
Bori Neda Stankovi Tino urija Vina Budor Dora Ciliga Hana
Brali Damir Stergarek Stanko Dobreevi Mario Cvahte Sinia Cviti Filip
Bri Stipe Sudeta Nikoleta Filipi Livija endak Katarina Devi Dario
Bukovan Miljenko torga Mario Fura Aleksandra ukelj Ivana Ile Dragana
orkalo Dinka Tadej Sonja Greguri Rajko ule Maja Ivani Kristina
Dabanovi Aleksandra Tkalec Stjepan Ili Ana uk Zoran Ivai Dino
Dekovi Damir Tonkovi Zdenko Jelai Vanessa Lana Deskar Ana Kneevi Aleksandra
Dogan Nenad Vdovi Roberto Juki Jelena Doleki Luka Lemac Matea
Doroghy Ivan Vlaini Tomislav Knezi Anja Dragani Maja Lugonja Kristina
urek Nikola Vrani Zvonko Kolar Igor Forster Petra Matas Maja
uri Nemec Dubravka Vuki Fea Leskovar Vlatka Guina Toni Miloloa Kreimir
Fabijani Nenad Waldgoni Renata Maglov Sandra Jakuli Marina Nigoevi Negra
Fabrio Ivana eelj Dragan Matijevi Petra Joveti Nives Orbani Ana
Filipovi Nikola iljak Vilko Ocvirek-Mijatovi Nenad Jurin Lea Oroli Jasmina
Grbac Ivica Pavi Tea Kaui Maja Peri Katarina
Hajsig Boica Voditelj / Head Perai Filip Klari Vedran Rotter Sanja
Herceg Stanko Kapetanovi Zlatko Predragovi Luka Knez Matija eri Martina
Hrnevi Juraj Priselec Ena Kneevi Vedrana Tevi Ana
Ilekovi Boris Samoanec Kazimir Kos Anamarija Veenaj Andrija
Indof Janez erka Kustec Vanessa Kurti Toni Zelmanovi Jaa
Jernei eljko imeg eljko Maltar Mihaela ivi Hrvoje
Juras Ivan neler Hana Miku Carmen
Jurevi Tanja oa Goran Mrazek Ana
Jurkovi Miljenko Tantegl Danko Peko Nikoleta
Justi Sinia Tizaj Marija Perkovi Ana
Kamenov Krunoslav Tomi Ana Maria Prizmi Damir
Kapetanovi Zlatko Topi Dinko Rakoevi Vanja
Kasap Vedran Tuek Sanja Raukar Goran
Kauzlari Zlatko Vranko Hannah Senjak Jelena
Klanac Zlatko Vrka Orin Ivan Spori Marija
Korper emva Dina avniar Karolina
Kosi Tomislav esni Marko
Kuduz Ante midt Ana
Kuduz Ivan Topi Matea
Lapaine Boidar Topolnjak Andreja
Ljuljka Boris Turkovi Goran
Marjanovi Dorijan Vukovi Mia
Miki Kreimir Zver Tajana
Mili Diana upi Ana
Mieti Anka
Morsan Boris
Mufti Osman
Munger Marcela
Opali Milan
Orei Marijan

