Pregled hrvatskog dizajna 1718 / Croatian Design Review 1718

Pregled hrvatskog dizajna ∕ Croatian Design Review 1718

Izložba hrvatskog dizajna ∕ The Exhibition of Croatian Design 1718 Muzej za umjetnost i obrt ∕ Museum of Arts and Crafts Izložbeni salon Izidor Kršnjavi ∕ Gallery Izidor Kršnjavi 25.10. — 25.11.2018.

Pregled hrvatskog dizajna ∕ Croatian Design Review 1718 izdavač ∕ publisher HDD – Hrvatsko dizajnersko društvo, Zagreb, Boškovićeva 18 za izdavača ∕ on behalf of the publisher Maša Milovac urednik ∕ editor Marko Golub asistentica urednika ∕ assistant to the editor Mirjana Jakušić tekstovi ∕ texts Marko Golub, Dejan Kršić, Maša Milovac, Maroje Mrduljaš · Monika Džakić, Bojan Krištofić, Lea Vene (intervjui ∕ interviews) dizajn i prijelom ∕ design and layout Marino Krstačić Furić, Ana Tomić redakcija opisnih tekstova ∕ redaction of project descriptions Marko Golub lektura ∕ proofreading Mirjana Jakušić, M.G. prijevod ∕ translation Language Lab ∕ Mirna Herman, Leo Štedul tisak ∕ print Stega tisak d.o.o. Zagreb papir ∕ paper knjižni blok ∕ book signatures Gmund Bauhaus Dessau Weiss 2 120g korice ∕ cover Gmund Bauhaus Dessau Weiss 2 300g (Igepa Plana d.o.o.) pismo ∕ typeface Regular A2-TYPE naklada ∕ print run 800 Zagreb, 2018.

Slikovni materijali su u vlasništvu autora ∕ Ownership of visual material is vested in the original authors.

Tekstualna objašnjenja i opisi radova preuređeni su zbog potrebe jasnoće i kraćenja tekstova ∕ Project descriptions were edited for reasons of clarity and constraints of space.

ISBN 978-953-6778-44-7 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001009787. ∕ CIP note is available in the computer catalog of the National and University Library in Zagreb under No. 001009787.

Sadržaj ∕ Contents 5

Uvod ∕ Introduction Maša Milovac

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Što dizajn može reći o sebi? ∕ What Can Design Tell Us About Itself? Marko Golub nagrada hrvatskog dizajnerskog društva za životno djelo ∕ croatian designers association lifetime achievement award

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O Matku Meštroviću u kontekstu dizajna — Povodom Nagrade za životno djelo ∕ On Matko Meštrović in the context of design — on the occasion of the Lifetime Achievement Award Dejan Kršić

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Bilješke o odnosu Matka Meštrovića i arhitekture ∕ Notes on the Relation between Matko Meštrović and Architecture Maroje Mrduljaš

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Nominacije Hrvatskog dizajnerskog društva za Veliku nagradu ∕ Nominations for Croatian Designers Association Grand Prix ocjenjivački sud ∕ jury

66 Dejan Dragosavac — Nije sramota ako se u dizajnu vidi duh vremena ∕ There is no shame in seeing the spirit of the times in design Marko Golub 74

Boris Greiner — Počinjemo odavde! ∕ We Start Here! Bojan Krištofić

82 Vedran Kasap — Dizajn je postao dostupniji, sveprisutniji, ali i potrošniji

∕ Design is becoming increasingly accessible and prevalent, but also more expendable Monika Džakić 88

Ana Labudović — Kritički i istraživački rad u dizajnu ne bi trebao biti luksuz ∕ Critical and research work in design should not be a luxury Monika Đakić

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Mario Lončarić — Uloga programera nije nestala, samo je malo pomaknuta u fazi ∕ The role of programmers has not disappeared; it only experienced a phase shift Maša Milovac

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Tomislav Mostečak — Modni dizajn još uvijek je na margini domaće scene dizajna ∕ Fashion design is still on the margins of the domestic design scene Lea Vene

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Nika Pavlinek — Zapljuskuju nas slike pa više ne vidimo vlastiti prostor ∕ We are bombarded by images to such a degree that we don’t even see the space around us Monika Džakić

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Susan Sellers — Dizajn je kolektivni govor koji organizira i izražava naše vrijednosti i ideale ∕ Design is collective speech that organizes and expresses our values and ideals Marko Golub

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Slavimir Stojanović — Ljudi vole vidjeti kad se netko iskreno trudi ∕ People appreciate it when someone makes a genuine effort Marko Golub profesionalni dizajn ∕ professional design

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Dizajn vizualnih komunikacija ∕ Visual Communications Design

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Dizajn u digitalnim medijima • Dizajn interakcija ∕ Design and Digital Media • Interaction Design

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Dizajn ambalaže ∕ Packaging Design

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Industrijski • produkt dizajn ∕ Industrial • Product design

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Prostorne i grafičke intervencije i sistemi ∕ Spatial and Graphic Interventions and Systems

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Modni i odjevni dizajn ∕ Fashion and Clothing Design

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Cjeloviti projekt • proizvod ∕ Integrated Project • Product

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Koncept • inicijativa • kritički dizajn ∕ Concept • Initiative • Critical Design studentski dizajn ∕ student design

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Dizajn vizualnih komunikacija ∕ Visual Communications Design

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Dizajn u digitalnim medijima • Dizajn interakcija ∕ Design and Digital Media • Interaction Design

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Industrijski • produkt dizajn ∕ Industrial • Product design

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Modni i odjevni dizajn ∕ Fashion and Clothing Design

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Cjeloviti projekt • proizvod ∕ Integrated Project • Product

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Koncept • inicijativa • kritički dizajn ∕ Concept • Initiative • Critical Design aktivnosti u organizaciji hrvatskog dizajnerskog društva ∕ activities organised by croatian designers association

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HDD galerija – Izložbe i [d]razgovori ∕ CDA Gallery – Exhibitions and [d]talks

441 Projekti, događanja i suradničke aktivnosti ∕ Projects, events and collaborative activities 455

Dizajnerska početnica ∕ Design 101

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Natječaji ∕ Competitions

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Izdanja ∕ Publications

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Kazalo ∕ Index

Uvod napisala Maša Milovac predsjednica Hrvatskog dizajnerskog društva

Uloga ovog kratkog teksta je osvrnuti se na stanje dizajna unazad dvije godine, opisujući kontekst u kojemu su ovdje prezentirani (ali i mnogi drugi) radovi nastajali kako bi, nadamo se, posjetitelju izložbe i čitatelju kataloga iskustvo bilo upotpunjeno. Izložba hrvatskog dizajna 1718, deseta u nizu, povod je i prilika da se još jednom pokuša dati osvrt na realno stanje dizajna, na okruženje u kojemu djelujemo kao dizajneri, kao i na neke promjene koje smo primijetili i koje vrijedi istaknuti. Poboljšanje uvjeta rada za dizajnere, veća prisutnost dizajna u svakodnevnom okruženju građana te promicanje struke oduvijek su bile točke interesa i djelovanja HDD-a, i zaista, dosadašnje Izložbe hrvatskog dizajna u velikoj mjeri upravo o tome i svjedoče. Nažalost, još uvijek izostaju održive razvojne strategije i planski dokumenti koji bi se provodili na razini države s ciljem osnaživanja raznih grana industrije, turizma te gospodarstva općenito. U takvom kontekstu očito je da i nešto što se nama čini toliko temeljno, poput Nacionalne strategije dizajna, mora čekati neka bolja vremena. Stagnacija društva u cjelini prisutna je na svim razinama, zato i ne čudi opći nedostatak vizije i manjak političkog interesa za dublje razumijevanje i prepoznavanje potencijala naše struke. Naravno da dio odgovornosti snosimo i mi dizajneri, te bismo, kao što kaže Koraljka Vlajo “morali naći snage za provođenjem (kakvih-takvih) redovnih analiza stanja svog sektora što je bazični uvjet za svaki budući pokušaj bilo kakvog strateškog djelovanja”.

Izložba hrvatskog dizajna igra dijelom i tu važnu ulogu i pokazatelj je kvalitete produkcije, strukture naručitelja dizajna, te na kraju razvoja ili transformacije pojedinih disciplina dizajna te pojave nekih novih.

I dalje je najbrojnija produkcija u području vizualnih komunikacija, no vrijedi istaknuti da je sve više interdisciplinarnih projekata u kojima su produkt dizajneri te dizajneri vizualnih komunikacija postali dio središnjeg kreativnog tima koji između ostalih čine i arhitekti, modni dizajneri, dizajneri novih medija i drugi. To nam je važno ne samo zbog jačanja interdisciplinarnosti u praksi dizajna, već i zbog percepcije naručitelja te onih koji o dizajnu možda ne znaju mnogo, jer govori o širenju uloge i primjenjivosti dizajna. Zabrinjavajuća su recentna događanja s nezavisnim prostorima kulture, poput Kulture promjene SC-a, čiji su kulturni programi bili razvojna platforma za generacije mladih dizajnera koji su upravo tamo započinjali svoje karijere. Istovremeno, neki od dizajnera koji su se formirali na toj sceni danas sve više bivaju angažirani kao dizajneri velikih državnih kulturnih institucija, što je zanimljiva pojava i pomak vrijedan spomena. Zanimljivo je pratiti i kako se razvijaju pojedini dizajneri i dizajnerski kolektivi koji su u skromnim uvjetima, ali s puno hrabrosti i strasti prije svega nekoliko godina odlučili pokrenuti vlastite dizajnerske brendove i ući u proizvodnju i na tržište bez pravog industrijskog zaleđa. To je važno ne samo kao potvrda kvalitete hrvatskih dizajnera, već i kao inspirativan primjer za mlađe generacije dizajnera koji tek izlaze s fakulteta, te

pregled hrvatskog dizajna

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dokaz da je kontinuiranim investiranjem u vlastitu praksu moguće dostići rezultate s kakvima se može konkurirati na međunarodnom tržištu.

Danas zaista možemo biti zadovoljni velikim brojem različitih javnih dizajnerskih događanja, koja se međusobno razlikuju, vođena su drugačijim pretpostavkama, njeguju i fokusiraju se na različite vrijednosti i kvalitete, otvaraju različite perspektive na dizajn, a samim tim privlače i različitu publiku. Aktivnosti HDD-a - HDD Galerija, Plan D, edukativni, izdavački program i mnoge druge – tako pokušavaju ne samo odgovoriti na opće potrebe kako same dizajnerske zajednice tako i široke javnosti, nego i biti komplementarne s drugim dizajnerskim događanjima, nadopunjivati ono što nedostaje. Plan D upravo iz tih razloga preuzima pomalo nezavidnu ulogu iskačući iz tih sada već preopterećenih tračnica te ispituje neke nove pravce. Za razvoj diskursa o dizajnu i istraživanje povijesti dizajna posebno su važne i izložbe u HDD galeriji, često popraćene iznimno vrijednim publikacijama koje redovito svojim sadržajem nadilaze i upotpunjuju same izložbe. No još važnije od toga, govore o onim fenomenima iz povijesti koji su relevantni za sadašnjost dizajnerske prakse. Napokon svjedočimo i svojevrsnoj decentralizaciji, odnosno širenju većine gore navedenih aktivnosti iz Zagreba prema drugim gradovima, ali i uspostavljanju uzajamnih suradnji. Prvenstveno treba izdvojiti česta gostovanja izložbi u organizaciji HDD-a u Domu mladih / Multimedijalnom kulturnom centru u Splitu, ali i u Rijeci, Puli, Varaždinu i drugdje. Sve vidljivija je i dizajnerska aktivnost širom Hrvatske, osobito u Splitu, Rijeci, Dubrovniku, Osijeku, Koprivnici i u Istri, dijelom zbog vraćanja nekadašnjih studenata dizajna u svoje rodne gradove, dijelom zahvaljujući sve aktivnijoj i povezanijoj sceni, ali i zbog proaktivnog djelovanja dizajnerskih fakultetskih studija u gradovima u kojima se nalaze i gdje vrijedno odgajaju nove generacije. Na kraju, ali ne i najmanje važno, ne iznenađuje visoka kvaliteta studentskih radova u kategoriji vizualnih komunikacija, međutim zbog prirode zadatka u kojemu se projektira za nekog imaginarnog naručitelja i idealni kontekst, teško ju je objektivno usporediti s radovima u profesionalnoj kategoriji. Pomalo začuđuje manjak radova u studentskoj kategoriji produkt dizajna. Nažalost, u selekciji izložbe nisu vidljivi ni radovi studenata koji svoje projektne zadatke izvode u realnom okruženju, i to sa stvarnim tvrtkama i civilnim udrugama, što je već dobro uhodana praksa i razvijena metodologija u obrazovanju produkt dizajnera na Studiju dizajna u Zagrebu. I ova izložba će, vjerujemo, otvoriti neka nova poglavlja i teme, otkriti nam neke radove kolega koje još nismo upoznali, te zaokružiti dvogodišnji ciklus novim priznanjima i nagradama koje će još neko vrijeme dobitnicima, ali i svima ostalima, biti dodatni poticaj za novi ciklus.

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pregled hrvatskog dizajna

croatian design review

Introduction written by Maša Milovac President of the Croatian Designers Association

The purpose of this short text is to give an overview of the state of design over the past two years by describing the context in which the projects presented here (as well as many others) emerged so to hopefully provide the visitor of our exhibition and the reader of the catalogue with an all-encompassing experience. The Exhibition of Croatian Design 1718, the tenth in a row, is an occasion to once again try to look back at the state of design, the environment in which we as designers work as well as to observe certain changes that we feel are worth noticing. Improved working conditions for designers, greater presence of design in our everyday life and promotion of the profession have always been important points of interest and activities by the CDA, and indeed, previous exhibitions stand as a witness to that to a large extent. Unfortunately, we still lack sustainable development strategies plans to be implemented on the state level with the aim to strengthen various industrial sectors, tourism and economy in general. In such a context, it is obvious that something that seems so basic, like the National Design Strategy, has to wait for some better times. Stagnation of the whole society is present at all levels and that is why it is not surprising to see a general absence of vision and lack of political interest for any deeper understanding or recognition of our profession’s potential. Of course, we as designers assume our part of the responsibility and as Koraljka Vlajo puts it, “we need to find the strength to implement (some kind of) regular analyses of our sector, which is a basic precondition for any future attempt to act strategically”. The Exhibition of Croatian Design partially plays that important role and stands as the indicator of the quality of production, structure of those who commission design projects, and finally the development or transformation of individual design disciplines as well as the emergence of new ones.

The biggest output is still noticeable in the category of visual communications but it is worth mentioning that there are more interdisciplinary projects in which product designers and visual communications designers became part of creative teams composed of architects, fashion designers, and new media designers among others. This is important to us not only because of further strengthening of interdisciplinarity in the design practice but also due to the perception of commissioners and those who might not know a lot about design since it speaks about the expansion of the role of design and its applicability. It is alarming to see recent developments in independent fields of culture, such as the Student Centre’s Culture of Change whose cultural programmes have served as the development platform for many generations of young designers who had started their careers there. Simultaneously, some designers who have established themselves on that stage are ever more employed to design for big cultural institutions, which is a very interesting phenomenon and a step forward worth mentioning. It is also interesting to observe the

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development of designers and designer collectives who have started up their designer brands and entered the market without any industrial background only a few years ago in very humble conditions but with a lot of courage and passion. This is not only the confirmation of the quality of Croatian designers but also as an inspiring example for younger generations who have just graduated and as a proof that continuous investment in one’s own practice can lead to results with which it is possible to compete on the international market.

Today we can be really satisfied with a large number of design events that are diverse; they result from different presumptions and nurture and focus on different values and qualities, at the same time they open different perspectives on design and thus attract different audiences. The activities organised by the CDA – the CDA Gallery, Plan D, educational and publishing programmes and many others – thus attempt to correspond to the general needs of the design community and the broader public but also they intend to become complementary with other design events in order to fill the gaps. For those reasons, Plan D undertakes an unenviable role by derailing from the tracks that are already too burdened and investigates some new avenues. In developing a relevant, serious design discourse and investigating design history, the exhibitions at the CDA Gallery are especially important, and they are often supplemented by extremely valuable publications whose content regularly goes beyond or complements the exhibitions. What is even more important, they speak about those historical phenomena that are relevant for the current design practice. Finally, we witness a certain decentralization or the expansion of all the above stated activities from Zagreb towards other cities as well as the establishment of mutual collaboration. We should primarily emphasise frequent guest exhibitions organised by the CDA at the Youth Hall / MKC in Split but also in Rijeka, Pula, Varaždin and elsewhere. Various design activities across Croatia are gaining visibility, especially so in Split, Rijeka, Dubrovnik, Osijek, Koprivnica and Istria, partly due to the fact that former design students are returning to their home cities and partly owing to a more active and connected scene but also due to the proactive approach taken by design undergraduate programmes organised in the cities where they live and where they educate new generations. Last but not least, it is not surprising to see high quality student projects in visual communications. However, due to the nature of the task where designers work for an imaginary commissioner and an ideal context, it is hard to objectively compare it with professional work. It is surprising to observe the lack of projects in the student category of product design. Unfortunately, the selection for this exhibition does not present the projects by students who work in realistic environments, with real companies and civil associations, which has been a well-established practice and a developed methodology applied in the education of product designers at the Zagreb’s School of Design. We believe that this exhibition will open up some new chapters and themes and reveal some projects we have not seen yet and round up a two-year cycle with new prizes, which will be an impetus to the winners and everyone else for a new cycle.

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Što dizajn može reći o sebi? napisao Marko Golub

Što nam revijalne izložbe kao što je Izložba hrvatskog dizajna zaista govore? Što nam kažu sa svojim velikim grupama radova svrstanim u određene kategorije, s popisima dizajnera, suradnika i klijenata čija imena čitamo pored njih, sa svojim svečanim dodjelama nagrada, ceremonijalnim govorima i obaveznim small talkom na otvorenjima? One nam, prije svega, govore što dizajneri misle da najbolje reprezentira njihov rad, sposobnosti i talent, a zatim i što selektori vide kao prema svom sudu objektivno najkvalitetnije od ponuđenog. Tu uvijek postoji jedan značajan problem, jer ono što dizajneri misle da najbolje predstavlja njih, nije uvijek i ono što doista vidimo implementirano u najširi spektar naših društvenih, urbanih, medijskih, kulturnih, komercijalnih, javnih, privatnih, životnih, svakodnevnih okruženja. Ono što selektori, odnosno žiri, vidi kao najbolje, ne odražava, niti može odražavati stvarnu sliku stanja dizajna u širem kontekstu.

Dizajner kojeg obično prepoznajemo kao dobrog u tome što radi često ima tu glamuroznu auru nadahnutog pojedinca, no dobar dizajn ponekad se krije baš iza anonimnog i kolektivnog (npr. u okviru velikih agencija), iza masovnog i gotovo nezamjetnog u svojoj sveprisutnosti, iza malih ali strateški važnih preinaka i pomaka kod dugotrajnih brendova itd. Jedna od prednosti ovakvog izložbenog formata predstavljanja dizajna trebala bi biti to da nam on daje generalnu ideju o tome što vidimo kao dobar standard, kao „primjere dobre prakse“, razinu kojoj treba stremiti. No kako ni dizajn nikad nije bio, a pogotovo danas nije „jedna“ stvar nego mnogo njih, naivno je govoriti o univerzalnom standardu. Iz gore navedenih razloga, previše nam toga ostaje nevidljivo, a u vidokrug nam ne ulaze ni neki primjeri koji zaslužuju da se na njih ugledamo, bez obzira što možda nisu do kraja realizirani, jer je riječ o dobrim inicijativama i kvalitetnim projektima koji možda neće dobiti drugu priliku, ali bi mogli pronaći sljedbenike koji će njihove vrijednosti prenijeti u nešto drugo.

Ako, dakle, Izložba hrvatskog dizajna ne daje objektivnu sliku stanja hrvatskog dizajna u protekle dvije godine, što nam onda daje? Zamislimo to kao neku kartu na kojoj ima puno praznina, rupa, nečitljivih oznaka, nemapiranih i neucrtanih zona, ali ipak na njoj postoje neki orijentiri pomoću kojih je moguće barem pokušati rekonstruirati ono što nedostaje.

U ovom tekstu ti su orijentiri radovi, a ono što tražimo je kontekst. Drugim riječima, u onome što nam dizajn može reći o sebi, naći ćemo ponešto i o nama. To je namjera ovog teksta u kojem, budući da mislim da drukčije nije fer, neću osloviti nijedno ime niti rad, ali pretpostavljam da će se mnogi unutra ipak pronaći.

Kategoriju Dizajn vizualnih komunikacija u ovoj knjizi otvaraju plakati, kojih je razmjerno veliki broj, ali broj autora koji su ih dizajnirali je značajno manji. Pogledamo li tko su klijenti vidjet ćemo i gdje je još uopće ostalo mjesta za taj u tradicionalnom smislu arhetipski dizajnerski medij. Daleko je najviše kazališnih plakata koje za pet respektabilnih zagrebačkih kazališnih

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kuća radi skoro jednako toliko dizajnera i dizajnerskih studija. Dio njih s istima surađuju već godinama te su njihovi radovi u Pregledima hrvatskog dizajna, kao primjeri kvalitetne dizajnerske produkcije, dokumentirani u neprekinutoj seriji. Plakati su uglavnom bazirani na snažnim vizualima koji – ilustracijom, fotomontažnim/kolažnim pristupom ili digitalnom manipulacijom fotografije, inventivnom art direkcijom, rjeđe čistom fotografijom i najrjeđe isključivo tipografskim sredstvima – simbolički interpretiraju ono što dizajner vidi kao temu, ozračje ili mentalni pejzaž predstave. U ovom dijelu radova najmanje je eksperimenata, a najviše oslanjanja na dobru tradiciju, kao i održavanja manje ili više jasnog kontinuiteta vizualnog komuniciranja programa određene kazališne kuće, bez padanja u zamke manirizma i ponavljanja. Jedina iznimka u svemu dosad navedenom je glavna hrvatska nacionalna kazališna kuća koja je, nakon što je prije četiri godine doživjela radikalan dizajnerski makeover, u posljednje dvije promijenila čak tri dizajnera / dizajnerska studija. Iako je prvi korak bio zaista prijeloman korak naprijed, ni dizajneri koji su naslijedili taj angažman ne zaostaju, gradeći slijed identitetskih transformacija tog kazališta koji će s protokom vremena biti zanimljivo retrospektivno sagledati – od otvaranja suradnji sa suvremenim hrvatskim fotografima i igre suptilnih razlika u tipografskom tretmanu koja sugerira karakter pojedinih predstava, preko strogog fokusiranja na portretnu fotografiju u funkciji reprezentacije kazališne predstave i na čista tipografska rješenja za druge programe, do kolažnog režiranja sasvim nadrealnih prizora koji gledatelja uvode u dizajnerovu vlastitu vizualnu „predstavu“ o predlošku prema kojem se predstava radi.

S filmskim plakatima na izložbi, mahom naravno za hrvatsku kinematografiju, teren se još više sužava, štoviše, skoro sve ih dizajnira jedan dizajnerski studio, ali taj jedan ipak je svjestan uskog prostora u kojem se kreće pa nigdje ne odaje ništa nalik autorskom stilu i rukopisu te se uglavnom jednako suvereno služi i ilustracijom i insceniranom fotografijom kako bi dočarao ono što vidi kao središnju temu filma. Plakati izložbenih, glazbenih, festivalskih ili multimedijalnih događanja gotovo se svi odreda oslanjaju na tipografiju kao osnovno izražajno sredstvo. Čim plakatom dominira tipografija, devedeset posto vremena možete biti sigurni da ste na nekom modernijem, inovativnom, nezavisnom, multimedijalnom i interdisciplinarnom događanju. U isto vrijeme, riječ je o plakatima među kojima ćemo naći najviše eksperimentiranja, nekonvencionalnih rješenja, poigravanja s medijem itd. Nestandardni formati? Tu su. Vizualno efektni tiskarski postupci kao odgovori na financijska ograničenja? Tu su. Plakati koji dubliraju kao popratne knjižice i deplijani? Eto ih. Plakati koji služe i za signalizaciju i orijentaciju u prostoru? Prisutni. Plakati koji uopće nisu plakati, nego duhovita kontekstualna intervencija na plakatnim mjestima?

Naravno. Nije nevažno napomenuti kako je upravo u ovom segmentu pretežno riječ o manifestacijama koje ugrubo pripadaju sferi tzv. nezavisne kulture te tradicionalno raspolažu s najslabijim budžetima, ali im mlađe generacije dizajnera, jednako tako tradicionalno, snažno gravitiraju (ili su čak njihovi aktivni protagonisti). Također, možemo primijetiti kako se polako događa i tranzicija pojedinih autora koji su dosad bili ekskluzivno vezani za vibrantnu nezavisnu scenu, prema nekim dosad naizgled neosvojivim bastionima institucionalne kulture u kojima se snalaze dobro, ne žrtvujući ništa od svog kreativnog integriteta.

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Iako plakat kao medij obično vežemo uz javni gradski prostor, prostor ulice, njihov je status danas ipak malo kompleksniji. U vremenu kad se sve, pa i angažman grafičkih dizajnera, sve više seli na web, i plakat tamo nalazi svoje mjesto, svoj „drugi život“ kao digitalna slika koja je naročito atraktivna za distribuciju putem društvenih mreža. Sami dizajneri su toga itekako svjesni, tako da su neke dizajnerske odluke definirane upravo time što se od njega očekuje da jednako dobro (ili još bolje) funkcionira na ekranima, posebno ekranima mobilnih uređaja na kojima lijepo funkcionira vertikalni format.

Značajan dio radova u kategoriji Dizajn vizualnih komunikacija odnosi se na oblikovanje knjiga i časopisa. Već pri letimičnom pogledu jasno je da je, vjerojatno više nego u ijednoj drugoj kategoriji, namjera dizajnera bila da impresioniraju zanimljivom opremom, poigravanjem s anatomijom knjige kao objekta i njenim konvencijama, odabirom papira i materijala, manje ili više eksplicitnom formalnom interpretacijom sadržaja i njegove strukture, a u jednom izuzetnom slučaju čak i osmišljavanjem sasvim novog načina kako se knjige „rade“, nadilazeći tako višestruko ulogu dizajnera i prožimajući je s ulogom urednika i autora na neočekivane, ali i na tehnološki sve donedavno nezamislive načine. Dizajneri formi knjige pristupaju inovativno, maštovito, inteligentno, educirano, dobro informirano. Riječ je dobrim dijelom o „fetiš“ izdanjima, no čak i kad nam se na trenutak učini da su u nečemu pretjerali, ipak izgleda da iza svake dizajnerske odluke stoji neki razuman, ne nužno u istom trenutku, ali u konačnici ipak prepoznatljiv i razmjerno lako čitljiv razlog. Ali sad – kontekst.

Među selektiranim knjigama samo su dva rada koja se mogu svrstati u kategoriju beletristike, pri čemu je u oba slučaja riječ o knjigama poezije, koja je tradicionalno, barem u Hrvatskoj, na krajnjoj margini tržišnog interesa u izdavaštvu. Nema ni cjelovitih prijevoda izdanja iz inozemstva (iako ima izdanja koje su hrvatski dizajneri i dizajnerice oblikovali za inozemne naručitelje). Zamislimo li pedesetak (vjerojatno i više, uključimo li i publikacije koje su dio integralnih, većih projekata) knjiga, časopisa i drugih publikacija prikazanih na ovoj izložbi kao svojevrsnu imaginarnu knjižaru, bila bi to jedna vrlo vrlo specijalizirana knjižara, ni po čemu nalik ijednom mjestu u kojem prosječan građanin Hrvatske nabavlja svoje knjige. Jedna ugledna francuska gošća, stručnjakinja za dizajn, je nakon razgledavanja prošlogodišnjeg Zgrafa rekla kako je oduševljena viđenim radovima, ali i neformalno pitala zašto na svim knjigama koje je vidjela na izložbi piše da im je naklada 300 primjeraka i je li to neka specifična lokalna šifra. Ne, to je stvarnost.

Godišnja izvješća, dokumenti filantropske aktivnosti velikih korporacija ili ukoričeni spomenici velikim investicijama tradicionalno izgledaju tako kako izgledaju jer im je funkcija u velikoj mjeri simbolička, nije im svrha da ih se čita, nego da ih se gleda u uredima i da se o njima čita na portalima i društvenim mrežama. Knjige umjetnika (artists’ books), autorske knjige dizajnera i slična takva izdanja u kojima dizajner samostalno ili zajednički s nekim umjetnikom daje formu nečemu što samo po sebi ima status „djela“ izgledaju tako kako izgledaju zato što su… to što jesu, knjige umjetnika i autorske knjige. U ovoj sekciji je i veći broj kataloga ili popratnih publikacija uz izložbe suvremene umjetnosti te nekoliko fotografskih knjiga.

U nekim slučajevima posrijedi je nastojanje da se umjetničkom sadržaju

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da što više prostora tako da ga se koristi kao temeljni vizualni materijal gdje god je to moguće, s minimalno drugih intervencija. Drugdje je riječ o konvencionalnijim izdanjima, ili pak onima gdje se grafičkim dizajnom i upotrebom tipografije amplificira sadržaj, odnosno ulazi se u estetski i stilski dijalog s autorskim jezicima umjetnika čiji rad knjiga obrađuje. Tu je i nekolicina časopisa koji su mahom zanimljivi i zbog svoje uređivačke koncepcije, budući da su upućeni ili na specifičnu lokalnu zajednicu, ili na važne teme na margini interesa mainstream izdavaštva, ili na oboje. U nekoliko vrlo rijetkih primjera susrećemo se s radovima koji osvajaju tek kad ih podrobnije promotrimo, ne zahvaljujući nekoj ideji koja ih na prvu izdvaja od ostalih, nego dubokoj, istreniranoj pažnji koja je uložena u oblikovanje svakog aspekta knjige, od tretmana fotografskog materijala do teksta i njihovih odnosa.

Kad je riječ o vizualnim identitetima, različitim njihovim aplikacijama, brendiranju, promotivnim materijalima i sličnome, budući da se tu radi o integralnim, sistemskim rješenjima, teško je izdvajati neke karakteristične pristupe, ali moguće je sagledati konture onog za što se sve dizajniraju.

Glavni naručitelji, barem prema zastupljenosti na izložbi, su opet kulturne institucije (galerije, muzeji, kazališta), proizvođači craft alkoholnih pića, restorani brze prehrane, bistroi i elitni restorani, filmski festivali, festivali elektroničke glazbe, turistički smještajni objekti, lokalni marketi, nekoliko bitnih memorijalnih i arhitektonskih investicija lokalnog ili nacionalnog značaja, vrtići za pse itd. Najfluidniji su svakako identiteti festivala i sličnih manifestacija, koji se očito često (iako ne uvijek) grade tako da ih se svake godine gotovo iz temelja presvlači, tako da im jedina fiksna točka ostaje logo, koji sam nerijetko igra marginalnu ulogu. Rigidnu sistematičnost najčešće ćemo naći kod dizajna za tvrtke i institucije (uz neke zanimljive iznimke), dok je kod novih malih brendova širom tržišnog spektra najčešće riječ o nekoj vrsti naracije.

Ako paralelno gledamo i Ambalažu (te se dvije kategorije na više mjesta preklapaju), doći ćemo do radosnog zaključka kako je dizajnersku imaginaciju u posljednje dvije godine nastanio vrlo raskošan životinjski svijet.

Na ilustracijama smo razabrali ribe, papige, bikove, štenad, zmije, različite vrste mačaka, kopitara i peradi, glavonošce, zečeve, plave psine i druge, stvarne i fantastične životinje. Klijenti su većinom domaći mali i srednji vinari, proizvođači maslinovog ulja, proizvođači craft pića, mali i veći glazbeni izdavači, farmaceutske i kozmetičke tvrtke, proizvođači ili naručitelji tradicionalnih delicija i gastronomskih suvenira. Treba istaknuti i kako se među svim tim „finim“ stvarima našao i jedan prehrambeni proizvod široke potrošnje, u pravom smislu – brašno. Raspon je ovdje doista širok, a takva je i lepeza stilskih razlika. Teško je generalizirati, ali sudeći prema radovima koji su prošli selekciju - kod alkohola i maslinovih ulja češća su tipografska ili krajnje minimalistička rješenja, dok upliv ilustracije i maksimalističkog pristupa signalizira ili pokušaj diferencijacije u odnosu na konkurenciju, ili okretanje prema mlađim konzumentima. U nekim rješenjima ima i hvalevrijednih pokušaja da se iza prividnog minimalizma sakrije i dublja priča koja angažira pažnju korisnika. Općenito, s izuzetkom pakiranja muzičkih izdanja i nekoliko drugih iznimaka, ključne riječi koje bitno određuju i vizualnu komunikaciju su ekološka i prirodna proizvodnja, prirodno i kulturno nasljeđe, te hommage lokalnim ili obiteljskim tradicijama.

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Puno se puta u ovom tekstu spominjala tipografija, s dobrim razlogom, jer je u posljednjih desetak godina njeno oblikovanje i primjena, zahvaljujući kvalitetnoj edukaciji u tom području na dizajnerskim studijima u Hrvatskoj, u značajnom kvalitativnom uzletu. Iz istog razloga više se puta predlagalo uvođenje posebne kategorije za tipografiju, međutim u području oblikovanja tipografskih pisama ipak i dalje svjedočimo gotovo apsolutnoj dominaciji svega nekoliko najistaknutijih autora koji surađuju jedni s drugima i teško da imaju ozbiljnu konkurenciju u tome što rade.

Kategorija Dizajn u digitalnim medijima / Dizajn interakcija u ovom je izdanju izložbe prilično tanka što se tiče broja predstavljenih radova, koji jedva doseže dvije znamenke, a kad je riječ o prisutnosti bilo kojeg oblika interakcije (jer kategorija uključuje i dva promotivna videa i televizijsku špicu) i taj broj pada na jednoznamenkasti. Teško da se iz ove selekcije može zaključiti išta objektivno o stanju dizajna u digitalnim medijima i dizajnu interakcija u Hrvatskoj danas, iako je što se tiče estetske atraktivnosti i tehničke izvedbe ona u svim slučajevima besprijekorna, a čak su i konteksti iza nje respektabilni – rad za nacionalnu televizijsku kuću, uglednu visokoškolsku ustanovu, jedan izložbeni blockbuster, dva velika proizvodna brenda, internacionalna digitalna slovolivnica, jedan nov i atraktivan muzej, jedna nacionalna kazališna kuća i jedna županija. Mogućih razloga za ovako slab odaziv je više: od toga da je dizajn web sjedišta, aplikacija i interaktivnih sučelja zapravo često integralan dio širih projekata koji su rasprostrti po nekoliko drugih kategorija na izložbi, preko činjenice da developeri nisu nužno i dizajneri i ne vide sebe uvijek kao dio iste scene, do možda najvažnijeg razloga – toga da je izložbeni format vjerojatno najgori način za prikazati većinu produkcije u ovom području. Do prije 15-ak godina bilo je atraktivno vidjeti u izložbenim prostorima računala na kojima posjetitelji nešto klikaju i gledaju, ali, budimo realni, kao što danas nitko više ne telefonira u telefonskim govornicama tako nije razumno ni očekivati da će ljudi čiji su čitavi životi u njihovim pametnim telefonima uopće razumjeti, a kamoli izvoditi ovu arhaičnu koreografiju.

Produkt dizajn zadržao je sličnu razinu vitalnosti i strukturu odnosa koju ima tijekom posljednjih sedam ili osam godina. Stabilan mu oslonac i dalje čini domaća i regionalna industrija namještaja koja još uvijek broji svega nekoliko ozbiljnih proizvođača, ali čiji asortiman raste, pa tako raste i broj suradnji s dizajnerima. Ova izložba bilježi i nekoliko uspješnih suradnji sa stranim tvornicama kakve su prethodnih godina, ne računajući zemlje regije, bile puno rjeđe. Svojevrsnu protutežu još uvijek im čine samoinicirani proizvodi, odnosno mali dizajnerski brendovi, ali ovaj dio produkcije (obično u području dizajna namještaja i rasvjetnih tijela), unatoč svojoj kontinuirano visokoj javnoj vidljivosti, izgleda da u stvarnosti ipak blago stagnira – dizajneri su oprezniji s ulaskom u avanture te vrste, proces od početka dizajniranja do izlaska na tržište je mukotrpan i dugotrajan, značajan problem predstavlja i nalaženje financiranja, a izgleda da ni prilike koje pružaju platforme za grupno financiranje ipak nisu dosežne svakome te iziskuju značajne napore na više frontova, na koje su rijetki zaista spremni. Bez obzira na to što su se uvjeti za rad itekako popravili u odnosu na situaciju prije samo desetak godina, biti produkt dizajner i danas prvo znači biti hrabar, nametljiv i ustrajan. Nekoliko radova u ovoj kategoriji posljedica su manjih ili većih investicija lokalnih zajednica i

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velikih kompanija, a zanimljivo je i da su se tu našla dva proizvoda koje su, pod mentorstvom, razvili studenti dizajna u sklopu eksperimentalnog edukacijskog projekta koji su zajednički vodile regionalne dizajnerske organizacije i proizvodne tvrtke.

Ako negdje treba tražiti stvarno velike investitore, uvijek ih ima među projektima u kategoriji Prostorne i grafičke intervencije i sistemi. Novi korporativni poslovni centri, stambeni blok, veliki i nešto manji turistički objekti, cijela jedna zračna luka, gradski akvarij, lokalna povijesna arhitektonska baština, sportski i IT kamp – svi ti sadržaji trebaju kvalitetnu signalizaciju, prostornu grafiku, piktograme, cjeloviti dizajn interijera ili sve to zajedno.

Tu je riječ o nekima od najkompleksnijih, pa i najprestižnijih dizajnerskih zadataka u kojima je stupanj odgovornosti visok, kao i potreba za tijesnom kreativnom suradnjom s drugim stručnjacima, primjerice arhitektima. Iako ima studija i dizajnera koji su se specijalizirali za ovaj tip poslova, zapravo je zanimljivo pratiti i kako oni dizajneri koji su do jučer radili u nekom potpuno drugom području, primjerice kulturi, pristupaju rješavanju ovih zadataka. Timski rad, a naročito međusobni dijalog i otvaranje prema iskustvima kolega iz drugih disciplina, stvara nove vrijednosti i vrlo često pomaže dizajnerima da otkriju neke rakurse kojih dotad nisu bili svjesni, što se onda logično prelijeva i na njihovu praksu u drugim područjima dizajnerskog djelovanja. Budući da je ta praksa suradnji u posljednjem desetljeću dobro uhodana, čak i u okvirima ovakvih zahvata za koje se obično pretpostavlja da počivaju na rigidnim hijerarhijama i dogmama, nađe se prostora za neki oblik rizika, dobre intuicije i inovacije. Tu je i nekoliko sjajnih izložbenih postava iza kojih mahom stoje autori koji već imaju solidan temelj iza sebe u projektiranju takvih prostora i iskustava, a imaju i povjerenje i integritet da ravnopravno razgovaraju s kustosima. Tko su tu klijenti? Jedna velika korporacija, a ostalo pretežno javni muzeji. Manji izložbeni prostori i manji projekti te vrste teško da imaju šanse, često nemaju ni sredstava da angažiraju dizajnera, a i kad ga angažiraju nemaju budžet s kojim bi dizajner napravio išta što bi konkuriralo muzejskoj izložbenoj mašineriji. Pa ipak, jedan takav postav i nekoliko manjih urbanih intervencija jesu realizirani, vjerojatno jer iza njihove organizacije stoje upravo dizajneri.

Svi izloženi radovi u profesionalnoj kategoriji Modnog / odjevnog dizajna ove godine su samoinicirani radovi, odnosno proizvodi malih modnih dizajnerskih brendova. Nisu pretjerano jedinstveni u tome što imaju za reći, ali čini se da imaju za reći puno toga o svemu – licemjerju modne industrije, umreženom društvu i društvenim mrežama, opskurnim supkulturama, fluktuirajućim identitetima, slobodi, masovnoj potrošnji i mnogim drugim stvarima, pri čemu je ova intelektualna dimenzija mode još izraženija uđemo li među studentske radove. Karakterizira ih također i sklonost eksperimentu s materijalima i tehničkim postupcima, no posebno su zanimljivi koncepti recikliranja i rekombiniranja, sada već ne toliko materijala, nego čitavih modnih stilova, jezika i kodova. Vidljivo izostaje bilo što što bi barem nalikovalo „običnom“ odjevnom dizajnu, konfekciji, funkcionalnim uniformama ili radnim odijelima.

Iako okuplja niz redom fantastičnih radova, čini se da prije dvije godine uvedena kategorija Cjeloviti projekt / proizvod stvara više nesporazuma nego reda. Kad je uvedena, predviđena svrha bila joj je da istakne one

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projekte koje odlikuje neki vid interdisciplinarnosti ili koji objedinjuju kvalitetno dizajnersko razmišljanje s više različitih aspekata, u više različitih područja koja zajedno čine jednu, integralnu cjelinu. Međutim, u praksi se pokazalo da ili ova kategorija nema smisla, ili ima daleko više smisla nego većina drugih, doista je teško reći što od to dvoje. Za dobro dizajniran „proizvod“, o čemu god se radilo, trebalo bi se, idealno, podrazumijevati da je jednaka pažnja posvećena i oblikovanju produkta i njegovom vizualnom identitetu, ambalaži, ekstenziji njegove prisutnosti na webu, konceptualnoj, tehnološkoj ili društvenoj inovaciji koju donosi itd. Svi radovi, ili pojedinačni segmenti projekata predstavljeni u ovoj kategoriji, bez ikakvog bi problema svojom kvalitetom konkurirali svemu drugom u kategorijama dizajna vizualnih komunikacija, produkt dizajna, koncepta, prostornih intervencija, digitalnih medija, a u nekim slučajevima bi se i radovi koji sada stoje u tim kategorijama, bez ikakvih problema mogli preseliti u ovu, budući da i sami uključuju slične vrste suradnji i sinergija koje ova kategorija implicira. Naime, nijedno dizajnersko rješenje ne može se razumjeti niti kvalitetno vrednovati bez da ga se sagleda kao integralni dio cjeline kojoj pripada.

Sličan problem, ali i karakterističan sadržaj, donekle se prelijeva i u posljednju kategoriju, Koncept, inicijativa, kritički dizajn, s tim da je ona od početka (ranije se zvala Koncept) unutar donekle jasnih kontura zapravo služila i tome da se otvori prostor za neke nove i drugačije pojave, za nešto što je teško jednoznačno kategorizirati. Ovaj prostor je vrijedilo otvoriti zato što bi nam inače promaknule neke izuzetno zanimljive stvari, onkraj nerealiziranih koncepata i tzv. „osobnih“ dizajnerskih radova kojih i dalje ima i koji sa sobom donose ponekad zaista prijeko potreban dašak samorefleksije, kritičkog razmišljanja i humora. Na primjer, rasvjetljava nam se činjenica da dizajneri pišu knjige, da izložbe ne samo oblikuju nego ih i u pravom smislu kuriraju oplemenjujući jednu drugu profesiju nečim drukčijim, svježijim i novim, da projektiraju sustave koji bi mogli pomoći da neke stvari u društvu bolje i pravednije funkcioniraju, ili da zamišljaju kako bi neki postojeći sustavi mogli izgledati u jednoj boljoj budućnosti. Neki će u ovome prepoznati ono što se u posljednje vrijeme obično naziva „spekulativnom dizajnerskom praksom“, koja je i kod nas (zasad osobito u okviru visokoškolskog dizajnerskog obrazovanja) upravo sada važna i vruća tema te se diskurs o njoj zahuktava i gubi onu naivnost koju je možda imao na početku. A to je važna priča koja će se nastaviti. Jer što je drugo pred nama, i što nam je drugo preostalo osim budućnosti?

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What Can Design Tell Us About Itself? written by Marko Golub

What can review exhibitions and overviews such as The Exhibition of Croatian Design really tell us? What are they communicating with their clusters of various design works, sorted into particular categories, with lists of designers, collaborators and clients next to them, with their award ceremonies, ceremonial speeches and mandatory small talk during the openings? First of all, they communicate what designers themselves believe best represents their work, capabilities and talent. Secondly, they also communicate what the members of the selection committee, in their best judgement, view as objectively representing the highest quality. There is, however, one big issue with this: what designers believe to best represent them is not necessarily what we actually see implemented in the widest spectrum of our social, urban, media, cultural, commercial, public, private, everyday life environments. What the selectors or the jury see as the best does not and cannot reflect the true state of design in a broader context.

A designer who is usually recognised as good at what he or she does quite often exudes that glamorous aura of an inspired individual. However, good design oftentimes remains hidden behind the anonymous and the collective (in big agencies, for instance) or behind the omnipresent and almost undetectable, behind miniature, yet strategically important modifications and transformations of long-lasting brands, etc. One of the advantages of this sort of exhibition format for presenting design is that it provides a general idea about what is perceived as a good standard, an “example of good practice”, a benchmark of excellence. Since design has never been only “one thing” (and certainly it is not today), but rather many different things, it would be naive to talk about some universal standard. For all these reasons, there are too many things that remain invisible to us. There are also other examples that are not within our sight because they have not been implemented for various reasons, but they would deserve to serve as role models since the initiatives and ideas behind them are of great value. Even though they might not be given another chance, they could still find followers who would translate their basic values into something else. Therefore, if The Exhibition of Croatian Design does not provide an objective overview of the state of the Croatian design over the past two years, what does it provide? Let us visualize a map with many empty spaces, holes, indecipherable symbols, unmapped and unmarked zones, but still having a few orientation points that can be used to at least try to reconstruct that which is missing. In this text, these orientation points are works of design and the thing that is missing is the context. In other words, whatever it is that design can tell us about itself can tell us something about ourselves as well. This is the intention of this text. Since I believe that anything else would be unfair, I am not going to name a single person or project here, but I suppose many will be able to recognize themselves.

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In this book, the Visual Communications Design category opens with a considerable number of posters, whereas the number of their designers is much smaller. If we check the list of clients, we will immediately establish where there is still some place left for this traditional archetypal design medium. Theatre posters are by far the most numerous; five prominent theatres in Zagreb commissioned them from almost an equal number of designers and design studios. Some designers have been collaborating with them for many years and their designs have been subsequently documented in several Croatian Design Reviews as examples of high quality design. The posters are mainly based on very strong visuals, which – with the use of illustration, photo editing/collage techniques or digital manipulation of photographs, inventive art direction, pure photography in rare cases and exclusively typographic tools in the rarest cases – symbolically interpret what designers see as the theme, atmosphere or mental landscape of a particular theatre production. This category comprises the least experiments and mostly relies on good tradition as well as maintaining a more or less unambiguous continuity in the visual communication of a particular theatre’s repertoire, without falling into the trap of mannerism or repetition. The only exception to this is Croatia’s largest national theatre house. After its radical design makeover four years ago, over the past two years this theatre house commissioned posters from as many as three designers/design studios. The initial step was a true breakthrough, but the designers who came subsequently certainly did not leg behind, having developed a sequence of graphic identity transformations, which will be very interesting to observe in retrospect with the passage of time. These include intiating collaborations with contemporary Croatian photographers and playing with subtle differences in the typographic treatment, which suggest the character of a particular play; then a shift to portrait photography used to represent plays, and clear typographic solutions for other programmes; and finally collaging entirely surreal scenes introducing the audience to the designer’s own visual representation of the plot of the play.

As far as the film posters shown in the exhibition are concerned, most of which were designed for Croatian films of course, the design field is narrowed down even further to a single design studio. However, this studio is well-aware of its limited manoeuvring space, never revealing a specific design style; the studio applies both illustration and staged photography with equal skill to portray what it sees as the main theme of a particular film. Almost all posters designed for exhibitions, festivals or multimedia events rely on typography as the main tool of expression. If a poster is dominated by typography, in 90 per cent of the cases you can be certain you are attending some contemporary, innovative, independent, multimedia or interdisciplinary event. At the same time, it is these posters that are most inclined to experimenting, finding unconventional solutions, playing with the medium of the poster, etc. What about non-standard formats? They are presented here as well. Visually attractive printing techniques used to confront or bypass financial limitations? Here they are.

Posters doubling as booklets or brochures? Here you go. Posters serving for signage and pathfinding? Present. Posters that are not posters at all but rather a witty contextual intervention at poster sites? Of course. It is important to note that this very segment covers events that roughly fall

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under the category of the so-called independent culture and traditionally have to work with the smallest budgets. Younger generations of designers traditionally have a very strong inclination towards them; sometimes they are even their active protagonists. Also, it is apparent that certain designers, who have been exclusively tied to the vibrant independent scene until now, started transitioning into what for some of them were unconquerable bastions of institutional culture, and it seems they are doing very well, without having to sacrifice their creative integrity.

Despite the fact that the poster as a medium is usually associated with public urban spaces, its current status is somewhat more complex. At a time when everything, including the work of graphic designers, is migrating more and more to the web, it is precisely here that the poster seems to be finding its place, a “new life” – as a digital image particularly attractive for distribution via social networks. Designers are well-aware of that, and certain design decisions are made with the very fact in mind that the poster should function equally well (or even better) on the screen, especially on smartphones, which are very convenient for vertical formats.

Book and magazine design represents an important part of the Visual Communications Design category. At first glance it is clear, probably more so than in other categories, that the designers’ intention was to impress: with interesting bookbinding techniques, playing with the book’s anatomy and its conventions, the selection of the paper and materials, a formal interpretation of the content and its structure, and in one exceptional case, even the invention of an entirely new way to “make” books, going above and beyond the role of the designer and combining it with the role of the editor and author in a number of unexpected and technologically, at least until recently, unthinkable ways. Designers chose to approach the book as a form with a sense of invention, a lot of imagination and intelligence, in well-educated and well-informed ways. Many books have a “fetish” quality about them, but even when it appears for a moment that designers have exaggerated in something, it seems that there is a reasonable, not necessarily immediately obvious, but ultimately recognizable reason behind every decision. At this point, we need to look into the context. There are only two works that could be categorised as fiction among all the selected books. In both cases, these are poetry books that have traditionally, at least in Croatia, remained on the very margins of the publishing business. There are no comprehensive translations of foreign editions (although there are books that Croatian designers designed for foreign publishers). If we are to imagine the about fifty (there is probably even more if we count the publications that are part of larger integral projects) books, magazines and other publications showcased at this exhibition as a kind of imaginary book shop, it would be a rather specialized one. It would be unlike any other place where an average Croat buys his or her books. After seeing last year’s Zgraf exhibition, one French design expert said that she was thrilled with everything she had seen, but asked informally how come that all the books she saw at the exhibition were published in only 300 copies and whether that was some kind of local code. No, that is our reality.

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Various annual reports, documents of philanthropic activities organised by large corporations or book-bound monuments to very big investments traditionally look the way they do because their function is, to a large extent, symbolic. Their purpose is not to be read but rather to be observed or found on websites and social networks. Artists’ books and designers’ books and similar editions of the kind in which designers can, independently or in collaboration with artists, give form to something that itself holds the status of “artwork” appear as they appear because they are what they are, artists’ books or designers’ books. This selection also comprises many exhibition catalogues or supplementary publications for contemporary art projects and a number of photography books. In some cases, there is an intention to give artistic content as much space as possible - it is used as the basic visual material whenever that is possible and almost without any other interventions. In other cases, the editions are conventional or their graphic design and the application of typography amplify the content; in other words, they initiate an aesthetic and stylistic dialogue with the artistic languages of those whose work the book addresses. There is also a number of magazines that are mainly interesting because of their editorial concepts and the fact they are focused either on a specific local community or some relevant topic on the margins of mainstream publishing, or both. In a few very rare examples, we find designs that capture our attention only upon closer observation, not owing to some idea that would make them stand out but because of deep and well-practised attention invested in designing every single aspect of the book, from the treatment of photo materials and texts to their interplay.

When it comes to visual identities, their various applications, branding, promotional materials, etc, having in mind that these are integral and systemic solutions, it is hard to single out certain characteristic approaches, but it is possible to look at the contours of what they are designed for. The scope of the design works represented at this exhibition indicates that cultural institutions (galleries, museums, theatres) commission most of the projects, followed by craft breweries, fast-food restaurants, bars and elite restaurants, film festivals, electronic music festivals, tourist accommodation facilities, local markets, several important memorial and architectural investments of local or national relevance, doggy daycare centers, etc.

Identities designed for festivals and similar events are, of course, the most fluid. Apparently, they often (although not always) change entirely every year so that the logo, which oftentimes plays only a marginal role, remains the only fixed point of their identity. A rigid systematic approach is very often found in designs for companies and institutions (with some interesting exceptions), while new small brands across the market mostly use some form of narration.

If we take a look at the Packaging category (the two categories tend to overlap in several points), we come to a joyful conclusion that over the past two years, the designers’ imagination accommodates a very abundant animal world. Illustrations show fish, parrots, bulls, puppies, snakes, various kinds of cats, equine animals and poultry, cephalopods, rabbits, blue sharks and other real or fantastic animals. In most cases, they are commissioned by small and medium-sized winemakers, olive oil producers, craft breweries, big and small music labels, pharmaceutical and

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cosmetic companies, companies producing or commissioning traditional delicacies and gastronomic souvenirs. It should be noted that among all these products, for the most part “refined quality” specialty products, there is also one food product that is a convenience consumer good in the real sense of the word – flour. The range is albeit really wide and so is the spectrum of differences in style. It is very hard to generalize but judging by the selected designs of alcoholic drinks and olive oil packagings, typographic or extremely minimalist solutions are more frequent while the impact of illustrations and maximalist approach signals either an attempt to be different from other competitors or to find the way to a younger target group. Certain designs show praiseworthy attempts to hide a broader story behind what seems to be minimalism in order to attract the consumer’s attention. In general, with the exception of packaging for music records and some other things, the key words that significantly define visual communication are: ecological and natural production, natural and cultural heritage and an homage to local and family traditions.

This text mentions typography many times, and for a good reason – over the past decade high quality type design and use of typography is on a remarkable rise owing to quality education in the field in several design schools in Croatia. The introduction of a separate category dedicated to typography has been suggested several times for the same reason.

However, in the field of typeface design we still witness almost absolute domination of only a few most prominent designers who collaborate with each other and do not have any real competition in what they do.

In this edition of the Croatian Design Review, the Digital Media Design/ Interactions Design category is rather slim with respect to the number of projects, and hardly exceeds two figures. When it comes to the presence of any form of interaction (since the catalogue also comprises two promotional videos and opening credits for a TV show), this number goes down to a one-digit figure. It is hard to make any conclusions about the state of digital media design and interactions design in Croatia from this selection objectively although it is meticulous in terms of the aesthetic attractiveness and technical design in all cases. Even the contexts behind it are respectable: the national broadcasting service, an esteemed higher education institution, an exhibition blockbuster, two large manufacturer brands, an international digital foundry, a new and attractive museum, a national theatre and a county. There can be several possible reasons for such a limited response: the fact that designing web sites, applications and interactive interfaces often make part of much larger projects presented in several other categories at this exhibition, the fact that developers are not necessarily designers and do not see themselves as a part of the scene or maybe the most important reason, the fact that the exhibition format is probably the worst way of showcasing most of the works in this field. Until some 15 years ago, it was very attractive to have computers in exhibition spaces so that the visitors can click on something and observe what happens but let’s be realistic: just as no one really uses phone booths anymore, it is not realistic to expect of people, whose entire lives are in their smartphones, to understand, let alone to perform this archaic choreography.

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Product design is the category that has maintained a similar level of vitality and structure of relations it had over the past seven or eight years. It is still finding stable support in domestic and regional furniture production, comprising only a few serious manufacturers whose range of products manages to grow, implying a more intense collaboration with designers.

This exhibition marks a few successful examples of collaboration with foreign manufacturers, which have not taken place frequently over the past years, apart from those with neighbouring countries. Self-initiated projects or small design brands still seem to hold a counter-balance but this segment of production (usually in furniture design and light design), despite a continuous visibility in the public, appears to be stagnating in reality. Designers are more reluctant to take on an adventure of this kind.

The process from the initial design to entering the market is long and painstaking. It is very difficult to find financial means and it seems that the opportunities presented through crowdfunding platforms are not really a viable option for everyone since they require continuous efforts on many sides and not everyone is prepared for that. Regardless of the fact that working conditions have considerably improved in comparison to the situation we had only a decade ago, to be a product designer today primarily implies courage, persistence and endurance. Several designs in this category are a result of bigger or smaller investments made by local communities or big companies and it is interesting to note that two products in this category were developed by design students under mentorships in the framework of an experimental educational project organised by regional design organisations and manufacturing companies.

If large investments are to be found anywhere here, they are always present in the projects covered by the Spatial and Graphic Interventions and Systems category. Brand new corporation headquarters, residential blocks, large and medium-sized tourist facilities, an entire airport, a city aquarium, local historical architectural heritage sites, sports and IT camps – all these projects required high quality signage systems, spatial graphics, pictograms, comprehensive interior design projects, or any combination of these. We are talking about some of the most complex and most prestigious design tasks with a very high level of responsibility and a need for close creative collaboration with other professionals, i.e. architects.

Although there are design studios and designers specializing in this field, it is really interesting to follow how these designers – who have been working in a completely different field until recently, for example in culture – have developed their approach to finding solutions for such tasks.

Team work, as well as an interactive dialogue and a readiness to embrace the experience of colleagues from other disciplines in particular create new values and very often assist designers in finding new vantage points they were unaware of. This logically translates into their practice in other fields of design activities. Since this kind of collaborative practice has been well established over the past decade, even in the framework of interventions that usually presuppose rigid hierarchy systems and dogmas, there is enough space for taking risks and using intuition and innovative approaches. There are also several remarkable exhibition designs made mainly by experienced designers with a solid background and enough confidence and integrity to work with curators on an equal footing. Who are the clients in these cases? One big corporation and mostly public

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museums. Smaller galleries and projects of this kind rarely stand a chance because oftentimes they lack funds to employ designers and if they do employ one, they do not have the budget that would provide the designer with an opportunity to create something that might compete with the museum exhibition machinery. Nevertheless, one such display and a number of smaller urban interventions have been carried out, probably because designers managed them.

This year, all the works showcased in the framework of the Fashion/Clothing Design category are self-initiated projects, or products of small fashion design brands. They are not particularly unique in what they have to say, but it seems that they have a lot to say about everything – the hypocrisy of the fashion industry, the networked society, obscure subcultures, fluctuating identities, freedom, mass consumption, among other things.

This intellectual dimension of fashion has been even more explicit in the student category. They are also characterized by an inclination towards experimenting with materials and techniques, but there are some very interesting concepts for recycling and recombining, this time not only of materials but of entire fashion styles, languages and codes. There is a visible absence of anything that would at least resemble “common� fashion design, ready-to-wear clothing, functional uniforms or work clothes.

Although it does gather a series of extraordinary works, it seems that the category Integrated Project/Product, introduced two years ago, has created more misunderstandings than sensible order. When it was introduced, it was intended to highlight projects characterized by some form of an interdisciplinary approach or those that combine multiple design aspects in several different fields, which all together make up a single and integrated unit. However, practice showed that either this category does not make any sense at all or that it makes much more sense than most of the other categories. It is difficult to say which is true. A well designed product, no matter the category, should ideally imply that equal attention was given to both the design of the product and its visual identity, the packaging, the extension of its presence on the internet, the conceptual, technological or social innovation it introduces and so on. All these projects, as well as their individual segments, which are integral to them as a whole, could easily compete with anything else presented in other categories, such as visual communications design, product design, concept design, spatial intervention design, and digital media design. In some cases the projects that currently fall under these other categories could easily be put under this one since they involve similar kinds of collaboration and synergy that this very category implies. Namely, none of the design solutions can be understood or evaluated without observing it as an integral part of the whole to which it belongs.

A very similar problem, and in many case the same content, can to a certain extent be found in the last category, Concept, Initiative, Critical Design. An important difference here is that since the very beginning this category (it used to be called Concept), within its mostly clear limits, was actually used to open up a space for certain new and different phenomena, or for something that is hard to categorize unequivocally. It was worth opening up this space because we would otherwise miss some very

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interesting work, unrealized concepts and so-called “personal” design projects, which are still out there and which still bear a necessary air of self-reflexion, critical thinking and humour. This allows us, for example, to realize that designers also write books, that they, in addition to designing exhibitions, also curate them, infusing another profession with something different, fresh and new; that they design systems that might contribute to society becoming better and more just, or that they imagine how existing systems might look in a better future. This is something that could be recognized as what we now call “speculative design practice”, which is becoming more and more relevant, even in Croatia (for the time being, in the framework of high education in design), as an important and hot topic. The speculative design discourse is gaining steam and losing the naivety that it might have had in the beginning. It is an important topic and will hopefully remain so. Because, what else is ahead of us and what else do we have but the future?

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Vizualni identitet Radiotelevizije Zagreb ∕ Visual identity for Zagreb Radiotelevision logo Jože Brumen, aplikacija dizajna ∕ design application Boris Ljubičić, suradnik ∕ contributor Fedor Kritovac, 1969 – 1972

O Matku Meštroviću u kontekstu dizajna — Povodom Nagrade za životno djelo napisao Dejan Kršić

Vrijeme prolazi, a prašina zaborava sve deblja. — Matko Meštrović Matko Meštrović nije autor kojeg možemo povezati s ijednim konkretnim dizajnerskim djelom, nije grafički niti industrijski dizajner u užem smislu.

Ipak, riječ je o osobi i stručnjaku koji je iznimno važan za afirmaciju discipline i razvoj diskursa o dizajnu u našoj sredini. Njegovi radovi — koji uključuju velik broj tekstova, kritika, eseja, znanstvenih i popularnih članaka te desetak autorskih knjiga — obuhvaćaju interdisciplinarnu kritičku teoriju, kritiku umjetnosti, teoriju dizajna i kritičko-teorijsko promišljanje tehnologije i medija. Tako odluka o dodjeli nagrade za životno djelo ima i simboličku težinu ukazivanja na važnost ne samo teorije dizajna u užem smislu nego i kritičke društvene teorije za praksu i promišljanje dizajna, odnosno afirmacije ideje da je teorijska refleksija važan i neizostavan dio svake dizajnerske prakse. Uz nekolicinu praktičara — Bernarda Bernardija ili Vjenceslava Richtera — koji su, kao članovi Exata51, među prvima promovirali važnost industrijskog oblikovanja i povremeno svojim tekstovima i teorijskim promišljanjima ukazivali na probleme društvenog statusa i tretmana dizajna te sugerirali vizije mogućih rješenja, domaći autori koji su se u drugoj polovici 20. stoljeća sustavno bavili problematikom teorije dizajna su Zvonimir Radić, Matko Meštrović, Fedor Kritovac, Goroslav Keller, Darko Venturini, Radovan Ivančević, Vera Horvat Pintarić, a u području propagande i marketinga Josip Sudar. U širem jugoslavenskom kontekstu njihovi kolege u promociji dizajna su, u Sloveniji naravno Stane Bernik, i u Beogradu Miroslav Fruht. Međutim, od autora s područja Hrvatske jedino su Goroslav Keller i Matko Meštrović svoja promišljanja o teoriji i metodologiji dizajna barem djelomično sistematizirali i objavili u knjigama.

U našoj sredini se svijest o specifičnosti (industrijskog) dizajna kao bitno različitog u odnosu na unikatno oblikovanje svih vrsta (tzv. primijenjena umjetnost), razvija postupno tijekom 50-ih i 60-ih godina. Kao što to u svojim tekstovima o povijesti diskursa o dizajnu ističe Feđa Vukić, teorijski okvir tog perioda predstavlja postupno prevladavanje odnosno zamjena sintagme “primjenjena umjetnost”, prvo u korist funkcionalnog “industrijskog oblikovanja” te zatim designa/dizajna, pri čemu te promjene pojmova simbolički označavaju i promjenu shvaćanja o sredstvima i ciljevima koje treba postići.1 Dok su 50-e godine obilježili pojmovi i koncepcije “primijenjene umjetnosti”, “uključivanja umjetnika u industriju”, “industrijske estetike”, “likovnog profila proizvodnje”, s naglašavanjem u užem smislu oblikovnih zadataka i plastičnih vrijednosti te “sinteze likovnog,primijenjene umjetnosti i arhitekture”, već početkom šezdesetih vidljiv je pomak

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prema teorijski osmišljenoj metodologiji projektiranja za industrijsku proizvodnju, koja će se u potpunosti razviti koncem šezdesetih i u prvoj polovini sedamdesetih godina. Tako se od kraja pedesetih u domaćem kritičkom i teorijskom diskursu — a prvenstveno u tekstovima Radoslava Putara i Matka Meštrovića — javlja i sam pojam design. Novi pojam ustaljuje se početkom šezdesetih godina, prvo u preuzetom stranom obliku, a zatim i odomaćeno kao “dizajn”,2 mada se i dalje pojmovi oblikovanje i dizajn često koriste kao sinonimi.

Za povezivanje s europskim iskustvima tog doba i ideološki utjecaj na teoriju dizajna u ovim krajevima izuzetno je važna uloga Visoke škole za oblikovanje u Ulmu (HfG)3 i djelovanje njenih rektora Maxa Billa (1953– 56.) i Tomása Maldonada (1956–1968.). Taj utjecaj je vidljivo prisutan u djelu Zvonimira Radića i Goroslava Kellera, a posebno Matka Meštrovića.

Dok je kod Radića prvenstveno riječ o prvom periodu, kad se u Ulmu pod vodstvom Maxa Billa teorijski kodificira koncepcija visokog modernizma na tragu Bauhausa (što odgovara Radićevim teorijskim korijenima i exatovskoj koncepciji sinteze), možemo ustvrditi da je Meštrović ključni, pa i najdosljedniji zagovornik scijentifikacije dizajna na liniji Tomása Maldonada.

Utoliko i u našoj historiografiji dizajna i diskursa o dizajnu ponekad spominjani, ali nikad otvoreno tematiziran sukob Radića i Meštrovića, uz osobne razloge, generacijske i karakterne razlike, predstavlja i odjek sličnih teorijskih rascjepa na europskoj sceni.

CIO Meštrović 1964. napušta mjesto novinara i likovnog kritičara u kulturno-umjetničkoj redakciji Radio Zagreba i zapošljava se u tek pokrenutom Centru za industrijsko oblikovanje, koji od travnja 1964. počinje s radom u prostorijama na prvom katu južnog krila zgrade Muzeja za umjetnost i obrt, na Trgu maršala Tita br. 10. CIO je osnovan 1963. godine odlukama Privredne komore SR Hrvatske i Privredne komore grada Zagreba a na poticaj Savjeta za kulturu Narodnog odbora grada Zagreba, uz suradnju MUO i ULUPUH-a. Osnovna sredstva za početak rada osigurali su Savezna, Republička i Gradska privredna komora te ULUPUH. Vjenceslav Richter je prvi direktor, a zaposleni su Zvonimir Radić i Matko Meštrović, uz stalne suradnike poput Fedora Kritovca i Goroslava Kelera. U profiliranju Centra važnu ulogu su imali Radoslav Putar i Meštrović, te dugogodišnji direktor Mario Antonini. Tekstovi Goroslava Kellera i Fedora Kritovca dobro sumiraju to prvo desetljeće rada CIO-a.4 Za razliku od dotadašnjeg pristupa umjetnosti u industriji, cilj Centra bio je razviti metodiku dizajna industrijskih proizvoda kao sastavnog dijela moderne proizvodnje. U skladu s tim programskim ciljem postavljena je i organizacijska struktura Centra i rad organiziran u nekoliko odjela: informacijski, operativni, izložbeni, odjel dokumentacije itd. Međutim, možemo reći da zbog sklopa organizacijskih, financijskih i kadrovskih problema i ograničenja, ta ambiciozno zamišljena struktura nikad nije u cijelosti doista tako i profunkcionirala.

Meštrović do 1968. vodi odjel za informiranje, odnosno prvenstveno se bavi upravo informacijsko-komunikacijskim segmentom rada CIO, što je uključivalo i nakladničku djelatnost. Tako odmah po osnivanju Centra Putar i Meštrović počinju s radom na prvoj publikaciji, koja je 1965. objavljena pod naslovom Uputstvo za industrijsko oblikovanje.5 Tekst te male ali informativne brošure koja je sve zainteresirane (prvenstveno u industriji)

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pregled hrvatskog dizajna

lifetime achievement award

trebala upoznati s osnovama organizacije procesa industrijskog oblikovanja, rada “dizajnera” i “dizajn biroa”, nam u sažetom obliku pokazuje kako su priređivači vidjeli sam kontekst u kojem djeluju te ulogu CIO pa tako na izvjestan način predstavlja i programski dokument CIO. Simptomatično je da s jedne strane još uvijek koriste staru sintagmu “likovna kultura materijalne proizvodnje” dok s druge, govoreći o budućem djelovanju CIO, već naglašavaju znanstveni i metodološki pristup dizajnu. U posljednjem poglavlju autori ističu da “Centar i nije projektna ustanova, nego posluje kao pokretač i organizator”, odnosno aktivni posrednik i “koordinator svih napora da se kultura proizvodnje, razmjene i potrošnje unaprijedi”, te posebno kao jedan od najistaknutijih zadataka naglašavaju prikupljanje, obradu stručne dokumentacije i širenja informacija. Suradnjom s drugim inozemnim i međunarodnim organizacijama i časopisima prikupljena je opsežna biblioteka stručnih knjiga i publikacija iz čitavog svijeta.

Upravo u cilju informiranja (potencijalnih) korisnika, CIO će sljedećih godina prvo objavljivati Bilten CIO (1965–66.), u periodu 1967–68. i 12 brojeva stručnog časopisa Dizajn kojem je Meštrović bio glavni urednik, a od četvrtog do posljednjeg broja Goroslav Keller i Putar potpisani su kao pomoćnici urednika. Svaki od 12 svezaka, koje je grafički decentno u visokomodernističkom ključu opremio Hrvoje Devide, bio je tematski posvećen jednom segmentu industrije. U sljedećim publikacijama Centra, Osnove metodologije industrijskog dizajna6 iz 1968. i Tržišni aspekti industrijskog dizajna, Meštrović i Fedor Kritovac dali su ključne priloge definiranju ključnih pojmova, metodologije i organizacijskih načela procesa dizajna. Između brojnih njegovih tekstova i eseja kao posebno važne za područje dizajna, uz centralnu knjigu Teorija dizajna i problemi okoline (Naprijed, Zagreb, 1980), možemo istaknuti dva ranija teksta, Dizajn – čega, gdje, kako, što i zašto7 iz 1961. te Mogućnosti naučne impostacije dizajna u Jugoslaviji, izvorno objavljen 1969. u zborniku simpozija Industrijski dizajn i privredno-društvena kretanja u Jugoslaviji.8 Sudjelovao je na kongresima i seminarima ICSID-a (International Council of Societies of Industrial Design), pa je npr. njegovo izlaganje pripremljeno za 9. kongres ICSID-a u Moskvi 1975. pod naslovom Dizajn spram biti rada objavljeno i u knjizi Obrisi bez obrasca.

RTZ Na prijelazu ‘60-ih u ‘70-e godine razvijaju se kod nas prvi veliki projekti vizualnog identiteta. Tako u Ljubljani Studio MSSV (Mächtig, Skalar, Suhadolc, Vipotnik) od pobjede na natječaju za vizualni identitet Ljubljanske banke 1970. godine razvija prvi kompleksan projekt vizualnog identiteta u visokomodernističkom ključu. Gotovo istodobno u Zagrebu, kao jedan od svojih navećih projekata, CIO od 1969. do 1972. razvija projekt vizualnog identiteta Radiotelevizije Zagreb (logo Jože Brumen, aplikacija dizajna Boris Ljubičić, suradnik Fedor Kritovac). U tekstovima o razvoju dizajna u SFRJ često se ističe pionirski karakter tih projekata vizualnog identiteta, a da su odmah prepoznati kao vrijedni potvrđuju i Zlatne medalje koje su na BIO 5, 1973. godine, ravnopravno dobili upravo “lik firme” Ljubljanske banke i “kućni stil” Radiotelevizije Zagreb. Taj niz projekata obično se opisuje kao “hvatanje koraka”, “konačan doseg standarda” koji su ranije već uspostavljeni u SAD i zemljama zapadne Europe, a u Hrvatskoj će kulminirati projektom vizualnog identiteta Mediteranskih igara u Splitu (1976-79.).9 Kako bi se projekt proveo, Matko Meštrović prelazi

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na RTZ i dvije godine kao savjetnik generalnog direktora RTZ-a (Ivo Bojanić) nadgleda provedbu projekta vizualnog identiteta. Po završetku projekta ostaje u direkciji RTZ do 1987., nastojeći unaprijediti profesionalna i teorijska znanja važna za javni informativni servis. U to vrijeme je i aktivan član Međunarodnog udruženja istraživača masovnih komunikacija (International Association of Mass Communication Researchers – IAMCR). S televizije prelazi u Zavod za kulturu Hrvatske, gdje je do 1992. na mjestu direktora institucije koja se bavila kulturnim politikama i analizom manifestacija i društvenih učinaka kulture, djelovanja kulturnih institucija, položaja umjetnika i kulturnih radnika. Najveći broj izdanja Zavoda objavljen je upravo po dolasku Meštrovića na čelo institucije.

Edukacija U diskusiji povodom knjige Feđe Vukića, objavljenoj u Godišnjaku hrvatskog dizajna 01, Matko Meštrović ističe da se još 1968. u sklopu CIO radilo na prijedlogu visokoškolskog programa za dizajn.

Postojala je i inicijativa da se na Arhitektonskom fakultetu uz smjerove arhitekture i urbanizma osnuje i treći smjer za dizajn, međutim “konzervativna strana iz profesorskog sastava uspjela je to anulirati i to se nikada nije ostvarilo”. Sedamdesetih godina pokrenut je kratkotrajni sveučilišni postdiplomski studij Istraživanje i unapređivanje dizajna, za koji je izradio publikaciju Historija i teorija dizajna – uvod (CIO, Zagreb 1976.) kao skripte za predmet koji je predavao. Tekst je kasnije korišten u disertaciji i objavljen kao dio knjige Teorija dizajna i problemi okoline (1980). Nakon godina zagovaranja, očekivanja i planiranja konačno je 1989. doista osnovan i interfakultetski Studij dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu, a prvi studenti diplomirali su 1994. Za atmosferu u kojoj studij nastaje i njegovu orijentaciju, karakteristične su i činjenice da je Matko Meštrović predavao teoriju dizajna tek dvije školske godine (1991-92. i 1992–93), ali i da ga nisu željeli stalno zaposliti pa je napustio Studij, a da na primjer Fedora Kritovca nikad nisu ni zvali. Zbog svega toga su znanstveni i teorijski pa tako i kritički elementi u podučavanju i promišljanju dizajna u prvom desetljeću zagrebačkog Studija dizajna gotovo u potpunosti zanemareni, a prevladala je korporativna estetika protiv koje će se okrenuti tek kasnije generacije studenata i nastavnika.

Nove tendencije Još kao student, od 1956. godine, Meštrović radi kao novinar u kulturnom programu Radio Zagreba i tako rano stječe reputaciju likovnog kritičara zainteresiranog za sve pojave nove, posebno neoavangardne umjetnosti. Tako je 1961. s brazilskim umjetnikom Almirom Mavignierom, uz podršku direktora Galerije suvremene umjetnosti Bože Beka i Ivana Picelja, jedan od inicijatora međunarodne izložbe Novih tendencija. Između 1961. i 1973. godine održano je pet izložbi,10 a jedna od posljedica tih izložbi je i formiranje neformalne mreže autora (neki kažu “novoga umjetničkog pokreta”) neokonstruktivističke orijentacije, umjetnika zainteresiranih za eksperimente u novim medijima i za usku suradnju između umjetnosti i suvremene znanosti. Meštrović je jedan od vodećih teoretičara — često se, možda i zbog naslova teksta Ideologija novih tendencija iz 1963. u kojem s marksističkih pozicija analizira odnos umjetnosti i moderne tehnologije, kaže i ideologa — pokreta. Njegov utjecaj je posebno važan na četvrtoj izložbi Tendencije 4 – kompjuteri i vizualna istraživanja 1968. godine. Kako ističe beogradski teoretičar Miško Šuvaković: “Teorijske rasprave Matka Meštrovića kompleksne su ideološko estetičke

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pregled hrvatskog dizajna

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rasprave o smislu i funkciji Novih tendencija u modernoj kulturi, s ukazivanjem na specifičnosti djelovanja u liberalnom realsocijalističkom društvu.

To nisu popratne kritičke studije nego temeljne odrednice diskurzivnog i ideološkog svijeta novih tendencija.”11 Posljednjih se godina ponovo puno piše o Novim tendencijama i objavljeno je nekoliko knjiga, ali tek bi trebalo detaljnije proučiti i objasniti činjenicu da je unatoč tome što je među umjetnicima Novih tendencija bilo i onih koji su se aktivno bavili i dizajnom (sam Mavignier, Enzo Mari, Ivan Picelj, Aleksandar Srnec) a i Meštrović se kao jedan od inicijatora i teoretičara intenzivno bavio teorijom dizajna, i što se dizajn redovito navodi kao jedno od područja interesa za NT, a posebno u okviru projekta “preoblikovanja društva kroz umjetnost i preoblikovanja umjetnosti kroz ostvarivanje društvenih funkcija oblikovanja životne sredine”, te su teme upadljivo odsutne u manifestacijama Tendencija (osim Piceljevih plakata, posebno onog za T4 realiziranog s Vladimirom Bonačićem). Jedan provizorni odgovor mogao bi biti da profesionalni dizajneri, zaokupljeni svojim konkretnim profesionalnim aktivnostima, nisu imali sluha i senzibiliteta za takve teme i utopijske projekte, a kad su se javili projekti i inicijative koje prepoznajemo kao preteče onoga što se danas naziva spekulativnim dizajnom — poput talijanskog pokreta antidizajna, grupa Superstudio, Archizoom i Archigram — to je već bilo u kontekstu antisistemskih pokreta ‘68. i radikalne kritike idologije visokog modernizma. Nasuprot tome ideologija Novih tendencija ima puno povjerenje u napredak, ne dovodi u pitanje ideju progresa, dapače, ali u svojim radikalnijim momentima, upravo kod Matka Meštrovića, smatra da ustvari sam kapitalizam predstavlja prepreku punom ostvarenju dosega znanosti i tehnologije u humanizaciji čovjekove sredine.

Bit International Paralelno s izložbama NT, u izdanju Galerija grada Zagreba (kao krovne institucije GSU), pokrenut je i časopis Bit international u kojem se od 1968. do 1972. široko shvaćeno polje umjetnosti tematizira kroz međuodnose znanosti, teorije informacija, tehnologije, umjetnosti, dizajna, vizualnih komunikacija i medija. Kroz časopis se formuliraju, promoviraju ali i preispituju teorijske i poetičke postavke pokreta, a Meštrović je član uredništva i jedan od urednika. Uredio je četvrti broj časopisa (1969.) tematski posvećen dizajnu, a posebno ukidanju ulmske HfG i situaciji domaćeg dizajna. Uz tekstove tada vodećih teoretičara dizajna Tomasa Maldonada i Guia Bonsiepea, objavljeni su i tekstovi domaćih autora Vere Horvat Pintarić, Fedora Kritovca i Radoslava Putara (“Dizajn proizvoda u jugoslavenskoj industriji”) te uvodnik samog Meštrovića.

Gorgona Gotovo istodobno, između 1959. i 1966. Meštrović sudjeluje i u djelovanjima Gorgone, redovitim neformalnim susretima, razmjenama ideja i informacija u kojima sudjeluju i slikari Josip Vaništa, Marijan Jevšovar, Julije Knifer, Đuro Seder, kipar Ivan Kožarić, arhitekt Miljenko Horvat te teoretičari i kritičari umjetnosti Dimitrije Bašičević Mangelos i Radoslav Putar. Pritom je zanimljivo da između najmlađih Horvata i Meštrovića, te ostalih članova postoji značajna generacijska razlika. Često se postavlja pitanje te navodno “čudne”, “tajanstvene” i “neobjašnjive”, pripadnosti aktivnih učesnika Novih tendencija Meštrovića i Putara — a posebno Meštrovića, kao zagovornika znanstvenog pristupa umjetnosti, s interesom za informacijske znanosti, upotrebu kompjutera i drugih novih

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tehnologija u umjetnosti — tim gorgonaškim aktivnostima na razmeđi fluxusa i protokonceptualne umjetnosti. Međutim, ako uzmemo u obzir gorgonaški interes za obično, svakodnevno, “ne-umjetničko”, ono što se često naziva “rubnim pojavama” ili “proširenim pojmom umjetničkog”, vidimo da to i nije tako daleko od Putarovog i Meštrovićevog interesa za svakodnevne upotrebne predmete dizajna, odnosno povezivanja umjetnosti i svakodnevnog života (koje je, uostalom, na svoj način prisutno i u Novim tendencijama), baš kao što i Bašičevićev i Putarov interes za naivnu umjetnost i fotografiju, ustvari nisu baš tako udaljeni od ideja i intencija Gorgone, kao što se to danas često naglašava i tvrdi.

Onkraj granica disciplina U domaćem akademskom i šire intelektualnom polju rijetki su pojedinci s tako širokim interesima. No, danas često pomodan pojam “interdisciplinarnosti” kod znanstveno i intelektualno strogog Meštrovića nije neki puki postmoderni sinkretizam različitih, disparatnih disciplina. Kako ističe i Maroje Mrduljaš, u svojim interesima, bilo da je riječ o arhitekturi i urbanizmu ili dizajnu, Meštrović je područje diskusije uvijek širio izvan usko disciplinarnih područja, promatrajući te discipline i njihove prakse u širem društvenom i teorijskom kontekstu. U svom teorijskom djelovanju on ostaje temeljno materijalistički orijentiran.

I kad je riječ o dizajnu, on ga temeljno shvaća ne u pukom smislu funkcionalnog projektiranja za masovnu industrijsku proizvodnju nego prije svega u širem smislu, kao “misli-akcije koja ide za cjelovitom transformacijom povijesnog svijeta”. Tako i u svojoj za područje dizajna centralnoj knjizi Teorija dizajna i problemi okoline, kritički nastupa i prema velikim imenima dizajnerske prakse zapadnog svijeta (uključujući tu i Victora Papaneka i Buckminstera Fullera), zamjerajući im nedovoljnu odlučnost u propitivanju dominantnog kapitalističkog sustava. Njegova vječna radoznalost da proučava i pionirski promovira nove interpretacije odnosa društvene dominacije strukturno povezanih s kapitalističkim načinom proizvodnje (uključujući tu teorije operaizma, kognitivnog kapitalizma, pitanja javnih dobara [commons] itd.) odraz je njegovog nastojanja da se ta dominacija djelatno — kroz čovjekovo kolektivno samoodređenje i kroz sistem društvene proizvodnje — dokine.

Sud o Meštrovićevom djelovanju sažeto je izrazio Miško Šuvaković: “Matko Meštrović je, svakako, aktualna, izuzetna i u različitim historijskim periodima poznog modernizma, postmoderne i epohe globalizma bitna kritička i teorijska figura na hrvatskoj i evropskoj intelektualnoj sceni. (...) danas, sa historijskom distancom, može se smatrati pravim i izuzetnim začetnikom teorije i filozofije neoavangardne umjetnosti i kulture u Hrvatskoj i Jugoslaviji.”

Tome možemo samo dodati – i dizajna.

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pregled hrvatskog dizajna

lifetime achievement award

Bit International 2 – Kompjuteri i vizualna istraživanja ∕ Computers and Visual Research dizajn ∕ design Ivan Picelj, 1968

1 Feđa Vukić, Modernizam u praksi (Zagreb: Meandar 2008.). Vidi str. 163.

2 Zlatko Kauzlarić, “O nazivima i shvaćanjima na području industrijskog oblikovanja, 15 dana, br. 11 (Zagreb 1959.); Radovan Ivančević, “Osnovna pravila industrijskog oblikovanja” (1959.); Upravo Meštrović u izvještaju s međunarodnog kongresa ICSID-a održanog u Veneciji 1961. predlaže da se i u hrvatskom jeziku prihvati domaća inačica pojma design – dizajn. vidi Feđa Vukić (2008.), str. 167.

3 Vidi Jasna Galjer: Dizajn pedesetih u Hrvatskoj – Od utopije do stvarnosti, Horetzky, Zagreb 2004. str. 43-55 i dalje.

7 Originalno objavljen u časopisu Umetnost br. 10/Beograd 1961. pretiskan u knjizi Obrisi bez obrasca (Mladost, Zagreb 1979).

8 ur. Eugen Canki, Radničko sveučilište Moša Pijade, Zagreb 1969. Tekst pretiskan u Od oblikovanja do dizajna, ur. Feđa Vukić, Meandar, Zagreb 2003.

9 Vizualni identitet MIS-a od 1974. do 1979. realizira Boris Ljubičić uz ekipu dizajnera okupljenih u Timu vizualnih komunikacija CIO. Često se naglašava da je za MIS napravljen i prvi priručnik grafičkih standarda u Hrvatskoj).

4 Goroslav Keller, ‘Deset godina Centra za industrijsko oblikovanje’, Čovjek i prostor 251, Zagreb 1973., str. 21, 34; Fedor Kritovac, ‘Deset godina Centra za industrijsko oblikovanje u Zagrebu’, Arhitektura 150 Zagreb 1974., str.

39–42.

10 Nove tendencije 1 (1961.), Nove tendencije 2 (1963.), Nova tendencija 3 (1965.), Tendencije 4 (1968.–1969.), Tendencije 5 (1973.). Organizatori i sudionici NT s domaće umjetničke scene bili su povjesničari umjetnosti Božo Bek, Boris Kelemen, Matko Meštrović, Radoslav Putar i Dimitrije Bašičević, te umjetnici Ivan Picelj, Vjenceslav Richter, Julije Knifer, Vojin Bakić, Miroslav Šutej i Vladimir Bonačić.

5 Uputstvo za industrijsko oblikovanje, (Zagreb: CIO, 1965.)

11 Pojmovnik suvremene umjetnosti, Horetzky, Zagreb/Vlees & Beton, Ghent, 2005.

6 Vidi: Feđa Vukić, Od oblikovanja do dizajna: Teorija i kritika projektiranja za industrijsku proizvodnju, Zagreb, 2003., 39.

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On Matko Meštrović in the context of design — on the occasion of the Lifetime Achievement Award written by Dejan Kršić

Time passes, and the dust of oblivion is getting thicker.

— Matko Meštrović Matko Meštrović is neither a graphic nor an industrial designer in the narrow sense of the term as there is not one specific design he has done.

Still, he is an expert of extreme significance for the affirmation of the field and the development of the discourse on design in our region. His works, including a great number of texts, pieces of criticism, essays, scientific and popular articles and about a dozen books, comprise interdisciplinary critical theory, art criticism, design theory as well as critical and theoretical deliberation of technology and the media. In this sense, the decision on the recipient of the lifetime achievement award has a symbolic significance of pointing to the importance of not only design theory, but also of critical social theory for the practice and consideration of design, and the affirmation of the idea that theoretical reflection is an important and indispensable part of any design practice. Apart from a few practitioners — Bernard Bernardi or Vjenceslav Richter — who, as members of Exat51, were among the first ones to promote the significance of industrial design and would periodically point to issues of the social status and treatment of design, suggesting visions of potential solutions, the domestic theoreticians from the second half of the 20th century who systematically dealt with subjects of design theory were Zvonimir Radić, Matko Meštrović, Fedor Kritovac, Goroslav Keller, Darko Venturini, Radovan Ivančević, Vera Horvat Pintarić, and in the field of propaganda and marketing Josip Sudar. In the wider Yugoslavian context, their colleagues in the promotion of design were Stane Bernik in Slovenia and Miroslav Fruht in Belgrade.

However, of the theoreticians from Croatia, it was only Goroslav Keller and Matko Meštrović who, at least partly, systematized and published their deliberations on design theory and methodology in books.

In our region, the awareness of the specificity of (industrial) design as opposed to unique design in the so-called applied arts developed gradually during the 1950s and 60s. As Feđa Vukić points out in his texts on the history of design discourse, the theoretical framework of this period presents a gradual overcoming or replacement of the phrase “applied arts”, first with the functional Croatian term “oblikovanje” (which can roughly be translated as formation, figuration or molding) and then with the anglicized design/dizajn. These changes in terminology symbolically mark a change in the understanding of the means used and goals that

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need to be accomplished.1 While the 50s were marked by the terms and concepts of “applied arts”, the “inclusion of the artist in the industry”, “industrial aesthetics”, “the artistic profile of production”, emphasizing in a more narrow sense the formative tasks and plastic values of this “synthesis of visual and fine arts, applied arts and architecture”, in the early 60s a shift towards a theoretically better though-out methodology of design for industrial production became visible, which would develop fully by the end of the 60s and during the first half of the 70s. In the late 50s the term design first appeared as such in the domestic critical and theoretical discourse — primarily in the texts of Radoslav Putar and Matko Meštrović.

The new term caught on by the early 60s, first in its English form, and then in the Croatinized form “dizajn”,2 though the Croatian term oblikovanje and the term dizajn are used interchangeably to this day.

In the establishment of connections with the European experience of the time and the ideological impact on design theory in the region, an extremely important role was played by the Ulm School of Design (HfG)3 and its Presidents Max Bill (1953–56) and Tomás Maldonad (1956–1968).

This impact is evident in the work of Zvonimir Radić and Goroslav Keller, and particularly in the work of Matko Meštrović. With Radić this applies particularly to the first period, when under the leadership of Max Bill, the concept of high modernism was theoretically codified along the lines of Bauhaus (which was in accordance with Radić’s theoretical roots and EXAT’S concept of synthesis), Meštrović was the most crucial and consistent proponent of the scientification of design, along the lines of the work of Tomás Maldonad. It is in this sense that, in our historiography of design and design discourse, the rarely mentioned, but never overtly discussed clash between Radić and Meštrović, in addition to personal reasons, generational and character differences, represents a reverberation of similar theoretical rifts on the European stage.

CIO In 1964, Meštrović resigned from the position of journalist and art critic at Radio Zagreb and takes on a new position at the newly established Center for Industrial Design (CIO), which opened its premises on the first floor of the south wing of the Museum of Arts and Crafts building on the Marshall Tito Square No. 9. CIO was founded in 1963 with the decisions of the Chamber of Commerce of the Socialist Republic of Croatia and the Chamber of Commerce of the City of Zagreb at the encouragement of the Culture Council of the People’s Committee of the City of Zagreb, with the collaboration of the Museum of Arts and Crafts and the Association of Fine Artists of Applied Arts. The basic funds for the establishment of the Center were ensured by the Federal, Republic and City Chambers of Commerce and the Association. Vjenceslav Richter was the first director, the employees were Zvonimir Radić and Matko Meštrović, with associates such as Fedor Kritovac and Goroslav Keller. Radoslav Putar, Meštrović and the Center’s long-time director Mario Antonini had an important role in the profiling of the Center. Texts by Goroslav Keller and Fedor Kritovac sum up the first decade of CIO’s activities pretty well.4 As opposed to the previous approach to art in industry, the goal of the Center was to develop a method of designing industrial products as an integral part of modern production. In accordance with this goal, the organizational structure of the Center was set up. The activities of Center

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were organized into several departments: the information, operative, exhibition, and documentation department, etc. However, it would be fair to say that due to organizational, financial and personnel issues and restrictions, this ambitiously envisaged structure never fully worked.

Until 1968 Meštrović was Head of the Information Department, and was primarily responsible for the information and communication segment of the Center’s operation, which included publishing. Immediately after the Center’s establishment, Putar and Meštrović began working on its first publication, which was published in 1965 under the title Uputstvo za industrijsko oblikovanje (Guidelines for Industrial Design).5 The text of this small, but informative brochure, aimed at familiarizing anyone interested (primarily in the industrial field) with the basics of the organization of the industrial design process, the work of “designers” and “design bureaus”, demonstrates concisely how its authors and publishers viewed the context they worked in and the role of the Center. In this sense, it represents a programmatic document of the Center. It is symptomatic that on the one hand they still use the old term “visual art culture of material production” while on the other they emphasize, when discussing the future operations of the Center, the scientific and methodological approach to design. In the last chapter, the brochure’s authors point out that the “Center is not itself an institution for industrial design, but an initiator and organizer”, an active mediator and “coordinator of all efforts made to advance the culture of production, exchange and consumption”. They particularly emphasize the Center’s tasks of collecting and processing expert documentation and disseminating information. By collaborating with other foreign and international organizations and magazines, the Center collected an extensive library of expert books and publications from all over the world.

It is precisely with the goal of informing (potential) users that the CIO would publish, in the following couple of years, the CIO Bulletin (1965–66), and in the period between 1967 and 68 12 issues of the magazine Dizajn (Design). The Editor in Chief was Meštrović, and from the fourth to the last issue Goroslav Keller and Putar were signed as Assistant Editors.

Each of the 12 issues, whose graphic design was done subtly in the high modernist tradition by Hrvoje Devide, was devoted to one segment of the industry. In the following publications of the Center, Osnove metodologije industrijskog dizajna (Basics of the Methodology of Industrial Design)6 from 1968, and Tržišni aspekti industrijskog dizajna (Market Aspects of Industrial Design), Meštrović and Fedor Kritovac made key contributions to defining the key terms, methodologies and organizational principles of the design process. Among his numerous text and essays, in addition to the central book Teorija dizajna i problemi okoline (Theory of Design and Issues of the Environment) (Naprijed, Zagreb, 1980), two earlier texts can be pointed out as particularly significant for the field of design: Dizajn – čega, gdje, kako, što i zašto (Design – of what, where, how, what and why)7 from 1961 and Mogućnosti naučne impostacije dizajna u Jugoslaviji (Possibilities for the Scientific Validation of Design in Yugoslavia), originally published in 1969 in the collection of lectures from the Symposium Industrial Design and the Economic and Social Tendencies in Yugoslavia.8 He participated in congresses and seminars of the ICSID (International Council of Societies of Industrial Design). His lecture prepared for the 9th

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Congress of the ICSID, held in Moscow in 1975, entitled Design in Relation to the Essence of Labor, was published in the book Obrisi bez obrasca (Contours Without a Pattern).

RTZ In the late 1960s and early 70s, the first large visual identity projects were developed. For instance, the Ljubljana Studio MSSV (Mächtig, Skalar, Suhadolc, Vipotnik) won the tender for the creation of the visual identity of Ljubljanska Bank in 1970 and developed the first complex visual identity project in the tradition of high modernism. Almost simultaneously in Zagreb, as one of its biggest projects, the CIO developed, from 1969 to 1972 the visual identity project for the Zagreb Radiotelevision (the logo was done by Jože Brumen, the design application by Boris Ljubičić, in association with Fedor Kritovac). Texts on the development of design in the SFRY often point out the pioneer character of these visual identity projects. They were immediately recognized for their quality, both winning the Golden Medal at the 5th Biennial of Industrial Design in 1973. These projects are often described as “catching up with” and “finally reaching the standards” already established in the USA and Western Europe, and in Croatia they would culminate with the visual identity project of the Mediterranean Games in Split (1976-79).9 In order to implement the project, Matko Meštrović began working for the Radiotelevision Zagreb, where he worked as a consultant to the General Director Ivo Bojanić, supervising the implementation of the visual identity project. After the project was done, he remained in the Radiotelevision Zagreb until 1987, trying to advance the professional and theoretical knowledge important for this pubic information service. At the time, he was an active member of the International Association of Mass Communication Researchers (IAMCR). After that, he became the Director of the Croatian Institute for Culture, a position he held until 1992, dealing with cultural policies and the analysis of cultural events and the social effects of culture, the activities of cultural institutions, the position of artists and cultural workers. The Institute published its greatest number of publications after Meštrović began heading it.

Education In an essay published in the Yearbook of Croatian Design 01 on the occasion of the publication of a book by Feđa Vukić, Matko Meštrović pointed out that as early as 1968 the CIO worked on a proposal of a University study program in the field of design. There had been an initiative to introduce a third study course, in the field of design, in addition to architecture and urbanism, at the Faculty of Architecture. However, “the conservative members of the faculty annulled this attempt”.

In the 1970s a short-lived postgraduate study program was established, Research and Advancement of Design, for which he prepared the publication History and Theory of Design – Introduction (CIO, Zagreb 1976) for the course he was teaching. The text was later used in a dissertation and published as part of the book Design Theory and Issues of the Environment (1980). After years of advocation, expectation and planning, in 1989, the Design School Program was finally established at the Zagreb Faculty of Architecture, producing the first graduates in 1994. It is clear what the atmosphere of the program’s establishment and its orientation were when one considers the fact that Matko Meštrović taught design theory for only two academic years (1991-92 and 1992–93), after which he left the Faculty because it did not want to offer him a full-time position, as well as the fact

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that Fedora Kritovac was never even invited to teach there. Due to this, the scientific, theoretical, and even critical elements in the teaching and deliberation of design were almost completely ignored during the first decade of the program. A corporate aesthetics was predominant, which only later generations of students and teachers would oppose.

New Tendencies While he was still a student, from 1956, Meštrović worked as a journalist in the cultural program of Radio Zagreb, earning the reputation of an art critic interested in new and neo-avant-garde art. In 1961, together with the Brazilian artist Almir Mavignier, with the support of the Directors of the Gallery of Modern Art Božo Bek and Ivan Picelj, he initiated the international exhibitions New Tendencies. Between 1961 and 1973, five exhibitions were held,10 causing the formation of an informal network of artists (some say of a “new artistic movement”) of a neo-constructivist orientation. These artists were interested in experimenting with new media and closely collaborating with science. Meštrović was one of the leading theoreticians of the movement. He is often named the movement’s ideologue, perhaps this is due to the title of the text Ideology of New tendencies from 1963, in which he analyzes the relations between art and contemporary technology from a Marxist point of view. His influence was particularly apparent at the fourth exhibition, Tendencies 4 – Computers and Visual Explorations, held in 1968. As the Belgrade theoretician Miško Šuvaković points out: “The theoretical discussions of Matko Meštrović are complex aesthetic discussions of the meaning and function of the New Tendencies in modern culture, and point to the specificity of action in a liberal real socialist society.

They are not merely accompanying critical studies, but fundamental guidelines of the discursive and ideological world of the new tendencies.”11 In the last couple of years, a lot has once again been written about the New Tendencies and several books have been published on the topic. However, it remains to be explained why, despite the fact that the artists gathered under the New Tendencies included some who were also designers (Mavignier, Enzo Mari, Ivan Picelj, Aleksandar Srnec), the fact that Meštrović, as one of the initiators and theoreticians of the movement, intensely dealt with design theory, as well as the fact that design is regularly indicated as one of the fields of interest of the New Tendencies, particularly as part of the project aimed at “transforming society through art and transforming art by accomplishing the social functions of designing the life’s surroundings”, these subjects were conspicuously absent from the movement’s events (except for Picelj’s posters, especially the one he did for T4 in collaboration with Vladimir Bonačić). The answer could be that the professional designers, involved with their specific professional activities, lacked the sensibility for such subjects and utopian projects. When the projects and initiatives that we recognize as precursors to what we today call speculative design did appear— such as the Italian anti-design movement, the Superstudio group, Archizoom and Archigram — this was already in the context of anti-system movements of 1968 and a radical critique of the ideology of high modernism. As opposed to this, the ideology of the New Tendencies still believed in progress and did not question it. To the contrary, in his more radical moments, it is Matko Meštrović himself who argues that it is capitalism that represents an obstacle to science and technology accomplishing the feat of fully humanizing our environment.

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Bit International At the same time as the New Tendencies exhibitions were being held, the Gallery of the City of Zagreb, as the institution in charge of the Gallery of Modern Art, began publishing the magazine Bit International. From 1968 to 1972 the magazine covers subjects dealing with the relations between art, in its widest sense, science, information theory, technology, design, visual communications and the media. The magazine formulated promoted, but also questioned the theoretical and poetic foundations of the movement. Meštrović was a member of the editorial board and one of the editors. He was editor of the fourth issue of the magazine (1969, which was devoted to design, particularly covering the closing of the Ulm School of Design and the state of design in Croatia.

In addition to texts by the then leading theoreticians of design Tomas Maldonad and Gui Bonsiepe, the magazine published texts by Croatian contributors Vera Horvat Pintarić, Fedor Kritovac and Radoslav Putar (“Design of Products in the Yugoslavian Industry”) and an editorial by Meštrović himself.

Gorgona Almost simultaneously, between 1959 and 1966, Meštrović also participated in the activities of Gorgona, regular informal meetings, and exchanges of ideas and information, gathering the painters Josip Vaništa, Marijan Jevšovar, Julije Knifer, Đuro Seder, sculptor Ivan Kožarić, architect Miljenko Horvat and theoreticians and art critics Dimitrije Bašičević Mangelos and Radoslav Putar. Interestingly, there was a significant generation gap between the youngest Horvat and Meštrović, and the other members. Quite often, the issue is raised of the allegedly “curious”, “mysterious” and “inexplicable” active participation of the two members of the New Tendencies, Meštrović and Putar — particularly Meštrović as an advocate of a scientific approach to art, with his interest in information sciences, the use of computers and other new technologies in art — in the activities of Gorgona, a cross between Fluxus and proto-conceptual art. However, the interest of Gorgona in the mundane, the everyday, the “non-artistic”, what is often called “marginal phenomena” or an “extended understanding of art”, is not a far cry from Putar’s and Meštrović’s interest in everyday utility items and connecting art with everyday life (present, in a way, in the New Tendencies as well). Also, Bašičević’s and Putar’s interest in naïve art and photography is not that different from the ideas and intentions of Gorgona, as is often argued today.

Beyond the limits of disciplines In the domestic academic and wider intellectual field, individuals with such an extensive array of interests are rare. The term “interdisciplinarity” is fashionable and somewhat overused today, but with the scientifically and intellectually rigid Meštrović, it is not merely a postmodern syncretism of different disparate disciplines. As Maroje Mrduljaš points out, with his interests, from architecture and urbanism to design, Meštrović has always extended the discussion beyond the narrow limits of disciplines, viewing them in a wide social and theoretical context. In his theoretical work, he has always fundamentally remained a materialist. Even when it comes to design, he has always understood it not as merely a function of mass industrial production, but, in a wider sense, as “thought-actions aimed at a comprehensive transformation of the historical world”. In this sense, in his central book when it comes to design, Theory of Design and Issues of the Environment, he is critical of

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eminent designers of the western world (including Victor Papanek and Buckminster Fuller), resenting them for not being resolute in their questioning of the dominant capitalist system. His eternal curiosity and desire to explore and promote new interpretations of the relations of social domination that are structurally connected to capitalist modes of production (including workerism, cognitive capitalism, the issue of commons, etc.) is a reflection of his attempt to subvert this domination through the collective self-determination of people and through the system of social production.

Meštrović’s work was succinctly described by Miško Šuvaković: “Matko Meštrović is most certainly a relevant, exceptional and, in various historical periods of late modernism, postmodernism and globalism, a significant critical and theoretical figure on the Croatian and European intellectual scene. (...) today, from a historical distance, he can be considered a true and exceptional pioneer of the theory and philosophy of neo-avant-garde art and culture in Croatia and Yugoslavia.”

To this we can add – and of design as well.

1 Feđa Vukić, Modernizam u praksi (Zagreb: Meandar 2008). See p. 163.

2 Zlatko Kauzlarić, “O nazivima i shvaćanjima na području industrijskog oblikovanja, 15 dana, No. 11 (Zagreb 1959); Radovan Ivančević, “Osnovna pravila industrijskog oblikovanja” (1959); It was Meštrović who suggested, in a report from the international congress of the ICSID, held in Venice in 1961, that the Croatian version of the word design – dizajn – should be introduced. See Feđa Vukić (2008), p. 167.

3 See Jasna Galjer: Dizajn pedesetih u Hrvatskoj – Od utopije do stvarnosti, Horetzky, Zagreb 2004. pp. 43-55.

4 Goroslav Keller, ‘Deset godina Centra za industrijsko oblikovanje’, Čovjek i prostor 251, Zagreb 1973, pp. 21, 34; Fedor Kritovac, ‘Deset godina Centra za industrijsko oblikovanje u Zagrebu’, Arhitektura 150 Zagreb 1974, pp.

39–42.

5 Uputstvo za industrijsko oblikovanje, (Zagreb: CIO, 1965) 6 See: Feđa Vukić, Od oblikovanja do dizajna: Teorija i kritika projektiranja za industrijsku proizvodnju, Zagreb, 2003, 39.

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7 Originally published in the magazine Umetnost No. 10/Belgrade, 1961, reprinted in the book Obrisi bez obrasca (Mladost, Zagreb 1979).

8 Ed. Eugen Canki, Moša Pijade Workers’ University, Zagreb 1969. The text was reprinted in Od oblikovanja do dizajna, Ed. Feđa Vukić, Meandar, Zagreb 2003.

9 The visual identity of the Games from 1974 to 1979 was designed by Boris Ljubičić and a team of designers gathered in the visual communications team of the center. It is often pointed out that the very first handbook for graphic standards in Croatia was created for the Games.

10 New Tendencies 1 (1961), New Tendencies 2 (1963), New Tendencies 3 (1965), New Tendencies 4 (1968–1969), New Tendencies 5 (1973). The organizers and participants of the NT from the domestic art scene were the art historians Božo Bek, Boris Kelemen, Matko Meštrović, Radoslav Putar and Dimitrije Bašičević, and the artists Ivan Picelj, Vjenceslav Richter, Julije Knifer, Vojin Bakić, Miroslav Šutej and Vladimir Bonačić.

11 Pojmovnik suvremene umjetnosti (Glossary of Contemporary Art), Horetzky, Zagreb/ Vlees & Beton, Ghent, 2005.

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Časopis Dizajn ∕ Design magazine dizajn ∕ design Hrvoje Devide, CIO 1967– 68

fotografija ∕ photo Miran Krčadinac

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Bilješke o odnosu Matka Meštrovića i arhitekture napisao Maroje Mrduljaš

U lokalnom kontekstu diskurs o arhitekturi i urbanizmu oskudijevao je nastojanjima da se područje debate proširi van uže disciplinarnih istraživanja. Proizvodnja izgrađene okoline rijetko se problematizira na način koji bi kritički pristupio pitanjima kao što su odnos disciplinarnih koncepata i društvene stvarnosti, korištenje suvremenih znanstvenih iskustava u svrhu boljeg razumijevanja mogućnosti i ciljeva arhitekture, te konačno, ispitivanje potencijala utopijskog horizonta urbanizma. Matko Meštrović je ustrajno otvarao upravo ta pitanja. Bez pretenzije prema obuhvatnosti, putem iščitavanja dviju grupa tekstova nastalih u različitim vremenima, jedne u prvoj polovici 1960-ih, te druge s prijelaza iz 1980-ih na 1990-te, pokušat ću ocrtati neke od interesa i vrijednosti kojima se Matko Meštrović bavio. Ti interesi jesu vezani za polje arhitekture i urbanizma, ali se odnosne i na cjelokupnu Meštrovićevu poziciju.

Tijekom 1950-ih u Hrvatskoj je aktualna diskusija o sintezi u plastičkim umjetnostima. Meštrović će se u 1960-ima nadovezati na tu diskusiju, no za razumijevanje njegove pozicije korisno je uvesti ranije pokušaje redefinicije tog koncepta. Tako arhitekt Vladimir Turina i u teoriji i u praksi problematizira prošireno polje sinteze koje polemički obuhvaća domene tehnologije, ekonomije i društvene stvarnosti. Turina naglašava da u tadašnjim društvenim okolnostima neće biti moguća cjelovita realizacija progresivnih programskih usmjerenja moderne arhitekture, nego će njeni progresivni dosezi ostati „permanentni presedani“, izuzeci koji samo potvrđuju pravilo birokratski i tehnokratski upravljanog razvoja izgrađene okoline, često s distopijskim rezultatima. Na sličnoj liniji je i Vjenceslav Richter, koji već 1960. iznosi mišljenje da pitanje arhitektonskog izraza nije ključno za diskusiju o razvoju arhitekture u Jugoslaviji jer je moderna estetika već prihvaćena. Progresivne zadatke arhitekture prepoznat će u „kompleksnijem i otkrivenijem društvenom vidu“, u aktivnom sudjelovanju arhitekata u formiranju zadataka i ciljeva razvoja gradova u kojem bi oni trebali zauzeti ulogu „ravnopravnih društvenih partnera s izravnom društvenom odgovornošću.“ Tako naznačenim pozicijama Matko Meštrović daje jasnije teorijske osnove, te zagovara još radikalniju i šire postavljenu platformu redefinicije društvene uloge arhitekture i urbanizma. „Dalekovidne spoznaje u arhitekturi javljaju se u izuzecima, a paradoksalno je da takve spoznaje predviđaju dokidanje takvih izuzetaka. One predviđaju dokidanje izuzetnosti i arhitekture same kao posebne ljudske djelatnosti i zamišljaju njeno potpuno integriranje u jednakoznačne sisteme kompleksnih proizvodnih aktivnosti na tehnološkom i misaonom nivou višeg organizacijskog reda.“

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U praksi koja ga okružuje, ostvarenje takvog programa Meštrović raspoznaje u industrijski proizvedenoj arhitekturi i sistemu YU-61 Bogdana Budimirova, Željka Solara i Dragutina Stilinovića, koji je realiziran u vidu „srebrnih gradova“ u Savskom Gaju, Zapruđu i Borongaju u Zagrebu, ali i drugim gradovima Jugoslavije. Meštroviću je YU-61 važan zbog integrativnog pristupa koji za projektantske parametre uzima ekonomiju, tehnologiju proizvodnje, transporta i građenja, te metodologiju gdje se uz minimalni broj gotovih elemenata ostvaruju varijabilnosti konfiguracija zgrada. Takav sistemski pristup je blizak Meštrovićevim interesima, ne samo po estetskim afinitetima, nego još više po poništavanju discipliranih granica i integraciji arhitekture i urbanizma u plansku, racionalnu, dugoročnu i cjelovitu projekciju društvenog razvitka. Upravo je sistem YU-61 dokazivao „...Mogućnost preobražavanja umjetničkog čina u društveni čin, a prema tome i društvenog čina u umjetnički, to jest mogućnost dokidanja nužnosti umjetnosti kao posebnog društvenog fenomena“, kao što je to zapisao Meštrović u izvorno nenaslovljenom tekstu Ideologija Novih Tendencija iz 1963.

Naoko na suprotnom polu od YU-61, stoji jedina radikalna urbanistička vizija nastala na hrvatskom i jugoslavenskom prostoru, projekt Sinturbanizam, kasnije Heliopolis, Vjenceslava Richtera koji je Meštrović popratio u više napisa. „...Richteru je bilo jasno da se o sintezi može govoriti samo kao o višoj formi jedinstva, pri kojoj nastupaju bitne promjene u osnovnim svojstvima dotada samostalnih elemenata. Idejni program likovne aktivnosti koji je on zastupao predviđao je široku intervenciju u svim dijelovima životne okoline.“ Koncept Sinturbanizma, kojeg je Richter branio kao povijesnu nužnost jer modeli naslijeđeni iz kapitalističkih sistema ne mogu zadovoljiti potrebe samoupravnog socijalističkog društva, zasnivao se na potpunom napuštanju konvencionalnog grada i njegovom zamjenom mobilnim magastrukturama koje udomljuju i integriraju sve potrebe pojedinca i kolektiva. Bezrezervnu modernističku vjeru u ispravnost plana, koju reprezentira i Sinturbanizam, Meštrović će potvrditi i tezom da će „estetski i svi drugi kriteriji naći svoju zamjenu u bitnim i temeljnim zakonima, u prestabiliziranim konstruktivnim i proizvodnim osnovama... One po samoj svojoj logici neće moći dopustiti proizvoljnosti bilo kakve vrsti.“ Taj idealistički i modernistički stav sudara se s fragmentarnom urbanom stvarnošću i antagonizmima koji su neizbježno uključeni u proces nastanka grada. No, Meštrović poziva urbanističku disciplinu da zauzme aktivnu progresivnu ulogu, vjerujući da je grad potrebno revolucionarizirati sistemima utemeljenim u znanstvenim spoznajama i koordiniranoj kolektivnoj akciji, što u isto vrijeme zagovaraju i drugi internacionalni neo-avangardni pokreti poput japanskog Metabolizma. Tada aktualna urbanističke praksa, dakako, sasvim je različita: „Pristup urbanističkom razvoju grada je shematičan i apriorističan, a s druge strane prilagođava se situaciji, odnosno prihvaća je i prejudicira svojom neintervencijom, svojim nekritičkim stavom i konformizmom.“ Gotovo 30 godina kasnije, krajem 1980-ih i početkom 1990-ih, Meštrović razmatra teme urbanizma u ogledima kasnije okupljenima u zborniku Roba i sloboda, u okolnostima kada se internacionalna arhitektura suočava sa još jednom od niza kriza koje se sve brže izmjenjuju, a urbanizam se u Hrvatskoj kreće prema kolapsu. Meštrović je u to vrijeme već potpuno

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posvećen interdisciplinarnom pristupu i njegova primarna domena interesa više nisu vizualne umjetnosti. U raspravu Povijesni grad Meštrović uvodi Manfreda Tafurija što znači i preispitivanje vlastitih pozicija obzirom na Tafurijev poznati zahtjev za raskrinkavanjem modernističkog mita „vjere u projekt“. Prema Tafuriju, neuspjeh modernog pokreta leži u tome što je on pokušao razriješiti društvene probleme koji leže izvan uže disciplinarne domene, a da pri tome nije revolucionirao vlastita sredstva te je ostao zarobljen unutar okvira starih ekomomsko-političkih odnosa i modaliteta produkcije izgrađene okoline. Ta je dijagnoza donekle bliska Meštrovićevom zahtjevu proširenja arhitekture i urbanizma do razine samoukidanja, no na nju Meštrović više ne može tražiti odgovore u tada recentnoj lokalnoj arhitektonskoj teoriji ili praksi. Također, Meštrovića zanimaju nova pitanja koja se nameću u doba „mondijalizacije“, usmjeravajući pažnju na socio-prostorne strukture, nove odnose prostor-vrijeme koje donose informatizacija i nove tehnologije, te njihov utjecaj na fizionomiju i oblike ponašanja kapitala. Uvjeti produkcije i reprodukcije grada, a ne njegova fizička forma, u središtu su Meštrovićevih razmatranja. Meštrović uspostavlja originalne linije analize koje prate trajektorij tradicije modernih emancipacijskih projekata, od utopije Williama Morrisa, preko interdisciplinarnog poimanja problematike dizajna okoline svojeg sudruga Thomasa Maldonada, do suvremenih istraživanja među kojima se u analizi urbane stvarnosti naročito oslanja na Manuela Castellsa. Meštrović suvremenu urbanu problematiku tako promišlja kroz pojmove „globalnog grada“ i „umreženog društva“, „prostora tokova“, te se postavlja fundamentalno pitanje „Što je u tome univerzalno, važno za afirmaciju ljudskih vrijednosti, a što uniformira i što ih osakaćuje i reducira?“. U tom periodu, u Hrvatskoj Meštrović više nema sugovornika niti konkretnih projekata s kojima bi mogao uspostaviti produktivni dijalog.

U rasponu od rezolutnog koncepta nestajanja autonomije arhitekture 1960-ih do aktiviranja raznolikih izvora progresivne misli od 1980-ih do danas, Matko Meštrović je beskompromisni kritičar osrednjosti, iracionalnosti i partikularizama, i u kontinuiranom je kretanju od „pojedinačnog općem“. Meštrović je optimistično zahtijevao cjelovito prihvaćanje i primjenu progresivnih zamisli i tendencija koje su se ostvarivale samo u naznakama ili su bile zacrtane tek kao mogućnost. Taj emancipacijski, pa i utopijski horizont je, barem iz moje osobne perspektive, sasvim uvjerljiv upravo zahvaljujući dubokoj empatiji prema stvarnosti koju Matko iskazuje i svojim radom i svojom osobnošću. „Svaka kulturna aktivnost uspješna je u svojoj emancipatorskoj misiji onoliko koliko kulturu ne razdvaja od značenja i poimanja smisla svakodnevnog života.“

* Tekst je minimalno revidiran referat pročitan 56. prosinca 2013. na stručnom simpoziju Moderna emancipacija - emancipacijske moderne povodom 80. rođendana Matka Meštrovića, održanog na Ekonomskom institutu u Zagrebu, u organizaciji MaMA i Ekonomskog instituta u Zagrebu.

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Notes on the Relation between Matko Meštrović and Architecture written by Maroje Mrduljaš

In the local context, discourse on architecture and urbanism has lacked in attempts to extend the scope of the discussion beyond research within the narrowly defined disciplines. The construction of the built environment is rarely problematized in a way that would critically approach issues such as the relation between disciplinary concepts and social realities, the use of contemporary scientific experiences aimed at a better understanding of the possibilities and goals of architecture and, finally, the exploration of the potentials of the utopian horizon of urbanism. It is precisely these issues that Matko Meštrović consistently dealt with. Without pretensions toward comprehensiveness, by interpreting two groups of texts from different time periods, one from the first half of the 1960s and one from the late 1980s, early 1990s, I will attempt to outline some of the interests and values that were of interest to Matko Meštrović. These interests are related to the field of architecture and urbanism, but also relate to Meštrović’s overall position.

In the 1950s, Croatia saw a rise of discussions on synthesizing the plastic arts. During the 1960s Meštrović‘s work would build on this discussion, but for a better understanding of his position, it is useful to introduce earlier attempts to redefine the concept. For instance, architect Vladimir Turina, both in theory and in practice, takes issue with the extended field of the synthesis that polemically comprises the domains of technology, economics and social reality. Turina emphasizes that in today’s social circumstances, a comprehensive realization of the progressive programmatic tendencies of modern architecture would not be possible. Rather, he claims, they would remain “permanent precedents”, exceptions that confirm the rule of the beaurocratically end technocratically managed development of the built environment, often with dystopian results. Similarly, in the 1960s, Vjenceslav Richter claimed that the question of architectural expression is not crucial for the discussion of the development of architecture in Yugoslavia because the modern aesthetics had already been accepted. He recognizes the progressive tasks of architecture in a “more complex and open social vision“, in the active participation of architects in the formation of the tasks and goals of the development of cities in which they should take the role of “equal social partners with direct social responsibility.”

Matko Meštrović gives these positions a clearer theoretical basis, advocating for an even more radical and wider platform for the redefinition of the social role of architecture and urbanism. “Prescient insights in architecture appear only as exceptions, and it is paradoxical that such insights predict the elimination of such exceptions. They anticipate the abolition of exceptionality and of architecture itself as a special human activity,

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envisaging its complete integration into equivalent systems of complex production activities on a technological and thought level of a higher organizational order.”

In the practice surrounding him, Meštrović sees the accomplishment of such a program in industrially created architecture and the YU-61 system of Bogdan Budimirov, Željko Solar and Dragutin Stilinović, which was carried out in the form of the “silver cities” in the Zagreb neighborhoods of Savski Gaj, Zapruđe and Borongaj, and in other cities across Yugoslavia.

To Meštrović, YU-61 was important due to its integrative approach, which takes the economy, production technology, transport construction and methodology as its design parameters, with a minimum number of prefabricated elements used for the variability of the configuration of buildings. Such a systematic approach is close to Meštrović’s interests, not just in terms of aesthetic affinities, but also in terms of abolishing disciplinary boundaries and integrating architecture and urbanism into a planned, rational, long-term and comprehensive projection of social development.

It is precisely the YU-61 system that proved “...the possibility of transforming an artistic act into a social act, and a social act into an artistic act, i.e. the possibility of abolishing art as a separate social phenomenon “, as Meštrović wrote in the originally untitled text The Ideology of New Tendencies from 1963.

Seemingly on the opposite pole of YU-61, there was a radical urbanist vision that emerged in Croatia and Yugoslavia, the Sinturbanism project, later renamed Heliopolis, by Vjenceslav Richter, which Meštrović commented on is several texts. “... It was clear to Richter that synthesis can only be discussed as a higher form of unity, in which the basic characteristics of the previously independent elements change significantly. The conceptual program of the artistic activity he supported envisaged an extensive intervention into all parts of our environment.” The concept of sinturbanism, which Richter defended as a historical necessity because the models inherited from capitalist systems cannot meet the needs of the self-governing socialist society, was based on totally abandoning the conventional city and replacing it with a mobile megastructure that is home to and integrates all needs of the individual and the collective. Meštrović will confirm his unreserved modernist faith in the plan represented by Sinturbanism with his thesis that “the aesthetic and all other criteria will find their replacement in the significant and basic laws, in the stabilized constructive and production foundations... By their logic alone, they will not allow any arbitrariness.” This idealist and modernist position clashes with the fragmented urban reality and antagonisms, which are inevitably involved in the development process of cities. However, Meštrović calls on the discipline of urbanism to take on an active progressive role, believing that the city needs to be revolutionized by systems based on scientific knowledge and coordinated collective action, which was also advocated by other international neo-avant-garde movements such as the Japanese Metabolism. However, the urbanist practice of the time was completely different: “The approach to the development of cities is schematic and apriorist on the one hand, and on the other it adjusts to situations, accepting them with their non-intervention, uncritical attitude and conformism.“ Almost 30 years later, in the late 1980s and early 1990s, Meštrović consid-

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ers urbanism in essays that were later collected in the collection of works Goods and Freedom, when international architecture was facing yet another crisis, while in Croatia urbanism was heading towards collapse.

At the time, Meštrović was completely dedicated to an interdisciplinary approach and his primary field of interest was no longer the visual arts. In his essay The Historic City, Meštrović introduced Manfred Tafuri, which means he reconsidered his own positions considering Tafuri’s well-known demand to expose the modernist myth of the “faith in the project“. According to Tafuri, the failure of the modernist movement lies in the fact that it attempted to resolve social issues that lie outside of the narrow domain of the discipline, without having revolutionized its own resources, remaining trapped within the framework of old economic and political relations and the production of the built environment. This diagnosis was somewhat close to Meštrović’s request to extend architecture and urbanism to the level of self-abolition, but Meštrović could no longer seek answers in the then local architectural theory or practice. Also, Meštrović was interested in new issues imposed in the era of “mondialization”, focusing his attention to social and spatial structures, new space-time relations brought about by computerization and new technologies, and their impact on the physiognomy and behavior of capital. The conditions of the production and reproduction of the city, and not its physical form, are now in the centre of Meštrović’s consideration. Meštrović establishes original lines of an analysis that follows the trajectory of the tradition of modernist emancipatory projects, from the utopia of William Morris, the interdisciplinary understanding of environment design of Thomas Maldonad, to contemporary research, which particularly relies on the analysis of urban reality of Manuel Castells. Meštrović deliberates contemporary issues of urbanism through the concepts of the “global city”, the “networked society”, and the “space of flows”, asking the fundamental question “What about it is universal, important for the affirmation of human values, and what about it is uniforming, crippling and reducing?“. In this period, Meštrović no longer has peers or concrete projects to establish a productive dialogue with.

Within the span from the resolute concept of abolishing the autonomy of architecture in the 1960s to activating a diverse source of progressive thought from the 1980s to today, Matko Meštrović is an uncompromising critic of mediocrity, irrationality and particularism, and is moving constantly from the “particular to the general”. Meštrović optimistically demanded a comprehensive acceptance and application of progressive ideas and tendencies that were accomplished only marginally or where merely envisaged as a possibility. This emancipatory, even utopian horizon is, at least from my perspective, utterly convincing precisely because of his deep empathy for reality, expressed by both his work and his personality. “Any cultural activity is successful in its emancipatory mission to the extent it does not separate the culture from the significance and understanding of the meaning of everyday life.”

* The text is a minimally revised version of a paper presented on 6 December 2013 at the Symposium Modern Emancipation – Emancipatory Modernism on the occasion of the 80th birthday of Matko Meštrović, held at the Institute of Economics in Zagreb, organized by MaMA and the Institute of Economics in Zagreb.

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Matko Meštrović – Od pojedinačnog općem ∕ From the Particular to the General, DAF, 2005

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Osnove oblikovanja pisma autori Frank E. Blokland, Nikola Đurek suradnici Marko Hrastovec (dizajn, uređivanje), Dejan Kršić, Hrvoje Živčić, Igor Čaljkušić (uređivanje), Krešimir Bobaš (lektura), Vlatko Broz, Mirna Herman-Baletić, Catelijne van Middelkoop (prijevod) izdavač DVK UMAS, Split 5 ∕ 2018

Opis projekta Knjiga je nastala suradnjom dvojice različitih autora, ponešto različitih generacija, iz različitih društvenih konteksta i tipografskih tradicija – jednog iz Nizozemske i drugog iz Hrvatske. Knjiga je istodobno prijevod i original. Započeta kao prijevod već klasičnog udžbenika nizozemske tipografske škole, nadograđena je i nadopunjena rezultatima Đurekovih istraživanja i usustavljivanja promišljanja specifičnosti tipografskog zapisivanja hrvatskog jezika. Osim dizajnerima i studentima dizajna namijenjena je svima zainteresiranima za povijest pisma i tipografije te kaligrafsko pisanje.

Obrazloženje selekcijske komisije „Udžbenici iz područja dizajna kod nas su rijetki, a još su rjeđi oni za područje dizajna tipografije i oblikovanje tipografskih pisama. Značajnija izdanja koja su dodirnula ovu temu – Tipografsko oblikovanje (1963.) i Tipografski priručnik (1985.) Franje Mesaroša – objavljena su prije više od trideset godina. Ovo je drugo izdanje Odsjeka za Dizajn vizualnih komunikacija Umjetničke akademije u Splitu iz područja tipografije (nakon knjige Potez: teorija pisanja Gerrita Noordzija), koje uz praktičan prikaz Noordzijeve didaktičke metode i pisanja različitim perima, donosi i pravila o spacioniranju, položaju i veličinama dijakritika, te stvaranju digitalnog pisma iz kaligrafskog pisanja. Knjiga je pisana stručno, ali jasnim i razumljivim stilom, te je kao početnica osim dizajnerima i studentima dizajna namijenjena svima zainteresiranima za povijest pisma i tipografije, te za kaligrafsko pisanje. Knjiga je na neki način sinteza odnosa koji je u posljednjih desetak godina uspostavljen između naše lokalne sredine i Odsjeka za tipografiju i medije pri Kraljevskoj akademiji za umjetnost u Haagu, jer se oko knjige okupilo nekoliko polaznika Type&Media koji su u zadnjih desetak godina na sveučilištu u Zagrebu i Splitu predavali znanje koje su skupili u Nizozemskoj (Nikola Đurek, Hrvoje Živčić, Marko Hrastovec), ali koji istovremeno pokazuju kako se oblikovanje pisma i kod nas udomaćilo kao opcija održivog zanimanja.“

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Basics of Type Design authors Frank E. Blokland, Nikola Đurek contributors Marko Hrastovec (design, editing), Dejan Kršić, Hrvoje Živčić, Igor Čaljkušić (editing), Krešimir Bobaš (proofreading), Vlatko Broz, Mirna Herman-Baletić, Catelijne van Middelkoop (translation) publisher DVK UMAS, Split 5 ∕ 2018

Project description The book was created as a collaboration of two different authors belonging to different generations, social contexts and typeface traditions; one is from the Netherlands and the other from Croatia. It is a translation and an original at the same time. The project started as a translation of the classic textbook used by the Dutch typography school, which was then upgraded and expanded with the results of Đurek›s research and systematic approach to specificities of typeface design in the Croatian language. The book is intended for designers and design students but also for everyone interested in the history of scripts, typography and calligraphy.

Explanation by the Selection Committee “Textbooks from the field of design are a rarity in Croatia, even more so in the field of typography and typeface design. Significant publications on this topic – Tipografsko oblikovanje (Typography Design, 1963) and Tipografski priručnik (Typographic Manual, 1985) by Franjo Mesaroš – were published more than 30 years ago. This is the second publication of the Design of Visual Communication Department of the Split Art Academy in the field of typography, after the publication of The Stroke: Theory of Writing by Gerrit Noordzij, which, in addition to a practical illustration of Noordzij’s didactic method and the methods of writing with different pens, also covers rules on spacing, the position and sizes of diacritical signs and on creating digital letters from calligraphic writing. The book is written with expertise, but with a clear and easy-to-understand style, and is intended as a primer for both designers and design students as well as for all those interested in the history of typography and calligraphic writing. In a way, the book represents a synthesis of the relations established in the last ten years between our country and the Type and Media Department at the Royal Academy of Art in the Hague since the creation of the book involved several alumni of this Department who taught at the Universities in Zagreb and Split (Nikola Đurek, Hrvoje Živčić, Marko Hrastovec), but also illustrates that typography design has become a sustainable profession in Croatia.”

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Posjetiteljski centar Mali arsenal autori projekta Iva Letilović, Igor Pedišić + Vladimir Končar projektna tvrtka AB Forum koncept, dizajn i razvoj interakcija Studio Revolucija suradnici Luka Fatović (AB Forum), Berislav Medić (UPI-2M, projekt konstrukcije), Zoran Košmerl (HAL, dizajn rasvjete), Barbara Peranić, Igor Miletić (Konzervatorski odjel u Zadru, konzervatorski nadzor), Laris Borić (stručni suradnik), Saša Budimir (3D animacija), Alen Stojanac, Suzana Košćak, Anja Bošnjak (dizajn), Dražen Hižak (programiranje prostorne interakcije), Luka Jendrašić (programer mobilne aplikacije), Ante Stipaničev (programer touchscreen aplikacije), Ivan Kapec (kompozitor), Hrvoje Petek, (dizajn zvuka), Project 6 studio (snimanje audio vodiča), Slađan Lipovec (lektor), Lovro Jurišić, Marica Babić, Josip Matassi, Gino Verrocchi (autori projekta HERA) izvođač Credo-ing d.o.o., AVC d.o.o. investitor Zadarska županija u okviru projekta HERA Upravljanje održivim turizmom 5 ∕ 2017

Opis projekta Mali arsenal zaštićeni je spomenik kulture, dio srednjovjekovnog zadarskog kaštela, zasebne fortifikacijske strukture uklopljene u sustav gradskih zidina. Konzervatorskom sanacijom 2017. arsenal postaje centar za posjetitelje i polazna točka za upoznavanje i obilazak zadarskog fortifikacijskog sustava. Konzervatorskim uvjetima propisana je mogućnost minimalne arhitektonske intervencije, stoga je kao ravnopravni prostorni element uključena multimedija. Unutrašnji prostor Malog arsenala ima dva moda pojavnosti: onaj u kojem je multimedija prisutna, a prostor je dematerijaliziran i nevidljiv, te onaj u kojem je prostor vidljiv sa svim sačuvanim povijesnim slojevima. Prilikom ulaska prostor je zamračen, pokreće se velika projekcija na vertikalnom staklu te interaktivna projekcija na horizontalnoj staklenoj plohi povrh nekadašnjeg kanala. Po završetku prikaza svjetlo se pali, multimedija nestaje i projekcijske plohe postaju praznine, a prisutnost novoga gotovo da je nevidljiva.

Obrazloženje selekcijske komisije „Autori Malog arsenala interdisciplinarnim su pristupom i preciznom izvedbom napravili iskorak u kreiranju rješenja za muzejsko-galerijske prostore. Unatoč konzervatorskim preprekama i ograničenjima unutar tog zaštićenog spomenika kulture, njihova interpretacija fortifikacije grada je rezultirala imerzivnim i impresivnim doživljajem. Građenju narativa pristupilo se na inovativan način, pritom respektirajući tkivo spomenika. Slojevi prošlosti konzervirani su promišljenim arhitektonskim rješenjima, a uporabom multimedije te suvremenih tehnologija i materijala nadodani su novi edukativni i iskustveni slojevi.

Posjetitelji su angažirani u fizičkom prostoru i izvan Malog arsenala putem aplikacije Zadar Walking Guide, koja ih kroz svojevrsni „lov na blago“ stimulira na daljnje istraživanje lokalnih muzeja. Širenjem prostora interakcije razvija se publika i za druge srodne muzejske prostore, što multiplicira važnost ovog projekta.“

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Mali Arsenal Visitor Center project authors Iva Letilović, Igor Pedišić + Vladimir Končar architectural office AB Forum concept, design and interaction development Studio Revolucija contributors Luka Fatović (AB Forum), Berislav Medić (UPI-2M, construction project), Zoran Košmerl (HAL, lighting design), Barbara Peranić, Igor Miletić (Conservation Department Zadar, conservation supervision), Laris Borić (expert associate), Saša Budimir (3D animation), Alen Stojanac, Suzana Košćak, Anja Bošnjak (design), Dražen Hižak (spatial interaction programming), Luka Jendrašić (mobile app programming), Ante Stipaničev (touchscreen app programmer), Ivan Kapec (composer) Hrvoje Petek, (sound design), Project 6 studio (audio guide recording), Slađan Lipovec (proofreading), Lovro Jurišić, Marica Babić, Josip Matassi, Gino Verrocchi (authors of the HERA project) contractor Credo-ing d.o.o., AVC d.o.o. investor Zadar County in the framework of the HERA project Managing sustainable tourism 5 ∕ 2017

Project description Mali Arsenal is a protected cultural monument and part of the medieval Zadar castle, as a separate fortification structure incorporated into the system of city walls. Following the conservation and reconstruction in 2017, the arsenal has become a visitor centre and a starting point for exploring Zadar’s fortification system. Conservatory conditions prescribe only minimal architectural intervention so multimedia was incorporated as an equal important spatial element. The interior appears in two modes: the one with the integrated multimedia and dematerialized and invisible space, and the other where the space is visible with all the preserved historical layers. The space is in darkness when one enters but then a large projection on a vertical glass and an interactive projection on a horizontal glass plate above the former canal are launched. When the display is over, the light goes on, the multimedia disappears and the projection surfaces become empty, whereas the presence of the new becomes almost invisible.

Explanation by the Selection Committee “With its interdisciplinary approach and precise execution, the design of the Visitor Center represents a step forward in the design of museum and gallery spaces. Despite the restrictions set by the conservation needs of this protected cultural monument, the interpretation of the city’s fortification resulted in an immersive and impressive experience. The creation of the narrative was approached in an innovative way, but with a respect for the original texture of the monument. The layers of the past have been conserved with well-thought-out architectural solutions, while the use of multimedia and contemporary technologies and materials adds new educational and experiential layers.

The visitors are also engaged by the physical space outside of the Center via the Zadar Walking Guide application, which stimulates them with a sort of “treasure hunt” to further explore the local museums. Expanding the interaction space develops an audience for other related museums, multiplying the significance of this project.”

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Obiteljski hotel Amarin dizajn Damir Gamulin copywriting Nenad Vukušić Sebo arhitektura Studio UP – Lea Pelivan, Toma Pleić krajobrazna arhitektura Ksenija Jurčić Diminić naručitelj Maistra d.d.

Rovinj 2017

Opis projekta Prostorna grafika i signalizacija Obiteljskog hotela Amarin zasniva se na ideji kako grafika i riječi kao komunikacijski sloj obiteljskog hotela trebaju biti upućeni odraslima i djeci, koja percipiraju drugačije nego odrasli. Zamišljen kao “hotel koji priča” Amarin naglašeno komunicira s gostima nadogradnjom sustava standardnog obavještavanja doživljajnom razinom. Kako bi djeca ravnopravno osjetila da je hotel i njihov, kreirana su dva paralelna signalizacijska i aktivacijska kanala. Odraslima se obraća prisnim tekstom, a djeci vizualnim jezikom jednostavnih geometrijskih oblika koji pozivaju na aktivno sudjelovanje i otkrivanje prostora.

Grafički i jezični identitet oblikovan je tako kroz princip dvostrukog kodiranja informacija koje usmjeravaju, ali i otvaraju put mašti.

Obrazloženje selekcijske komisije „Prostorna grafika i signalizacija Hotela Amarin izvanredan je primjer integralnog arhitektonsko-dizajnerskog rješenja. Komunikacija je oblikovana sustavno i dosljedno. Horizontalna i vertikalna signalizacija izniču iz forme prostora te stvaraju njegov bogat, suvremen karakter. Utilitarna komunikacijska uloga rješenja, svojim vizualnim, taktilnim i auditivnom jezikom, omogućuje intuitivno prepoznavanje i kretanje kroz prostor prožet doživljajem. Multisenzornim sustavom interpretacije sadržaja potiče se kreativni (emotivni) odgovor svakog gosta. Interakcijom među elementima interijera i eksterijera čitav objekt postaje veliko igralište, što je najvrednija karakteristika ovog jedinstvenog obiteljskog hotela.“

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Family Hotel Amarin design Damir Gamulin copywriting Nenad Vukušić Sebo architecture Studio UP – Lea Pelivan, Toma Pleić landscape architecture Ksenija Jurčić Diminić client Maistra d.d.

Rovinj 2017

Project description The spatial graphic design and signage system of the Family Hotel Amarin are founded in the idea that graphics and words used in the hotel’s communication should be directed at adults and children who perceive things differently than adults. Designed as a “hotel that narrates,” Amarin communicates with guests through its upgraded system of information provision. In order for children to feel equal “ownership” of the hotel, two parallel signage systems and activity channels were created. For adults it uses intimate text, and for children the visual language composed of simple geometric forms inviting to active participation and discovery. The graphical and linguistic identity is shaped through the application of the principle of double information encoding, which directs and prompts imagination.

Explanation by the Selection Committee “The spatial graphics and signage of the Hotel Amarin represent an excellent example of an integral architectural and design solution. The communication is designed systematically and with consistency. The horizontal and vertical signage emerge seamlessly from the form of the space and add to its rich and contemporary character. The utilitarian communication role of the design, with its visual, tactile and auditory language, allows for an intuitive recognition of and movement through the space, permeating it with experience. The multisensory interpretation system encourages a creative (emotive) response of each guest. Through an interaction between the elements of the interior and exterior, the entire building becomes a big playground, which is the most valuable characteristic of this unique family hotel.”

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nominees for the grand prix

nominacije za veliku nagradu

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fotografija ∕ photograph Jakov Prkić

Dejan Dragosavac Ruta je grafički dizajner rođen 1971. u Novoj Gradiški. Pohađao je Fakultet grafičke tehnologije u Zagrebu. Od 1994. do 2003. radi u Arkzinu, nakon čega pokreće vlastiti studio. Dizajnirao i grafički uređivao više magazina i časopisa: Arkzin, Nomad, Godine nove, Libra libera, Gordogan, Up&underground, Civilno društvo.hr, Frakcija itd. Klijenti su mu većinom iz područja kulture i civilno-društvene scene: Multimedijalni institut, Kontejner – biro suvremene umjetničke prakse, Platforma 9.81, Eurøkaz, SKD Prosvjeta, Oceanmore, British Council, inicijativa Pravo na grad, za koje oblikuje kataloge, knjige, promotivne materijale, kampanje itd.

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Dejan Dragosavac Ruta is a graphic designer born in 1971 in Nova Gradiška. He studied graphic technology at the Faculty of Graphic Arts in Zagreb. From 1994 till 2003 he was working at Arkzin, and then he established his own studio. He designed and graphically edited a number of magazines and journals: Arkzin, Nomad, Godine nove, Libra libera, Gordogan, Up&underground, Civilno društvo.hr, Frakcija, etc. His clients are mostly present in the field of culture and civil-society scene: Multimedia Institute, Kontejner – bureau of contemporary art praxis., Platforma 9.81, Eurøkaz, SKD Prosvjeta, Oceanmore, British Council, the initiative Pravo na grad, for which he designs catalogues, books, promotional materials, campaigns, etc.

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Dejan Dragosavac Ruta — Nije sramota ako se u dizajnu vidi duh vremena ∕ There is no shame in seeing the spirit of the times in design razgovarao ∕ interview by Marko Golub

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Pogon – Centar za nezavisnu kulturu i mlade ∕ Zagreb Centre for Independent Culture and Youth ilustracije ∕ illustrations, 2015 – 2018

Volio bih da nastavimo otprilike ondje gdje smo stali u prošlom razgovoru, koji smo napravili prije par godina kad smo u HDD-u priredili tvoju izložbu dizajna magazina i časopisa. Sjećam se da smo tamo izlagali i friško otisnute brojeve nekih od njih, a do danas su, čini mi se, s izostankom potpora prestali izlaziti i oni posljednji među njima koji su tada još bili živi. Vidiš li to kao definitivan kraj jednog fenomena ili ipak ima neke nade da taj tip izdavaštva preživi, makar u nekoj drugoj formi?

Posljednji od časopisa iz kulture koji se još bori za preživljavanje je Gordogan, ali ne vidim previše nade za tu vrstu izdavaštva. Prošao je davno trenutak kad ih se moglo spasiti, bilo kroz njihovu vlastitu reorganizaciju poslovanja, kao primjerice prelaženje u digitalne medije ili kroz kontinuiranu izvanjsku potporu. Naravno, izgubit će se određene vještine uređivanja materijala, no forma časopisa će i dalje biti u upotrebi kroz reklamne, znanstvene časopise i magazine, mada i to sve češće u formi pdf dokumenta a ne fizičke kopije. Kulturni portali koji dijelom pokrivaju sličan sadržaj razlikuju se od tiskanih prethodnika obradom materijala, gdje se dizajner više ne bavi oblikovanjem odnosa teksta i fotografija, odnosno njihovom interpretacijom. Također, pojavljivanje „nove generacije“ tiskanih izdanja mi je skoro pa nemoguće zamisliti, osim u obliku reprezentativnog fetiša ili dizajnerskog koncepta. Brza su vremena, puno je izbora, tisak košta, a u stanovima je malo prostora.

Ne računamo li prve godine u Arkzinu, ključno razdoblje tvog autorskog formiranja je kraj 90-ih i početak 2000-ih, odnosno uspon nezavisne kulturne scene za koju si kao dizajner od početka bio jako vezan, do te mjere da te se u šali proglašavalo službenim dizajnerom iste. Čini li ti se da i danas postoji ta vrsta vitalnosti na sceni koja je očigledno postojala tada, i ako da, gdje je najviše vidiš?

Vitalnost na sceni svakako postoji i danas. Scena se mijenja a promjenu je potrebno omogućiti i održavati. Ono što sad vidim kao

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I would like to continue where we stopped last time with the interview a couple of years ago when we organised your exhibition of magazine and journal design at HDD. I remember us going there to exhibit the issues just printed, and it seems to me that, in the absence of support, the publications, which at the time were still being published, are not published any more today. Do you see that as a definite end of a phenomenon or there is still some hope that that type of publishing will survive, even if in another form?

The last magazine featuring articles about culture that is still fighting to survive is Gordogan, but I don’t see too much hope for that type of publishing activity. The moment when they could have been saved passed long time ago, and they could have been saved if their business operations had been reorganized, like for example transferring to digital media or if they had been continuously receiving external support. Of course, certain skills concerning editing of printed matter will be lost, but the magazine form will still be used through advertisements, scientific magazines and journals, although they will be more often in a form of a pdf document, and not a hard copy. Culture portals that partly cover similar content differ from the printed predecessors in the way the material is treated, where a designer is more involved in designing the relation between a text and photographs, meaning their interpretation. Moreover, the emergence of a “new generation” of printed publications is almost inconceivable to me, unless it is in the form of a representative fetish or designer concept. Times are fast, choices are abundant, printing costs, and the flats lack space.

If we do not take into account the first years at Arkzinu, the key period of your development as a designeris the end of 1990s and the beginning of 2000s, or the rise of the independent culture scene you were closely connected to as a designer since the very beginnings, and to such an extent that jokingly you were referred to as an official designer

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Clubture Forum plakati ∕ posters, 2008 – 2018

najveći odraz vitalnosti scene su inicijative, udruge i umjetničke organizacije koje su se uspjele održati tijekom protekla dva desetljeća apsorpcijom novih članova i tako se mijenjati.

Također, vitalnost se vidi i po tome što scena i nadalje pokazuje tendenciju povezivanja kada je riječ o zajedničkim interesima i provođenju kulturnopolitičkih ciljeva. Danas mi se pokretanje od nule čini puno zahtjevnije, iako ima i tih primjera, jer je manje sadržajnih niša za popuniti i teže je održati kontinuitet djelovanja.

Retrospektivno gledano, koje su najvažnije stvari koje si naučio o dizajnu u ovih zadnjih 20-ak godina koliko djeluješ?

Dobra ideja je tek pola posla, odnosno dobro „zapakirana“ loša ideja je, nažalost, bolje rješenje od loše „zapakirane“ dobre ideje. Nije sramota ako se u dizajnu vidi duh vremena.

Klijenti su češće u pravu nego što dizajneri vole priznati. Kad kasniš, javi se. Dobro si je povremeno oprostiti koju glupost.

Gledajući tvoju ukupnu produkciju, ponekad imam dojam da su sve vrste materijala koje radiš pod prilično velikim utjecajem činjenice da je tvoje ishodište u editorial dizajnu. Čak i kod plakata, naročito onih za Mamu, to je prilično očigledno vidljivo. Kako to komentiraš?

Način na koji pristupaš zadatostima i problematici forme u kojoj radiš s vremenom postaje odlika tvoje estetike, ili jednostavnije rečeno, dio tvog autorskog jezika. Kada godinama radiš editorial dizajn tako počneš

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of that scene. Do you think that even today there is that kind of vitality on the scene that definitely existed back then, and if there is, where do you see it the most?

The vitality on the scene definitely exists even today. The scene has been changing, and change needs to be enabled and maintained. What I see today as the strongest reflection of that scene vitality are initiatives, associations and arts organisations that managed to endure throughout the last two decades by absorbing new members and as such by undergoing changes. Moreover, the vitality is seen in the fact that the scene still continues to show a tendency of integrating mutual interests and implementing cultural-political goals.

Today it seems to me that starting from scratch is much more demanding, although there are such examples too, as there are fewer content niches to fill in, and it is harder to maintain the continuity of action.

Retrospectively, what are the most important things you have learned about design in the last 20 or so years of your career?

A good idea is only a half of the job done, meaning that well “packaged” bad idea, is, unfortunately, a better solution than badly “packaged” good idea. There is no shame in seeing the spirit of the times in design. The clients are more often right than designers would like to admit. When you are running late, say so.

It is good to forgive oneself some silliness from time to time.

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Zagreb je naš! ∕ Zagreb is Ours! identitet kampanje za lokalne izbore ∕ campaign identity for local elections, 2017

i razmišljati: što se vidi na prvi pogled, kako uvući čitatelja u priču, gdje je početak, koje su najvažnije informacije, hijerarhija, prezentira li dizajn sadržaj i slično. No, isto tako često je tu riječ i o igri „krive forme“, kao kad primjerice napraviš plakat koji izgleda kao tramvajska karta, tako i novinska stranica može biti plakat, naslovnica knjige ili letak za festival.

Dizajnirao si i dizajniraš jako puno, a i kolege najčešće hvale tvoju agilnost. Zanima me kako izgleda tvoj dan kad dizajniraš, ali i općenito proces dolaska do nekog rješenja?

Dijelom su periodi agilnosti pomiješani s periodima lijenosti, tako da je agilnost stvar dojma zbog količine materijala koji sam znao obraditi u kratkom vremenu, a što je posljedica rada u novinama i magazinima gdje postoje strogi rokovi i ograničeno vrijeme. Moglo bi se reći kako je to stvar kondicije, ali i kampanjski ritam rada. Dok nisam imao „ozbiljnije“ klijente s kojima je trebalo komunicirati svakodnevno, radio sam i noću, no zadnjih desetak godina lakše mi je početi raditi oko 6-7 ujutro kako bi do prvih telefona imao 3-4 sata neprekidanog rada. Tada obavljam poslove koji zahtijevaju koncentraciju, recimo unošenje korektura, formatiranje, ali i one kreativnog karaktera. Kad krene komunikacija, većinom je tu riječ o dodatnim ispravkama, prilagođavanju formatima, općenito radu s naručiteljima. Ako se popodne bavim dizajnom, uglavnom je to upoznavanje sa sadržajem, razmišljanje, skiciranje itd. Sam proces dolaska do rješenja je naizgled jednostavan: malo sjedim, razmišljam i skiciram na papiru, a onda se prebacim na računalo i vrtim dok se nešto ne dogodi, a ako zapne vratim se na prvi korak i tako u krug do zadovoljavajućeg rješenja.

Unatoč očitim problemima u kojima se danas nalazi tiskano izdavaštvo, čini mi se da taj dio produkcije i na ovoj izložbi ostaje čvrsto pri vrhu i po zastupljenosti i po kvaliteti. Sigurno si, s obzirom na svoje afinitete i iskustvo, prilikom žiriranja posebnu pažnju posvetio tom segmentu pa me zanima što u njemu

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Looking at your overall production, sometimes I have an impression that all types of materials you work on are under quite a large influence of the fact that your origins are in the editorial design. Even when talking about the posters, especially the ones made for Mama, that is pretty obliviously evident.

What is your comment on that?

The way you approach and deal with the specificities and issues of the form you are working on has become, in time, a characteristic of your aesthetics, or to put it simply, a part of your design vocabulary. When for years one does editorial design, ones starts to think like that too: what is seen at first sight, how to involve the reader into a story, where is the beginning, what is the most important information, hierarchy, is design presenting the content and similar. However, that is often the case of a game of “wrong form”, when for example you design a poster that looks like a tram ticket, likewise a newspaper page can be a poster, a book cover or a festival flyer.

You have been designing a lot, and your colleagues too mostly praise your agility. Can you tell me what is your day like when you are in the process of designing, but also generally what is the process of coming up with a solution like?

The agility periods are partly mixed with periods of laziness, so the agility is a matter of impression because of the amount of materials I used to process in a short period of time, and that is the consequence of working for the newspapers and magazines where there are strict deadlines and time is limited. It could be said that it is a matter of aptness, but also the last-minute working rhythm. Until I had “serious” clients I had to communicate with on daily basis, I had been working at night too, but in the last ten or so years I find it easier to start working around 6 or 7 in the morning in order to have 3 to 4 hours of uninterrupted work before the first telephone calls. That is the time when I do the jobs that require concentration, for example copyediting, formatting, as well

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Polica s knjigama ∕ Bookshelf Typonine tipoplakat ∕ typographic poster, 2011

vidiš kao najzanimljivije ili najuzbudljivije, ali i kakve karakteristične nedostatke i probleme eventualno vidiš u njemu?

U knjigama i srodnim publikacijama su rješenja ovisna o entuzijazmu izdavača i dizajnera pa je primjetno nekoliko rješenja koja unatoč skromnim financijskim sredstvima izgledaju više nego dojmljivo, poput dizajna Lane Grahek za knjigu Jazz Beat. Uz to, knjiga se kao forma pojavljuje i u najreprezentativnijim i luksuznim oblicima poput godišnjih izvješća, promocijama građevinskih projekata i slično.

Nekoliko knjiga je iskočilo svojom dosljednošću provođenja rješenja i opsegom posla, premda sam sadržaj nije pretjerano uzbudljiv.

Gledajući formu magazina i časopisa čini mi se najinteresantnije kad to nije u uobičajenom kontekstu, već kad se pojavljuje poput popratne publikacije, kao u slučaju Projekta Ilica, ili kad povezuje neku rubnu ili disperznu društvenu skupinu, kao časopis O. (Otočka).

Zanima me i tvoj pogled na recentnu studentsku produkciju, naročito u području grafičkog dizajna. Je li za tebe realistično tvrditi kako su ti radovi u kvaliteti usporedivi s onima iz profesionalnih kategorija? Vidiš li i neke zanimljive razlike u pristupu između radova koji dolaze sa studija u Splitu, Koprivnici, Rijeci i Zagrebu?

Ne znam koliko je zahvalno uspoređivati studentske i profesionalne radove jer nisu nastali u istim uvjetima, konkretno nemaju klijenta, što utječe na dizajn, no vizualno su

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as creative tasks. When the communication starts I mostly deal with additional corrections, format adjustments, and generally I work with clients. If I spend an afternoon working on a design, mostly that means that I am becoming familiar with the content, I am contemplating, sketching, etc. The very process of coming up with a solution is seemingly very simple: I am sitting for a while, thinking and sketching on paper, and then I am at the computer and I am working until something happens, and if I get stuck I go back to the first step, and repeat all that until I come up with a satisfactory solution.

Despite the obvious problems the printed publication is facing today, it seems to me that a part of the production, even at this exhibition, remains firmly at the top, because of its representativeness and quality. I am sure that, concerning your affinities and experience, during the selection process, you paid special attention to that segment, so I would like to know what do you see in it as the most interesting or most exciting, but also what characteristic shortcomings and problems you see in it, if any?

When talking about books and similar publications the solutions depend on the publisher and designer’s enthusiasm, so there are several solutions, which despite very modest financial resources, look more than impressive, like the design by Lana Grahek for the book Jazz Beat. Moreover, a book, as a form, appears also in the most representative and luxurious

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Sándor Márai – Ljubomorni ∕ The Jealous Ones korice knjige ∕ book cover, OceanMore, 2018

studentski vrlo blizu onima profesionalnima po jeziku, vizualnoj pismenosti i kreativnosti.

Nedostatak studentskih radova je sudar s realnošću, jer nemaju još dodira s klijentima i korisnicima. Primjerice, na odlično oblikovanom plakatu ključne informacije su presitne za čitanje, i slične omaške. Odnose fakulteta mi je teško usporediti jer nemam cjelovit uvid u njihov rad, ali po radovima pristiglim na žiriranje mogu reći da iz Splita dolaze većinom radovi vezani uz spekulativni dizajn proizašli iz radionica, dok su radovi iz Koprivnice i Zagreba bliži svakodnevnim dizajnerskim zadacima, budući da su nastali u sklopu mentoriranih kolegija. Čini li ti se, iz tvoje vizure, kako novo vrijeme za dizajnere donosi neke nove zahtjeve i izazove? Koliko misliš da su stvari danas drukčije nego što su bile prije 15 ili 20 godina? Je li danas teže, ili lakše, i zašto?

Teško je odrediti je li teže ili lakše jer ima argumenata za obje verzije. Tehnologija je pristupačnija i pouzdanija, klijenti su pismeniji, informacije su dostupnije, a i mogućnost rada nije ograničena samo na hrvatske klijente. No, isto se tako od dizajnera očekuje više vještina poput rada s webom, društvenim mrežama, digitalnom animacijom, konkurencija je veća, a čini mi se i da je cijena rada manja.

Jesi li prilikom selekcije radova za izložbu primijetio neke karakteristične trendove u dizajnu vizualnih komunikacija koji bi se mogli izdvojiti kao zanimljivi? Također, misliš li da ipak postoje i neka područja koja ovom izložbom nisu obuhvaćena, a trebala bi biti?

Ne primjećujem posebne trendove, sve što se događalo zadnjih desetak godina vidljivo je i sada na izložbi. Možda se može primijetiti da se u dizajnu proizvoda, pored oblikovanja ambalaže vina i ulja, pojavljuju pivo i džin te uređenje interijera ugostiteljskih objekata. Mislim da su na izložbi zastupljena sva relevantna područja, no bilo bi mi zanimljivo vidjeti zastupljeniju produkciju radova mladih dizajnera koji su otišli raditi u inozemstvo ili rade za klijente izvan Hrvatske.

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forms like annual reports, construction design presentations and similar. Several books have stood out because of their consistency in implementing solutions and their scope of work, although the content itself is not particularly exciting. When observing the form of magazines and journals, I find it the most interesting when it is not in its usual context, but when it appears as a supporting publication, like in the case of Project Ilica, or when it includes a marginal or dispersive social group, like the magazine O. (Otočka).

What is your opinion about the recent students’ production, especially in the field of graphic design. Is it realistic for you to say that those works, when talking about quality, can be compared to those from the professional categories? Do you see any interesting differences in the approach regarding those works coming out from colleges in Split, Koprivnica, Rijeka and Zagreb?

I am not sure if the students’ works can be compared to professional works as they are not made under the same conditions, they have no client, what influences the design.

However, students’ works are visually very close to the professional ones regarding the language, visual literacy and creativity. The shortcoming of the students’ works is when reality crashes in, as students still have not had contact with clients and users. For example, on a poster that is excellently designed the key information is too small to be read, and there are similar oversights. It is difficult to compare the faculties as I do not have a comprehensive insight into their work, but judging from the works submitted to the panel I can say that most of works regarding speculative design originating from workshops come from Split, while the works from Koprivnica and Zagreb are closer to everyday designing tasks, as they have originated from mentored courses.

Does it seem to you that when it comes to designers new times bring new requirements and challenges? In your opinion to what extent are things different today compared to 15 or 20 years ago? Is it harder or easier today, and why?

It is difficult to determine is it harder or easier because there are arguments for both options. Technology is more accessible and more reliable, clients are more literate, information is more available, and the possibility of working is not limited just to Croatian clients.

However, at the same time designers are expected to have more skills, like working with the web, social networks, digital animation, the competition is fiercer, while it seems that the labour costs are lower.

Have you noticed, after selecting the works for the exhibition, some characteristic trends in the visual communication design that could be singled out as interesting? Moreover, do

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Izgledi Arkzina ∕ The Looks of Arkzin plakat izložbe ∕ exhibition poster, 2013

you think that there are some areas that have not been covered by this exhibition, and they should be?

I have not noticed some special trends, everything what has been happening in the last ten or so years can be seen now at the exhibition. Maybe, regarding product design it can be observed that apart from wine and oil packaging design, beer and gin packaging design has appeared as well as interior design of catering facilities. I believe that all relevant areas are represented at the exhibition, but it would be interesting to see more works by young designers who went to work abroad or they work for clients outside Croatia.

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fotografija ∕ photo Boris Cvjetanović

Boris Greiner rođen je 1959. godine u Zagrebu.

Autorsko djelovanje započinje 1983. Zajedno sa Stanislavom Habjanom ostvaruje niz projekata u raznim medijima (grafički materijali, proza, performansi, izložbe, akcije i eksperimentalni filmovi) u okviru dvadesetogodišnjeg konceptualnog projekta Greiner & Kropilak Mailart Office. Od 1992. sa S. Habjanom i Danijelom Žeželjem djeluje u okviru umjetničke grupe Slipa Konfidenca. Godine 2001. sa S. Habjanom, D. Žeželjem i Borisom Cvjetanovićem osniva umjetničku radionicu Petikat. Godine 2003. završava dvadesetogodišnji autorski projekt Greiner & Kropilak Mailart Office i otada uglavnom djeluje samostalno. Dosad je objavio više knjiga prozne literature i eseja, ostvario dvadesetak samostalnih izložbi i performansa te snimio deset filmova. Profesionalno se bavi grafičkim dizajnom.”

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Boris Greiner was born in 1959 in Zagreb. He began working as a designer and artist in 1983.

He collaborated with Stanislav Habjan on a series of projects in various media (graphic materials, prose, performance art, exhibitions, actions and experimental films) as part of the twenty-year conceptual project Greiner&Kropilak Mailart Office. From 1992 he was part of the art group Slipa Konfidenca together with S. Habjan and Danijel Žeželj. In 2001, he and S. Habjan, D. Žeželj and Boris Cvjetanović established the art workshop Petikat. In 2003 he concluded the twenty-year project Greiner&Kropilak Mailart Office and since then he has mostly worked independently. He has published several books of prose and essays, had about twenty independent exhibitions and performances and shot ten films. He is a graphic designer by profession.

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Boris Greiner — Počinjemo odavde! ∕ We Start Here! razgovarao ∕ interview by Bojan Krištofić

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Igrom slučaja, dizajn i “umjetnički predmeti” Greinera & Kropilaka, odnosno Slipe Konfidence i Petikata, vaših kasnijih umjetničkih organizacija sa starim i novim suradnicima, snažno su me privukli još kao srednjoškolca — polaznika Lutkarskog studija Učilišta ZKM-a (dizajn monografije povodom 50. obljetnice osnutka Zagrebačkog kazališta mladih i sitotiskani plakat za predstavu Osmijeh Majakovskog (2001.)). Gledajući unazad, ono što i dan-danas nalazim najprivlačnijim u tim

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Greiner & Kropilak: Greiner i Kropilak Interkonfidental naslovnica knjige ∕ book cover, dizajn ∕ design Greiner & Kropilak, crtež∕ drawing Danijel Žeželj, 1999

Greiner & Kropilak: Heroj epohalnog leta ∕ Hero of Epochal Flight Studentski list, 1987

Cijeli profesionalni život bavite se grafičkim oblikovanjem iliti dizajnom vizualnih komunikacija — kao vaša prva realizirana narudžba u popularno-povijesnim pregledima tog doba obično se uzima dizajn omota Azrine ploče Krivo srastanje iz 1984. (zajedno sa Stanislavom Habjanom u sklopu dvadesetogodišnjeg umjetničkog projekta Greiner & Kropilak Mailart Office). Međutim, ta se početna točka u vašem slučaju razgranala u zaista mnogo pravaca: performans, eksperimentalni film i video, književnost... Ipak, usprkos raznovrsnosti opusa, rekao bih da ga na okupu drži ne toliko univerzalna koncepcija, koliko dosljedno nekonvencionalan svjetonazor. Na tom tragu, kako vam je točno dizajn poslužio kao ishodište za sve druge aktivnosti koje su slijedile i zašto im je baš dizajn bio prikladan kohezivni sloj?

Mala ispravka što se tiče prvog navoda: prije Krivog srastanja (na kojem se moja fotografija pojavljuje kao amblem, a dizajn je napravio Stanislav) bila je i grafička oprema Rdeče turneje slovenske grupe Pankrti. A što se tiče odgovora na pitanje, rekao bih — potpuno! Naime, ukoliko krenemo od postavke G & K Mailart Officea, da u poštanskoj pošliljci jednako aktivnu ulogu imaju i naslovna strana i poleđina, odnosno i vizual i tekst, te da oni u suradnji proizvode poruku, kao što su i u tadašnjim svjetonazorskim LP udžbenicima jednaku ulogu igrali i muzika i tekst, dizajn se pojavio u smislu aranžmana, načela koje će sliku i tekst podvesti u jedno. Drugim riječima, princip montaže bio mi je i ostao najdraži alat.

You have been working as a graphic designer your entire professional life, that is as a designer of visual communications— popular historical overviews of the time period take your design for the cover art of Azra’s record Krivo srastanje from 1984 as your very first commission (which you did together with Stanislav Habjan as part of the twenty-year art project Greiner&Kropilak Mailart Office).

However, in your case this starting point branched out into numerous different directions: performance art, experimental film and video, literature... Still, despite the diversity of your opus, I would say it is still held together, not so much by a universal idea, but rather by a consistently unconventional worldview. In this sense, how exactly did design serve you as a jumping-off point for all of your other activities that followed, and what is it about design that made it such a suitable cohesive layer?

First, a tiny correction: before Krivo srastanje (showing my photography as an emblem, designed by Stanislav) I did the graphic design for Rdeča turneja of the Slovenian punk band Pankrti. As far as your question is concerned, I would say — completely! Namely, if we take the postulate of the G&K Mailart Office that with a postal item both the front and the back side, i.e. both the text and the visuals play an equally active role, and that they generate a message together, just as in the ideological LP textbooks of the time the music and the text had an equal role, design emerged as an arrangement, a principle that subsumes the image and the text into one. In other words, the principle of editing has remained my favorite tool.

As it happens, as a high school student I attended the Puppetry Studio of the ZKM theatre and was strongly attracted to the design and “artworks” of Greiner&Kropilak, as well as of Slipa Konfidenca and Petikat, your later artistic organizations with old and new associates (the design for the book published on the occasion of the 50th anniversary of the ZKM theatre and the silkscreen printed poster for the play Majakovski’s Smile (2001)).

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artefaktima je njihov nepoderivi karakter zanatskih proizvoda, iako su (čini mi se) bili digitalno dizajnirani te producirani i distribuirani u velikom broju primjeraka. Jednostavno, vaš pristup dizajnu dao im je posve intiman, neposredan dojam stvari koja se obraća baš onome tko ju drži u rukama i nikom drugom.

Kako biste to komentirali?

Navedeni primjeri zapravo su i bili provedeni kroz računalo, kao i cjelokupni proces proizvodnje. Čini mi se da je posljednja ručno napravljena priprema bila za izložbu u Staroj tiskari. Mislim da tehnologija proizvodnje ne igra bitnu ulogu. Ukoliko, dakako, zanemarimo činjenicu koju je nemoguće zanemariti, a to je da je način razmišljanja oblikovan u analognom sustavu, u kojem su ispisi na pausu igrali ulogu layera. I dalje mislim da su, bez obzira na sve, neprestano u pitanju layeri! A što se tiče ‘nepoderiva karaktera zanatskih proizvoda’, to bih svakako upisao kako kompliment. U tom smislu bih i intiman dojam proglasio rezultatom osobnog pristupa, svojevrsnog bratimljenja s određenim materijalom. Moraš se u njega zaljubiti da bi ga svim srcem mogao i preporučiti.

Imate li danas potrebu razdvajati dizajn koji radite prema narudžbama od autorskih radova ili je sve to i dalje dio cjelovite priče kao u vrijeme Greinera & Kropilaka? Bi li vam danas bilo teže baviti se većinom samoiniciranim projektima nego u doba prije skoro potpune digitalizacije alata za oblikovanje, ili je pak obrnuto? Vašu dugogodišnju dizajnerskoumjetničku praksu takve promjene kao da nisu presudno odredile — njezin se jezik razvija malim pomacima namijenjenima naoko uskom, tj. odabranom krugu ljudi?

U pristupu individualnim slučajevima ne razdvajam narudžbe od autorskih projekata, ali to odavno više nije dio cjelovite priče, niti je usporedivo s periodom Mailart Officea, budući da je sve što je izašlo iz te radionice nosilo nedvojbeno prepoznatljivi pečat. Inače bih rekao da je obrnuto. Danas je realizirati samoinicirane projekte svakako lakše. Za početak, svi alati su puno dostupniji. No, je li pogrešno ustvrditi

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Looking back, what I find most attractive in these artifacts is their sturdy character of artisanal products, although they were (as far as I could tell) designed digitally, produced and distributed in large numbers. Simply, your approach to design gave them a completely intimate and immediate impression of artifacts directly addressing the person holding them, and no one else. How do you see this?

In the examples you mention, computers were used in the entire process of their production. I think the last manually prepared design was done for the exhibition in the Old printing office. I don’t feel that the technology of production plays a significant role. That is, of course, if we ignore the fact that is impossible to ignore – that the way of thinking was created in an analogue system, in which the prints on tracing paper played the role of layers. I still feel that, regardless of everything, we always deal with layers! As far as the ‘sturdy character of artisanal products’ is concerned, I will take that as a compliment. In this sense, I feel the intimate impression is a result of a personal approach, a sort of fraternization with a particular material.

You have to fall in love with a material to be able to recommend it wholeheartedly.

Do you feel the need to distinguish between the design work you do for commissions and the work you do for art projects or do you see them as parts of an integrated project, as in the period of Greiner&Kropilak? Would it be more difficult for you to do the self-initiated projects you did before the complete digitalization of design tools today or is it vice versa?

It seems your practice as a designer and artist through the years has not been determined decisively by such changes — its language has developed in small steps intended for a seemingly narrow select circle?

When approaching individual projects I do not distinguish between commissions and art projects, but they have not been part of an integrated whole for a very long time, nor can they be compared to the period of the Mailart Office since everything that came out of this

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Ako bismo svemu što radite, od dizajna i pisanja, preko režiranja filmova, pa do izvedbi, pokušali odrediti zajednički nazivnik, rekao bih da se radi o naglašeno pripovjednoj prirodi većine vaših radova, ali ostvarenoj, naravno, u drugačijim medijima i različitim tehnikama. Ipak, zajedničko im je i to što vi pripovijedanje shvaćate prilično konceptualno — naime, vaše priče najčešće imaju određeni meta-moment?

Iskoristio bih priliku i u svoju obranu na ovome mjestu uvrstio priču iz nedavno objavljene knjige Prijatelj fotograf: “Zamislio redatelj da se u jednom trenutku u film uvede i direktor fotografije. On sjedi za stolom zajedno s likovima koje igraju Krešo Mikić i Pjer Meničanin. U jednom trenutku njihova dijaloga, koji oni zapravo čitaju, zato što je redatelj zamislio film kao čitalačku probu, kad Pjer pročita: ‘počinjemo odavde’, to će biti šlagvort, direktor fotografije na to će ustati i zauzeti svoje mjesto iza kamere na stativu, koja je dotad također vidljiva u kadru. Radnja se kontinuirano nastavlja, nakon što Pjer izgovori ‘počinjemo odavde’, slika će preuzeti perspektivu kamere koju upravo preuzima direktor fotografije. Time se dovodi u vezu plan radnje, dakle ono što je napisano, s planom snimanja, odnosno etapom u produkciji. I događa se metafilm.

Akcija!

Nakon izgovorena šlagvorta, međutim, ne događa se ništa, direktor fotografije sjedi i ne miče se. Kadar se ne mijenja, radnja se nastavlja, glumci čitaju svoje sve dok ne dođu do kraja sekvence, onda se Krešo okrene prema kameri i upitno raširi ruke... Na to se prolomi smijeh svih članova ekipe. Jedino je direktor fotografije ozbiljan, ne razumije čemu se smiju...

— Čekamo da ustaneš...

— Pa što je već rekao ‘napisano’?...

— Ne, nego ‘počinjemo odavde’.”

Većinu svojih knjiga (romana te zbirki priča i eseja), s izuzetkom debitantske — Interkonfidentala, u koautorstvu sa Stanislavom

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Razlikovanja ∕ Discenrments plakat za predstavu ∕ theater poster, 2017

kako se problem krije baš u toj dostupnosti?