320 321
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2006/2007 2005/2006

Nastavnici / Teaching Staff Upisani na sveuilini pred- Dodiplomski sveuilini Nastavnici / Teaching Staff Upisani na sveuilini Dodiplomski sveuilini
diplomski studij/ students studijdiplomanti / preddiplomski studij/ studijdiplomanti /
Alfirevi Ivo Opali Milan enrolled in the university pre-bologna graduates Alfirevi Ivo Munger Marcela students enrolled pre-bologna graduates
Bai Marcel Orei Marijan undergraduate studies Bai Marcel Opali Milan in the university
Bae Joko Orei Mladen Baun Nina Bae Joko Orei Marijan undergraduate studies Azinovi Eva
Baklia Darko Pap Klaudio Baron-Brljevi Sarah Boban Petar Baklia Darko Orei Mladen Bielen Hrvoje
Baleti Bojan Pavii Jurica Bogovac Mia Bratovi Roberta Biani Antun Pap Klaudio Bajc Matija Bilui Aleksandra
Bogner Andrija Pelc Milan Burazin Anamaria Gobac-Bandur Nikolina Bogner Andrija Pavii Jurica Balen Nevena Bobi Sanja
Bojeti Nenad Reberski Sinia Cipri Darija Golik Linda Bojeti Nenad Pelc Milan Bobanovi Sikirica Duga Bratinevi Ivana
Bori Neda Rendi Mioevi Marija urkesac Dora Grakali Maja Bori Neda Reberski Sinia Boljar Hrvoje izmi Petra
Brali Damir Rogi Ivan Gorianec Ana Hrnir Korina Bri Stipe Rendi Mioevi Marija Bonai Marita Fabijani Jana
Bri Stipe Stankovi Tino Gospodari Vedran Kajp Romana Bukovan Miljenko Rogi Ivan Ciliga Hana Filipovi Melita
Bukovan Miljenko Stergarek Stanko Huber Marina Kazinoti Karlo Cuculi Vanja Serdarevi Izvorka Cviti Filip Goli Antonija
orkalo Dinka Sudeta Nikoleta Juza Marija Kostovi Ljubica orkalo Dinka Stankovi Tino anak Robert Hripko Boris
Dabanovi Aleksandra Svilii Bla Kipke Branka Letica Tena Dabanovi Aleksandra Stergarek Stanko Devi Dario Jalovec Nenad
Dekovi Damir torga Mario Klemeni Mia Mesi Maja Dekovi Damir Sudeta Nikoleta Ile Dragana Jeli Nikolina
Dogan Nenad Tadej Sonja Kolar Maja Orei Dina Dogan Nenad Svilii Bla Ivani Kristina Kalenski Lidija
Doroghy Ivan Tkalec Stjepan Kritofi Bojan Pamukovi Ivana Doroghy Ivan torga Mario Ivai Dino Kraljevi Nera
urek Nikola Tonkovi Zdenko Maltar Sonja Poganik Bruno urek Nikola Tadej Sonja Kapuija Sara Krtali Angelina
uri Nemec Dubravka Vdovi Roberto Matkovi Katarina Pokos Roman uri Nemec Dubravka Tkalec Stjepan Kneevi Aleksandra Kunej Ana
Fabijani Nenad Vrani Zvonko Mihaljevi Niko Rai Marko Fabijani Nenad Tonkovi Zdenko Lemac Matea Lavri Sandra
Fabrio Ivana Vrankovi Nikola Mijatovi Marina Skender Martina Fabrio Ivana Vrani Zvonko Levak Ivan Moroin Iva
Filipovi Nikola Vuki Fea Miliki Petra Tomii Miran Filipovi Nikola Vrankovi Nikola Lugonja Kristina Mrva Miroslav
Grbac Ivica Waldgoni Renata Milo Ivona Turkovi Tomislav Grbac Ivica Vuki Fea Mastrovi Keti Novosel Lidija
Hajsig Boica eelj Dragan Milovac Maa Vrabec Vedrana Hajsig Boica Waldgoni Renata Matas Maja Pakvan Branimir
Herceg Stanko iljak Vilko Nanut Ivan Zlonoga Petra Herceg Stanko eelj Dragan Milievi Ana Pavkovi Ivo
Horvat Sanja Pavlovi Marko Horvat Sanja iljak Vilko Miloloa Kreimir Raduka Mirna
Hrnevi Juraj Voditelj / Head Peirko Tihana Hrnevi Juraj Nigoevi Negra Siladi Kreimir
Ilekovi Boris Kapetanovi Zlatko Prgomet Petra Ilekovi Boris Voditelj / Head Orbani Ana Strinavi Tatjana
Indof Janez Rimac Ana Indof Janez Bri Stipe Oroli Jasmina estan Kristina
Jernei eljko Roakovi Romana Jernei eljko Peri Katarina unjerga Antonio
Juras Ivan Sekuli Ana Juras Ivan Pleko Aleksandar Udovii Mirta
Jurevi Tanja Veljai Antonija Jurevi Tanja Putina Tarna Ugljei Vesna
Jurkovi Miljenko Vilipi Marko Jurkovi Miljenko Rotter Sanja Vuksanovi Silva
Jurkovi Nada Vinkovi Leopold Jurkovi Nada eri Martina uljevi Ivana
Justi Sinia Vinski Ivor Justi Sinia Tevi Ana
Kamenov Krunoslav Vugrinski Kristina Kamenov Krunoslav Veenaj Andrija
Kapetanovi Zlatko Zlatec Katarina Kapetanovi Zlatko Zelmanovi Jaa
Kasap Vedran Kasap Vedran Zorko Stjepan
Kauzlari Zlatko Kauzlari Zlatko ivi Hrvoje
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
Munger Marcela Mufti Osman