Ukoliko usporedimo fotokopirku s Photoshopom, kopirka je u prednosti jedino što se tiče nekakve organske grafičnosti, s obzirom da kod nje ne postoji pixel; no s druge strane, svaki će Photoshop bez problema proizvesti otisak identičan nekadašnjem geštetneru. Točno je da nema hoda bez zapreka, kako kaže Valéry, zato oblik i jest tako važan: oblik mora uzeti od zapreke koliko mu treba da se miče, ali tako da uzme samo ono što mu najmanje sprečava pomicanje. Stoga se jezik možda razvija u malim pomacima, ali digitalizacija je nahrupila odjednom, pa te dvije stvari ne bih dovodio u vezu — svejedno je izrezujem li slova škarama ili mišem. Što se tiče uskog kruga ljudi, možda bi moglo biti drugačije, ali to ne mogu znati jer nisam nikad dobio “nemoralnu ponudu”, odnosno nisam nikad bio u situaciji realnog izbora između novca i uvjerenja.

workshop had a very distinct trademark. Other than that, I would say it is vice versa. It is definitely easier to do self-initiated projects today.

For one thing, all tools are much more accessible. However, could it be that it is precisely this accessibility that is the problem? If we compare a photocopier with Photoshop, the only advantage of the photocopier is its organic graphic quality, considering it does not include pixels; on the other hand, Photoshop will effortlessly produce a print identical to the ones that used to be produced by the gestetner machine.

As Valéry said, steps cannot be taken without obstacles, which is why form is so important: the form must take from the obstacle as much as it needs to keep on moving, but no more than what it needs to keep on moving. This is, perhaps, why the language has developed in small steps, but digitalization emerged all at once, which is why I do not necessarily see a connection between the two — it does not matter whether I cut out letters with scissors or a computer mouse. With regard to the narrow select circle, things could perhaps be different, but I wouldn’t really know since I never received an “indecent proposal”, meaning I was never in the position to really have to choose between money and my convictions.

If we had to find a common denominator for everything you do, from design and writing, to directing films and doing performance art, I feel it would be the emphasized narrative nature of most of your works, although it is, naturally, always achieved differently in different media and techniques. Still, what they have in common is your conceptual understanding of narration — your stories very often have a certain meta-moment?

I would like to use this opportunity to include here, in my defense, a story from the recently published book Friend Photographer: “The director decided that at a certain point in the film a director of photography should be introduced. He sits at the table together with the characters portrayed by Krešo Mikić and Pjer Meničanin. At a certain moment during their

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Život na tavanu ∕ Life in the Attic naslovnica knjige ∕ book cover, 2006

Habjanom (1999.) — objavili ste samostalno, reklo bi se DIY, tj. u sklopu vlastite umjetničke radionice Petikat ili u koprodukciji s drugom izdavačkom kućom, npr. s OceanMore za roman Ona i on (2013.). Zašto? Mislite li da “solo”, DIY izdavaštvo zapravo knjigama i tekstovima olakšava put do mogućih čitatelja/ ica, zaobilazeći cijelu standardnu knjižarsku mrežu, zadnjih godina ionako prilično nagrizlu? Ili je to naprosto vaš intimni izbor, a ne bilo kakav socijalni statement?

Rekao bih da posrijedi nije niti socijalni, ni intimni, nego umjetnički statement. Petikat je osnovan kao rezultat želje grupe autora za zadržavanjem pune kontrole nad svim etapama njihovih projekata, što je bilo moguće ostvariti samo ako su oni ujedno i izdavači. No, omogućujući s jedne strane veću slobodu, s druge autorsko-izdavačka simbioza logično dovodi do skretanja od uobičajenih izdavačkih putanja. Stavljanje težišta na autorsku zaokruženost proizvoda, čija je svaka dimenzija konceptualno aktivna, odvlači u drugačijem smjeru, reklo bi se izdavačkom šumom, a ne drumom. Probijanje kroz čestar predvode sadržaji pojedinih projekata, bez obzira na različiti medijski izraz, ponašajući se poput ekipe koja, slikovito rečeno, na iskrčenom proplanku postavlja svjetonazorsku signalizaciju. Ulogu Petikata moguće je plastično prispodobiti i temeljem spomenuta primjera Interkonfidentala, koji se zapravo ne zove tako, nego Greiner & Kropilak Interkonfidental. U opširnijem prilogu u Transferu, povodom izdanja knjige, G & K ovako objašnjavaju svoju platformu: “Greiner i Kropilak nisu naša autobiografija, premda oni također žive u Zagrebu, bave se istim poslom, također imaju Golfa i Škodu. Situacija u kojoj dva autora predstavljaju dva lika i nije toliko neobična, Oesterheld i Breccia imaju Ezru i Morta, Fuis i Maurović Starog Mačka i Polaganu Smrt. Naš je slučaj utoliko kompliciraniji što se mi zovemo jednako kao i naši likovi.” Promatrajući u tom smislu naziv knjige, budući da su u taj naziv uključena imena, proizlazi da se radi o likovima, da su oni autori. Međutim, ti su likovi u međuvremenu, manifestnom odlukom njiho-

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dialogue, which they are reading because the director imagined the film as a read-through, when Pjer reads: ‘we start here’, that’s the cue, the director of photography will stand up and take his place behind the camera on the tripod, which was also part of the shot. The action continues seamlessly, and after Pjer says ‘we start here’, the perspective shifts to that of the camera taken over by the director of photography. This way, the plan for the action of the film, i.e. what is written, is connected to the film recording plan, a step in its production. What you get is a meta-film.

Action!

After the cue is said, however, nothing happens, the director of photography sits there and doesn’t move. The shot does not change, the action continues, the actors keep reading their lines until the end of the sequence, which is when Krešo turns to the camera, raising his arms in confusion... Then, all crew members start laughing. The director of photography is the only one to remain serious, and doesn’t understand what everyone is laughing about...

— We are waiting for you to stand up...

— Did he already say ‘written’?...

— No, he said ‘we start here’.”

You published most of your books (novels, collections of stories and essays) independently, with the exception of your debut book — Interkonfidental, co-written with Stanislav Habjan (1999), one could say you published them in a DIY mode, as part of your own artistic workshop Petikat or in co-production with a publisher, such as Ocean More for the novel Her and Him (2013). Why? Do you feel that going “solo” and DIY publishing facilitate the journey of books and texts to potential readers, circumventing the entire standard network of book publishing, which has in recent years suffered a downward trend? Or is it simply an intimate choice on your part, rather than a social statement?

Rather than being a social or personal statement, it is an artistic statement. Petikat was established as the result of the desire of a group of artists to retain full control of all stages of their projects, which was possible only if the artists themselves were also the publishers.

On the one hand, this symbiosis allowed for greater freedom, while on the other it logically led to unconventional publishing practices.

Emphasizing the artistic integrity of a product, every dimension of which is conceptually active, steers publishing into a different direction, through the forest rather than by the road.

We force our way through the forest with the content of individual projects, regardless of the particular medium selected, acting like a crew setting up ideological signalization equipment on a piece of cleared land. The role of Petikat can be imagined plastically through the example of Interkonfidental you mentioned, whose real title is actually Greiner&Kropilak Interkonfidental. In an extensive report of the TV

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vih autora, povučeni sa scene, drugim riječima više ne postoje. Pa, kako autori smatraju da ne bi bilo fer preuzeti zasluge za knjigu koju su napisali likovi, a likovi više ne postoje, odgovornost za njenu sudbinu preuzima Petikat, umjetničko poduzeće u čije je temelje i ugrađen svjetonazorski model kojeg predlaže knjiga.

Kao član selekcijske komisije za odabir radova uvrštenih na bijenalnu Izložbu hrvatskog dizajna 1718, jeste li unatrag dvije godine primijetili određene tendencije koje ranije nisu bile prisutne? Ako da, kako biste ih objasnili?

Je li bijenalna izložba napokon prevladala period “zasićenja” dizajnom vizualnih komunikacija? Kako ste rasporedili izbor među različitim rodovima dizajna?

Kad se nađete ispred četristotinjak radova u dvadesetak kategorija koje pokrivaju cjelokupan prostor dizajna, teško je u njima prepoznati tendenciju koja bi, kao rezultat suvremenih okolnosti, mogla označiti neku specifičnu dimenziju u razvoju cjeline ili pak pojedinih kategorija, pa kao takva biti uspoređena s onom od prije dvije godine, u kojoj je, uostalom, također teško bilo nazrijeti konkretnu tendenciju. Period zasićenja prostora dizajna kategorijom vizualnih komunikacija, ukoliko sam dobro shvatio, nije, a teško da i može jenjati, budući da je ona i dalje u društvu, životu, realnosti najzastupljenija. Što se tiče raznih rodova dizajna i žiri je bio sastavljen od predstavnika raznih rodova, no ta je heterogena skupina ipak djelovala posve unisono.

Grana dizajna u kojoj ste se kao profesionalac ponajviše istaknuli je tzv. editorial design, odnosno oblikovanje knjiga i časopisa.

Tiskani magazini u Hrvatskoj su više-manje mrtvi u obliku u kakvom su nekoć postojali, dok su knjige (p)ostale istinsko “bojno polje” dizajnera/ica svih generacija te izvanrednih rješenja, usprkos svemu, ne manjka. Kad je riječ o “generacijama”, mislite li da postoje temeljne razlike u shvaćanju oblikovanja knjige između iskusnih imena, nadolazećih nada i svih između? Zašto? Ako ne, također zašto?

Kad uzmem u ruke neku knjigu, osim u vrlo rijetkim situacijama ili ako mi je rukopis otprije poznat, nisam u stanju procijeniti dob njena oblikovatelja. Možda je točno da su “mlade snage” u jednom trenutku prve primijenile takozvani “ovitak bez hrpta”, a možda i nije.

Ukoliko kažemo da se u oblikovanju knjiga, kao i u svemu ostalom, stvari neprestano pomiču, rekao bih da se većina onih koji su aktivno uključeni u proizvodnju pomiče u skladu s tim tendencijama, bez obzira na dob. Zato što se s jedne strane radi o relativno čvrsto postavljenim okvirima, a ukoliko ih nema, onda se radi o pojedinačnim autorskim rješenjima. Stoga raspoznatljivu razdjelnicu u shvaćanju oblikovanja knjiga ne bih tražio u dobnoj kategoriji, nego bih s jedne strane stavio one gdje je dizajn u službi sadržaja, a s druge one kojima je sadržaj u službi dizajna.

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program Transfer, done on the occasion of the book’s publishing, G & K explained the platform in the following way: “Greiner and Kropilak is not our autobiography, although they also live in Zagreb, have the same professions, and drive the same cars as us. The situation in which two authors represent two characters is not that unusual, Oesterheld and Breccia have Ezra and Mort, Fuis and Maurović have the Old Cat and the Slow Seath. Our case is more complex in the sense that we share the same names with our characters.” Viewing the book title in this sense, since it includes the names, one can conclude that the characters are the authors.

However, with a manifesto of the authors, the characters have been removed from the stage, in other words they no longer exist. Seeing as the authors feel that it would not be fair to take the credit for the book written by the characters, and the characters no longer exist, the responsibility for its fate has been taken over

by Petikat, an artistic enterprise based on the ideological model proposed by the book.

As a member of the selection committee for the 1718 Biennial Exhibition of Croatian Design, have you noticed any new tendencies within the last two years? If yes, how would you explain them? Has the exhibition finally overcome its period of “saturation” with visual communications design? How did you distribute the selection between different genres of design?

When you find yourself before about 400 works in about 20 categories covering the entire field of design, it is difficult to find a tendency in them that could, as a result of contemporary circumstances, mark a specific dimension in the development of the entire field or of certain categories, and even more difficult to compare them to the state of the field two years ago, in which it was also impossible to discern a concrete tendency. The period of saturation with visual communications design, as far as I can tell, is not waning, which is to be expected considering it is still most represented in society, life, and reality. As far as different genres of design are concerned, the selection committee was comprised of representatives from various fields, but this heterogeneous group nevertheless worked in complete unison.

The field of design in which you have been most successful professionally is the so-called editorial design, the design of books and magazines. Printed magazines in Croatia are more or less dead, whereas book design has become and/or remains a true “battle field” of designers of all generations, and there doesn’t seem to be a lack of excellent solutions despite everything. When discussing the different generations of designers, do you feel there are basic differences in the understanding of book design between household names, emerging designers and among these groups, and why? If not, also why?

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U hodu ∕ En Route plakat za predstavu ∕ theater poster, 2015

Budući da se već niz godina bavite i likovnom kritikom, premda svoje eseje u području likovnosti ne nazivate nužno kritikama, jeste li bili u mogućnosti upotrijebiti specifičnosti svog pristupa u tom polju i na “vrednovanje” proizvoda dizajnera? Je li tako nešto uopće ostvarivo, odnosno na koje načine i u kolikoj mjeri se, prema vama, razlikuju kriteriji u evaluaciji ta dva bliska, no ipak različita područja vizualne kulture — umjetnosti i dizajna?

Kritika mora ostati svjesna činjenice kako objektivnost kao takva zapravo ne postoji, nego je ona ideal kojem se teži i kojem se približava svodeći subjektivnost na manju mjeru.

Ta mjera često proizlazi iz nagodbi sa subjektivnošću drugih, budući da predmet istrage i nije mjerljiv konkretnim veličinama nego relacijskim kategorijama, pa se upravo neprestanim sučeljavanjem vlastite subjektivnosti tuđoj malo pomalo izgrađuje aparat. Taj bi se aparat trebao služiti principom u kojeg je ucijepljeno i neprestano izgrađivanje samog tog principa.

Jedino je mehanizam što se neprestano preslaguje pogodan za primjenu na nestandardne formate koji zapravo i čine većinu suvremene likovne umjetnosti. Budući da od samog početka sjedim na dvije stolice, jedem iz dva tanjura i pijem iz dvije čaše, odnosno paralelno egzistiram i u mediju koji bi po defaultu trebao biti namjenski i u onome koji to, također po defaultu, ne bi trebao biti, jednakim se kriterijima vodim i u njihovoj evaluaciji. No, slijedom principa neprestane izgradnje, u mehanizam procjene dizajna nužno je bilo uključiti i ključnu razliku s obzirom na umjetnost, a to je postojanje “naručitelja”.

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When I pick up a book, except in very rare situations or if I am already familiar with it, I cannot really assess the age of its designer. Perhaps it’s true that it is the emerging designers who were the first ones to apply the so-called “cover without a spine”, and perhaps it’s not. If in book design, as in anything else, things are constantly moving forward, I would say that most of us actively involved in the production are moving in accordance with these tendencies, regardless of age. On the one hand, this is due to a relatively fixed framework, and if there is no framework this is the result of individual design solutions. It is, therefore, not age that creates a recognizable dividing line in the understanding of book design, but rather the approach to design as ancillary to content or to content as ancillary to design.

Since you have been working as an art critic for a number of years now, although you wouldn’t necessarily call your essays in the field of visual arts critiques, have you had the opportunity to use the specificity of your approach in this field to “evaluate” design works? Is this feasible? In what ways and to what extent are the evaluation criteria of these two close, but still different fields of visual culture — art and design – different?

Criticism must remain aware of the fact that objectivity as such does not exist, and that it is an ideal to which we aspire by reducing our subjectivity to a minimum. This measure is often the result of negotiating with the subjectivity of others, since the subject of our investigation cannot be measured by concrete values, but by relational categories. This is why it is precisely by continually confronting our own subjectivity with that of others that we can gradually create an apparatus. This apparatus should always take into account that the principle on which it is based is constantly constructed and reconstructed. Only a constantly shifting mechanism is suitable for non-standard formats, which make up the majority of contemporary visual arts. Seeing as I have been sitting on two stools, eating from two plates and drinking from two glasses from the very beginning, existing simultaneously in one medium that is applied by default and another that is not applied by default, I use the same criteria in their evaluation. However, in accordance with the principle of constant construction and reconstruction, I had to include in my mechanism of evaluating design the key difference compared to art, which is the existence of clients commissioning the work.

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Vedran Kasap rođen je 1977. godine uz Zagrebu.

Završio je Školu za primijenjenu umjetnost i dizajn i Studij dizajna pri Arhitektonskom fakultetu u Zagrebu. Nakon završetka studija 2003. godine radio je kao stručni suradnik na Tehničkom veleučilištu u Zagrebu, od 2005. asistent je na kolegijima Projektiranje na Studiju dizajna pri Arhitektonskom fakultetu, gdje od 2008. godine radi kao viši predavač na predmetu Tehnike prezentiranja pomoću računala a od 2013. godine nositelj je predmeta Dizajn interakcija. Tijekom rada na fakultetu organizirao je niz radionica koje su se bavile kolaboracijom i integracijom različitih područja dizajna u kreiranju i realizaciji proizvoda koji će naći primjenu u realnom okruženju. Neke od spomenutih radionica su: Studij dizajna na Špancirfestu na kojima se istraživao problem privremene urbane opreme i signalizacije u kontekstu gradskog festivala, zatim Proljetni kamp Varaždin u sklopu kojeg su studenti Studija dizajna i Arhitektonskog fakulteta postavljali koncept i definirali smjernice za uključivanje kreativne industrije u revitalizaciju povijesne gradske jezgre, te radionica pokretne grafike i vizualnih komunikacija u suradnji s Akademijom dramskih umjetnosti i Fakultetom političkih znanosti i novinarstva u svrhu kreiranja identiteta i vizualne opreme studentske televizije TV student. Trenutno radi na projektu Svjetske banke koji se bavi podizanjem kvalitete interpretacije i komunikacije prirode u sklopu integracije mreže Natura 2000 u sve nacionalne parkove i parkove prirode. Kao član konzorcija sudjeluje u dizajnu sustava signalizacije, interpretacije i brendiranja parkova te različitih prezentacijskih i edukativnih prostora unutar parkova poput posjetiteljskih, edukacijskih i informacijskih centara.

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Vedran Kasap was born in 1977 in Zagreb. He graduated from the Applied Arts High School and School of Design at the Zagreb Faculty of Architecture. After finishing his studies in 2003, he worked as an Associate Lecturer at the Zagreb Polytechnic. In 2005, he started working at the Faculty of Architecture, first as an Assistant Professor on the Design course, then from 2008 as a Senior Lecturer on the Computer Presentation Techniques Course, and then from 2013 as a Professor of the Interaction Design course. Since working at the Faculty, he has organized a series of workshops dealing with the collaboration with and integration of various field of design in the creation and production of products applied in real environments. Some of these have been the following: School of Design at the Špancirfest, which explored issues of temporary urban equipment and signage within the context of the Špancirfest festival, the Varaždin Summer Camp, which had Design and Architecture students conceive concepts and define guidelines for including the creative industries in the revitalization of the historic city center, and the Animated Graphics and Visual Communications workshop, done in collaboration with the Academy of Dramatic Arts and the Faculty of Political Sciences and Journalism, aimed at creating the visual identity of the Student Television. He is currently working on a World Bank project dealing with raising the quality of the interpretation and communication of nature as part of integrating the Natura 2000 network into all national parks and nature parks.

As a member of the consortium, he participates in designing the signage system, the interpretation and branding of the parks and various presentation and educational spaces within the parks, such as the visitors center and the educational and information centers.

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Vedran Kasap — Dizajn je postao dostupniji, sveprisutniji, ali i potrošniji ∕ Design is becoming increasingly accessible and prevalent, but also more expendable razgovarala ∕ interview by Monika Džakić

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Stalni postav etnografskog muzeja Istre u Pazinu ∕ Permanent exhibition of the Ethnographic Museum of Istria in Pazin

Od 2006. godine vodiš Studio Clinica a osim toga baviš se i predavačkim radom. Koliko se te dvije vrste angažmana isprepliću i utječu jedan na drugi?

Po završetku studija postao sam asistent na Tehničkom veleučilištu u području informatičkog dizajna. Vrlo brzo sam shvatio da bez praktičnog iskustva u struci nemam legitimitet formirati buduće naraštaje dizajnera. Činilo mi se neodgovornim usmjeravati nekoga na temelju vlastitog tumačenja stručne literature, bez da sam principe i metodologije isprobao u stvarnom okruženju. Odlučio sam provjeriti svoja razmišljanja i stavove u praksi i prema stečenim iskustvima prilagođavati sadržaje kolegija.

Svjedoci smo čestih kritika kako naši studijski programi ne prate globalne tendencije razvoja i kaskaju za vodećim obrazovnim ustanovama. Za Studij dizajna pri Arhitektonskom fakultetu pisao si 2007. godine program za izvedbu predmeta Tehnike prezentiranja I i II, te 2013. program za izvedbu predmeta Dizajn interakcija I i II. Koliko osobno ulažeš u osuvremenjivanje programa svojih kolegija i koliki je segment područja dizajna koja predaješ uopće podložan promjenama?

Kritike su dijelom opravdane. Moje kolege i ja smo itekako svjesni konstantnih potreba za unaprjeđenjem studijskih programa, bilo putem osuvremenjivanja postojećih kolegija ili uvođenjem novih. Nažalost dio smo jednog vrlo krutog i birokratiziranog sustava. Minimalne promjene zahtijevaju puno energije i vremena kako bi se napravile kakve takve korekcije. Ozbiljniji zahvati na programu su kompleksni i dugotrajni pa postoji velika šansa da je po završetku procedure dio sadržaja već zastario. Bez obzira na sve prepreke koristimo razne formalne i neformalne načine kako držati korak s vremenom i pružiti studentima aktualna znanja i vještine.

Interaktivnost kao karakteristika dizajna često se izjednačava s dizajnom interakcija kao područjem dizajna. Što je dizajn interakcija i u kojoj mjeri se domaći dizajneri bave dizajnom interakcija?

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Since 2006, you have been leading the Clinica Studio, but you also work as a lecturer at the University. How do these two jobs intertwine and to what extent do they influence each other?

After finishing my studies, I became an Associate Professor at the Zagreb Polytechnic in the field of IT design. I realized very quickly that without practical experience in the field I have no legitimacy to educate future generations of designers. It seemed irresponsible to guide someone based on my own interpretation of the literature from the field, without having tested the principles and methodology in a real environment myself. I decided to test my thinking and attitudes in practice and adjust the contents of the courses accordingly.

We are often witness to criticism that our study programs are not in line with global development tendencies and that they lag behind the world’s leading educational institutions. In 2007, you prepared the curriculum for the Presentation Techniques course for School of Design at the Faculty of Architecture, and in 2013 you did the same for the Interaction Design course. How much do you personally invest in modernizing the contents of the courses you teach and to what extent are the design segments you teach susceptible to change?

The criticism is partly justified. My colleagues and I are all too aware of the constant need for advancing the study program, either via modernizing the existing courses or by introducing new ones. We are, however, part of a very rigid and bureaucratized system. Even minimal changes and corrections require a lot of time and energy. More extensive interventions are complex and even more time-consuming, so there is a big chance that by the time the procedure is finished, the contents of the course will already have been outdated.

Irrespective of these obstacles, we use various formal and informal ways to keep up with the times and to offer the students current knowledge and skills.

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Vjenceslav Richter – Buntovnik s vizijom, postav izložbe, Muzej suvremene umjetnosti, Zagreb, 2017. ∕ Vjenceslav Richter – Rebel with a Cause, Museum of Contemporary Art, Zagreb, 2017

Dizajn interakcija se često definirao kao oblikovanje odnosa čovjeka i računala, tj. bilo kakvog objekta koji u sebi ima neku vrstu računala. S vremenom je pod taj naziv uplivao cijeli niz drugih aktivnosti, neka iz postojećih područja dizajna, a neka iz novonastalih ili već postojećih „nedizajnerskih“ disciplina. Ja sam skloniji otvorenijoj nomenklaturi jer su granice djelovanja u dizajnu i srodnim ili bliskim strukama postale fluidne, a možda čak i nepotrebne.

Siguran sam da postoji velik broj ljudi koji se bave dizajnom interakcija, ali to nazivaju drugačije. Imao sam prilike upoznati dosta ljudi koji se bave dizajnom, a da nisu svjesni da je to što rade zapravo dizajn.

Tvoj studio Clinica specijaliziran je za područje produkt dizajna s naglaskom na dizajn izložbenih prostora te video i tv produkciju.

Kod projekata takvog obujma uloga dizajnera - voditelja studija nerijetko se svede na organizaciju i koordinaciju suradnika. Koja je situacija u studiju Clinica?

Clinica studio je mala firma s ciljem da po broju zaposlenih takva i ostane. Kad radimo na kompleksnijim projektima, angažiramo vanjske suradnike, kolege dizajnere ili kolege iz srodnih struka. Tada se možda više bavim organizacijom i koordinacijom pa mi ostane manje vremena za dizajn. Ne opirem se previše tome jer surađujem s izvrsnim kreativcima koji mogu odraditi posao jednako dobro, ako ne i bolje nego ja.

Radio si na mnogo projekata za interpretacijske, edukacijske i posjetiteljske centre, poučne staze i prostorne instalacije nacionalnih parkova i parkova prirode. Rad na kojem od njih je bio najizazovniji i zašto?

Kroz ekološku mrežu Natura 2000 na projektu Podizanje kvalitete komunikacije i interpretacije prirode radio sam četiri godine s koautorskim timom (Dragana Lucija Ratković Aydemir, Marko Šesnić, Goran Turković, Vladimir Končar, Vanja Cuculić i Igor Pauška), uključujući i kompleksnu jednogodišnju proceduru međunarodnog natječaja Natura

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Interactivity as a design characteristic is often equated with interaction design as a design field. What is interaction design and how much do designers in Croatia engage with it?

Interaction design is often defined as designing the relations between humans and computers or any other object that has comprises a kind of computer. Over time, this term has begun to include an entire range of other activities, some from existing design fields and some from new ones or existing non-design fields. I am more prone to an open nomenclature because the boundaries between fields in design and other related fields have become more fluid, perhaps even unnecessary. I am certain that there is a great number of people dealing with interaction design who use a different term for it. I’ve had the opportunity to meet a lot of people who would never call themselves designers, but who are doing design.

Your Clinica Studio specializes in the field of product design, with an emphasis on the design of exhibition spaces, and TV and video production. With projects that cover such an extensive field, the role of the designer/ studio manager is often reduced to the organization and coordination of the employees/ associates. What is the current situation n the Clinica Studio?

The Clinica Studio is a small business with a few employees, and my intention is for it to stay that way. When we work on more complex projects, we do hire associates, colleagues from the field of design or other related fields.

This does mean that we end up doing more of the organization and coordination, which does not leave me a lot of time to do the design, but this doesn’t bother me too much since I have the opportunity to work with excellent designers, who can do the job as well as me, if not better.

You’ve worked on a lot of projects for interpretation, educational and visitors centers, educational paths and spatial installations for national parks and nature parks. Which one of these was the most challenging and why?

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Bachrach & Krištofić = Dizajn & fotografija, postav izložbe, Muzej za umjetnost i obrt, Zagreb ∕ Bachrach & Krištofić = exhibition design, Museum of Arts and Crafts, Zagreb, 2018

Integration Projecta i Svjetske banke. U tom sam periodu uz 40 stručnih suradnika i kolega dizajnera izradio idejnu i izvedbenu dokumentaciju za 18 poučnih staza, interpretacijskih, edukacijskih i info centara, sustav interpretacijskih i signalizacijskih ploča, web aplikaciju s automatiziranim oblikovanjem i pripremom grafičkog materijala za ploče te sustav vizualnog identiteta za parkove Hrvatske. Ne bih mogao izdvojiti neki pojedinačni projekt kao najveći izazov ali je tempo rada zbog kratkih rokova bio ekstreman.

S obzirom na tvoje iskustvo, koliko su se do danas u Hrvatskoj promijenile okolnosti bavljenja dizajnom u odnosu na vrijeme kada si završio studij?

Razlike postoje, naravno. Dizajn je postao dostupniji, sveprisutniji ali i potrošniji.

Ima to svojih prednosti i mana. Mislim da je dizajnerima uvijek bilo jednako dobro i jednako loše. Uvijek je postojalo nešto što ih je motiviralo i veselilo, kao i nešto što ih je smetalo i zabrinjavalo.

Rad produkt dizajnera vezan je za široko područje djelovanja, a nerijetko se od njega očekuje i izvršavanje zadataka koji mu nisu u primarnom opisu posla. Koliko je uopće moguće i potrebno specijalizirati se za određeno područje unutar tog već izdvojenog segmenta?

Mislim da specijalizacije u rijetkim slučajevima imaju smisla, ali sam skloniji nekoj otvorenijoj i fleksibilnijoj strukturi područja dizajna. Dobrog dizajnera čini način na koji odgovara na određeni zadatak i smisao koji daje rješenjima sagledavajući ih u najširem mogućem kontekstu. Vještine stvaraju specijalizaciju, a vještine se mogu istrenirati.

Ponekad iza jednake razine kvalitete rješenja nekog proizvoda stoje pojedinci ili timovi s različitom pozadinom djelovanja i pristupom radu. Treba li pri evaluaciji radova dati prednost konačnom proizvodu ili čitavom procesu nastanka?

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As part of the Natura 2000 Ecological Network, I worked on the project Raising the quality of the communication and interpretation of nature for four years, collaborating with fellow designers Dragana Lucija Ratković Aydemir, Marko Šesnić, Goran Turković, Vladimir Končar, Vanja Cuculić and Igor Pauška. This included a complex one-year procedure of the international tender of the Natura Integration Project and the World Bank. During this period, 40 other associates, designers and I prepared the preliminary and implementing documentation for 18 educational paths, interpretation, educational and info centers, interpretation and signage system boards, a web application with the automatic design and preparation of graphic materials for the boards, and a visual identity system for Croatian parks. I can’t point out an individual project as being the most challenging, but the pace of the work was extreme due to the short deadlines.

Considering your experience, how much have the circumstances of doing design in Croatia changed compared to when you graduated?

There certainly are differences. Design has become more accessible and more prevalent, but also more expendable. This has both its advantages and disadvantages. There have always been good and bad aspects to being a designer. There’s always been something to motivate, and something to concern us.

The work of a product designer is embroiled with a vast array of other fields, and product designers are often expected to do things that are not part of their primary job description. To what extent is it even possible to specialize in a specific field of this already highly specialized segment?

I feel specialization rarely makes sense, and am more prone to an open and flexible structure of the design field. What makes a designer good is the way he or she responds to a certain task and the way he or she gives meaning to the solutions, viewing them in the

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Iz perspektive korisnika bitan je konačan proizvod sa svim njegovim emotivnim, društvenim i funkcionalnim karakteristikama.

A iz perspektive struke bitan je proces, jer on postaje primjer koji ukazuje kako nešto raditi ili ne raditi.

Kategorija Izložbe hrvatskog dizajna 1718 Prostorne i grafičke intervencije i sistemi obuhvaća kompleksne radove koji se odnose na uređenje interijera, oblikovanje izložbenih prostora te sustave signalizacije. Koji je bio osnovni kriterij pri odabiru radova te kategorije?

Kriterij je vrlo jednostavan za opisati ali složen za valorizirati – smislenost rješenja u definiranom kontekstu.

Postoje li određene tendencije u području produkt dizajna koje bi izdvojio kao prepoznatljivo obilježje projekata nastalih u Hrvatskoj u posljednje dvije godine? Činjenica da se mali dio industrije namještaja u Hrvatskoj u okruženju prije nekoliko godina odlučio osloniti na dizajnere dovela je do toga da sada obje strane počinju ubirati plodove takvih suradnji, što je dobro jer će zasigurno potaknuti i ostatak industrije da krene tim putem. S druge strane, trend samoiniciranih projekata raste i kako se budu stvarali uvjeti da se autori manje bave preživljavanjem a više dizajnom, tako će rasti i njihova kvaliteta. Razvoj i dostupnost tehnologija već sad preusmjerava dio dizajnera prema interakcijama i intenzivnijoj interdisciplinarnoj suradnji s inženjerskim strukama poput mehatronike, strojarstva i računarstva, a s obzirom na trendove u svijetu potrebe za takvim timovima stručnjaka će samo rasti.

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widest possible context. It is the skills gained that create the specialization, and these can always be acquired through practice and training Sometimes either an individual or a team can come up with an equally good product design solution, though they may have different professional backgrounds and approaches.

Should preference be given to the end result or the entire creation process when evaluating the work?

From the consumer’s perspective, the end result is what is important with all of its emotional, social and functional characteristics, whereas from the standpoint of the profession, the process is significant since it demonstrates how to do something or how not to do something.

The exhibition’s Spatial and Graphic Interventions and Systems category comprises complex works from interior design, exhibition space design and signage systems. What was the basic criterion in the selection of the works for this category?

This criterion is very simple to describe, but difficult to evaluate – the extent to which the solution makes sense within a given context.

Are there any tendencies within the field of product design that you would point out as a recognizable characteristic of the projects done in Croatia in the last two years?

The fact that a couple of years ago a small segment of the furniture manufacturing industry in Croatia began to utilize the work of designers has led to both the industry and the designers reaping the benefits of this collaboration. This will certainly encourage other industry fields to follow suit. On the other hand, the trend of self-initiated projects is also on the rise.

The extent to which the circumstances allow designers to devote themselves to design, rather than figuring out how to make ends meet, will increase the quality of these projects. The development and accessibility of technology is already pushing some designers into interaction design and a more intense interdisciplinary collaboration with various engineering fields, such as mechatronics, mechanical engineering and computer engineering. Considering the current global tendencies, the need for such interdisciplinary teams will only grow.

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fotografija ∕ photograph Ana Buljan

Ana Labudović rođena je 1983. u Zagrebu.

Trenutno živi u Rijeci i radi online. Profesionalno je djelovanje započela 2002. godine u marketinškoj agenciji TFM, nastavila u web studiju Sheepoo Arts, pa se ipak vratila u školu.

Nakon završetka Hyper Island School of New Media (Švedska) odlazi na praksu u Vasava Artworks (Španjolska), poslije čega radi kao freelance dizajnerica i urednica za izdavačku kuću Maomao koja joj objavljuje dvije knjige o grafičkom dizajnu. Po povratku u Hrvatsku pokušava uskladiti samostalno djelovanje s art direkcijom u digitalnoj agenciji Inventa, no ipak se odlučuje posvetiti vlastitoj praksi. Djeluje u više disciplina s fokusom na produkciju za nezavisnu kulturu, civilno društvo i film. Od 2010. godine bavi se očuvanjem i promoviranjem naslijeđa kipara Branka Vlahovića. Fascinirana je odnosom prema tehnologiji te s mrežama, privatnošću, (pri)rodom i društvom, povremeno eksperimentira s dizajnom interakcija zajedno s drugim članovima Radiona hackLab makerSpacea.

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Ana Labudović was born in 1983 in Zagreb. She currently lives in Rijeka and works online. She began her professional career in 2002 in the marketing agency TFM, and after that worked in the web studio Sheepoo Arts, only to return to school. After graduating from the Hyper Island School of New Media (Sweden) she did an internship in Vasava Artworks (Spain), after which she has been working as a freelance designer and editor for the publishing house Maomao, which published two of her books on graphic design. After returning to Croatia, she attempted to juggle her freelance work with the position of art director in the digital agency Inventa, but ultimately chose to dedicate herself to her own independent work. She is active in several disciplines with a focus on production for independent culture, the civil society and film. Since 2010 she is dedicated to the preservation and promotion of the heritage of sculptor Branko Vlahović. She is fascinated by our relations to technology, networks, privacy, nature, gender and society, experimenting occasionally with interaction design in cooperation with other members of the Radiona hack Labmaker Space.

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Ana Labudović — Kritički i istraživački rad u dizajnu ne bi trebao biti luksuz ∕ Critical and research work in design should not be a luxury razgovarala ∕ interview by Monika Džakić

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SoundArt – BioArt plakat-letak ∕ poster-leaflet, 2014

Iako si primarno grafička dizajnerica, do sada si već stekla bogato iskustvo rada u različitim okolnostima. Studirala si u inozemstvu, radila si u studiju orijentiranom na web dizajn i digitalnoj agenciji, organizirala glazbene manifestacije, kurirala izložbe i pisala knjige.

Kako su te ta iskustva oblikovala i usmjerila na današnju poziciju slobodne dizajnerice? Široki interesi su me u startu vukli raznim iskustvima što iziskuje određenu fleksibilnost u prilagođavanju radnog procesa za svaku od tih prilika. Uloge u kojima sam se nalazila su se mijenjale i vremenom se kristaliziralo u čemu se bolje snalazim. To čak i nije povezano s konkretnim područjem djelovanja već s motiviranošću za određeni posao i time koliko bih sebe u njega željela investirati. Podjednako me mogu motivirati rad u sferi u kojoj sam iskusnija i upuštanje u nešto drugo prema čemu imam afinitet te smatram da ću iz toga naučiti nešto novo, ili biti okružena stimulativnom okolinom.

Današnja pozicija mi je bitna jer mi dinamika posla omogućuje skakanje između različitih disciplina i povremene bjegove od dizajna.

Ponekad zavidim onima koji su fokusirani na jedno polje te se u njemu uspijevaju konstantno razvijati i iznova graditi. No osobno mi je važno zadržati ovu slobodu jer teško mi je djelovati samo u jednom području, rutina mi nije prijatelj, a ima i važnijih stvari od dizajna, ako se takvo što uopće smije reći na ovakvom mjestu.

Kako je freelancerski rad prihvaćen u Hrvatskoj i što misliš da su ključne prednosti i mane takvog djelovanja u odnosu na stalno zaposlenje u nekoj agenciji ili studiju?

Premda sam sama odabrala tu vrstu djelovanja, dosta sam kritična prema realitetu samog formata. Najčešće se u tom kontekstu navodi odabir između dvije vrste kompromisa – stabilna primanja uz djelovanje u skladu s korporativnom kulturom nasuprot autonomije vlastitog izražaja i organizacije vremena. U današnje vrijeme (jednako novac) moramo biti svjesni toga da je ta priča mnogo kompleksnija.

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Although you are primarily a graphic designer, you have already gained a lot of work experience in various other fields. You have studied abroad, worked in a web design studio and a digital agency, organized music events, curated exhibitions and written books. How have these experiences shaped you and led to your current position as a freelance designer?

My various interests have attracted me to a wide array of experiences in the beginning, which requires certain flexibility when it comes to adapting to different types of work processes. The roles I found myself in changed, and over time it became clear what suits me best.

This isn’t necessarily connected to concrete fields of work, but rather with my motivation for a particular job and how much of myself I was willing to invest in it. I can be equally motivated to work in a field in which I have more experience or to work in another field I have an affinity for and that I feel can teach me something or ensure a stimulating environment.

Today’s position is important to me because the dynamics of work allows me to switch between various disciplines and to occasionally take a break from design. At times I envy those who are focused on only one field and manage to constantly develop themselves in it. But, it is important to me personally to be able to retain this freedom as I find it difficult to work in only one field; I’m not fond of routine, and there are more important things than design, if I can say something like this here.

How is freelance work accepted in Croatia and what do you think are its key advantages and disadvantages compared to being an inhouse designer in an agency or studio?

Although I have chosen to be a freelance designer myself, I am fairly critical when it comes to the reality of it. In this sense, what is most often discussed is the choice between two types of compromise – a stable income and the restraints of corporate culture on the one hand, and autonomy of one’s own expression and time organization on the other. Today, we have to be aware that the situation is much

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Ana Hušman – 6 sa 7 metara ∕ 6 by 7 meters grafički dizajn za filmski projekt ∕ graphic design for film project, 2017

kao budućnost rada, a kreativne industrije su sklone prezentirati ga mnogo glamuroznijim nego što jest. Često čujem ili čitam kako se ljudi opredjeljuju za freelancerstvo jer im je dosta rada od 9 do 17 sati, iako se nerijetko i u agencijama radi dulje. No većina freelancera koje znam ne gase kompjutere u 17 sati kako bi otišli imati život, već za njim provode i drugu i treću smjenu ne bi li amortizirali neki posao koji još nisu naplatili, ili dovršili do sutra projekt koji je trebao biti gotov jučer, a naručen je danas. Što se tiče samog okvira poslovanja, zadnjih se godina pojavilo više opcija; sve se više ljudi upušta u paušalne obrte, samostalne djelatnosti, neki čak preko weba otvaraju firme u Estoniji, no i dalje je njihova pozicija generalno nezaštićena ako gledamo na razne zamke, počevši od manjkavosti postojećih formata poslovanja pa sve do nestabilnog tržišta. Mislim da većina freelancera ima više zajedničkog s radnicima nego malim poduzetnicima s kojima ih se često uspoređuje i potiče da im budu sličniji. Dominantan diskurs je taj da poput poduzetnika moraju gristi jače, biti efikasniji, samoprezentirati se, networkati, razmišljati o rastu bilance i gdje će biti za 3 ili 5 godina.

U slučaju da ne „uspiju“, onda im se spočitava da vjerojatno nisu bili dovoljno marljivi.

Freelancerstvo je u eksponencijalnom porastu u mnogim strukama, a iza zavodljive ideje autonomije i fleksibilnosti stoji druga strana medalje. Postoji jasna računica – poslodavcima je isplativije angažirati nezavisne slobodnjake nego ih zaposliti i time im omogućiti stabilnost i sigurnost. Prije nego se budući freelancer poveseli radu u pidžami iz vlastitog doma može se zapitati o nekoj od sljedećih stvari: Mogu li si priuštiti bolovanje? Je li mi plaćen prekovremeni rad? Dobivam li otpremninu ako se nakon dugih godina suradnje ispostavi da više nema posla za mene? Koliko dugo, ako sam freelancerica, ostajem na porodiljnom? Mislim da su generalno ovo veći problemi od motivacije i samodiscipline, i da se treba ozbiljno zauzeti za sebe u svakom poslu, solidarizirati se s kolegama te aktivno zagovarati prava i vršiti pritisak na zakonodavstvo.

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more complex. In the last couple of years, freelance work is often represented as the future of work, and the creative industries are prone to presenting it as more glamorous than it really is. I often here people choosing freelance work because they are sick of working 9 to 5, even though agencies often require you to put in longer hours. But, the majority of freelancers I know do not shut down their computers at 5 to go on and have a life. They spend many hours working in order to compensate for a job they haven’t yet been paid for or to meet very short deadlines. As far as the framework for freelancing is concerned, we’ve seen more and more options in the last couple of years; increasing numbers of people set up sole proprietorships in various legal forms, some even opening companies online in Estonia, but their position is still relatively unprotected when it comes to various pitfalls, from the shortcomings of the existing legal forms to the unstable market. I feel most freelancers have more in common with employed workers than with small businesses, with which they are often compared and which they are encouraged to emulate. The dominant discourse is that just like small entrepreneurs, they must be more ambitious, be more efficient, work on their self-representation, network, think about increasing their bottom line and where they will be in 3 to 5 years. In case they fail, they are accused of not working enough. Freelance work is growing exponentially in many fields, and behind the seductive ideas of autonomy and flexibility there is the other side of the coin.

The calculation is simple – to employers it is more cost-effective to hire freelancers than to employ them, which would ensure them stability and security. Before future freelancers are seduced by the idea of working in their pajamas from the comfort of their own home, they should ask themselves the following: Can I afford to get sick? Is my overtime work paid?

Will I get severance pay if after many years of collaboration it turns out there’s no more work for me? How much maternity leave do I get?

Generally speaking, these issues are far more

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Iza sebe već imaš i bogat publicistički rad – za strane izdavače napisala si, uredila i dizajnirala dvije teorijske knjige o grafičkom dizajnu i likovnosti Color in Graphics (2008.) i The Field Guide for Graphic Designers (2009.) a osim toga priredila si monografiju Branka Vlahovića tiskanu povodom njegove retrospektivne izložbe. Koliko je bitan kritički i istraživački rad u dizajnu i ima li ga dovoljno u Hrvatskoj?

O dizajnu se kod nas sve više i piše i priča, izdaju se knjige i udžbenici, organiziraju izložbe i konferencije, i definitivno se zadnjih godina osjeća pomak u smislu otvaranja prostora i stimuliranja takvog djelovanja. Kritički i istraživački rad ne bi trebao biti luksuz niti nekakva akademska nedohvatljiva kategorija. Kontinuirano bavljenje takvim temama dodatno povezuje aktere na sceni, i međusobno i s profesionalcima iz drugih disciplina, što je poželjna odlika svake progresivne struke. Obrazovni sustav igra, rekla bih, ključnu ulogu u pripremanju terena i poticanju mlađih generacija na tu vrstu rada kao i na eksperimentiranje. Čini mi se da DVK UMAS radi odličan posao sa svojim radionicama Interakcije. Rad HDD galerije je omogućio i kontekst za sjajne izložbe koje se bave arheologijom dizajna, primjerice Dizajnerice 1930.

– 1980. Maše Poljanec i Maje Kolar i Iskopavanja Lane Cavar i Narcise Vukojević, ali je jednako važno i kopati i po specifičnostima vremena u kojem živimo, kao što je bilo demonstrirano na izložbi Politika emocija – Dizajn indie videoigara Srđana Laterze. Svakako bih pohvalila i preporođeni Plan D, koji svojim programom nastoji popratiti recentne problematike unutar struke ali i šire.

Ne postoji recept za dobar dizajn, ali misliš li da postoje neka univerzalna načela djelovanja? Koliko uopće rad u praksi treba biti dosljedan ili kontradiktoran teorijskom radu?

Trebaju li dizajneri postavljati pitanja ili davati odgovore?

Dizajn ne vidim kao egzaktnu djelatnost iza koje stoji neka matematika, pa mi je dosta teško razmišljati u smislu univerzalnih načela.

Poznavanjem teorije možemo širiti perspektive i kompletirati znanje koje u praksi i dalje dokazujemo empirijski. Djelovanje valja promatrati unutar konteksta, a unutar same struke vidimo kako neke prakse lakše odolijevaju pravilima od drugih. Rješava li dizajner problem aerodinamike ili sistematizira ogromnu količinu informacija? Komunicira li poruku masovnoj publici ili mikrosceni, provocira li reakciju, interakciju, razmišljanje? Dizajneri traže rješenja, a u procesu rada neminovno trebaju i postavljati pitanja i davati odgovore.

Imam dojam da su se tijekom prošlih desetljeća brojni umjetnici i dizajneri razvili i profilirali radom za nezavisnu kulturnu scenu. Postoje li neke osnovne karakteristike koje danas obilježavaju tu scenu i koliko je ona prihvaćena i zastupljena na Izložbi hrvatskog dizajna 1718?

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important than motivation and self-discipline, and I feel everyone should stand up for herself/ himself in every type of job, be in solidarity with one’s colleagues, actively advocate for rights and put pressure on legislation.

You already have an impressive body of work as a non-fiction author – for foreign publishers you have written, edited and designed two theoretical books on graphic design and visual arts – Color in Graphics (2008) and The Field Guide for Graphic Designers (2009), and you edited a monograph by Branko Vlahović published on the occasion of his retrospective. How important is critical and research work in design and is there enough of it in Croatia?

In Croatia, design is discussed more and more, books and textbooks are published, and exhibitions and conferences are organized.

In the last couple of years, one can definitely sense a positive shift towards the opening of a new space and stimulating such activities.

Critical and research work should not be a luxury or some sort of unattainable academic category. Continuously engaging with these subjects additionally connects the stakeholders, both among themselves and with professionals from other fields, which is a desirable characteristic of any progressive field. The educational system plays a key role in preparing the field and encouraging younger generations to do this type of work and to experiment. It seems to me that the Department of the Design of Visual Communication at the Split Art Academy is doing a great job with its Interactions workshop.

The work of the Croatian Designers Association Gallery enabled a context for great exhibitions dealing with the archeology of design, such as Women Designers 1930 – 1980 by Maša Poljanec and Maja Kolar and Excavations by Lana Cavar and Narcisa Vukojević, but it is equally important to dig around the specificities of the time we’re living in now, as demonstrated by the exhibition Politics of Emotions– the Design of Indie Video Games by Srđan Laterza. I definitely also want to commend the resurrected Plan D, whose program intends to cover recent issues within and outside the field.

There is no recipe for good design, but are there some universal principles of action? To what extent should practice be consistent with or contradict theoretical work? Should designers pose questions and provide the answers?

I don’t view design as an exact science, so I find it difficult to deliberate it in terms of universal principles. By familiarizing ourselves with theory, we can broaden our perspectives and enrich our knowledge, which we still prove empirically in practice. Specific actions should be viewed within their specific contexts, and we can see in the field that some practices resist rules more easily than others. Is the designer dealing with aerodynamics or system-

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Branko Vlahović – Monografija ∕ Monograph knjiga ∕ book, 2012

I danas je nezavisna kulturna scena mjesto inovativnih i progresivnih dizajnerskih praksi, iako je zbog političke klime i njena egzistencija opet ugrožena. Ali sistem je isti.

Dizajneri koji su istovremeno akteri scene kulturu i konzumiraju i rade za nju, jer se lakše s njom povezuju svjetonazorski i po senzibilitetu. Njihov je angažman više osoban, a manje usmjeren na komercijalne ciljeve. Veseli me smionost brojnih autora koji su slobodniji u izričaju kad rade u tom kontekstu. Danas je uočljivo naslijeđe kontinuiteta nezavisne scene u smislu vidljivih pomaka u razvoju institucionalnog dizajna. To posebno dobro ilustrira proboj dizajnera iz nezavisnog miljea u velike kazališne kuće, muzeje, na filmsku scenu itd. Lako je skliznuti u zamku favoriziranja nezavisne scene, dosta nas u selekcijskoj komisiji smo ipak njeni akteri i zagovornici, ali smo u procesu odabira radova posebnu pažnju posvetili tome da u valorizaciji ne zakinemo projekte iz drugih sfera.

Posebno mi je drago bilo vidjeti par hrabrih izleta u medij tiskanog časopisa, onih koji se bave zajednicom, gentrifikacijom, ili pak održivošću života na otocima. Možda bih voljela vidjeti još aktivističkog i političkog angažmana kod mlađih autora.

Kategorije radova predstavljaju široka područja djelovanja koja nisu više toliko jednoznačno definirana, posebno pri klasifikaciji projekata nastalih u interdisciplinarnim timovima ili onih koji su većeg opsega i dosega djelovanja. Mogu li se takvi radovi objektivno žirirati i čemu se pritom daje prednost? S obzirom na konstantno pojavljivanje novih načina i sustava unutar kojih dizajn djeluje, trebaju li se i kategorije dizajna dijeliti, ili bi ispravnije bilo sažeti ih na osnove?

Zaista je teško vrednovati u istoj kategoriji rad dvadesetak ljudi na kompleksnom interdisciplinarnom projektu i animaciju od 10 sekundi koju je napravio jedan autor. Granuliranje kategorija zasigurno daje ispravniji kontekst unutar kojeg se radovi mogu žirirati, no u ovako maloj zemlji sa skromnim tržištem i relativno malom dizajnerskom scenom, to može izazvati

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atizing a huge amount of data? Is the designer trying to communicate a message to a mass audience or a micro-scene, is he/she trying to provoke a reaction, interaction, contemplation? Designers are trying to find solutions, and in the process of work, they should constantly ask questions and provide answers.

I get the impression that in the last couple of decades, numerous artists and designers developed their craft and made a name for themselves by working for the independent culture scene. Are there some basic characteristics of this scene today and to what extent is it accepted and represented at the 1718 Croatian Design Exhibition?

The independent culture scene is still the venue of innovative and progressive design practices, although due to the political climate its existence is once again in jeopardy.

However, the system is the same. Designers who are protagonists of the scene are both consumers of culture and its creators, because they connect with it more easily in terms of their worldview and sensibility. Their engagement is more personal, and less oriented towards commercial goals. I am pleased by the boldness of numerous designers and artists who are freer in their expression when working in this context.

Today we can see the heritage of the continuity of the independent scene in the visible shifts when it comes to the development of institutional design. This is particularly illustrated with the breakthrough of designers from the independent scene into big theatres, museums, film etc.

It is easy to into the trap of favorizing the independent scene as quite a lot of us in the selection committee are a part of it and advocators, but in the process of selecting the works we paid special attention not to neglect projects from other spheres. I was particularly pleased to see a couple of very brave experiments in the medium of printed magazines, community oriented projects, those dealing with gentrification or sustainability of life on islands. I would perhaps love to see more activist and political engagement with younger designers.

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Kakav dojam ostavlja dizajnersko stvaralaštvo u području dizajna vizualnih komunikacija prijavljeno na ovu Izložbu? Postoje li neke tendencije koje si uočila kao članica žirija?

Razina kvalitete prijavljenih radova zaista je dobra, dizajneri vrlo ozbiljno pristupaju prijavama i čini mi se da se svakim bijenalom podiže ljestvica. Evidentno je da se i struku shvaća ozbiljnije te da iza toga stoji kontinuiran rad svih dionika scene. Teško je govoriti o konkretnim tendencijama u području vizualnih komunikacija s obzirom na širinu kategorije, no čini mi se da se nikad nije dizajniralo više etiketa za alkoholna pića.

Posljednjih godina javlja se značajan broj crowdfunding projekata čiji neizbježan segment je dizajn, a koji pokušavaju dati rješenje nekog problema ili zadovoljiti specifične potrebe određenog broja ljudi.

Ima li takav način oglašavanja i prikupljanja sredstava budućnost u današnjem globalnom funkcioniranju gospodarstva, i koliko zapravo ti projekti predstavljaju uspješne dugoročne poduhvate, a koliko su tek privremena i utopijska rješenja malih proizvođača koji samo traže šire tržište za svoj proizvod?

Osobno sam prilično fascinirana i količinom i uporabnom svrhom proizvoda i patenata koji se financiraju preko crowdfunding platformi. Dapače, pratim već neko vrijeme tehnološke proizvode koje proizvodi jedna vrsta entuzijasta za drugu, a način na koji se prezentiraju neki od bizarnijih podsjeća me na

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desno ∕ right Utopijski kolektiv ∕ Utopian Collective web sjedište ∕ website, 2016

Grupa Products web sjedište ∕ website, 2014

glavobolje kako žiriju tako i postavljačima izložbe i uredniku kataloga. Ako etabliramo kategoriju za filmsku i tv produkciju, a za nju pristigne i odabere se samo jedna filmska špica, hoćemo li proglašavati pobjednika u kategoriji bez konkurencije? Slično pitanje se ponekad postavlja oko budžeta: kako uspoređujemo visokoproducirani rad financiran sredstvima EU i nečiji samoinicirani projekt. Čini mi se da tu već počinjemo gubiti bitno iz kadra, mislim da kriterije valja konstantno preispitivati i uspostavljati, i najvažnije - sagledavati sliku u cjelini.

The categories of the works exhibited represent a wide spectrum of activities that are no longer necessarily clearly defined, particularly in the classification of projects done by interdisciplinary teams or projects with a broader scope and reach of action. Can such works be evaluated objectively and what is given priority in the process? Taking into account that new methods and systems of design appear constantly, should the categories of design be fragmented or would it be better to condense them into basic categories?

It is really difficult to evaluate within the same category a work done by a team of about 20 on a complex interdisciplinary project and an animation of 10 seconds done by one designer. The granulating of categories certainly provides a better context for the evaluation of the works, but in a country as small as this with a modest market and relatively small design scene, this could prove difficult for the committee, as well as the organizers of the exhibition and the editor of the catalogue. If we establish a film and TV production category, and only receive one entry so we proclaim the winner without competition? Similar issues arise when it comes to the budget: how do we compare a highly produced work financed by EU funds and someone’s self-initiated project. It seems to me that with this perspective we are losing sight of what’s important. The criteria should constantly be reviewed and re-established, and most importantly – we should not lose sight of the big picture.

What is your impression of the design practices within the design of visual communications that are part of this exhibition? Are there any tendencies you have noticed as a member of the committee?

The quality level of the submitted works is truly great, the designers seem to take their entries very seriously and it seems to me the bar is raised at every biennial exhibition. It is clear the field is taken more and more seriously, backed by the continued hard work of all protagonists on the scene. I find it difficult

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to discuss concrete tendencies in the field of visual communications considering the broad scope of the category, but it seems to me that at no time before were there more labels for alcoholic beverages designed.

japanske chindogu izume. Šalu na stranu, nameću se brojna pitanja, počevši od toga kakve su današnje potrebe ako nam je neophodan pametan mačji wc, pa sve do održivosti proizvodnog procesa. U proizvodnju idu produkti koji su uvjerili najviše podržavatelja u svoju kvalitetu i neophodnost, no kako se u ranim danima publika crowdfunding platformi sastojala od tehnofila i dizajnera a danas od širokog spektra potrošača, tako se dosta i promijenio karakter tih proizvoda. Demokratsko odlučivanje o njihovoj realizaciji problematično je na više razina. Ako neki dizajnerski tim sa svojim produktom nije uspio ući u klasičan proizvodni proces koji bi iziskivao ulaganje, vrijeme za istraživanje i razvoj, prototipiranje, testiranje itd. – dakle, kontinuitet proizvodnog ciklusa – vrlo se lako može naći u neobranom grožđu. Većina kampanja na Kickstarteru i Indiegogu ne prođe prvi korak jer ne uspije sakupiti dovoljno sredstava.

Oni koji savladaju taj korak imaju limitirane resurse i vrijeme za realizaciju, i direktan pritisak svojih kupaca koji svoja nezadovoljstva iskazuju javno i glasno. Tu su i kineski „poduzetnici“ koji popularne ideje kopiraju i realiziraju prije nego istekne period financiranja originala te ih ponude po nižoj cijeni. Kopiraju i giganti poput Amazona, ali to su već komplimenti.

Naravno da postoje genijalne kampanje i nužni proizvodi, i fantastično je da si netko može na taj način financirati punk album, eksperimentalni film, ili indie igru. Ali nije ni odgovorno ni održivo sve više prepuštati financiranje kulture i tehnologije zakonima tržišta i volji potrošača, pod izlikom da je to dobro i za proizvođače i za konzumente.

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In recent years there seems to be an increasing number of crowdfunding projects that involve design, and attempt to offer a solution for a specific problem or meet a specific need of a certain number of people. Does this way of advertising and fundraising represent the future in today’s global economy and to what extent do these projects represent successful long-term endeavors or merely temporary and utopian solutions of small manufacturers only seeking a bigger market for their product?

I am personally rather fascinated by the amount and practical purpose of the products and patents financed via crowdfunding platforms. In fact, I have been following for quite some time technological products created by one type of enthusiasts for another, and the way in which some of the more bizarre ones are presented reminds me of the Japanese chindogu inventions. Jokes aside, this raised numerous questions – what kinds of needs do we prioritize today if we feel that a smart cat litter box is indispensible, are the production processes sustainable, etc. The products that end up being financed are the ones that have convinced the most supporters of their quality and necessity, but as the audience of crowdfunding platforms changed from technophiles and designers to a wider spectrum of consumers, the character of these products changed as well. This kind of democratic decision-making is problematic on several levels. If a design team did not manage to get its product in a classic production process that requires investments, time for research and development, prototyping, testing, etc. – that is the continuity of a production cycle– it can easily find itself in a difficult situation. The majority of campaigns on Kickstarter and Indiegogo do not pass the first step because they don’t manage to get enough funding. Those who do have limited resources and a limited time period to accomplish what they sought to do, as well as direct pressure from their buyers, who express their dissatisfaction publicly and loudly. Then there’s Chinese “entrepreneurs” who copy popular ideas before the financing period for the original runs out, and offer them at a lower price.

Even giants like Amazon tend to copy, but that, of course, is considered a compliment. Of course, there are genius campaigns and necessary products, and it’s fantastic that someone can finance their punk album, experimental film or indie video game this way. However, it is neither responsible nor sustainable to leave the financing of culture and technology to the laws of the market and the will of the consumers, under the pretext that this is good for both manufacturers and consumers.

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fotografija ∕ photograph Domagoj Kunić

Mario Lončarić rođen je 1985. u Zagrebu gdje živi i radi kao programer i UX konzultant. Pomaže klijentima u razvoju korisničkih sučelja, u organizaciji njihovog sadržaja te u poboljšanju prodaje usluga i proizvoda. Profesionalno se “bavi internetom” od 2002. godine i od tada je radio na web stranicama, aplikacijama i e-commerce rješenjima za velike domaće i strane klijente. Radio je u web.burzi na projektima za Podravku, RTL i Optima telekom, nastavio u Brlogu kao voditelj razvoja na projektima za Adris, Tele2, Nissan, Hrvatsku poštu i HGSS, a konzultantsko iskustvo brusi u Creative Nightsu na HT-u i švicarskom SGS-u. S Brlogom je osvojio nekoliko nagrada za najbolju upotrebu tehnologije. Kao jedan od pionira industrije spomenut je u knjizi Ivice Mitrovića Dizajn i novi mediji — hrvatski kontekst (1995-2010).

Nakon višegodišnjeg agencijskog rada od 2017. godine vodi vlastiti studio za programiranje i savjetovanje. Radovi su mu izlagani na Izložbama hrvatskog dizajna 1112, 1314 i 1516.

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Mario Lončarić was born in 1985 in Zagreb, where he lives and works as a programmer and UX consultant. He helps clients with the development of their user interfaces, the organization of their content and the improvement of their product and service sales. He’s been “doing internet” professionally since 2002, and has since then worked on web pages, applications and e-commerce solutions for big domestic and foreign clients. For the web.burza agency, he worked on projects for Podravka, RTL and Optima, in the Brlog agency he worked as the development manager on projects for Adris, Tele2, Nissan, the Croatian Post and the Croatian Mountain Rescue Service. He honed his skills as a consultant in the Creative Nights agency, in HT and the Swiss SGS. With Brlog, he won several awards for best use of technology. As one of the pioneers in the field, he is mentioned in the book Design and New Media – the Croatian Context (1995-2010) by Ivica Mitrović. After many years of working for various agencies, he is helming his own programming and consultancy studio since 2017.

His works were exhibited at the 1112, 1314 and 1516 Croatian Design Exhibitions.

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Mario Lončarić — Uloga programera nije nestala, samo je malo pomaknuta u fazi ∕ The role of programmers has not disappeared; it only experienced a phase shift razgovarala ∕ interview by Maša Milovac

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PlanD web, grupa autora ∕ group of authors (Dora Kasun, Leo Kirinčić, Filip Latin, Krešimir Lončar, Sara Pavleković Preis, Marin Nižić), naručitelj ∕ client HDD, 2017

Studirao si na Fakultetu strojarstva i brodogradnje u Zagrebu te si već u to vrijeme započeo svoje prve korake u programiranju i odrađivao prve poslove. Kako si uopće krenuo u te vode, što te privuklo kod programiranja i jesi li možda imao neku drugu ideju o tome čime ćeš se baviti nakon studija?

Krenuo sam zapravo i ranije, još u srednjoj školi. Računalo koje sam tada posjedovao imalo je TV karticu koja je došla s nekakvom malom kamerom i imao sam ideju napraviti web stranicu na kojoj bi se nalazio video iz te kamere. Ne moram ni reći da nisam uspio, ali me zainteresiralo za web i istraživao sam načine kako bi to bilo moguće. Na daljnji razvoj je svakako utjecao kolega iz klupe. On je također shvatio kako se rade web stranice pa smo gotovo svakodnevno izmjenjivali diskete s novim verzijama. Bila je to neka vrsta natjecanja koje nas je tjeralo da budemo bolji.

U to vrijeme su stariji dečki iz kvarta otvorili prostorije za probe, a kako smo mi imali svoj bend napravili smo im web stranicu u zamjenu za korištenje termina za sviranje. Kasnije smo zbog tog weba dobili i nove, plaćene angažmane. Prvo pravo zaposlenje došlo je usporedno s fakultetom, u web.burzi. Meni je to bila poprilično velika stvar jer su oni na neki način bili heroji scene. Ekipa koja je tamo radila vodila je mi3dot, online zajednicu posvećenu dizajnu i programiranju, gdje su se okupljali kreativci iz regije. Na mi3dotu sam upoznao Darija Devića, Tina Kadoića i Marka Dugonjića, a ta poznanstva su kasnije prerasla u prijateljstva i poslovne suradnje. Tamo su se motali i Tomislav Car iz Infinuma, Nela Dunato koja je nedavno izadala knjigu, i Ivan Brezak Brkan s Netokracije. Zapravo, htio sam se baviti dizajnom, ali je na tom forumu bilo toliko boljih dizajnera, a meni je ovaj tehnički dio išao dosta dobro, tako da sam spojio najbolje od oba svijeta i od samog početka radio na presjeku dizajna i tehnologije. To se pokazalo kao dobra odluka jer je donijelo puno odličnih suradnji s vrhunskim dizajnerima, na čemu sam iznimno zahvalan.

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You graduated from the Zagreb Faculty of Mechanical Engineering and Naval Architecture. You began working as a programmer while you were still a student there. How did you end up getting into the field, what attracted you to programming? Did you initially have a different idea o what you would end up doing after you graduate?

Actually, I began programming even earlier than that, when I was still in high school.

The computer I owned then had a TV card that was part of a small camera, and I had the idea to create a web page that would feature videos made with the camera. Needless to say, I wasn’t successful, but it sparked my interest in web design and I explored how this would be possible. Another boy in my class definitely influenced my further development; he too was into web design so we exchanged disks with new versions every day. It became a kind of a competition that forced both of us to become better. At the time, some older boys from the neighborhood opened a space for band rehearsals, and since we had a band as well, we created a web page for them, and in return they let us have our rehearsals there as well. This led us to getting more paid web design jobs. I got my first real job when I was still a student at University, in the web.burza agency. This was a pretty big deal for me because this agency had an iconic status in the field. The team that worked there led the mi3dot online community devoted to design and programming, gathering all sorts of creative types from the entire region. It was via mi3dot that I met Darijo Dević, Tin Kadoić and Marko Dugonjić, who later became good friends of mine and with whom I established great business collaborations. The community also included Tomislav Car from Infinum, Nela Dunato, who recently published a book, and Ivan Brezak Brkan from Netokracija. I actually wanted to do design, but there were so many better designers than me who were part of this forum, and I was pretty good at this technical aspect, that I decided to combine the two from the very beginning, working on the intersection of design and tech-

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Typonine web, Dario Dević & Hrvoje Živčić (dizajn ∕ design), naručitelj ∕ client Nikola Đurek, 2011

Kada govorimo o edukaciji u ovom području, i sam kažeš da su sveučilišta poprilično troma i da je nerealno očekivati da prate dinamičan razvoj tehnologije i programskih jezika kako bi pritom osigurala kolegije s kvalitetnim i aktualnim praktikumom. Da pojasnim, programski jezici toliko brzo napreduju da ih je nemoguće sve poznavati. Što misliš da je presudno za edukaciju programera, postoje li neki drugi formati učenja te u kojim oblicima ili u kojim institucijama vidiš prostor za dodatni razvoj struke?

Dobri, čvrsti temelji i nakon toga konstantno osvježavanje znanja i praćenje novih tehnologija. Postoje razne platforme, zajednice, grupe, meetupovi koji su danas na raspolaganju, a sve za nula ili jako malo novaca u odnosu na znanje koje dobijete. Većina skupih konferencija objavi kompletne video zapise s predavanja samo nekoliko mjeseci ili tjedana nakon održavanja. Problemu tromosti sveučilišta doskaču i privatne ustanove za obrazovanje koje u zadnje vrijeme nude programe poput razvoja igara, digitalnog marketinga, podatkovne znanosti, ali i tvrtke koje imaju potrebu za određenom specijalizacijom zaposlenika, a nemaju vremena čekati da kadar izađe iz obrazovnog sustava. Tako imamo npr. Infinum Academy i ljetni Bootcamp u tvrtki Five.

S obzirom na to da se danas većina tehničkog znanja može svladati i putem online tečaja te činjenicu da postoje vrlo jednostavne platforme za izradu osobnih i poslovnih web stranica, gdje misliš da je uloga programera i kako će se ona u bližoj budućnosti mijenjati?

Da li je to možda povezano s očekivanjima koje kao korisnici imamo od weba, odnosno na mijenjanje „interneta“?

Može se povući i paralela s dizajnom i (polu)gotovim rješenjima. Postoji nekoliko iznimno kvalitetnih servisa koji omogućuju brzu izradu vlastite web stranice. Za nekoga tko tek počinje s poslovnim pothvatom i nema budžet za rješenje po mjeri, sasvim je u redu početi s nekim od gotovih rješenja, testirati svoju ideju, iterirati, poboljšavati. Kada posao krene, lako je

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nology. This turned out to be a good decision as it brought me numerous great collaborations with top designers, something I am extremely grateful for.

When discussing education in the field, you have said yourself that universities are relatively sluggish and that it is unrealistic to expect them to be in line with the dynamic development of technology and programming when preparing the curricula. Programming languages develop so quickly that it is impossible to know them all. What do you feel is crucial for the education of a programmer, are there any other learning formats and what forms or institutions do you see as most suitable for additional development in the field?

Sound foundations and, after that, the continuous updating of knowledge and following of new technologies. There are various platforms, communities, groups, and meetups that are available today, all completely free of charge or at a very low cost taking into account the knowledge you gain. Most expensive conferences publish complete videos of their lectures after only a couple of months or weeks after being held. The problem of the universities’ sluggishness is somewhat offset by private educational institutions, which have recently started to offer programs such as game development, digital marketing, and data science, as well as by private companies that offer specialization programs for their employees since they cannot wait for specialized graduates to finish their university programs. These include, for instance, the Infinum Academy and the summer Bootcamp in the company Five.

Considering that today most technical knowledge and skills can be acquired via free online courses and that there are very simple platforms for the creation of personal and business web pages, what do you think the role of programmers is today and how will this role change in the near future? Is this, perhaps, related to the expectations we, as consumers, have of the web?

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Stray Satellite web, Kristina Volf (dizajn ∕ design), naručitelj ∕ client Jonathan Bousfield, 2015

na temelju sakupljenih uvida krenuti s razvojem vlastitog rješenja. U tom smislu uloga programera nije nestala, samo je malo pomaknuta u fazi. Također, netko mora razviti i spomenute servise. Vezano za očekivanja, tu je važno da su realna, u smislu da se ne očekuju čuda od takvih platformi. Sviđa mi se jedan novi pristup razvoju weba, koji se naziva intristic web design. Preglednici su zadnjih godinu-dvije fenomenalno napredovali u smislu mogućnosti za razvoj layouta tako da predviđam novi val individualizacije web dizajna. Doslovno će biti lakše „prelomiti“ neki svoj custom grid layout nego koristiti npr. Bootstrap pa će se samim tim i era „istih“ webova približiti kraju. YouTube kanal Layout Land autorice Jen Simmons je fenomenalan resurs vezan za to.

S obzirom na razvoj umjetne inteligencije, robotizacije brojnih radnih procesa, uvođenje virtualne stvarnosti u svakodnevicu, što kažeš na sve veću odgovornost programera u razvoju tih alata, servisa i sustava?

Kažem da bi ta odgovornost trebala biti sve veća, ali me strah da nije. Facebookova krilatica Move fast and break things je dobila veliku popularnost jer na neki način daje dozvolu da se „potrgaju stvari“ i da je to ok, jer teba ići brže i dalje i više jer se kasnije možemo vratiti natrag i popraviti. Na kraju nam ostane gomila potrganih stvari, jer se nitko ne vraća. I to je sve ok kada potrgate nečije slike mačaka ili smiješne statuse, ali kada ste najveća društvena mreža na svijetu i dopuštate širenje lažnih vije-

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This also has to do with design and its (semi)finished solutions. There are several extremely good services that allow you to quickly create your own web age. For someone just starting a business and lacking the budget for customized solutions, it is perfectly fine to begin with one of the ready-made solutions, and then improve the idea with time after testing it. Once the business gets going, it is easy to begin developing your own solutions based on the collected feedback. In this sense, the role of the programmer has not disappeared; it only experienced a phase shift. Also, someone has to develop such services. As far as the expectations are concerned, it is important that they are realistic; people should not expect miracles from such platforms. There is a new approach to web development that I like, called intrinsic web design. Browsers have made such great developments in the last year or so as far as the possibility for the development of the layout is concerned that I expect a new wave of the individualization of web design. It will literally be easier to create one’s own custom grid layout than to use Bootstrap for instance. This will also mean the end of always seeing the “same” web design. The YouTube channel Layout Land by Jen Simmons is an amazing resource for this.

Considering the development of artificial intelligence, the robotization of numerous work processes, and the introduction of virtual reality into everyday life, how do you view the increasing responsibility of programmers in the development of these tools, services and systems?

This responsibility should be increasing, but I’m afraid it is not. Facebook’s motto Move fast and break things gained great popularity because it somehow gives us the license to “break things” and tells us this is OK because we need to go faster, further and higher, since we can always go back and fix things. In the end we are left with a bunch of broken things because no one goes back to fix them. It’s fine when all you break is someone’s cat photos or a funny status, but when you’re the biggest social network in the world and allow the spreading of fake news and the manipulation of users by allowing interference in elections, then we are no longer talking about things, but about human lives. Twitter has had issues with not punishing hate speech for a very long time. Uber keeps track of your location for 5 minutes after you leave the car. It is only a matter of time when all of the cameras on intersections will obtain face recognition software. Did you allow Facebook to automatically tag you in photographs? In a couple of years, China will introduce a program as part of which every physical and legal person will be given a point rating. Persons with a lower rating will, for instance, have lower internet speed, will not be allowed to travel by plane and will have restricted access to restaurants, will probably receive poorer health services, etc. All of this was programmed by someone,

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Radio si u Brlogu, jednoj od prvih agencija za web i digitalne proizvode, u vrijeme kada poznavanje dizajna i tipografije postaje izuzetno vrijedan alat i prednost za developere. Što smatraš dobro dizajniranom web stranicom, odnosno kakva je danas uloga dizajnera digitalnih proizvoda?

Svaka koja uspije ispuniti svoju namjenu, odnosno poslovne ciljeve, na način da zadovolji potrebe osobe koja joj pristupa, a pritom je ne ometa, ne ugrožava njenu privatnost i ne koristi dark patterne. Čitljivost (eng. readability) bih izdvojio kao možda najvažniji element dizajna, zatim klasične stvari poput brzine učitavanja, estetike, korisnosti, jasnoće informacija i sl. Unatrag nekoliko godina dobar dizajn mora funkcionirati na sve više uređaja različitih dimenzija.

Najnovija verzija Appleovog sata ima ugrađen preglednik, tako da bi samo neka osnovna stranica ili aplikacija morala uzeti u obzir korisnika i na tom ekranu. Definitivno se radi o zahtjevnoj ulozi koja zahtjeva konstantno praćenje tehnologije. Dodatni izazov predstavlja i korištenje odgovarajućih smjernica za interakciju ovisno o proizvođaču softvera koji pokreće uređaj. One se također promijene svakih nekoliko godina.

Neki od tvojih radova, osim što su izlagani na bijenalnoj Izložbi hrvatskog dizajna, bili su i nagrađivani. Osim s Tinom Kadoićem (Brlog), surađivao si i s Markom Dugonjićem, i to na projektu Typetester. U to vrijeme nije bilo načina za testiranje web tipografije,

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Pogon web, Ana Labudović (dizajn ∕ design), naručitelj ∕ client Pogon, 2017

sti i manipulaciju korisnika i dozvolite uplitanje u izbore, onda se više ne radi o stvarima nego o ljudskim životima. Twitter ima dugogodišnjih problema s nesankcioniranjem govora mržnje.

Uber prati vašu lokaciju 5 minuta nakon što izađete iz auta. Pitanje je vremena kada će sve ove kamere po raskrižjima dobiti softver za prepoznavanje lica. Jeste li dopustili Facebooku da vas automatski označi na fotografijama? Kina za nekoliko godina uvodi program u kojem će svaka fizička i pravna osoba biti ocijenjena bodovima. Osobe s manjim rejtingom će npr. imati manju brzinu interneta, neće se smjeti voziti avionom i bit će im ograničen pristup restoranima, vjerojatno će imati lošiju zdravstvenu uslugu i sl. To je sve netko programirao, a da se nije zamislio - zašto? Pa ovo se ne čini u redu, je li to uopće potrebno? Ovo su ekstremni primjeri, ali svi počinju bezazleno. Npr. odabir titule pri učlanjenju u teretanu. Prije nekoliko godina jedna je pedijatrica pri upisu dobila karticu s kojom može otvoriti svlačionicu. Sustav joj je uporno odbijao otvoriti vrata. Kada su istražili problem došli su do toga da je netko koristio titule kako bi programirao mogućnost pristupa ovisno o spolu. Titula „dr.“ je bila programirana da otvara muške svlačionice. Navedeni primjer preuzeo sam iz knjige Technically Wrong koju je napisala Sara Wachter-Boettcher. U knjizi piše o seksističkim aplikacijama, pristranim algoritmima i ostalim prijetećim stvarima iz toksičnog svijeta tehnologije. Preporučam.

who did not wonder - why? This doesn’t seem OK, is this even necessary? These examples are extreme, but they all begin harmlessly enough. For instance, a couple of years ago, a female pediatrician joined a gym and was given a key card to open the locker room. The system would not let her open the locker room, though, and after they explored the issue, they realized that someone programmed the system to use titles as a factor for allowing access to the locker rooms. The title of medical doctor was programmed to only allow access to the men’s locker room. I’ve taken this example from the book Technically Wrong by Sara Wachter-Boettcher. The book covers sexist applications, biased algorithms and other threats from the toxic world of technology. I recommend it.

You’ve worked for the Brlog agency, one of the first agencies for web and digital products, at a time when familiarity with design and typography was an incredibly valuable resource for developers. What do you consider a well developed web page, and what is the role of digital product designers today?

Any page that fulfils its purpose or business goals, in a way that satisfies the needs of those accessing it, without obstructing them or compromising their privacy and using dark patterns. I would point out readability as perhaps the most important element of design, followed by some more classic aspects such as the loading speed, aesthetics, usefulness,

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Soundlog Brlog / Tin Kadoić (kreativni direktor ∕ creative director), Mario Lončarić, Bruno Babić, Mirko Sabljić (developeri ∕ developers), Srđan Laterza (copywriter), samoinicirani projekt ∕ self-initiated project, 2013

isprobavanje na raznim platformama niti su tipografije bile toliko prilagođene webu. Što misliš o tom projektu danas?

Zanimljivo je kako se na razne načine pokušalo doskočiti izazovu tipografije na webu.

Baš se Tin za potrebe jednog svog portfolio weba, dok je još radio kao freelancer, dosjetio metode da se pomoću Flash tehnologije prikazuju naslovi u nekom posebnom fontu.

Paralelno se u svijetu to pojavilo pod nazivom SIFR pa smo bili jako ponosni što smo sami razvili istu stvar. Typetester se prvotno pojavio kao odgovor na pitanje „zašto web stranica ne izgleda isto kao u Photoshopu?“. Sustavi za prikaz teksta unutar Photoshopa i nekog browsera bili su, jednostavno, različiti i rješenje je bilo oblikovati tipografiju direktno unutar preglednika. Desetak godina kasnije napravili smo novu verziju Typetestera, ali to je bila potpuno druga priča, jer su se web fontovi naširoko koristili, i pojavilo se mnogo pružatelja usluga i stranice se više ne dizajniraju u Photoshopu. Kad smo kod pružatelja usluga — ono što je Typetester prije više od 10 godina omogućio dizajnerima, danas omogućuje svaka slovolivnica u sklopu svoje web stranice. U tom kontekstu mi je posebno draga suradnja s Dariom Devićom i Hrvojem Živćićem na webu za prvu hrvatsku slovolivnicu Typonine Nikole Đureka na kojoj je također bilo omogućeno direktno isprobavanje fontova.

Možeš li reći nešto o projektima na kojima sada radiš? S obzirom na vremenski format ove izložbe, možeš li pogledati dvije godine unazad i istaknuti neke od značajnijih suradnji s dizajnerima?

Period na koji se izložba odnosi izravno se poklapa s početkom vlastitog studija. Vrlo brzo sam primijetio da znanje i iskustvo stečeno na radu s velikim klijentima mogu primijeniti na cijeli niz sjajnih projekata iz kulture i umjetnosti.

Tako je došlo do suradnje s Anom Labudović na webu za Pogon - zagrebački nezavisni centar za kulturu i za Kontejner - biro suvremene umjetničke prakse. Ekipa iz Pogona i Kontejnera je toliko genijalna i imaju fenomenalnu arhivu odrađenih stvari koja je vapila za organizaci-

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clarity of information, etc. For the last couple of years now, good design must work on an increasing number of devices of different sizes.

The most recent version of the Apple watch has an integrated browser, which means that even the most basic of pages or apps should take the users of this screen into consideration as well. This is most certainly demanding since it requires following technology constantly.

An additional challenge is the use of suitable interaction guidelines depending on the manufacturer of the device’s software. These also change every couple of years.

Some of your works, in addition to being exhibited at the Croatian Design Exhibition, have received awards. Apart from Tin Kadoić (Brlog) you have also collaborated with Marko Dugonjić on the Typetester project.

At the time, there was no way of testing web typographies on different platforms, nor were typographies adjusted for the web. What do you think about this project today?

It is interesting how many ways were used to try to resolve the challenge of typography on the web. It was Tin who, for one of his web portfolios while he was still working as a freelancer, thought of using Flash technology to show text in a certain font. At the same time, the same method appeared worldwide under the name SIFR, so we were very proud to have developed the same thing. The Typetester first appeared as a response to the question: “Why does the web page not look like it does in Photoshop?”. Text display systems within Photoshop and a browser were, simply put, different and the solution was to design the typography directly within the browser. About ten years later, we created a new version of the Typetester, but the context was entirely different because web fonts were widely used, many providers of the service appeared and pages were no longer designed in Photoshop.

Speaking of service providers —what Typetester offered to designers more than 10 years ago is today offered by every typefoundry as part of their web page. In this sense, I was

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Eleganca web, Jan Pavlović (dizajn ∕ design), naručitelj ∕ client Eleganca Apartmani, 2016

particularly pleased with my collaboration with Dario Dević and Hrvoje Živćić on the web page for the first Croatian typefoundry Typonine,

by Nikola Đurek, which also allowed the direct testing of fonts.

jom i sistematizacijom koja je nadilazila okvire dostupnih gotovih rješenja. Najbolji trenutak je kad ti klijent pošalje poruku poput „Vau, ovo je stvarno brže/bolje od X“ ili kada se u statistikama i prodaji vidi očiti pomak na bolje što se direktno odražava na njihov uspjeh. Od ostalih projekata izdvojio bi web shop za Pero proizvode za čišćenje koji ne sadrže štetne kemikalije.

Vizualni identitet, kao i dizajn ambalaže koji je radila Draga Komparak odlično se prenosi na web. Uz male intervencije došli smo do stranice koja ima sve što je potrebno za brzu i jednostavnu kupovinu. Srđan Laterza i ja radili smo na dizajniranju usluga (eng. service design) startupa Hubbig koji je prošle godine osvojio nagradu u kategoriji Smart Mobility u sklopu Startup Factorya Zagreb. Trenutno radim UX i performance konzalting za jednu kompaniju iz San Francisca. Konkretno, redizajn i optimizacija ključnih stranica koje donose nove klijente.

Ako znamo, iz primjera Amazona, da povećavanje vremena potrebnog za učitavanje stranice za samo 100 milisekundi dovodi do gubitka prihoda od 1%, to godišnje iznosi 1,6 milijardi dolara. Uz to radim na podizanju svijesti oko važnosti koju pristupačnost i uporabljivost ima u finalnom proizvodu.

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Can you discuss the projects you are currently working on? Considering the frequency of this exhibition, could you take a look at the past two years and point out some of your collaborations with designers that were significant to you?

The period covered by the exhibition coincides with the first two years of my own studio. I noticed very quickly that the knowledge and experience I gained in working with big clients can be applied to an entire range of great projects in culture and art. This is how I began collaborating with Ana Labudović on the web page for Pogon, the Zagreb center for independent culture, and Kontejner, the bureau for contemporary artistic practices. The teams from Pogon and Kontejner are incredible and have an amazing archive of the projects they’ve done so far, which was begging to be organized and systematized, but was too complex to be resolved with existing ready-made solutions. The best moments are when a client sends you a message saying “wow, this is really better/faster than X” or when the statistical data or sales show an apparent improvement. Of the other projects, I would point out the web shop for Pero environmental cleaning products. The visual identity as well as the packaging design, done by Draga Komparak, translates beautifully to the web page. With a few interventions, we’ve created a page that has everything required for fast and simple shopping. Srđan Laterza and I worked on the service design for the Hubbig startup, which won the Smart Mobility award as part of the Startup Factory Zagreb last year. I am currently working on the UX and performance consulting for a company from San Francisco. Precisely, I am redesigning and optimizing their key pages that bring in new clients. We know, based on the example of Amazon, that decreasing the loading speed by only 100 milliseconds leads to revenue losses of 1%, which amounts to 1.6 billion USD annually.

I am also working on raising awareness of the importance of accessibility and usability in the end product.

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fotografija ∕ photograph Lisette Norrby

Tomislav Mostečak rođen je 1983. u Varaždinu.

Trenutno živi i radi u Parizu. Diplomirao je na Slikarskom odsjeku Akademije likovnih umjetnosti u Zagrebu i na Tekstilno-tehnološkom fakultetu (smjer Modni dizajn). Po završetku poslijediplomskog studija na Odsjeku za mušku modu Royal College of Art u Londonu 2010. godine, časopis Vogue ga je uvrstio u godišnju izložbu Vogue Talent u Milanu. Njegova diplomska kolekcija bila je dostupna u dućanima poput MACHINE-A u Londonu i Lane Crawford u Pekingu i Hong Kongu. 2011. godine odlazi u Milano gdje radi kao asistent Umitu Benanu te radi za brend Trussardi u kojem je Umit tada bio kreativni direktor. 2013. godine seli se u Pariz na poziciju senior dizajnera za mušku modu u modnoj kući Kenzo, gdje radi i danas.

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Tomislav Mostečak was born in 1983 in Varaždin.

He currently lives and works in Paris. He graduated from the Painting Department of the Zagreb Academy of Fine Arts and the Faculty of Textile Technology (Fashion Design). After finishing his postgraduate Menswear Fashion Program at the Royal College of Art in London in 2010, Vogue magazine included him in the annual Vogue Talent exhibition in Milan. His graduation collection was available in stores such as the MACHINE in London and Lane Crawford in Beijing and Hong Kong. In 2011, he left for Milan, where he worked as Umit Benan’s assistant and for the fashion brand Trussardi, where Umit was creative director at the time. In 2013, he moved to Paris taking the position of Senior Menswear Designer in the fashion house Kenzo, where he works today.

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Tomislav Mostečak — Modni dizajn još uvijek je na margini domaće scene dizajna ∕ Fashion design is still on the margins of the domestic design scene razgovarala ∕ interview by Lea Vene

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Diplomska kolekcija Jesen-zima 2010 ∕ Graduation Collection Autumn-Winter 2010, Royal College of Art

One Is Many suautorstvo ∕ collaboration with Roberta Bratović, Nina Bačun, 2006.

Na domaćoj si sceni, prije odlaska u London, pažnju privukao projektom One is many.

Projekt je nagrađen na Izložbi hrvatskog dizajna 040506. Kako danas vidiš taj rani rad i za njega karakterističan pristup oblikovanju odjevnih predmeta?

Riječ je o projektu nastalom u suradnji s produkt dizajnericama Robertom Bratović i Ninom Bačun. One is many je multifunkcionalan odjevni predmet na principu modula.

Sistemom zatvarača moduli se mogu presložiti, a time se mijenja i namjena odjevnog predmeta. Kao dizajner muške mode, u kojoj je odjevni predmet često lišen dekoracije, odjevne predmete promišljam prvenstveno kroz prizmu njihove funkcionalnosti.

On the domestic fashion scene, before leaving for London, you garnered significant attention with your One Is Many project. The project was awarded at the 040506 Croatian Design Exhibition. How do you view this early work today and its characteristic approach to designing garments?

The project was a result of my collaboration with the product designers Robert Bratović and Nina Bačun. One Is Many is a module-based multifunctional garment. Via a system of zippers, the modules can be rearranged, changing the purpose of the garment. As a designer of menswear, which is often devoid of decorations, I deliberate garments primarily through the prism of their functionality.

Na koji je način postdiplomski studij na Royal College of Art u Londonu usmjerio tvoj rad na polju modnog dizajna?

U London sam došao s vrlo malo krojačkih i tehničkih vještina, u klasu u kojoj su ostali studenti već realizirali nekoliko kolekcija i imali tehničko iskustvo. Upravo je ta tehnička inferiornost formirala moju estetiku. Tijekom studija proučavao sam „uradi sam“ (DIY – Do It Yourself) tehnike karakteristične za određene supkulture. Primjerice, modsi su sami dorađivali svoju „jeftinu“ garderobu koristeći svjetlucave materijale kao što je mohair od kojeg izrađuju tonic suit, ili su ručno našivali dodatne džepove kako bi odjeća izgledala glamuroznije. Moja diplomska kolekcija temeljila se na tehnikama poput makramea i ručnog oslikavanja kože na ikoničkim odjevnim predmetima kao što je kožna jakna Levi’ s ili traperice Levi’s 501. Riječ je o odjevnim predmetima koji su se nekad uvozili u istočnu Europu iz susjednih zemalja. Kopije tih odjevnih predmeta koje su kod nas bile dostupne bile su baza za stvaranje kolekcije. Krajnji rezultat rada na kolekciji se referirao na proces ručne izrade unikatnih haute couture odjevnih predmeta. Uz to, tijekom studija imao sam priliku pohađati školu krojenja u modnoj kući Brioni. Ta je kuća poznata po odijelima šivanim po mjeri i u izravnom dijalogu s klijentom, a najveći dio procesa izrade odijela je ručni. Upravo

In what ways has your postgraduate study program at the Royal College of Art in London determined your work in the field of fashion design?

I came to London with very little tailoring and technical skills, and was surrounded by colleagues who had already done several collections and had lots of technical expertise.

It is precisely this technical inferiority that has formed by aesthetics. During the program, I was exploring Do It Yourself techniques characteristic for certain subcultures. For instance, the mods tweaked their “cheap” wardrobe themselves by using shiny materials like mohair to make the tonic suit or sewed additional pockets onto garments by hand to make them look more glamorous. My graduation collection was based on techniques such as macrame and hand painting of leather on iconic garments such as the Levi’s leather jacket or Levi’s 501 jeans. Such garments used to be imported into Eastern Europe from neighboring countries.

The counterfeit versions of these garments that were available here were the basis for my collection. The end-result of the collection referred to the process of the manual creation of unique haute couture garments. In addition, during the study program I had the opportunity to attend a tailoring school in the fashion house of Brioni. This house is known for its custom

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Jedna od inspiracija za diplomsku kolekciju na Royal College of Art ∕ One of the inspirations for the graduation collection at the Royal College of Art

su ta dva pristupa najviše utjecala na moj rad.

Taj bricolage pristup još je uvijek prisutan u mojem radu. Osim što sam u Londonu usavršio tehničke vještine radeći na projektima za modne brendove, dobio sam i znanje potrebno za daljnje profesionalno djelovanje. Škola je poznata po odličnoj povezanosti s industrijom, i u tom smislu mi je pomogla da odmah nakon diplome započnem raditi u globalnoj modnoj industriji.

Možeš li se osvrnuti na vlastiti angažman i doprinos modnoj kući Kenzo gdje radiš posljednjih pet godina?

U modnoj kući Kenzo radim kao senior dizajner za mušku modu. U suradnji s kreativnim direktorima radim na direkciji sezone, što obuhvaća razradu početnih ideja, istraživanja, odabir materijala, razradu sezonske palete boja, siluete, fitting i mood kolekcije koji se kasnije aplicira na dizajn modne revije i druge komercijalne aspekte brenda.

Koji pristup zauzimaš u izgradnji maskulinog identiteta u muškoj modi danas?

U suradnji s kreativnim direktorom, svaku kolekciju započinjem izgradnjom karaktera, tzv. inspiracije za kolekciju, promišljajući na taj način interese, aktivnosti i odjevne funkcije tog karaktera. Kako je kuća za koju radim postavila karakter klijenta još u sedamdesetima kada je sama kuća nastala, pokušavam smjestiti taj karakter u kontekst novih društvenopolitičkih i kulturnih realnosti. Izgradnju maskulinog identiteta temeljim na metodi aproprijacije vizualnih elemenata odjevnih predmeta koji obilježavaju pojedine stilske ikone. Tehnikama parodije, pastiša, alegorije ili bricolagea u modi narativiziram različite načine izvođenja muškog identiteta. Nedavno sam za Kenzo radio na odijelu za koncertnu turneju Davida Byrnea.

Riječ je o hibridu odijela iz Kenzove sezone proljeće-ljeto 2018. i interpretacije odijela viđenog na fotografijama koje nam je ustupio Ryuichi Sakamoto. U tom slučaju, zanimalo me je stilsko i karakterno preklapanje dvojice različitih, a opet bliskih stilskih i glazbenih ikona osamdesetih.

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tailored suits created in direct dialogue with the client, with the majority of the suit making process being manual. It is precisely these two approaches that have influenced my work the most. This bricolage approach is still present in my work. In addition to improving my technical skills by working on projects for fashion brands, I also gained the knowledge necessary for my further professional development. The Royal College f Art is well-known for its great ties with the industry, and in this sense it helped me a great deal to start working immediately in the global fashion industry right after graduating.

Can you discuss your work for the fashion house Kenzo, where you have been working for the past five years?

In Kenzo, I work as a senior menswear designer. In collaboration with the creative directors, I work on the general direction we will take for each season, which includes exploring and working out the initial ideas, selecting the materials, choosing the color palette for the season, the silhouette, fitting and the mood for the collection, which is later applied to the design of the fashion show and other commercial aspects of the brand.

What approach do you take when constructing the masculine identity in male fashion today?

In collaboration with the creative director, I begin each collection by constructing the so-called character, the inspiration for the collection, deliberating the interests, activities and functions of this character. Since the house I work for has set the character of the client back in the seventies, when it emerged, I try to situate this character in the context of new social, political and cultural realities. I base the construction of the masculine identity on the method of appropriating the visual elements of garments, which mark individual icons of style.

By using the techniques of parody, pastiche, allegory or bricolage, I try to narrativize different ways of performing the male identity. I was recently working on a suit for Kenzo for David

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Styling i casting za reviju Proljeće-ljeto 2019. ∕ Styling and casting for the Spring-Summer 2019 fashion show, Kenzo, fotografija ∕ photo Tomislav Mostečak

Kolekcija Proljeće-ljeto 2018. ∕ Collection Spring-Summer 2018, Kenzo

David Byrne u Kenzovom odijelu na koncertu u Zagrebu 2018. ∕ David Byrne in Kenzo suit, in concert in Zagreb 2018, fotografija ∕ photo Goran Polak

S obzirom na tvoju dvostruku edukaciju na polju vizualnih umjetnosti i modnog dizajna, i u vlastitoj praksi često povezuješ umjetnost i modu. Možeš li pojasniti proces ispreplitanja i kako se on manifestira u konkretnim suradnjama i projektima?

Moj interes za mušku modu formiran je na fascinaciji uniformom i njenim funkcijama. Moji su se raniji radovi, fokusirajući se na stav i gestu modela, često bavili paradoksom uniforme koja s jedne strane korisniku daje moć i zaštitu, dok s druge strane sugerira ranjivost i lišena je individualnosti jer je znak pripadnosti određenoj grupi ili instituciji.

Vodim se svojevrsnim portretnim pristupom, naročito u prvom stadiju dizajniranja kolekcije, kada promišljam osnovnu inspiraciju kolekcije.

Pritom se naročito oslanjam na proces reaproprijacije odjevnog predmeta kao nositelja povijesnog značenja. Promišljam, primjerice, stereotipnu reprezentaciju muškarca u odijelu, motorističkoj ili avijatičarskoj jakni, ili vojničkom odijelu, u kontekstu njihovih različitih prenamjena kod pripadnika subkultura ili fetiš grupa. Ispreplitanja umjetnosti i mode danas se uglavnom događaju u suradnjama s drugim vizualnim umjetnicima. Kolekcija jesen-zima 2017. nastala je u suradnji s umjetnicom Majom Čule. Kolekcija je doticala, između ostalog, i temu globalnog zatopljenja. Majin rad često tematizira tehnologiju i opsesivne potrošačke fenomene našeg vremena. Njen rad na kolekciji manifestirao se u aplikacijama printeva i grafika. Zanimljivo je da je kao reakciju na tu kolekciju Eduardo Williams napravio kratki film.

On se također bavi utjecajem tehnologije na čovjeka kroz prizmu globalizacije, a njegovi su protagonisti simultano smješteni na raznolikim geografskim pozicijama. Ispreplitanje umjetnosti i dizajna često se događa upravo u procesu postpodukcije, gotovo kroz filmsku metodu, kao oblik rekontekstualizacije. Na polju mode to je vidljivo kroz casting i styling.

Ove godine si dio selekcijske komisije za Izložbu hrvatskog dizajna 1718. Možeš li prokomentirati radove u kategoriji modnog

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Byrne’s tour. It represents a hybrid of two suits from Kenzo’s Spring-Summer 2018 collection and an interpretation of a suit that I saw on photographs given to us by Ryuichi Sakamoto.

In this case, I was interested in the stylistic and character overlap of two different, but still similar style and music icons of the eighties.

Considering you have a degree in both painting and fashion design, you often combine art and fashion in your own work. Can you explain this intertwining process and discuss how it manifests itself in concrete collaborations and projects?

My interest in male fashion is based on my fascination with the uniform and its functions. My earlier works, which focused on the posture and gesture of the model, often dealt with the paradox of the uniform, which on the one hand gives the user its power and protection, and on the other its suggests vulnerability and deprives the user of his individuality since it is a sign of belonging to a particular group or institution. I am led by a sort of portrait approach, particularly in the first stage of designing the collection, when I contemplate the basic inspiration for the collection. In this, I mostly rely on re-appropriating the garment as the carrier of historical significance. I consider, for instance, the stereotypical representation of a man in a suit, a motorcycle jacket, bomber jacket or military uniform, in the context of the various ways they have been repurposed by members of subcultures or fetish groups. Today, the intertwining of art and fashion mostly occurs through collaborations with other visual artists. The collection Autumn-Winter 2017 was created in collaboration with the artist Maja Čule. The collection referred to, among other things, the subject of global warming. Maja’s work often takes as its subject matter technology and obsessive consumerist phenomena of our time. Her work on the collection revealed itself in the application of prints and graphics.

Interestingly, in a reaction to the collection, Eduardo Williams made a short film. He is also interested in the impact of technology on

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i odjevnog dizajna? Kakav nam pogled na domaću scenu daju prijavljeni radovi?

U studentskoj kategoriji primijetio sam da se diplomske kolekcije često i realiziraju, što sam nekoć smatrao najvećim nedostatkom studija na Tekstilno-tehnološkom fakultetu.

Studenti promišljaju lokalne teme, što je vrlo zanimljivo i egzotično. U profesionalnoj kategoriji mi je drago vidjeti uhodane brendove koji prate modni kalendar i realiziraju sezonske kolekcije dva puta godišnje.

Budući da si imao priliku studirati na Royal College of Art u Londonu, kako usporedno gledaš na edukaciju na polju modnog dizajna u Hrvatskoj?

Smatram da Tekstilno-tehnološki fakultet prima previše studenata s obzirom na trenutnu gospodarsku sliku Hrvatske. Ipak, najveći nedostatak školovanja na TTF-u je nemogućnost realizacije projekata. Sve ostaje na papiru, a zanatski dio dizajna ostaje nepoznanica. Osim na stažiranju, studiji u Londonu se baziraju i na nizu projekata s brendovima, što zapravo simulira profesionalni kontekst koji dizajnera čeka nakon diplome. Tamo su takve suradnje ujedno često i prilike za posao nakon završetka studija.

Kakav status ima modni dizajn u okviru šire domaće scene dizajna? Dodatno me također zanima kako vidiš poziciju i vidljivost modnog dizajna u okviru djelovanja Hrvatskog dizajnerskog društva?

Modni dizajn još uvijek je na margini domaće scene dizajna. To mogu razumjeti jer u ostalim kategorijama, kao što su vizualne komunikacije ili dizajn proizvoda, postoje naručitelji.

Modna scena u Hrvatskoj se još uvijek svodi na samoinicirane projekte koji funkcioniraju u formi manjeg obrta ili butika koji distribuira vlastite proizvode. Ovdje se osvrćem na nepostojanje distribucije kolekcija od strane multi brand dućana, što je logika modnog sistema na vanjskom tržištu, osobito za manje brendove. Primijetio sam neke brendove koji su se odlučili za online distribuciju, što smatram dobrim pokušajem u plasmanu proizvoda na vanjsko tržište.

Primijetio sam također i čestu suradnju modnih dizajnera u okviru drugih kategorija dizajna, gdje modni dizajner pomaže u brendiranju projekta dizajnirajući uniforme. HDD je napravio velik pomak uvrštavanjem modnog dizajna u svoj pregled domaćeg dizajna. Kroz presjek relevantnih radova nastalih u zadnje dvije godine razvija se diskurs i educira publika.

Koje bi modne dizajnere istaknuo kao relevantne aktere na domaćoj modnoj sceni?

Možemo li i kako njihov rad sagledati u kontekstu globalnog modnog sustava i trendova koje taj sustav nameće?

Ima ih dosta, ali bih istaknuo Silvija Vujičića, Dioralop i Price on Request. Mislim da su vrlo relevantni u kontekstu globalnog modnog sustava jer sugeriraju jasnu sliku svog

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humans through the prism of globalization, and his protagonists were simultaneously located on various geographical positions. The intertwining of art and design often occurs in the process of postproduction, almost through a filmic method, as a form of re-contextualization. In the field of fashion, this is visible through the casting and styling.

This year, you are a member of the Selection Committee for the 1718 Croatian Design Exhibition. Can you comment on the works in the category of fashion and garment design?

What do the submitted works tell us about the domestic fashion design scene?

In the student category, I noticed that graduation collections actually get made; this wasn’t the case before, which I found to be the biggest disadvantage of the textile technology study program. Students also deal with local topics, which is very interesting and exotic.

In the professional category, I was glad to see well-established brands that follow the fashion calendar and make seasonal collections twice a year.

Since you had the opportunity to study at the Royal College of Art in London, how do you compare it with education in the field of fashion design in Croatia?

I feel the Faculty of Textile Technology enrolls too many students considering the current economic situation in Croatia. Still, the greatest disadvantage of the study program is the inability to actually get projects made. It all remains on paper, while the practical aspect of design is disregarded. In addition to internship programs, study programs in London are based on a series of projects that get done in collaboration with brands, which simulate the professional context awaiting the designers after they receive their degree. Such collaborations are also often an opportunity to get a job after finishing the study program.

What kind of status does fashion design enjoy within the wider domestic field of design?

Also, what is your view of the position and visibility of fashion design within the framework of the activities of the Croatian Designers Association?

Fashion design is still on the margins of the domestic design scene. This is understandable because in the other categories, such as visual communications or product design, there are clients actually commissioning the work.

The fashion scene in Croatia is still reduced to self-initiated projects that function in the form of a small business or boutique, which distributes its own products. There is no distribution of collections by multi brand stores, which is how the fashion system works on foreign markets, particularly when it comes to smaller brands. I’ve noticed that some brands decided to distribute their products online, which I consider a great way of getting their prod-

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Suradnja s Majom Čule za Kenzo kolekciju Jesen-zima 2017 ∕ Collaboration with Maja Čule for the Kenzo Autumn-Winter 2017 collection, fotografija ∕ photo credit Sonny Vandevelde

klijenta. Sviđa mi se pristup Gale Vrbanić u okviru brenda Price on request. Svoje nove kolekcija razvija reciklirajući stare kolekcije, a to je vrlo relevantna tema s obzirom na česte teze o zasićenom modnom tržištu. Prekomjerna proizvodnja dovodi do toga da se neprodane kolekcije brendova spaljuju radi zaštite intelektualnih prava brenda. I sam naziv brenda demokratično propituje stvarnu vrijednost odjevnog predmeta, što je dobar komentar na trenutnu ekonomsku stvarnost. Silvijev Uskok je jedan od zanimljivijih projekata iz prošle godine. Smatram da je njegova dekonstrukcija lokalnog stereotipa relevantna tema u kontekstu globalnog modnog diskursa. Uz to, sviđa mi se gotovo unikatni izgled Dioralopovih komada.

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ucts to foreign markets. I also noticed a lot of collaborations of fashion designers within other design categories, with designers helping with branding projects by designing uniforms.

The CDA has advanced the field greatly by including fashion design in its overview of domestic design. A review of the most relevant works from the last two years will develop the discourse and educate the public.

Which fashion designers would you point out as the most relevant protagonists of the current domestic fashion scene? Can we situate their work in the context of the global fashion system and its trends?

There’s quite a few of them, I would point out Silvio Vujičić, Dioralop and Price on Request. I feel they are very relevant because they suggest a very clear image of their client.

I like the approach of Gala Vrbanić within her brand Price on Request. She develops her new collections by recycling old ones, which is very relevant considering the frequent thesis of the saturated fashion market. Overproduction leads to unsold collections being burned due to the protection of the brand’s intellectual rights. The brand’s name itself questions the true value of garments in a democratic way, which in itself is great commentary on the current economic reality. Silvio’s Uskok is one of the more interesting projects from last year. His deconstruction of local stereotypes is a relevant topic in the context of the global fashion discourse. I also like the unique appearance of Dioralop’s pieces.

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fotografija ∕ photograph Domagoj Kunić

Nika Pavlinek diplomirala je industrijski dizajn na Studiju dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu. Kao studentica započinje dugogodišnju suradnju s Aleksandrom Kovačem s kojim ostvaruje niz radova, primjerice dizajn gastronomskog časopisa Iće&Piće.

Pri završetku studija započinje rad na baletnim scenografijama, prvo kao suradnica Nenada Fabijanića, a kasnije samostalno. Autorica je mnogih televizijskih i kazališnih scenografija te muzejskih likovnih postava, koje najčešće realizira sa Damirom Prizmićem. Čest je suradnik autorskog tima Etnografskog muzeja, gdje s kustosicama Aidom Brenko i Marijom Živković ostvaruje tematske izložbe, kao što su Vatra, Moć Boja, Dim i brojne druge. Samostalno ili u stručnim timovima, bavi se projektiranjem interijera ili specifičnih dizajn sustava. Većina projekata na kojima radi su edukativnog ili interdisciplinarnog karaktera. Autorica je projekta rekonstrukcije i uređenja Radničke galerije (RAGA), gdje je uz kustosicu Leilu Mehulić i mnoge druge suradnike na brojnim projektima i sama radila kao kustosica i voditeljica galerije. Članica je Hrvatskog dizajnerskog društva i asistentica je na kolegiju Projektiranje na Studiju dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu.

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Nika Pavlinek graduated from the Faculty of Architecture of the University of Zagreb, in the field of industrial design. As a student, she began her year longtime collaboration with Aleksandar Kovač, with whom she worked on numerous projects, such as the design for the gastronomy magazine Iće&Piće. By the end of her studies, she began doing set design for ballet, first as an associate of Nenad Fabijanić, and later independently. She has done the set design for numerous television shows and theatre plays and designed a number of visual art exhibitions in museums, on which she most often collaborated with Damir Prizmić. She frequently collaborates with Aida Brenko and Marija Živković, curators of the Ethnographic Museum, on topical exhibitions such as Fire, The Power of Color, Smoke and many others.

Independently or in expert teams, she designs interiors or specific design systems. The majority of projects on which she works are of an educational or interdisciplinary character. She was the head designer for the reconstruction and interior design of the Radnička Gallery (RAGA), where she collaborated with the curator Leila Mehulić and many others on numerous projects, as a curator and gallery manager. She is a member of the Croatian Designers Association and work as an Assistant Professor on the Design Course at the Faculty of Architecture of the University of Zagreb.

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Nika Pavlinek — Zapljuskuju nas slike pa više ne vidimo vlastiti prostor ∕ We are bombarded by images to such a degree that we don’t even see the space around us razgovarala ∕ interview by Monika Džakić

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Interijer odvjetničkog ureda u Osijeku ∕ Law firm interior in Osijek, 2015

Tvoje dosadašnje djelovanje uključuje sve od grafičkog dizajna, scenografije, postava izložbi i interijera, preko vođenja galerije i obnašanja uloge kustosice, pa sve do rada kao asistentice na Studiju dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu.

Vidiš li sve te angažmane kao međusobno odvojene ili su za tebe svi oni povezani?

Ne mogu reći da se sve razvilo paralelno ili namjerno, ali kroz rad su se otkrivali i razvijali novi interesi i nova znanja, koji su vodili i drukčijim angažmanima. Dizajnerski zadaci generalno jesu interdisciplinarni, tako da prelasci iz pojedinih područja u druga, ili njihova preklapanja, i nisu toliko neuobičajena.

Your work so far includes everything from graphic design, set design, museum exhibition design and interior design, from managing galleries and curating exhibitions, to working as an assistant professor at the design program at the Faculty of Architecture in Zagreb. Do you view these activities as separate or mutually connected?

I can’t say I got involved with all of these undertakings deliberately in parallel. New interests and skills developed and revealed themselves as I was working, and these have led to various new jobs. Design work is in itself generally interdisciplinary, and shifting between fields or combining them is not that unusual.

Na koji je način iskustvo vođenja Radničke galerije (RAGA) utjecalo na tvoje poimanje odnosa između dizajna i umjetnosti? Postoji li neki projekt na kojem si radila a da je propitivao taj odnos?

Same izložbe u Radničkoj galeriji nisu se bavile dizajnom u sadržajnom smislu.

Evidentno je da je arhitektura, odnosno dizajn prostora, utjecala na sadržaj koji se unutra izlagao. Prostor je koncipiran kao soba za intimni razgovor s objektom kojem posjetioci svjedoče i u njemu sudjeluju. Ono što se, kroz kontinuiranu suradnju s umjetnicima, dalo primijetiti, jest da dizajn ponekad pati zbog eksplicitne potrebe, odnosno premalo slobode, a umjetnost od odsustva potrebe i možda previše slobode.

How has the experience of managing the Radnička Gallery (RAGA) influenced your understanding of the relation between design and art? Is there a project you did that explored this relation?

The exhibitions themselves did not deal with design as such, but architecture and interior design did have an impact on what was exhibited there. The gallery space was conceived as a space for an intimate interaction with the objects observed. What I could observe, through a continued collaboration with artists, is that design sometimes suffers due to its explicit need for a practical purpose, i.e. the lack of creative freedom, whereas art suffers due to the lack of such a need and perhaps a bit too much freedom.

Pri dizajniranju postava i grafičkom oblikovanju izložbi nerijetko se događa da dizajn preuzima fokus izložbe. Kako pristupaš dizajnu za izložbe i što misliš gdje je granica koju dizajnerska intervencija ne smije prijeći?

Dizajnu izložbi pristupam na način da pronađem vlastitu inspiraciju unutar sadržaja, nakon čega se počinju nizati kreativni momenti koji funkcioniraju na više razina od one formalne. Meni je važno da postoji tema i nastojim je provući kroz čitav prostor. Intervencija smije preći sve granice, sve dok su autori ili naručitelj suglasni s tim. Čest je problem kad

In the design of art exhibitions, it is often the case that the design overpowers the focus of the exhibition. How do you approach designing exhibitions; where is the line that the intervention of the designer should not cross?

I approach designing exhibitions by finding my own inspiration in the exhibits, which propels a series of creative moments that work on several levels, not just the formal one. To me, it is important that there is one theme, which I try to apply throughout the entire space. The intervention of the designer

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Postav izložbe Damira Sobote u Galeriji Raga ∕ Damir Sobota exhibition in Raga Gallery, exhibition view, 2016

se dizajnom pokušava prikriti raznolikost građe, ili se unutar unificiranog pristupa pokušava utopiti izloške koje je nekad teško svesti na zajednički nazivnik. To su slučajevi kada izložbe u scenografskom smislu izgledaju lijepo, ali na štetu bogatstva značenja samog izloška.

U vremenu brzih razmjena poruka i komunikacije putem slika, funkcionalni aspekt predmeta često odlazi u drugi plan i naglasak se stavlja na estetiku, što dovodi do stvaranja “neiskrenih” proizvoda koji često služe samo kao scenografija za editorijale. Postoje li situacije u dizajnu gdje je prihvatljivo na takav način tretirati predmete?

U kolaž tehnici ili u scenografiji? Nikako u životnom prostoru. Zapljuskuju nas slike pa više ne vidimo vlastiti prostor, jer ga sve više promatramo kroz metaprostor, kao na primjer Instagram. Bez ikakve namjere da internetske servise svedem na nešto inherentno negativno ili površno, jasno je da postoji opasnost da se počne odustajati od ulaganja sebe u stvarnost.

Kao selektorica Izložbe hrvatskog dizajna, misliš li da je potencijal društvenog doprinosa dizajna u trenutnim okolnostima ispunjen? Čini li ti se da su prijavljeni radovi predstavili stvarnu sliku dizajnerskog stvaralaštva?

Prijavljeni radovi su pretežito iz specifične niše, što nije uvelike različito od sličnih revija u svijetu. Radi se svakako o dobrom dizajnu. No svakodnevno oko sebe vidim i razne druge promišljene, angažirane i plemenite inicijative, čiji akteri sebe ne doživljavaju kao dizajnere ili im se uopće ne da baviti isticanjem i promocijom svojih djela i aktivnosti, jer nisu uhodani ili umreženi u dizajnerski sustav.

Takvi projekti u budućnosti bi svoj put do ove izložbe mogli pronaći uslijed redefinicije kategorija dizajna.

Selekcija Izložbe, ne samo ove godine već kroz nekoliko posljednjih izdanja, većinom se svodi na sudjelovanje dizajnera srednje i mlađe generacije. Što se događa sa starijom generacijom dizajnera i onima koji rade u

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can cross any line it wants, as long as the artists or the client commissioning the work agree to it. The problem is that often design is used to cover up the diversity of the exhibits or that a unified approach is used to make the exhibits uniform since it is often difficult to find a common denominator for them. In these cases, the exhibitions are beautiful in terms of the design, but to the detriment of the exhibits themselves.

At a time when messages are exchanged rapidly and communication is done via images, the functional aspects of objects often become secondary and the emphasis is placed on the aesthetics, which leads to the creation of “insincere” products that are often used merely as set design for editorials. Are there situations in design when it is acceptable to treat objects this way?

In the collage technique or in set design? Never in living spaces. We are bombarded by images to such a degree that we don’t even see the space around us, seeing it more and more as a meta-space, a good example being Instagram. I don’t mean to reduce internet platforms to something inherently negative or superficial, but it is clear we are in the danger of giving up on investing ourselves into reality.

As a member of the selection committee for the Croatian Design Exhibition, do you feel that the potential of design’s contribution to society has been fulfilled in the current climate? Do the works submitted represent a realistic image of design in Croatia?

The works submitted are mostly from a specific niche, which is not that different from similar exhibitions elsewhere in the world.

Certainly, the design is good. However, daily I see around myself other well-thought-out, engaged and noble initiatives, whose creators do not perceive themselves as designers or are not even interested in highlighting their work or promoting it because they are not a part of the design system network. In the future, such projects could find their way into this exhibition if we redefine the design categories.

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Drugi red partera scenografija za TV emisiju, Hrvatska radiotelevizija ∕ set design for TV show, Croatian Radiotelevision, 2009

edukaciji? Jesu li “prerasli” Bijenalnu izložbu, jesu li prestali baviti se dizajnom, ili ono što produciraju nije aktualno i relevantno? Čini mi se da je kod izložbi radova često riječ o pokazivanju mišića, do kojeg starijima nije više toliko stalo. Osim nekolicine koji vježbaju izdržljivost, mnogi se okrenu pedagogiji, sebi ili jednostavno taj podij prepuste drugima.

Postavi izložbi smješteni su u kategoriju Prostorne i grafičke intervencije i sistemi koju čini velika skupina raznovrsnih projekata nastalih na razmeđi svih dizajnerskih disciplina i nerijetko suradnjom više autora i timova. Koji su bili osnovni kriteriji pri odabiru projekata te skupine?

Osnovni kriteriji odabira su dubina ulaska u temu i posvećenost temi – oživotvorenje građe, sistematičnost te mjera i kvaliteta provedbe koja je vidljiva od cjeline do detalja.

Nastavljaju se suradnje proizvodnih tvrtki s dizajnerima, čiji rezultat su kvalitetni proizvodi visoke estetske vrijednosti kojima se većinom opremaju ekskluzivni stambeni prostori i korporativni uredi. Druga varijanta su proizvodi predstavljeni putem prototipa, odnosno ograničene serije, najčešće zbog nedostatka sredstava za nastavak proizvodnje i nemogućnost distribucije. Događa se da projekti koji bi trebali adresirati veći broj korisnika ostaju na razini inicijativa. Potiče li se time elitizacija dizajna, stvaranje jaza među društvenim skupinama i donošenje zaključka da dizajn nije za svakoga?

Da, ali mislim da je to prvenstveno problem hrvatske ekonomske politike i proizvodnje, a ne samo problem dizajna. Dizajn je pojam koji se čini toliko širokopojasan da ako je stvarno ‘dobar’ može riješiti sve probleme, a to je fantazija. Problem siromaštva i neobrazovanosti je kompleksan problem koji se rješava generacijama. Dobar dizajn je svjestan tih raskola unutar tržišta i često se svjesno mora donijeti odluka da proizvod pripadne tržištu koje je ‘elitno’, jer je kao takav jedino dostupan u smislu raspoložive i aktualne distribucije.

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The selection of this year’s exhibition, just like the last couple of times, is mostly reduced to designers of the younger and middle generation. What is happening with the older generation of designers and those working in education? Have they grown out of the biennial exhibition, have they stopped doing design or is what they are creating not current and relevant?

It seems that exhibitions are often all about proving yourself and showing what you got, and I suppose older generations of designers no longer feel the need for this. Except for a few, who are exercising endurance, many turn to education, to themselves or have simply decided to give others the opportunity to prove themselves.

The exhibition design projects were categorized under Spatial and graphic interventions and systems, a category that comprises a great number of diverse projects that combine all design disciplines and are often the result of the collaboration of several designers and teams.

What were the basic criteria in the selection of the submissions under this category?

The basic selection criteria were the degree of involvement with the subject matter and dedication to the subject matter – the extent to which the material has been brought to life and systematized, as well as the extent and quality of implementation from the work as a whole to every detail.

Collaborations of production companies and designers have been announced, promising quality products with a high aesthetic value, envisaged for the interior design of homes and offices. Another option is presenting products as prototypes, in a limited series, most often due to a lack of funds or the inability to distribute them. Often, projects that should be aimed at a greater number of consumers remain on the level of initiatives.

Does this encourage an elitization of design and contribute to a chasm between social groups, leading to the conclusion that design is not for everyone?

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LOTO scenografija za TV emisiju, Hrvatska radiorelevizija ∕ set design for TV show, Croatian Radiotelevision, 2008

Definiranje potrebe i krojenje poslovnog plana važan su dio priče, a nerijetko u taj tim dizajner nije uključen od početka. Jasno mi je da to nije fotogenično ni jednostavno, ali možda bi vrijedilo honorirati i kvalitetno provedenu analizu potrebe u kontekstu cjelovitog projekta. Živimo u vremenu gdje se puno pažnje odvlači scenama koje, osim što trenutačno djeluju opijajuće, ne zadovoljavaju niti jednu intrinzičnu potrebu.

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Yes, but I feel this is primarily an issue of Croatian economic policies and the manufacturing sector, not just an issue of design.

Design is often conceived as having such an extensive scope that it can, if it is good, resolve all issues, but this is a fantasy. Problems such as poverty and the lack of education are complex and cannot be resolved in one generation.

Good design is certainly aware of these rifts within the market and quite often the decision needs to be made deliberately whether a certain product is elite or not, in terms of how accessible it is and how wide it can be distributed. Defining the needs and preparing a business plan are important factors, and designers are often not part of these processes.

I realize these aspects are not fun or simple, but a well-done analysis of the market need for a certain product in the context of an entire project should be valued and appreciated. We live in a time when a lot of attention is given to phenomena that, other than being intoxicating for a brief moment, do not meet any intrinsic needs.

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fotografija ∕ photograph Brigitte Lacombe

Susan Sellers je osnivačica, partnerica i kreativna direktorica u studiju 2x4 te viša kritičarka za dizajn na Fakultetu za umjetnost Sveučilišta Yale. U studiju 2x4 vodi široki raspon strateških i dizajnerskih projekata u kulturalnim, komercijalnim i urbanim sektorima, od velikih projekata identiteta brendova do programa iskustava, okruženja brendova i izložbi. Među njenim klijentima su Nike, Tiffany & Co., Prada, Arper, Guggenheim, Lincoln Center, Isabella Stewart Gardner Museum i mnoge druge. Od 2013. do 2016. godine bila je voditeljica Odjela za dizajn Muzeja umjetnosti Metropolitan, gdje je predvodila dizajnerske inicijative od identiteta brenda do posjetiteljskog iskustva, izložbi i stalnog postava. Izrada novog brenda muzeja, otvaranje povijesne zgrade Marcel Breuer na križanju Avenije Madison Avenue i 75. ulice, otvaranje muzeja Met Breuer, kao i nedavne izložbe Charles James: Beyond Fashion (Charles James: onkraj mode) i Manus X Machina: Design in the Age of Technology (Manus X Machina: dizajn u doba tehnologije) izvedeni su pod njezinim kreativnim vodstvom. Predaje diljem svijeta, između ostalog kao gostujuća kritičarka na Fakultetu za dizajn Sveučilišta Rhode Island, Postdiplomskom studiju arhitekture, urbanizma i očuvanja Sveučilišta Columbia, Institutu za arhitekturu Južne Kalifornije (SCI-ARC) te na Scuola Politecnica di Design u Milanu. Diplomirala je grafički dizajn na Sveučilištu Rhode Island, a magistrirala američke studije na Sveučilištu Yale.

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Susan Sellers is a founding partner and creative director of 2x4 and Senior Design Critic at Yale School of Art. At 2x4, she leads a wide range of strategy and design projects in the cultural, commercial and urban sectors, from largescale brand identity and experience programs to brand environments and exhibitions. Her clients include Nike, Tiffany & Co., Prada, Arper, the Guggenheim, Lincoln Center, the Isabella Stewart Gardner Museum, and many others.

From 2013 to 2016, she was Head of Design at The Metropolitan Museum of Art, where she directed design initiatives from brand identity and visitor experience to exhibition and permanent gallery installation. The Museum’s rebranding, the opening of the historic Marcel Breuer building on Madison Avenue and 75th Street, The Met Breuer, as well as recent exhibitions, Charles James: Beyond Fashion and Manus X Machina: Design in the Age of Technology were implemented under her creative direction. She has taught and lectured widely and has been a visiting critic at Rhode Island School of Design, Columbia Graduate School of Architecture, Planning and Preservation, SCI-ARC and the Scuola Politecnica di Design in Milan. Susan holds a B.F.A. in Graphic Design from the Rhode Island School of Design and an M.A. in American Studies from Yale University.

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Susan Sellers — Dizajn je kolektivni govor koji organizira i izražava naše vrijednosti i ideale ∕ Design is collective speech that organizes and expresses our values and ideals razgovarao ∕ interview by Marko Golub

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Lincoln centar, brendiranje i prostorni dizajn, 2x4 u suradnji s Diller, Scofidio and Renfro ∕ Lincoln Center, branding and environmental design. 2x4 in collaboration with Diller, Scofidio and Renfro, 2010

Uvijek mi je drago kada imam priliku razgovarati s nekim tko i prakticira dizajn i mnogo piše o njemu jer sam oduvijek smatrao da je diskurzivna i intelektualna dimenzija dizajna i vizualne kulture ključna za dizajnerski posao, priznali dizajneri to osobno ili ne. Što Vas najviše motivira da pišete o dizajnu, da predajete dizajn, analizirate i tumačite ga? Je li riječ o Vašoj osobnoj potrebi da promišljate ono čime se bavite kao dizajnerica ili su razlozi općenitije prirode?

Svoje pisanje o dizajnu ni u kojem smislu ne smatram konvencionalnim, ali tumačenje dizajna i njegova uloga u kulturi ključni su za moju dizajnersku praksu. Dizajn smatram kolektivnim govorom, koji organizira i izražava naše vrijednosti i ideale. Kada se bavim dizajnom, uvijek razmišljam o asocijacijama i značenjima koji se vežu uz oblike dizajna – tipografska pisma, arhitektonske oblike, vrste slika, materijala, boja – i o načinima na koje se njima može manipulirati kako bi odrazili ili sugerirali nove ili alternativne načine čitanja i razumijevanja svijeta. Odličan primjer za ovo je projekt koji smo nedavno radili, The Diner. Radi se o suradnji s časopisom Surface Magazine i Rockwell Grupom za Salone del Mobile u Milanu prošle godine. Htjeli smo stvoriti prostor i prisutnost za američki dizajn na tom sajmu.

Odlučili smo koristiti formu tipične američke zalogajnice (diner) jer ona tako dugo figurira kao snažan globalni simbol mnogih izvrsnih kvaliteta američkog dizajna i kulture: demokratičnost, integracija osobnih usluga i tehnologije, jednostavnost i udobnost, pragmatičnost.

Američke zalogajnice možemo promatrati i kao prvi samoorganizirajući brend. Daleko prije Coca-Cole ili Starbucksa, tu su bile te zalogajnice, pouzdana mjesta uz cestu gdje ste mogli nešto prigristi, popiti šalicu kave i povezati se s prijateljskim licima prije nego krenete dalje.

Jezik dizajna ovih mjesta, te jednostavne moderne metalne fasade, neonski znakovi i šank možda mogu blago varirati, ali osnovna ideja uvijek je ista. Američki optimizam koji se poslužuje svakodnevno. Upravo to nas je zanimalo, ultimativna roba američke kulture dizajna, opti-

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I am always very excited to talk to someone who is a design practitioner but also writes extensively, as I always thought that the discoursive and intellectual dimension of design and visual culture is integral to what designers do, whether they personally acknowledge it or not. What are your main things that drive you to write about design, to talk about it in your lectures, to analyze and interpret it? Is it something that comes out of a personal need to reflect on what you do as designer, or are there more general reasons?

I am by no means a conventional design writer but the interpretation of design, its role in culture, is central to my practice. I see design as a kind of collective speech, which organizes and expresses our values and ideals.

When I design, I am always thinking about the associations and meanings attached to design forms – fonts, architectural forms, types of images, materials, colors – and the ways these can be manipulated to reflect on and suggest new or alternative ways of reading and understanding the world. A great example of this is a project we did recently called The Diner, which was a collaboration with Surface Magazine and Rockwell Group for the Salone del Mobile in Milan last year. We were interested in creating a space and presence for American Design at the Salone. We decided to use the form of a Diner because it has long been a powerful global symbol of many great qualities of American Design and culture: democracy, the integration of personal service and technology, ease and comfort, pragmaticism. You can also see it as the first self-organized brand. Long before there was Coke or Starbucks, there were Diners, a reliable spot along the road where you could get a bite to eat, get a cup of coffee and connect with a friendly face before you were on your way. The design language, the streamlined metal façade, the neon signage, the counter, might vary slightly along the way but the essential idea is always the same.

American optimism, served up daily. We were interested in that term, the ultimate commodity of American Design culture, optimism, at this

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Fondazione Prada grafički identitet ∕ graphic identity, 2x4, 2015

mizam, i to upravo sada, kada se američki identitet dovodi u pitanje. Zanimalo nas je stvaranje svojevrsne “kontrakulture”, htjeli smo pokrenuti raspravu o dizajnu u doba straha koje je sve, samo ne optimistično. Za mene to predstavlja određenu vrstu intelektualnog istraživanja, koje je visceralno i zahtijeva sudjelovanje. Gotovo da se radi o novinarstvu. To doista je ono što me najviše zanima u dizajnerskom poslu.

moment in time when American identity is being challenged. We were interested in creating a “counter culture”, so to speak, to discuss the status of design in this age of fear that is anything but optimistic. For me this is a type of intellectual inquiry, one that is visceral and participatory. It is almost a form of journalism.

And it really is what interests me most in being a designer.

Prije 24 godine, osnovali se studio za dizajn/ konzultantsku firmu 2x4 skupa s Michaelom Rockom i Georgiannom Stout. Ne očekujem, naravno, da mi ispričate čitavu povijest studija, ali zanima me kako sebe i studio vidite u ovom trenutku u usporedbi s namjerama, idejama i očekivanjima koje ste imali kada ste ga otvorili?

Dobro pitanje. Svijet se izuzetno promijenio otkada smo otvorili studio. Sama sebi često postavljam to isto pitanje u zadnje vrijeme . Kada smo otvorili studio, ja sam tek bila završila svoj magistarski studij iz amerikanistike na Sveučilištu Yale, na kojem sam se usredotočila na kulturalnu kritiku. Otvaranjem studija htjeli smo testirati aktivističke kulturalne ideje u stvarnom svijetu. Tada smo to nazvali „operacionalizacijom koncepata“. Iako smo imali mnogo malih avangardnih projekata u kulturi, oduvijek smo se zanimali za velike projekte, svoju praksu htjeli smo proširiti kako bismo kroz nju istražili svoj učinak. Mislim da smo u tome uspjeli. Sada radimo za mnoge velike globalne brendove, kao i za globalne kulturne organizacije, pomažemo im u izradi strategija, u razumijevanju njihovih misija i ciljeva na tržištu ideja i iskustava koje se stalno mijenja.

Kroz to ostajemo u kontaktu s našim ključnim interesom za kulturu i ulogu kulture u poticanju reakcija i osjećaja u ljudima, otvaranju rasprava, stimuliranju promjena i stvaranju novih odnosa.

Radimo posao koji je na presjeku kulture i trgovine. To je jedno od naših osnovnih načela jer vjerujemo da u konačnici ista temeljna pitanja, želje i potrebe postoje u obje vrste organizacija. Ovaj proces je i dalje izazovan, sada više nego prije, iako su mnoge od naših ideja ušle

24 years ago you founded the design studio / consultancy 2x4 with Michael Rock and Georgianna Stout. Of course, I’m not expecting to hear the entire history of 2x4, but I’m interested in how you see yourself and the studio at this moment, compared to what were your intentions, ideas and expectations when you first started it?

Good question. The world has changed enormously since we started 2x4. I have been asking myself this question a lot nowadays.

When we started the studio, I was a graduate student in American Studies at Yale University focusing on cultural criticism. We were interested in putting activist cultural ideas to the test in the real world. At the time, we called it “making the conceptual operational”. And while we did many small, avant-garde cultural projects, we were always interested in scale and volume, growing our practice to consider influence and impact. I think we are there! Now we work for many large scale global brands, as well as global cultural organizations, helping them strategize, understand their mission and realize their goals in an ever changing marketplace of ideas and experiences. This usually taps into this core interest in culture and the role of culture in engaging and moving people, starting conversations, and creating relationships and change.

We work across culture and commerce. It is one of our core principles, because we believe that at the end of the day, the same essential questions, desires and needs undergird both types of organizations. And this process continues to be challenging, even more so now than in the past, even though many of our ideas have moved into the mainstream of design. I

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Razglednice projekta The Diner, instalacije dizajnirane za Salone del Mobile u Milanu. 2x4 u suradnji s Rockwell Grupom i magazinom Surface ∕ Postcards from The Diner, an installation designed for the Salone del Mobile Milano.

2x4 in collaboration with The Rockwell Group and Surface Magazine, 2018

u dizajnerski mainstream. Smatram da je tomu tako jer se svijet mijenja toliko brzo, a problemi s kojima se suočavamo, kao što je veličina naših projekata, toliko su kompleksniji i zahtijevaju daleko više od nas. Klimatske promjene, društvena nepravda, politički sukobi, lažne vijesti, sve implikacije tehnologije… kao da se sve obrušilo na nas. To ponekad može biti previše.

think the reason for that is because the world is changing so much, so fast. And the issues, like the scale of our projects, are so much bigger and more complex and require so much more to accomplish. Climate change, inequity, political acrimony, fake news, all the implications of technology… It is really is all coming to a head now. It can be overwhelming.

Tijekom Vaše dizajnerske karijere, radili ste s mnogo visoko profiliranih brendova, korporacija i kulturalnih ustanova, posebno muzeja.

Koje su za Vas glavne razlike u bavljenju dizajnom u tim različitim kontekstima i koje su neočekivane sličnost. Koje su najčešće pogrešne predodžbe?

Kao što sam rekla, istovremeni rad i s kulturalnim i s komercijalnim organizacijama ključan je za našu praksu jer vjerujemo da je sve brend; brendovi u suštini i nisu ništa drugo nego odnosi. Odnosi koji su isključivo transakcijske prirode nikome nisu zanimljivi.

Svi ljudi zapravo traže jedno te isto: povjerenje i dosljednost, autentičnost, kakvoću i uzajamnost. Također, svim ljudima najvažnije su iste stvari: ljepota, ljubav, intimnost, smrt. To je ono što je u srži svega što motivira ljude. Dizajn je zapravo način govora, kako se obraćate ljudima i kako im dozvoljavate da vam priđu.

Pretpostavljam da zato naš rad obuhvaća istraživanje kulture ili srca pojedine organizacije, bez obzira radi li se o modi, umjetnosti, Pradi ili muzeju Metropolitan. Drago nam je kada uspijemo ući u srž tih načela koja nas sve gone i zatim koristiti dizajn kako bismo to učinili čitljivim i opipljivim za javnost.

Throughout your design career, you worked with a large number of high-profile brands, corporations and cultural institutions, among them especially museums. What are for you the main differences in designing for those different contexts, what are the unexpected similarities between them, and what are the main misconceptions?

As I said, working across cultural and commercial organizations is central to our practice. Because we believe that everything is a brand because brands are essentially relationships. Purely transactional relationships aren’t really satisfying to anyone. People are really looking for the same things everyone: trust and consistency, authenticity, quality and reciprocity. And they fundamentally care about the same things: beauty, love, intimacy, death.

This is at the core of what motivates people.

Design really is about how you speak, how you engage and let people in. I guess this is why most of our work really entails the research and expression of culture or heart of an organization whether that is fashion or art, Prada or The Met. We like to get to the core of those deep driving principles and use design to make that legible and tangible to the public.

Četiri godine bili ste Voditeljica Odjela za dizajn muzeja Metropolitan Museum of Art. Riječ je o ogromnom i vrlo kompleksnom projektu koji je sadržavao nekoliko aspekata, uključujući izradu potpuno novog identiteta brenda. Koji su Vam bili najveći izazovi u radu za Met s obzirom na njegovu ogromnu i raznoliku zbirku, programe, tradiciju itd.?

Raditi za Met meni je predstavljalo ogroman osobni izazov: ali na njemu sam i dalje

For four years you were Head of Design at the Metropolitan Museum of Art, which I imagine was a huge, very complex project which resulted in a number of things, including a complete new brand identity. What were for you the main challenges in working for the Met, considering its huge and diverse collection, programs, its tradition etc.?

My time at The Met was an incredible, personal challenge: one for which I am still very

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The Met, rebrendiranje i vizualni identitet, implementirano za vrijeme rada na mjestu direktorice dizajna u Muzeju umjetnosti Metropolitan. Susan Sellers u suradnji s Wolff Olins i dizajnerskim odjelom The Meta ∕ The Met rebranding and graphic identity, implemented while acting in the role of Director of Design, The Metropolitan Museum of Art, Susan Sellers in collaboration with Wolff-Olins and The Met Design, 2016

zahvalna. I dalje crpim mnoge lekcije iz razdoblja koje sam provela tamo. Prije svega, Met je ogroman i raznolik, njegova širina i dubina konstantna su prijetnja za njegovu sposobnost da rastumači vlastitu strukturu i svrhu; da podupre sve svoje nevjerojatne resurse i heterogenost. Počela sam raditi za Met u trenutku koji je bio vrlo značajan za njegovu povijest, nakon što je ondje prestao raditi njegov legendarni ravnatelj, na početku nove ere u kojoj je morao redefinirati svoju misiju i u novi fokus staviti svoju relevantnost. Koja je uloga devetnaestostoljetnog enciklopedijskog muzeja u 21. stoljeću?

Koja je vrijednost njegovih zbirki? Kome se obraćamo? Ili čak: „Što je umjetnost i kome je namijenjena?“. Kako da podijelimo više onog što imamo s više ljudi? Pragmatičnije govoreći, muzej je preuzeo vodstvo i program prostora koji se zove The Met Breuer, a nalazi se u zgradi Marcel Breuer na raskrižju Avenije Madison i 75. ulice i izvorno je projektiran za muzej Whitney.

Zbog toga je sva pažnja bila na Metu i muzej je shvatio da je to jedinstvena prilika da ponovno promisli ova pitanja i pozicionira se u odnosu na njih. Projekt je očito predstavljao ogroman napor za instituciju te veličine i tog ugleda i zahtijevao je involviranost stotina zaposlenika.

Strategija i dizajn bili su tek malen, ali važan dio ove priče. Ono što smo morali učiniti je okupiti sve oko iste svrhe. Zapravo se radilo o postupku organizacije mnogih razgovora i inicijativa, o artikulaciji strategije na sažet i privlačan način te o izradi robusnog, ali i fleksibilnog vizualnog jezika kako bi javnost shvatila o čemu se radi.

Jednostavno! To su u suštini strategija i identitet brenda. Zatim smo također morali rekonceptualizirati izložbene prostore i način izlaganja predmeta kako bismo istražili nove povijesne i estetske narative i privukli pažnju javnosti.

I dalje sam vrlo ponosna na tim i suradnike s kojima sam surađivala na tom projektu i dalje im se divim. Oni i dalje nastavljaju s tim radom. Bio je to zahvalan, zabavan i intenzivan posao.

grateful. I am still learning a lot about my time there. First of all, The Met is large and very diverse, its breath and depth constantly threatens its ability to create structure and purpose to support all its incredible resources and heterogeneity. I started at the Met at a significant time in its history, after the tenure of a legendary director, at the start of a new era in which the museum needed to redefine its mission and refocus its relevancy. What is the role of the nineteenth-century encyclopedic museum in the 21st century? What is the value of our collections? To whom do we speak? Even “What is art?” And “For whom”. How do we share more with more people everywhere? More pragmatically, the museum was taking on the stewardship and programming of what is now called The Met Breuer, the Marcel Breuer building on Madison Avenue and Seventy-fifth Street that was designed for the Whitney Museum. It was a moment when all eyes would be on the museum and they understood it was a unique opportunity to rethink and position themselves in relationship to all these questions. Obviously this was a colossal effort for an institution of that scale and renowned. One that required the effort of hundreds in the museum. Strategy and design was a small, but important, part of it. We needed to rally everyone in common purpose.

It was really a process of organizing many conversations and initiatives, articulating a strategy in succinct, compelling way, and then, creating a robust but flexible visual language in place to connect the dots for the public. Simple! That’s brand strategy and identity basically. And then there was also the effort of rethinking exhibition and the display of objects to explore new historical and aesthetic narratives to engage the public. I am still incredibly proud and in awe of the team and many collaborators with whom I worked to make it all happen. And they continue on today. It really was incredibly engrossing, rewarding and fun.

Postavio bih Vam pitanje o Vašem kreativnom procesu – kako pristupate novom projektu, postoje li neke metode koje su uvijek ključne

I’d like to ask a question about your creative process – how do you approach a new project, are there any methods to it that

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ako želite uspješan rezultat, smatrate li da postoje neke stvari koje dizajner treba ili može naučiti ili od kojih se treba odučiti isključivo kroz iskustvo?

Inzistiram na tome da svaki projekt radim od početka. Za mene to znači intenzivno istraživanje irazradu strategije. Provodimo intervjue, čitamo, putujemo, iskopavamo, promišljamo. Ne počinjemo sa skiciranjem dok nismo odlučili koji je naš stav. Inzistiramo na tome da su nam strategija i taktike kristalno jasni definirani. Skiciranje koristimo kako bismo testirali svoje ideje, ali nikad ne krećemo s vizualnim zamišljajima projekta prije nego dobro promislimo i izradimo projekt pismenim putem. Jezik i riječi vrlo su važan dio našeg procesa. I dan danas postoje trenuci kada pomislimo da bismo mogli zaobići ovaj korak, ali u konačnici nam uvijek postane jasno da radimo najbolje kada se vodimo strategijom i suradnjom. Veličina naših projekata je takva da zahtijeva višeglasje i alkemiju različitih stručnih znanja i skepticizma.

Osim kao grafička dizajnerica, mnogo radite i kao predavačica te ste viša kritičarka za dizajn na Umjetničkoj Akademiji Sveučilišta Yale.

Možete li mi nešto reći o svojoj predavačkoj praksi i općenito o obrazovanju u području dizajna. Što dobar sveučilišni program iz područja dizajna treba pružiti svojim studentima, a što profesionalni dizajner poput Vas može naučiti jedino kroz podučavanje drugih?

Kao predavač radila sam u mnogim svojstvima tijekom svoje karijere, ali uglavnom kao savjetnica za završne radove studenata. To je vrlo specifična uloga i nije nalik tradicionalnoj ulozi predavača. Ono što je meni najvažnije, ona zahtijeva mnogo slušanja i razgovora.

Moja uloga je pomoći studentima u racionalizaciji i artikulaciji njihovih vizualnih praksi. Pomažem im da izgrade dojmljiv portfelj radova koji jasno artikulira njihovu strategiju i namjeru, i to na potpuno individualan i, idealno, nov i osjetljiv način. Radim s relativno malim brojem studenata svake godine i pomažem im da pronađu poveznice između pojedinih radova te da osmisle neku suštinu i relevantnost svih radova kao cjeline. Apsolutno inzistiram na tome da u sebi potiču ono što je njima osobno, jedinstveno i što im plijeni pažnju. Pokušavam

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are absolutely key if you want a successful outcome, are there things that a designer can or should learn, or unlearn, only through years of experience?

I insist on starting a project from the beginning. And for me that means intense research and strategy. We interview, read, travel and excavate, rack our brains. But we really don’t start sketching until we decide what our position is on a project. We insist on clearly defining our strategy and tactics. We use sketching to test our ideas but we never prescribe a project visually before we think and write. Language, words, are a very important part of our process. To this day, there are times when we forget or think we can bypass this step. But it is always made clear to us that our best work is, driven by strategy, and essentially, collaborative. The scale of our work demands multiple voices and an alchemy of expertise and skepticism.

Besides working as a graphic designer, you’re a prolific lecturer, and you are also senior design critic at the Yale School of Art. Can you tell me a little bit more about your teaching practices, and about design education in general, what are the things that a good design school should provide its students, and what are the things that a professional designer like yourself can only learn through his/her involvement with education of others?

I have taught in many capacities over my career but for many years I have taught primarily as a graduate thesis advisor. This is a very particular role, not like traditional teaching. And most importantly, for me, it requires a lot of listening and conversation. My role is to help students rationalize and articulate their visual practice and build a strong body of work that clearly articulates strategy and intention.

And to do so in a completely individual and, hopefully, new, responsive way. I work with relatively few students per year and help them create connections between individual works and shape the substance and relevance of that broader body of design. I am absolutely insistent on encouraging which is personal, unique and captivating to them. I try not to

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Koje je Vaše viđenje trenutnog stanja kritike dizajna i pisanja o dizajnu? Kome je namijenjeno? Tko piše kritike i za koje kontekste?

Kakva je budućnost kritike dizajna?

Svakako danas ima mnogo više novinarstva o dizajnu i kritike dizajna nego ikad prije, što je pozitivno. Ovaj način razmišljanja sada prevladava u različitim kontekstima, ne samo na umjetničkim akademijama, nego i u poslovnim inkubatorima i na fakultetima ekonomije na uglednim sveučilištima kao što su Stanford, Harvard i Yale (u SAD-u). To je korisno i važno jer se time izgrađuje područje stručnosti i povećavaju relevantnost i publika. Međutim, važno je da dizajneri i dalje aktivno rade u svom području kako ne bi postali marginalizirani ili svedeni na ulogu izvršitelja tuđih vizija i kreativnosti.

Zato su mi pisanje i strategija u dizajnerskoj praksi toliko važni. Naravno, kreativnost i ideje nisu isključive značajke ijedne pojedine discipline ili prakse, ali vizualna kakvoća i integritet grafičkog dizajna, a i dizajna općenito, uvijek će ovisiti o dubokom i temeljitom istraživanju samog područja dizajna.

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James Turrell dizajn knjige ∕ book design, Guggenheim Museum. 2x4, 2013

lijevo ∕ left Samsungov Olimpijski paviljon na Zimskim olimpijskim igrama 2018. ∕ Samsung Olympic Pavilion at the 2018 Winter Olympic Games. 2x4, 2018

ne projicirati svoja vlastita iskustva ili preferencije na njihov rad i trudim se razumjeti kojim smjerom žele krenuti. Ovaj rad me izuzetno ispunjava. Na neki način nije vrlo različit od rada s klijentima. Zanima me što ljude motivira, kreativnost i ekspresija. Zanima me što ih goni i zašto. Nadam se da će podrška i iskustvo koje im pružam nastaviti oblikovati područje dizajna i njegov potencijal.

project my own experience or preferences on their work but instead try to understand where they are trying to go and help them get there. I get tremendous satisfaction from this work. In a way, it’s not so different from working with a client. I am interested in what motivates people, creativity and expression. I want to know what drives them and why. And I hope the support and experience I can give helps them continue to shape the field and potential of design.

How do you see the current state of design criticism and design writing in general?

Whom is it for? Who writes it and for which context? What is its future?

Certainly there is much more design journalism and criticism than ever before which is positive. And this type of thinking is more prevalent in a diversity of spaces, not only in art school but in incubators and business schools of significant stature from Stanford to Harvard and Yale (in the US). This is useful and important to build the area of expertise and increase the relevance and the audience for this type of thinking and writing. But it is important that designers stay involved in building the body of work and don’t get marginalized and relegated to the execution of other people’s vision and creativity. That is why writing and strategy in design practice is so important to me. Of course, creativity and ideas are not the exclusive province of any one discipline or practice but the visual quality and integrity of graphic design, and design more generally, will always be contingent on the deep and thorough exploration of its craft.

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fotografija ∕ photograph Jelena Jovanov

Slavimir Stojanović je grafički dizajner rođen 1969. u Beogradu. Studirao je na Akademiji primijenjenih umjetnosti u Beogradu i na HDK (Visokoj školi za dizajn) u Göteborgu u Švedskoj, u klasi profesora HC Ericsona. Radio je u agencijama Saatchi & Saatchi, Kompas Design, Arih Advertising, Communis DDB, kao i u vlastitom studiju Futro Design čiji je kreativni direktor. Osnivač je lifestyle brenda Futro i kreator serije dječjih slikovnica Avanture Singi Lumbe. Radio je na komercijalnim projektima za mnoge klijente, uključujući Sony, Michelin, Mercedes-Benz, Coca-Cola, Allied Domecque, Abanka, Zavarovalnica Triglav, Ljubljanski Kinematografi, Studio Moderna, Delo Revije, Lisca, Gorenje, Europlakat, DrogaKolinska, MPC Holding, Entrix, Kozmo, Voda Vrnjci, Polimark, Idea, Atlantik Grupa, Knjaz Miloš, Plazma, Aqua Viva, Kabinet itd. Realizirao je i veliki broj projekata za kulturne institucije kao što su Jugoslovensko dramsko pozorište, magazin New Moment, Muzej primijenjene umjetnosti i Muzej suvremene umjetnosti u Beogradu, Moderna galerija Ljubljana, Kulturni centar Beograda, Zvezdara teatar i mnoge druge.

Dobitnik je preko 300 međunarodnih nagrada i priznanja u domeni oglašavanja i grafičkog dizajna. O njegovom radu pisali su najznačajniji svjetski časopisi kao što su Graphis, Print, Communication Arts, Computer Arts, Creative Review i Novum. Njegovi radovi se nalaze u Muzeju Pompidou u Parizu, Muzeju umjetnosti i reklame u Hamburgu, Muzeju plakata u Varšavi, Muzeju primijenjene umjetnosti u Beogradu i Muzeju suvremene umjetnosti u Novom Sadu.

2017. godine primio je Nagradu za životno djelo od strane Udruženja za tržišne komunikacije Srbije, a 2018. godine objavio je svoj prvi roman Devet. Predaje Plakat na Akademiji primijenjenih umjetnosti u Beogradu.

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Slavimir Stojanović is a graphic designer born in 1969 in Belgrade. He graduated from the Academy of Applied Arts in Belgrade and the Academy of Design and Crafts in Gothenburg, Sweden, under Professor HC Ericson. He worked in the agencies Saatchi&Saatchi, Kompas Design, Arih Advertising, Communis DDB, as well as in his own studio Futro Desig, where he is the creative director. He is the founder of the lifestyle brand Futro and the creator of the series of children’s picture books Avanture Singi Lumbe. He worked on commercial projects for numerous clients, including Sony, Michelin, Mercedes-Benz, Coca-Cola, Allied Domecque, Abanka, Zavarovalnica Triglav, Ljubljanski Kinematografi, Studio Moderna, Delo Revije, Lisca, Gorenje, Europlakat, DrogaKolinska, MPC Holding, Entrix, Kozmo, Voda Vrnjci, Polimark, Idea, Atlantik Grupa, Knjaz Miloš, Plazma, AquaViva, Kabinet, etc. He is also responsible for numerous projects commissioned by cultural institutions, such as the Yugoslav Drama Theatre, the New Moment magazine, the Museum of Applied Arts and the Museum of Contemporary Art in Belgrade, The Modern Gallery in Ljubljana, the Belgrade Cultural Centre, the Zvezdara Theatre and many others. He has received more than 300 international awards and recognitions in the field of advertising and graphic design. His work was covered by the world’s most significant magazines, such as Graphis, Print, Communication Arts, Computer Arts, Creative Review and Novum. His works are exhibited in the Pompidou in Paris, Museum of Arts and Crafts in Hamburg, Poster Museum in Warsaw, Museum of Applied Arts in Belgrade and the Museum of Contemporary Art in Novi Sad. In 2017, he received the Lifetime Achievement Award from the Serbian Association for Market Communications, and in 2018 he published his first novel Devet. He teaches a class on posters at the Academy of Applied Arts in Belgrade.

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Slavimir Stojanović — Ljudi vole vidjeti kad se netko iskreno trudi ∕ People appreciate it when someone makes a genuine effort razgovarao ∕ interview by Marko Golub

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Slavimir Futro – Devet: roman u ilustrovanim pričama ∕ Nine: A Novel in Illustrated Stories, Ammonite Books, 2018

U uvodniku jednog ranijeg intervjua Ana Radovanović naziva te pop zvijezdom srpskog dizajna, što mi u kontekstu dizajna uvijek zvuči malo smiješno, ali u tvom slučaju doista bi se moglo reći da je tako – ti stvarno uživaš taj čudan status dizajnerske ikone u vremenu u kojem mi se čini da za takvo nešto više nema prostora. Ili ga barem u Hrvatskoj nema. Kako gledaš na to?

Taj imaginarni medijski prostor sam, ovdje u Beogradu, nekako spontano zauzeo tijekom devedesetih, kada sam radeći u agenciji Saatchi&Saatchi redovno osvajao nagrade u inozemstvu dok je na ovim prostorima situacija najblaže rečeno bila tragična, pa su ljudi u mom primjeru vidjeli zrnce svjetla na kraju beskonačnog tunela. Kasnije, kad sam se preselio u Sloveniju, ti uspjesi su se nastavili pa su mediji redovno pratili što se sa mnom događa u bijelom svijetu, pa makar on bio samo petsto kilometara dalje. Kada sam se vratio, uvidio sam, poslije raznih proživljenih iskustava na različitim tržištima, da mi dizajn više nije jedini kanal za izražavanje. Napravio sam nekoliko autorskih izložbi koje su vrlo dobro primljene kod publike, napisao i nacrtao nagrađenu slikovnicu za djecu i evo sada u rujnu objavio svoj prvi roman. Dakle, zadržao sam svoj medijski prostor jer nisam bio lijen, a ljudi ovdje, ili bilo gdje drugdje, vole vidjeti kad se neko iskreno trudi.

Iako te, posebno u zadnjih desetak godina, većina ljudi prepoznaje po tvojim osobnim projektima, naročito onim koje provlačiš kroz vlastiti brend Futro, za tvoj rad karakteristična je činjenica da si većinu karijere proveo radeći za velike, vrlo ozbiljne oglašivačke agencije. Mislim da se to u nekom smislu vidi na tebi, tvoj rad odiše nekom sigurnošću i profesionalizmom, čak i onda kada izgleda kao da se zezaš. Koliko je takvo iskustvo važno za dizajnera općenito, a koliko je bilo važno za tebe osobno?

Za mene je rad u velikom, multinacionalnom sustavu poput Saatchija predstavljao poklon s neba. U to vrijeme doslovno nije bilo moguće ozbiljno raditi u bilo kojoj

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In the introduction to an earlier interview with you, Ana Radovanović called you a pop star of Serbian design, which always sounded a bit odd to me in the context of design, but it seems appropriate in your case – you truly do have this curious status of a design icon at a time that no longer seems to support such icons, at least in Croatia. What is your opinion of this?

I have taken over this imaginary media space, here in Belgrade, somehow spontaneously during the 90s, when I would, while I was working in the agency Saatchi&Saatchi, regularly win awards abroad, whereas the situation in the region was tragic, to say the least, which is why people saw a bit of a light at the end of a seemingly endless tunnel. Later, when I moved to Slovenia, the success continued and the media would regularly follow what’s going on with me in the great big world, even if this was only 500 km away. After I returned, I realized, after all my experience on different markets, that design was no longer my only channel for creative expression. I did a couple of independent exhibitions that were very well received, I wrote and drew an award-winning children’s picture book, and now, in September, I published my first novel. I have retained this space in the media because I wasn’t lazy, and people here, like anywhere else, like it when someone makes a genuine effort.

Although to most people you are known for your personal projects, especially in the last ten years and particularly for the work you do for your own brand Futro, you have spent most of your career working for large wellknown advertising agencies. It seems to me that this translates into your own work, as it exudes self-confidence and professionalism, even with your playful work. How important is this type of experience for designers generally, and how important was it for you personally?

To me, working in a big multinational system like Saatchi was a godsend. At the time, it was literally impossible to work in any other

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Futro plakat No. 001 ∕ Futro poster No. 001

drugoj agenciji, a u Saatchiju si se još mogao i natjecati u inozemstvu. Taj osjećaj sigurnosti u vlastiti rad najdublje se utisnuo u moju podsvijest kada je moj plakat za Sony Walkman proglašen za najbolji projekt unutar globalne Saatchi mreže. Zato, kada radim, vrlo sam ozbiljan i dajem uvijek sve od sebe u tom trenutku. U svoj rad unosim sve što znam i sve što osjećam. Ozbiljnost i iskrenost su dvije osnovne karakteristike koje sam vremenom razvio, a koje kao klinac definitivno nisam imao u portfoliju svoje ličnosti.

agency, and when you worked for Saatchi, you could compete with your projects internationally. This sense of confidence in my own work imprinted itself in my subconscious when my poster for the Sony Walkman was named the best project within the global Saatchi network.

This is why I am very serious when it comes to my work, and always give my best. I put everything I know and feel into my work. Sincerity and earnestness are the two most important characteristics that I developed over time, and which I definitely lacked when I was younger.

U jednom davnom razgovoru rekao si mi da si imao sreću da su te u agencijama prepoznavali kao mladog dizajnera čiji će im talent donositi nagrade, dakle da si, zahvaljujući njihovoj kalkulaciji, ipak imao neku relativno zaštićenu poziciju u kojoj si mogao raditi na takvim projektima koji su ti omogućavali u nekom smislu odriješene ruke što se tiče kreativnosti. Sa sadašnjim velikim odmakom, kako je to funkcioniralo, i koliko si zaista imao slobode, a koliko svijesti da je ipak, negdje u pozadini svega, vrebala ta „kalkulacija“?

Ja sam tu kalkulaciju odmah prihvatio kao neizbježnu i pragmatično se prihvatio svog zadatka. Radio sam iz sve snage duboko osjećajući da druge šanse neće biti. Moji roditelji su u to vreme imali mjesečne plaće od po 5 maraka, a ja čitavih 100. Što sam više nagrada dobivao to mi je plaća rasla, tako da je ta kalkulacija bila više nego transparentna. Uz

In an interview, a long time ago, you told me that you were fortunate that , in you, the agencies recognized a young designer whose talent would bring them awards, and that owing to this calculation on their part, you enjoyed a relatively protected position that allowed you a great deal of creative freedom when working on projects. Now that a lot of time has passed since then, what is your view of how that arrangement worked; to what extent was it a matter of your creative freedom, and to what extent were the agencies calculating?

I accepted this calculation right away as inevitable and approached my work pragmatically. I put my blood, sweat and tears into my work, knowing there wouldn’t be a second chance. At the time, my parents’ monthly wage was 5 deutschmarks, and mine was 100 deutschmarks. The more awards I won, the more my salary increased – the calculation was

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Pure Influence vizualni identitet ∕ visual identity, 2016

plaću, rasla je i sloboda da više eksperimentiram i razvijam se u kreativnom smislu. Na kraju, s vremenskom distancom od dvadeset godina, mogu reći da je sve to zajedno pomoglo koliko meni toliko i unapređenju čitave kreativne scene kod nas. Na tom primjeru bilo je očigledno da se ulaganje u mlade talente višestruko isplati. Posle toga je, s demokratskim promjenama, pukao balon kreativnosti kao duševnog spasa u teškim vremenima, kada se sudario sa tržišnom realnošću, pa su kalkuliranje talentom i stjecanje kreativnog kapitala zamijenili postotci u tranširanju medijskog kolača.

more than transparent. As my salary grew, so did my freedom to experiment and develop creatively. Now, after twenty years, I can say the entire experience helped not only me, but also the development of the entire creative field here in the region. My example made it obvious that investing in young talent pays off. After that, though, with the democratic changes, the bubble of creativity – as a salvation during difficult times – burst when faced with the reality of the market, and the investment in creative capital was replaced with the struggle to win over media market shares.

Što su za tebe bili formativni utjecaji u području dizajna? U nekim prijašnjim razgovorima spominjao si prilično disparatne uzore, od Mirka Ilića, Dušana Petričića i Jugoslava Vlahovića, preko postmodernih dekonstruktivista poput Nevillea Brodyja i Davida Carsona, pa do skandinavskog minimalizma.

Pritom tvoj rad, barem danas, ne nalikuje ničemu od toga.

To su sve bili inicijalni impulsi bez kojih vjerojatno ne bih postao dizajner, impulsi koji su me u početku držali na kursu nadahnuća i inspiracije koja je svakom početniku presudna. Oduvijek mi je na prvom mjestu bila ideja, jer kao klinac estetiku nisam ni mogao shvatiti, tako da su moji uzori u početku bili spomenuti ilustratori s izuzetno jakim konceptualnim karakterom, dok su me Brody, Carson, Peter Saville i studij na Visokoj školi za dizajn u Göteborgu uveli u domenu estetike. S vremenom su se te dvije karakteristike dizajna, koncept i forma, u meni povezale, a ujedno se i formirao poprilično precizan ukus koji imam za suvremene dizajnere i na čiji rad se svakodnevno ugledam. Prije svega tu je Paul Sahre. Njegova vizualna inteligencija je ono što težim dosegnuti kad se bavim grafičkim dizajnom. Kada su brending projekti u pitanju, tu je Michael Bierut. Kad govorimo o pomicanju likovnih granica, tu je veliki uzor Eike Koenig. A od mlađih zvijezda svakako Braulio Amado.

Which influences would you say were formative for you in the field of design? In previous interviews, you would mention pretty disparate role models, from Mirko Ilić, Dušan Petričić and Jugoslav Vlahović, to the postmodern deconstructivists like Neville Brody and David Carson, and Scandinavian minimalists. Having said that, your work, at least today, resembles none of these.

All of these were initial impulses, without which I probably never would have become a designer. They kept me on the course of inspiration, which is crucial to everyone. I’ve always put the creative concept first, as I didn’t get aesthetics when I was younger, which is why my first role models were the illustrators you mention, whose work had an extremely strong conceptual character. Brody, Carson, Peter Saville and the Academy of Design and Crafts in Gothenburg introduced me to the domain of aesthetics. With time, these two aspects of design, the concept and the form, interconnected in my work, and I developed quite a precise taste in contemporary designers, whose work I look up to daily. I primarily mean Paul Sahra.

His visual intelligence is what I seek to achieve when doing graphic design. When talking about branding projects, I mostly look up to Michael Bierut, and when it comes to pushing the boundaries of visual arts, Eike Koening is a great role model of mine. Of the younger stars, I am definitely inspired by Braulio Amado.

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Footb-All-Mix plakat ∕ poster, 2018

Gledajući Futrovu produkciju, ali i tvoje kazališne plakate kao i neke druge stvari, imam dojam da skoro svakom zadatku pristupaš na način kao da dizajniraš logo, odnosno kao da pokušavaš sažeti sve bitno u jednu, u trenutku raspoznatljivu i čitljivu jedinicu koja jezgrovito kaže sve što je važno, bez puno priče.

To je posljedica želje za komunikacijom, želje da se moj glas jasno i glasno čuje.

Kad sam bio klinac poslali su me u Ameriku gdje sam živio sa bakom i djedom godinu dana bez roditelja. Kad sam se vratio, mamu i tatu sam jedva prepoznao, a moje mjesto je zauzeo tek rođeni brat. S tim izazovom ponovnog pronalaženja svog mjesta u vlastitoj porodici, a samim tim i izvan nje, borio sam se godinama.

Bolje je šutjeti ako se nema što reći, ali ako ima, onda treba sve snage uložiti u preciznost poruke. Nitko danas ne voli gubiti vrijeme, pogotovo ne u komunikaciji.

Viewing the production of Futro, but also your theatre posters and some other work of yours, I get the sense that you approach almost every task as if you were designing a logo, that you are trying to condense everything that is important into one immediately recognizable and legible unit that says everything that needs to be said concisely, in a nutshell.

This is the result of the desire to communicate; I want my voice to be heard loud and clear. When I was a kid, my parents sent me to live with my grandparents in America for a year.

When I returned, I could barely recognize my parents, and my place was taken by my newborn brother. For years, I struggled with the challenge to find my place in my own family, and, consequently, in the world. If you don’t have anything to say, it’s better to remain silent, and if you do, all efforts should be put into making the message precise. Today, no one likes to waste time, particularly in communication.

Kako izgleda tvoj proces dizajniranja? Od čega je tebi lakše početi, od ideje koja traži artikulaciju, ili od vizualnosti koja putem pronađe ideju?

U mom slučaju od ideje. Naravno, često se dogodi da je baš estetika ideja. Poslije više od trideset godina bavljenja vizualnim komunikacijama, mogu reći da imam poprilično veliko skladište vizualnih metafora koje po potrebi vadim iz podsvijesti. Jezik simbola je postao moj drugi jezik.

What does your design process look like?

What do you find easiest to begin with, from the idea that needs to be articulated or from the visuals, finding the idea along the way?

In my case, it’s the idea. Of course, it’s often the case that it is the aesthetic that is the idea. After more than thirty years of doing visual communications, I can say that I have a pretty big repertory of visual metaphors that I yank out of my subconscious when I need them. The language of symbols has become my second language.

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Goran Stojičić – Slučaj Danil Harms ∕ The Case of Daniil Harms, korice knjige ∕ book cover, Ammonite Books, 2018

Artefakti tvog brenda Futro gotovo redom mi nalikuju fragmentima manifesta neke izvitoperene autorske, dizajnerske i životne ideologije. Sumnjam da se to može jednoznačno sažeti, ali me zanima što je ta ideologija u ovom trenutku?

Slažem se. Svaki napor koji danas netko učini u ideološkom pravcu suprotnom od materijalnog, pa čak i ako je toliko jasan i većini mislećih ljudi prihvatljiv, djeluje kao neki uzaludan, trivijalan trud da se stvori utopijsko društvo socijalne pravde, ljubavi, različitosti i općeg razumijevanja. Međutim, ja nemam namjeru odustati od sebe. Jedva sam se pronašao, kako sada da odustanem?

To me, almost all of the artifacts of your brand Futro resemble fragments of a manifesto of some kind of warped design and life ideology of yours. Though I doubt you could summarize it unequivocally, could you tell me what this ideology stands for today?

I agree. Today, every effort made according to an ideology that is not materialism, even if it is clear and acceptable to most thinking people, will seem like a futile and trivial attempt to create a utopian society of social justice, love, diversity and understanding. However, I have no intention of giving up on myself.

It took me a long time and a lot of work to find myself, how could I give up now?

Znam da pratiš što rade hrvatski dizajneri, a u kontekstu ove izložbe imam i priliku da te pitam što misliš o njima i njihovom radu? Što prepoznaješ kao najvažnije, najuočljivije karakteristike hrvatske dizajnerske produkcije, što ti se najviše sviđa, a što najmanje?

Hrvatski dizajn je godinama u vrhu svjetskog dizajna i ono što prepoznajem kao kvalitetu je prije svega konstantan priljev novih talenata na vašu scenu. Sviđa mi se i način na koji ste organizirani, pojedinci koji trže strukturu scene u organizacijskom smislu od podjednake su važnosti koliko i sami dizajneri. Što se dizajna tiče, prepoznatljiv je humor u kombinaciji sa estetskom inteligencijom. Ali, prije svega su tu vrlo, vrlo talentirani pojedinci koji uspijevaju zadržati entuzijazam pod pritiskom tržišnih oscilacija. Izuzetno cijenim i duboko

I know you follow the work of Croatian designers, and the context of this exhibition gives me the opportunity to ask you what you think of their work. What, in your opinion, are the most salient and recognizable characteristics of Croatian design; what do you like the most, and what do you like the least about it?

Croatian design has now been at the top of the global design scene for years now, and what I recognize as most valuable about it is the constant inflow of new talent. I also like the way you are organized; individuals holding the structure of the field together in organizational terms are just as important as the designers themselves. As far as the design itself is concerned, I recognize a lot of humor in conjunction with aesthetic intelligence, but mostly very talented individuals who have managed to retain

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Najkraći dan ∕ The Shortest Day vizualni identitet filmskog festivala ∕ visual identity for the film festival, 2015

sam inspiriran radom Brukete i Žinića, Nikole Đureka, Vanje Cuculića, Damira Gamulina, Šesnića i Turkovića i mnogih drugih. Ono što najviše cijenim je dovitljivost i uspješan eksperiment, a najmanje robovanje trendovima. Što bi savjetovao mladim ljudima koji se tek počinju baviti dizajnom? Na što je važno obratiti pažnju, a čega se treba kloniti?

Bez strasti, posvećenosti i iskrenosti nema dobrog dizajna. Sve preko toga je višak koji se lako pretvori u jeftinu manipulaciju.

ocjenjivački sud

their enthusiasm under the pressure of market oscillations. I have a tremendous amount of respect and am inspired by the work of Bruketa and Žinić, Nikola Đurek, Vanja Cuculić, Damir Gamulin, Šesnić and Turković, and many others.

What I appreciate the most is gumption, ingenuity and a willingness to experiment, while blind trend following is my pet peeve.

What is your advice for those who are just getting their start in design? What is it that they should pay the most attention to, and what should they avoid?

Without passion, dedication and sincerity, there is no good design. Anything else turns into manipulation very easily.

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professional design

profesionalni dizajn professional design

profesionalni dizajn

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visual communications design

dizajn vizualnih komunikacija visual communications design

dizajn vizualnih komunikacija

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Aplauz za komarce ∕ An Applause for Mosquitoes agencija ∕ agency Bruketa&Žinić&Grey kreativna direkcija ∕ creative direction Miran Tomičić art direkcija ∕ art direction Nebojša Cvetković copywriting Vanja Činić suradnik ∕ contributor Marko Zabrdac (account executive) naručitelj ∕ client Teatar Exit ∕ Theatre Exit, Zagreb 6 ∕ 2017

Cilj serije plakata za Ljetne noći Teatra Exit bio je mlađu publiku zainteresirati za kazalište na jednostavan i zabavan način, s dozom humora i ironije. Budući da se festival događa u ljetnim večerima, kada na otvorenome ima mnogo komaraca, dizajneri su se poslužili analogijom između aplauza i geste “pljeskanja” komaraca.

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A series of posters for Theatre Exit Summer Nights aiming to make the younger audience more interested in theatre in a simple and entertaining way, with a dose of humour and irony.

Having in mind that the festival takes place during summer evenings, or the season when there are many mosquitoes, the designers used the analogy between the applause and the gesture one makes to “slap” a mosquito.

visual communications design

Kralj Rikard III ∕ Richard III studio Cuculić art direkcija ∕ art direction Vanja Cuculić suradnik ∕ contributor Leo Kirinčić (lettering) naručitelj ∕ client GDK Gavella ∕ Gavella Drama Theatre, Zagreb 12 ∕ 2017

Plakat za predstavu Kralj Rikard III. Williama Shakespearea, koja govori o krvavoj i bespoštednoj borbi za vlast.

dizajn vizualnih komunikacija

The poster for William Shakespeare’s Richard III, a historical play about bloody and uncontrollable struggle for power.

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Proces ∕ The Trial studio Cuculić art direkcija ∕ art direction Vanja Cuculić naručitelj ∕ client GDK Gavella ∕ Gavella Drama Theatre, Zagreb 3 ∕ 2018

Središnji motiv plakata predstave prema predlošku najpoznatijeg Kafkinog romana je stolac za ispitivanje u kojem je slomljen gospodin K.