322 323
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2004/2005 2003/2004

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

324 325
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2002/2003 2001/2002

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

326 327
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

2000/2001 1999/2000

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

328 329
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

1998/1999 1997/1998

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

330 331
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

1996/1997 1995/1996

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

332 333
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

1994/1995 1993/1994

Nastavnici / Teaching Staff Upisani / enrolled Dodiplomski sveuilini Nastavnici / Teaching Staff Upisani / enrolled Dodiplomski sveuilini
studijdiplomanti / studijdiplomanti /
Alfirevi Ivo Pap Klaudio Berc Ana pre-bologna graduates Ajdukovi Dejan Semenski Damir Ajanovi Amra pre-bologna graduates
Alfirevi Gorjana Reberski Sinia ai Antonia Alfirevi Ivo Stergarek Stanko Alujevi Saa
Bai Marcel Rek Vesna ale Mirena Bakovi Miranda Baklia Darko Sudeta Nikoleta Anek Romina Barii Arni
Baklia Darko Rendi Mioevi Marija Flegar Diana Benjak Kreimir Bogner Andrija erman Karin Babi Jelena Benceti Sanja
Bauer Goran Rogi Ivan Gamulin Damir oporda Ratko Bojeti Nenad Taborak Dragutin Ban Ivan Bogdanovi Jasmina
Biani Antun Stergarek Stanko Golik Gordana Daki Tatjana Bosner eljko Terze Zdravko Baranovi Franka Boek Suzana
Bogner Andrija Sudeta Nikoleta Goriki Saa Dezotti Sanda Bri Stipe Tkalec Stjepan Bili Dubravka Ivankovi Ivana
Bojeti Nenad Terze Zdravko Grabovac Mirjana Duboveak Vesna Bukovan Miljenko Tomii Davor Blaini Ivo Kapicl Renata
Bri Stipe Tkalec Stjepan Grbac Mirna Fabekovec Marijo Dogan Nenad Tonkovi Zdenko Boban Ivana Kavuri Inja
Bukovan Miljenko Tomii Davor Grgurevi Tina Frankovi Orsat Doroghy Ivan Vanita Josip Bogunovi Mia Kolumbi Antun
orkalo Dinka Tonkovi Zdenko Hrust Nataa Glinska Adrianna Beata uri Nemec Dubravka Vrani Zvonko Brali Vedran Komarica Borjan
Dekovi Damir Vanita Josip Iveta Danijel Kirini Sanja Fabijani Nenad Vrankovi Nikola Brki Vera Kortizija Martina
Dogan Nenad Vrani Zvonko Janota Mirela Krpan Dino Filipovi Nikola Vulin Ante Cavar Lana Marjanovi Sonja
Doroghy Ivan Vrankovi Nikola Jureti Ivan Krpi Nives Grbac Ivica Waldgoni Renata Decker Lovorka Matui Terezija
Dvorski Krunoslav Vuki Fea Keller Robin Maksimovski Saa Hajsig Boica iljak Vilko Drakovi Darko Mikuli Melina
uri Nemec Dubravka Vulin Ante Kopori Nataa Matek Tomislav Herceg Stanko Garojevi Goran Miloevi Aleksandra
Fabijani Nenad Waldgoni Renata Kraljevi Tomislav Patrlj Ana-Marija Homadovski Aleksandar Voditelj / Head Glavi Lara Peenko Marina
Filipovi Nikola iljak Vilko Krian Ivan Pukari Mirjana Hrnevi Juraj midihen Edo Jankovi Tea Reljan Tamara
Grbac Ivica Kuni Sanjin Pukari Vesna Ilekovi Boris Jeli Marina aban Janislav
Hajsig Boica Voditelj / Head Mandi Luiano Radovnikovi Veljko Indof Janez Jonke Sven imeti Daniela
Herceg Stanko midihen Edo Manestar Tena Soviek Jadranka Ivanevi Radovan Jovanovi Mila Turin Nada
Hrnevi Juraj Novak Morana otari Tanja Jernei eljko Kljaji Tanja
Ilekovi Boris Pecnik Mihaela Vlajo Koraljka Jovi Matko Koul Maja
Indof Janez Podnar Anamarija Zglavnik Dubravka 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
Orei Mladen Rogi Ivan aja Ana

334 335
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

1992/1993 1991/1992

Nastavnici / Teaching Staff Upisani / enrolled Nastavnici / Teaching Staff Upisani / enrolled

Ajdukovi Dejan Semenski Damir Babaja Iva Alfirevi Gorjana Vanita Josip Arula Dalibor
Alfirevi Ivo Stergarek Stanko Bednjanec Darko Alfirevi Ivo Vrani Zvonko Ausenak Daria
Baklia Darko Sudeta Nikoleta Belini Ivica Alfirevi Izidor Vrankovi Nikola Bajto Maja
Bogner Andrija Taborak Dragutin Brajevi Tamara Baklia Darko Vulin Ante Baleti Ana
Bosner eljko Tkalec Emilija Bruketa Davor Boi eljko Waldgoni Renata Baus Marko
Boi eljko Tkalec Stjepan Bubi Koraljka Bri Stipe iljak Vilko Borovac Hrvoje
Bri Stipe Tomii Davor Canki Iva Doroghy Ivan Brajdi Aljoa
Bukovan Miljenko Vanita Josip avar Maja uri Nemec Dubravka Voditelj / Head Bri Tihoni
Dogan Nenad Vrani Zvonko Deni Zrinka Filipovi Nikola midihen Edo Ceraj Iva
Doroghy Ivan Vrankovi Nikola Doli Jadranka Grbac Ivica Cupec David
uri Nemec Dubravka Vulin Ante urokovi Draen Hajsig Boica iri Tanja
Fabijani Nenad Waldgoni Renata Frekura Mladen Homadovski Aleksandar Dragaevi Lana
Filipovi Nikola iljak Vilko Garaj Vanja Hrnevi Juraj Dragun Silvana
Grbac Ivica Grubi Mario Indof Janez Duljkovi Mina
Hajsig Boica Voditelj / Head Hajon Ivo Ivanevi Radovan eki Sinia
Herceg Stanko midihen Edo Hint Nikolina Jurkovi Miljenko Galeta Karlo
Homadovski Aleksandar 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
Rogi Ivan Uri Boidar

336 337
godinjak studija dizajna / school of design annual review 2011/2012 registar / register

1990/1991 1989/1990

Nastavnici / Teaching Staff Upisani / enrolled Nastavnici / Teaching Staff Upisani / enrolled