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The central motif of the poster is an interrogation chair in which Mr K. is sitting broken, as a reference to Kafka’s best-known novel.

visual communications design

Scena 121 (Romanca o tri ljubavi, Srce veće od ruku, Tesla Anonimus) ∕ Scene 121 (A Romance of Three Loves, Heart Larger than Hands, Tesla Anonymous) studio Cuculić art direkcija ∕art direction Vanja Cuculić suradnik ∕contributor Leo Kirinčić (lettering) naručitelj ∕client GDK Gavella ∕Gavella Drama Theatre, Zagreb 2 – 5 ∕ 2017

Serija plakata za Gavelline predstave na (maloj) Sceni 121. Format je za razliku od redovnih B1 plakata (velika scena) prepolovljen, plakati su horizontalni i sklapanjem postaju knjižica predstave.

dizajn vizualnih komunikacija

A series of posters for the Gavella Theatre productions on the (small) Stage 121. The poster format is shrunk to half its size so to introduce a contrast with regular B1 posters (usually designed for the large stage), and positioned horizontally, which allows folding and thus creating theatre booklets.

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Sjećanje šume ∕ Memory of the Forest studio Cuculić art direkcija ∕ art direction Vanja Cuculić suradnik ∕ contributor Leo Kirinčić (lettering) naručitelj ∕ client GDK Gavella ∕ Gavella Drama Theatre, Zagreb 1 ∕ 2018

Plakat za predstavu prema istoimenom književnom predlošku Damira Karakaša o oporom odrastanju u Lici.

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The poster for the play staged after the eponymous novel by Damir Karakaš about harshness of growing up in the Croatian region of Lika.

visual communications design

Slikari rudari ∕ Pitmen Painters studio Cuculić art direkcija ∕art direction Vanja Cuculić naručitelj ∕ client GDK Gavella ∕ Gavella Drama Theatre, Zagreb 5 ∕ 2018

Plakat za dramu nastalu po istinitim događajima vezanim uz Ashingtonsku grupu, skupinu slikara prepoznatih 30-ih i 40-ih godina 20. stoljeća, čiji su članovi uglavnom bili rudari.

dizajn vizualnih komunikacija

The poster for the drama produced following a story about real events that took place with the so-called Ashington Group, which was a small society of artists active in the 1930s and 1940s mostly made up of pitmen.

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Hrvatsko narodno kazalište u Zagrebu, sezona 2017/2018. ∕ The Croatian National Theatre in Zagreb, Season 2017/2018 dizajn ∕ design Dario Dević suradnici ∕ contributors Marko Ercegović (fotografija ∕ photography), Elizabeta Kumer (urednica ∕ editor) naručitelj ∕ client Hrvatsko narodno kazalište u Zagrebu ∕ Croatian National Theatre in Zagreb 9 ∕ 2017 – 6 ∕ 2018

Dvadeset i jedan plakat i trinaest programskih knjižica za premijere i ostala događanja u 157. sezoni Hrvatskoga narodnog kazališta u Zagrebu.

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The collection of twenty-one posters and thirteen programme booklets for premieres and other events during the 157th season of the Croatian National Theatre in Zagreb.

visual communications design

Kinoklub Zagreb 2016. – 2018. ∕ Zagreb Cinema Club 2016 – 2018 dizajn ∕ design Dario Dević naručitelj ∕ client Kinoklub Zagreb ∕ Zagreb Cinema Club 9 ∕ 2016 – 6 ∕ 2018

Plakati za filmske cikluse, radionice i druge programe Kinokluba Zagreb u sezonama 2016./17. i 2017./18. Suradnja s Kinoklubom ovjenčana je i izložbom plakata održanom u travnju 2018. u Galeriji Greta u Zagrebu.

dizajn vizualnih komunikacija

Posters for film cycles, workshops and other programmes organised by the Zagreb Cinema Club in the course of the seasons 2016/2017 and 2017/2108. The collaboration with the Zagreb Cinema Club was further expanded with the exhibition of posters held in April 2018 at the Greta Gallery in Zagreb.

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Festival svjetla Zagreb 2018 ∕ Festival of Lights Zagreb 2018 studio đkć dizajn ∕ design Zoran Đukić suradnici ∕ contributora Decker+Kutić (fotografija ∕ photography) naručitelj ∕ client Turistička zajednica Grada Zagreba ∕ Zagreb Tourist Board 03 ∕ 2018

Tema festivala 2018. bila je doček proljeća i buđenje prirode. Kako bi dočarao atmosferu festivala, plakat je namjerno vizualno prezasićen. Proljetno cvijeće koje možemo pronaći u okolici Zagreba (šafran, zumbul, tulipan, ruža) fotografirano je pod intenzivnom umjetnom rasvjetom.

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The topic of the 2018 festival was the spring awakening ceremony. To capture the atmosphere of the festival, the poster is intentionally oversaturated with visual elements. Spring flowers found in the vicinity of Zagreb (saffron, hyacinth, tulip, rose) were photographed under intense artificial lighting.

visual communications design

Hrvatsko narodno kazalište u Zagrebu, sezona 2016/2017. ∕ Croatian National Theatre in Zagreb, Season 2016/2017 studio đkć dizajn ∕ design Zoran Đukić suradnici ∕ contributors Decker+Kutić, Marko Ercegović, Damir Žižić (fotografija ∕ photography) naručitelj ∕ client Hrvatsko narodno kazalište u Zagrebu ∕ Croatian National Theatre in Zagreb 2016 ∕ 2017

Osnovu vizualnog identiteta sezone 2016/2017. zagrebačkog HNK čine tipski plakati, definirani prvenstveno strogim odnosom prema sadržaju.

Kroz različit fotografski i tipografski tretman, plakat lovi specifičnu atmosferu pojedinog djela. Na plakatima su uvijek close-up portreti u predimenzioniranim citylight i billboard formatima (veće od života, komuniciraju grandioznost nacionalnog kazališta). Na plakatima za Filozofski teatar tema je komunicirana tipografski, formulirana kroz kratke citate predavača. Najava predstojeće sezone nosi radni naziv „glumci traže predstavu“, te smješta svoje protagoniste u neodređenu prirodu, negdje između osobe i lika.

dizajn vizualnih komunikacija

The visual identity for the Croatian National Theatre in Zagreb, Season 2016/2017 results from a specific typology of posters, primarily defined by their strict relation to the content.

Using various photographic and typographic treatments, each poster seeks to capture specific atmosphere of a particular work. Those posters always have close-up portraits in oversized city light and billboard formats (larger than life, they communicate the grandeur of the national theatre). Posters for the Philosophical Theatre programme communicate the topic typographically, briefly quoting the lecturers.

The announcement for the upcoming features a working title “actors are looking for a performance,” and places its protagonists in an undefined environment, somewhere between the person and the character.

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Staging a Play: Antigone dizajn ∕ design Matija Ferlin, Tina Ivezić samoinicirani rad ∕ self-initiated work 2018

Plakat za plesnu predstavu Staging A Play: Antigone ilustriran je selfiejem autora, a specifičnost vizuala je u tome što je u cijelosti generiran korištenjem svima dostupne mobilne aplikacije za uređivanje fotografija.

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The poster for the dance theater performance Staging A Play: Antigone is illustrated with the selfie photo of its author, The specific feature of the visuals is the fact that they are entirely generated by a widely accessible photo editing mobile app.

visual communications design

Ispod Bine 2016. ∕ Below the Stage 2016 studio Kazinoti&Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda suradnica ∕ contributor Iris Klarić (dizajn ∕ design) naručitelj ∕ client Udruga Mavena ∕ Mavena Association, Split 11 ∕ 2016

Ispod bine je festival eksperimentalne glazbe koji se na godišnjoj bazi održava u Splitu. Odvija se u neodržavanom i nedovršenom dijelu prostora Doma mladih koji se doslovce nalazi ispod bine amfiteatra. Vizual korišten na plakatu za 2016. uklapa se u općeniti dojam interijera kojim prevladavaju betonske obloge i građevinska armatura. Osnovni element iz kojeg je izrađen je personalizirani font nastao u studiju Kazinoti&Komenda. Nasumičnom igrom sa slovnim znakom „I“ konstruirana je slika koja podsjeća na zvučnu miksetu te korenspondira s paletom najrazličitijih zvukova i frekvencija.

dizajn vizualnih komunikacija

Below the Stage is a festival of experimental music, held annually in Split. It takes place in the uncared-for and unfinished part of the House of Youth literally located beneath the amphitheatre. The visuals used on the poster for 2016 fits in the general impression of the interior dominated by concrete coating and building fittings. Kazinoti & Komenda studio designed the basic element from which a personalized typeface was derived. A rhythmic play with the letter “I” resulted in an image suggesting the sound mixer and corresponding to a palette of various sounds and frequencies.

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Ispod Bine 2017. ∕ Below the Stage 2017 studio Kazinoti&Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda suradnica ∕ contributor Iris Klarić (dizajn ∕ design) naručitelj ∕ client Udruga Mavena ∕ Mavena Association, Split 11 ∕ 2017

Kontekst ovog plakata identičan je prethodnome. Vizual na festivalskom plakatu za 2017. sugerira kretnju penjanja i spuštanja u sam koncertni prostor. Nizanjem plakata jedan do drugoga dobiva se znak strelice (smjer desno), što omogućava da se plakat koristi kao signalizacijska oznaka.

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The context of this poster is identical to the previous one. The visuals found on the festival poster for 2017 suggest climbing and descending to the concert hall. By placing one poster next to another, the arrow symbol (right pointing) is obtained so that the poster can also be used for signage.

visual communications design

GMK dizajn ∕ design Ivan Klisurić naručitelj ∕ client Galerija Miroslav Kraljević ∕ Miroslav Kraljević Gallery, Zagreb 2017 – 2018

Plakati izložbenog programa Galerije Miroslav Kraljević. Novi programski i vizualni identitet galerije (A. Giunio) popraćen je dizajnom plakata koji ujedno funkcioniraju i kao dvojezični deplijani izložbi. Ovisno o događanju i temi koju promovira, uz osnovne standarde i mutaciju osnovnih elemenata (fotografija, boja, kompozicija), svaki plakat varira u mikro i makro detaljima tipografskog tretmana tekstualnog sadržaja.

dizajn vizualnih komunikacija

The posters designed for the Miroslav Kraljević Gallery exhibition programme. The new programme and visual identity of the gallery (A. Giunio) is accompanied by posters designed to function as bilingual exhibition brochures.

Depending on the event or the theme it promotes, along with the fundamental standards and mutations of the basic elements (photography, colour, composition), each poster varies in micro and macro details used for the typographic treatment of texts.

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Radiona.org dizajn ∕ design Ivan Klisurić, Damir Prizmić naručitelji ∕ clients Tehnički muzej Nikola Tesla ∕ Technical museum Nikola Tesla Zagreb, Radiona Zagreb 2017

Serija plakata/deplijana za izložbe Jezgrene membrane, Science Fiction i Fly Me to The Moon koje su bile dio recentnog Radioninog izlagačkog programa kojim se tematiziraju intermedijalne i participativne prakse. Serija je povezana zajedničkom kompozicijskom logikom, formatom, tipografijom i tiskom u fluorescentnim bojama. S ilustracijskog aspekta prevladava ekspresivniji jezik koji korespondira s produkcijskom i hakerskom logikom izložbe i izlagača.

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A series of posters /brochures for the exhibitions Core Membranes, Science Fiction and Fly Me to the Moon that were part of the recent Radiona exhibition programme on the topic of intermedia and participative practices. The series shares a common compositional logic, format, typography and fluorescent colours.

From an illustrative point of view, a more expressive language corresponding to the production and hacker logic of exhibitors and exhibitors prevails.

visual communications design

Novi život 2016. – 2018. ∕ New Life 2016 – 2018 studio Kuna zlatica dizajn ∕ design Kuna zlatica naručitelj ∕ client Kazalište slijepih i slabovidnih Novi život ∕ Theater of the Blind and Visually Impaired New Life, Zagreb 2016 – 2018

Plakatima kazališta slijepih iz predstave u predstavu pokušava se prenijeti hrabrost ove kazališne trupe koja usprskos nejednakim mogućnostima izvodi zahtjevne kazališne naslove s neopisivom lakoćom. Uzimajući u obzir činjenicu da su gotovo svi koji sudjeluju u nastanku predstava zakinuti za ključno osjetilo u doživljaju plakata – vid, gotovo svi plakati imaju taktilnu komponentu postignutu odabirom papira, a pri oblikovanju se vodilo računa o visokoj kontrastnosti grafičkih elemenata te o njihovoj jednostavnosti.

dizajn vizualnih komunikacija

The posters designed for the Theatre of the Blind and Visually Impaired with every new production attempt to convey the courage of this theatre company, that despite unequal opportunities performs very demanding theatre pieces with an unmatched ease. Taking into account the fact that almost everyone participating in the production cannot experience the sensation that is key to grasp the poster, i.e. vision, almost all the posters have a tactile component achieved by the selection of paper.

In the process, special attention was given to the high contrast between various graphic elements and their simplicity.

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Ame dizajn ∕ design Oleg Morović naručitelj ∕ client Galerija Cvajner ∕ Cvajner Gallery, Pula 3 ∕ 2017 – 3 ∕ 2018

Proces izrade svakog plakata je igra u sitotisku, od papira, preko tehnike prijenosa crteža na sito, do boja. Motivi su nekad ručno oslikani, nekad kolažirani, nekad na papir, nekad na film, a nekad izravno na sito. Tipografija je uvijek iscrtana kistom. Plakati su tretirani kao grafike, što je prigodno budući da se Ame (večer audio i vizualne umjetnosti) održava u galerijskom prostoru.

154 pregled hrvatskog dizajna

The process of designing each poster implies playing with the silkscreen technique, from the selection of paper and the technique used for transferring the drawing on the mesh to the colour. Sometimes the motifs are hand-painted, sometimes they are made of a collage, sometimes they are printed on a piece of paper, sometimes on a film, and sometimes directly on the mesh. Typography is always dotted with a brush. The posters are treated as graphics, which is convenient since the Ame (an evening event dedicated to audio and visual art) is held in the gallery space.

visual communications design

Zagrebačko kazalište mladih, sezone 2016 – 2018. ∕ Zagreb Youth Theatre, seasons 2016 – 2018 studio Restart dizajn ∕ design Antonio Dolić suradnik ∕ contributor Marko Ercegović (fotografija ∕ photography) naručitelj ∕ client Zagrebačko kazalište mladih ∕ Zagreb Youth Theatre 2016 ∕ 2017 ∕ 2018

Ideja svih plakata za predstave ZKM-a (lipanj 2016. do lipanj 2018.), ali i svih drugih tiskanih i digitalnih materijala, bila je formirati upečatljiv vizualni identitet na način da svaki od vizualnih materijala slobodno odražava individualan duh predstave, a da je pritom uvijek na prvi pogled jasno kako je riječ o istoj instituciji.

dizajn vizualnih komunikacija

The idea of all posters for the ZKM performances (June 2016 to June 2018), as well as all other printed and digital materials, was to create a striking visual identity in such a way that each of the visual materials freely reflects the individual spirit of each play, always clearly hinting the fact that they are taking place at the same institution.

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BOOKtiga 2017 Studio Sonda kreativna direkcija, dizajn, copywriting ∕ creative direction, design, copywriting Jelena Fiškuš, Sean Poropat naručitelj ∕ client Gradska knjižnica Poreč ∕ City library Poreč 3 ∕ 2017

U svijetu u kojemu je sve podređeno vizualnom doživljaju, pisana riječ dozvoljava nam intiman doživljaj napisanog, isključivo na nama svojstven način. Stoga su za kampanju 2017.

Festivala rabljenih knjiga BOOKtiga na plakatima ispisane riječi poetskog naboja koje za svakog promatrača evociraju njemu svojstvene slike. Međutim, kad se pažljivije zadubimo, shvaćamo da je riječ o opisima antologijskih slikarskih djela koje već poznajemo, i možemo se zabavljati uspoređujući našu vlastitu vizualizaciju napisanog sa slikama koje su dio kolektivne vizualne memorije.

156 pregled hrvatskog dizajna

In a world in which everything is subordinated to visual experience, the written word provides an intimate experience of the text, intrinsic only to every individual. For that reason, the campaign for the 2017 Festival of Used Books BOOKtiga comprises posters with poetically charged words evoking images intrinsic to every individual observer. However, if we look deeper, we realize that the posters describe anthological paintings that we already know. In that way, we can compare our own visualization of the text with the paintings that make part of our collective visual memory.

visual communications design

BOOKtiga 2018 Studio Sonda kreativna direkcija ∕ creative direction Jelena Fiškuš, Sean Poropat dizajn ∕ design Aleksandar Živanov, Martina Sirotić Pavletić naručitelj ∕ client Gradska knjižnica Poreč ∕ City library Poreč 3 ∕ 2018

Koncept kampanje za Sajam rabljenih knjiga BOOKtiga 2018. inspiriran je listićem s pečatiranim datumima posudbe knjiga, koji bilježi povijest posuđivanja pojedine knjige, ali nas i podsjeća kada je treba vratiti u knjižnicu. Upravo ovakav list papira apliciran je na plakatne površine, a datumi otisnuti na njima datumi su održavanja svih dosadašnjih sajmova BOOKtiga.

Ovo komunikacijsko rješenje podsjeća nas kako nije samo važno vraćati knjige u knjižnicu već i vraćati se knjizi u vrijeme kad smo izloženi tolikim drugim medijskim sadržajima.

dizajn vizualnih komunikacija

The concept of the campaign for the 2018 Festival of Used Books BOOKtiga was inspired by a small piece of paper on which the borrowing date is stamped to record the history of borrowing a particular book, but also to serve as a reminder of when the book should be returned to the library. This kind of paper is applied to a poster, and the dates printed on it are the dates when other BOOKtiga book fairs were held. This solution reminds us that not only it is important to return books to the library but also it is important to return to the book in these times of extensive exposure to different media.

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Glasnije od oružja ∕ Louder than Guns studio Šesnić&Turković dizajn ∕ design Marko Šesnić, Goran Turković naručitelj ∕ client Factum, Zagreb 7 ∕ 2017

Plakat za dokumentarni film Miroslava Sikavice o ulozi domoljubne glazbe u političkim promjenama 1990-ih i Domovinskom ratu te sudbinama njezinih autora i pjevača.

158 pregled hrvatskog dizajna

The poster for Miroslav Sikavić’s documentary about the role of patriotic music in the political changes that took place in the 1990s and the Homeland War and the destiny of its songwriters and singers.

visual communications design

Goonies ∕ The Goonies studio Šesnić&Turković dizajn ∕ design Marko Šesnić, Goran Turković naručitelj ∕ client KinoKino festival, Zagreb 2 ∕ 2017

Dječji filmski festival KinoKino je za projekciju otvorenja svog dječjeg filmskog festivala odabrao film Goonies, koji je ostao u srcu većine odraslih u 80-im godinama, dok je današnjoj djeci gotovo nepoznat. Plakat koloritom i tehnikom privlači najmlađu populaciju, a roditeljima sadržaj s novinskih isječaka budi nostalgiju za osamdesetima.

dizajn vizualnih komunikacija

The KinoKino Children’s Film Festival chose to screen The Goonies on the occasion of the opening since that film remained in the heart of most adults who grew up in the 1980s, while today’s children in most cases have never even heard about it. With its colours and the technique, the poster attracts the youngest population, and the content found in the news clips inspires nostalgia for the eighties in their parents.

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Ne gledaj mi u pijat ∕ Quit Staring at My Plate studio Šesnić&Turković dizajn ∕ design Marko Šesnić, Goran Turković fotografija ∕ photography Tomislav Sokač naručitelj ∕ client Kinorama, Zagreb 9 ∕ 2016

Plakat za dugometražni igrani film Hane Jušić.

Glavna junakinja Marijana i njena obitelj žive doslovno jedan na drugome u minijaturnom stanu, dovodeći se do ludila.

160 pregled hrvatskog dizajna

The poster for Hana Jušić’s feature film. Marijana, the protagonist of the film, lives with her family in a miniature apartment, literally one on top of the other, driving each other mad.

visual communications design

Nedeljsko jutro ∕ Sunday Morning studio Šesnić&Turković dizajn ∕ design Iva Sindik, Marko Šesnić, Goran Turković naručitelj ∕ client Bela film, Ljubljana 5 ∕ 2017

Plakat za Nedeljsko jutro, kratki slovenski film o dva dječaka, njihovim očevima i njihovom neočekivanom susretu u šumi.

dizajn vizualnih komunikacija

The poster for Sunday Morning, a short Slovenian film about two boys, their fathers and an unexpected encounter in the woods.

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Rendez vous au Cinéma studio Šesnić&Turković dizajn ∕ design Andrea Sužnjević, Marko Šesnić, Goran Turković naručitelj ∕ client Hrvatski audiovizualni centar ∕ Croatian Audiovisual Centre, Zagreb 10 ∕ 2017

Rendez vous au Cinéma je godišnja manifestacija koju organiziraju hrvatska Kino mreža i Francuski institut. U 3. izdanju manifestacije najpopularniji film u programu bio je Prezir s Brigitte Bardot u glavnoj ulozi.

162 pregled hrvatskog dizajna

Rendez-vous au Cinéma is an annual event organized by the Croatian Independent Cinemas Network and the French Institute in Zagreb.

The most popular film of the 3rd edition was Contempt with Brigitte Bardot in the main role.

visual communications design

Srbenka studio Šesnić&Turković dizajn ∕ design Marko Šesnić, Goran Turković fotografija ∕ photography Bojan Mrđenović naručitelj ∕ client Restart, Zagreb 4 ∕ 2018

Srbenka je dokumentarni film Nebojše Slijepčevića koji prati pripreme za predstavu Olivera Frljića o Aleksandri Zec, dvanaestogodišnjoj Srpkinji koja je početkom rata hladnokrvno ubijena u Zagrebu. U filmu se propituju utjecaji rata na današnje mlade generacije te diskriminacija i nasilje među vršnjacima različitih nacionalnosti.

dizajn vizualnih komunikacija

Srbenka is a documentary film by Nebojsa Slijepčević following rehearsals for the play directed by Oliver Frljić about Aleksandra Zec, a twelve-year-old Serbian girl who was murdered in cold blood in Zagreb in the early days of the Croatian war of independence. The film questions the impact of war on today’s young generations, discrimination and peer violence among different nationalities.

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Under the Tree studio Šesnić&Turković dizajn ∕ design Andrea Sužnjević, Marko Šesnić, Goran Turković naručitelj ∕ client New Europe Film Sales, Varšava ∕ Warsaw 7 ∕ 2017

Under the Tree je dugometražni igrani film islandskog redatelja Hafsteinna Gunnara Sigurdssona. Sjena koju dvorišno drvo baca na susjedovu terasu postane predmet svađe dviju obitelji koja kulminira potpunim ludilom svih njenih sudionika.

164 pregled hrvatskog dizajna

Under the Tree is a feature film by Icelandic director Hafsteinn Gunnar Sigurdsson. The shadow that a yard tree throws on a neighbour’s terrace becomes the subject of clashes between two families culminating in complete madness of all the family members.

visual communications design

Arterija ∕ Artery dizajn ∕ design Oleg Šuran naručitelj ∕ client Museo Lapidarium ∕ Lapidarium Museum, Novigrad 8 ∕ 2017

Plakat za Festival Arterija novigradskog muzeja Lapidarium. Plakat je trojezičan i tiskan u tri boje (crvena se ploča mijenja ovisno o jeziku).

Na poleđini se nalazi kratak opis festivala i teme, popis izlagača i događanja te karta s označenim lokacijama. Za potrebe plakata dizajnirana su pisma Fzn Artija (monospaced u tri širine) i Fzn Artija Streets (za iscrtavanje karata).

dizajn vizualnih komunikacija

The poster for the Artery Festival organised by the Lapidarium museum in Novigrad. The poster is printed in three languages and three colours (the red plate changes depending on the language). A brief description of the festival and the topic is printed on the back together with the list of exhibitors and events and a map with marked locations. For posters purposes, Typefaces Fzn Artija (monospaced in three widths) and Fzn Artija Streets (used for charts) were designed especially for the poster.

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Media Mediterranea dizajn ∕ design Oleg Šuran suradnici ∕ contributors Tanja Draškić Savić, Darko Škrobonja (fotografija ∕ photography) naručitelj ∕ client Udruga Metamedij ∕ Metamedia Association, Pula 8 ∕ 2016 – 2017

Media Mediterranea je festival udruge Metamedij iz Pule, fokusiran na novomedijske prakse i teoriju. Festival se održava ljeti i sukladno tomu fotografije za plakate sadrže lokalno sezonsko voće i povrće. Na povrće su aplicirani razni tehnološki uređaji, elektroničke komponente i slično – jer “to je novomedijski festival”.

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Media Mediterranea Festival, organised by Metamedij from Pula, focuses on the new media practices and theory. Photographs of local seasonal fruits and vegetables on the poster evoke the summer season when this festival is held. Various technological devices, electronic components and so on are applied on the vegetables to because it is a festival dedicated to the new media.

visual communications design

Cineast art direkcija i dizajn ∕art direction and design Anselmo Tumpić suradnica ∕ contributor Tina Erman Popović (dizajn ∕ design) naručitelj ∕ client Pučko otvoreno učilište grada Vodnjana ∕ Public Open University of Vodnjan 07 ∕ 2017

Za promociju kina na otvorenom Cineast odabran je jednostavan, ali funkcionalan pristup koji se sastoji od faze mamca (teaser) i faze otkrivanja (reveal). Osnovni B1 format plakata poslužio je kao teaser s izjavama poznatih režisera koje su privukle pozornost te jasno pozicionirale kino kao art kino. U drugoj, reveal fazi, B1 plakati su preljepljeni s postojećim, službenim plakatima za promociju filmova koji su bili manjih dimenzija. Njihov odnos dodatno je naglašen linijama koje simuliraju svjetlo projekcije filma, pa imamo dojam da se manji plakat projicira na veći.

dizajn vizualnih komunikacija

For the promotion of the Cineast open cinema, a simple, yet functional approach was used consisting of two phases: the teaser and the reveal phase. The basic B1 format poster was used as the teaser; it quotes statements by famous directors to attract attention and position the cinema as an art cinema. In the second, or the reveal phase, the B1 poster is layered over the official poster in a smaller size used for the promotion of films. Their synergy is further emphasized by lines that simulate the screening light creating the illusion that the smaller poster is screened on the larger one.

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Prostoria 2017 studio Bilić_Müller art direkcija, scenografija, grafičko oblikovanje ∕ art direction, set design, graphic design Dora Bilić, Tina Müller ilustracija ∕ illustration Danijel Srdarev suradnici ∕ contributors Ivana Zozoli (tekstilne instalacije ∕ textile installation), Negra Nigoević (prijelom kataloga ∕ catalogue layout), Vanja Šolin (fotografija ∕ photography), iron&ja (obrada fotografija ∕ photo editing) naručitelj ∕ client Prostoria d.o.o. Sv. Križ Začretje 11 ∕ 2017

Grafički koncept promotivnih materijala tvrtke Prostoria za 2017. Kao osnovni grafički motiv i polazište za ilustracije odabrane su metalne i drvene konstrukcije te segmenti kroja proizvoda u raznim kombinacijama. Ilustracija se uz stvarne metalne i drvene konstrukcije koristi i kao scenografija, kao glavni grafički motiv promotivnih materijala (blok, bedž, knjižica, naslovnica kataloga i registratora) i kao dekoracija izložbenog prostora/štanda.

168 pregled hrvatskog dizajna

The graphic design concept for Prostoria’s 2017 promotional materials. Metal and wooden structures and segments of product cuts in various combinations are selected as main graphic motifs and a starting point for illustrations. The illustration, and the real metal and wooden constructions are also used as set design and as the main graphic motif on promotional materials (block, badge, brochure, catalogue and filing folder covers) and as decoration of the exhibition space / stand.

visual communications design

Viva Ludež — Razgovor s trojicom od Ferala ∕ The conversation with the Feral Three dizajn ∕ design Damir Bralić, Pero Mrnarević suradnici ∕ contributors Matea Kovač (animacija ∕ animation), Davor Rukovanjski (ilustracija ∕ illustration) naručitelj ∕ client Udruga Facultas ∕ Facultas Association, Rijeka 2 ∕ 2018

Film donosi razgovor s Viktorom Ivančićem, Predragom Lucićem i Borisom Dežulovićem, pokretačima i zaštitnim licima političko-satiričkog lista koji je obilježio medijsku scenu jedne epohe. Osnova dizajnerskog koncepta je filmu pridružiti činjenični sloj kao podršku tezama bivših Feralovaca. Filmu je nadodan bogat, istraživačkom metodom izabran i obrađen sloj citata, objašnjenja, grafova, dijagrama i dokumentarne građe koja argumentira i činjenično sidri stavove aktera. Dok manje-više poznate teze Feralovci iznose u svojoj još poznatijoj maniri, infografički jezik je seriozan, precizan, faktografski bez želje da humorom konkurira glavnim likovima. Budući da je film u cijelosti snimljen u komornoj atmosferi antikvarijata Ex Libris u Rijeci, dodane grafike, njih više od 250, znatno su pridonijele njegovoj dinamici.

dizajn vizualnih komunikacija

The film is based on a conversation with V. Ivančić, P. Lucić and B. Dežulović, the initiators and frontmen of the political-satirical magazine that left a mark on the media of an epoch. The intention of the design concept was to establish a correlation between facts and the thesis established by the group of journalists gathered around the former Feral weekly magazine. The film is supplemented by a rich layer of quotations, explanations, graphs, diagrams and documentary materials selected and processed through a research method to provide argumentation and factual background for the standpoints taken by the protagonists. While they present their more or less known theses in their even more known fashion, the language of infographics is serious, accurate, based on facts and without any intention to compete with the protagonists in terms of humour. Having in mind that the film was shot in the sombre atmosphere of Ex Libris bookshop in Rijeka, the graphics added to it, more than 250, have largely contributed to its dynamics.

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Dvorac Miljana ∕ Castle Miljana agencija ∕agency Bruketa&Žinić&Grey kreativna direkcija ∕ creative direction Davor Bruketa art direkcija ∕art direction Mirna Ptiček suradnici ∕ contributors Brandoctor (strategija brenda ∕ brand strategy), Petra Despot Domljanović (viša konzultantica za brendiranje ∕ senior brand consultant), Željka Zrnić (konzultantica za brendiranje ∕ brand consultant), Jelena Mezga (primjena brenda ∕ brand implementor) naručitelj ∕ client Kamgrad d.o.o. Zagreb 11 ∕ 2017

U skladu s postupkom restauracije objekta Dvorca Miljana, kojim su po prvi put postali simultano vidljivi njegovi različiti povijesni i likovni slojevi, vizualni identitet dvorca reinterpretira materijal zatečen u dvorcu i kreira nov likovni sadržaj. Oblici naslikanih medaljona s pročelja Miljane preuzeti su kao osnovni geometrijski motivi koji nose drugi likovni sadržaj te fragmentiraju prizore i slikovne motive iz Miljane poput kaleidoskopa.

170 pregled hrvatskog dizajna

Following the restoration process of the Miljana Castle, which, for the first time, made visible its various historical and visual layers simultaneously, the visual identity of the castle reinterprets the material found in the castle and thus creates a new visual content. The shapes of painted medallions from the facade of the Miljana are integrated as basic geometric motifs conveying a different visual message and fragmenting the scenes and motifs found in the Miljana Castle like a kaleidoscope.

visual communications design

Oblak Pergola — Hrvatski paviljon na Venecijanskom bijenalu arhitekture 2018. ∕ Cloud Pergola — Croatian pavilion at the 2018 Venice Architecture Biennale studio Bunch dizajn ∕ design Bunch naručitelj ∕ client Bruno Juričić 5 ∕ 2018

Vizualni identitet se temelji na glavnom izlošku – konstrukciji izvedenoj prostornim ispisom.

Prozračnost, voluminoznost i pravilnost strukture objekta potaknula je uporabu linijskih vizualizacija trodimenzionalnih proračuna kroz cijeli identitet, te formiranje tipografskih struktura koje na različite načine evociraju jedinstveni odnos strukture objekta i ostalih izložaka.

Kontrast izloška i prostora naglašen je srebrnom bojom na crnom papiru koja, zahvaljujući preciznosti offsetnog tiska, uspijeva kvalitetno reproducirati finoću strukture objekta.

dizajn vizualnih komunikacija

The visual identity is based on the main exhibit – a construction designed as a spatial print.

Transparency, large volume, and regularity of the structure of the building prompted the use of line visualization of three-dimensional calculations throughout the entire visual identity, and the formation of typographic structures that evoke a unique relationship between the structure of the pavilion and exhibits in various ways. The contrast between an exhibit and the space is emphasized with the use of silver colour on black paper that, thanks to the precision of the offset printing technique, succeeds in reproducing the fineness of the pavilion’s structure.

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Galerija Kranjčar ∕ Kranjčar Gallery studio Bunch dizajn ∕ design Bunch naručitelj ∕ client Galerija Kranjčar ∕ Kranjčar Gallery, Zagreb 2017 ∕ 2018

Vizualni identitet Galerije Kranjčar, izložbenog prostora posvećenog promociji suvremene umjetnosti, temeljen je na karakterističnoj tipografiji i minucioznoj produkciji svih publikacija, promotivnih i drugih materijala. Identitet je primjenjivan u kontinuitetu od samog početka djelovanja galerije, no najbolje se očituje u limitiranom izdanju projekta Partenza umjetnice Renate Poljak.

172 pregled hrvatskog dizajna

The visual identity of the Kranjčar Gallery, the exhibition venue promoting contemporary art, is based on the characteristic typography and meticulous design of all publications, as well as promotional and other materials. The identity has been continuously used since the first day of the gallery’s work, but it is best perceived in the limited edition of the project by Renata Poljak titled Partenza.

visual communications design

Luftbremzer studio Bunch dizajn ∕ design Bunch suradnik ∕ contributor Vedran Klemens (ilustracija ∕ illustration) naručitelj ∕ client Žuvanić i partneri d.o.o. ∕ Žuvanić and Partners, Zagreb 5 ∕ 2018

Vizualni identitet prve hrvatske artisan destilerije specijalizirane za proizvodnju džina. Preciznost procesa i važnost detalja u razvoju i proizvodnji džina ogleda se i u vizualnom identitetu – pročišćenom dizajnu, jasnoj i čistoj tipografiji te iznimno detaljnoj ilustraciji papagaja idejno temeljenog na imenu branda (luftbremzer je stari zagrebački izraz za zgubidana i brbljavca).

dizajn vizualnih komunikacija

The visual identity of the first Croatian artisan distillery specializing in the production of gin.

The precision of the process and the attention paid to details in the development and production of gin is also reflected in the visual identity, i.e. purified design, clear and clean typography and an extraordinarily detailed parrot illustration linked to the name of the brand (luftbremzer is an old term used in the Zagreb vernacular for a person who likes to procrastinate and talk a lot).

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Submarine dizajn ∕ design Lana Cavar, Narcisa Vukojević naručitelj ∕ client Yellow Submarine d.o.o., Zagreb 6 ∕ 2016

Primarni nositelj novog vizualnog identiteta lanca restorana Submarine njegov je markantan logotip izveden rekonstruiranim slovnim znakovima logotipa jednog ugaslog domaćeg trgovačkog lanca. Preliminarni zahtjev u projektiranju identiteta bio je uključivanje elemenata prethodnog vizualnog identiteta – žute boje kao osnovne boje po kojoj je lanac bio prepoznatljiv (žuta podmornica) i motiva periskopa.

Dodane su ilustracije hrane i pića iz ponude restorana (hamburger, pomfrit, sladoled, pivo).

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The main element of the new visual identity designed for the Submarine restaurant chain is its brilliant logo, derived from the reconstructed characters taken from the logo of a long gone domestic retail chain. The preliminary requirement in designing the identity was to include the elements of the previous visual identity, i.e.

- the colour yellow as the basic colour that used to make the chain recognizable (the yellow submarine) and the motif of a periscope supplemented by illustrations of food and drinks served at the restaurant (hamburger, French fries, ice-cream, beer).

visual communications design

R/verse studio đkć dizajn ∕ design Zoran Đukić naručitelj ∕ client CFSN - Udruga za promicanje audio-vizualnih umjetnosti ∕ CFSN - Association for Promoting Audio Visual Arts 4 ∕ 2017

Vizualni identitet festivala elektronske glazbe R/verse koji se održava na rijeci Mrežnici. Osim glazbe, tema festivala je ekologija i povezivanje s prirodom. Vizualni identitet temelji se na modularnom logotipu — poput rijeke koja teče kružno, logotip simbolizira održivost. Svi materijali izvedeni su dvobojno, u fluorescentnoj zelenoj i refleksnoj plavoj boji.

dizajn vizualnih komunikacija

The visual identity of the R/verse electronic music festival held on the Mrežnica River.

Besides music, another theme of the festival is ecology and connecting with nature. The visual identity is based on a modular logo: reminding of a circulating river, the logo symbolizes sustainability. All materials are printed in two colours: fluorescent green and reflexive blue.

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One Suite Hotel + Art in One studio Flomaster dizajn ∕ design (One Suite Hotel) Orsat Franković, Želimir Boras, Ana Pernar, Saša Stubičar koncept i dizajn ∕ concept and design (Art in One) Orsat Franković stručna suradnica ∕ expert associate (Art in One) Rozana Vojvoda suradnici ∕ contributors (Art in One) Rozana Vojvoda, Srđana Cvijetić, Marko Ercegović, Ana Opalić, Ivona Vlašić, Luko Piplica, Tina Gverović, Slaven Tolj, Ivana Dražić Selmani, Ivana Pegan Baće, Ivana Jelavić, Viktor Daldon, Ana Požar Piplica, Ana Pernar, Želimir Boras, Saša Stubičar organizacijska podrška ∕ organizational support (Art in One) Art radionica Lazareti ∕ Art Workshop Lazareti, Dubrovnik naručitelj ∕ client One Suite Hotel, Brenum, Mlini 7 – 9 ∕ 2017

Za One Suite Hotel u Mlinima izrađen je cjelovit komunikacijski sustav koji bez korporativne usiljenosti komunicira dostupne sadržaje.

Pri oblikovanju vizualnog identiteta hotela smještenog na kućnom broju 1, koji mu je dao ime, izbjegavalo se ponavljanje standardnog logotipa gdje god je to moguće mijenjajući ga izrazima ili riječima koje u sebi imaju ime hotela (Dry ONE, Well dONE, Art in ONE…). U sklopu One Suite Hotela realiziran je i povezani projekt Art in One, temeljen na suradnji sa suvremenim dubrovačkim umjetnicima koji se u svojim radovima bave upravo negativnim utjecajem masovnog turizma na grad i njegove preostale stanovnike. U prostoru industrije dokolice (hotel) udomljena je umjetnost koja ne opušta, već problematizira te tako prostor latentnog sukoba pretvara u prostor dijaloga.

176 pregled hrvatskog dizajna

A comprehensive communication system was designed for One Suite Hotel in Mlini communicating the hotel amenities without the usual corporate dullness. While designing the visual identity of the hotel located at the house number 1, which explains the hotel’s name, the intention was to avoid repetition of the standard logo wherever possible by alternating terms or words containing the hotel’s name (Dry ONE, Well dONE, Art in ONE ...). The Art In One project was also realized inside of the One Suite Hotel as a result of the collaboration with contemporary Dubrovnik artists dealing with the negative impact of mass tourism on the city and its remaining inhabitants. Thus, the leisure industry (a hotel) houses art that does not relax, but provokes and transforms the space of latent conflict into a space of dialogue.

visual communications design

25 FPS dizajn ∕ design Andro Giunio naručitelj ∕ client Udruga za audio-vizualna istraživanja 25FPS, Zagreb ∕ Association for Audio-Visual Research 25 FPS 9 ∕ 2017

Budući da Festival eksperimentalnog filma i videa 25FPS prikazuje filmske i video radove koji preispituju prirodu medija, vizualni identitet uzima srodnu startnu poziciju koristeći se alatima koji tehnologiji omogućuju precizno reproduciranje stvarnosti. Grafički elementi na kojima se vizualni identitet zasniva su preuzete vektorske grafike s različitih probnih uzoraka za optičku kalibraciju video kamera. Oni izvorno nemaju estetsku ulogu, već isključivo funkcionalnu i tehničku. Postavljanjem postojećih “nađenih” elemenata u kontekst grafičkog dizajna oni postaju snažan i dinamičan vizualni kôd. U kombinaciji s tipografijom koja se kompozicijski tretira na jednak način, slobodno se prilagođavaju bilo kojem formatu.

dizajn vizualnih komunikacija

Since the 25FPS Festival of Experimental Film and Video screens films and videos that question the nature of the media, the visual identity takes on a similar starting position using tools that provide accurate reproduction of the reality by means of technology. Graphic elements on which the visual identity is based are taken from vector graphics from various test samples for video camera optical calibration. Originally, they only have a functional and technical role and not an aesthetic one. By placing the existing, “found” elements in the context of graphic design, they are transformed into a powerful and dynamic visual code. Combined with the typography treated in the same way in terms of the composition, they are freely adaptable to any format.

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Ganz novi festival ∕ Ganz New Festival dizajn ∕ design Lana Grahek naručitelj ∕ client Kultura promjene Studentskog centra Sveučilišta u Zagrebu ∕ The University of Zagreb Student Centre – Culture of Change 9 – 12 ∕ 2017

Vizualni identitet festivala razvojnog kazališta, koji se 2017. godine po prvi put održavao u dva dijela. Plakati su kompozicijski podijeljeni po dijagonali, s dijelovima ilustracije koja je potpuna tek kada se gledaju zajedno. Za svaki dio festivala producirana je i programska knjižica

178 pregled hrvatskog dizajna

The visual identity of the developmental theatre festival, which was for the first time held in two parts in 2017. The composition of posters is divided diagonally, with parts of the illustration that are complete only when viewed together. A program booklet was produced for each part of the Festival.

visual communications design

Studenac Local Market kreativna direkcija, dizajn ∕ creative direction, design Lana Gruić suradnici ∕ contributors Beton Design Agency (art direkcija, dizajn ∕ art direction, design), Dragana Kurtić (dizajn interijera ∕ interior design) naručitelj ∕ client Studenac d.o.o., Omiš 7 ∕ 2017

Local market Studenac novi je koncept trgovačkog lanca Studenac, koji se razlikuje od ostalih trgovina ove maloprodajne mreže po tome što je naglasak u većoj mjeri stavljen na domaće, tradicionalne, lokalne i svježe proizvode. Logo se referira na stare gradske natpise i mediteranski način življenja, ali bez suvišnog dekoriranja i rustične estetike. Važnu ulogu u oblikovanju konzistentnog dojma brenda imaju natpisi, riječi i izrazi, uglavnom dvojezični, lokalnog karaktera. Slike su pritom svedene gotovo na ikone, simbole koji prate navedene natpise.

dizajn vizualnih komunikacija

The Studenac Local Market is the new concept of the Studenac chain, which differs from the rest of this retail network, as the emphasis is largely placed on domestic, traditional, local and fresh products. The logo refers to the old town inscriptions and the Mediterranean lifestyle, yet without superfluous decorations and rustic aesthetics. An important role in shaping a consistent impression of the brand is given to inscriptions, words and expressions of local character, mostly bilingual. At the same time, the images are almost reduced to icons, or symbols that follow the inscriptions.

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Slast & Mast studio Design bureau Izvorka Jurić kreativna i art direkcija ∕ creative and art direction Izvorka Jurić verbalna komunikacija ∕ verbal communication Igor Poturić dizajn, fotografija ∕ design, photography Stela Kovačić ilustracija ∕ illustration Sarah Petkus naručitelj ∕ client Slast & Mast d.o.o., Rijeka 9 ∕ 2017

Premium identitet za Slast & Mast, novi brend mesnih proizvoda koji nudi svježe meso vrhunske kvalitete organskog, slobodnog i prirodnog uzgoja. Brend je osmišljen kao ležeran, jednostavan, komunikativan i opušten.

Verbalna komunikacija uključivala je imenovanje brenda, slogan, promotivne poruke i opisne poruke za ambalažu. Ton komunikacije je uvijek jasan, direktan i osoban te je zahvaljujući kratkim i jednostavnim frazama snažan i uvjerljiv. Identitet uključuje ilustracije klasičnog stila te snažnu tipografiju i skalu boja. Crveni jezik na ilustraciji prenosi glavnu vrijednost robne marke (ukusno, slasno, za oblizati se), te je integriran u brendu i ilustraciji.

180 pregled hrvatskog dizajna

The Premium identity for Slast & Mast, a new meat product brand offering fresh top quality meat from organic, free-range and natural breeding. The brand is designed as laid-back, simple, communicative and relaxed. Verbal communication implied naming the brand, designing the slogan and promotional messages together with descriptions on the packaging.

The tone of communication is always clear, straightforward and personal, and thanks to its short and simple phrases, it is powerful and persuasive. The identity includes classic style illustrations and powerful typography and colour scale. The red tongue on the illustration is integrated into the brand and it communicates the brand’s main value (tasty, delicious, finger-licking good).

visual communications design

Vukovarski vodotoranj — Simbol hrvatskog zajedništva ∕ Vukovar Watertower — A Symbol of Croatian Unity studio Kazinoti & Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda naručitelj ∕ client Hrvatski dom Vukovar ∕ Croatian House Vukovar 09 ∕ 2017

Cilj je bio doći do vizualno snažnog rješenja koje se odmiče od doslovnosti oblika vodotornja, a istovremeno prenosi poruku koju ovaj simbol daje. Toranj je u ratu izravno pogođen 640 puta, a unatoč tome je za cijelo vrijeme obrane grada ostao čitav stajati. Tragovi pokušaja njegove dekonstrukcije postali su dio njegove cjelovitosti. Taj idejni slijed je pratio i arhitektonski projektni tim u svom rješenju.

Osnovna ideja dizajna vizualnog identiteta bila je prikazati da je upravo pokušaj destrukcije i ranjavanje grada ono što je narod snažnije povezalo i dodatno ojačalo.

dizajn vizualnih komunikacija

The objective was to come up with a visually powerful solution that moves away from the literal form of a water tower, while simultaneously transmitting the message that this symbol gives. During the war, the water tower was directly hit 640 times but remained standing despite throughout the city defence. Traces of the destruction attempts have become part of the watertower’s integrality. The team in charge of the architectural design followed that line of thinking to find the solution. The main idea in designing the visual was to show that it was precisely the attempt of destruction and wounding the city what connected people and made them stronger.

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Vrtić za pse Veliki&Mali ∕ Dog daycare Big&Small dizajn ∕ design Klasja&Zita (Klasja Habjan, Zita Nakić-Vojnović) naručitelj ∕ client Vrtić za pse Veliki&Mali ∕ Dog daycare Big&Small, Zagreb 5 ∕ 2018

Logotip za pseći vrtić i hotel Veliki&Mali prenosi simboliku zagrljaja, sigurnosti i nježnosti u ispreplitanju pozitivnog i negativnog prostora.

182 pregled hrvatskog dizajna

The logo for Veliki & Mali dog daycare centre and hotel communicates the symbolic of embrace, safety and tenderness by intertwining the positive and negative space.

visual communications design

Animafest Zagreb 2018. studio Kuna zlatica dizajn ∕ design Ana Kunej, Alma Šavar, Zlatka Salopek suradnici ∕ contributors Stipan Tadić (ilustracija ∕ illustration 2018), Lidija Novosel (DTP) naručitelj ∕ client Hulahop d.o.o., Zagreb 2018

Svjetski festival animiranog filma Animafest svake godine odabire novog ilustratora za interpretaciju festivalske maskote i oblikovanje zaštitne ilustracije. Zadatak dizajnera je da na najbolji mogući način kroz primjenu ilustracije i njezinih dijelova oblikuju festivalske materijale: letke, signalizaciju, ulaznice, majice te najzahtjevniji dio – katalog. Katalog je osmišljen kao navigacijski sustav za snalaženje u gomili podataka o filmovima i pratećim događanjima.

dizajn vizualnih komunikacija

Every year, Animafest, an international animated film festival, selects a new illustrator to reinterpret the festival mascot and design the illustration. The task of the designer is to find the best solution for the festival materials, such as flyers, signage, tickets, T-shirts and the catalogue, which is the most demanding part, by applying the illustration and its elements. The catalogue is designed as a navigation system for managing a wealth of information about films and accompanying events.

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Engine Rooms studio Mireldy art direkcija ∕art direction Imelda Ramović, Mirel Hadžijusufović dizajn ∕ design Imelda Ramović suradnici ∕ contributors Domagoj Kunić (fotografija ∕ photography), Žarko Kuvalja (animacija logotipa ∕ logo animation) naručitelj ∕ client Engine rooms Rijeka 2 ∕ 2018

Apartman Engine Rooms u Rijeci predstavlja inovaciju u konceptu stambenog uređenja – cijeli stambeni prostor osmišljen je modularno, tako da se prilagođava potrebama korisnika.

Idejno rješenje vizualnog identiteta koristi elemente tlocrta stana kao osnovni vizualni element u nekoliko prostornih varijacija koje se prilikom aplikacije vizualnog identiteta mijenjaju prema potrebama.

184 pregled hrvatskog dizajna

Engine Rooms apartment in Rijeka represents innovation in the concept of housing - the entire living space is designed in a modular way, and tailored to the needs of the users. The conceptual design of the visual identity uses the elements of the apartment’s ground plan as the basic visual element in several spatial variations that interchange depending on the needs when the visual identity is applied.

visual communications design

Kreativna Republika ∕ The Creative Republic studio Mireldy art direkcija ∕art direction Imelda Ramović, Mirel Hadžijusfović dizajn i ilustracija ∕ design and illustration Imelda Ramović naručitelj ∕ client Kreativna Republika ∕ Creative Republic, Bihać 3 ∕ 2018

Festival Kreativna Republika za ovogodišnje je izdanje dobio grb inspiriran povijesnim simbolima grada Bihaća. Odabir tipografije i grafički tretman naslanja se na estetiku grbova bivših jugoslavenskih republika, što je u isto vrijeme i poveznica s imenom festivala („republika“) i s mjestom održavanja (Muzej AVNOJ-a).

dizajn vizualnih komunikacija

The Creative Republic festival in this year’s edition got a coat of arms inspired by the historical symbols of the city of Bihać. The choice of typography and graphic treatment relies on the aesthetics of the coats of arms of the former Yugoslav republics, establishing at the same time a link with the name of the festival (the Republic) and the venue (The AVNOJ Museum).

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Kazalište Trešnja ∕ Trešnja Theatre studio Oaza dizajn ∕ design Roberta Bratović, Nina Bačun suradnik ∕ contributor Hrvoje Živčić (tipografija ∕ typography) naručitelj ∕ client Kazalište Trešnja ∕ City Theatre Trešnja, Zagreb 9 ∕ 2016 – 2 ∕ 2017

Novi logotip Kazališta Trešnja pojednostavljena je ilustracija trešnjina ploda nadopunjena ispisivanjem imena kazališta u bold inačici tipografije Mote Trešnja, ekskluzivno dizajnirane za potrebe ovog vizualnog identiteta. Tipografija je karakteristična po naglašenim kružnim formama i okruglom “zagrizu” pojedinih slova. U proširenoj varijanti logotipa s punim nazivom kazališta, točke na slovima „i“ i „j” zamijenjene su trešnjama. Osim po imenu, Kazalište Trešnja prepoznatljivo je i po svojoj neobičnoj zgradi, tako da tiskani promotivni materijali izravno reinterpretiraju stil, raster i boje njegove arhitekture.

186 pregled hrvatskog dizajna

The new logo of the Trešnja (Cherry) Theatre is a simplified illustration of a cherry fruit supplemented by the printed name of the theatre in the bold version of Mote Trešnja typeface, exclusively designed for the purpose of this visual identity. The typography is characterised by accentuated circular forms and a rounded “bite” of individual letters. In the extended version of the logo with the full name of the theatre, the dots on letters “i” and “j” are replaced with cherries. Except for its name, the Trešnja Theatre is also noticeable for its unusual building, so that printed promotional materials directly reinterpret the style, raster and colour of the theatre’s architecture.

visual communications design

36 Mountains Festival dizajn ∕ design Jan Pavlović naručitelj ∕ client Udruga 36, Zagreb 2016 – 2018

Za središnje grafičke motive u vizualnom identitetu međunarodnog festivala posvećenog ilustraciji odabrana je olovka kao simbol slobodnog izražavanja, pisanja, crtanja, ilustriranja, te blok za crtanje, budući da je specifičnost festivala u tome da radovi nastaju i izlažu se u upravo u takvim blokovima. Logo istovremeno podsjeća na vrhove planina, što je direktna asocijacija na ime samog festivala.

dizajn vizualnih komunikacija

The central graphic motifs in the visual identity of the international festival dedicated to illustration are the pencil, as a symbol of free expression, writing, drawing, illustration, and a drawing block since all the works drawn and exhibited during the festival use pieces of paper from such blocks, which is a specific feature of this festival.

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57. porečki anale: Avanti! ∕ 57th Poreč Annale: Avanti! dizajn ∕ design Jan Pavlović naručitelj ∕ client Pučko otvoreno učilište Poreč ∕ Public Open University Poreč 7 ∕ 2017

Vizualni identitet 57. porečkog anala suvremene umjetnosti temeljen je na kustoskoj koncepciji pod nazivom Avanti!, koja je težila predstaviti umjetničke prakse koje njeguju vrijednosti avangarde u današnjim vremenima.

Dizajn se oslanja na konstruktivističke ideje s početka 20. stoljeća, odnosno istraživanjima kako likovno prikazati pokret.

188 pregled hrvatskog dizajna

The visual identity of the 57th Poreč journals of contemporary art results from the curator concept named Avanti!, which sought to present contemporary artistic practices that nurture the values of avant-garde. The design incorporates constructivist ideas dating back to the beginning of the 20th century, such as the research into how to visualize the movement with static images.

visual communications design

NLV pt. 2 dizajn ∕ design Jelena Perišić, Oleg Šuran naručitelj ∕ client NLV, Pula 12 ∕ 2017

Ilustracije i dizajn za CD omot, plakat, majice i naljepnice za pulski bend NLV. Ključne riječi koje se vežu uz njihovu glazbu su Canterbury, vilenjaci, pokošena engleska trava, toplina, čarolija, sjetno – a takve su i ilustracije slikane pastoznim akvarelom.

dizajn vizualnih komunikacija

The illustrations and design concept for the CD cover, poster, T-shirts and stickers for NLV, a band from Pula. The key words associated with their music include Canterbury, elves, English grass, warmth, magic, and melancholic – the same principle was applied to illustrations painted in the impasto watercolour technique.

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Gradska galerija Striegl ∕ City Gallery Striegl dizajn ∕ design Sven Sorić naručitelj ∕ client Gradska galerija Striegl ∕ City Gallery Striegl, Sisak 5 ∕ 2018

Vizualni identitet Gradske galerije Striegl referira se na njen program koji se odvija u dvije linije — izložbeni program suvremene umjetnosti i tematska, memorijalna zbirka Striegl.

Samim tim vizualni identitet počiva na ideji reza. Postupak na kojemu počiva identitet je kolažiranje: nakon što se tipografija, fotografija ili grafika izrežu po cik-cak dijagonali, dobiveni elementi međusobno zamjenjuju mjesta, rotiraju se ili zrcale, dopuštajući tako permutacije.

Koloristički, identitet se bazira na kombiniranju monokromatskog materijala s jarko-fluorescentnim bojama koje se ne mogu reproducirati digitalno. Prva primjena identiteta testirana je na prototipu tipskog kataloga u formi knjige standarda.

190 pregled hrvatskog dizajna

The visual identity of the City Gallery Striegl refers to the programme streamlined both as the exhibition of contemporary art, and the Striegl thematic, memorial collection. For that reason, the visual identity emerges from the idea of a cut. The identity is determined by the collaging process where the typography, photography or a graphic illustration is cut as a zig-zag diagonal to obtain elements that interchange, rotate or mirror, which results in permutations. In terms of colours, the identity is established on the combination of monochrome material and bright and fluorescence colours that cannot be reproduced digitally. The first application of identity was tested on the standard catalogue prototype in the form of the book of graphic standards.

visual communications design

Ghetaldus Optika Studio 33 kreativna direkcija ∕ creative direction Leo Vinković art direkcija ∕art direction Igor Penović dizajn ∕ design Mario Majkić suradnik ∕ contributor Marija Gašparović (fotografija ∕ photography) naručitelj ∕ client Ghetaldus optika d.d. ∕ Ghetaldus Optics Ltd, Zagreb 8 ∕ 2017

Ghetaldus optika najveći je proizvođač i distributer svih vrsta naočala za korekciju vida, sunčanih naočala i kontaktnih leća na hrvatskom tržištu. Novim vizualnim identitetom klijent želi „iskočiti“ u odnosu na konkurenciju kao nešto novo, svježe, aktivno i vidljivo, te vratiti povjerenje kupaca uz jasnu komunikaciju profesionalnosti, kvalitete i tradicije. Znak „G“ u sebi, osim inicijala, zadržava asocijaciju na stari vizualni identitet, no estetski osuvremenjen i u potpuno drukčijoj funkciji.

dizajn vizualnih komunikacija

Ghetaldus Optika is the Croatian largest manufacturer and distributor of all kinds of glasses for correcting eye sight, sunglasses and contact lenses. With the new visual identity, the client wants to “stand out” in comparison with the competition offering something new, fresh, active and visible, and restore the customer trust in clear communication of professionalism, quality and tradition. The “G” sign, in addition to the initials, retains an association to the former visual identity, but is aesthetically modernized and has a completely different function.

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Duck studiji ∕ studios Šesnić&Turković & Señor dizajn ∕ design Marko Šesnić i Goran Turković suradnici ∕ contributors Andrea Sužnjević (dizajn ∕ design) naručitelj ∕ client Stari sat 6 ∕ 2017

Vizualni identitet i sve njegove aplikacije te serija ambalaže za kućna vina zagrebačkog bistroa Duck.

192 pregled hrvatskog dizajna

The visual identity, its various forms of application and a series of packaging for the house wines served at Duck bistro in Zagreb.

visual communications design

Proto & Orlando & Konavoski dvori studio Šesnić&Turković dizajn ∕ design Marko Šesnić, Goran Turković naručitelj ∕ client Esculap Teo, Dubrovnik 2016 – 2018

Proto, Orlando i Konavoski dvori restorani su iz grupacije Esculap Teo, legende dubrovačkog ugostiteljstva. Proto je riblji restoran (udica), Orlando je smješten na Stradunu nedaleko od statue Orlanda (mač), a Konavoski dvori su restoran s tradicionalnim konavoskim jelima (konavoski vez). Riječ je o grupnom vizualnom identitetu s jasno komuniciranim posebnostima svakog od restorana.

dizajn vizualnih komunikacija

Proto & Orlando & Konavoski dvori is a chain of restaurants belonging to the Esculap Teo group, one of the legends of Dubrovnik’s hospitality industry. Proto is a fish restaurant (a fish-hook), Orlando is located on Stradun, not far from the statue of Orlando (a sword), and the Konavoski dvori is a restaurant preparing traditional dishes from Konavle (Konavle embroidery). The visual identity for this group clearly communicates specific features of each of the restaurants.

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Klubvizija SC This Town Needs Posters dizajn ∕ design Sven Sorić i Hrvoje Spudić naručitelj ∕ client Klubvizija SC – MM Centar, Zagreb 10 ∕ 2016

Klubvizija SC je filmski i foto laboratorij za rad s filmskom vrpcom i analognom fotografijom, jedini takav u regiji. Vizualni identitet se referira na dijagrame filmskih eksperimenata koje je pisaćom mašinom ispisivao Ivan Ladislav Galeta.

Za potrebe kino špice i tipskog dijaprojiciranog plakata identitet je apliciran na 35 mm film. Za digitalne medije film je skeniran i animiran. Za tiskane medije izveden je set žigova za koji je određena tipska papirnata galanterija koja se koristi za potrebe ulaznica, etiketa, posjetnica itd.

194 pregled hrvatskog dizajna

Klubvizija SC is a film and photo lab for film and analogue photography, the only one of its kind in the region. The visual identity takes on the diagrams of film experiments type-written

by Ivan Ladislav Galeta. The identity was applied to a 35mm film to accommodate the end credits and the slide projected “poster”. For the purposes of the digital media, the film was scanned and animated. For the printed media, a set of trademarks was issued and standard stationary selected for printing tickets, labels, business cards, etc.

visual communications design

The Collection Stripped Bare by its Artists, Even art direkcija i dizajn ∕ art direction and design Anselmo Tumpić suradnica ∕ contributor Tina Erman Popović (dizajn ∕ design) naručitelj ∕ client Lab Bel, Pariz ∕ Paris 5 – 10 ∕ 2016

Plakat i katalog izložbe u organizaciji pariškog umjetničkog laboratorija Lab Bel. Nakon šest godina od osnutka, zbirka otkupljenih radova predstavljena je javnosti izložbom pod nazivom The Collection Stripped Bare by its Artists, Even. Koncept izložbe temelji se na ideji razotkrivanja, tako da se plakat direktno referira na koncept izložbe. Gornji dio plakata je za pola širine kraći od donjeg dijela koji predstavlja radove umjetnika. Radovi se tako razotkrivaju kao što je izložba razotkrila tj. predstavila publici radove otkupljene tih godina te ih izvukla iz arhive u kojoj se inače nalaze. Naslovnica kataloga je također za pola širine kraća od dijelova kataloga koji predstavljaju radove umjetnika.

Takav odnos u dimenzijama nastavlja se kroz cijeli katalog gdje se isprepliću sadržajni, estetski i funkcionalni elementi.

dizajn vizualnih komunikacija

The poster and the exhibition catalogue organized by the Lab Bel art laboratory from Paris. Six years following its foundation, the collection of works was presented to the public on the exhibition titled The Collection Stripped Bare by its Artists, Even. The concept of the exhibition is based on the idea of exposition, so the poster directly refers to the concept of the exhibition. The upper part of the poster is half the width shorter than the lower part representing works of artists. The works are disclosed as the exhibition disclosed or presented the works bought out during the period, taking them out the archive where they are usually kept. The catalogue’s homepage is also one half of the width shorter than the part of the catalogue representing the artists’ works. This ratio of dimensions continues throughout the catalogue intertwining the aesthetic and the functional elements and the content.

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Tehnički muzej Nikola Tesla 2017/18. ∕ The Technical Museum Nikola Tesla 2017/18 dizajn i ilustracija ∕ design and illustration Narcisa Vukojević naručitelj ∕ client Tehnički muzej Nikola Tesla ∕ Technical Museum Nikola Tesla, Zagreb 2017 ∕ 2018

Tehnički muzej Nikola Tesla ima vrlo razgranate programske djelatnosti koje iziskuju konzekventna dizajnerska rješenja proizašla iz krovnog vizualnog identiteta Muzeja. Znak programa gostujućih radionica za djecu Tehnički u gostima komprimirani je osnovni znak Tehničkog muzeja Nikola Tesla spakiran u kofer na kotačima. Znak Hale V, pomoćne zgrade Muzeja, također je izveden iz osnovnog znaka, a omjerom širine i visine sugerira proporcije i volumen zgrade. Osnovni vizual programa Nikola Tesla. Migrant. govori o Muzeju kao mjestu interkulturalnog dijaloga i susreta, što je u suglasju s Teslinom vizijom svijeta premreženog bežičnim prijenosom energije.

196 pregled hrvatskog dizajna

The Technical Museum has a wide range of programme activities requiring consequential design solutions derived from the Museum’s visual identity. The symbol for the programme of guest workshops for children named The Visiting Technical Museum is a compressed basic sign of the Technical Museum packed in a wheeled suitcase. The symbol for Hall V, the auxiliary building of the Museum, is also derived from the main symbol, and the ratio of width and height suggests the proportion and volume of the building. The basic visual element of the Nikola Tesla. Migrant programme conveys the message about the Museum as the place of intercultural dialogue and a meeting point, which is in line with Tesla’s vision of the world connected through the wireless transmission of energy.

visual communications design

Diskrepancija ∕ Discrepancy 2Dizajnera dizajn ∕ design Miran Bašić, Otto Kušec suradnik ∕ contributor Filip Fila (glavni urednik ∕ editor-in-chief) naručitelj ∕ client Klub studenata sociologije Diskrepancija, Filozofski fakultet Sveučilišta u Zagrebu ∕ Students’ sociology club Diskrepancija, Faculty of Humanities and Social Sciences, University of Zagreb 12 ∕ 2016

Studentski časopis Diskrepancija proučava razne teme koje se tiču sociologije, filozofije i šire, a jubilarno 20. izdanje, podnaslovljeno Rat i Mir, propituje granice između istih. Prijelom odražava kompleksnost teme – lettering na naslovnici dočarava beskonačan ciklus rata i mira, nepostojeći prored u naslovima nejasnu granicu između dobra i zla.

dizajn vizualnih komunikacija

Discrepancy is a student magazine that studies various topics related to sociology, philosophy and other fields. Its jubilee 20th edition, named War and Peace, examines the boundaries between those fields. The layout reflects the complexity of the topic - lettering on the cover reveals an infinite cycle of war and peace, and inexistent spacing in the titles a blurred border between the good and evil.

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Demografski atlas hrvatskog liječništva ∕ The Demographic Atlas of Croatian Practicing Physicians dizajn ∕ design Želimir Boras naručitelj ∕ client Hrvatska liječnička komora ∕ Croatian Medical Chamber, Zagreb 11 ∕ 2017

Dizajn prve nacionalne publikacije koja prati i obuhvaća široki spektar demografskih podataka vezanih uz školovanje, stručno usavršavanje i radni vijek liječničkog kadra u Hrvatskoj.

Oblikovanjem publikacije nastojalo se strukturirati i vizualno povezati različite informacijske razine u cjelinu te ih na zanimljiv način prikazati čitateljima.

198 pregled hrvatskog dizajna

The design of the first national publication covering a wide range of demographic data related to education, vocational training and the lifespan of medical personnel in Croatia.

In shaping the design of the publication, the objective was to structure and visually correlate various information levels and present them in an interesting way to readers.

visual communications design

500 godina reformacije ∕ 500 Years of Reformation autorska koncepcija ∕ concept Damir Bralić art direkcija ∕art direction Ivana Čukelj, Iva Đaković tipografija ∕ typography Nikola Đurek izdavači ∕ publishers Biblija 365 i Biblijski institut Zagreb ∕ Biblija 365 and the Biblical Institute of Zagreb naručitelj ∕ client Protestantsko evanđeosko vijeće Hrvatske ∕ Protestant Evangelical Council of Croatia, Zagreb 10 ∕ 2017

Ovo prigodno izdanje djelomično ponavlja ono što je prije 500 godina u zori tiskarstva učinio Luther, a netom kasnije i domaći reformatori – nudi Bibliju u suvremenom hrvatskom prijevodu, prilagođenu likovnoj formi hrvatskog jezika, u tipografskom pismu i dizajnu hrvatskih autora, bez (pa i fizičkih) prepreka spram čitatelja.

dizajn vizualnih komunikacija

This occasional edition partially repeats what Martin Luther, and later on domestic reformers, did 500 years ago, in the dawning of the age of printing-press, i.e. it presents the Bible in a contemporary translation into Croatian, adapted to the visual form of the Croatian language, typeset and designed by Croatian designers, without (even physical) obstacles set before the reader.

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Nada ∕ Hope agencija ∕agency Bruketa&Žinić&Grey kreativna direkcija i dizajn ∕ creative direction and design Davor Bruketa ilustracije ∕ illustration Iva Čurić, Nebojša Cvetković, Ana Žaja Petrak, Danijel Srdarev, Luka Juras, Davor Šunk, Hana Tintor, Anita Celić – Cella, Klarxy, Vedran Klemens, Filip Peraić, Alen Lipuš suradnici ∕ contributors Maša Ivanov (account director), Zrinka Požar (account executive), Miran Tomičić (voditelj ilustracije ∕ illustration manager), Vesna Đurašin (voditeljica produkcije ∕ production manager), Radovan Radičević (voditelj DTP odjela ∕ head of DTP department), Danko Đurašin (DTP operator), Predrag Grubić (glavni urednik ∕ editorin-chief), Kristina Miljavac (izvršna urednica ∕ executive editor), Lidija Gedike, Marica Kožarec (istraživanje ∕ research), Božo Skoko (urednik ∕ editor), Miha Karoly (tehničko rješenje korica ∕ technical solution for the cover), Cerovski Print Boutique (tisak ∕ print) naručitelj ∕ client Adris grupa ∕ Adris Group, Rovinj 12 ∕ 2016

60% hrvatskih građana misli kako Hrvatska ide u pogrešnom smjeru. Tijekom 2016. godine, 62.000 mladih se iselilo iz zemlje. U proteklom se desetljeću populacija smanjila za 5,6%. Za to vrijeme, Zaklada Adris potpomogla je na stotine hrvatskih edukativnih i znanstvenih projekata. Neki od najboljih hrvatskih ilustratora, njih 24-ero, ilustrirali su te projekte za ovu knjigu. Vidjevši ih okupljene na jednome mjestu, osjeća se nada da Hrvatska ima budućnost. Što se više ova knjiga čita, više ima Nade.

200 pregled hrvatskog dizajna

Sixty per cent of Croatian citizens think that Croatia is heading in the wrong direction.

During 2016, 62.000 young people left the country. Over the past decade, the population declined by 5.6%. During that time, the Adris Foundation has supported hundreds of Croatian educational and scientific projects. Some of the best Croatian illustrators, twenty-four of them, have illustrated these projects especially for this book. Assembled in one place, there is a sense of hope that Croatia has a future. The more one reads the book, the bigger the Hope.

visual communications design

Nikola agencija ∕agency Bruketa&Žinić&Grey kreativna direkcija ∕ creative direction Davor Bruketa art direkcija ∕art direction Mirna Ptiček copywriting Andrej Gagić izrada betonske kutije ∕ concrete box manufacture Jurica Huljev (Synthesis) dizajn tipografije ∕ type design Nikola Đurek suradnici ∕ contributors Jelena Babić (account manager), Ivanka Mabić Gagić (voditeljica internacionalnog poslovanja ∕ head of international business), Vesna Đurašin (voditeljica produkcije ∕ production manager), Radovan Radičević (voditelj DTP odjela ∕ head of DTP department), Danko Đurašin (DTP operator), Cerovski Print Boutique (tisak ∕ print), Sitopapir (sitotisak ∕ screen printing), Miran Tomičić (kreativni direktor vizualnog identiteta ∕ visual identity creative director), Neven Crljenak (art direktor vizualnog identiteta ∕ visual identity art director), Brandoctor (strategija brenda ∕ brand strategy) naručitelj ∕ client CHR Ekoprojekt ∕ CHR Eco-project, Šibenik 3 ∕ 2017

Naselje Nikola najveći je premium urbanistički projekt revitalizacije na Jadranu. Trebalo je dizajnirati publikaciju kakva će ostaviti dojam na potencijalne investitore koji dnevno pregledaju puno uglavnom digitalnih prezentacija.

Betonska kutija utjelovljuje koncept kamena temeljca. Njezino otvaranje pred investitorima uključuje polijevanje vodom, kada se na naizgled praznoj fronti pojavljuje ime novoga naselja i grafika koja čini naslovnicu. Taj se ritual referira na činjenicu da kod ovog projekta voda i arhitektura zajedno kreiraju suvremenu obalnu liniju usred tradicionalnog Mediterana.

dizajn vizualnih komunikacija

The Nikola settlement is the largest premium urban revitalization project on the Adriatic. The task was to design a publication that would leave an impression on potential investors browsing a lot of mostly digital presentations every day. The concrete box embodies the concept of stone foundation. The presentation of it to investors also includes spilling water, when on the seemingly empty front the name of the new settlement and the graphics composing the cover appear. This ritual refers to the fact that in this project, water and architecture create a modern coastal line together in the middle of the traditional Mediterranean.

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Otvorena knjiga ∕ Open Book agencija ∕agency Bruketa&Žinić&Grey kreativna direkcija i dizajn ∕ creative direction and design Davor Bruketa ilustracija ∕ illustration Tomislav Šestak copywriting Ivan Čadež, Drago Mlakar, Dražen Novak suradnici ∕ contributors Maša Ivanov (direktorica odnosa s klijentima ∕ client service director), Zrinka Požar (voditeljica projekta ∕ project manager), Vesna Đurašin (voditeljica produkcije ∕ production manager), Radovan Radičević (voditelj DTP odjela ∕ head of DTP department), Cerovski Print Boutique (tisak ∕ print) naručitelj ∕ client Adris grupa ∕ Adris Group, Rovinj 6 ∕ 2017

Otvorenost donosi veću produktivnost i rađa više inovativnih ideja, zbog čega danas predstavlja novu normu u poslovanju. Tvrtka Adris želi pokazati da je otvorenost sastavni dio njihove poslovne kulture. Zato je Adrisovo godišnje izvješće doslovce napravljeno kao otvorena knjiga. Knjiga u koricama krije metalnu oprugu, a sama je zatvorena zaštitnim omotom. Kada se omot ukloni, knjiga se naglo otvara pred čitateljem.

202 pregled hrvatskog dizajna

Openness brings greater productivity and generates more innovative ideas, which is why it represents a new business standard today.

Adris wants to show that openness makes an integral part of their business culture. That is why the Adris annual report was literally designed as an open book. Inside of the covers, the book conceals a metal spring, and is sealed with a protective cover. When the wrapping is removed, the book opens abruptly in front of the reader.

visual communications design

Marko Ercegović — L.P,* dizajn ∕ design Dejan Dragosavac Ruta fotografije ∕ photographs Marko Ercegović tisak ∕ print Vemako naručitelj ∕ client Marko Ercegović, Ured za fotografiju ∕ Marko Ercegović, Office for Photography 9 ∕ 2017 *izvan konkurencije, rad člana Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Fotografska knjiga L.p, predstavlja seriju fotografija Marka Ercegovića nastalu tijekom posljednjih deset godina u nekima od brojnih poslovnih i uredskih prostora koji pripadaju domaćem birokratsko-administrativnom sustavu. Ercegović pruža osobni uvid u svijet koji široj javnosti često ostaje nevidljivim, premda čini jedan od ključnih dijelova infrastrukture za upravljanje, kako proizvodnjom, tako i državom te društvenim i političkim odnosima. Naziv knjige preuzima formulaciju kojom završava većina korporativnih e-mailova u Hrvatskoj (Lijep pozdrav), i to u njezinom često skraćenom obliku: L.p,.

dizajn vizualnih komunikacija

L.p, is a photography book showcasing a series of photographs by Marko Ercegović taken over the past ten years in various business and office premises belonging to the Croatian bureaucratic and administrative system. Ercegović gives his personal insight into the world that remains invisible to the broader public although it makes one of the key components of infrastructure used for managing both administration and production as well as social and political relations. The title of the book uses the abbreviation commonly used in business e-mails in Croatia (Lijep pozdrav).

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DIK Fagazine dizajn ∕ design Rafaela Dražić naručitelj ∕ client Queer Archives Institute, Varšava, Muzej suvremene umjetnosti Zagreb ∕ Queer Archives Institute, Warsaw, Museum of Contemporary Art Zagreb 12 ∕ 2016

DIK Fagazine je prvi i do sada jedini časopis iz srednje i istočne Europe posvećen umjetnosti i homoseksualnosti. Osnovao ga je umjetnik Karol Radziszewski u Poljskoj 2005., objavljuje se na engleskom jeziku i distribuira širom svijeta. Jubilarno izdanje donosi intervjue i građu prikupljenu za vrijeme rezidencijalnog boravka u MSU Zagreb, u sklopu kojeg je umjetnik tragao za queer radovima unutar muzejske zbirke.

Davor Matičević – nekadašnji ravnatelj Galerije suvremene umjetnosti, koji je preminuo od AIDS-a, postao je svojevrsni protagonist ovog broja.

204 pregled hrvatskog dizajna

DIK Fagazine is the first and so far the only magazine dedicated to art and homosexuality in Central and Eastern Europe. Founded by artist Karol Radziszewski in Poland in 2005, it is published in English and distributed throughout the world. The jubilee edition brings interviews and materials collected during the residency at the Museum of Contemporary Art in Zagreb, in which the artist searched for queer works in the museum collection. Davor Matičević - former director of the Gallery of Contemporary Art, who died of AIDS, has become a protagonist of this issue.

visual communications design

Mal de Meleda studio đkć dizajn ∕ design Zoran Đukić, Vanja Perković naručitelj ∕ client Ana Bakija-Konsuo 1 ∕ 2017

Mal de Meleda, odnosno mljetska bolest, predmet je cjeloživotnog istraživanja doktorice Bakije-Konsuo. Raznovrstan materijal (znanstveni rad, fotodokumentacija oboljelih, pisma kolega, ali i privatne fotografije Mljeta) korišten je kako bi se postigao ritam knjige.

Ilustrirani pojmovi pojavljuju se na marginama te dodatno približavaju kontekst Mljeta, dok taktilne korice prenose mikroskopsku strukturu kože oboljele od mljetske bolesti.

dizajn vizualnih komunikacija

Mal de Meleda, or the Mljet disease, is the object of life-long research by Dr. Bakija-Konsuo. Various materials (scientific work, patient photo-documentation, colleagues’ letters, as well as private photographs of Mljet) were used to establish the rhythm of the book. Illustrated terms appear on the book margins and further elucidate the context of the island of Mljeta, while the tactile covers transpose the microscopic structure of the skin affected by the Mljet disease.

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Ana Opalić — Dom ∕ Home studio Flomaster dizajn ∕ design Orsat Franković, Ana Opalić naručitelj ∕ client Art radionica Lazareti ∕ Art Workshop Lazareti, Dubrovnik 5 ∕ 2018

Serija fotografija Ane Opalić, nastala na marginama njenog sudjelovanja u projektu Documente iz Zagreba Osobna sjećanja na ratove i druge oblike političkog nasilja od 1941. do danas, objavljena je kao fotografska knjiga baš zbog specifičnosti formata koji omogućuje neposredan i intiman uvid.

Fotografije, uvijek bez okvira preko duplerice, svjesno otežavaju dramaturgiju gledanja fotografije izravnim suočavanjem s motivom.

Ovakav pristup minimalnog upliva oblikovanja dosljedno je proveden i u tretmanu teksta, odabiru tipografije te oblikovanju naslovnice koje nema, već se kao jedina intervencija, na vanjskoj strani knjige, pojavljuje serija različitih ovitaka od starih zidnih tapeta.

206 pregled hrvatskog dizajna

A series of photographs by Ana Opalić, created on the margins of her participation in the project named Personal memories of wars and other forms of political violence from 1941 until the present date organised by Documenta from Zagreb, was published as a book of photographs due to its specific format providing an immediate and intimate insight. Photos, always frameless and over a double-page spread, intentionally hamper the dramaturgy of viewing the photos by directly confronting the motif. This approach of minimal design intervention has been consistently carried out in the treatment of the text, selection of typography and designing the cover that does not really exist. Instead, the only intervention on the outside of the book is a series of different jackets made from old wallpapers.

visual communications design

The Berlage Affair dizajn ∕ design Damir Gamulin suradnici ∕ contributors Ana Škegro (asistent ∕ assistant), Damir Žižić (fotografija ∕ photography) naručitelj ∕ client Vedran Mimica, IITAC, Chicago 2017

Za projekt dizajna knjige The Berlage Affair koja pokriva 25 godina rada arhitekta Vedrana Mimice korištena je njegova fizička arhiva u kojoj su uz izvore odabranih objavljenih tekstova (tekst) sakupljeni popratni materijali (kontekst).

Svi arhivski objekti su klasificirani i strukturirani u sadržajno-kronološku mrežu prema višestrukim kriterijima uz pomoć aplikacije ContexMapper. Međusobno detektirani preciznim vezama, objekti su pozicionirani i objedinjeni na analognoj giga-ortofotografiji u kojoj je sadržana čitava knjiga, baš kao i arhitektovo djelovanje. Isječci te ortogonalne panorame ilustriraju odabrane tekstove u knjizi, upućujući na njihov mikro, a postupno i makro-kontekst.

dizajn vizualnih komunikacija

The project of designing the book titled The Berlage Affair, covering 25 years of Vedran Mimica’s architectural work implied the use of his physical archive in which the accompanying materials (context) were collected together with various sources of selected texts (texts).

All archive objects are classified and structured as a chronological network according to multiple criteria using the ContexMapper application. Mutually defined by very precise relationships, the objects are positioned and joined to an analogue giga-orthophoto that contains the entire book as well as the architecture’s work. The snaps of this orthogonal panorama illustrate the texts selected for the book, first pointing to their micro, and then gradually to their macro contexts.

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Jazz Beat — O utjecaju jazza na djela Beat generacije i obratno ∕ The Influence of Jazz on the Beat Generation and Vice Versa dizajn ∕ design Lana Grahek naručitelj ∕ client Ex Libris, Rijeka 12 ∕ 2017

Prva knjiga istoimene biblioteke Jazz Beat u izdanju riječkog Ex Librisa. Izdanje se sastoji od tri dijela: teorijskih tekstova o odnosu jazza i beat generacije, poezije beat pjesnika i priloga. U prijelomu je posebna pozornost dana distinkciji teorijskog i poetskog dijela pa su tako teorijski tekstovi prelomljeni knjiški, a poezija kao dijelovi iz bilježnice, format unutar formata. Naslovnice dolaze u 5 različitih varijanti – mijenjaju se protagonisti i ilustracija, tako dajući čitatelju mogućnost izbora i naglašavajući jazzersku improvizaciju.

208 pregled hrvatskog dizajna

The first book in the eponymous Jazz Beat edition published by Ex Libris from Rijeka. The book consists of three parts: the theoretical texts about the relation between jazz and the Beat generation, poetry by the Beat poets and various contributions. In the layout of the book, special attention was paid to distinguishing between the theoretical and poetic parts, so that the theoretical texts have a book layout whereas the section with poetry seems to be making part of a notebook, as the format within the format. The book covers come in 5 different variants - protagonists and illustrations change, giving the reader the possibility to choose and emphasizing jazz improvisation.

visual communications design

Pips, Chips & Videoclips — Songbox* dizajn ∕ design Boris Greiner ilustracije ∕ illustration Jadranka Ivaniš naručitelj ∕ client Pips, Chips & Videoclips 4 ∕ 2017 *izvan konkurencije, rad člana Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Songbox je realiziran u okviru obilježavanja 25 godina djelovanja grupe Pips, Chips & Videoclips i sadrži 25 notnih zapisa za klavir, gitaru i vokal, pri čemu ovitak svakog zapisa vizualom nastoji ilustrirati kontekst pojedine pjesme.

dizajn vizualnih komunikacija

Songbox was designed on the occasion of marking 25 years of Pips, Chips & Videoclips' activities. It contains 25 items of sheet music for piano, guitar and vocals. Each cover uses a visual that illustrated the context of a particular song.

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Programske knjižice Kulture promjene i Teatra &TD ∕ Culture of Change and Theatre &TD program booklets dizajn ∕ design Lana Grahek naručitelj ∕ client Sveučilište u Zagrebu, Studentski centar u Zagrebu, Kultura promjene, Teatar &TD ∕ University of Zagreb Student Centre – Culture of Change, Theater &TD 1 – 6 ∕ 2018

Knjižice za Kulturu promjene i Teatar &TD Studenskog centra Sveučilišta u Zagrebu produciraju se na mjesečnoj bazi, sadržavajući raspored i opise svih događanja i izvedbi u danom mjesecu. Svaka knjižica ima dvije naslovnice – jednu za programe Kulture promjene i jednu za predstave Teatra &TD. Ilustrirane su vektorskim ilustracijama koje su uvijek vezane uz jedan od programa iz knjižice.

210 pregled hrvatskog dizajna

Booklets for programmes organised by the Culture of Change and Theatre &TD of the University of Zagreb Student Centre are produced on monthly basis and contain timetables and descriptions of all events and performances during a given month. Each booklet has two covers: one for the programmes organised by the Culture Change and one for Theatre & TD productions. They are illustrated by vector illustrations that are always linked to one of the booklet programmes.

visual communications design

Biblioteka F11 ∕ F11 Book Series studio Hamper dizajn ∕ design Ivana Vučić, Tom Jura Kaćunić naručitelj ∕ client Ured za fotografiju ∕ Office for Photography, Zagreb 12 ∕ 2016

Biblioteka F11 dio je nakladničke djelatnosti Ureda za fotografiju. Cilj je bio osmišljavanjem standardiziranog dizajna biblioteke uspostaviti konzistentnost identiteta, ali isto tako omogućiti i fleksibilnost u prijelomu i tretmanu pojedinih autora, ovisno o njihovom korištenju medija fotografije. F-broj u nazivu biblioteke označava otvor blende, preko kojega fotograf izravno utječe na fokus ili dubinsku oštrinu kadra.

dizajn vizualnih komunikacija

F11 Book series is a part of the ppublishing program at the Office of Photography. The aim was to create a consistent identity by creating a standardized design of the edition, but also to provide flexibility in the layout and treatment of individual photographers depending on how they use photography as a medium. F-number form selected for the edition’s name indicates the aperture through which the photographer directly controls the focus or the depth of the frame.

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Noćni leptiri Krapinsko-zagorske županije ∕ Moths of the Krapina-Zagorje County studio Hamper dizajn ∕ design Ivana Vučić, Tom Jura Kaćunić suradnici ∕ contributors Toni Koren (fotografija ∕ photography), Stanislav Gomboc, Petra Bralić, Dragutin Škreblin (fotografija ∕ photography) naručitelj ∕ client Javna ustanova za upravljanje zaštićenim dijelovima prirode Krapinsko-zagorske županije ∕ Public Institution for management of protected natural areas of Krapina-Zagorje County, Radoboj 5 ∕ 2017

Prva knjiga o noćnim leptirima objavljena na hrvatskom jeziku predstavlja rezultate važnog istraživačkog projekta koji se u županiji provodio od 2014. do 2016. godine. Noćni leptiri ne privlače puno pažnje i često ih se percipira kao neatraktivne i zastrašujuće, no veliki broj vrsta noćnih leptira odlikuje se žarkim i zanimljivim bojama. Izazov je bio prezentirati 101 vrstu noćnih leptira na način koji će biti podjednako zanimljiv znanstvenoj i široj publici.

212 pregled hrvatskog dizajna

The first book on night butterflies published in the Croatian language presents the results of an important research project that was carried out in the county from 2014 to 2016. Night butterflies do not attract much attention and are often perceived as unattractive and scary, but many types of night butterflies are specific for their bright and interesting colours. It was challenging to present 101 different kinds of night butterflies in a way that would be equally interesting to the scientific community and beyond.

visual communications design

Monika Herceg — Početne koordinate ∕ Initial Coordinates dizajn ∕ design Tina Ivezić, Damir Prizmić naručitelj ∕ client Studentsko kulturno umjetničko društvo „Ivan Goran Kovačić“ ∕ Student Cultural and Artistic Association „Ivan Goran Kovačić“, Zagreb 2018

Format, materijalnost i tipografski slog u ovoj zbirci poezije snažno se referira na ediciju knjiga poezije laureata Goranovog proljeća iz 80-tih godina koju je dizajnirao Ivan Picelj. Izazov redizajna bio je uspostaviti prepoznatljivost serije te izvesti svojevrsnu redukciju grafičkih elemenata. Specifičnost serije čine obrnuto savijene klapne, kao i karakterističan grafički uzorak na koricama koji je ujedno i jedini dekorativni element publikacije.

dizajn vizualnih komunikacija

The format, materiality and typography of this poetry collection make a strong reference to the edition of poetry books holding poems written by laureates of the so-called Goran’s Spring from the 1980s and designed by Ivan Picelj.

The new design was a challenge because it was necessary to establish the recognizability of the series and reduce the graphic elements to a certain extent. The series is specific because of its reversely bent flaps and characteristic graphical pattern on the cover, which is also the only decorative element of the publication.

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7 Palms Lunch Menu studio Design bureau Izvorka Jurić kreativna i art direkcija, dizajn ∕ creative and art direction, design Izvorka Jurić, Jelena Gvozdanović ilustracija ∕ illustration Ana Kovačić naručitelj ∕ client Le Meridien Lav, Split 4 ∕ 2018

Jelovnik za restoran 7 Palms dizajniran je u obliku kartica na kojima su kreativno osmišljeni nazivi jela i ilustracije nosioci komunikacije.

Budući da je jelovnik izložen vremenskim prilikama (sunce, vjetar, sol, vlaga), odabran je stil, forma jelovnika i vrsta papira na kojem će promjene uvjetovane tim vanjskim prilikama biti manje vidljive ili doživljene kao dio dizajna.

214 pregled hrvatskog dizajna

The menu for 7 Palms restaurant is designed in the form of little cards with creatively designed names of dishes and illustrations as the main means of communication. Since the menu is exposed to different weather conditions (sun, wind, salt, moisture), the style, form and paper type were selected in a way that would make the changes conditioned by such external circumstances less visible or experienced as part of the design.

visual communications design

Živjeti na kraju vremena ∕ Living in the End Times dizajn ∕ design Ivan Klisurić naručitelj ∕ client Galerija Miroslav Kraljević ∕ Miroslav Kraljević Gallery, Zagreb 10 ∕ 2016

Katalog izložbe kustosice Katarine Stenbeck, održane u listopadu 2016. u Galeriji Miroslav Kraljević.

dizajn vizualnih komunikacija

The catalogue for the exhibition by the curator Katarina Stenbeck held in October 2016 at the Miroslav Kraljević Gallery.

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Serija kataloga Malog salona ∕ Mali Salon Exhibition Catalogue Series dizajn ∕ design Marino Krstačić-Furić, Ana Tomić naručitelj ∕ client Muzej moderne i suvremene umjetnosti ∕ Museum of Modern and Contemporary Art, Rijeka 2016 – 2017

Dizajn serije knjižica Malog salona u Rijeci povodom izložbi Slave Raškaj i Mirne Kutleše, Ane Hušman i Marka Tadića kao polazište uzima individualne poetike predstavljenih umjetnika i umjetnica.

216 pregled hrvatskog dizajna

The design of the series of small booklets for Mali Salon in Rijeka on the occasion of the exhibitions of works by Slava Raškaj, Mirna Kutleša, Ana Hušman and Marko Tadić takes their individual poetics as a starting point.

visual communications design

Tomislav Brajnović — Puzajući Armagedon ∕ The Crawling Armageddon dizajn ∕ design Marino Krstačić-Furić, Ana Tomić naručitelj ∕ client Muzej moderne i suvremene umjetnosti ∕ Museum of Modern and Contemporary Art, Rijeka 10 ∕ 2017

Knjiga donosi presjek radova Tomislava Brajnovića nastalih od kraja devedesetih do danas, od kojih su mnogi rijetko viđeni i javno predstavljani. Napuštajući logiku kronologije, knjiga kroz pet poglavlja progovara o poetici umjetnikovih radova.

dizajn vizualnih komunikacija

The book introduces an overview of Tomislav Brajnović’s works created from the late 1990s until the present date, many of which are rarely seen or presented in public. By abandoning the logic of chronology, the book reveals the poetry of the artist’s works in five chapters.

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Tomislav Gotovac — Anticipator kriza ∕ The Anticipator of Crises dizajn ∕ design Marino Krstačić-Furić, Ana Tomić naručitelj ∕ client Muzej moderne i suvremene umjetnosti ∕ Museum of Modern and Contemporary Art, Rijeka 9 ∕ 2017

Knjiga Tomislav Gotovac: Anticipator kriza nastala je u suradnji kustosa, kritičara, povjesničara umjetnosti, teoretičara i umjetnika povodom umjetnikove retrospektive u MMSU u Rijeci. Fokus knjige je na kritičkim, kustoskim i teorijskim razinama prezentiranja i interpretiranja Gotovčevog života i djela. Kroz četiri cjeline nastoji se pokazati umjetničko djelovanje Tomislava Gotovca kao anticipaciju različitih suvremenih umjetničkih, kulturalnih i društvenih promjena te istaknuti složenost i interdisciplinarnost Gotovčevog rada, koji se odvijao između filma, performansa, fotografije i likovnih umjetnosti.

218 pregled hrvatskog dizajna

The book titled Tomislav Gotovac: The Anticipator of Crises is a result of collaboration between curators, critics, art historians, theoreticians and artists on the occasion of the retrospective exhibition showcasing the artist’s work at the Museum of Contemporary Art in Rijeka. The book focuses on critical, curatorial and theoretical levels of presenting and interpreting Gotovac’s life and work. The intention was to present Tomislav Gotovac’s art as an anticipation of various transformations in the contemporary art, culture and society and emphasize the complexity and interdisciplinary character of Gotovac’s work that covered various fields such as film, performance, photography and other forms of visual art.

visual communications design

Tomislav Gotovac — Life as a Film Experiment dizajn ∕ design Dejan Kršić, Slobodan Šijan suradnici ∕ contributors Marija Juza, Nikola Đurek (tipografija ∕ typography), Dario Sabljak (obrada fotografija ∕ prepress) naručitelj ∕ client Institut Tomislav Gotovac, Multimedijalni institut, Hrvatski filmski savez ∕ Tomislav Gotovac Institute, Multimedia Institute, Croatian Film Association, Zagreb 5 ∕ 2018

Prošireno izdanje knjige Slobodana Šijana Kino Tom: Antonio G. Lauer ili Tomislav Gotovac između Zagreba i Beograda. Riječima samog autora (koji se u ovoj verziji javlja i kao koautor dizajna): „knjigu čine ‘kolaži’ analiza, sjećanja, citata, fotografija, skica, ali i pokušaja razumijevanja nekih procesa koji su utjecali na nastanak Tomovih filmova ili na formiranje njegovih umjetničkih stavova i postupaka. Takvom ‘montažom’ vršim neku vrstu rekonstrukcije umjetnikove interakcije sa svijetom, filmom i umjetnošću, nadajući se da osvjetljavajući Tomov rad iz jedne ličnije vizure - nekoga tko je bio izložen djelovanju te karizmatične ličnosti u Beogradu mogu iznijeti nove podatke i doprinijeti boljem razumijevanju njegovog djela, ali isto tako i sebi objasniti korijene vlastitih uvjerenja”.

dizajn vizualnih komunikacija

The expanded edition of the book by Slobodan Šijan titled Kino Tom: Antonio G. Lauer or Tomislav Gotovac Between Zagreb and Belgrade. As the author (who is also one of the codesigners of this version as a) put it into words: “the book is made of ‘a series of collages’ combining various analyses, memories, quotes, photographs, sketches, and attempts to understand certain processes that had an impact on Tom’s films or his artistic viewpoints and procedures. This form of editing reconstructs the artist’s interaction with the world, film and art with an intention to elucidate Tom Gotovac’s work from a more personal perspective, since the designer had personal encounters with the work of this charismatic personality in Belgrade, which allows him to present new information about the artist and thus contribute to a better understanding of his work , but also to explain to oneself the roots of one’s own beliefs.”

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Dalibor Martinis — Data Recovery dizajn ∕ design Igor Kuduz naručitelj ∕ client Muzej suvremene umjetnosti ∕ Museum of Contemporary Art, Zagreb 12 ∕ 2016

Dizajn kataloga retrospektivne izložbe Dalibora Martinisa u Muzeju suvremene umjetnosti u Zagrebu.

220 pregled hrvatskog dizajna

The design of the catalogue for the retrospective exhibition of Dalibor Martinis’ works at the Museum of Contemporary Art in Zagreb.

visual communications design

O. studio Kuna zlatica dizajn ∕ design Ana Kunej, Alma Šavar naručitelj ∕ client Održivi otok ∕ Sustainable Island, Hvar 2017 – 2018

Udruga Održivi otok koja djeluje u Jelsi na otoku Hvaru pokrenula je časopis za kritičko promišljanje života na otoku. Uredništvo časopisa isključivo je žensko pa su, osim kritičkih tekstova o naizgled idiličnom životu otočana, zastupljene i teme iz naglašeno feminističke perspektive. O. (otočka) žena sa otoka u samom je nazivu časopisa koji, osim u uredničkom, i u dizajnerskom smislu drastično odskače od prosjeka malih lokalnih tiskovina.

dizajn vizualnih komunikacija

The NGO Održivi otok (A Sustainable Island), active in Jelsa on the islands of Hvar, has launched a magazine for critical reflection of life on the island. The editorial board of the magazine is exclusively female, so the magazine covers topics seen from a pronounced feminist perspective together with critical texts about the seemingly idyllic life of the islanders.

The name of the magazine is O., which is play of words and symbols in the Croatian language meaning “a female inhabitant of an island”.

Apart from a specific editorial concept, the design of the magazine also drastically diverges from average small local publications.

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Miroslav Granić & Denis Martinović — Plemstvo Kraljevine Dalmacije 1814.

– 1918. ∕ Nobility of the Kingdom of Dalmatia 1814 – 1918 studio Kuna zlatica dizajn ∕ design Alma Šavar, Ana Kunej, Zlatka Salopek naručitelj ∕ client Državni arhiv u Zadru ∕ State archives in Zadar 1 ∕ 2018

Ovo raskošno opremljeno izdanje s više od 600 stranica predstavlja prekretnicu u proučavanju grboslovlja u Hrvatskoj. Oblikovanjem je riješen dio problema sistematizacije heraldičke simbologije, a vizualni primat dan je samim grbovima. Prijelom je koncentriran na organizaciju i pitkost sadržaja koji čini golema zbirka podataka. Korice su obrađene minimalistički, a njihov ovitak je ujedno plakat na kojemu su sabrani svi grbovi. Sam naslov knjige pojavljuje se tek kao naznaka otisnuta tehnikom UV lakiranja.

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This luxuriously featured edition covering more than 600 pages represents a milestone in studying heraldry in Croatia. The design concept partially solved certain aspects of the problem related to the systematization of heraldic symbolism, and the visual primacy was given to the coats of arms. The layout is focused on organization and readability of the content comprising a very large collection of information. The covers are treated in a minimalist way, and the jacket is also used as the poster comprising a comprehensive assembly of all different coats of arms. The title of the book appears only as an indication printed using the UV varnish coating.

visual communications design

Nacrti i perspektive 1949 – 50 ∕ Blueprints and Perspectives 1949 – 50 dizajn ∕ design Sanja Kuzmanović naručitelj ∕ client Muzej suvremene umjetnosti ∕ Museum of Contemporary Art Zagreb 12 ∕ 2017

Mapa Nacrti i perspektive 1949 – 50 (iz Zbirke Muzeja suvremene umjetnosti) predstavlja pet projekata izložbenih paviljona za međunarodne sajmove u Beču, Stockholmu, Parizu, Hannoveru i Chicagu te tri postava izložbi u Zagrebu i Beogradu. Autori projekata bili su Ivan Picelj, Vjenceslav Richter, Aleksandar Srnec, Zvonimir Radić i Đuka Kavurić. Oblikovanje i tipografija imitiraju estetiku dizajna 50-ih, a oblik publikacije arhitektonsku mapu.

Unutrašnje boje mape i pregradnih projektnih listova određene su prema bojama iz nacrta koji se nalaze unutar mape.

dizajn vizualnih komunikacija

Blueprints and Perspectives 1949 – 50 (from the Museum of Contemporary Art Collection) is a collection presenting five projects of exhibition pavilions for international fairs in Vienna, Stockholm, Paris, Hanover and Chicago and three exhibitions held in Zagreb and Belgrade.

The authors of the project were Ivan Picelj, Vjenceslav Richter, Aleksandar Srnec, Zvonimir Radić and Đuka Kavurić. The design and typography imitate the 1950s aesthetics and the publication has the form of an architectural portfolio. The colours inside of the portfolio and partition project sheets are selected according to the colours on the blueprints making part of the portfolio.

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Ana Hušman — 6 sa 7 metara ∕ 6 by 7 meters* dizajn ∕ design Ana Labudović vizualni materijal ∕ visual material Ana Hušman izrada objekata i maketa ∕ manufacture of objects and models Ana Hušman, Ernst Ludwig, Ivana Bošnjak, Thomas Johnson tekstovi ∕ essays Jasna Jasna Žmak, Iva Kraljević, Ana Hušman, Ivana Meštrov, Petar Milat, Alice Miller izdavač ∕ publisher Galerija umjetnina suizdavač ∕ co-publisher Studio Pangolin 08 ∕ 2017 *izvan konkurencije, rad članice Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Knjiga 6 sa 7 metara izdana je u okviru istoimenog filmskog projekta Ane Hušman. Nastala je suradnjom autorice i brojnih suradnika: dramaturginje, snimatelja, montažerke, muzičara, filozofa, povjesničarke umjetnosti, grafičke dizajnerice itd. Knjiga prenosi razmišljanja iznesena u filmu o mogućim događajima temeljenim na sjećanju i pretpostavkama, koji su se odvili u prostoru dnevnog boravka. Taj prostor, stvarni ili njegove replike, skeniranjem je prenesen unutar korica. Korice su izrađene od svijetlosmeđeg hrapavog papira koji podsjeća na brusni papir, jedan od glavnih autoričinih alata prilikom izrade maketa.

224 pregled hrvatskog dizajna

The book titled 6 by 7 meters was published together with the same-titled project by Ana Hušman. It is a result of collaboration between the author and many other experts working in the fields of dramaturgy, film editing, camera, music art, philosophy, art history, graphic design, etc. The book explains ideas presented in the film regarding possible events based on compassion and presumptions that took place in a living room. That interior space, both real and replicated, was scanned and presented within the covers. The covers are made of lightbrown coarse paper that looks like sand paper, which is one of the most important tools that the designer uses when making physical models.

visual communications design

Serija naslovnica za zbirke poezije ∕ Series of Poetry Books Covers dizajn ∕ design Petra Milički naručitelj ∕ client Fraktura, Ivanec Bistranski 12 ∕ 2017 – 3 ∕ 2018

Neformalnu Frakturinu seriju od 5 različitih zbirki poezije povezuje pristup u oblikovanju naslovnica, koji karakterizira jednostavna grafičko-tipografska interpretacija naslova, sadržaja i atmosfere pojedine zbirke.

dizajn vizualnih komunikacija

An informal Fractura’s series comprising five poetry collections fuses the approach applied in the design of the covers characterized by a simple graphical and typographic interpretation of the title, content and atmosphere of each individual poetry collection.

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U spomen spomenicima ∕ In Memory of the Monuments studio Mireldy art direkcija, dizajn, ilustracija ∕ art direction, design, illustration Imelda Ramović samoinicirani rad ∕ self-initiated work 5 ∕ 2017

Nakon raspada SFR Jugoslavije, spomenici kao simboli kolektivnog sjećanja i progresivnog optimizma, novog identiteta države te mjesta stradanja svih njenih naroda i narodnosti postali su simboli završetka jednog vremena i, kao takvi, postali su nepoželjni. U potrebi da se očuva sjećanje na spomeničku baštinu osmišljen je projekt U spomen spomenicima za koji je kreirana serija plakata s ilustracijama spomenika revolucije i knjiga koja u ovoj fazi projekta obrađuje dvadeset spomenika.

226 pregled hrvatskog dizajna

After the dissolution of the Socialist Federal Republic of Yugoslavia, monuments, as tokens of collective memory and progressive optimism, new identity of the state and places of suffering of all its peoples and nationalities, became the symbol of the end of an epoch and, as such, unwanted. To preserve the memory on the monumental heritage, the project titled In Memory of the Monuments was designed together with a series of posters with illustrations of the monuments of the revolution and the book covering twenty monuments at this stage of the project.

visual communications design

DIPMOD _0123 NJI3 dizajn ∕ design Dina Milovčić, Tessa Bachrach Krištofić, Franka Tretinjak naručitelj ∕ client Jasminka Končić, Tekstilno-tehnološki fakultet ∕ Faculty of Textile Technology, Zagreb 5 ∕ 2018

Katalog diplomskih radova Tekstilno-tehnološkog fakulteta nastalih u zadnje četiri godine.

Dizajn kataloga kontrastno spaja tipografski naglašene separatore i detalje s reduciranijim tretmanom karakterističnih stranica za studentske radove, kako bi se upravo oni najviše istaknuli.

dizajn vizualnih komunikacija

The catalogue comprising the Faculty of Textile Technology graduate papers written in the last four years. The design of the catalogue contrasts typographically accentuated separators and details and a reduced treatment of standard pages used for student papers, to highlight them the most.

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Bachrach&Krištofić — Dizajn & fotografija ∕ Design & Photography NJI3 dizajn ∕ design Dina Milovčić, Tessa Bachrach Krištofić, Franka Tretinjak suradnik ∕ contributor Marko Hrastovec naručitelj ∕ client Bachrach&Krištofić, Zagreb 9 ∕ 2016

Vizualni identitet i dizajn kataloga retrospektivne izložbe tandema Bachrach&Krištofić.

Okosnica vizualnog identiteta je ampersand (&)— koji simbolizira zajedništvo u profesionalnom radu, ali i privatnom životu dizajnerice i fotografa. Kroz različite ekstenzije, pa tako i katalog, isprepliću se grafika i fotografija, osnovni mediji dvaju neodvojivih izričaja.

228 pregled hrvatskog dizajna

The visual identity and design of the catalogue for the retrospective exhibition of works by Bachrach & Krištofić. The backbone of the visual identity is the ampersand symbol (&) symbolizing the designer and the photographer’s partnership in both professional work and private life. In various extensions of the design as well as in the catalogue, graphics and photography are intertwined as the two basic media of the two inextricable expressions.

visual communications design

Asanaginica 2.0 studio Oaza dizajn ∕ design Roberta Bratović, Nina Bačun (Oaza), Nejla Baltić, Tania Hafizović, Hanan Hasanbegović, Amr Kadriju, Ubeida Mehmedović, Harun Rahmanović, Abdulrahman Salem, Hamza Salem, Agnesa Smakiqi, Sara Zulić naručitelj ∕ client [BLOK], Zagreb 1 – 6 ∕ 2018

Knjiga je rezultat radionice u sklopu višemjesečnog projekta Pro(iz)vedi mladost u kulturi koji je inicirao kustoski kolektiv [BLOK]. U projektu, čije je polazište bilo isticanje važnosti likovne umjetnosti i vizualne kulture u srednjoškolskom obrazovanju, sudjelovali su srednjoškolci zagrebačke Islamske gimnazije dr. Ahmeda Smajlovića, a surađivali su s dizajnericama Ninom Bačun i Robertom Bratović. Učenici su analizirali bosanskohercegovačku usmenu baladu Asanaginica, interpretirajući strofe, likove i emocije u različitim likovnim tehnikama, a tijekom rada na knjizi prošli su uvod u tipografiju, kompoziciju, prijelom, tiskarske materijale i tehnike. Knjigu čine tri poglavlja, prvo je tipografski eksperiment, drugo poglavlje prikazuje vježbu ilustriranja inicijala, dok je treće likovna interpretacija same pripovijesti.

dizajn vizualnih komunikacija

The book is a result of the workshop held in the framework of the multi-month project under the title Pro(iz)vedi mladost u kulturi initiated by the [BLOK] curator collective. The starting point of the project was to emphasize the importance of visual art and visual culture in secondary education and involve high school students of Dr. Ahmed Smajlović Islamic Gymnasium from Zagreb who collaborated with designers Nina Bačun and Robert Bratović.

Students analysed Asanaginica, a ballad from Bosnia and Herzegovina, bby interpreting verses, characters and emotions in various art techniques. During the course of the project, they were introduced to typography, composition, layout design, printing materials and techniques. The book includes three chapters: the first one is a typographical experiment, the second showcases the exercise on initial illustration, while the third chapter is a visual interpretation of the story about Asanaginica.

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Biblioteka ADU ∕ The ADU studio Oaza dizajn ∕ design Roberta Bratović i Maša Poljanec naručitelj ∕ client Akademija dramske umjetnosti Sveučilišta u Zagrebu ∕ Academy of Dramatic Art, University of Zagreb 12 ∕ 2017 – 5 ∕ 2018

Dizajn vizualnih standarda izdavačke djelatnosti biblioteke ADU. Kako bi se objedinila raznorodnost tema i osigurala dugoročna održivost definiran je vizualni sustav biblioteke koji strogo definira tretman i odnose tipografije i fotografije, dok je ostavljena mogućnost slobodnog odabira boje. Prijelom i odabrana tipografija daju tekstu ozbiljan, akademski karakter, mogu podržati velik broj različitih tipova fusnota i slikovnih priloga, te više hijerarhija naslova unutar pojedinih poglavlja. Izbor i tretman papira, korica i knjižnog bloka, odstupa od klasičnih udžbeničkih izdanja te naglašava posebnost i funkcionalnost ove biblioteke.

Primjenom slijepog tiska na naslovnici postiže se dodatna prepoznatljivost.

230 pregled hrvatskog dizajna

The design of visual standards for the ADU publishing activities. In order to bring together the variety of topics and provide long-term sustainability, a visual system was defined which strictly defines the treatment and relationship of typography and photography with the possibility to freely select the colours. The layout together with the selected typography result in the text with a serious and scholarly character and can support a large number of different types of footnotes and image supplements as well as several title hierarchies within individual chapters. The selection and treatment of paper, covers and book block departs from classical textbook editions and emphasizes the uniqueness and functionality of this edition. The application of blind print on the cover additionally reinforces its recognizability.

visual communications design

Projekt Ilica Vol 1: Registar nositelja znanja ∕ The Ilica Project, Vol 1: Registry of Knowledge Holders studio Oaza autorska koncepcija, dizajnersko istraživanje, uređivanje, dizajn, ilustracija ∕ concept, design research, editing, design, illustration Nina Bačun, Maja Kolar, Ivana Borovnjak, Maša Poljanec, Roberta Bratović, Tina Ivezić suradnici ∕ contributors Bojan Mrđenović, Neven Petrović, Borko Vukosav, Marina Paulenka (fotografija ∕ photography), Maja Arčabić, Boris Bakal, Jan Boelen, Aljoša Dekleva & Tina Gregorič, Marko Golub, Bojan Mucko, Oaza (tekstovi ∕ essays), Igor Dvoršćak, Domagoj Živčić (prijevod i lektura), Zlatko Budiselić, Goran Žugić, Zvonimir Balcer, Đuro Bashota, Niko Kuharić, Stella Gašparac, Mateja & Thomislav Cerovečki, Damir Marković, Stjepan Pavlović, Renato Bočak, Zvonimir Strašek, Nino Radulović, Dubravko Lacković, Sven Rakitničan, Vinko Zvošec, Nikola Andrijević, Džan Bashota, Marica Ivičević−Barišić, Stipan Josić, Gjon Gjoni, Enver i Ali Gadaf, David Lušičić, Alenka Antolić−Soban, Damir Mehkek, Ivan Prgomet (obrtnici, nositelji znanja ∕ artisans, knowledge holders) izdavač ∕ publisher Oaza samoinicirani rad ∕ self-initiated work 4 ∕ 2017

Tiskano izdanje Projekta Ilica u vlastitom nakladništvu umjetničke organizacije Oaza svojevrsni je dokument dizajnerskog istraživanja započetog 2014. godine, koji otvara novi prostor za promišljanje, promociju i zagovaranje dizajnerske prakse u vrlo specifičnom području socijalnog dizajna koji je u Hrvatskoj još u povojima. Publikacija predstavlja pregled svih dosad provedenih aktivnosti u sklopu autorskog projekta te nastoji ponuditi odgovor na pitanje – kako alatima dizajna utjecati na samoodrživost lokalne zajednice i posljedično na uspostavljanje kontinuiteta lokalnog identiteta i stvaranja novih vrijednosti?

dizajn vizualnih komunikacija

The printed edition of the Ilica Project published by Oaza art organization functions as a sort of design research project. The project was launched in 2014 to open a new space for reflection, promotion and advocacy of design practice in a very specific area of social design that has only started developing in Croatia. This publication presents an overview of all activities done so far in the framework of the project and seeks to answer the question of how to use design tools to affect self-sustainability of the local community and consequently establish the continuity of local identity and creation of new values?

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Readymade 01 studio Oaza dizajn i kreativna direkcija ∕ design and creative direction Nina Bačun, Maja Kolar, Ivana Borovnjak, Maša Poljanec, Roberta Bratović suradnici ∕ contributors Ivana Nikolić Popović (glavna urednica ∕ editor-in-chief), Karolina Hrga (executive editor), Oaza, Muze, Krešimir Galović (stručni suradnici ∕ expert associates), Martina Nekić, Ivana Jandrić (prikupljanje i obrada podataka ∕ data collection and processing), Martin Beroš, Danijel Švraka (prijevod, lektura ∕ translation, proofreading), Marina Paulenka, Bojan Mrđenović, Karlo Mijić, Mario Radovanović, Domagoj Kunić, Ivana Zanze (fotografija ∕ photography), Sandra Uskoković, Sonja Leboš, Ivana Borovnjak, Ivana Fabrio, Iva Klarić, Simona Goldstein, Krešimir Galović, Enzo Scavone, Adam Nossiter (autorski tekstovi ∕ essays) izdavač ∕ publisher Brendsfera naručitelj ∕ client HKKKKI, Zagreb 5 ∕ 2017

Edukativno-istraživački časopis interdisciplinarnog karaktera koncipiran je kao medijska ekstenzija istoimene inicijative čije razvojne etape dokumentira, propituje i prati. Primarni tematski fokus mu je na kritičkom promišljanju grada kroz sustavnu proizvodnju urbanih sadržaja i prostora u skladu s društveno-povijesnim, kulturološkim, sociološkim i ekonomskim kontekstom iz kojeg proizlaze. Pored esejističkih tekstova na dani temat, časopis donosi i intervjue s akterima iz sfere vizualnih i izvedbenih umjetnosti čije se recentno praktično djelovanje veže uz lokalni kontekst Ilice, te dodatno razgovore sa dionicima iz globalne javne sfere čiji se angažman u artikuliranju prenamjene javnih prostora i “prava na grad” svakako tiče i ishodišne točke krovnog projekta - Ilice.

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The interdisciplinary journal dedicated to education and research is designed as a media extension of the eponymous initiative whose developmental stages it documents, investigates and monitors. The primary thematic focus is set on the critical reflection about the city through a systematic production of urban contents and space in accordance with social, historical, cultural, sociological and economic contexts from which they arise. In addition to essays on a particular subject, the journal also brings interviews with the main stakeholders in the domain of visual and performing arts whose recent practical activities are linked to the local context of Ilica Street together with interviews with stakeholders from the global public sphere whose engagement in articulating public space conversion and the so-called “right to the city “ most definitely implies the starting point of the umbrella project, i.e. Ilica Street.

visual communications design

Samba Shiva — The Photographs of Sambasiva Rao Patchineelam studio Oaza dizajn ∕ design Nina Bačun, Roberta Bratović naručitelj ∕ client Vijai Patchineelam, São Paulo 9 – 10 ∕ 2017

Dizajn fotografske knjige umjetnika Vijaija Patchineelama u kojoj autor fotografski rekonstruira putovanja koja je snimio njegov otac Sambasiva, indijski znanstvenik koji je krajem 60-ih godina doselio u Brazil. U knjizi su tri skupine fotografija kodirane tretmanom margina – Indija, Brazil i stručna putovanja. Šafran žuta nosi identitet knjige, ali ukazuje i na važnost Sambasivinog porijekla. Tipografija ima upečatljiv, dinamičan karakter. Knjiga se može čitati i kao refleksija izmiješanih dijapozitiva, kako ih je Vijai pronašao prilikom jednog posjeta obiteljskoj kući u Brazilu.

dizajn vizualnih komunikacija

The design of a book of photographs by Vijay Patchineel, in which the artist reconstructs the photographs of his father Sambasiva, an Indian scientist who moved to Brazil in the late 1960s. In the book, three groups of photos (India, Brazil and business trips) are coded by the treatment of margins. The saffron yellow colour carries the identity of the book, but also points to the importance of Sambasiva’s roots.

The selected typeface has a striking, dynamic character. The book can also be interpreted as a reflection of mixed slides, as Vijai found them during a visit to his family home in Brazil.

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Tina Gverović — More Ljudi ∕ A Sea of People studio Oaza dizajn ∕ design Roberta Bratović, Nina Bačun suradnik ∕ contributor Klaudio Štefančić izdavač Oaza samoinicirani rad ∕ self-initiated work 1 ∕ 2017

Prvo izdanje edicije aBook Umjetničke organizacije Oaza rezultat je uske suradnje umjetnice Tine Gverović, dizajnerica i kustosa Klaudija Štefančića. U knjizi se isprepliću tri struje: crteži tintom dijelova tijela koji plutaju, dokumentarni kolaži isječaka iz novina i tekst kao zbir priča i činjenica vezanih za migracije ljudi i kretanje mora. Uvezane stranice nisu obrezane za mogućnost klasičnog listanja te tako naglašavaju plutanje sadržaja kroz knjigu, dok s unutarnje strana listova prodire narančasta boja spasilačkih čamaca. Izdavački program aBook ima za cilj intenzivnije povezati tri kulturna područja: suvremenu umjetničku praksu, grafički dizajn i izdavaštvo.

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The first issue aBook art organization’s edition is the result of close collaboration between artist Tina Gverović, two designers and curator Klaudio Štefančić. The book intertwines three currents: ink drawings of floating body parts, documentary collages of newspaper clippings and the text, which is a collection of stories and facts related to human migration and sea movement. The pages bound together were not cut to accommodate classical way of leafing through the book and thus emphasize the floating of content throughout the book, while the orange colour characteristic for rescue boats penetrates the interior side of the sheets. The aBook publishing program aims to intensify links between the three cultural areas: contemporary art practice, graphic design and publishing.

visual communications design

Utopijski kolektiv ∕ Utopian Collective dizajn ∕ design Jan Pavlović naručitelji ∕ clients Hrvatsko dizajnersko društvo ∕ Croatian Designers Association, Ministarstvo kulture ∕ Ministry of Culture, Zagreb 6 ∕ 2016

Publikacija povodom hrvatske izložbe na Londonskom bijenalu dizajna 2016. godine predstavlja presjek cijelog procesa stvaranja projekta, s tekstom kustosice i zajedničkim tekstom svih autora, fotografijama finalnih objekata i radnih skica, te dokumentacijom i fotografijama procesa rada na projektu.

Oblikovanje publikacije proizlazi iz vizualnog identiteta Utopijskog kolektiva, a utemeljeno je na ideji iskustva kolektivnog rada koje otvara pitanja o autorstvu, odnosima i ishodu zajedničkog procesa.

dizajn vizualnih komunikacija

The publication on the occasion of the Croatian exhibition at the London Design Biennale 2016 is a cross-section of the project’s creation process bringing one text written by the curator and another text written by all participating artists, photographs of final objects, sketches as well as documentation and photographs of the work process that took place during the course of the project. The design of the publication stems from the visual identity of the Utopian Collective and is based on the idea of collective work experience that opens up questions about authorship, relationships and the outcome of the common process.

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Medika i Akademija likovnih umjetnosti u Zagrebu ∕ Medika and the Academy of Fine Arts in Zagreb studio Rašić+Vrabec kreativna direkcija ∕ creative direction Marko Rašić, Vedrana Vrabec suradnici ∕ contributors Asja Prpić, Ante Rašić, Filip Šarunić (koordinacija i uredništvo ∕ coordination and editing), Miran Šabić, Marko Tadić, Mirjana Vodopija, Pavle Pavlović, Ines Krasić, Sebastijan Dračić, Tomislav Buntak, Snježana Ban, Maja Rožman, Igor Čabraja, Robert Šimrak, Ivan Fijolić (umjetnička djela ∕ artworks), Krunoslav Kamenov (uvodni tekst ∕ introductory essay), Damir Fabijanić, Kristina Lenard (fotografija ∕ photography) naručitelj ∕ client Medika, Zagreb 2018

Medikini kalendari svake godine predstavljaju jednog ili više renomiranih hrvatskih umjetnika.

Za 2018. predložena je suradnja s Akademijom likovnih umjetnosti u Zagrebu te je odabrano 12 mlađih umjetnika, po jedan za svaki mjesec.

Kalendar funkcionira po principu tear off grafike, tako da od svakog mjeseca nakon korištenja ostane samostalan list s grafikom.

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Every year, Medika’s calendars present one or more renowned Croatian artists. For 2018, the cooperation with the Academy of Fine Arts in Zagreb was proposed, and 12 young artists were selected, one for each month. The calendar works as tear-off graphics, meaning that every month one independent sheet with the graphics remains after it was used as a calendar.

visual communications design

Posveta učitelju — Dragomir Maji Vlahović ∕ Hommage to the Teacher — Dragomir Maji Vlahović dizajn ∕ design Sven Sorić suradnici ∕ contributors Ivana Ergić, Tajana Jaklenec, Luka Korlaet (urednici ∕ editors), Marko Mihaljević (fotografija ∕ photography) naručitelj ∕ client Arhitektonski fakultet Sveučilišta u Zagrebu ∕ University of Zagreb, Faculty of Architecture 2 ∕ 2018

Publikacija je nastala kao dopuna i dokumentacija istoimene izložbe postavljene na Arhitektonskom fakultetu u sklopu fakultetske edicije O individualnom stanovanju. Koncept reflektira Vlahovićevu rijetku, ali važnu arhitektonsku produkciju, od koje je najvažnija Crna kuća u Zagrebu. Knjiga je umotana u crni plakat na kojem su crnom bojom otisnuti nacrti svih kuća.

Suptilan tisak crno-na-crnom opisuje samozatajni lik i djelo profesora Vlahovića. Kuće su na ovitku vidljive samo pod određenim kutovima i zahtijevaju pažnju čitatelja.

dizajn vizualnih komunikacija

The publication was designed as a supplement and documentation of the eponymous exhibition held at the Faculty of Architecture in the framework of the faculty edition titled On Individual Housing. The concept reflects Vlahović’s rare yet important architectural production, where the Black House in Zagreb holds the most prominent place. The book is wrapped in a black poster on which all the blueprints of houses are printed in black. Subtle black-toblack print describes professor Vlahović’s quiet and reserved personality and work. The houses on the cover are visible only at a certain angle and require the reader’s full attention.

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Ana Solter — Arheološki muzej u Zagrebu: Život od 19. do 21. stoljeća ∕ Archaeological Museum in Zagreb: Life from the 19th to the 21st century studio Šesnić&Turković dizajn ∕ design Andrea Sužnjević, Marko Šesnić, Goran Turković naručitelj ∕ client Arheološki muzej u Zagrebu ∕ Archaeological Museum in Zagreb 4 ∕ 2017

Knjiga muzejske dokumentaristice Ane Solter prati djelovanje Arheološkog muzeja u Zagrebu od osnutka do danas. Budući da sažima dokumente muzejske arhive – rukopise, fotografije, pisma, ilustracije raznih predmeta – logičan je put bio knjižni blok smjestiti u korice koje podsjećaju na mapu muzejske arhive.

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The book by Ana Solter, the museum documentarist, follows the work of the Archaeological Museum in Zagreb since its foundation until today. As it summarizes documents from the museum archives - manuscripts, photographs, letters, and illustrations of various objects - it made sense to place the book block inside of a folder evoking the museum archive envelopes.

visual communications design

Contrada studio Tumpić/Prenc art direkcija i dizajn ∕ art direction and design Anselmo Tumpić account director Sara Prenc Opačić suradnik ∕ contributor Andrea Brajnović (ilustracija ∕ illustration) naručitelj ∕ client Kuća o Batani ∕ The House of Batana, Rovinj 2 ∕ 2018

Rovinjske ulice nekada su bile mjesto gdje se odvijao velik dio svakodnevnog života. To je bila i Cuntràda San suàne, ulica koja je pretvorena u izložbeni prostor i mjesto rekonstrukcije tradicijskih igara. Ovaj katalog nastao je nakon izložbe, a rezultat je potrebe da se današnjoj publici predstave tradicijske igre i spriječi njihov zaborav. Katalog je ujedno i paket s igračkom, u ovom slučaju to je kamen koji je nekad bio najčešći predmet za igranje uličnih igara.

dizajn vizualnih komunikacija

The streets of Rovinj were once the place where a great deal of everyday life took place. Cuntràda San Tommaso was one of those streets. The street was turned into an exhibition space and a place for reconstruction of traditional games.

This catalogue was created after the exhibition, as the result of the need to present traditional games to the contemporary audience and thus prevent them from being forgotten. The catalogue is also a toy package - in this case it is the stone that was once the most common object used for playing street games.

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Vizualna etnografija Istre ∕ Visual Ethnography of Istria studio Tumpić/Prenc art direkcija i dizajn ∕ art direction and design Anselmo Tumpić account director Sara Prenc Opačić naručitelj ∕ client Etnografski muzej Istre ∕ Ethnographic Museum of Istria, Pazin 7 ∕ 2017

Korice publikacije koja iz etnografske vizure istražuje istarsku kulturu posebne su po tome što doslovno i preneseno imaju četiri lica naslovnice. Motivi na omotnici su lica ljudi, četiri portreta iz istarske prošlosti dobivena reprodukcijom originalnih fotografskih zapisa u tehnici polutonova. Omot je otisnut obostrano tako da se od jednog omota, ovisno o tome kako ga se okrene, mogu dobiti četiri različite naslovnice.

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The cover of the publication that explores Istrian culture from the ethnographic viewpoint is special because they literally and non-literally have four different cover fronts. The motifs on the cover are faces of people, or four portraits from the Istrian past obtained by the reproduction of original photographic records in the semitonal technique. The jacket is bilaterally printed so that one jacket can transform into four different covers, depending on the way it is turned.

visual communications design

Salonska slova ∕ Salon Type dizajn ∕ design Mario Aničić suradnik ∕ contributor Nina Martinuš (arhitekt ∕ architect) naručitelj ∕ client ULUPUH, Zagreb 10 ∕ 2017

Ovaj tipografski sustav bio je nositelj vizualnog identiteta 52. zagrebačkog salona primijenjenih umjetnosti i dizajna. U raznobrojnim nastalim kompozicijama koje su imale veseo, duhovit, poetski, interpretativan karakter, nastala je i jedna dijagonalna kompozicija znakova naslova teme koja je autora podsjetila na oblik Jugoslavije. Naslov teme salona (Ne) primjenjivost primijenjene umjetnosti ispisan u obliku nalik konturama nekadašnje države šalje duhovitu, ali ozbiljnu poruku – poetski oblikovana slova doista djeluju kao nešto (ne) primjenjivo u potpuno „primjenjivoj“ stvarnosti u kojoj se nalaze kultura, strukovne udruge, strukovni diskurs i sve ostalo vezano za primijenjene umjetnosti i tranziciju koju prolaze.

dizajn vizualnih komunikacija

This typographic system was the key element of the visual identity of the 52nd Zagreb Salon of Applied Art and Design. In a variety of cheerful, witty, poetic and interpretative compositions, one diagonal composition emerged made of characters used for the title of the Salon’s main theme that reminded the designer of the shape of the former Yugoslavia. The title of the 52nd Salon - (Non) applicability of applied arts – written in the shape of the former state conveys a witty, yet a very serious message; poetically shaped letters really appear as something (non) applicable in the “fully applicable” reality of culture, professional associations, discourse and all other things related to the applied arts and the transition they are going through.

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Brenner dizajn ∕ design Nikola Đurek, Marko Hrastovec samoinicirani rad ∕ self-initiated work 4 ∕ 2018

Brenner je sustav pismovnih obitelji koji premošćuje razlike, baš kao i planinski prijevoj po kojem je dobio ime. Brenner je veza između sjevera i juga Europe, strateški pozicioniran između istoka i zapada. Svaki član tipografskog sustava Brenner zasebna je obitelj vlastitih karakteristika. Brenner Sans tipičan je primjer groteska sa sjevera Europe, dok se Brenner Serif naslanja na rad poznatih tipografa s juga Europe kao što su Bodoni i Didot. Brenner Slab karakterizira pomalo kontradiktoran pristup pun oštrih i oblih detalja za uobičajeno robusna slab pisma. Brenner Script je nesvakidašnje rukopisno pismo inspirirano Mediteranom, preciznije natpisima naziva ugostiteljskih lokala na obalama južne Europe.

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Brenner is a system of typeface families that settles differences, just like the mountain pass after which it was named. Brenner mountains pass links the north and the south of Europe and holds a strategic position between the east and the west. Each component of the Brenner typographic system is a separate family with its own specific characteristics. Brenner Sans is a typical example of grotesque fonts from the north of Europe, while Brenner Serif springs from the work of renowned typeface designers from the south of Europe, such as Bodoni and Didot. Characterized by a somewhat contradictory approach, Brenner Slab is full of sharp and rounded details, which is unusual for robust, slab typefaces. Brenner Script is an unconventional, handwritten font inspired by the Mediterranean, or, to be more precise, by the inscriptions carrying names of catering establishments along the coasts of southern Europe.

visual communications design

Halte dizajn ∕ design Hrvoje Živčić naručitelj ∕ client Typotheque 5 ∕ 2018

Halte je natpisno pismo inspirirano oznakama autobusnih i tramvajskih stajališta ZET-a. Projekt je započeo kao digitalizacija ovog zanimljivog primjera lokalnog dizajna, a kroz brojne iteracije nastala je nova pismovna porodica s originalnim karakteristikama i proširenom funkcionalnošću.

Bitan dio procesa bio je i korištenje ranijih inačica pisma u nizu različitih projekata, što je značajno doprinijelo kvaliteti završne verzije. Pismo se sastoji od 5 debljina s pripadajućim italicima, a sadrži i neočekivano široke male verzale.

dizajn vizualnih komunikacija

Halte is a display font family inspired by the tram and bus stop signage found around Zagreb. The project started as a digitization of this interesting example of local design, and through numerous iterations a new font family with original characters and expanded functionality was created. An important part of the process was the use of earlier versions of the font in a number of different projects, which contributed significantly to the quality of the final version. The font family consists of 5 weights with matching italics and small caps.

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design and digital media • interaction design

dizajn u digitalnim medijima• dizajn interakcija design and digital media• interaction design

dizajn u digitalnim medijima • dizajn interakcija

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Nikola Tesla — Mind from the Future studio Babushke / Organizam dizajn ∕ design Marija Juza, Bernarda Cesar, Filip Pintarić, Miro Čavar suradnici ∕ contributors Martin Horvat & Roman Horvat (foto & video), Nikola Đurek (tipografsko pismo Plotter ∕ Plotter typeface), Real grupa d.o.o. (montaža ∕ editing) naručitelj ∕ client Real grupa d.o.o 2017

Dizajn promotivnog videospota multimedijalne izložbe Nikola Tesla - Mind from the Future hommage je Teslinoj znanstvenoj imaginaciji i kreativnosti, a zasnovan je na radnjama temeljenim na jednostavnim fizikalnim principima i procesima. Ove animirane elektromagnetske slike napravljene su uz pomoć jakih magneta i željezne prašine.

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The design of the promotional video for the multimedia exhibition Nikola Tesla - Mind from the Future is a homage to Tesla’s scientific imagination and creativity, and it is based on actions driven by simple physical principles and processes. These animated electromagnetic images were made using strong magnets and iron powder.

design and digital media • interaction design

Arhitekt.hr autor koncepcije ∕ concept Damir Bralić suradnici ∕ contributors Maroje Mrduljaš, Artur Šilić (razvoj i razrada ∕ elaboration and development), Andrija Mudnić (oblikovanje ∕ design), Mira Stanić (strukturiranje i usklađivanje informacijske arhitekture ∕ structuring and adjustments of information architecture), Novena d.o.o. (programiranje ∕ programming) naručitelj ∕ client Arhitektonski fakultet Sveučilišta u Zagrebu ∕ Faculty of Architecture, University of Zagreb 2 ∕ 2018

Osim što ispunjava komunikacijsko-prezentacijsku funkciju, web sjedište Arhitektonskog fakulteta Sveučilišta u Zagrebu virtualna je platforma oblikovana kao alat za razumijevanje i povezivanje znanja koje je stvoreno na fakultetu ili se na njemu stvara. Iz baze podataka koja stoji iza ovog sjedišta povlači se sadržaj organiziran u nekoliko osnovnih slojeva: aktivnosti i radove (output) fakulteta, organizaciju, odnosno kurikulum i ustroj, te temelje.

Svaka nova jedinica koja se unosi u neko od navedenih područja predstavlja frontalni sloj aktualnosti koji s vremenom tone na svoju prirodnu poziciju, a uvijek se prezentira povezana s ‘oblakom’ drugih sadržajnih jedinica različitih kategorija i porijekla. Korisnik je tako stalno izložen novom sadržaju koji možda i nije tražio, ali se logično vezuje na njegovu individualnu putanju kroz web stranicu i kontinuirano poziva na istraživanje. www.arhitekt.hr

dizajn u digitalnim medijima • dizajn interakcija

In addition to its communicative-presentative function, the web site of the Faculty of Architecture of the University of Zagreb is a virtual platform designed as a tool for understanding and linking the knowledge acquired or created at the Faculty. The content that can be accessed through this database is organised in several basic layers: Faculty activity and works (output), organisation i.e. curriculum and structure, and foundations. Each new unit inserted into one of the areas represents a frontal layer of actualities, which falls into its natural position with time, and it is always presented in relation to the cloud of other content units of different categories and origin. The user is therefore continuously exposed to new content which may not have even been searched for, but which logically follows the user’s individual path through the web page and continually encourages exploration. www.arhitekt.hr

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Dobro.hr agencija ∕agency Bruketa&Žinić&Grey UX/UI dizajn ∕ design Krešimir Lončar kreativna direkcija ∕ creative direction Davor Bruketa suradnici ∕ contributors Maša Ivanov (client service direktorica ∕ director), Nebojša Cvetković, Andrea Knapić (art direkcija ∕ art direction), Ivan Tanić (direktor strateškog planiranja ∕ strategic planning director), Tea Silvia Vlahović (strateška planerica ∕ strategic planner), Zrinka Požar (account executive), Anja Bauer Minkara, Petra Despot Domljanović (senior brand consultants), Stipan Rimac (copywriter, brand consultant), Jelena Mezga (brand implementor) naručitelj ∕ client Žito d.o.o. Osijek 2 ∕ 2017

Cilj projekta bio je predstaviti glavnu prednost proizvoda brenda Dobro – stopostotno pouzdano porijeklo svih proizvoda i njihova sljedivost koju potrošači mogu provjeriti skeniranjem koda na ambalaži i njegovim unosom na web stranici. Kupac tako može saznati sve detaljne informacije o kupljenom proizvodu i njegovom cjelokupnom proizvodnom ciklusu, prateći njegov put od uzgoja do stola. www.dobro.hr

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The aim of the project was to present the main advantage of the products under the brand Dobro – one hundred per cent reliable origin of all products and their traceability that consumers can check by scanning the code on the packaging and inputting it on the web page.

In this way, the buyer can find all the detailed information about the purchased product and its entire production process, following its path from farm to table. www.dobro.hr

design and digital media • interaction design

Maison Neue — Video Type Specimen agencija ∕agency Bunch animacija ∕ animation Vinko Pelicarić naručitelj ∕ client Milieu Grotesque, Cascais, Portugal 8 ∕ 2017

Maison Neue je pismo nastalo razradom detalja originala zasnovanog na geometrijskim principima (Maison 2010), njegovim ponovnim iscrtavanjem i opširnom nadogradnjom u super-obitelj s 40 rezova. Ta eksplozija mnoštva novih, detaljno dorađenih stilova rezultirala je video type specimenom u kojem se dinamičnim i energičnim nizanjem, u brzom ritmu glazbenih sekvenci japanskog eksperimentalnog jazza, naglašava dinamičnost oblikovanja i raznolikost rezova.

dizajn u digitalnim medijima • dizajn interakcija

Maison Neue is a letter created by elaborating the details of the original based on geometric principles (Maison 2010), its redrawing and a comprehensive expansion into a 40-cut superfamily. This explosion of a multitude of new, thoroughly reworked styles resulted in a video type specimen in which dynamic and energetic ordering, at the rapid rhythm of Japanese experimental jazz sequences, emphasizes the dynamic design and the variety of cuts.

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Jedno djelo ∕ One work dizajn ∕ design Tina Ivezić, Damir Prizmić suradnici ∕ contributors Hrvoje Pelicarić (glazba ∕ music), Ana Marija Habjan, Evelina Turković (autorice i urednice serijala ∕ series authors and editors) naručitelj ∕ client Hrvatska radiotelevizija ∕ Croatian Radiotelevision, Zagreb 2017

Špica za seriju osmominutnih televizijskih emisija koje se bave nastankom i značenjem pojedinih djela suvremene hrvatske likovne umjetnosti. Dizajn špice prati fokusiranu i kratku formu emisije i njenu zvučnu podlogu.

Temeljnom neutralnom grafičkom tretmanu suprotstavljeni su referentni vizualni fragmenti konkretnog djela (specifičnog kadra, boje, detalja) koji se pojavljuju s uvodnom i odjavnom špicom. Time se svaka epizoda personalizira u odnosu na djelo koje se obrađuje te se donekle briše granica između špice i samog sadržaja.

250 pregled hrvatskog dizajna

Opening credits for a series of eight-minute television programmes that deal with the emergence and significance of certain contemporary Croatian art works. The design follows the focused and concise form of the programme and its soundtrack. The basic neutral graphic treatment is contrasted with reference visual fragments of the particular work (a specific frame, colour, detail) that appear with the opening and closing credits. In this way, each episode is personalized in relation to the work in question and, to an extent, the boundary between the credits and the content is blurred.

design and digital media • interaction design

pero.bio web shop* developer Mario Lončarić dizajn weba ∕ web design Draga Komparak dizajn vizualnog identiteta i ambalaže ∕ visual identity and packaging design Draga Komparak tipografija ∕ typography Mote (Hrvoje Živčić) copy pero® fotografija ∕ photography Draga Komparak naručitelj ∕ client Hortiriviera, Matulji 2017 – 2018 *izvan konkurencije, rad člana Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

pero® proizvodi su prirodna, netoksična sredstva za čišćenje i deterdženti za pranje rublja i tekstila, izrađeni isključivo na bazi bilja i prirodnih minerala. Dizajn weba prati filozofiju brenda – zabavan je, čist, jednostavnih linija, naglašava prirodnost proizvoda i omogućuje kupnju bez suvišnih distrakcija. www.pero.bio

dizajn u digitalnim medijima • dizajn interakcija

pero® products are natural, non-toxic cleaning agents and detergents for textile made exclusively from herbs and natural minerals.

Web design follows the brand philosophy: it is fun, pure, simple-lined, highlighting product advantages and allowing for purchase without any unnecessary distractions. www.pero.bio

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Prostoria agencija ∕agency NO42 voditelj projekta ∕ project manager Marko Lokas UX∕UI dizajn ∕design Iva Čular front-end developer Ivan Čurić back-end developer Boris Vujičić naručitelj ∕ client Prostoria Sv. Križ Začretje 9 ∕ 2017

Web sjedište tvrtke Prostorija. www.prostoria.eu

252 pregled hrvatskog dizajna

Website of the company Prostoria. www.prostoria.eu

design and digital media • interaction design

HNK agencija ∕agency NO42 voditelj projekta ∕ project manager Zoran Šteković UX∕UI dizajn ∕ design Iva Čular front-end developer Dario Ferderber back-end developer Vedran Džaja naručitelj ∕ client Hrvatsko narodno kazalište Zagreb ∕ Croatian National Theatre Zagreb 5 ∕ 2018

Web sjedište Hrvatskog narodnog kazališta u Zagrebu. www.hnk.hr

dizajn u digitalnim medijima • dizajn interakcija

Website of the Croatian National Theater in Zagreb. www.hnk.hr

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Muzej Apoksiomena ∕ Museum of Apoxyomenos agencija ∕agency NO42 UX∕UI dizajn ∕ design Nikola Kovač front end developer Danilo Kondić back end developer Vanja Štefanec suradnici ∕ contributors Ivan Dorotić, Maja Bosnić, Damian Nenadić (fotografija ∕ photography) naručitelj ∕ client Muzej Apoksiomena ∕ Museum of Apoxyomenos, Mali Lošinj 2016

Web sjedište Muzeja Apoksiomena u Malom Lošinju. www.muzejapoksiomena.hr

254 pregled hrvatskog dizajna

Website of the Museum of Apoxyomenos in Mali Lošinj. www.muzejapoksiomena.hr

design and digital media • interaction design

Interaktivna instalacija Mali arsenal ∕ Interactive installation Little arsenal studio Revolucija kreativna direkcija, dizajn ∕ creative direction, design Vladimir Končar suradnici ∕ contributors Dražen Hižak (programiranje interakcije ∕ interaction programming), Saša Budimir (3D animacija ∕animation), Alen Stojanac, Suzana Košćak, Anja Bošnjak (dizajn ∕ design), Luka Jendrašić (programiranje mobilne aplikacije ∕ mobile app programming), Ante Stipaničev (programiranje touchscreen aplikacije ∕ touchscreen app programming), Ivan Kapec (kompozitor ∕ composer), Hrvoje Petek (dizajn zvuka ∕ sound design), Laris Borić (stručni suradnik ∕ expert associate), Project 6 studio (snimanje audio vodiča ∕ audio guide recording), Slađan Lipovec (lector ∕ proofreading) naručitelj ∕ client Zadarska županija u okviru projekta HERA Upravljanje održivim turizmom ∕ Zadar County in the framework of the HERA project Managing sustainable tourism 5 ∕ 2017

Multimedijalni centar za posjetitelje koji na interaktivan način prezentira razvoj zadarskih fortifikacija. Zamišljen kao visokotehnološki doživljajni autonomni prostor, od posjetitelja očekuje angažman i uvlači ga u temu putem prostornih interakcija i raznovrsnih zanimljivih informacija te ga educira kroz igru i istraživanje.

Posjetitelj svojom kretnjom generira vizualizaciju na podnoj projekciji čiji vizuali zatim prate kretnje posjetitelja, stvarajući virtualne zidine oko posjetitelja. Kontekstualni prikaz vremena i strukturnih promjena predstavlja se putem viseće 3D projekcije vizualizacijom gradskih zidina kroz četiri vremenska razdoblja.

dizajn u digitalnim medijima • dizajn interakcija

A multimedia visitor centre that interactively presents the development of Zadar’s fortifications. Conceived as a high-tech experiential autonomous space, it expects engagement from the visitors and pulls them into the theme through spatial interactions and various kinds of interesting information, educating them through play and exploration. As the visitors move, they generate visuals on the floor projection, which then follow the visitors’ movements and create virtual walls around them.

The contextual representation of temporal and structural changes is displayed on a pendent 3D projection using visualisations of city walls over four periods.

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Zadar Walking Guide studio Revolucija kreativna direkcija, concept ∕ creative direction, concept: Vladimir Končar suradnici ∕ contributors Suzana Košćak (dizajn ∕ design), Laris Borić (stručni suradnik ∕ expert associate), Luka Jandrešić (programer ∕ programmer) naručitelj ∕ client Zadarska županija ∕ Zadar County 5 ∕ 2017

Mobilna aplikacija omogućava otkrivanje 16 „skrivenih“ lokacija od povijesne važnosti u zadarskoj gradskoj jezgri. U trenutku kada korisnik otkrije sve skrivene lokacije otključava jednokratnu dodatnu pogodnost u obliku 50% popusta na kupnju ulaznica za četiri muzeja.

256 pregled hrvatskog dizajna

The mobile application enables the detection of 16 “hidden” locations of historic importance in Zadar’s city centre. When the user discovers all of the hidden locations, they unlock a onetime additional bonus of 50% discount on ticket purchases for four museums.

design and digital media • interaction design

dizajn u digitalnim medijima • dizajn interakcija

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258 pregled hrvatskog dizajna

packaging design

dizajn ambalaĹže packaging design

dizajn ambalaĹže

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Jasna Jasna Žmak — Ja sam Budućnost ∕ I am the Future dizajn ∕ design Mario Aničić naručitelj ∕ client Jasna Jasna Žmak, Zagreb 4 ∕ 2017

Ambalaža nosača zvuka s audio performansom Jasne Žmak Ja sam Budućnost, produciranog uz potporu zaklade Solidarna u 50 primjeraka.

Sastoji se od kartonskog nosača CD medija i knjižice s tekstualnim prilogom i opisom projekta. Vizual je preuzet i prilagođen s plakata Marija Aničića realiziranog u sklopu projekta Plakatiranje.

260 pregled hrvatskog dizajna

The album cover for Jasna Žmak’s audio performance Ja sam Budućnost (I Am the Future), produced in 50 copies with the support of Solidarna foundation. The packaging consists of the CD cardboard covers and a booklet with texts and a project description. The image on the cover is taken from Mario Aničić’s poster designed as a part of the project named Plakatiranje.

packaging design

Die Seiderei agencija ∕agency Babaja Branding & Design Consultancy d.o.o. art direktorica i glavna dizajnerica ∕ art director and chief designer Iva Babaja dizajn ∕ design Tomislava Cigić ilustracija ∕ illustration Tomislav Zlatić naručitelj ∕ client Die Seiderei, am. Holzer, St.Stefan, Austrija ∕ Austria 1 ∕ 2018

Klijent je mala austrijska obiteljska tvrtka koja je počela proizvoditi vlastito jabučno vino (cider) u više varijanti. Budući da tvrtka nije imala ni vizualni identitet, zadatak dizajnera bio je dizajnom ambalaže postaviti priču od početka. Svaka etiketa odgovara okusu cidera koji se nalazi u boci. Klijentu je bilo u interesu plasirati proizvod u pomodnije barove u Grazu, Beču i drugdje. Na tržištu „craft“ pića i dalje je dominantna estetika hipsterske subkulture, a upravo tu estetiku dizajneri su nastojali izbjeći upotrebom duhovitih ilustracija, kako bi se ambalaža istaknula iz mora drugih craft cidera.

dizajn ambalaže

The client is a small Austrian family-owned company that started producing several variants of cider. The company previously did not have any visual identity and the designers’ task was to use packaging design to tell their story from the beginning. Each label corresponds to a particular cider flavour inside of the bottle. The client wanted to market the products in trendy bars in Graz, Vienna and elsewhere. The craft alcoholic drinks market is still dominated by the aesthetics associated with the hipster subculture.

Designers’ intention was to keep away from that kind of aesthetics by using witty illustrations to create the packaging, which would stand out in the wealth of other craft ciders.

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Matijević vino: M edicija ∕ Matijević Wine: The M Edition studio Beta&Co. Split dizajn ∕ design Ivan Milas naručitelj ∕ client OPG Darko Matijević 5 ∕ 2018

Brendiranje edicije vina mladog vinara Darka Matijevića obuhvaća dizajn vizualnog identiteta (grb), dizajn posebne etikete za seriju vina, te aplikaciju identiteta na ambalažu. Grb Matijević objedinjuje upečatljive motive same lokacije OPG-a, mjesta Svete Nedjelje na Hvaru. Monogram “M” edicije vina se ne tiska na etiketu već se urezuje pomoću klišeja, što ukazuje na karakterističnu podijeljenost (parcelizacija) obradive površine velikim brojem suhozida, a na boci dominira grid koji evocira i problematiku velikog nagiba na kojem se nalaze vinogradi.

262 pregled hrvatskog dizajna

Branding the edition of wines for Darko Matijević, a young wine-producer, implied designing the visual identity (the emblem), special etiquette for a batch of wines and the application of the visual identity on the packaging. The Matijević emblem merges remarkable motifs found at the location of the Matijević local produce company in Sveta Nedjelja on the island of Hvar. The monogram “M”, used for the wine edition, is engraved instead of printed on the label, emphasizing a very characteristic division of land parcels done by the traditional stone walling technique (suhozid). The dominant motif on the bottle is the grid evoking a large slope where vineyards are located.

packaging design

Perdisacca agencija ∕agency Beton Brut dizajn direktori ∕ design directors Sandro Dujmenović, Marko Mlinarić account director Sanja Nikolić suradnici ∕ contributors Srđan Laterza (copywriter), Marina Klanjac Gubić (Etikgraf) (tisak ∕ print), Marija Gašparović (fotografija ∕ photography) naručitelj ∕ client OPG Cergna, Bale 10 ∕ 2016

Perdisacca dolazi iz talijanskog perdere il sacco, što znači „izgubiti vreću ili bisagu“. Dizajn etikete nadovezuje se na pojam izgubljenog - na etiketi boce slijepim je tiskom otisnuta povijesna karta s parcelom današnjeg maslinika, što je čini gotovo nevidljivom te ju je potrebno pronaći, igrom svjetla ili dodirom. Na kapici boce ispričana je cijela priča koju se može pročitati prije kušanja ulja. Logotip evocira klesani kamen i istrošene mramorne intarzije koje se mogu naći u crkvama Istre, referirajući se na stoljetnu tradiciju proizvodnje, a dojam je podcrtan upotrebom tipografskih pisama Albertus, Futura i Garamond u neoklasičnom layoutu.

dizajn ambalaže

The name Perdisacca originates in the Italian expression perdere il sacco, which can be translated as „to lose a bag“. The design of the olive oil label stems from the notion of something lost, and blind printing was applied on the label to show a historical map of the land parcel where the olive grove is currently located. The label is thus almost invisible – one needs to look for it very carefully, playing with the light or touching it. The bottle cap narrates the story that can be read prior to olive oil tasting. The logo evokes cut stone and used marble intarsia that can be found in churches across Istria in order to refer to a one-hundred-year-old tradition of production. The impression is further emphasized with the use of typefaces like Albertus, Futura and Garamond in a neoclassic layout.

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Ante Sladić dizajn ∕ design Damir Bralić, Maja Marković naručitelj ∕ client OPG Ante Sladić, Plastovo 3 ∕ 2018

Odabrani maksimalistički pristup, kojeg je rezultat i neočekivano velika etiketa, manifestno se odmiče od uvriježenih dizajnerskih rješenja unutar ove tipologije, nasuprot sveprisutnom redukcionizmu, često sapetom u stereotipima vinske ikonografije. Tehnika izvedbe sastojala se od nekoliko razina manualne i digitalne manipulacije sakupljene građe iz enciklopedijskih, kartografskih i muzeoloških izvora. Svi su elementi ručno otisnuti i tek zatim priređeni za tisak offsetom i sitotiskom. Vino je ambalažirano u identitetsku vrijeme-prostornu grafiku s namjerom da markira prostor šibenskog zaleđa u kojem ono nastaje kao održivo mjesto kulture susreta, suživota i sustolovanja, za razliku od dominantnih paradigmi razjedinjujućeg i po stanovništvo obeshrabrujućeg karaktera.

264 pregled hrvatskog dizajna

The chosen maximalist approach resulting in an unexpectedly large label manifests as a deviation from the most popular design solutions within this typology contrasted to ubiquitous reductionism, often times limited to stereotypes in the wine iconography. The performance technique consists of several levels of manual and digital manipulation of the material collected from encyclopaedic, cartographic and museum sources. All the elements are hand-printed and edited for offset and silk-screen printing. The wine is packed in an identity-time-space graphic with the intention of demarking the area of the Šibenik hinterland where it is produced as a viable place for practising the culture of encounter, coexistence and spending time around the table, as opposed to the dominant paradigms of disconnection and discouragement.

packaging design

Chiavalon Mlado agencija ∕agency Bruketa&Žinić&Grey kreativni direktori ∕ creative directors Miran Tomičić, Davor Bruketa art direktor ∕ art director Nebojša Cvetković suradnici ∕ contributors Martina Ivkić (account director), Sanja Zanki (Account executive) naručitelj ∕ client OPG Chiavalon, Vodnjan 11 ∕ 2016

Chiavalon Mlado je limitirano izdanje mladog maslinovog ulja višestruko nagrađivanog istarskog proizvođača Chiavalon. Mlado maslinovo ulje prvo je ekstra djevičansko ulje u godini, svježe prešano od rukom ubranih maslina u prvih nekoliko dana berbe, i dostupno je samo kratko vrijeme. Za razliku od regularnog ekstra djevičanskog maslinovog ulja, mlado se toči u boce “sirovo”, tek iscijeđeno. Dizajn etikete inspiriran je njegovom svježom, mladenačkom energijom, a živa i energična ambalaža ocrtava okus samog proizvoda.

dizajn ambalaže

Chiavalon Mlado is a limited edition of young olive oil produced by Chiavalon, a multi-award winning manufacturer from Istria. Young olive oil is the first extra virgin olive oil in the year, freshly pressed from handpicked olives during the first few days of harvest, and is only available for a short period of time. Unlike regular extra virgin olive oil, young olive oil is poured in bottles “raw”, and freshly squeezed. The design of the label is inspired by its fresh and youthful energy, and the vibrant and energetic packaging indicates the taste of the product.

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Poklon pakiranje Chiavalon ∕ Chiavalon Gift Packaging agencija ∕ agency Bruketa&Žinić&Grey, Zagreb kreativni direktor ∕ creative director Miran Tomičić art direktor ∕ art director Nebojša Cvetković senior copywriter Ivan Pavičić produkt dizajn ∕ product design Sanja Rotter suradnici ∕ contributors Martina Ivkić, Dubravka Klepac (account direktori ∕ account directors), Sanja Zanki (account executive), Vesna Đurašin (voditeljica produkcije ∕ head of production), Radovan Radičević (voditelj DTP odjela) naručitelj ∕ client OPG Chiavalon, Vodnjan 12 ∕ 2017

Obitelj Chiavalon htjela je snažnije komunicirati porijeklo svojih maslinovih ulja i spoj tradicije i suvremene tehnologije u njihovoj proizvodnji.

Posebno poklon izdanje ambalaže maslinovog ulja Chiavalon inspirirano je tradicionalnom arhitekturom i umjetnošću u Istri, filmom, glazbom i vodnjanskim muralima, spajajući povijesno i suvremeno nasljeđe.

266 pregled hrvatskog dizajna

The Chiavalon family intended to communicate the origin of their olive oils and the combination of tradition and modern technology in the production more strongly. Special gift packaging of the Chiavalon olive oil was inspired by traditional Istrian architecture, art, film, music and murals from Vodnjan, combining historical and contemporary heritage.

packaging design

Badel 1862 — Ivan Dolac Barrique art direktor ∕ art director Vanja Cuculić naručitelj ∕ client Badel 1862 2016

Ivan Dolac Barrique među najboljim je hrvatskim crnim vinima, proizveden od autohtone sorte Plavac mali s izdvojenih položaja na južnim padinama otoka Hvara. Njegovano u barrique bačvama, okusom je snažno i robusno vino, a što je na vizualan način dočarano i na boci.

dizajn ambalaže

Ivan Dolac Barrique is one of the best Croatian red wines, produced from Plavac mali, an autochthonous wine variety originating from various positions on the southern slopes of the island of Hvar. Cured in barrique barrels, the wine has a powerful and robust taste, which is visible on the bottle.

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Bite Art studio Design Bureau Izvorka Jurić kreativna i art direkcija, dizajn ∕ creative and art direction, design Izvorka Jurić dizajn ∕ design Stela Kovačić suradnici ∕ contributors Jelena Gvozdanović (slogan), Igor Poturić (verbalna komunikacije ∕ verbal communication), Stela Kovačić (fotografija ∕ photography) naručitelj ∕ client BITE ART d.o.o.

Zagreb 2017

Bite Art je kolekcija paprenjaka s reprodukcijama djela hrvatskih umjetnika koju je osmislila Ana Šerić u sklopu svog projekta Jestiva umjetnost, zamišljena kao suvenir koji spaja tradicijsku hrvatsku poslasticu i suvremenu umjetnost. Logo je baziran na obliku paprenjaka, koji grafički podsjeća na okvir slike, s malom intervencijom u obliku ugriza. Grafički oblik logoa korišten je i kao okvir za predstavljena umjetnička djela, a pakiranje se nakon konzumacije keksa pretvara u samostojeći okvir s reprodukcijama četiri rada iz kolekcije.

268 pregled hrvatskog dizajna

Bite Art is a collection of traditional biscuits called paprenjaks with reproductions of works

by Croatian artists, designed by Ana Šerić as a part of her project named Bite Art, designed as a souvenir that combines this traditional Croatian treat and contemporary art. The logo is based on the paprenjak’s form, which graphically evokes a picture frame, with a small bite-shaped intervention. The graphic design of the logo was also used as the framework for the presented artwork. Upon consummation, the packaging turns into a stand-alone frame holding four reproductions from the collection of artworks.

packaging design

Plasinia studio Design Bureau Izvorka Jurić kreativna i art direkcija, dizajn ∕ creative and art direction, design Izvorka Jurić suradnici ∕ contributors Jelena Gvozdanović (verbalna komunikacija ∕ verbal communication), Stela Kovačić (DTP, produkt fotografija ∕ product photography), Maja Danica Pečanić (aranžirana fotografija ∕ arranged photography) naručitelj ∕ client Plasinia d.o.o. Zagreb 1 ∕ 2018

Linija organskih i ručno rađenih kozmetičkih proizvoda Plasinia stvorena je od ljekovitog bilja i vode rijeke Gacke. Projekt uključuje kreativnu strategiju, osmišljavanje koncepta i priče o proizvodu, slogana i cjelovite verbalne komunikacije, dizajn brenda i vizualnog identiteta, piktograme i ambalažu linije proizvoda.

Vizualni identitet pozicionira brend u područje premium kozmetike koje funkcionira na globalnom tržištu. Osnova identiteta je specifična geolokacija Like – ilustracije i boje predstavljaju prirodu i rijeku, ali i slojeve kože i teksture krema i losiona. Ambalaža je napravljena od prirodnih materijala poput drva, pjeskarenog stakla i papira, s detaljima u aluminiju i srebrnom folio tisku.

dizajn ambalaže

The line of Plasinia organic and hand-made cosmetic products is produced from medicinal herbs and water of the Gacka River. The project comprised a creative strategy, conceptual design and the story about the product, slogan and complete verbal communication, design of the brand and visual identity, pictograms, as well as the packaging of the product line. The visual identity positions the brand in the area of the so-called premium cosmetics that functions in the global marketplace. The basis of the identity is the specific geo-location of the region of Lika - illustrations and colours represent the nature and the river, but also skin layers and the texture of creams and lotions. The packaging is made of natural materials such as wood, sandblasted glass and paper, with details in aluminium and silver foil press.

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First Night agencija ∕agency Designsystem art direktor ∕ art director Boris Malešević dizajnerica ∕ designer Linda Golik Horvat voditelj projekta ∕ project manager Suzana Potrebić naručitelj ∕ client B10 Istrian Fusion d.o.o. Grožnjan 6 ∕ 2016

Zadatak ovog dizajna bio je naglasiti posebne značajke raznih sorti maslinovog ulja. Proizvođač vjeruje da se samo iz maslina koje se beru tijekom dana i prerađuju tijekom noći može proizvesti ekstra djevičansko maslinovo ulje najviše kvalitete. Zato je odabrano ime First Night. Minimalistički dizajn dvostrukog kruga nasuprot tamne pozadine istovremeno simbolizira mjesec i poprečni presjek maslina.

Sukladno dizajnu naljepnice odabran je i oblik bočice. Ključni vizualni prikaz predstavlja noć, vrijeme proizvodnje ulja, a njegove inačice boja omogućuju razlikovanje sorti masline iz kojih je ulje proizvedeno.

270 pregled hrvatskog dizajna

The task in the case of this design was to emphasize special characteristics of various olive oil varieties. The producer believes that only the olives picked during the day and processed overnight can produce extra virgin olive oil of the highest quality. This explains the very name of the product - First Night. Minimalist double-circle design in opposition with a dark background simultaneously symbolizes the moon and a cross-section of olive fruit. The shape of the bottle was chosen to accommodate the design of the label. The key visual representation is linked to nighttime, when the oil is produced, and its colour versions point to various olive varieties from which the oil is produced.

packaging design

FF Suho voće: Arancini, Limuncini, Menduli ∕ FF Dried Fruit: Arancini, Limuncini, Menduli studio Kazinoti&Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda suradnica ∕ contributor Ana Bodrožić (dizajn ∕ design) naručitelj ∕ client Fructus & Flores, Split 4 ∕ 2018

Osnovna ideja oblikovanja serije proizvoda Arancini, Limuncini i Menduli bila je stvoriti suvremenu ambalažu za tradicionalne poslastice, odmaknutu od nacionalnih ornamenata, ilustracija i suvišnog ukrašavanja. Proizvod je vidljiv sa svih strana pakiranja te njegova tekstura i kolorit postaju dio dizajna.

dizajn ambalaže

The basic idea behind designing the product line Arancini, Limuncini and Menduli was to create a modern packaging for traditional desserts and abandon the idea about national ornaments, illustrations and superfluous decoration. The product is visible from all sides of the packaging while its texture and colours become an integral part of the design.

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Valentino Bošković — Paket s Marsota ∕ A Package from Mars studio Kazinoti&Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda naručitelj ∕ client Valentino Bošković, Mudri brk 5 ∕ 2018

Pakiranje CD izdanja osebujnog indie glazbenika Valentina Boškovića koje sadrži svu njegovu dosadašnju diskografiju. Ilustracija na pakiranju inspirirana je likom „bračkog kozmonauta“ koji šalje paket svojih pjesama s Marsa prigodno vakumiran, a izravno se referira na Carla Sagana i ploču koja je na letjelici Voyager 1977. poslana u svemir. U samoj ambalaži se nalaze i metafore za Mars, Jupiter i Veneru u fizičkom obliku, tri metalne kuglice koje se sudaraju i šuškaju čim ovaj CD primite u ruke.

272 pregled hrvatskog dizajna

The packaging for the CD edition of a peculiar indie musician Valentin Bošković, featuring his current discography. The illustration on the packaging is inspired by the figure of the “Brač cosmonaut” who sends a package of his songs from Mars, vacuumed for the occasion, and referring directly to Carl Sagan and the record that was sent to the outer space on Voyager in 1977. The packaging also contains a number of metaphors for Mars, Jupiter and Venus in the physical form, three colliding metal balls that make noise as soon as you take the CD in your hands.

packaging design

Sara Renar — Gdje povlačiš crtu? ∕ Where Do You Draw a Line? dizajn ∕ design Klasja&Zita (Klasja Habjan, Zita Nakić-Vojnović), Sven Sorić naručitelj ∕ client Sara Renar, Zagreb 1 ∕ 2018

Dizajn omotnice za vinilno izdanje albuma Sare Renar interpretacija je zvučnih valova i vizualizacija njihove fluidne i neograničene forme. Tragovi su im isprepleteni, a granice izbrisane, kako bi dodatno podcrtale poruku Sarine glazbe.

dizajn ambalaže

The cover design for the vinyl edition of Sara Renar’s album is an interpretation of sound waves and visualization of their fluid and unlimited forms. Their traces are interwoven and their borders erased, to further emphasize the message of Sara’s music.

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Krš studio KO:KE kreativna farma art direktorica ∕ art director Maja Bagić Barić ilustracija ∕ illustration Anita Celić Cella naručitelj ∕ client Blatina Zagreb 5 ∕ 2016

Obiteljska vinarija Škegro, poznata po svojim vinima Krš i Carsus, počela je proizvoditi i vrhunsko domaće maslinovo ulje. Ilustracija na etiketi prikazuje bicikl i maslinu. Bicikl je kao motiv preuzet s etikete za vina Krš i predstavlja poveznicu s poviješću kraja i stila života djeda koji je započeo s uzgojem vinove loze i proizvodnjom vina. Rukom izvedeni logo s elementima listova masline svojom organskom, slobodnom formom odražava prirodnost samog proizvoda.

274 pregled hrvatskog dizajna

The Škegro family winery, famous for Krš and Carsus wines, has also started producing top quality domestic olive oil. The illustration on the label shows a bicycle and an olive. The bicycle is the motif taken from the label for Krš and represents a link with the history of the region and the lifestyle of the grandfather who started breeding grapevines and producing wine.

With its free organic form and elements of olive leaves, the hand-made logo reflects the natural qualities of the product.

packaging design

Pero dizajn ∕ design Draga Komparak naručitelj ∕ client Hortiriviera d.o.o. Rijeka 2016 – 2018

Ambalaža za prirodna, netoksična sredstva za čišćenje i deterdžente za pranje rublja i tekstila, izrađene isključivo na bazi bilja i prirodnih minerala. Dizajn ambalaže prati filozofiju brenda – zabavan je, čist, jednostavnih linija i naglašava prirodnost proizvoda.

dizajn ambalaže

The packaging for natural, non-toxic cleaning agents and laundry and textile detergents derived only from plants and natural minerals. The design of the packaging follows the philosophy of the brand – it is fun, clean, with simple lines and emphasizing the product’s naturalness.

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Žen — Sunčani ljudi ∕ Sunny People dizajn, ilustracija ∕ design, illustration Ana Kovačić naručitelj ∕ client Moonlee Records, Ljubljana 7 ∕ 2017

Naziv glazbenog albuma Sunčani ljudi sugerira lepršavost i opuštenost, dok su u stvarnosti temelji svake pjesme postavljeni na dubokim osjećajima. Kod oblikovanja albuma bilo je bitno naglasiti taj sveprisutni dualizam – paralelno postojanje radosti i teških emocija ispod površine. Kao središnji motivi za komuniciranje te ideje korišteni su cirkuski šator i vulkan, jedan simbol sreće i zabave, a drugi razorne snage i destruktivnosti.

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The title of the music album Sunčani ljudi (Sunny People) - suggests lightness and relaxation, while in reality each song emerges from deep feelings. While designing the album, it was important to emphasize this ubiquitous dualism, i.e. co-existence of joy and difficult emotions hidden below the surface. A circus tent and volcano were used as the central motifs for communicating this idea, symbolizing happiness and fun as well as a devastating force and destructiveness.

packaging design

Karla agencija ∕agency Kuharić Matoš d.o.o. Zagreb art direkcija ∕art direction Luka Kuharić, kreativna direkcija ∕ creative direction Bojan Matoš dizajn ∕ design Pavao Kuharić naručitelj ∕ client Žitoproizvod d.d. Karlovac 8 ∕ 2017

Karla je novi brend brašna tvrtke Žitoproizvod koja se proizvodnjom mlinskih i pekarskih proizvoda bavi od 1946. godine. Nova maskota na ambalaži, Karla, nasljednica je ranije maskote , debeljuškastog mlinara Karla koji se u prijašnjim vremenima pojavljivao u promotivnim materijalima i pakiranjima. Novi dizajn ujedno predstavlja tehnološki i konceptualni zaokret u poslovanju, baziran na održivom razvoju i primjeni najnovijih ekoloških normi.

dizajn ambalaže

Karla is a new brand of flour produced by Žitoproizvod company, which has been manufacturing mill and bakery products since 1946.

The new mascot on the packaging, Karla, is the heiress of an earlier mascot, a grinding miller Karlo, who formerly appeared on promotional materials and packaging. At the same time, the new design represents a technological and conceptual transformation of the company’s business philosophy. It is based on sustainable development and application of the latest ecological norms.

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Nacionalna staklenka za med ∕ National Honey Jar dizajn ∕ design Klara Marelić naručitelj ∕ client Hrvatski pčelarski savez ∕ Croatian Beekeeping Association, Zagreb 4 ∕ 2018

Pri dizajniranju staklenke vodila se briga o tome da staklenka ne djeluje agresivno ili kruto, a oblikovana je na način da sav med može biti izvađen prilikom konzumacije, bez obzira je li med u gustom, tekućem ili kristaličnom stanju. Inspiracija za oblikovanje ovih staklenki bile su karakteristične spiralne, zakrivljene linije koje polako nestaju dok se izlijeva med.

Sve četiri veličine staklenke su oblikovane prema istom principu kako bi zajedno činile prepoznatljivu seriju.

278 pregled hrvatskog dizajna

While designing the jar, special care has been given to ensuring that the jar does not appear aggressive or rigid. It is designed in a way that, when consumed, all the honey can be taken out of the jar, no matter if the consistency of honey is dense, liquid or crystalline. The inspiration for the design of these jars was found in characteristic spiral, curved lines, slowly disappearing as the honey drips. All four glass jars were shaped according to the same principle in order to form a recognizable series.

packaging design

Piquentum St.Vital kolekcija 12/13/14 ∕ Piquentum St.Vital Collection 12/13/14 Studio Sonda kreativni direktori ∕ creative directors, dizajn ∕ design Jelena Fiškuš, Sean Poropat naručitelj ∕ client Vinski podrum Buzet 6 ∕ 2017

Kolekcija vina iz tri uzastopna godišta reflektira slogan „etiketa kroz koju govori priroda“. Ove etikete predstavljaju svojevrsne biografije vina i naglašavaju važnost godišta koja se, uslijed upotrebe pesticida i umjetnih okusa, izgubila.

U slučaju Piquentuma, sva su vina proizvedena od iste sorte grožđa iz istog vinograda, ali su međusobno drukčijih okusa jer je korišten tradicionalan, prirodni način proizvodnje u kojem vremenski uvjeti i količina oborina kroz godinu igraju vrlo važnu ulogu. U suradnji s DHMZ-om prikupljeni su podaci o vremenskim uvjetima na teritoriju vinograda od 2011. do 2015. a, a na etiketi su ti podaci grafički prikazani za svako godište vina.

dizajn ambalaže

The collection of wines produced over three consecutive years reflects the slogan: “the label through which the nature speaks”. These labels represent a kind of wine biography and emphasize the importance of the year that, due to the use of pesticides and artificial flavours, has been lost. In the case of Piquentum, all the wines have been produced from the same grape variety and the same vineyard, yet the wines have different flavours due to the use of a traditional and natural production method according to which different weather conditions and the amount of rainfall throughout the year play a very important role. In cooperation with the DHMZ, data on weather conditions in the vineyards were collected from 2011 to 2015, and on the labels these data are graphically displayed for each year.