Alfirevi Ivo Voditelj / Head Aralica Vieslav Rukavina Branimir Alfirevi Ivo Bakovi Miranda Radovnikovi Veljko
Baklia Darko midihen Edo Benjak Kreimir Sablji Ante Baklia Darko Barii Arni Sazuni Nela
Bri Stipe Bernardi Branko Savi Sanja Bri Stipe Boban Daniela Sobotini Igor
uri Nemec Dubravka Bovarov Saa Sinkovi Nikola Filipovi Nikola Bogdanovi Jasmina Stepi Robert
Glavina Ivan Bogelji Sonja Sinovi Elza Glavina Ivan Botteri Aron aban Janislav
Gorjana Alfirevi Borovac Aleksandar Stilinovi Bojan Hajsig Boica Boek Suzana imeti Daniela
Grbac Ivica Brknja Andrea Stubiar Saa Hrnevi Juraj Breanski Alan iko Diana
Hajsig Boica oporda Ratko ebalj Viola Ivanevi Radovan Cerovec Vinja Barbara otari Tanja
Hrnevi Juraj avar Petar Kreimir timac Goran Jeci Stjepan Daki Tatjana utej imun
Ivan Doroghy Duboveak Vesna Tireli Dorian Jurkovi Miljenko Dezotti Sanda Zagorac Predrag
Ivanevi Radovan Erben Marko Trstenjak Ljiljana Kamenov Krunoslav Dobrini Bianka Zekui Irena
Izidor Alfirevi Fabekovec Marijo Turin Nada Kapetanovi Zlatko Drakula Nataa
Jeci Stjepan Fari Gabrijela Vlajo Koraljka Kauzlari Zlatko Ferlin Mauricio
Jurkovi Miljenko Fotak Helena Vodopija eljka Keller Goroslav Frankovi Orsat
Kamenov Krunoslav Gali Klara Vranje Igor Klanac Zlatko Glava Boris
Kapetanovi Zlatko Glavor eljko Zglavnik Dubravka Kramer Erika Glinska Adrianna Beata
Kauzlari Zlatko Glogolja Kreimir alig Tihomir Kranjevi Eduard Hristov Dubravko
Keller Goroslav Goreta Jasna ini Nikola Kranjevi Stanka Ivankovi Ivana
Klanac Zlatko Husnjak Davor Kuduz Ante Jedreji Zoran
Kramer Erika Jankovi Danijela Kuduz Ivan Jei Kristina
Kranjevi Eduard Jurinec Ksenija Kurilj Paula Jeina Sreko
Kranjevi Stanka Koari Filip Lapaine Boidar Jovii Zrinka
Kuduz Ante Krpan Dino Ljubii Boris Kauni Tomislav Jurica
Kuduz Ivan Krpi Nives Ljuljka Boris Kapicl Renata
Kurilj Paula Kulovi Bojana Miki Kreimir Kavuri Inja
Lapaine Boidar Kumanovi Dinko Mohorovii Andre Kezi Ada
Ljubii Boris Lalovi Damjan 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
Munger Marcela Mareti-Marinovi Ljubica Rek Vesna Koprivnjak Lovorka
Opali Milan Matek Tomislav Rendi Mioevi Marija Kordi Andrea
Orei Marijan Matievi Ana Rogi Ivan Kortizija Martina
Orei Mladen Miloevi Aleksandra Sudeta Nikoleta Kramari Goran
Paro Frane Milovanovi Andrea utej Miroslav Labura Svebor
Rek Vesna Milutin Romana Taborak Dragutin Lepin Igor
Rendi Mioevi Marija Mio Marijana Tkalec Emilija Maksimovski Saa
Rogi Ivan Ortynski Berislav Uri Boidar Marjanovi Sonja
Semenski Damir Palijan Davorin Vanita Josip Marko Marina
Stergarek Stanko Patrlj Ana-Marija Vrani Zvonko Marui Nela
Sudeta Nikoleta Pavlica Sanja Vulin Ante Matui Terezija
utej Miroslav Payer Ira Waldgoni Renata Mikuli Melina
Taborak Dragutin Peenko Marina (Milosavljevi) Benceti Sanja
Tkalec Emilija Penava Zrinka Barbara Voditelj / Head Mortigjija Vinka
Tkalec Stjepan Peri Saa midihen Edo Nuhbegovi Elmedin
Uri Boidar Poturi Igor Primi Saa
Vanita Josip Preglej Maja Puhalovi Damir
Vrani Zvonko Rapai Milan Pukari Mirjana
Vulin Ante Reljan Tamara Pukari Vesna
Waldgoni Renata Roin Stjepko Radovi Romina

338 339
godinjak studija dizajna / school of design annual review 2011/2012

PREMINULI
Deceased

5.2.2012. godine preminuo je akademik arhitekt Ante Vulin. Bio je profesor February 5, 2012 died architect Ante Vulin, member of the Croatian Aca-
na kolegijima Crtanje i Likovne vjebe Studija dizajna od njegova osnivanja. demy of Arts and Sciences. Professor Vulin held Drawing and Visual Arts
U dva mandata od 1998. do 2002. obnaao je dunost voditelja Studija Class at the School of Design since its foundation in 1989. Late prof. Vulin
dizajna. was appointed as the Head of the School of Design for two mandates, from
1998 to 2002.
1.5.2012. preminuo je akademski slikar i grafiar Ivan Kuduz, profesor na
kolegijima Crtanje i Likovne vjebe na Studiju dizajna. May 1, 2012 died painter and graphic artist Ivan Kuduz, professor of Drawing
and Visual Arts Class at the School of Design.
26.12.2011. preminuo je ininjer Damir Dekovi, asistent na kolegiju Kon-
struiranje pomou raunala na Studiju dizajna. December 26, 2011 died Damir Dekovi, mechanical engineer, assistent at
the Computer Aided Design Class at the School of Design.

341
godinjak studija dizajna / school of design annual review 2011/2012 godinjak studija dizajna / school of design annual review 2011/2012

IMPRESSUM Zahvaljujemo tvrtki Fedrigoni na sponzorstvu kojim


je potpomogla izdavanje Godinjaka Studija dizajna.
Imprint
We thank the Fedrigoni Company for its sponsorship in support
of the publishing of the Annual review of the School of Design.

Uredili / Editors PARTNERI / partners


Damir Brali, Stipe Bri, Nenad Dogan, Ivan Doroghy, IcsidInternational Council of Societies of Industrial Design
Nikola urek, Stanko Herceg, Zlatko Kapetanovi, IcogradaInternational Council of Graphic Design Associations
Mladen Orei, Fea Vuki Royal College of Art / Helen Hamlyn Center
Hrvatsko dizajnersko drutvo / Croatian Designers Society
Izvrni urednik / executive editor ULUPUH / The Croatian Association of Artists of Applied Arts
Ivan Doroghy Studentski centar Sveuilita u Zagrebu /
University of Zagreb Student Centre
Suradnici / associates Umjetnika akademija Split / Arts Academy of the University of Split
Luka Bori, Matea Brki, Romana Kajp, Bojan Kritofi Akademija za likovno umetnost Ljubljana /
Academy of Fine Arts and Design, Ljubljana
Tekstovi / texts Akademija dramske umjetnosti / Academy of Dramatic Art
Stipe Bri, Ivana Fabrio, Sanja Horvat Zagrebaki velesajamAmbienta Zagreb Fair / Ambienta Fair
Bojan Kritofi, Fea Vuki Hrvatska gospodarska komoraCentar za dizajn /
Croatian Chamber of EconomyDesign Centre
registar / REGISTER Klaster hrvatski interijeri / Croatian Interiors cluster
Vinja Krajnovi, Sanja Bui Toyota Centar Zagreb
ChevroletPSC Zagreb
Art direktor / art director Turistika zajednica grada Varadina pancirfest /
Nenad Dogan Varazdin City Tourist Association pancirfest
Papirus papiri
Dizajn / design
Hrvoje ivi

Fotografije / photography
Adriana Paveli, Arhiv Studija dizajna / School of Design Archive

Lektura / proofreading
Nada Dmitrovi-Kritofi

Prijevod / translation
Ana Bizjak, eljka Mikloevi

Priprema / prepress
Kaligraf

Tisak / printing
Printera

Tiskano na papiru Fedrigoni / Printed on Fedrigoni paper:


Symbol Matt Plus 170 g/m2 (knjini blok/text block)
Symbol Matt Plus, 300 g/m2 (korice/cover)
Ispira Passione, 250 g/m2 (ovitak/jacket)

342 343
Sveuilite u Zagrebu
Osnovano 1669. godine
rektor prof.dr.sc. Aleksa Bjeli

fakulteti koji sudjeluju u


realizaciji studija dizajna
Arhitektonski fakultet, organizator
Akademija likovnih umjetnosti
Ekonomski fakultet
Filozofski fakultet
Fakultet strojarstva i brodogradnje

University of Zagreb
Founded in 1669
rector Aleksa Bjeli, Professor, PhD

faculties participating in the organisation


and functioning of the school of design
Faculty of Architecture, organising participant
Academy of Fine Arts
Faculty of Economics and Business
Faculty of Philosophy
Faculty of Mechanical Engineering and Naval Architecture

www.unizg.hr

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