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Good Company studio Superstudio kreativna direkcija ∕ creative direction Ira Payer produkt dizajn ∕ product design Maja Jandrić grafički dizajn ∕ graphic design Sara Pavleković Preis copywriting Ira Payer, Rebbeca Mikulandra izvođači ∕ manufacturers Močvarni hrast, Fobia, Inoplast, Cerovski Print Boutique fotografija ∕ photography Marija Gašparović naručitelj ∕ client Energia naturalis d.o.o. Vukovar 12 ∕ 2017

Good Company (Where Business and Pleasure Come Together) naziv je koncepta korporativnih poklona dizajniranih za grupu Energia Naturalis (ENNA) koji slijedi politiku tvrtke da je za dobro poslovanje važno njegovati dobre socijalne odnose, posebice vezane uz druženje i hranu. Grupa ENNA, sa sjedištem u Vukovaru i poslovanjem u 6 zemalja, tradicionalno svojim inozemnim partnerima daruje domaće hrvatske gastronomske proizvode i željela je zadržati svoj običaj, no istovremeno napraviti iskorak prema suvremenom dizajnu. Kao rješenje osmišljeno je multifunkcionalno pakiranje za vino, s namjerom da se koncept pretvori u seriju koja će obuhvaćati različite gastronomske proizvode.

280 pregled hrvatskog dizajna

Good Company (Where Business and Pleasure Come Together) is the name given to a concept of corporate gifts designed for Energia Naturalis Group (ENNA). The concept is developed in line with the company policy: for fully-fledged business it is important to nurture good social relations where food and spending time together are combined. Traditionally, Vukovar-based ENNA Group operating in 6 countries presents its international partners with Croatian gastronomic products. The company wanted to preserve the tradition and, at the same time, make a step forward by applying contemporary design. A multifunctional wine packaging was thus designed with the intention to turn the concept into a series of various gastronomic products.

packaging design

Hladno pivo — 30 godina ∕ 30 years of Hladno pivo studio Šesnić&Turković, Zagreb dizajn ∕ design Marko Šesnić, Goran Turković naručitelj ∕ client Croatia Records, Zagreb 11 ∕ 2017

Dizajn kompilacijskog albuma Hladnog piva prikazuje prizor s poda jednog od stotina klubova u kojima je taj bend svirao u posljednjih 30 godina.

dizajn ambalaže

The design of Hladno pivo compilation album showcases a scene from one of the hundreds of clubs where this band has played over the past 30 years.

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OJ dizajn ∕ design Oleg Šuran, Jelena Perišić samoinicirani rad ∕ selfinitiated work 9 ∕ 2016

Etiketa za vino OJ, „narančasto vino” od mošta ispod dropa. Sadrži naziv, pečat i ručno ispisane∕iscrtane posvete, budući da je namijenjeno poklanjanju.

282 pregled hrvatskog dizajna

The wine label OJ for the so-called “orange wine” made from grape must under the dropper.

It contains the name, seal and handwritten / embossed dedications, as it is intended for gifting.

packaging design

House Is OK — Gemišt dizajn ∕ design Goran Zmaić naručitelj ∕ client House Is OK, Frankfurt, Njemačka 2018

Grafičko oblikovanje omota dvodijelne vinilne kompilacije frankfurtskog izdavača elektroničke glazbe House Is OK.

dizajn ambalaže

The graphic design of the two-part vinyl compilation of House Is OK, Frankfurt-based electronic music publishing company.

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284 pregled hrvatskog dizajna

industrial • product design

industrijski• produkt dizajn industrial• product design

industrijski • produkt dizajn

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Root studio 3LHD (Saša Begović, Tatjana Grozdanić Begović, Marko Dabrović, Paula Kukuljica, Silvije Novak) produkt dizajn i brendiranje ∕ product design and branding Ema Gerovac vizualni identitet ∕ visual identity Dora Bilandžić fotografija ∕ photography Jure Živković proizvođač ∕ manufacturer Vladimir Križanić distribucija ∕ distribution 2rPi samoinicirani project ∕ self-initiated project 5 ∕ 2018

Root je rasvjetno tijelo jednostavnih linija nastalo pri razradi koncepta interijera Zelenog Paviljona_Restorana. Oblikovno je inspiriran maksimirskom šumom i reinterpretira oblik korijena drveta. Zbog pročišćenih se linija jednostavno primjenjuje u različitim prostorima. Pomična rozeta omogućuje kružno kretanje Roota oko osi, čime se dobivaju veće mogućnosti prostornih i funkcionalnih kombinacija.

286 pregled hrvatskog dizajna

Root is a luminaire of simple lines created when developing the Zeleni Paviljon_Restaurant interior concept. Its design was inspired by the Maksimir Park forest and it reinterprets the shape of the tree roots. Because of the purified lines, it is easily applied in different spaces. The sloping rosette allows circular movement of the Root around the axis, giving you greater spatial and functional combinations.

industrial • product design

ELEN Leaf dizajn ∕ design Ana Banić Göttlicher (4N4 design), Maša Vukmanović kreativni studio arhitekt ∕ architect Ivan Galić (NOP studio) suradnici ∕ contributors Damir Mance (arhitekt ∕ architect), Ivica Šaban (statika ∕ statics), Zlatko Galić (projekt struje ∕ electricity project), Elna Kabel (izvođač ∕ contractor) naručitelj ∕ client HEP Opskrba ∕ HEP Supply, Zagreb 9 ∕ 2016

ELEN Leaf je stanica za punjenje električnih vozila, prva u Hrvatskoj koja za napajanje koristi solarnu energiju. Sastoji se od nadstrešnice sa solarnim panelima, ultra brze punionice i totema te je spoj koncepta elektromobilnosti i primjene obnovljivih izvora energije. Prva stanica nalazi se u Zagrebu, ispred Gradskog poglavarstva. Dizajn stanice inspiriran je fotosintezom te komunicira upravo taj ekološki aspekt, a gradijent zelene boje sugerira i proces punjenja automobila. Stanica je dizajnirana tako da se nadstrešnice uklapaju u standardna gradska mjesta te samim tim nema dodatne uzurpacije javnog gradskog prostora. Osim toga, stanica dizajnom odgovara različitim tipovima urbanog ambijenta.

industrijski • produkt dizajn

ELEN Leaf is a charging station for electric vehicles, the first in Croatia to use solar power for charging. It consists of a canopy with solar panels, an ultra-fast charging station and a totem poles, and it represents a concept combination of electromobility and the use of renewable energy sources. The first station is located in Zagreb, in front of the City Hall. The station design is inspired by photosynthesis and it communicates exactly that ecological aspect, while the green color gradient also suggests a car charging process. The station is designed so that the enclosures fit into standard city locations and there is no additional usurpation of the public city space. In addition, the station design matches different types of urban environment.

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HomeWork produkt dizajn ∕ product design Vlatka Blakšić inženjerka drvne tehnologije ∕ engineer in wood technology Margareta Kovačević grafički dizajn, ilustracija ∕ graphic design, illustration Simona Dolinga stručna specijalistica poduzetničkog menadžmenta ∕ entrepreneural management specialist Irma Mihovec Schmidt proizvođač ∕ manufacturer Prostoria d.o.o. Sv. Križ Začretje naručitelj ∕ client Hrvatsko dizajnersko društvo u sklopu projekta Erasmus+ Practicing Design ∕ Croatian Designers Association in the framework of the project Erasmus+ Practicing design 1 ∕ 2017

Ideja je bila osmisliti suvremeni kućni ured (home-office), odnosno odgovoriti na činjenicu da u današnjim uvjetima stambeni prostori često postaju i radni. Inspiracija za stol HomeWork bila je školska klupa koja kao predmet priziva atmosferu radne koncentracije i discipline.

Konstrukciju stola čine drveno nožište i ploča stola presvučena kožom. Masivno drvo i koža daju estetsku komponentu elegancije i ozbiljnosti, dok istovremeno djeluju toplo i ugodno.

Funkcionalni prostor za pohranu predmeta ispod radne površine također je inspiriran školskom klupom, a s prednje strane stola nalazi se i ladica dovoljno velika za pohranu papira formata A3.

288 pregled hrvatskog dizajna

The idea was to design a modern home office, and to take into consideration the fact that in today’s living conditions, housing spaces often become workspaces. The inspiration for the HomeWork desk was a school desk, which as an object invokes the atmosphere of work concentration and discipline. The construction of the desk consists of a wooden base and a leather-covered desk panel. Solid wood and leather provide an aesthetic component of elegance and seriousness while at the same time giving an impression of warmth and comfort. The functional space for storing items underneath the desktop is also inspired by a school desk, and there is also a large enough drawer for A3 paper storage on the front side of the desk.

industrial • product design

Lutkarska pozornica ∕ The Puppetry Stage dizajn ∕ design Mia Bogovac naručitelj ∕ client Aster kulturno društvo ∕ Aster Cultural Society, Dubrovnik 8 ∕ 2016

Proizvod je nastao kao odgovor na potrebe lutkarske družine koja nema matično kazalište već gostuje na festivalima i kazalištima. Jednostavan dizajn podmiruje brojne funkcionalne zahtjeve, prvenstveno prenosivost, trajnost i modularnost. Moduli su praktični za korištenje, spojevi i materijal su kvalitetni, izdržljivi i lagani, sustav spajanja je univerzalan u svim dijelovima konstrukcije, njegovo sastavljanje je vremenski nezahtjevno, a pozornica je lako prenosiva i osobnim automobilom.

industrijski • produkt dizajn

The product was created in response to the needs of a puppetry company, which does not have its own theatre, but performs as a guest at festivals and in theaters. The simple design meets a number of functional requirements, primarily portability, durability and modularity.

The modules are practical to use, the joints and materials are of high quality, durable and lightweight, the connection system is universal in all parts of the construction, its assembly is not time-consuming, and the stage is easily transferable also within a personal car.

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Klupa OK ∕ OK Bench Studio Idearium dizajn ∕ design Franka Baranović, Antonio Šunjerga naručitelj ∕ client Grad Šibenik ∕ City of Šibenik 5 ∕ 2018

Klupa OK (Odmorište Klupa) prvotno je zamišljena i izvedena kao odmorište na biciklističkim stazama. Njena namjena je višestruka – sjedenje, ležanje, prostor za objed (stol), druženje, igru (ugravirana ploča za trilju), dio za prihvat bicikala te sakupljač vode tj. kiše za zalijevanje sistemom kap po kap. Stablo je, u prvotnom slučaju Pinus Pinea, također sastavni dio sklopa. Klupa je izvedena od čelične cinčane konstrukcije, dok je samo sjedište napravljeno od drvenih letvica toplinski tretiranog jasena. Čelični dio dolazi u tri varijante boje, a drvo je tretirano uljem.

290 pregled hrvatskog dizajna

The OK bench (Bench Rest) was originally designed and constructed as a resting place on cycling trails. It has a multiple purpose - sitting, lying, dining area (table), socializing, game playing (carved board for the mill game), bicycle rack part and water collector, i.e. collection of rainwater for the drop-by-drop irrigation system. The tree, originally Pinus Pinea, is also an integral part of the assembly. The bench is made of steel zinc alloy structure, while the seat itself is made of wooden slats of heat-treated ash. The steel part comes in three color variants, and the wood is treated with oil.

industrial • product design

Gumbeki studio Kištra dizajn ∕ design Viktoria Lea Vavra suradnica ∕ contributor Nikolina Dragojević (inženjerka tekstilne tehnologije ∕ textile engineer) samoinicirani projekt ∕ selfinitiated project 6 ∕ 2018

Gumbeki su šarolike modularne plišane igračke koje potiču kreativnost i pospješuju razvoj fine motorike kod djece. U dom dolaze nedovršeni - u dijelovima, tako da svako dijete može samo stvoriti svoju igračku. Svaka igračka sastoji se od nekoliko dijelova, koji se gumbima spajaju u cjelinu, a slaganje različitih oblika pomaže u razvoju mašte.

industrijski • produkt dizajn

Gumbeki are colorful modular stuffed toys that encourage creativity and enhance the development of fine motor skills in children. They arrive to homes unfinished - in parts, so every child can create their own toy. Each toy consists of several parts, which are joined together by buttons, and the arrangement of different shapes helps in developing children’s imagination.

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Franck Pop Up produkt dizajn ∕ product design Draga Komparak kreativno vodstvo projekta ∕ creative project management Ira Payer (Superstudio) naručitelj ∕ client Franck Zagreb 6 ∕ 2017 – 6 ∕ 2018

Mobilna stanica za pripremu i posluživanje kave i čaja tvrtke Franck. Izbor materijala s njihovim specifičnim teksturama i bojama igrao je ključnu ulogu u prenošenju identiteta Franckove tvornice, ali i asocijacija na miris svježe pržene kave. Vanjskim volumenom modularnog sustava dominira korten, stvarajući kontrast s unutrašnjom stranom modula gdje je korištena funkcionalna, lako periva crna kompakt ploča.

Franck Pop Up stanica s vremenom se nadopunjavala dodatnim asortimanom, dizajn novonastalih proizvoda proširio je osnovnu temu te je kroz dvije godine nastao kompleksan sustav koji se lako prilagođava izlagačkom prostoru.

292 pregled hrvatskog dizajna

A mobile station for preparing and serving Franck coffee and tea. The choice of materials with their specific textures and colors played a key role in transferring the identity of the Franck factory, while evoking the associations arising from the scent of freshly roasted coffee.

The exterior volume of the modular system is dominated by the weathering steel, creating a contrast with the inboard module where a functional, easy to wash black compact board is used. The Franck Pop Up station over time has been complemented by an additional range, the design of new products has expanded the core theme, and a complex system that is easily adapted to any exhibition space was developed in the period of two years.

industrial • product design

Baggizmo Wiseward — pametni novčanik ∕ smart wallet studio Manufakturist produkt dizajn ∕ product design Kristina Volf, Maša Milovac voditelj projekta i razvoja proizvoda ∕ project and product development manager Ladislav Jurić voditeljica dizajna razvoja proizvoda ∕ product development design manager Izvorka Jurić razvoj mobilne aplikacije ∕ mobile app development Ivica Horvat ∕ Plava Tvornica razvoj elektronike ∕ electronics development Ante Medić, Dajgoro Labinac proizvodnja prototipa i proizvoda ∕ manufacture of prototypes and products Tomislav Petković ∕ Koart proizvodnja elektronike ∕ electronics Tomislav Patačić ∕ SMD naručitelj client Profores d.o.o. Zagreb 7 ∕ 2017

Baggizmo Wiseward prvi je pametni novčanik na svijetu koji je integrirao više različitih aspekata zaštite u isti proizvod. Klasičan oblik novčanika dizajniran je na način da je pregledan i funkcionalan, a istovremeno zanimljiv i suvremen. Korišteni su isključivo ekološki materijali zanimljivih boja i tekstura koji se pojavljuju u dvije boje i/ili teksture te su uklopivi u različite stilove. Zahvaljujući ugrađenoj Bluetooth tehnologiji pametni novčanik iz Baggizma spojen je na mobilni uređaj čime se smanjuje i mogućnost gubitka, krađe ili zaboravljanja novčanika, dok posredstvom mobilne aplikacije korisnik trenutno zaprima obavijest o promjeni lokacije novčanika.

industrijski • produkt dizajn

Baggizmo Wiseward is the first smart wallet in the world that has integrated many different aspects of protection into the same product.

The classic shape of the wallet is designed in a way that it has a clear layout and it is functional, while at the same time interesting and contemporary. Only ecological materials of interesting colors and textures that come in two colors and / or textures are used, and can be incorporated into different styles. Thanks to built-in Bluetooth technology, the Baggizmo smart wallet is connected to a mobile device, reducing the possibility of losing, stealing or forgetting the wallet, while the user, by means of a mobile application, momentarily receives notification when the location of the wallet is changed.

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Slava ‘18 studio Market kolektiv dizajn ∕ design Marita Bonačić, Katarina Perić i Iva Hrvatin suradnik ∕ contributor Nikola Zelmanović (fotografija ∕ photography) samoinicirani rad ∕ self-initiated work 4 ∕ 2018

Kolekcija namještaja i uporabno-ukrasnih predmeta za dom koja ciljano izbjegava oblikovnu estetiku popularnog skandinavskog dizajna te predstavlja nastavak razvoja autentično hrvatske dizajnerske estetike temeljene na kolektivnoj svijesti generacija koje su odrastale uz lokalni mentalitet i kulturu. Kolekcija se sastoji od stolca, konzolnog stola s ogledalom, taburea, lampe, stalka za odjeću i kolica zakrivljenih linija izvedenih iz osnovnih geometrijskih oblika.

294 pregled hrvatskog dizajna

A collection of home furniture and decorative objects that is aimed at avoiding the aesthetics of the popular Scandinavian design, and represents a continuation of development of the authentic Croatian design aesthetics based on the collective consciousness of the generations that grew up within the framework of the local mentality and culture. The collection comprises a stool, a console table with a mirror, a footstool, a lamp, a coat rack, and a trolley with curved lines derived from basic geometric shapes.

industrial • product design

Etan dizajn ∕ design Simon Morasi Piperčić naručitelj ∕ client Verzelloni, Italija 1 ∕ 2018

Polica Etan oblikovana je jednim modulom širine te dolazi u dvije različite visine. Karakteristični vertikalni elementi nakošeni u dva smjera omogućavaju stabilnost bez upotrebe poprečnih ukruta. Ovakav dizajn stvara vizualni dojam presijecanja vertikala, a sam privid sjecišta mijenja se ovisno o poziciji s koje se promatra proizvod. Vertikale su potpuno odvojive kako bi zadovoljile uvjetima flat-pack transporta. Međusobnim kombiniranjem police mogu funkcionirati kao samostalni elementi ili prostorne pregrade.

industrijski • produkt dizajn

The Etan shelf is designed with one width module and it is available in two different heights. The characteristic vertical elements tilted in two directions provide stability without the use of transverse stiffeners. Such a design creates a visual impression of the verticals intersection, and the illusion of the intersection changes depending on the position from which the product is viewed. The verticals are completely detachable to meet the flat-pack transport conditions. As they can be combined between themselves the shelves can function as stand-alone elements or spatial partitions.

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Jack dizajn ∕ design Simon Morasi Piperčić naručitelj ∕ client Bolia, Danska ∕ Denmark 9 ∕ 2017

Jack je uteg za kablove koji stvara red na radnome stolu. Težina mramora drži sve kablove na mjestu, drži ih uredno složene te ih sprečava da padnu s radnog stola kad se isključe. Širi na dnu i uži na vrhu, oblikom intuitivno određuje način na koji se koristi te kako ga pomaknuti ili podići. Mramor, neobičan materijal za ovu tipologiju proizvoda, pokazao se kao logičan izbor – simbolizira kvalitativnu vrijednost i težinu, što pridonosi povjerenju korisnika u ovaj proizvod.

296 pregled hrvatskog dizajna

Jack is a weight for cables that creates order on a desk. The marble weight keeps all the cables in place, keeps them neatly arranged and prevents them from falling off the desk when disconnected. It spreads at the bottom and narrows to the top. Its shape intuitively determines the way it is used and how to move or lift it. Marble, an unusual material for this product typology, proved to be a logical choice - it symbolizes qualitative value and weight, what contributes to the user’s trust in this product.

industrial • product design

Radius dizajn ∕ design Simon Morasi Piperčić naručitelj ∕ client Woud, Danska ∕ Denmark 1 ∕ 2018

Svijećnjak Radius sastoji se od tri zavarena čelična prstena – prvi služi kao baza, drugi kao ručka, a treći kao podloga za svijeću.

industrijski • produkt dizajn

The candlestick Radius consists of three welded steel rings - the first serves as a base, the second as a handle, and the third as a candle holder.

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Traverse dizajn ∕ design Simon Morasi Piperčić naručitelj ∕ client Ligne Roset, Francuska ∕ France 1 ∕ 2018

Inspirirana arhetipskim izgledom klupe kao ploče s četiri noge, Traverse spaja tradicionalnu figuru i suvremen likovni jezik. Prepoznatljivost klupe Traverse oslanja se na njene funkcionalne i konstruktivne karakteristike – sjedaća ploha podijeljena je u dva identična prizmatična elementa koji su zarotirani za 5 stupnjeva u odnosu na horizontalnu ravninu kako bi bila udobnija za sjedenje. Prizmatične plohe sjedala deblje su u sredini gdje se susreću, što ih čini statički čvršćim. Proizvedena kombinacijom najnovije tehnologije proizvodnje drva i sofisticiranog ručnog rada, klupa ima izražajan karakter, prilagodljiv različitim vrstama okruženja.

298 pregled hrvatskog dizajna

Inspired by the archetypal look of a bench as a four-leg plate, Traverse combines a traditional figure and contemporary design language.

Recognizability of the Traverse Bench is based on its functional and constructive characteristics - the seat surface is divided into two identical prismatic elements rotated by 5 degrees in relation to the horizontal plane to be more comfortable for seating. The prismatic seat surfaces are thicker in the center where they meet, making them statically sturdier. Produced by combining the latest woodwork technology and sophisticated handcraft, the bench has an expressive character, adaptable to different types of environments.

industrial • product design

Trifidae studio Numen/ForUse naručitelj ∕ client Prostoria d.o.o. Sveti Križ Začretje 3 ∕ 2017

Trifidae je obitelj proizvoda koja se sastoji od tri različite fotelje razvijene iz zajedničkog tipološkog i oblikovnog ishodišta. Mala fotelja, fotelja s visokim naslonom i obujmljujuća velika fotelja imaju karakterističnu trodijelnu strukturu te dijele slične trokutne forme koje se šire iz zamišljenog središta. Zaokretanje tri osnovna strukturalna dijela u korištenju asocira na otvaranje i zatvaranje cvjetnih pupoljaka.

Ova osobina, zajedno s izrazitom trodjelnošću te zvjezdastom formom u perspektivnoj vizuri, inspirirala je „botaničko“ ime serije. Iako se mala fotelja razlikuje u dimenziji, dok visoka i zatvorena fotelja dijele istu bazu i rukonaslon, sve tri se percipiraju kao susjedni članovi geometrijskih nizova.

industrijski • produkt dizajn

Trifidae is a family of products comprising three different armchairs, which are derived from a single typological and design origin. A small armchair, a high-backrest armchair and enclosing lounge chair share a specific tripartite structure as well as similar triangulated forms sprouting from a perceived center. The tilting of their three main structural segments when in use echoes opening and closing of flower petals. This feature, in combination with their explicit trichotomous nature and a star-like shape in a perspective view, has been an inspiration for the “botanical” title of the series. Although the small armchair differs in size, while the tall armchair and lounge chair share the same base and armrest, all three are observed as neighboring species in geometric sequences.

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Znakovi ∕ Signs kreativna direkcija ∕ creative direction Tonči Vladislavić dizajn ∕ design Karmen Telišman, Helena Bacinger Škrlec, Ana Knezić, Marija Gradečak naručitelj ∕ client Regeneracija Zabok 4 ∕ 2018

U fokusu novog dizajnerskog projekta Znakovi / Signs je tijelo tepiha na ‘’skliskoj, ali punoj značenja, granici između ornamenta i dekoracije’’ (iz predgovora kataloga, SBU). Novi dizajn Kolekcije tepiha 2018 predstavlja promjenu u pristupu dizajnu ručno taftanih tepiha. Pod naslovom Znakovi problematizira se vizualnost uzorka reduciranog na govor znaka kao označitelja. Problem ‘’znaka’’ tako se unutar prostora tepiha pojavljuje ne samo kao dekorativni već i semantički označitelj uporabnog predmeta.

300 pregled hrvatskog dizajna

In the focus of the new design project Znakovi/ Signs is the body of a carpet on a “slick, but full of meaning, border between an ornament and decoration” (from the catalog preface, SBU). The new design of the Carpet Collection 2018 represents a change in the approach when designing hand-tufted carpets. Under the heading Symbols the visual quality of the sample reduced to the language of a sign as a signifier is problematized. The issue of the “sign” thus appears within the carpet space not only as a decorative but also as semantic marker of a practical object.

industrial • product design

Mela studio Regular Company dizajn ∕ design Ruđer Novak-Mikulić, Marinko Murgić, Tihomir Filipec naručitelj ∕ client Artisan, Tešanj, BIH 1 ∕ 2018

Stolica Mela je nastala evolucijom nagrađivane stolice Neva. Ideja je bila stvoriti komad namještaja distinktivnih obilježja, kombinirajući klasičnu tipologiju stolice ojastučenog sjedišta i naslona s poetskom ljepotom drvenog stolca.

Drvena konstrukcija inspirirana namještajem iz sredine prošlog stoljeća obgrljuje ojastučeni naslon, stvarajući savršenu simbiozu kontrastnih elemenata.

industrijski • produkt dizajn

The Mela chair was created by the evolution of the award-winning Neva chair. The idea was to create a piece of furniture of distinctive features by combining the classic typology of the chair with padded seat and backrest with the poetic beauty of a wooden chair. The wooden construction inspired by furniture from the middle of the last century clasps the padded backrest creating a perfect symbiosis of the contrasting elements.

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Neva Light barska stolica ∕ Neva Light Bar Chair Studio Regular Company dizajn ∕ design Ruđer Novak-Mikulić, Marinko Murgić. Tihomir Filipec naručitelj ∕ client Artisan, Tešanj, BIH 1 ∕ 2018

Barska inačica nagrađivane stolice Neva Light.

Stolica je ogoljena od svih suvišnih elemenata te vizualno odaje dojam lakoće. Suvremene metode proizvodnje omogućile su učvršćivanje klasičnih drvenih zglobova na svim pravim mjestima, što znači da je stolica u najvećoj mogućoj mjeri lagana, a da je pritom posve stabilna i funkcionalna. Dolazi u 6 vrsta drva (hrast, orah, javor, brijest, trešnja, kruška). Moguće je naručiti sjedište od punog drva ili ojastučeno kožom ili tkaninom.

302 pregled hrvatskog dizajna

A bar version of the award-winning Neva Light chair. The chair is stripped bare of all the redundant elements and visually gives the impression of lightness. Contemporary production methods have allowed the classical wooden joints to be reinforced in all the right places, meaning that the chair is as light as possible, while being completely stable and functional.

It is available in 6 types of wood (oak, walnut, maple, elm, cherry, pear). It is possible to order a seat made of solid wood or upholstered with leather or fabric.

industrial • product design

Rot dizajn ∕ design Sanja Rotter samoinicirani projekt ∕ self-initiated project 6 ∕ 2017

Tehnologija tokarenja paušalno se proglašava kičem i od laika i profesionalnih dizajnera. Ironično, budući da su tokareni masivni namještaj i stolarija bili sastavni dio svakog hrvatskog i jugoslavenskog doma i kolektivne memorije ljudi odraslih na ovim prostorima. Ideja projekta bila je stvoriti sustav predmeta koji koristi tradicionalnu tehnologiju tokarenja na njoj svojstven, ali drugačiji način koji postiže nove, neočekivane rezultate i oblike.

industrijski • produkt dizajn

Turning technology is sweepingly labeled as kitsch both by laypersons and professional designers. That is ironic since massive furniture and carpentry were an integral part of every Croatian and Yugoslav home and the collective memory of people raised on these territories.

The idea of ​​the project was to create a system of objects that uses traditional turning technology in its own unique but different way in achieving new, unexpected results and shapes.

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Super Leveller — Nivelator za keramiku ∕ Leveler for ceramics Studio Sonda kreativna direkcija ∕ creative direction Jelena Fiškuš, Sean Poropat produkt dizajn ∕ product design Stefan Vidović account menadžer ∕ account manager Mladen Gvozden autor projekta ∕ project author Davor Krizmanić naručitelj ∕ client Sklad Profili, Pazin 3 ∕ 2017

Nivelator se koristi kao pomoć keramičarima prilikom postavljanja pločica da bi se dobila idealna nivelacija. Super Leveller nova je generacija nivelatora koja nudi više tehničkih inovacija brzopotezno spajanje i odvajanje, inovativni način pričvršćivanja bez zakretanja pločica te 100% vidljivi distanceri. Dizajniran je na način da ergonomski odgovara što lakšem odvrtanju/zavrtanju navoja, a odabir boja i linija potencira komparativne tehnološke prednosti proizvoda, s naglaskom na odvojenost sustava za zakretanje od kućišta. Promišljenom estetikom proizvod se nastoji izdvojiti od proizvoda konkurencije koji su mahom generički i vizualno neatraktivni.

304 pregled hrvatskog dizajna

The leveler is used as an aid to tile layers when laying tiles to obtain an ideal leveling. Super Leveler is a new generation of levelers that offers a number of technical innovations: fast coupling and separation, innovative fastening without rotating the tiles, and 100% visible spacers. It is designed to ergonomically match the easiest unscrewing/screwing of the thread, and the selection of colors and lines underlines the comparative technological advantages of the product with the emphasis on the separation of the rotation system from the casing. By deploying thoughtful aesthetics, the goal is to distinguish the product from competitors’ products that are largely generic and visually unattractive.

industrial • product design

VAU dizajn ∕ design VAU design team (Marija Ružić Vukmanić, Ivan Vukmanić, Petra Vrdoljak) naručitelj ∕ client PES kreativna tvornica ∕ PES Creative Factory, Zagreb 6 ∕ 2017

VAU su funkcionalni svakodnevni predmeti obogaćeni simboličkim značenjem. Kolekcija obuhvaća svijećnjake, otvarač za boce, otvarač za pisma, organizator te pritiskač papira.

Proizvodi nastaju u in-house suradnji dizajnera, inženjera i majstora koji zajedno eksperimentiraju s tehnologijama i materijalima. Inspiraciju pronalaze u univerzalnim simbolima koji se protežu kroz sve aspekte života, od prirode, umjetnosti ili duhovnosti, poput koncentričnih krugova, piramida itd.

industrijski • produkt dizajn

VAU are functional everyday objects enhanced with a symbolic meaning. The collection includes candlesticks, a bottle opener, a letter opener, a paper organizer and paper press. The products are the result of an in-house collaboration of designers, engineers and craftsmen who together have been experimenting with different technologies and materials. They find inspiration in universal symbols extending throughout all aspects of life, nature, art or spirituality, like concentric circles, pyramids, etc.

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SecretArea dizajn ∕ design Ivan Goran Žunar, Alica Pancer, Milena Jovanović, Tomica Perković suradnik ∕ contributor Miran Krčadinac (fotografija ∕ photography) proizvođač ∕ manufacturer Prostoria d.o.o. Sv. Križ Začretje naručitelj ∕ client Hrvatsko dizajnersko društvo u sklopu projekta Erasmus+ Practicing Design ∕ Croatian Designers Association in the framework of the project Erasmus+ Practicing design 1 ∕ 2017

Koncept SecretArea suvremena je interpretacija tipologije sekretera, proizašla iz studija radnih prostora unutar doma te potreba i navika korisnika. Uslijed ubrzane komunikacije i mnoštva tehnologije kojima smo svakodnevno izloženi, potreba za izolacijom i koncentracijom neophodnom za produktivan rad je veća nego ikad. SecretArea je intiman prostor, mjesto gdje možete raditi, ali i ne morate. Koncept i prototip SecretArea nastali su kao odgovor na projektni zadatak Home office u okviru projekta Dizajn u praksi.

306 pregled hrvatskog dizajna

The SecretArea concept is a contemporary interpretation of the secretary cabinet typology resulting from the study of workspaces within home and the needs and habits of the user.

Due to accelerated communication and variety of technologies we are exposed to on a daily basis, the need for isolation and concentration required for productive work is greater than ever. SecretArea is an intimate space where you can work, but you do not have to. The SecretArea concept and prototype were created in response to the project task Home Office within the project Design in Practice.

industrial • product design

industrijski • produkt dizajn

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308 pregled hrvatskog dizajna

spatial and graphic interventions and systems

prostorne i grafiÄ?ke intervencije i sistemi spatial and graphic interventions and systems

prostorne i grafiÄ?ke intervencije i sistemi

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Blok Bužanova ∕ The Bužanova Block dizajn ∕ design Dora Bilandžić suradnica ∕ contributor Adriana Pavelić (ilustracija ∕ illustration) naručitelj ∕ client Studio 3LHD Zagreb 3 ∕ 2017 – 4 ∕ 2018

Dizajn logotipa i signalizacijskog sustava novoizgrađenog zagrebačkog stambenog objekta Blok Bužanova izveden je na zahtjev studija za arhitekturu i urbanizam 3LHD. Koncept logotipa prati glavni element arhitektonskog oblikovanja pročelja zgrade – velike prozorske otvore koji tvore pravilni raster, te se transformira simbolizirajući različite duljine otvora i slobodan tlocrt stanova. Signalizacijski sustav uključuje oznake i putokaze u podzemnim etažama, sustav piktograma za označavanje prostornih elemenata, oznake predvorja i stubišta šest etaža zgrade, stanarske pločice te oznake pročelja.

310 pregled hrvatskog dizajna

The design of the logo and signage system of the newly constructed Zagreb residential building - Blok Bužanova - was commissioned by 3LHD architecture and urban planning studio. The concept of the logo traces the main element of the architectural design of the façade, i.e. large window openings forming a regular raster, and transforms symbolizing different opening lengths and free floor plan of the apartments. The signage system includes labels and signposts in the underground floors, a pictogram system for spatial elements, lobby and stairway signs for six floors of the building, occupancy plate and signs on the front of the facade.

spatial and graphic interventions and systems

Slatkovodni akvarij Karlovac ∕ Karlovac Freshwater Aquarium studio Bilić_Müller vizualni identitet, signalizacija, ilustracije ∕ visual identity, signage, illustration Dora Bilić, Tina Müller suradnici ∕ contributors Igor Dušanović (copywriting), 3LHD (arhitektura, interijer ∕ architecture, interior design) naručitelj ∕ client Grad Karlovac ∕ City of Karlovac 11 ∕ 2016

Vizualni identitet, signalizacija i prostorna grafika za istraživački, izložbeni i edukativni centar Slatkovodnog akvarija Karlovac, koja se sa svojim varijantama/modifikacijama prilagođava korisnicima (znanstvenicima, posjetiteljima, djeci). Multipliciranjem i kombiniranjem osnovnog geometrijskog elementa (pravokutnika koji simbolizira akvarij) stvara se organska, izmjenjiva forma koja asocira na vodu, tok, rojeve, jato...

prostorne i grafičke intervencije i sistemi

The visual identity, signage and spatial graphics for the research, exhibition and educational centre of the Karlovac Freshwater Aquarium, which with its variants / modifications is adapted to the users (scientists, visitors, children). By multiplying and combining the basic geometric element (a rectangle that symbolizes the aquarium), an organic, interchangeable form is formed that is associated with water, currents, swarms, flocks ...

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Zaton — grafička obrada plažnih staza ∕ graphic treatment of beach pathways studio Bilić_Müller grafičko oblikovanje ∕ graphic design Dora Bilić, Tina Müller suradnica ∕ contributor Ranka Perović Bilić (projekt parternog uređenja ∕ floor arrangement project) naručitelj ∕ client Turisthotel d.d. Zadar 8 ∕ 2016

Betonske plažne staze dijele plažu na tri dijela koja se sadržajem i atmosferom međusobno razlikuju. Zbog šarenila plažnog sadržaja zadatak je bio na jednostavan i monokromatski način odvojiti grafikom tri plažne cjeline i zadovoljiti osnovne signalizacijska potrebe.

Definirana signalizacija nije primarna i služi kao dodatna pomoć u snalaženju. Osnovni grafički motiv su tipografski elementi [ / ], [ ( ] i [ ) ]. Njihovim kombiniranjem ostvaruju se različite grafičke forme valova, mora itd. Motivi se nastavljaju i apliciraju na vizualne elemente identiteta plažnih objekata, poput betonskih klupa, ograde i drugdje.

312 pregled hrvatskog dizajna

Concrete beach pathways divide the beach into three parts that differ in content and atmosphere. Due to a variety of amenities at the beach, the task was to separate graphically the three beach units and meet the basic signage needs in a simple and monochromatic way.

Thus defined signage is not primary and serves to provide additional help in finding one’s way around. The basic graphic motif is found in the typographic elements [/], [(], and [)]. By combining them, various graphic forms of waves, seas, etc. are created. The motifs continue and apply to the visual elements of the identity of beach facilities, such as concrete bench, fence, etc.

spatial and graphic interventions and systems

Croatia je Hrvatska ∕ Croatia is Croatia agencija ∕agency Brigada koncept prostornog dizajna ∕ spatial concept design Damjan Geber dizajn izložbenog postava ∕ exhibition design Dominik Cergna voditeljica arhitekture ∕ architectural manager Marina Brletić suradnici ∕ contributors Marija Lukić (Brigada, voditeljica projekta ∕ project manager), Ivana Lišnjić (Brigada, suradnica ∕ associate), Ivan Marušić Klif (video projekcije ∕ video projections), Ivan Kožar (reprodukcija izuma Nikole Tesle ∕ reproduction of Nikola Tesla’s Invention), Morana Stinčić, Igor Lenard (scenografi ∕ set designers), Jurica Sinković (arhitekt ∕ architect) naručitelji ∕ clients Adris Grupa, Croatia Osiguranje ∕ Adris Group Ltd, Croatia Insurance Ltd 9 ∕ 2017

Izložba Croatia je Hrvatska postavljena je u zagrebačkom tunelu Grič te se proteže na ukupno 2100 m2, duž 350 m glavne cijevi tunela, uključujući i četiri 200 m duge bočne cijevi. U tunelskim je cijevima postavljen svojevrsni tunel u tunelu, konstrukcija izvedena od čeličnih profila savijenih u lukove povezane poprečnim profilima čija je površina djelomično prazna, s idejom da postupno na sebe primi sadržaj osobnih priča običnih ljudi koji su mogli sudjelovati u izložbi. Preostalu površinu popunjavaju reprodukcije 179 povijesnih artefakata.Središnji je dio tunela pretvoren u multisenzorni doživljaj Kišne sobe kroz koju su posjetitelji morali proći kako bi mogli vidjeti ostatak izložbe.

prostorne i grafičke intervencije i sistemi

Croatia je Hrvatska exhibition was showcased in Zagreb’s Grič Tunnel covering a total of 2100 m2, along the 350 m main tunnel pipeline, including four 200-meter-long side pipes. In the tunnel pipes, a kind of tunnel inside of a tunnel was constructed. Its construction is made of steel profiles bent into arches joint by transversal profiles creating a partially empty surface with the intention to gradually change after receiving personal stories of ordinary people who participated in the exhibition. The remaining part of the surface is filled with 179 historical artefacts. The central part of the tunnel was transformed into a multisensory experience of the Rain Room through which visitors had to pass in order to see the rest of the exhibition.

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Tjedan dizajna Zagreb 2016 ∕ The Zagreb Design Week 2016 agencija ∕agency Brigada Zagreb kreativna direkcija ∕ creative direction Damjan Geber arhitekt ∕ architect Jelena Babić dizajn ∕ design Ana Herceg naručitelj ∕ client Scuderia, Zagreb 5 ∕ 2016

Cilj je bio dizajnom postava vizualno smanjiti veliku prostranost dvorane u kojoj se manifestacija održavala te je učiniti preglednijom. Trebalo je voditi računa o univerzalnosti primjene s obzirom na veliki broj izlagača i korisnika, o što jednostavnijoj montaži te o financijskoj prihvatljivosti projekta. Dimenzije objekata su prilagođene standardnim dimenzijama sastavnih elemenata greda, osb ploča i paleta, kako bi na kraju bilo čim manje otpada i kako bi cijeli proces bio što optimalniji. Elementi su multifunkcionalni, a konstrukcija štanda Marketa nudi široki niz primjene, od prodaje i izlaganja pa do prostora za isprobavanje. Nordijska kuća inspirirana je minimalističkim dizajnom, čije siluete čine tkanine ovješene preko visećih greda.

314 pregled hrvatskog dizajna

The objective was to visually reduce the vastness of the hall in which the event took place and make it more transparent. It was necessary to consider the universal application with regard to a large number of exhibitors and users, user-friendly installation and financial feasibility of the project. The dimensions of the objects are adapted to the standard dimensions of the constituent elements of beams, slabs and pallets, in order to minimize waste in the end and to make the whole process as optimal as possible. The elements are multifunctional, and the construction of the market stand provides a wide range of applications, i.e. selling and exhibiting as well as testing. The so-called Nordic house was inspired by a minimalist design, and its silhouettes are made of fabrics hanging over the beams.

spatial and graphic interventions and systems

Međunarodna zračna luka Franjo Tuđman, Zagreb ∕ Franjo Tuđman International Airport in Zagreb dizajn orijentacijskog sustava i piktograma Agram ∕ design of orientation system and pictogram system Agram Nada Dogan suradnici ∕ contributors Isabel Jägle (dizajn orijentacijskog sustava i piktograma ∕ orientation system and pictogram design), Lothar Schöneck (dizajn piktograma ∕ pictogram design), Nikola Đurek (tipografsko pismo Pleso ∕ Pleso typeface) naručitelj ∕ client Kincl d.o.o. Zagreb, Međunarodna zračna luka „Franjo Tuđman“, Zagreb ∕ International Airport Zagreb 3 ∕ 2017

Projektni dvojac zadužen za orijentacijski i informacijski dizajn (Nada Dogan, Isabel Jägle) izveo je analizu svih potencijalnih kretanja putnika novom zagrebačkom zračnom lukom i definirao logiku sustava. Zatim je projektiran specifičan sustav nosača informacija (ekrana, totema i kombinacija) koji je morao zadovoljiti potrebe sustava signalizacije i sustava informacijskih displeja o letovima. Izveden je novi piktogramski sustav Agram (Dogan, Jägle, Schöneck) koji trenutno obuhvaća gotovo 200 znakova. Opseg tog pothvata čini Agram jedinstvenim primjerom u domaćoj praksi.

Osim sustava piktograma, za potrebe zračne luke dizajnirano je više od 350 različitih displeja te specifična tipografija signalizacije Pleso (Nikola Đurek). Pozornim kodiranjem veličina, rastera i boja, set piktograma i oznaka razrađen je u logičan, jasno čitljiv komunikacijski sustav koji inventivno koristi i plohe zidova i stakla u prostoru.

prostorne i grafičke intervencije i sistemi

The project duo in charge of designing the system of orientation and information (N. Dogan and I. Jägle) conducted an analysis of all potential passenger movements at the new Zagreb airport and defined the logic of the system. Subsequently, a specific system of information bearers (screens, totems and combinations) was designed to meet the requirements of the signage system and providing flight information. A new pictogram system named Agram was introduced (designed by Dogan, Jägle and Schöneck), which currently covers almost 200 characters. The scope of this venture makes Agram a unique example in the Croatian practice.

In addition to the pictogram system, more than 350 displays have been designed for the needs of the airport together with a specific signage typeface named Pleso (by N. Đurek). Through a meticulous coding of sizes, rasters and colours, the pictogram and sign set was developed as a logical and clearly legible communication system using inventively both the wall surfaces and glasses inside of the space.

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Obiteljski hotel Amarin ∕ Family Hotel Amarin dizajn ∕ design Damir Gamulin copywriting ∕ copywriting Nenad Vukušić Sebo arhitektura ∕ architecture Studio UP – Lea Pelivan, Toma Pleić krajobrazna arhitektura ∕ landscape architecture Ksenija Jurčić Diminić naručitelj ∕ client Maistra d.d. Rovinj 2017

Prostorna grafika i signalizacija Obiteljskog hotela Amarin zasniva se na ideji kako grafika i riječi kao komunikacijski sloj obiteljskog hotela trebaju biti upućeni odraslima i djeci, koja percipiraju drugačije nego odrasli. Zamišljen kao “hotel koji priča” Amarin naglašeno komunicira s gostima nadogradnjom sustava standardnog obavještavanja doživljajnom razinom. Kako bi djeca ravnopravno osjetila da je hotel i njihov, kreirana su dva paralelna signalizacijska i aktivacijska kanala. Odraslima se obraća prisnim tekstom, a djeci vizualnim jezikom jednostavnih geometrijskih oblika koji pozivaju na aktivno sudjelovanje i otkrivanje prostora.

Grafički i jezični identitet oblikovan je tako kroz princip dvostrukog kodiranja informacija koje usmjeravaju, ali i otvaraju put mašti.

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The spatial graphic design and signage system of the Family Hotel Amarin are founded in the idea that graphics and words used in the hotel’s communication should be directed at adults and children who perceive things differently than adults. Designed as a “hotel that narrates,” Amarin communicates with guests through its upgraded system of information provision.

In order for children to feel equal “ownership” of the hotel, two parallel signage systems and activity channels were created. For adults it uses intimate text, and for children the visual language composed of simple geometric forms inviting to active participation and discovery. The graphical and linguistic identity is shaped through the application of the principle of double information encoding, which directs and prompts imagination.

spatial and graphic interventions and systems

Poslovni centar Adris grupe u Zagrebu ∕ Adris Group Business Center in Zagreb studio Hamper art direkcija, dizajn ∕ art direction, design Tom Jura Kaćunić kreativna direkcija, dizajn ∕ creative direction, design Ivana Vučić suradnica ∕ contributor Vedrana Ergić (arhitektura, dizajn interijera zgrade ∕ architecture, interior design) naručitelj ∕ client Adris grupa d.d. Rovinj 10 ∕ 2016 – 3 ∕ 2017

Glavna smjernica za oblikovanje sustava signalizacije Poslovnog centra Adris grupe, kao i tretmana pojedinačnih elemenata sustava u prostoru i definiranja hijerarhije, bio je visoko estetiziran interijer kojeg karakterizira geometrijska preciznost sofisticiranog minimalizma te posebni osjećaj za detalje kao i prostor u cjelini.

Koncept interijera kojim dominiraju open-space radni prostori uspostavio je funkcionalne odnose unutar sustava signalizacije. Istaknuti piktogrami većih dimenzija, koji uspostavljaju ravnotežu u proporcijama prema otvorenosti zajedničkih prostora, omogućuju učinkovito usmjeravanje korisnika prema funkcionalnim sadržajima unutar zgrade.

prostorne i grafičke intervencije i sistemi

The main guideline for designing the signage system of the Adris Group Business Centre, as well as the treatment of individual system elements in space and defining the hierarchy, was found in a highly anesthetised interior characterized by geometric precision of sophisticated minimalism and a very particular sense for details as well as space as a whole. The concept of the interior dominated by open-space workplaces established functional relations within the signage system. Distinctive large-sized pictograms, which establish a balance between proportions and the openness of common spaces, provide efficient orientation of users and easy access to functional facilities inside of the building.

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Ruža Cvjetičanin — Operetni dragulj ∕ An Opera Jewel dizajn ∕ design Nikolina Jelavić Mitrović suradnici ∕ contributors Marina Perica Krapljanov (autorica koncepcije ∕ concept) i Miljenko Gregl (fotografija ∕ photography) naručitelj ∕ client Muzej grada Zagreba ∕ Zagreb City Museum 6 ∕ 2016

Postav izložbe posvećene djelovanju, životu, radu i ostavštini operetne primadone Ruže Cvjetičanin inspiriran je operetnom scenom tridesetih godina te holivudskim glamurom istog tog vremena. Sve sjaji u polumraku s glavnom glumicom u centru. Izložbeni su elementi pozadina scene, načinjeni od crnog baršuna bogate draperije, ujedno i u funkciji nosača izložbenih materijala. Izložba je opremljena multimedijalnim sadržajima, prostor je ozvučen Ružinom interpretacijom njenih omiljenih opereta, a na gornjoj etaži se nalaze projekcije brojnih Ružinih opereta. Prostor je opremljen originalnim kazališnim foteljama u kojima posjetitelji imaju priliku sjediti i uživati u predstavama, kao da su u kazalištu.

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The exhibition display dedicated to prima donna Ruža Cvjetičanin’s career, life, art and legacy of was inspired by the 1930s opera and Hollywood glamour. The main actress has the central position in half-dark, glittering space. The exhibition elements are part of the background stage, made of abundant black velvet drapes also used to hold exhibits. The exhibition is equipped with multimedia, the space is sounded by Ruža’s interpretation of her favourite operettas while the upper floor showcases video projections of her numerous performances. The interior is equipped with original theatre armchairs that visitors can use and enjoy the performances, as if they were in the theatre.

spatial and graphic interventions and systems

Trešnjevka — Prostor i ljudi ∕ Space and People dizajn ∕ design Nikolina Jelavić Mitrović suradnici ∕ contributors Kristian Strukić, Goran Arčabić (autori koncepcije ∕ exhibition concept), Igor Kuduz (vizualni identitet ∕ visual identity), Miljenko Gregl (fotografija ∕ photography) naručitelj ∕ client Muzej grada Zagreba ∕ Zagreb City Museum 11 ∕ 2017

Izložba je dio projekta Zagrebački kvartovi Muzeja grada Zagreba u sklopu kojeg se predstavljaju kvartovi i stanovnici pojedinog kvarta.

Izložbu većim dijele čine fotografije i tekst pa je za potrebe izložbenog postava osmišljen sustav laganih panoa koji su postavljeni pod kutem te tako stvaraju dinamiku u prostoru.

Važan segment izložbe su sjećanja stanovnika i njihove fotografije iz obiteljskih albuma. Ta se sjećanja izlažu u posebno dizajnirane samostojeće slušne postaje u koje posjetitelj uranja slušajući zvuk govornika i gledajući fotografije na ekranu. Dominantna boja izložbe je crvena, dok je dominatan materijal izložbe drvo kao reminiscencija na trešnju po kojoj je Trešnjevka dobila ime.

prostorne i grafičke intervencije i sistemi

The exhibition is part of the Zagrebački kvartovi project organised by the Zagreb City Museum.

The project presents different Zagreb neighbourhoods and their inhabitants. The exhibition mostly comprises photographs and texts, and for the purpose of the exhibition display, a system of lightweight panels was designed and set at an angle to create a dynamic space.

Another important segment of the exhibition are residents’ recollections and photographs from their family albums. These recollections are exhibited in stand-alone listening stations designed especially for this occasion and inside of them visitors listen to the speaker’s voice while watching the photos on the screen. The dominant colour of the exhibition is red, and the dominant material of the exhibition is wood as a reminiscence of the cherry tree after which Trešnjevka district was named.

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Šifra ∕ The Cipher* format Joško Lokas, Domagoj Jović, Mario Maračić, Vedran Perišić, Vedran Kasap scenografija ∕ set design Vedran Kasap, Ozana Ursić pokretna grafika ∕ motion graphics Vedran Kasap aplikacija za upravljanje scenografije i igračkih sučelja ∕ application for controlling the set and game interfaces Mario Maračić naručitelj ∕ client Hrvatska radiotelevizija ∕ Croatian Radiotelevision 2017 *izvan konkurencije, rad člana Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Interaktivna scenografija i pokretna grafika za visokobudžetni zabavni televizijski kviz Šifra.

Scenografija je dio složenog interaktivnog sustava koji strukturira tijek same igre. Uključuje pokretne elemente, studijske pokretne grafike na LED ekranima, korisničko sučelja na ekranima natjecatelja i voditelja te on-screen grafiku za gledatelje. Kompleksni sustav za vođenje i praćenje igre omogućava jednoj osobi u režiji da upravlja svim vizualnim i mehaničkim dijelovima scenografije tijekom trajanja emisije. Tri rotirajuća prstena s mogućnošću kretanja po vertikalnoj osi na simbolički način predstavljaju zaključavanje i otključavanje sefa te pojašnjavaju pojedinu fazu igre. Bojom prstenova, rasvjete i studijske pokretne grafike gledatelju se pojašnjava progresija natjecatelja prema finalnoj igri za glavnu nagradu.

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Interactive scenography and movable graphics for the TV blockbuster quiz show – The Chipher. The scenography is a part of a complex interactive system structuring the course of the game. It comprises movable elements, studio graphics on LED screens, user interface on competitors and presenter’s screens and on-screen graphics for the audience. One person in the production control room uses a complex navigation system to manage all visual and mechanic stage components during the show. Three movable and rotating rings symbolize locking and unlocking of the safe while explaining a particular phase of the game at the same time. The colour of the rings, lights and movable graphics are signals to the audience to better understand competitors’ progress towards the final game for the main prize.

spatial and graphic interventions and systems

Sustav signalizacije šibenskih tvrđava ∕ Signage systems for Šibenik’s Fortresses studio Kazinoti&Komenda dizajn ∕ design Karlo Kazinoti, Mišo Komenda, Iris Klarić naručitelj ∕ client Tvrđava kulture ∕ Fortress of Culture, Šibenik 7 ∕ 2017

Koncept signalizacije tvrđave sv. Mihovila inspiriran je slojevitošću sačuvanih zidina i tlocrtom tvrđave oblika nepravilnog četverokuta. Pretpostavljajući kako fortifikacijski objekt, zbog budućih adaptacija u napredovanju ratne tehnike, nikad u cijelosti nije bila završen, ideja je da sloj kojemu pripada ova signalizacija predstavlja sloj 21. stoljeća. Korisnik može dobiti sve potrebne informacije ili usmjerenja putem triju kategorija znakova: destinacijskih, orijentacijskih i informacijskih. Prilikom konstruiranja svakom je znaku pridodana funkcionalna slojevitost pa tako svaki sloj sadrži određeni tip informacija – tekstualni dio je na najnižem sloju, dok je strelica tj. smjer kretanja na najvišem.

Budući da se ovaj sustav signalizacije primjenjuje na svim šibenskim tvrđavama, distinkcija između njih uspostavlja se upotrebom različitih boja.

prostorne i grafičke intervencije i sistemi

The signage concept for the St. Michael's Fortress is inspired by the multitude of preserved walls and the ground plan of the fortress in the form of an irregular quadrangle. Assuming that the fortification has never been fully completed because of possible future adaptations linked to advancement in war technology, the idea was to design the new layer holding the signage system in a way that it represents the 21st century. Visitors can obtain all necessary information or directions via three different sign categories used for finding destination, orientation or information. During the design process, each character was given a functional layer, so that each layer contains a certain type of information - the text section is positioned on the lowest layer, while the arrow or the direction of movement is at the highest one. Since this signage system is applied to all the fortresses in Šibenik, the distinction between them is established with the use of different colours.

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Rujevica — Trening kamp NK Rijeka ∕ Training Camp of Rijeka Football Club dizajn ∕ design Sanjin Kunić suradnici ∕ contributors Siniša Zdjelar, Antonija Plavotić, Andrea Bušić (ZDL arhitekti d.o.o.) naručitelj ∕ client Stadion Kantrida ∕ Stadium Kantrida, Rijeka 6 ∕ 2016

Trening kamp na Rujevici zamišljen je i predstavljen kao infrastrukturni kompleks sastavljen od više nogometnih igrališta i pratećih sadržaja s ciljem pružanja vrhunskih uvjeta za trenažne procese mladih generacija škole nogometa i seniorske momčadi NK Rijeke. S obzirom na zahtjev da prvenstveno bude ekonomična u izvedbi, prostorna grafika i signalizacija trening kampa oblikovana je na način da se izvodi izradom maski i šablona te bojanjem direktno na podlogu. Plava dijagonala, dominantan element grba NK Rijeke, služi kao osnovni gradbeni element prostorne grafike.

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The training camp at Rujevica was designed and presented as an infrastructure complex composed of several football fields and additional facilities with the aim to provide the best training conditions for younger generations attending football schools and senior NK Rijeka teams. Since the most important requirement was to design an economically viable spatial graphics and signage, masks and clichés were produced and then applies directly onto the surface. The blue diagonal, as the dominant element of the NK Rijeka coat of arms, served as the basic construction element for designing the spatial graphics.

spatial and graphic interventions and systems

Braća Seljan kroz prašume i pustinju ∕ The Seljan Brothers in Wilderness and Desert studio Market kolektiv dizajn ∕ design Katarina Perić, Iva Hrvatin i Marita Bonačić suradnice ∕ contributors Marija Živković (autorica izložbe ∕ exhibition curator), Katja Orlić (suradnica na izložbi ∕ exhibition associate) naručitelj ∕ client Etnografski muzej ∕ Ethnographic Museum Zagreb 5 ∕ 2018

Postav je koncipiran kao putovanje koje prati put braće Seljan po Africi i Južnoj Americi, evocirajući pritom atmosferičnost lokacija i dojam o načinu života svjetskih istraživača s prijelaza 19. i 20. stoljeća. Mreža horizontalno i vertikalno postavljene užadi u prvom dijelu izložbe nosi uredan sistem izlaganja, a u drugom igra scenografsku ulogu lijana što vise sa stropa i dočaravaju prašumu. Izložba od posjetitelja traži fizičku interakciju: prirodne radnje poput hodanja i veslanja pružaju uvid u dodatne, skrivene informacije.

prostorne i grafičke intervencije i sistemi

The exhibition display is designed to evoke the Seljan brothers’ journey to Africa and South America and atmospheric locations and impression of the lifestyle characteristic for world explorers from the late 19th and early 20th century. A network of horizontal and vertical ropes in the first part of the exhibition provides an orderly exhibition system only to transform into a stage filled with lianas hanging from the ceiling and representing a rainforest in the second. Visitors of this exhibition are invited to interact physically: natural activities such as walking or paddling provide an insight into additional, hidden information.

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Šezdesete u Hrvatskoj: Mit i stvarnost ∕ The Sixties in Croatia: Myth and Reality studiji ∕ studios Numen/ForUse, Oaza dizajn vizualnog identiteta i postava izložbe ∕ visual identity and exhibition design Nikola Radeljković, Ivana Borovnjak, Maša Poljanec suradnici ∕ contributors Tvrtko Bojić, Karla Paliska naručitelj ∕ client Muzej za umjetnost i obrt ∕ Museum for Arts and Crafts, Zagreb 3 ∕ 2017 – 4 ∕ 2018

Koncepcija postava izložbe polazi od ideje da se odabrani eksponati kontekstualiziraju u odnosu na razvijeni sustav dodatnih informacija iz različitih tematskih segmenata, kako bi se potaklo kritičko iščitavanje slojeva kompleksnog predstavljenog sadržaja. Stoga je pravi dizajnerski zadatak, osim izložbenog postava i vizualnog identiteta, evidentan i u sistematizaciji materijala. Vizualni identitet proizašao je iz čvrsto zadanih postavki: imena izložbe (Šezdesete) u suvremenoj inačici Helvetice i kultne fotografije manekenki na Dolcu, koja je odabrana kao prizor dualnosti i kontradiktornosti razdoblja, prateći tako okvir podnaslova izložbe Mit i stvarnost. U tiskanim i digitalnim materijalima, neklasičnim kompozicijama fotografija te njihovim preklapanjem, nastojala se prikazati kompleksnost i slojevitost izložbe, te titranje i višeznačnost duha vremena.

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The concept of the exhibition layout emerged from the idea to contextualize the selected exhibits in relation to a system of additional information developed from different thematic segments in order to encourage critical interpretation of different layers and the complexity of the presented exhibits. Therefore the real design task, in addition to the exhibition display and visual identity, also becomes evident in the way the materials were systematized. The visual identity is a result of a number of clearly defined postulates: the title of the exhibition (The Sixties) in the contemporary version of Helvetica typeface and the cult photograph showing models at Dolac green market that was selected as a scene of duality and contradiction of that period, thus following the context of the exhibition’s subtitle - Myth and Reality. Overlapping photographs displayed in atypical compositions were used in printed and digital materials to showcase the complexity of the exhibition, as well as the vibrant spirit of the times.

spatial and graphic interventions and systems

Up There studio Oaza vizualni identitet ∕ visual identity Tina Ivezić dizajn interijera ∕ interior design Nina Bačun, Ivana Borovnjak, Maja Kolar suradnici ∕ contributors Nenad Vukušić (copywriting), Andrea Dujić (arhitektura ∕ architecture), Jakov Lerotić (fotografije u interijeru ∕ interior photography) naručitelj ∕ client Up there, Split 2017

Hotel Up There nalazi se na 6. katu funkcionalističkog Koteksovog nebodera u Splitu, koji je 1964. projektirao Lovro Perković. Vizualni identitet i interijer odražavaju integrativni pristup zadatku i nastali su u intenzivnoj komunikaciji s multidisciplinarnim timom suradnika i naručiteljem. Sobe su organizirane oko jedinstvenog hodnika, svaka sa specifičnom atmosferom i pričom, ovisno o orijentaciji i pogledu na pojedini splitski kvart (Get, Varoš, Matejuška, Bačvice itd.). Ideja upotrebe lokalnog splitskog jezika integrirana je u verbalnu komunikaciju i elemente vizualne komunikacije, kao što su kodiranje bojom obzirom na orjentaciju i krajolik te izbor fotografskih prizora iz splitskog života.

prostorne i grafičke intervencije i sistemi

Up There Hotel is located on the 6th floor of the functionalist Koteks skyscraper in Split, designed by Lovro Perković in 1964. The visual identity and the interior reflect the integrative approach emerging from intensive communication with the multidisciplinary expert team and the contractor. The rooms are organized around a singe corridor, each with a specific atmosphere and story, depending on the orientation and view on individual Split districts (Get, Varoš, Matejuška, Bačvice, etc.). The idea to use the local Split vernacular is integrated into verbal communication and elements of visual communication, such as colour coding depending on the orientation and landscape and the choice of photographic scenes documenting life in Split.

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Vrijeme giganata ∕ The Time of the Giants studio Oaza dizajn ∕ design Nina Bačun, Roberta Bratović, Maša Poljanec naručitelj ∕ client Muzej grada Zagreba ∕ Zagreb City Museum 12 ∕ 2016 – 1 ∕ 2017

Izložba Vrijeme giganata analizira i prezentira industrijske sklopove kao dokumente vremena na kojima se odražavaju presudne epizode nacionalne i svjetske povijesti. Četiri tvornice u Zagrebu – Jedinstvo, Rade Končar, Prvomajska i Tvornica parnih kotlova – poslužile su kao studije slučaja u propitivanju utjecaja politike na proces industrijalizacije u formativnom periodu socijalizma. U postavu i vizualnom identitetu izložbe naglašene su konstrukcije od sirovih industrijskih materijala (šperploča, metal, drvene letve, pleksiglas) bez boje, koje nose sadržaj, a čija se forma i estetika oslanja na spomenute industrijske sklopove.

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The exhibition named The Time of the Giants analyses and presents industrial circuits as documents of time reflecting some critical episodes in the national and world history. Four factories in Zagreb - Jedinstvo, Rade Končar, Prvomajska and Tvornica parnih kotlova – were used as case studies for researching the impact of politics on the process of industrialization during the formative period of socialism. The display and visual identity of the exhibition emphasize the construction made of raw, colourless industrial materials (plywood, metal, wooden battens, Plexiglas) carrying the exhibits. Their form and aesthetics stem from the above-mentioned industrial circuits.

spatial and graphic interventions and systems

Zgraf 12 studio Oaza dizajn postava ∕ exhibition design Ivana Borovnjak, Maja Kolar vizualni identitet ∕ visual identity Tina Ivezić, Maša Poljanec suradnici ∕ contributors Mihaela Richter (kustosica ∕ curator), Deni Šesnić (dizajn svjetla ∕ light design) naručitelj ∕ client ULUPUH, Zagreb 1 ∕ 2017

Vrijeme, protok, svjetlo, mijena i ponavljanje su pojmovi upisani u dizajn vizualnog identiteta i postava izložbe Zgraf 12 — Društvene reprize.

Paradoks kontinuirane mijene i repetitivnosti ilustriran je suptilnim pulsiranjem i promjenom vrijednosti svjetla unutar zadanih formalnih okvira. Dizajn logotipa izveden je iz osnovnih geometrijskih oblika — trokuta, kruga i kvadrata, kao podsjetnika na nasljeđe modernizma i prijašnjih Zgrafova. Dojam protoka vremena u postavu izložbe simuliran je izmjeničnim, cikličkim osvjetljavanjem i zatamnjivanjem izloženih radova, a potenciran ritmičnim nabrajanjem radova u redovima i usmjerenim obilaženjem.

Visinska gradacija elemenata vizualno odvaja pojedine segmente izložbe na tematski i revijalni dio.

prostorne i grafičke intervencije i sistemi

Time, flow, light, change and repetition are the terms inscribed in the design of the visual identity and the display of Zgraf 12 - Social Re-runs.

The paradoxality of continuous change and repetition is illustrated by subtle pulsation and transformation of light values within the given formal frameworks. The design of the logo is derived from the basic geometric shapes (a triangle, circle and square) as a reminder of the legacy of modernism and previous Zgrafs. The impression of time flow in the exhibition display is simulated by alternating, cyclic illumination and obscuration of the exhibits, and stressed by the rhythmic enumeration of the works in rows and the orientation of the exhibition.

The altitude gradation of the elements visually divides individual segments of the exhibition into topical and “revue” parts.

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Osama — život naselja s do tri stanovnika u Istri ∕ Solitude — Life of villages in Istria with up to three inhabitants Studio Sonda kreativna i art direkcija ∕ creative and art direction: Jelena Fiškuš, Sean Poropat dizajn ∕ design Aleksandar Živanov suradnici ∕ contributors Dragan Dimovski (tehnička realizacija ∕ technical realization), Creattiva reklame Poreč, Ivona Orlić (autorica izložbe ∕ exhibition curator) naručitelj ∕ client Etnografski muzej Istre ∕ Ethnographic Museum of Istria, Pazin 12 ∕ 2016

Izložba Osama rezultat je istraživanja o životu naselja s do 3 stanovnika u Istri. Njih 26 interpretira se putem fotografija pronađenih ili poklonjenih predmeta. U dvoranu čije uređenje negira sam prostor, posjetitelji ulaze jedan po jedan, a rezultat je doslovno iskušavanje osame. Jedva primjetne printove eksponata potrebno je prvo pronaći skrivene u prostoru, a zatim i pregledati povećalom. Premda su lokacije postavljene istovjetno rasporedu na karti, istraživanje rezultira osjećajem izgubljenosti, svojstvenom osamljeničkom životu. Posjetitelj je tako u mogućnosti osvijestiti osamu, kako onu istarsku, tako i osobnu.

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The exhibition named Solitude is a result of the survey on the life of Istrian settlements with up to 3 inhabitants. Twenty-six such settlements are interpreted through photographs of found or gifted objects. Visitors enter the hall designed to negate the space one by one to literally experience the seclusion. Hardly noticeable prints of exhibits must first be found, since they are hidden in the space, and then observed with a magnifying glass. Although all the sites are set in the same way as on the map, the search results in a sense of being lost, inherent to a lonely life. The visitor is thus able to become aware of the seclusion, both in Istria, and a personal one.

spatial and graphic interventions and systems

Baustella studio Superstudio autor projekta ∕ project author Dino Belamarić kreativna direkcija ∕ creative direction Ira Payer (Superstudio) producentica ∕ producer Lovorka Sršen (Superstudio) izvođači ∕ contractors Peri oplate i skele Zagreb, MBM vrtni centar Lučko, Qtech design Zagreb fotografija ∕ photography Marija Gašparović, Igor Dugandžić naručitelji ∕ clients Superstudio Design Projects & Dizajn centar Zagreb za festival Dizajn distrikt Zagreb ∕ Superstudio Design Projects & Design Center Zagreb for Design District Zagreb Festival 6 ∕ 2018

Baustella je privremena site-specific prostorna struktura veličine 6 x 12 metara smještena na sjevernom dijelu Ratkajevog prolaza tijekom četiri dana trajanja festivala Dizajn distrikt Zagreb 2018. Instalacija je namijenjena odmoru i druženju, a u komunikacijskom smislu to je svojevrsna pokazna vježba o potencijalu dizajna da humanizira javni prostor po mjeri građana.

Dinamična konstrukcija prekrivena biljkama spaja urbano s prirodnim u obliku zelene oaze koja gradska pročelja ne prikriva, već ih afirmira kroz prozirnost strukture. Baustella je u cijelosti izgrađena posuđenim elementima i uz minimalne troškove postavljanja.

prostorne i grafičke intervencije i sistemi

Baustella is a temporary site-specific, 6 x 12 meter spatial structure that was located in the northern part of Ratkaj Passage during the four days of the 2018 Design District Zagreb Festival. The installation is intended for relaxation and get-togethers and in terms of communication it is an exercise on the potential force of design to humanize the public space and tailor it to meet citizens’ needs. Its dynamic structure covered with plants combines urban and natural elements in the form of a green oasis that instead of concealing re-affirms city facades through the transparency of the structure.

Baustella is entirely constructed from borrowed elements at minimal cost of installation.

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Piece of Zagreb studio Superstudio autori projekta ∕ project authors Superstudio & Draga Komparak organizator ∕ organizer Dizajn centar Zagreb u suradnji s Turističkom zajednicom grada Zagreba ∕ Design Center Zagreb in co-operation with the Zagreb Tourist Board autorica koncepta i voditeljica projekta ∕ concept author and project management Ira Payer suradnik na projektu ∕ project associate Bojan Krištofić kreativna direkcija ∕ creative direction Ira Payer art direkcija i grafički dizajn ∕ art direction and graphic design Iva Hrvatin grafički dizajn ∕ graphic design Klasja Habjan dizajn izložbenog postava ∕ exhibition design Draga Komparak koordinatorice projekta ∕ project co-ordinators Tena Šarić, Lovorka Sršen fotografija ∕ photography Marija Gašparović, Ivan Dorotić 6 ∕ 2017

Projekt je posvećen potrazi za novim načinima mišljenja i stvaranja autentičnih zagrebačkih suvenira, uz pomoć interdisciplinarnog pristupa karakterističnog za dizajn te u suradnji s primijenjenim umjetnicima, obrtnicima i drugim proizvođačima materijalne kulture.

Projekt stremi stvaranju prve sustavne kolekcije dizajniranih suvenira Zagreba, koja će kontinuirano rasti i obnavljati se tijekom budućih javnih poziva za uvrštavanje novih radova.

330 pregled hrvatskog dizajna

The project is dedicated to finding new ways of thinking and creating authentic Zagreb souvenirs, with the use of an interdisciplinary approach characteristic for design done in collaboration with artists, craftsmen and other producers of material culture. The project aims to create the first systematic collection of designed souvenirs from Zagreb, which will continue growing and renewing itself in the course of future public calls for new works.

spatial and graphic interventions and systems

Market — Šuma na asfaltu ∕ The Asphalt Forest autori koncepta, dizajna i prostorne dispozicije ∕ concept, design, spatial disposition Iva Letilović, Igor Pedišić inicijativa i kreativno vodstvo projekta ∕ initiative and creative management Ira Payer (Superstudio) dizajn signalistike ∕ signage design Iva Hrvatin (Superstudio) izvršna produkcija ∕ executive producer Lovorka Sršen (Superstudio) izvođač ∕ manufacturer Stolarija Srebačić – Ribica, Marija Bistrica fotografija ∕ photography Marija Gašparović, Igor Dugandžić, Petar Santini, Jasenko Rasol naručitelji ∕ clients Superstudio Design Projects & Dizajn centar Zagreb za festival Dizajn distrikt Zagreb uz podršku Turističke zajednice grada Zagreba ∕ Superstudio Design Projects & Design Center Zagreb for Design District with support of Zagreb Tourist Board 12 ∕ 2016 – 6 ∕ 2018

Projekt sustava privremenih izložbeno-prodajnih objekata namijenjenih korištenju na urbanim javnim površinama nastao je kao inicijativa festivala Dizajn distrikt Zagreb, s namjerom da pozitivno utječe na standarde oblikovanja gradskih manifestacija. Koncept je dosad realiziran dvaput: kao zimski Market u Martićevoj u sklopu šireg programa Advent u Zagrebu te kao ljetni sajam u okviru festivala Dizajn distrikt Zagreb u lipnju 2018. Gledano očima pješaka ili stanara susjednih kuća, projektiran je zaštićeni gradić unutar užurbanog urbanog konteksta ili je zasađena šuma borova na gradskom asfaltu.

Ideja stilizirana borove šume koja preko noći niče na ulici dovoljno je apstraktna da je mogla biti pretočena u arhitektonski jezik, a istovremeno je primamljivo slikovita da može asocirati na djelić nestale prirode.

prostorne i grafičke intervencije i sistemi

The project comprises a system of temporary exhibition and sales facilities intended for use in urban public areas and was created on the initiative of the Zagreb Design District Festival with the intention to positively affect the standards applied in designing various city manifestations.

The concept has so far been realized twice: once as the winter Market on Martićeva Street, as a part of a more comprehensive programme called Advent in Zagreb, and once during the summer fair in the framework of the Design District Festival held in June 2018. Seen through the eyes of pedestrians or tenants of neighboring houses, it was designed as a protected small town within bustling urban context or a pine tree forest in the middle of city asphalt. The idea of stylized pine forest that appears on the street overnight is abstract enough to become translated into the architectural language, but simultaneously it is seducing and imaginative with the power to evoke a bit of disappearing nature.

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Space Invader autor projekta ∕ project author Dino Belamarić kreativna direkcija ∕ creative direction Ira Payer (Superstudio) producentica ∕ producer Lovorka Sršen (Superstudio) izvođači ∕ contractors Peri oplate i skele Zagreb, MBM vrtni centar Lučko, Qtech design Zagreb fotografija ∕ photography Marija Gašparović, Igor Dugandžić naručitelji ∕ clients Superstudio Design Projects & Dizajn centar Zagreb za festival Dizajn distrikt Zagreb ∕ Superstudio Design Projects & Design Center Zagreb for Design District Zagreb Festival 6 ∕ 2018

Space invader je funkcionalna arhitektonska instalacija od predgotovljenih betonskih elemenata koji čine multiprogramatsku kompoziciju za sjedenje i dokolicu. Stroge linije, polirani natur beton, dvije pigmentacije i retrofuturistički izgled, refleksija su inspirativnog i vibrantnog okruženja kvarta u čijem je samom centru kompozicija privremeno izložena. Diskretno položena u džepu Martićeve ulice, instalacija je prije svega mjesto susreta ili predaha.

Kompozicija omogućava i siguran prostor za dječju igru i didaktičko savladavanje prepreka.

Instalacija je postavljena kao svojevrsni eksperiment povodom festivala Dizajn distrikt Zagreb u lipnju 2018. na period od 90 dana.

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Space Invader is a functional architectural installation made of pre-assembled concrete elements that form a multi-programming composition for sitting and leisure. Strict lines, polished natural concrete, two pigmentations and retro-futurist look, reflect the inspirational and vibrant environment of the district at the heart of which this composition was temporarily exposed. Discreetly placed in the “pocket” of Martićeva Street, the installation primarily serves as a place for meetings or for taking a break. The composition also provides a safe space for children’s play and didactic overcoming of various obstacles. The installation was set up as a kind of experiment for a period of 90 days on the occasion of the Design District Festival held in June 2018.

spatial and graphic interventions and systems

Infobip studiji ∕ studios Šesnić&Turković, Fabrika dizajn ∕ design Iva Sindik, Željko Burić, Antonio Balzareno, Marko Šesnić, Goran Turković naručitelj ∕ client Infobip, Vodnjan 8 ∕ 2017

Prostorne grafike za Infobip, hrvatsku tvrtku koja je u Vodnjanu otvorila najveći IT kampus u državi. Dizajnirao ih je Studio Šesnić&Turković u suradnji s dizajnerima i arhitektima iz arhitektonskog studija Fabrika koji su projektirali kompletan interijer. Grafike imaju dvojaku funkciju - dekorativnu i edukacijsku, odnosno motivacijsku.

prostorne i grafičke intervencije i sistemi

Spatial Graphics for Infobip, a Croatian company that opened the largest IT campus in the country in Vodnjan. The graphics were designed by Studio Šesnić & Turković in collaboration with designers and architects from the architectural studio Fabrika in charge of the complete interior design. The graphics have a dual function: decorative and educational, that is motivational.

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fashion and clothing design

modni i odjevni dizajn fashion and clothing design

modni i odjevni dizajn

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sh.es.na stakleni ruksak ∕ sh.es.na Glass Backpack dizajn ∕ design Marija Borovičkić samoinicirani projekt ∕ self-initiated project 6 ∕ 2017

Stakleni ruksak nastao je 2017. godine kao modni eksperiment brenda sh.es.na. Izrađen je od vinilne folije koja je prozirna, čvrsta, otporna na vodu i UV zračenje. Minimalističkim oblikovanjem izbjegavani su viškovi i nepotrebni dodaci te je fokus stavljen na specifičnost i čistoću materijala. Dinamizam i prepoznatljivost forme postignuti su horizontalnim i vertikalnim linearnim elementima - crnim gurtnama, dok principi kopčanja i osmišljavanje dodatne podesive gurtne omogućuju transformabilnost i razne načine nošenja na preklop, roll-top, na rame i dr. Ruksak je ručno šivan a njegova transparentnost ujedno onemogućuje bilo kakva skrivanja i greške u izradi.

336 pregled hrvatskog dizajna

Glass Backpack was created in 2017 as a fashion experiment of the brand sh.es.na. It is made of vinyl film that is transparent, solid, water resistant and UV-radiation resistant. Its minimalistic design eliminates surpluses and unnecessary additions, and the focus is placed on the specificity and purity of the material.

The shape dynamism and distinctiveness are achieved with horizontal and vertical linear elements - black bands, while the principles of buckling and the design of an additional adjustable bands allow for transformability and various ways of carrying: folded, roll-top, shoulder, etc. The backpack is hand-sewn and its transparency also prevents any concealment and defects.

fashion and clothing design

Kolekcija proljeće-ljeto 2018 ∕ SpringSummer Collection 2018 studio Dioralop dizajn Andreja Bistričić, Maja Merlić samoinicirani projekt ∕ self-initiated project 2018

Boje i tkanine u kolekciji i ovog su puta inspirirane Polaroid fotografijama, a dobivene su izlijevanjem kemikalija i njihovim izlaganjem različitim temperaturama. Ova sezona donosi razne nijanse plave te puno bijele, dok su digitalno izraženi printevi dovršeni vezom koji je spoj tradicionalnog nasljeđa i načina ukrašavanja odjeće koje je prisutno kod pripadnika supkultura.

modni i odjevni dizajn

Colours and fabrics in the collection this time were also inspired by Polaroid photographs, and they were obtained by pouring chemicals and by exposing them to different temperatures. This season brings different shades of blue and a lot of white, while the digitally made prints are completed by fancywork that is a combination of the traditional heritage and the clothing decoration method that is present among the subculture members.

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Smile dizajn ∕ design Branka Donassy samoinicirani projekt ∕ self-initiated project 2017

Smile je tronamjenski modni dodatak - narukvica, ogrlica i držač za šal. Kružnog je oblika sa „smile“ izrezom i toplinski utisnutim logom autorice. Izrađen je od visokokvalitetne prirodne kože - goveđeg boksa bez dodatnih materijala.

Kao narukvica nosi se iznad zapešća na golu kožu ili preko odjeće uskih rukava. Provlačenjem ovjesa od prirodne kože u boji po izboru (plava, fuksija, narančasta, crna) kroz rez postaje narukvica. Provlačenjem šala kroz rez postaje držač za šal te se može nositi na različite načine, ovisno o načinu vezivanja šala.

338 pregled hrvatskog dizajna

Smile is a three-purpose fashion accessory – a bracelet, a necklace and a scarf holder. It is of a circular shape with a “smile” cut-out and a thermally imprinted logo of the designer. It is made of high quality natural leather - calfbox without any additional material. As a bracelet, it is worn above the wrist on the naked skin or over the clothing with tight sleeves. By pulling the suspension made of natural leather in colour of your choice (blue, fuchsia, orange, black) through the cut-out it becomes a bracelet. By pulling the scarf through the cut-out it becomes a scarf holder and it can be worn in different ways, depending on how the scarf is tied.

fashion and clothing design

Getting high while building furniture WIP* dizajn ∕ design Tomislav Mostečak realizator ∕ manufacturer Alexia Battistella 2018 (rad u nastajanju ∕ work in progress) *izvan konkurencije, rad člana Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Samonicirani projekt, još uvijek u nastajanju, inspiriran je YouTube fenomenom Hikea, gdje grupe ljudi pokušavaju sastaviti namještaj po uputama – pod utjecajem opijata. Dvije majice i radna pregača zamišljene su kao uniforma koja nastaje tehnikom prilagodbe (costumizing) već korištenih (preowned) odjevnih predmeta.

Korištena je tehnika bojenja tekstila tie dye, zasnovana na miješanju vode i boje na bazi emajla koja se koristila za bojenje zrakoplova.

Ovi odjevni predmeti nastaju interpretacijom grafičkih i kolorističkih elemenata sličnih onima s odjevnih predmeta koji se koriste u funkciji zaštite na radu.

modni i odjevni dizajn

This self-initiated project in making has been inspired with the YouTube phenomenon – Hikea – where groups of people try building furniture following instructions but under the influence.

Two T-shirts and an apron were designed as a uniform created by customizing pre-owned fashion items. Tie-dye technique was used to colour textile as a combination of water and enamel-based colours used for airplanes. These clothing items were created by interpreting graphic and colouristic elements similar to those found on clothing items used for the purposes of occupational safety and health.

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Kolekcija ljeto 2018 ∕ Summer Collection 2018 studio I-GLE dizajn ∕ design Martina Vrdoljak Ranilović, Nataša Mihaljčišin samoinicirani projekt ∕ self-initiated project 3 ∕ 2018

Recentna kolekcija je refleksija na suvremeni modni kaos koji ocrtava umreženo društvo i njegove ideološke konotacije. Prividna demokracija se u modi realizirala simultanim, brzo izmjenjujućim trendovima, koji nekritički supstituiraju vrijednosti interesima masovne potrošnje. Baš taj prostor, koji se događa na ivici sustava koji joj pripada i ne pripada, poslužio je kao kontekst na kojem je razvijen aktualni projekt. Kakofonija modnih zvukova, boja i žanrovskih oblika te tranzicija stilova i utjecaja koja se bori za autohtoni identitet, a koji, opet, svoj prostor slobode propituje u kreativnoj orkestraciji iskustva, osjećaja i modnog senzibiliteta.

340 pregled hrvatskog dizajna

The recent collection reflects the contemporary fashion chaos that depicts a networked society and its ideological connotations. The apparent democracy is realized in fashion through simultaneous, rapidly changing trends, which uncritically substitute values ​​for the interests of mass consumption. This space, which occurs at the edge of the system that belongs to it and does not belong to it, served as the context in which the current project was developed. The cacophony of fashion sounds, colors and genre forms, and the transition of styles and influences fighting for an autochthonous identity, and which again explores its freedom space within the creative orchestration of experience, feelings and fashion sensitivity.

fashion and clothing design

POR /NO XD brend ∕ brand Price on Request kreativna direkcija, dizajn ∕ creative direction, design Gala Marija Vrbanić dizajn ∕ design Filip Vajda samoinicirani projekt ∕ self-initiated project 3 ∕ 2018

U ovoj kolekciji korišten je arhiv hrvatskog modnog brenda Xenia Design. Svaki XD komad izmijenjen je u jednoj ili tri faze. U prvoj fazi promijenjena je izvorna namjena komada, u drugoj početna silueta, a u trećoj fazi intervenirano je u odjeću raznim printevima. XD odjevni komadi izabrani su prema dostupnoj količini. Cilj je bio iz stare odjeće kreirati komade koji su relevantni danas, imajući na umu da se estetika brenda Xenia Design uvelike razlikuje od estetike brenda Price on Request.

Kolekcija se sastoji od 10 outfita.

modni i odjevni dizajn

This collection uses the archives of the Croatian fashion brand Xenia Design. Each XD piece has been modified in one or three phases.

In the first phase, the original purpose of the piece was changed, in the second the initial silhouette was changed, and in the third phase the intervention in clothes was done by using various prints. XD garments have been chosen according to the available quantity. The aim was to create new pieces from old clothes that are relevant today, bearing in mind that the aesthetics of the brand Xenia Design differ greatly from the aesthetics of the brand Price on Request.

The collection comprises 10 outfits.

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Look: 10 brend ∕ brand E.A. 1/1 S.V. dizajn ∕ design Silvio Vujičić samoinicirani projekt ∕ selfinitiated project 2018

Kolekcija Look: 10 za proljeće-ljeto 2018. uključuje suknju od bijelog popelina, top s crtežom i tekstom otisnutim u sitotisku, slip gaćice s motivom bijelih križeva u tehnici ekspandirajućeg sitotiska te lanenu jaknu s motivom bijelog božura (Paeonia suffruticosa) iscrtanim plavom kemijskom olovkom, plastificiranim i našivenim na lanenu podkonstrukciju.

342 pregled hrvatskog dizajna

The Look Collection: the 10 collection for spring-summer 2018 includes a white poplin skirt, a top with a drawing and text in the silkscreen print, knickers depicting white crosses in an expanding silkscreen printing technique, and a linen jacket with a blue ink pen drawing of white tree peony flowers (Paeonia suffruticosa) plasticized onto the linen substructure.

fashion and clothing design

modni i odjevni dizajn

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integrated project • product

cjeloviti projekt• proizvod integrated project• product

cjeloviti projekt • proizvod

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Garderoba Concept Store arhitektura ∕ architecture Arhitektonski kolektiv BIRO (Mario Kralj, Dora Lončarić i Saša Košuta) dizajn namještaja i rasvjete ∕ furniture and lighting design Grupa (Filip Despot, Tihana Taraba, Ivana Pavić) vizualni identitet ∕ visual identity Lana Cavar, Narcisa Vukojević koncept trgovine ∕ shop concept Ana Ivančić naručitelj ∕ client Ana Ivančić (Garderoba Concept Store), Zagreb 4 ∕ 2017

Atmosferu ovog concept storea definiraju predimenzionirane garderobe pastelnih tonova s usklađenim monokromatskim namještajem, a cijeli interijer oslanja se na filozofiju tzv. slow-shoppinga. Svaka garderoba ima vlastitu kromatsku temu kojom su definirani i elementi namještaja unutar garderoba. Fleksibilni sustav vješalica proteže se duž čitavog prostora i omogućuje različite scenarije korištenja prostora – trgovina, revije, druženja i prezentacije.

Garderoba je opremljena kombinacijom postojećih komada namještaja i rasvjete (Monk i Baluna) i za ovaj projekt posebno dizajniranih elemenata - taburea, stolića, samostojećih ogledala, tapecirane klupe i dva lustera. Vizualni identitet i sam interpretira koncept fleksibilnog interijera i i mekano savijanje zastora na garderobama, pregibe na odjeći, spontanost trgovine koja se stalno mijenja.

346 pregled hrvatskog dizajna

The atmosphere of this concept store is defined by oversized dressing rooms in pastel tones with matching monochromatic furniture, and the whole interior follows the philosophy of the so-called slow-shopping. Each dressing room has its own chrome theme, which also defines the furniture elements inside of the dressing rooms. A flexible hanger system extends throughout the space and provides different scenarios for using the space either as a shop, for shows, gatherings and presentations.

Garderoba is equipped with a combination of existing pieces of furniture and lighting (Monk and Baluna) and various elements specially designed for this project (a pouffe, a coffee table, freestanding mirrors, upholstered benches and two chandeliers). The visual identity itself interprets the concept of a flexible interior and soft bending of curtains in the dressing rooms, creases on the clothes, and the spontaneity of the store that keeps reinventing itself

integrated project • product

Baluna agencija ∕agency Bunch Zagreb branding i art direkcija ∕art direction Bunch dizajn ambalaže ∕ packaging design Marko Pavlović suradnici ∕ contributors Utorak, Marko Golub (copywriting), Vinko Pelicarić (animacija ∕ animation) naručitelj ∕ client Grupa studio d.o.o., Zagreb 11 ∕ 2017

Brendiranje serije rasvjetnih tijela Baluna, oblikovno logičnim i grafički nenametljivim elementima naglašava elegantnu jednostavnost i vrhunsku zanatsku izvedbu proizvoda, čime na najbolji mogući način omogućuje proizvodu da vlastitom kvalitetom i promišljenošću govori sam za sebe. Rješenje ambalaže zasnovano je na očuvanju najosjetljivijeg i ujedno glavnog elementa — staklene kugle, koja se uvijek pakira u isti (univerzalni) kartonski modul, dok se drugi moduli dodaju naknadno, ovisno o varijanti proizvoda (podna, stolna, zidna ili stropna varijanta). Osim što štiti staklenu glavu lampe, univerzalni modul je i spremište za LED žarulju i vanjski dio električnog kabela.

cjeloviti projekt • proizvod

Branding a line of Baluna light fixtures with logical and graphically unobtrusive elements emphasizes the elegant simplicity and superior craftsmanship of the product, and thus allows the product to communicate its quality and deliberation in the best possible way. The packaging design is based on the idea to preserve its central and, at the same time, the most sensitive element, i.e. a glass ball always packed in the same (universal) cardboard module, while the other modules are added subsequently depending on the product variant (the product range includes floor, desk, wall or ceiling variants). In addition to protecting the glass headlamp, the universal module is also a storage compartment for the LED bulb and the outer sheath of the electric cable.

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Putovima Frankopana — Posjetiteljski centar Kraljevica ∕ The routes of the Frankopans — Kraljevica Visitor Centre studio Filburg dizajn vizualnog identiteta, vizualnih komunikacija, grafičkih elemenata postava, multimedijskih, web i mobilnih aplikacija ∕ visual identity, visual communication design, exhibition graphics, website and mobile app design Studio Filburg (Andrej Filetin, Mila Marina Burger) interpretacijski plan i koncepcija stalne izložbe ∕ interpretation plan and permanent exhibition concept Dragana Lucija Ratković Aydemir, Muze d.o.o. arhitektura postava ∕ exhibition architecture Penezić & Rogina ilustracije ∕ illustration Andrej Filetin, Ana Kovačić razvoj sadržaja i interpretacijskih tekstova ∕ content development and interpretation texts Muze d.o.o. umjetničke animacije ∕ artistic animation Ana Hušman i Ivan Marušić Klif fotografija ∕ photography Domagoj Blažević grafički dizajn ∕ graphic design Jadranko Marjanović naručitelj ∕ client Primorsko-goranska županija ∕ Primorje Gorski Kotar County 11 ∕ 2016

Uzbudljiva priča o najpoznatijoj hrvatskoj velikaškoj obitelji predstavljena je u posjetiteljskom centru u Dvorcu Nova Kraljevica kulturnom rutom s dvadeset obiteljskih kaštela i sakralnih objekata. Kao polazišna točka za istraživanje rute, ovaj hibrid izložbe i informativnog centra bogat je ilustracijama i multimedijalnim aplikacijama koje na zanimljiv i pitak način obrađuju važne događaje iz hrvatske povijesti. Vizualna komunikacija temelji se na simbolima iz frankopanske priče te autorskim ilustracijama ljudi, kaštela i mapa lokacija koje spajaju povijesno i suvremeno.

348 pregled hrvatskog dizajna

An exciting story about the most famous Croatian aristocratic family is presented at the Visitor Center inside of Nova Kraljevica Castle with a cultural route comprising twenty family castles and sacral buildings. As a starting point for exploring the route, this hybrid between an exhibition and information centre is rich in illustrations and multimedia applications that present important events from Croatian history interestingly and concisely. Visual communication is based on various symbols of the Frankopan family history and illustrations of people, castles and map locations that connect history with modernity.

integrated project • product

The Garden Bar & Kitchen studio Filburg kreativna direkcija, dizajn vizualnog identiteta, vizualnih komunikacija, prostornih grafika i signalistike ∕ creative direction, visual identity and visual communication design, spatial graphics and signage Studio Filburg (Andrej Filetin, Mila Marina Burger) suradnici ∕ contributors studio Zetho – Željka Pavlinović (arhitektura ∕ architecture), Katušić Kocbek arhitekti – Hana Golubovac Ehrenfreund (arhitektura ∕ architecture), Domagoj Kunić (fotografija ∕ photography) naručitelj ∕ client The Bird d.o.o., Zagreb 5 ∕ 2018

Novi koncept bara i kuhinje koji spaja craft pivo i srodnu hranu, uz glazbenu kulisu prepoznatljivu s The Garden Festivala. Kao ekstenzija zagrebačke The Garden Brewery, vizualni identitet bara i kuhinje zadržava neke zajedničke elemente ali ih nadograđuje specifičnim novim detaljima. Prošireni logotip objedinjuje simbole pivarstva, hrane i glazbe, ornamentalnost crafta te formu glazbene ploče. U prostornim primjenama, prošireni logotip postaje svjetlosna instalacija, ornamentalna konstrukcija temelj dizajna signalistike i namještaja, a sustav se nadograđuje autorskim fotografijama s tretmanom koji evocira glazbene ovitke. U digitalnim medijima logotip je animiran u ritmu glazbe a na njemu se “serviraju” komunikacijski motivi.

cjeloviti projekt • proizvod

A new concept of the Bar & Kitchen combining craft beer and food together with the music scene from the Garden Festival. As the extension of Zagreb’s Garden Brewery, the visual identity of the Bar & Kitchen retains some of the common elements upgrading them with specific new details. The expanded logo combines the symbols of brewery, food and music, the craft’s ornamentality, and the form of a music record. When applied in space, the expanded logo becomes a light installation; the ornamental construction the foundation for designing signage and furniture whereas the system is upgraded with photographs that evoking album cover. In the digital media, the logo is animated in the rhythm of music with communication motifs “served” on it.

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Freewa — Free Water Project studio Rašić+Vrabec koncept, kreativna direkcija, dizajn ∕ concept, creative direction, design Marko Rašić, Vedrana Vrabec suradnici ∕ contributors Mihaela Ivanec (suosnivač Freewa, pravo, finacije i PR ∕ Freewa co-founder, law & finance dept. and PR), Goran Ladišić (suosnivač Freewa, prodaja, distribucija i marketing ∕ Freewa co-founder, sales, distribution and marketing), Dražen Nikolić (savjetnik ∕ advisor), Siniša Josip Starčević, Marko Dimić (Indiegogo video), Start_aparat (koncept i produkcija Indiegogo kampanje ∕ Indiegogo campaign concept and production), Lloyds (izrada mobilne aplikacije i web stranice ∕ mobile app and web development), Saša Četković (fotografije prototipa ∕ prototype photographs), Centar za aditivne tehnologije FSB Sveučilišta u Zagrebu (razvoj i 3D print čepa ∕ cap development and 3D print), Vetropack (proizvodnja staklenog dijela boce ∕ glass bottle manufacturing), Elvis Tomljenović (3D simulacije ∕ simulation), Marija Gregorić (pravna savjetnica ∕ legal consultant), Petar Rašić (financijski savjetnik ∕ financial consultant), Andrea Vrabec (savjetnica za digitalni marketing ∕ digital marketing consultant), Gorjan Agačević, Igor Jurić (SFZGB mentori ∕ mentors), Marko Doboš (biolog ∕ biologist, monitoring), Termist (razvoj, proizvodnja čepa i tisak ∕ cap development, manufacturing and print), Prolix (proizvodnja kartonske ambalaže ∕ cardboard packaging manufacturer), Roosvai (proizvodnja torbice ∕ bag manufacturer), Dominik Vuković (ilustracije za unikatne torbice ∕ illustration for unique bags) samoinicirani project ∕ selfinitiated project 2017

Freewa je platforma za zaštitu, mapiranje i korištenje izvora besplatne pitke vode, a uključuje mobilnu aplikaciju i proizvod - bocu s torbicom.

Sve se proizvodi u Hrvatskoj od ekoloških materijala. Projekt je nastao s ciljem da potakne ljude na korištenje besplatne pitke vode, a time i na smanjenje korištenja plastike. Freewa je dobar primjer u kojemu su dizajneri ujedno i osnivači startupa te nositelji glavne ideje projekta.

350 pregled hrvatskog dizajna

Freewa is a platform for the protection, mapping and use of drinking water sources consisting of a mobile application and a water bottle purse. Everything is produced in Croatia from environmentally-friendly materials. The project was initiated to encourage people to use free drinking water, and thus reduce the use of plastic. Freewa is a good example of a project where designers are also the founders of a start-up and the project holders of the main idea.

integrated project • product

Posjetiteljski centar Mali arsenal ∕ Mali Arsenal Visitor Centre autori projekta ∕ project authors Iva Letilović, Igor Pedišić + Vladimir Končar projektna tvrtka ∕ architectural office AB Forum koncept, dizajn i razvoj interakcija ∕ concept, design and interaction development Studio Revolucija suradnici ∕ contributors Luka Fatović (AB Forum), Berislav Medić (UPI-2M, projekt konstrukcije ∕ UPI-2M, construction project), Zoran Košmerl (HAL, dizajn rasvjete ∕ HAL, lighting design), Barbara Peranić, Igor Miletić (Konzervatorski odjel u Zadru, konzervatorski nadzor ∕ Conservation Department Zadar, conservation supervision), Laris Borić (stručni suradnik ∕ expert associate), Saša Budimir (3D animacija ∕ animation), Alen Stojanac, Suzana Košćak, Anja Bošnjak (dizajn ∕ design), Dražen Hižak (programiranje prostorne interakcije ∕ spatial interaction programming), Luka Jendrašić (programer mobilne aplikacije ∕ mobile app programming), Ante Stipaničev (programer touchscreen aplikacije ∕ touchscreen app programmer), Ivan Kapec (kompozitor ∕ composer) Hrvoje Petek, (dizajn zvuka ∕ sound design), Project 6 studio (snimanje audio vodiča ∕ audio guide recording), Slađan Lipovec (lektor ∕ proofreading), Lovro Jurišić, Marica Babić, Josip Matassi, Gino Verrocchi (autori projekta HERA ∕ authors of the HERA project) izvođač ∕ contractor Credo-ing d.o.o., AVC d.o.o. investitor ∕ investor Zadarska županija u okviru projekta HERA Upravljanje održivim turizmom ∕ Zadar County in the framework of the HERA project Managing sustainable tourism 5 ∕ 2017

Mali arsenal zaštićeni je spomenik kulture, dio srednjovjekovnog zadarskog kaštela, zasebne fortifikacijske strukture uklopljene u sustav gradskih zidina. Konzervatorskom sanacijom 2017. arsenal postaje centar za posjetitelje i polazna točka za upoznavanje i obilazak zadarskog fortifikacijskog sustava. Konzervatorskim uvjetima propisana je mogućnost minimalne arhitektonske intervencije, stoga je kao ravnopravni prostorni element uključena multimedija.

Unutrašnji prostor Malog arsenala ima dva moda pojavnosti onaj u kojem je multimedija prisutna, a prostor je dematerijaliziran i nevidljiv, te onaj u kojem je prostor vidljiv sa svim sačuvanim povijesnim slojevima. Prilikom ulaska prostor je zamračen, pokreće se velika projekcija na vertikalnom staklu te interaktivna projekcija na horizontalnoj staklenoj plohi povrh nekadašnjeg kanala. Po završetku prikaza svjetlo se pali, multimedija nestaje i projekcijske plohe postaju praznine, a prisutnost novoga gotovo da je nevidljiva.

cjeloviti projekt • proizvod

Mali Arsenal is a protected cultural monument and part of the medieval Zadar castle, as a separate fortification structure incorporated into the system of city walls. Following the conservation and reconstruction in 2017, the arsenal has become a visitor centre and a starting point for exploring Zadar’s fortification system. Conservatory conditions prescribe only minimal architectural intervention so multimedia was incorporated as an equal important spatial element. The interior appears in two modes: the one with the integrated multimedia and dematerialized and invisible space, and the other where the space is visible with all the preserved historical layers. The space is in darkness when one enters but then a large projection on a vertical glass and an interactive projection on a horizontal glass plate above the former canal are launched. When the display is over, the light goes on, the multimedia disappears and the projection surfaces become empty, whereas the presence of the new becomes almost invisible.

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Kokošvaroš ∕ Chickenville arhitektura ∕ architecture Skroz d.o.o. (Margita Grubiša, Marin Jelčić, Daniela Škarica, Ivana Žalac, Dorotea Klinčić) vizualni identitet, signalizacija, dizajn i verbalna komunikacije ∕ visual identity, signage, design and verbal communication Kreativni studio ∕ Creative studio Maša Vukmanović (Maša Vukmanović, Teo Drempetić Čonkić) suradnici ∕ contributors Bosnić+Dorotić, Marko Mihaljević (fotografija ∕ photography) naručitelj ∕ client OPG Franja, Rakov Potok 10 ∕ 2017

Sveukupni arhitektonsko-dizajnerski projekt farme namijenjene uzgoju raznih sorti kokoši i proizvodnje kokošjih jaja po ekološkim principima. Farma je projektirana kako bi osim osnovne namjene služila i u turističkoedukativne svrhe. Dizajniran je vizualni identitet, baziran na grbu „grada“, sustav signalizacije u prostoru, gradske ploče i kućni brojevi, ali i razni objekti poput totema, zastave i spomenika Mami Koki. Oblikovani su i razni suveniri – platnene torbe, majice, letci, pakiranja za jaja, magneti, šalice itd.

352 pregled hrvatskog dizajna

The overall architectural and design project of a farm intended for breeding various chicken breeds and production of eggs in line with environmentally-friendly principles. The farm is designed to serve, besides its basic purpose, for tourist and educational purposes. The visual identity is established on the basis of the coat of arms of the “city”, a signage system, the city plate and house numbers in combination with various objects such as totems, flags and the monument dedicated to Mother Chick. Various souvenirs such as canvas bags, T-shirts, leaflets, egg packaging, magnets, cups, etc. were also designed.

integrated project • product

SH&T studio Šesnić&Turković, Zagreb dizajn ∕ design Marko Šesnić, Goran Turković, Iva Sindik, Andrea Sužnjević samoinicirani project ∕ selfinitiated project 2016 – 2018

Kolekcija SH&T u početku je zamišljena kao promotivni materijal dizajnerskog studija – majice i platnene torbe namijenjene dijeljenju klijentima i suradnicima. Zbog velikog interesa, kolekcija je s vremenom dopunjena i počela se prodavati.

cjeloviti projekt • proizvod

The SH&T collection was initially conceived as promotional material for a design studio (T-shirts and canvas bags) intended as a gift for clients or associates. Due to great interest, the collection has been supplemented and marketed.

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354 pregled hrvatskog dizajna

concept • initiative • critical design

koncept• inicijativa• kritički dizajn concept• initiative• critical design

koncept • inicijativa • kritički dizajn

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Osnove oblikovanja pisma ∕ Basics of Type Design autori ∕ authors Frank E. Blokland, Nikola Đurek suradnici ∕ contributors Marko Hrastovec (dizajn, uređivanje ∕ design, editing), Dejan Kršić, Hrvoje Živčić, Igor Čaljkušić (uređivanje ∕ editing), Krešimir Bobaš (lektura ∕ proofreading), Vlatko Broz, Mirna Herman-Baletić, Catelijne van Middelkoop (prijevod ∕ translation) izdavač DVK UMAS, Split 5 ∕ 2018

Knjiga je nastala suradnjom dvojice različitih autora, ponešto različitih generacija, iz različitih društvenih konteksta i tipografskih tradicija – jednog iz Nizozemske i drugog iz Hrvatske.

Knjiga je istodobno prijevod i original. Započeta kao prijevod već klasičnog udžbenika nizozemske tipografske škole, nadograđena je i nadopunjena rezultatima Đurekovih istraživanja i usustavljivanja promišljanja specifičnosti tipografskog zapisivanja hrvatskog jezika. Osim dizajnerima i studentima dizajna namijenjena je svima zainteresiranima za povijest pisma i tipografije te kaligrafsko pisanje.

356 pregled hrvatskog dizajna

The book was created as a collaboration of two different authors belonging to different generations, social contexts and typeface traditions; one is from the Netherlands and the other from Croatia. It is a translation and an original at the same time. The project started as a translation of the classic textbook used by the Dutch typography school, which was then upgraded and expanded with the results of Đurek›s research and systematic approach to specificities of typeface design in the Croatian language.

The book is intended for designers and design students but also for everyone interested in the history of scripts, typography and calligraphy.

concept • initiative • critical design

Locus Artis — Mjesta obrta kao prostori za nove dizajnerske prakse ∕ Places of Craft as Spaces for New Design Practices CIMO - Centar za istraživanje mode i odijevanja ∕ CIMO – Center for Clothing and Fashion Research voditelj projekta ∕ project manager Tonči Vladislavić autori tekstova ∕ text authors Tonči Vladislavić, Sonja Briski Uzelac, Mirna Cvitan Černelić, Lea Vene, Ivana Čuljak grafički dizajn ∕ graphic design Negra Nigoević dizajn tekstilnih proizvoda ∕ design of textile products Lora Holjevac, Andrea Kurtić, Morana Radočaj samoinicirani projekt ∕ selfinitiated project 4 ∕ 2017 – 12 ∕ 2017

Projekt Locus Artis predstavlja istraživački i kreativni rad koji se nadovezuje na raniji projekt Modne mikro-proizvodnje (2016) u smjeru fokusiranog istraživanja na prakse odijevanja u suburbanom i ruralnom području izvan Zagreba uz postavljeni koncepcijski okvir design vs craft. Na temelju toga, projekt se usmjerava prema dva ključna pojma: Locus kao mjesto i kontekst lokalnog mišljenja i Ars, artis kao umijeće, vještina, iskustvo, tradicija, materijali, obrtničke tehnike i tehnologije, organizacija.

Projekt je rezultirao izložbom i studijskom publikacijom.

koncept • inicijativa • kritički dizajn

The Locus Artis project is a research and creative work building on an earlier project from 2016 named Fashion Micro-Productions focusing on research in fashion practices in suburban and rural areas outside of Zagreb within the design vs. craft conceptual framework. Based on that, the project departs from two key notions: Locus, as the place and context of local thinking and Ars, artis, as art, skill, experience, tradition, materials, artisanship techniques and technologies, and organisation. The project resulted in an exhibition and a study publication.

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Erasmus+ Dizajn u praksi ∕ Erasmus+ Practicing Design projektni partneri ∕ project partners Hrvatsko dizajnersko društvo; Designaustria; Veleučilište VERN’; Prostoria d.o.o.; Public Room Skopje; Fakultet umjetnosti i dizajna Europskog sveučilišta u Skopju (EURM), Zavar d.o.o. ∕ Croatian Designers Association; Designaustria; Prostoria Ltd.; VERN’ University; Public Room Skopje; Faculty of Art and Design, European University in Skopje (EURM), Zavar Ltd. koncept ∕ concept Ivana Borovnjak, Aleksandar Velinovski projektni tim ∕ project team Ivana Borovnjak, Marko Golub, Mirjana Jakušić, Ksenija Žakula (HDD); Severin Filek, Tamara König (designaustria); Gordana Ćorić, Dubravko Kraus, Diana Plantić Tadić (VERN’); Mirjana Vidaković, Iva Šilović Grabovac (Prostoria); Marija Novović-Jovanovska, Aleksandar Velinovski (Public Room Skopje); Jana Maneva-Chuposka, Gordana Vrencoska, Zoran Gjureski, Aleksandra Jovanovska, Elena Makarovska, Blagojce Naumovski (EURM); Marta Naumovska Grnarova, Violeta Cvetanoska (Zavar) istraživanje i studija ∕ research and study Biserka Komnenić, I. Borovnjak, S. Filek, A. Velinovski, G. Ćorić priručnik Program obuke Dizajn u praksi 1.0 ∕ Practicing Design 1.0 Training Programme Handbook I. Borovnjak, G. Ćorić, S. Filek, A. Velinovski istraživači i suradnici ∕ researchers and associates T. König, K. Žakula, J. ManevaChuposka, G. Vrencoska mentori dizajnerskih radionica ∕ design workshop mentors I. Borovnjak, Damir Bralić, Danijela Domljan, Oliver Deichmann, I. Šilović Grabovac, M. Golub, Marko Koržinek, Nikola Radeljković, G. Ćorić, Boris Jurič, D. Plantić Tadić, Ivana Vrcić, Ivana Vrhovski polaznici dizajnerskih radionica ∕ design workshop participants Vlatka Blakšić, Simona Dolinga, Margareta Kovačević, Irma Mihovec Schmidt, Elizabeta Bošnjak, Lea Jurin, Janja Roškar, Marko Šostar, Milena Jovanović, Tomica Perković, Alica Pancer, Ivan Goran Žunar, Tvrtko Bojić, Domagoj Mamić, Marijana Tkalec, Marijana Penava grafički dizajn ∕ graphic design Niko Mihaljević video Miran Krčadinac 2016 ∕ 2017

Projekt Dizajn u praksi suradnički je dvogodišnji projekt europskih dizajnerskih strukovnih organizacija, dviju obrazovnih ustanova te dviju tvrtki, pokrenut s idejom promicanja učenja kroz praksu i razvoja transverzalnih i poduzetničkih vještina u visokoškolskom obrazovanju dizajnera. Cilj projekta bio je predložiti i testirati inovativne prakse obrazovanja dizajnera kako bi se premostio raskorak između obrazovanja i profesionalnog rada te poboljšale vještine dizajnera potrebne za kvalitetnije socio-ekonomske rezultate.

358 pregled hrvatskog dizajna

The Practising Design project is a collaborative, bi-annual project that gathered European professional design organisations, two educational institutions and two private companies. It was initiated with the idea to promote practical learning as well as developing transversal entrepreneurial skills in academic design education. The objective of the project was to propose and test innovative practices in design education in order to bridge the gap between education and professional work as well as to improve design skills necessary for quality social and economic results.

concept • initiative • critical design

The Language of Us and Them koncept, dizajn ∕ concept, design Nenad Jalšovec samoinicirani projekt ∕ self-initiated project 10 ∕ 2017

Knjiga projektirana tako da ju je teško uzeti u ruku i prolistati, nemoguće ju je staviti u džep ili na policu, a lako je njome sebe ili drugoga pozlijediti, namjerno ili slučajno. Tako knjiga u plastičko-uporabnu domenu ekstrapolira svoj literarni sadržaj: stihove koji upozoravaju na zloćudnost društveno sveprisutne, a često nesvjesne automatike isključenja.

koncept • inicijativa • kritički dizajn

The book is designed to be hard to take in one’s hands and flip through it; it is impossible to put it in one’s pocket or shelf, yet it is easy to hurt yourself or someone else with it, on purpose or by accident. In this way, the book extrapolates its plasticity and utility into its literary content, i.e. verses warning about malignancy of socially omnipresent yet often unconscious automatization of exclusion.

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Stan: Zagreb (Arhiv zagrebačkog stanovanja 09/2015 – 11/2015) ∕ Apartment: Zagreb (An Archive of Zagreb Housing 09/2015 – 11/2015) koncept ∕ concept Iva Maria Jurić, Niko Mihaljević samoinicirani projekt ∕ self-initiated project 1 ∕ 2017

“Stan: Zagreb (Arhiv zagrebačkog stanovanja 09/2015 – 11/2015)” je tiskani arhiv koji dokumentira kulturu stanovanja grada Zagreba, a tekstualnu i fotografsku građu preuzima izravno sa stranica najposjećenijeg hrvatskog web oglasnika. Unutar opsežne publikacije se na 944 stranice nalaze reprodukcije 2515 oglasa s 13 922 fotografije stanova za najam, prezervirajući tako zatečeno stanje zagrebačkih interijera, kao i načine njihove fotografske prezentacije.

“Stan: Zagreb” tako je u osnovi jednostavan autorski čin pretvorbe digitalnog medija u tiskani, urađen s ciljem očuvanja slike današnje stambene svakodnevice.

360 pregled hrvatskog dizajna

Apartment: Zagreb (An Archive of Zagreb Housing 09/2015 – 11/2015) is a printed archive documenting the housing culture in the city of Zagreb while taking over textual and photographic materials directly from web pages of the most popular Croatian web portal.

This comprehensive 944-page publication comprises reproductions of 2515 ads with 13 922 photographs of rentals and thus preserves the current state of Zagreb’s interiors as well as their photographic representations. Apartment: Zagreb thus basically stands as a simple transformation of digital media into a printed one with the aim to preserve the image of today’s housing in Zagreb.

concept • initiative • critical design

Turneja balkanskim rijekama ∕ Balkan Rivers Tour dizajn, ilustracija ∕ design, illustration Dalibor Kazija suradnik ∕ contributor Jan Pirnat (fotografija ∕ photography) naručitelj ∕ client Leeway Collective 5 ∕ 2016

Regija između Slovenije i Grčke suočava se s dosad neviđenom napašću pohlepe u kojoj različitiji lobiji u sprezi sa stranim investitorima i lokalnim političarima čine sve da se na tom području sagradi 3.000 brana kojima će se uništiti ono što je preostalo od europske divljine.

Projekt Balkan Rivers Tour nastao je kao odgovor na moguću ekološku i kulturnu katastrofu koja će donijeti vrlo malo ili nimalo pogodnosti za lokalne zajednice. Riječ je o jednom od najvećih europskih projekata očuvanja rijeka, aktivističkoj kampanji i kajačkoj ekspediciji koja je povezala sve regionalne nevladine udruge, lokalne inicijative i zabrinute pojedince sa zajedničkim ciljem osude pohlepe, otpora apatiji i obrane divljine.

koncept • inicijativa • kritički dizajn

The region between Slovenia and Greece is faced with so far unseen outbreak of greed where various lobbied working together with foreign investors and local politicians do all they can to construct 3.000 dams that will destroy what is left from European wildlife.

The Balkan Rivers Tour project emerged as a reaction to the possibility of environmental and cultural disaster that will yield scarce or no advantages for local communities. It is one of the biggest European projects focusing on the preservation of rivers; it is also an activist campaign and a kayak expedition connecting all regional NGOs, local initiatives and engaged individuals sharing a common goal to condemn greed, resist apathy and defend wildlife.

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Dizajn sustava Mreže hrane ∕ Desigining a Food Network System voditelji radionice ∕ workshop leaders Leo Kirinčić, Marko-Luka Zubčić polaznici radionice ∕ workshop participants Mirna Gurdon, Lea Jurin, Dorian Knežević, Ida Križaj Leko, Luka Rodela, Antonio Matijaš, Daria Morosin, Katarina Šimić produkcija radionice ∕ workshop production Drugo More, Rijeka 4 ∕ 2017

Dizajn sustava Mreže hrane organiziran je kao pop-up think tank s ciljem doprinosa idejnih rješenja za problem prikupljanja i distribucije donirane hrane. Radionica se održala u travnju 2017. pod vodstvom Lea Kirinčića i Marka-Luke Zubčića, a u sklopu festivala Moje, tvoje, naše 2017: Brodovi, vlakovi, kamioni u organizaciji Drugog mora. Uključivala je istraživanje problema, komunikaciju s organizacijama i udrugama koje se bave navedenim problemom i produkciju idejnih rješenja u formi tri modela te oblikovanje vizualne komunikacije navedenih rješenja. Modeli su kao idejna rješenja za razvoj predana udrugama i organizacijama koje su bile uključene u proces.

362 pregled hrvatskog dizajna

Desigining a Food Network System is a pop-up think-tank aiming to contribute to resolve the problem of collecting and distributing donated food with conceptual designs. The workshop took place in April 2017 and was moderated

by Leo Kirinčić and Marko-Luka Zubčić in the framework of the festival Mine, Yours, Ours 2017: Ships, Trains, Trucks organised by Drugo more. The workshop covered investigation of the problem, communication with organisations and associations dealing with the problem and production of conceptual designs in the form of 3 models together with designing visual communication for the conceptual designs. In the form of conceptual designs, the models were given to the associations and organisations involved in the process.

concept • initiative • critical design

Početnica za konceptualce ∕ Conceptual Art for Beginners dizajn, ilustracija ∕ design, illustration Klasja&Zita (Klasja Habjan, Zita Nakić-Vojnović) suradnica ∕ contributor Nada Beroš (autorica i urednica ∕ author and editor) naručitelj ∕ client Muzej suvremene umjetnosti ∕ Museum of Contemporary Art, Zagreb 5 ∕ 2017

Početnica za konceptualce oblikovana je prvenstveno za radionice namijenjene mlađoj publici Muzeja suvremene umjetnosti, kao edukativni priručnik koji razbija predrasude o hermetičnosti i nepristupačnosti konceptualne umjetnosti. Uz tekstove Nade Beroš i popratne zadatke i ilustracije, knjiga ukazuje na činjenicu kako, iako muzealizirana, djela konceptualnih umjetnika i dalje zrače svježim pobunjeničkim duhom i humorom koji mladi s lakoćom prepoznaju i prihvaćaju.

koncept • inicijativa • kritički dizajn

Conceptual Art for Beginners was designed primarily for the purpose of workshops for young people taking place at the Museum of Contemporary Art in the form of a toolbox for fighting prejudice about hermeticism and inaccessibility of conceptual art. Along with Nada Beroš’s texts and accompanying exercises and illustrations, the book emphasizes the fact that, although set in the context of museums, artworks by conceptual artists still emanate fresh rebellion spirit and humour that young people easily recognize and embrace.

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Forum za budući muzej ∕ Forum For Future Museum autorska koncepcija, umjetničko-dizajnersko istraživanje, oblikovanje web platforme ∕ concept, artistic design research, web platform design Maja Kolar, Maša Poljanec suradnik ∕ contributor Tomislav Modrić (web development) naručitelj ∕ client Universalmuseum Joanneum Kunsthaus Graz 9 ∕ 2017

Forum za budući muzej predstavlja model fizičkog i virtualnog prostora u kojem je omogućeno kritičko promišljanje nezavisnih koncepata koji tematiziraju što je to muzej budućnosti te što bi sve mogao predstavljati, neposredno nudeći korisnicima mogućnost razmjene i nadogradnje dosadašnjih poimanja o subjektu, neposredno formuliranje novih tumačenja uloge i značenja muzejske institucije. Provedeno dizajnersko istraživanje rezultiralo je dijaloškim modelom testiranim kroz seriju internacionalnih stručnih radionica te digitalnu platformu. Istraživanje je započeto na poziv Muzeja suvremene umjetnosti u Zagrebu u sklopu europskog projekta Translocal: Museum as a toolbox, i razvijeno tokom rezidecijalnog boravka u Kunsthaus Grazu. www.forumforfuturemuseum.com.

364 pregled hrvatskog dizajna

The Forum For Future Museum is a model of physical and virtual space providing critical thinking about independent concept that thematize what a future museum is and what it might represent. At the same time, it imminently provides its users with the possibility to exchange and upgrade their former understanding of the subject, and to form new interpretations about the role and meaning of a museum institution. This design research resulted in a model of dialogue tested by means of a cycle of international professional workshops and a digital platform. The research was initiated following a call issued by Zagreb’s Museum of Contemporary Art in the framework of the European project Translocal: Museum as a Toolbox, and developed during the residence programme at Kunsthaus Graz. www.forumforfuturemuseum.com.

concept • initiative • critical design

Udruga BoliMe ∕ BoliMe Association autorski tim ∕ project team Marina Vitković, Adrian Pezdirc, Draga Komparak, Judita Gamulin vizualni identitet udruge, vizualni identitet i dizajn instalacija ∕ visual identity of the association, visual identity and installation design Draga Komparak koncept kampanje Kad te boli, moraš reći ∕ concept of the campaign When it Hurts, You Have to Say M. Vitković, A. Pezdirc koncept kampanje Osjećam ∕ concept of the I Feel campaign M. Vitković, A. Pezdirc, J. Gamulin, D. Komparak online promocija ∕ online promotion Marina Vitković, Adrian Pezdirc, Judita Gamulin režija i montaža videa za kampanje ∕ direction and editing of campaign videos Judita Gamulin ilustracija ∕ illustration Klara Rusan fotografije ∕ photographs Draga Komparak, Marija Gašparović dodatna ekipa u realizaciji videa kampanje Osjećam ∕ additional crew of the I Feel campaign video Tomislav Sutlar (direktor fotografije ∕ director of photography), Rea Rajčić, Eclectica (producentica ∕ producer), Matej Merlić (skladatelj, composer), Tomislav Stojanović (montažer, kolorist ∕ editor, colorist) 2016 – 2018

Cilj ove nezavisne umjetničke inicijative za podršku mentalnom zdravlju mladih je poticanje društvenog dijaloga, podizanje svijesti o važnosti brige i ulaganja u mentalno zdravlje te jačanje područja prevencije koje je u Hrvatskoj izrazito zanemareno. Prepoznata je po kampanjama i interaktivnim instalacijama Kad te boli, moraš reći (2015, 2016.) i Osjećam – mentalna higijena i emocionalna pismenost mladih (2017.).

koncept • inicijativa • kritički dizajn

The objective of this art initiative for supporting mental health in young people is to foster social dialogue, raise awareness about the importance of care and investing in mental health as well as to build up prevention, which has been extremely neglected in Croatia. The initiative is distinct for the campaigns and interactive installations When You Are Hurting, You Must Say It (2015, 2016) and I Feel – Mental Hygiene and Emotional Literacy of Young People (2017).

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Comprehensive blank dizajn ∕ design Laura Mrkša samoinicirani projekt ∕ self-initiated project 4 ∕ 2018

Comprehensive blank je polica koja simulira odnos čovjeka prema materijalnom dobru koje akumulira osjećaj sigurnosti. Korištenjem masivnog drva, bazičnog principa sastavljanja i arhetipskog vizualnog jezika kreiran je neutralni objekt u prostoru. Dodani predmeti, koji tonu u elastičnu tkaninu, stvaraju novu vizualnu percepciju koja izaziva znatiželju i poziva korisnika na igru.

366 pregled hrvatskog dizajna

Comprehensive Blank is a shelf simulating the relationship between humans and material goods accumulating the feeling of security.

The use of massive wood, basic assembly principle and archetypal visual language results in a neutral object in space. The additions that submerge in elastic textile create a new visual perception that provokes curiosity and invites to play.

concept • initiative • critical design

Privremeni muzej dizajna ∕ Temporary Design Museum studio NJI3 vizualni identitet i postav ∕ visual identity and exhibition design Dina Milovčić, Tessa Bachrach Krištofić, Franka Tretinjak dizajn postava ∕ exhibition design Ozana Ursić kustoska koncepcija ∕ curatorial concept Koraljka Vlajo naručitelj ∕ client Dizajn District Zagreb 6 ∕ 2016

Privremeni muzej dizajna nastao je u sklopu festivala DDZ 2016. godine. U izlozima dućana na četiri lokacije izloženi su radovi iz zbirki dizajna Muzeja za umjetnost i obrt, s ciljem aktiviranja zapuštenih gradskih prostora ali i rijetko izlaganih djela iz muzejskog fundusa.

koncept • inicijativa • kritički dizajn

Temporary Design Museum was created during the 2016 DDZ Festival. The works from the Museum of Arts and Crafts design collections have been displayed at 4 locations aiming to re-activate neglected urban spaces and rarely exhibited artefacts from the Museum’s collections.

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Mary Beale — Portret žene ∕ Portrait of a Woman* koncepcija izložbe ∕ exhibition concept Leila Mehulić & Nika Pavlinek fotomontaža i dizajn ∕ photomontage and design Nika Pavlinek & Aleksandar Kovač fotograf ∕ photographer Ivan Posavec naručitelj ∕ client Muzej Mimara ∕ Mimara Museum 7 ∕ 2016 *izvan konkurencije, rad članice Selekcijske komisije ∕ out of competition, work by member of the Selection Committee

Tema izložbe Mary Beale – Portet žene je prisvajanje tuđih uloga, konstruiranje društvenog identiteta i proizvodnja slika o sebi koje plasiramo drugima, ili onih koje nas nehotično razotkrivaju. Polazište koncepta izložbe je slika iz stalnog postava Muzeja Mimara, portret vojvotkinje Louise de Kerouaill koji je naslikala prva priznata engleska slikarica iz 17. stoljeća, Mary Beale. Devet modela, istaknutih u javnom životu svojom stvaralačkom autonomijom – plesačica i koreografkinja Ana Kreitmeyer, redateljica Eva Kraljević, glumica Doris Šarić Kukuljica, novinarke Barbara Matejčić i druge – za ovaj projekt poziraju fotografu Ivanu Posavcu u ulozi portretirane vojvotkinje Louise.

Preuzevši na čas tuđi identitet, opisuju kako su se u tom trenutku osjećale. Njihovi su odgovori zabilježeni u brošuri.

368 pregled hrvatskog dizajna

The exhibition Mary Beale – Portrait of a Woman thematizes the adoption of other people’s roles, construction of social identity and creation of self-image that we present to others but also those that accidentally reveal our true personalities. The starting point of the exhibition is one of the paintings from the Mimara Museum permanent exhibition, i.e. the portrait of duchesse Louise de Kerouaill painted in the 17th century by the first acknowledged English female painter, Mary Beale. For the purpose of this project nine prominent persons from the public life known for their artistic autonomy – dancer and choreographer Ana Kreitmeyer, film director Eva Kraljević, actress Doris Šarić Kukuljica, journalist Barbara Matejčić and others – were photo models to photographer Ivan Posavec impersonating duchess Louise.

After taking over someone else’s identity, they described the way they felt at that moment.

Their answers are noted in the brochure.

concept • initiative • critical design

Kampanja za H&M ∕ H&M Campaign brend ∕ brand Price on Request kreativna direkcija, dizajn ∕ creative direction, design Gala Marija Vrbanić dizajn ∕ design Filip Vajda suradnik ∕ contributor Matej Jurčević (fotografija ∕ photography) samoinicirani projekt ∕ self-initiated project 10 ∕ 2016

Ova kampanja sastoji se od proizvoda i fotografija koje se referiraju na suradnje poznatih dizajnera s high street brendovima. Kampanja je fotografirana na licu mjesta početka prodaje kolaboracije H&M x KENZO. Dio fotografija je s događaja rezerviranog za VIP kupce, a dio sa službenog dana prodaje. Neočekivano, većina medija zainteresirala se za Price on Request komade na modelima, a sam čin snimanja od strane medija okarakteriziran je kao H&M-ov performans. Uz fotografije dodana je i „letva“, alat koji služi za samoobranu i, ako je nužno, pomaže izboriti se za odjevni komad koji želimo kad čekamo u redu za kupovinu odjeće.

koncept • inicijativa • kritički dizajn

This campaign is made of products and photographs referring to a number of collaborations between well-known fashion designer and high street brands. The campaign was shot on the spot where sales of H&M x KENZO started.

One set of photos were shot at the VIP lounge and the other during the official sales day.

Unexpectedly, most of the media took interest in the Price on Request pieces worn by models and the very act of photo-shoot the media saw as an H&M performance. The photos are accompanied «a bar» or a tool used for selfdefence and fighting for a garment one wants to buy while waiting in the line at the shop.

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unBLOK agencija ∕agency Señor glavni kreativni direktor ∕ chief creative director Vanja Blumenšajn kreativna direkcija ∕ creative direction Luka Pervan, Jurica Ćorluka copywriter Zvonimira Milevčić art direkcija ∕art direction Damir Mazinjanin dizajn ∕ design Klasja Habjan account executive Nina Trumbić account director & manager Danijela Maričević samoinicirani projekt ∕ self-initiated project 1 ∕ 2018

Izvorni koncept projekta razvijan je u sklopu studentskog projekta Klasje Habjan Od(blok) iraj - blok za pisanje, crtanje i istraživanje, realiziranog 2014. pod mentorstvom Nenada Dogana na Studiju dizajna. Na temelju njenog rada na temu kreativne blokade, Señor je pokrenuo inicijativu unBLOK koja za cilj ima razbijanje blokade, ali i poticanje i promociju kreativnosti kod svih uzrasta. Pod pretpostavkom da je za rješavanje kreativne blokade potrebno povremeno ‘zabušavanje’, osmišljen je blok koji među svojim stranicama skriva raznovrsne zadatke čija je svrha razbiti svakodnevnu mentalnu rutinu. Uz sam blok, organizirane su radionice i izložba.

370 pregled hrvatskog dizajna

The original concept of the project has been developed in the framework of Klasja Habjan’s student project un(BLOCK) – A Paper Block for Writing, Drawing and Researching, realized in 2014 under the mentorship of Nenad Dogan at the Design School. Based on her work on the topic of creative block, Señor started the unBLOK initiative with the objective to beat creative blocks and encourage and promote creativity with all ages. The block was created on the presumption that beating creative block requires occasional ‘procrastination’. It also contains various exercises aimed at changing the everyday mental routine. In the framework of the project, an exhibition and several workshops were also organised.

concept • initiative • critical design

Rasprodaja ∕ Sale koncept, dizajn, fotografija, postav ∕ concept, design, photography, exhibition design Petra Slobodnjak suradnici ∕ contributors Igor Kuduz (suradnik na projektu ∕ project associate), Drago Župarić-Iljić, Petra Kelemen, Maša Štrbac (tekstovi ∕ essays) samoinicirani projekt ∕ self-initiated project 6 ∕ 2018

Rasprodaja je samoinicirani projekt nastao prilikom bježanja od hektične urbane vreve u njegove zaboravljene skrivene kutke. Upravo u njima autorica je uočila elemente nečijega dnevnog boravka, kafića, hotelskog predvorja, bakine sobe ili hodnika – dislocirane iz njihova prirodnog okruženja. Prije dvije i pol godine intuitivno ih je počela fotografirati. Tim činom iznova ih je načinila i udahnula im, barem na vizualnom planu, uporabni život kao nepatvorenu vrijednost. Rezultat je izložba fotografija i publikacija koja svojim izgledom podsjeća na kataloge trgovačkih lanaca.

koncept • inicijativa • kritički dizajn

Sale is a self-initiated project created during attempts of escaping hectic urban bustle and finding long-forgotten and hidden city spots.

In such spots, the designer found elements of someone else’s bathroom, coffee bar, hotel lobby, granny’s living room or a hall – dislocated outside of their natural environments. Two and a half years ago, she started intuitively taking photos of them. With that act, she breathed in a new and utilitarian life in those objects as their genuine value, at least in terms of visual plane.

The result is an exhibition of photographs and publications that remind of retail chain catalogues.

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Svjetlo ∕ Light dizajn ∕ design Sven Sorić, Hrvoje Spudić, Andro Giunio, Lana Grahek, Ena Jurov, Bojan Krištofić naručitelj ∕ client Klub Močvara, Zagreb 2 ∕ 2017

Kurirana serija od pet plakata za klub Močvara za promociju albuma Svjetlo instrumentalnog benda ### koji je izdan u formatu 10-inčne vinilne ploče čiju naslovnicu, pakiranje i produkciju potpisuje This Town Needs Posters (TTNP).

Budući da je bend tijekom snimanja ugostio selekciju glazbenika koji su improvizirajući dali vlastiti autorski obol zvuku izdanja, TTNP je na isti način pristupio dizajniranju događanja, nadopunivši ulogu dizajnera i tiskara ulogom kuratora. Dizajneri pozvani na suradnju autori su specifičnih vizualnih jezika, ali su i duboko ukorijenjeni u suvremenu nezavisnu glazbenu scenu. Koncertnu promociju naposljetku je pratio analogni 16 mm VJing Hrvoja Spudića.

372 pregled hrvatskog dizajna

A curated series of five posters designed for the Močvara club and the promotion of the new album Svjetlo produced by the instrumental band ### and published as a 10 in vinyl record.

The cover, packaging and production were designed by This Town Needs Posters (TTNP).

Since the band hosted selected musicians during the recording process whose improvisations left a mark on the sound, TTNP used the same approach to design the events by supplementing the role of the designers and printers with a curating role. The invited designers use specific visual codes but they are deeply rooted in the contemporary independent music scene. Finally, the concert promotion was accompanied by the analogue 16 mm VJing by Hrvoje Spudić.

concept • initiative • critical design

Reboot — Iza kulisa napretka ∕ Backstage of Progress autorica izložbe ∕ exhibition curator Tatjana Bartaković autori izložbenog postava ∕ exhibition design Biro (Mario Kralj, Saša Košuta, Dora Lončarić) vizualni identitet ∕ visual identity Iva Hrvatin (Superstudio) kreativna direkcija ∕ creative direction Ira Payer (Superstudio) izvođači ∕ manufacturers Regeneracija, Me-pal izvršna producentica ∕ executive producer Ivana Dvorski fotografija ∕ photography Marija Gašparović, Igor Dugandžić naručitelji ∕ clients Superstudio Design Projects i Dizajn centar Zagreb za festival Dizajn distrikt Zagreb ∕ Superstudio design projects & Design center Zagreb for Design District Zagreb Festival 6 ∕ 2018

Izložba je afirmirala značajan pomak u regionalnom razvoju dizajna, izdvojivši u svojoj selekciji proizvode ili kolekcije brendova koji označavaju njihov tehnološki, proizvođački i poslovni probitak vođen dizajnom. Uži izbor od 11 dizajnerskih brendova s područja industrije namještaja i opreme za interijer, koji do prije 10 godina nisu postojali, svjedoči o visokom stupnju uključenosti dizajna u istraživanje i razvoj proizvoda, proizvodnju te transformaciju proizvođačke kulture i tradicionalnih zanatskih vještina u kulturu stvaranja veće dodane vrijednosti. Stoga se narativ izložbe odvija na dvije razine: prikazu finalnog proizvoda i isječku iz procesa njegova razvoja ili proizvodnje. Izložba je predstavila brendove Zanat (BiH), Vau (HR), Rex-Kralj (SLO), Regeneracija (HR), Prostoria (HR), Owl (HR), Mitja (SLO), Nunc (HR), Grupa (HR), Element (HR) i Artisan (BiH).

koncept • inicijativa • kritički dizajn

This exhibition affirmed that the development of regional design has been considerably upgraded through a selection of products or brand collections whose technological advancement, production and business have been design-driven. Eleven shortlisted design brands in furniture and interior equipment industry, which started doing business only a decade ago, stand as a proof of a high level of involvement of design in products research and development, production and transformation of production culture and traditional artisanship in the creation of higher added value. The exhibition presented the following brands: Zanat (BiH), Vau (HR), Rex-Kralj (SLO), Regeneracija (HR), Prostoria (HR), Owl (HR), Mitja (SLO), Nunc (HR), Grupa (HR), Element (HR) and Artisan (BiH).

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374 pregled hrvatskog dizajna

student design

studentski dizajn student design

studentski dizajn

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376 pregled hrvatskog dizajna

visual communications design

dizajn vizualnih komunikacija visual communications design

dizajn vizualnih komunikacija

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Muzej za umjetnost i obrt ∕ Museum of Arts and Crafts dizajn ∕ design Leo Kirinčić studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica preddiplomski studij, 4. semestar ∕ undergraduate studies, 4th semester mentor Igor Kuduz asistent ∕ assistant to the mentor Andro Giunio 2017 ∕ 18

Serija plakata za Muzej za umjetnost i obrt nastala u sklopu kolegija Promotivni dizajn. Zbog količine vizualnih informacija kojima smo inače okruženi i tendencije da se na plakatima neselektivno prikazuje prevelika količina sadržaja, broj grafičkih elemenata na ovim plakatima maksimalno je reduciran kako bi što izravnije komunicirali zadanu temu.

378 pregled hrvatskog dizajna

This poster series for the Museum of Arts and Crafts was created in the framework of the Promotional Design course. Due to the amount of visual information around us and the tendency to display too much content on the posters non-selectively, the number of graphic elements on these posters was maximally reduced to communicate the given topic as directly as possible.

visual communications design

Studosh dizajn ∕ design Ana Medvedec studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica diplomski studij, 1. semestar ∕graduate studies, 1st semester mentor Igor Kuduz 2017 ∕ 18

Ovaj dvojezični informativni plakat nastao je u sklopu kolegija Dizajn medijskih sustava, a uključuje organizaciju kompleksnih podataka, navigaciju i vizualni identitet imaginarnog filmskog festivala. Lokacija festivala je u prostoru postojećeg kampusa u Koprivnici, dok je programski sadržaj fiktivan.

dizajn vizualnih komunikacija

This bilingual informative poster was designed in the framework of the Design of Media Systems course, and comprises the organisation of complex information, navigation and the visual identity of an imaginary film festival. The festival is located in the area of the existing campus in Koprivnica, and the programme materials are entirely fictitious.

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Kino Tuškanac ∕ Tuškanac Cinema dizajn ∕ design Marina Štefančić studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica preddiplomski studij, 4. semestar ∕ undergraduate studies, 4th semester mentor Igor Kuduz asistent ∕ assistant to the mentor Andro Giunio 2017 ∕ 18

Serija plakata za Kino Tuškanac, nastala u sklopu kolegija Promotivni dizajn, podsjeća na isječke filmske vrpce. U krugovima na plakatima prikazani su predstavnici različitih nacionalnih kinematografija (Francuska, Koreja, Italija), ovisno o tome na koji se program plakati odnose.

380 pregled hrvatskog dizajna

The series of posters for Tuškanac Cinema, designed in the framework of the Promotional Design course, reminds of clips of film rolls.

The circles on posters showcase a number of representatives of different national cinematographies (France, Korea, Italy), depending on which programme the posters refer.

visual communications design

Kofilmica dizajn ∕ design Filip Topolovec studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica diplomski studij, 1. semestar ∕graduate studies, 1st semester mentor Igor Kuduz 2017 ∕ 18

Info plakat imaginarnog filmskog festivala Kofilmica izrađen u sklopu kolegija Dizajn medijskih sustava. Rad se temelji na stvarnom prostornom planu kampusa u Koprivnici, dok je ostali tematski sadržaj osmišljen od strane autora.

Plakat je izveden u dvije boje i sadrži grafičke elemente vizualnog identiteta, sustav piktograma, tekstove o festivalu, program festivala, informacije o smještaju, servisnim službama i ostale primarne i sekundarne informacije. Uzorci nagovještaju prostor pa tako rebrasti uzorak predstavlja objekte, a točkasti puteve. Program je pozicioniran sukladno zgradi održavanja.

Vizualni kôd tvore grafički i tekstualni elementi koji čine vizualni identitet plakata.

dizajn vizualnih komunikacija

The informative poster for an imaginary film festival – Kofilmica - designed in the framework of the Design of Media Systems course. The design stems from the actual spatial plan of the campus in Koprivnica, and other thematic elements are the creation of the designer. The poster is printed in two colours and features graphical elements of the visual identity, pictogram system, texts about the festival, festival programme, information about accommodation and services as well as other primary and secondary information. Different patterns are used to hint the space, so the ribbed pattern represents facilities while the dotted one represents pathways. The programme is positioned according to the building where the festival takes place. The visual code is composed of various graphic and textual elements constituting the visual identity of the poster.

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Umjetnička akademija u Splitu: Zagrebačka 3 ∕ Academy of Fine Arts, Split: Zagrebačka 3 dizajn ∕ design Dalia Jurišić, Eleonora Matijašević, Nikola Mikulić, Ivan Perkov studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski studij, 3. semester ∕ graduate studies, 3rd semester mentori ∕ mentors Igor Čaljkušić, Nikola Đurek, Dejan Kršić asistent ∕ assistant to the mentor Nikša Vukša 2017 ∕ 18

Zgrada Zagrebačke 3 namijenjena je upravi Umjetničke akademije u Splitu te odsjecima Dizajna vizualnih komunikacija i Glume, a nalazi se na jednoj od najprometnijih lokacija u gradu, u neposrednoj blizini Dioklecijanove palače.

Brendiranje Umjetničke akademije u Splitu putem zgrade Zagrebačke 3 ima za cilj integraciju Akademije u svakodnevni život grada i postizanje njene prepoznatljivosti.

382 pregled hrvatskog dizajna

The Zagrebačka 3 building is intended to house the management of the Academy of Fine Arts in Split and the Departments of Visual Communication Design and Theatre Arts. It is located at one of the busiest locations in the city in the proximity of the Diocletian’s Palace. Branding of the Academy of Fine Arts in Split with the Zagrebačka 3 building aims to integrate the Academy into the everyday life of the city and thus achieve its distinctiveness.

visual communications design

Savjeti neposlušnih kućanica ∕ Tips by Disobedient Housewives dizajn ∕ design Dora Kasun studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski studij, 2. semestar ∕ graduate studies, 2nd semester mentor Nenad Dogan asistentica ∕ assistant to the mentor Romana Kajp 2016 ∕ 17

Cilj kampanje bio je podići svijest o problemu neravnopravne podjele kućanskih poslova te u tom smislu utjecati na mlade parove i obitelji.

Kao polazište za oblikovanje preuzeta je estetika tradicionalnih vezenih krpa, tzv. zidnjaka, na kojima se najčešće nalazi motiv žene u kuhinji s rimovanom porukom duhovitog sadržaja.

dizajn vizualnih komunikacija

The aim of the campaign was to raise awareness about the problem of unequal division of housekeeping chores and in that sense affect young couples and families. The aesthetics of traditional embroidered cloths (the so-called “zidnjak”) and the dominant motif of a woman in the kitchen with a rhymed, funny message served as the starting point for the design.

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Ginger Sushi kalendar ∕ Ginger Sushi Calendar dizajn ∕ design Monika Vodopija studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb preddiplomski studij, 3. semestar ∕ undergraduate studies, 3rd semester mentor Nenad Dogan asistentica ∕ assistant to the mentor Dina Milovčić 2017 ∕ 18

Inspiracija za kalendar zagrebačkog restorana Ginger Sushi bila je minimalistička japanska estetika, naročito u slikarstvu i grafici, što je vidljivo u odabiru formata, boja i potezima kista. Zidni kalendar svaki mjesec predstavlja jednu vrstu sushija u formi ilustracije s pripadajućim receptom. Dolazi u ambalaži koja također podsjeća na rolu sushija.

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The inspiration for the calendar designed for Ginger Sushi restaurant in Zagreb was found in minimalist Japanese aesthetics, particularly in paintings and graphics, which is evident in the selection of the format, colours and brush strokes. For each month, the wall calendar represents one kind of sushi in the form of an illustration with the corresponding recipe. It comes in a packaging that also reminds of a sushi roll.

visual communications design

Chiyo dizajn ∕ design Anđela Brnas studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb preddiplomski studij, 4. semester ∕ undergraduate studies, 4th semester mentor Marko Hrastovec asistent ∕ assistant to the mentor Andrija Mudnić 2017 ∕ 18

CHIYO, skraćenica od Change It Yourself, je časopis čija je namjera educirati te potaknuti pojedince i društvo na održivi način života. Časopis ima tri poglavlja, Chiyo news s novostima, Chiyo tips sa savjetima te treći dio, Chiyo view s kritičkim člancima i vijestima o današnjoj situaciji. Način uveza potiče čitatelje da časopis podijele u poglavlja, čime nastaju zasebne knjižice. Časopis bi se tiskao na recikliranom papiru, a naslovnica bi sadržavala sjemenke za sadnju biljaka.

dizajn vizualnih komunikacija

CHIYO, the abbreviation for Change It Yourself, is a magazine whose purpose is to educate and encourage the society and individuals to sustainable living. The magazine has three sections: Chiyo news, Chiyo tips, and Chiyo view bringing critical articles and news about the current situation. The binding style of the magazine prompts readers to divide the journal into sections, which results in three separate booklets. It is planned to print the magazine on recycled paper with the cover that would contain planting seeds.

croatian design review

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Interpretacija glazbe ∕ Interpretation of Music dizajn ∕ design Ana Pavičić studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb preddiplomski studij ∕ undergraduate studies mentor Nikola Đurek asistent ∕ assistant to the mentor Marko Hrastovec 2016 ∕ 17

Tipografska interpretacija pjesme Pale Blue Eyes The Velvet Undergrounda realizirana je u obliku role papira duljine 5 m i 42 cm, što odgovara vremenskom trajanju pjesme (5’42’’). Za potpuni doživljaj nužna je interakcija promatrača s djelom, jer se rad polako odmata kako se čitaju stihovi i kako pjesma traje.

386 pregled hrvatskog dizajna

The typographic interpretation of the song Pale Blue Eyes by The Velvet Underground was realized in the form of a 5 m x 42 cm long paper roll, which corresponds to the duration of the song (5’42 ‘’). To fully experience the interpretation, the observer needs to interact with the design that gradually unravels as the verses are read and the song played.

visual communications design

Memento dizajn ∕ design Filip Topolovec studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica diplomski studij, 2. semestar ∕graduate studies, 2nd semester mentor Andro Giunio 2017 ∕ 18

Rad Memento realiziran je u sklopu kolegija Postdigitalno izdavaštvo i predstavlja tiskovnu interpretaciju istoimenog filma redatelja Christophera Nolana. Radnja filma, pa tako i publikacije, prikazana je u dva dijela koji se međusobno isprepliću. Prvi dio (stranice lijevo) prati radnju obrnutim redoslijedom iz perspektive glavnog lika Leonarda, dok je drugi dio (desno) dokumentarističkog karaktera i kronološki prati radnju na što ukazuje i paginacija.

Nelinearnost publikacije simulira kod čitatelja simptome anterogradne amnezije s kojom se Leonard nosi tijekom traženja ubojice svoje supruge. Raspored riječi na lijevim stranicama inspiriran je djelom Bacanje kocki nikada neće promijeniti slučaj Stéphanea Mallarméa.

dizajn vizualnih komunikacija

Memento is a project realized during the Post-Digital Publishing course and represents a printed interpretation of Christopher Nolan’s eponymous film. Both the plot and the publication develop as two intertwining parts.

The first part (pages on the left) follows the plot in reverse order from Leonard ‘s perspective, while the second part (on the right) has a documentary character and follows the action chronologically, which is also indicated in the pagination. Nonlinearity of the publication simulates the symptoms of the anterograde amnesia with which Leonard struggles while searching for his wife’s killer. The layout of the words on the pages on the left is inspired by Stéphane Mallarmé’s poem A Throw of the Dice will Never Abolish Chance).

croatian design review

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ADHD realnost ∕ ADHD Reality dizajn ∕ design Leona Vertuš studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica diplomski studij, 2. semestar ∕graduate studies, 2nd semester mentor Niko Mihaljević asistenti ∕ assistants to the mentor Igor Kuduz, Andro Giunio 2017 ∕ 18

Knjiga nastaje u sklopu kolegija Postdigitalnog izdavaštva, a predstavlja stvarna iskustva i proživljene situacije roditelja djece kojima je dijagnosticiran ADHD. Sadržaj je preuzet iz zatvorene Facebook grupe čiji su članovi uglavnom roditelji koji traže pomoć i savjete kako bi olakšali život svojoj djeci i sebi samima.

Tekst objava je minimalno uređivan i korigiran.

Knjiga sadrži 32 priče podijeljene u tri kategorije – Škola, Roditelji i Liječnička pomoć – koje su kodirane bojom i olakšavaju navigaciju unutar knjige. Knjiga nudi roditeljsko iskustvo i savjete kojih nema u stručnoj znanstvenoj i zdravstvenoj literaturi.

388 pregled hrvatskog dizajna

The book was designed for the Post-Digital Publishing course and presents actual situations experienced by parents of children diagnosed with ADHD. The content was taken from a closed Facebook group whose members are mostly parents seeking help and advice in order to make life easier for their children and themselves. Posts were minimally edited and corrected. The book comprises 32 stories divided into three categories: School, Parents and Medical Help - colour-coded for easier navigation inside the book. The book provides parents’ personal experience and advice that are usually unavailable and cannot be found in professional scientific or health literature.

visual communications design

Bilježenje popularne kulture interneta ∕ Re-collecting the Internet Popular Culture dizajn ∕ design Ana Vuko studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski rad ∕ thesis mentor Ivan Doroghy asistent ∕ assistant to the mentor Tomislav Vlainić 2016 ∕ 17

Temeljna hipoteza rada je da globalna zajednica na Internetu stvara digitalne pop-kulturne artefakte koji su zapisi današnjice, a u budućnosti će nestati. Najpopularniji sadržaji interneta 2015. godine sakupljeni su i otisnuti u Godišnjaku Interneta koji ih predstavlja putem fotografija prikupljenih s Googlea i tekstova s Wikipedije, na engleskom jeziku. Godišnjak prenosi digitalne sadržaje u analogni medij slijedeći logiku hiperteksta. Paginacija ne postoji, a grafičko kazalo određuje poziciju sadržaja.

Svaki pojam sadrži meta-podatke o podrijetlu i vremenu objavljivanja sadržaja. Nesavršen način prikaza ukazuje na neriješen problem arhiviranja današnjice.

dizajn vizualnih komunikacija

The underlying hypothesis of the work is that the global community on the Internet creates digital pop-cultural artefacts as the records of our days that will disappear in the future. The most popular web content in the year 2015 was collected and printed in the Internet Yearbook presenting them through photos taken from Google and texts in English from Wikipedia.

The yearbook transposes digital content into an analogue medium following the hypertext logic. Pagination does not exist, and the index determines the position of the content. Each term contains meta-data about the origin and time of the content release. Unfinished display mode points to the unresolved problem of archiving the present day.

croatian design review

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Frida dizajn ∕ design Marko Borota studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski rad, 4. semestar ∕ thesis 4th semester mentor Nikola Đurek 2016 ∕ 17

Frida je manifestacija ideje svestranog pisma, tipografskog alata koji će se prilagoditi svakoj situaciji bez obzira zahtijeva li ona ozbiljan ton ili razigranu atmosferu. Budući da balansira između text i display verzije, ovo tipografsko pismo lako će privući znatiželjan pogled, ali će istovremeno biti nenametljivo, kako bi na najbolji mogući način prenijelo informaciju.

390 pregled hrvatskog dizajna

Frida is a manifestation of the idea of a versatile letterpress, a typographic tool that will adapt to any situation whether it requires a serious tone or a playful atmosphere. Since it balances between the text and display versions, this typeface will easily attract a curious eye, at the same time without being obtrusive in order to convey the message in the best possible way.

visual communications design

TipoLutrija ∕ TypoLottery dizajn ∕ design Tana Jeić, Marcela Vrček, Karla Waldgoni, Silvia Marinčić, Vicko Bezić, Tin Cifrek, Iva Primorac, Maja Janković, Marin Nižić, Erik Burić, Anđela Brnas, Sara Stepanović, Monika Vodopija, Antonija Vuletić, Antonia Ćibarić studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb preddiplomski studij, 4. semestar ∕ undergraduate studies, 4th semester mentor Marko Hrastovec asistent ∕ assistant to the mentor Andrija Mudnić 2017 ∕ 18

Semestralni projekt oblikovanja pisma TipoLutrija sastoji se od 6 zadataka koje studenti nasumično izvlače. Svaki zadatak postavlja jednu smjernicu za oblikovanje koje se potrebno držati, ali potiče se individualna interpretacija istih. Ovisno o zadatku, proces je više ili manje eksperimentalan, dok su rezultati bez iznimke originalna pisma, nekonvencionalnih slovnih oblika. Studentima je ovo ujedno i prvi susret s oblikovanjem cjelovitog tipografskog pisma, ali i upotrebe svih do sada naučenih pojmova u tipografiji poput proporcija, odnosa, spacioniranja, kerniranja, ritma, čitljivosti i prepoznatljivosti.

dizajn vizualnih komunikacija

TypeLottery - a single-semester typeface design project - consists of 6 tasks that students randomly draw out. Each task sets one guiding principle for designing that has to be kept but individual interpretation is also encouraged.

Depending on the task, the process is more or less experimental, while the results are without exception original typefaces with unconventional characters. For students, this is also the first encounter with designing a comprehensive typeface but also an opportunity to apply different typography they learnt, such as proportions, relations, spacing, kerning, rhythm, readability and distinctiveness.

croatian design review

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392 pregled hrvatskog dizajna

design and digital media • interaction design

dizajn u digitalnim medijima• dizajn interakcija design and digital media• interaction design

dizajn u digitalnim medijima • dizajn interakcija

croatian design review

393

Speculative NOW! dizajn ∕ design Jelena Njeguš, Mate Žaja studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski studij, 1. semestar ∕graduate studies, 1st semester mentor Ivica Mitrović asistent ∕ assistant to the mentor Oleg Šuran 2016 ∕ 17

Web sjedište izrađeno je u sklopu vizualnog identiteta za međunarodnu radionicu Interakcije na Odsjeku za dizajn vizualnih komunikacija pri Umjetničkoj akademiji u Splitu. Cijeli identitet slijedi tematiku radionice, a web je dizajniran u skladu s njim. Izgled layouta mijenja se prilikom svakog ponovnog učitavanja web stranice, dok se sadržaj preklapa i otkriva postupno te tako dočarava slojevitost, procesualnost i multidisciplinarnost same radionice.

394 pregled hrvatskog dizajna

The web site was created as a part of the visual identity for the international workshop on Interactions organised by the Department of Visual Communication Design at the Art Academy in Split. The whole identity stemmed from the topic of the workshop, and the web site was designed accordingly. The layout changes every time the webpage is uploaded, while the content overlaps and opens gradually, thus reflecting the complexity, processuality, and multidisciplinary nature of the workshop.

design and digital media • interaction design

dizajn u digitalnim medijima • dizajn interakcija

croatian design review

395

396 pregled hrvatskog dizajna

industrial • product design

industrijski• produkt dizajn industrial• product design

industrijski • produkt dizajn

croatian design review

397

Bokun dizajn ∕ design Paula Šantić studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski studij, 1. semestar ∕graduate studies, 1st semester mentor Zlatko Kapetanović asistentica ∕ assistant to the mentor Sanja Bencetić 2016 ∕ 17

Nekad, dok hladnjaci i zamrzivači još nisu postojali, ljudi su bili primorani konzervirati hranu za zimu. Namirnice su se prikupljale, obrađivale i čuvale na različite načine. Danas je priprema zimnice sve rjeđa. Dostupnost hrane tijekom cijele godine, kao i užurbani način života, doveli su do toga da ne pazimo što jedemo, ali i zaboravljamo stare običaje i navike specifične za krajeve iz kojih dolazimo. Ovaj proizvod oživljava zaboravljene (dalmatinske) tradicije konzerviranja hrane poput soljenja ribe, pravljenja domaćeg sira itd.

398 pregled hrvatskog dizajna

Some time ago, when refrigerators and freezers had not been invented yet, people were forced to conserve food for the winter. Foods were collected, processed and stored in many different ways. Nowadays, people rarely prepare winter food stores. The availability of food throughout the year as well as hectic way of life have resulted in not paying attention to what we eat, and we also tend to neglect old customs and habits specific to the region we come from.

This product revives the forgotten (Dalmatian) tradition of food preservation such as fish salting, homemade cheese making, etc.

industrial • product design

industrijski • produkt dizajn

croatian design review

399

400 pregled hrvatskog dizajna

fashion and clothing design

modni i odjevni dizajn fashion and clothing design

modni i odjevni dizajn

croatian design review

401

EX-Vonia dizajn ∕ design Damir Begović studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski studij, 1. semestar ∕ graduate studies, 1st semester mentorica ∕ mentor Jasminka Končić 2017 ∕ 18

Kolekcija EX-vonia inspirirana je visokom modom i slavonskim nošnjama, a bazirana je na jedinstvenim tehnikama slavonske etno kulture poput zlatoveza, srebroveza itd. Od materijala, korišteni su vuneni štof, pliš, pamučni triko, koža, staklo, krzno, jersey, tartan i vodootporni poliester.

402 pregled hrvatskog dizajna

The EX-Vonia collection is inspired by high fashion and Slavonian traditional costumes.

It is based on unique techniques found in the Slavonian ethno-culture, such as goldwork, silverwork, etc. The materials used are woollen fabric, plush, cotton jersey, leather, glass, fur, jersey, tartan and waterproof polyester.

fashion and clothing design

Rebellious Silence dizajn ∕ design Mateja Bosek studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski studij, 5. semestar ∕ graduate studies, 5th semester mentorica ∕ mentor Jasminka Končić 2017 ∕ 18

Kolekcija Rebellious Silence dovodi elemente tradicionalne odjeće Bliskog istoka u kontakt sa suvremenom modom Zapada, te prikazuje i vizualizira ogroman pozitivan utjecaj migracija na suvremen način života širom svijeta.

modni i odjevni dizajn

The Rebellious Silence collection fuses the elements of traditional Middle East clothing with the contemporary Western fashion and presents and visualizes the enormous positive impact of migration on the contemporary lifestyles around the world.

croatian design review

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1HotDog dizajn ∕ design Dominik Brandibur studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski studij, 1. semestar ∕ graduate studies, 1st semester mentorica ∕ mentor Jasminka Končić asistentica ∕ assistant to the mentor Josipa Štefanec 2017 ∕ 18

Kolekcija 1hotdog duhovita je kritika mode inspirirana svime od brendova brze hrane i društvenih mreža do umjetničkih i dizajnerskih opusa Claesa Oldenburga, Erwina Wurma i Mota Guoa.

404 pregled hrvatskog dizajna

1hotdog collection expresses witty criticism towards fashion. It is inspired by many different tgings, i.e. from fast food chains and social networks to art and design creations by Claes Oldenburg, Erwin Wurm and Moto Guo.

fashion and clothing design

Urban village dizajn ∕ design Mina Dobrić studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski studij, 3. semestar ∕ graduate studies, 3rd semester mentorica ∕ mentor Jasminka Končić asistentica ∕ assistant to the mentor Josipa Štefanec 2016 ∕ 17

Kolekcija Urban Village temelji se na kontrastu između urbane odjeće i seoske odjeće, odnosno tradicionalnih narodnih nošnji iz Donjeg Miholjca. Ovo proizlazi iz biografije same autorice, budući da je i sama odrastala u gradu i na selu. Unisex modeli izravno su inspirirani istim takvim karakterom odjeće na selu, gdje zbog siromaštva nerijetko i djeca i odrasli oba spola nose istu odjeću, često rastrganu i s mrljama. Iz kolekcije je za ovu izložbu izdvojena vesta.

modni i odjevni dizajn

The Urban Village Collection is based on the contrast between urban and rural clothing, i.e. traditional costumes from Donji Miholjac. The idea springs from the designer’s biography since she has been growing up both in the city and in the village. Unisex creations are directly inspired by the same kind of clothing characteristic for villages, where, due to poverty, children and adults of both genders wear the same clothes, often torn and full of stains. For the purpose of this exhibition, one sweater was selected from the collection.

croatian design review

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Connect me dizajn ∕ design Ivana Janjić studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski studij, 3. semestar ∕ graduate studies, 3rd semester mentorica ∕ mentor Jasminka Končić 2017 ∕ 18

Kolekcija inspirirana egipatskim mumijama, zamišljena i kao kritika odjeće kao statusnog simbola.

406 pregled hrvatskog dizajna

The collection was inspired by Egyptian mummies and created as criticism of looking at fashion as a status symbol.

fashion and clothing design

K2 = 421 + ≈ 3368 dizajn ∕ design Dalibor Šakić studij ∕ school Tekstilno tehnološki fakultet, Sveučilište u Zagrebu ∕ Faculty of Textile Technology, University of Zagreb diplomski rad ∕ thesis mentorica ∕ mentor Jasminka Končić asistentica ∕ assistant to the mentor Josipa Štefanec 2016 ∕ 17

Kolekcija K2 = 421 + ≈ 3368 temelji se na praksama suvremenog plesa i pokreta, odnosno načinima na koje odjevni predmet mijenja siluetu tijela i naglašava njegove kretnje. Model predstavljen na ovoj izložbi slobodna je reinterpretacija sweatshirt veste s kapuljačom.

modni i odjevni dizajn

The K2 = 421 + ≈ 3368 collection is based on contemporary dance and movement practices, or different ways in which a garment can change the body’s silhouette and emphasizes its movements. The piece presented at this exhibition is a free reinterpretation of a hooded sweater.

croatian design review

407

408 pregled hrvatskog dizajna

integrated project • product

cjeloviti projekt• proizvod integrated project• product

cjeloviti projekt • proizvod

croatian design review

409

Muzej arhitekture ∕ The Museum of Architecture dizajn ∕ design Dora Kasun studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski studij, 1. semester ∕ graduate studies, 1st semester mentor Nenad Dogan asistentica ∕ assistant to the mentor Romana Kajp 2016 ∕ 17

Zamišljeni „ulični muzej arhitekture“ disperzni je muzej koji bi omogućio promatranje arhitekture u realnom okruženju te sagledavanje grada kao jedinstvene urbanističko-arhitektonske cjeline. Komunikacija muzeja sastoji se prvenstveno od digitalne aplikacije i sustava gradske signalizacije, ali i raznih dodatnih sadržaja — plakata, mapa, vodiča i naljepnica. Mobilna aplikacija sadrži pregled ključne zagrebačke arhitekture, mapu za navigaciju te sadržaj koji je moguće preuzeti jedino na stvarnim lokacijama i pregledati u tehnologiji proširene stvarnosti (augmented reality), što motivira korisnika da doista istraži lokacije uživo.

410 pregled hrvatskog dizajna

An imaginary “street museum of architecture” is a dispersive museum that would allow for observing architecture in the real environment and perceiving the city as a unique urban and architectural entity. The museum’s communication media are primarily digital applications and the signage systems, as well as posters, maps, guides and stickers. The mobile application provides an insight in the key architectural projects in Zagreb, navigation map, and the content that can only be downloaded at real locations and viewed in the augmented reality, which motivates the user to truly explore the sites in real time.

integrated project • product

5L4-VK0 dizajn ∕ design Jan Marin studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski studij, 1. semestar ∕ graduate studies, 1st semester mentori ∕ mentors Andrea Hercog, Emil Flatz 2017 ∕ 18

Robot 5L4-VK0 je edukativni alat koji u kombinaciji s aplikacijom za tablete pomaže korisniku u razvijanju programerskog način razmišljanja.

Cijeli projekt je namijenjen osobama koje nisu upoznate s dijagramom toka, „ako-onda“ (if-then) petljama i sličnim procedurama koje se koriste u programiranju bilo kakvog računala ili stroja. Koristeći aplikaciju korisnik može na vizualan i logičan način programirati svog robota.

cjeloviti projekt • proizvod

5L4-VK0 robot is an educational tool that in combination with a tablet application provides assistance to users wishing to develop programming skills. The whole project is intended for people who are unfamiliar with the flow diagram, if-then loops and similar procedures used in programming any kind of a computer or a machine. Using the application, the user can program the robot in a visual and logical fashion.

croatian design review

411

412 pregled hrvatskog dizajna

concept • initiative • critical design

koncept• inicijativa• kritički dizajn concept• initiative• critical design

koncept • inicijativa • kritički dizajn

croatian design review

413

Cvijet Save ∕ The Flower of River Sava dizajn ∕ design Dina Bartolić studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski rad, 4. semestar ∕ thesis, 4th semester mentori ∕ mentors Mladen Orešić, Ivana Fabrio 2017 ∕ 18

Koncept oživljavanja i popularizacije savskog nasipa u Zagrebu predviđa postizanje maksimalne iskoristivosti nasipa uz pomoć multifunkcionalnih modularnih pontona. Sustav bi se prilagođavao atmosferskim prilikama i godišnjim dobima, a organizacijom prostora bilo bi moguće na Savu dovesti veći broj ljudi, čime bi se stimuliralo oživljavanje društvenog života uz rijeku.

414 pregled hrvatskog dizajna

The concept of revival and popularization of the River Sava embankment in Zagreb envisages achieving maximum utilization of the embankment with the help of multifunctional modular pontoons. The system would adapt to the atmospheric conditions and seasons. After organizing the area, it would be possible to attract more people to the Sava, which would stimulate the revival of social life along the river.

concept • initiative • critical design

Kino Samobor dizajn ∕ design Dina Bartolić, Matea Bertina, Tajana Čabraja, Andrija Galić, Petra Grubišić, Dora Kasun, Karla Kocijan, Paula Kovač, Dominik Lovrečić, Domagoj Mlinarić, Dijana Modrić, Matija Poštenik, Lucija Raffaneli, Lucija Sekula, Dino Taslaman studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski studij ∕ graduate studies mentori ∕ mentors Luka Borčić, Ivana Fabrio, Vedran Kasap, Zorana Protić, Mia Roth-Čerina, Tajana Jaklenec 2017 ∕ 18

Radionica Kino Samobor nastala je na inicijativu grada Samobora, a u suradnji s Arhitektonskim fakultetom i Studijem dizajna Sveučilišta u Zagrebu. Kako se zbog dotrajalosti i neadekvatne opreme zgrada Kina Samobor preuređuje, pored postojećeg i predviđenog projekta pokazala se potreba za dodatnim intervencijama koje bi prostor Kina učinile mjestom za stvaranje novih kulturnih sadržaja grada Samobora.

Rad u arhitektonsko-dizajnerskim timovima rezultirao je četirima projektima koji su se bavili potencijalima prostora, kako same zgrade Kina tako i širim prostorom, i to kroz male prostorne i dizajnerske intervencije. Rezultati radionice dokumentirani su Izložbom i publikacijom.

koncept • inicijativa • kritički dizajn

The Samobor Cinema Workshop was created on the initiative of the city of Samobor and in collaboration with the Faculty of Architecture and Design School of the University of Zagreb.

Due to deterioration and inadequate equipment, the Samobor Cinema building is under reconstruction. In addition to the existing and planned project, there was a need for additional interventions to make the cinema a place for creation of new cultural programmes of the city of Samobor. Collaboration of architectural and design teams resulted in four projects dealing with the potentials of the space, both of the Cinema building and the surrounding area through a number of small spatial and design interventions. The results of the workshop are documented in the form of an exhibition and a publication.

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Privilegija: Igra odnosa moći ∕ Privilege: A Powerplay dizajn ∕ design Miran Bašić, Berina Đemailović, Anja Garmaz, Nikola Mikulić, Sara Pavleković, Dino Pilepić, Josipa Tadić studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski studij, 1. semestar ∕graduate studies, 1st semester mentori ∕ mentors Luiza Prado, Pedro Oliveira asistent ∕ assistant to the mentor Ivica Mitrović 2016 ∕ 17

Ovaj set za društvenu igru uloga (role-play) nastao je na radionici Interakcije 2016 na Umjetničkoj akademiji u Splitu. Istraživanje fenomena devesternizacije, odnosno procesa emancipacije od zapadnjačke i europske kulture, polaznike je dovelo do pitanja: Kako netko sebi daje pravo da ima moć nad drugim? Konceptualiziranjem tog pitanja, kao i same ideje društvene privilegije, tim je osmislio pravila ove igre. Kartice koje igrači dobivaju na početku označavaju različite stupnjeve ekonomskih, rodnih, nacionalnih i drugih privilegiranosti. Tijekom igre stanje moći se mijenja – igrači dobivaju ili gube bodove, što naposljetku rezultira nečijim odlaskom iz igre. Mišljenje drugih igrača je ono što utječe da određeni igrač ostane u igri, a ne privilegije koje je dobio u početku. Cilj igre je poljuljati odnos moći svakog igrača pitajući se stereotipiziramo li svijet oko nas i kakve su posljedice?

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This role-play game set was created at the 2016 Interactions workshop organised by the Art Academy in Split. Investigation of the phenomenon of de-Westernalization, i.e. the process of emancipation from the Western or European culture, confronted the participants with the question of how does one give him or herself the right to have power over the other? By conceptualizing this question, and the idea of social privileges, the team designed the rules of this game. The cards that players get at the beginning mark different degrees of economic, gender, national and other privileges. In the course of the game, the power relations change: players get or lose points, which ultimately results in someone leaving the game. Staying in the game is conditioned by other players’ opinions instead of privileges he or she had when the game started.

The goal is to shake each player’s power play of relations by asking the question: do we create stereotypes about the world around us and what are the consequences of doing that?

concept • initiative • critical design

Rudi želi laku noć ∕ Rudi Wishes You Good Night dizajn ∕ design Lea Kukmanović studij ∕ school Odjel za medijski dizajn, Sveučilište Sjever, Koprivnica ∕ Department of Media Design, University North, Koprivnica diplomski studij, 2. semestar ∕graduate studies, 2nd semester mentor Igor Kuduz 2017 ∕ 18

Knjiga Rudi želi laku noć nastala je u sklopu kolegija Postdigitalno izdavaštvo, a bavi se mogućnostima suživota starih i novih tehnologija.

Suvremeno doba dalo nam je obećanje kako će sve zauvijek ostati zapisano u digitalnom svijetu binarnih kodova, no s vremenom se pokazalo kako to nije baš tako. Ova knjiga predstavlja strah za nepovratnim gubitkom jednih od takvih informacija, konkretno poruka za laku noć koje je s autoricom izmjenjivao njen djed u proljeće 2018.

koncept • inicijativa • kritički dizajn

The book titled Rudi Wishes You Good Night was created in the course of the Post-Digital Publishing course. It deals with the possibilities of coexistence of old and new technologies.

The modern era promised that everything will forever remain in the digital world made of binary codes, but as the time passes by, it turned out that that is not really the case. This book represents the fear of irretrievable loss of one such information, i.e. a good night message that the designer exchanged with her grandpa in the spring of 2018.

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Nervo — jer u Splitu struje nema ∕ Because in Split There’s no Electricity dizajn ∕ design Tomislav Mravičić studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski studij, 2. semestar ∕ graduate studies, 2nd semester mentor Ivica Mitrović asistent ∕ assistant to the mentor Oleg Šuran 2017 ∕ 18

Prema ovom spekulativnom scenariju godina je 2043. Split broji svega 50 tisuća stanovnika koji žive u oskudici. Dovod električne energije je prekinut jer je grad upao u veliku financijsku krizu. Nakon Velikog zamračenja i zbog ljudske ovisnosti o prijenosnim komunikacijskim jedinicama, Duje Stariji, nekadašnji strojar splitskog škvera izradio je generator električne energije od recikliranih dijelova. Smjestio ga je u staru pedalu mašine za šivanje, a nazvao ga je Nervo zbog samog načina proizvodnje električne energije koje imitira nervozno lupkanje nogom.

Ovaj „spekulativni“ uređaj se postavi na tlo i osoba stalnim pritiskanjem nogom proizvodi električnu struju. Kroz cijeli kafić prolazi mreža kablova pomoću kojih se napajaju neophodni aparati.

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According to this speculative scenario, the year is 2043. Split is home to only 50.000 people living in poverty. The electricity supply has been interrupted because the city faces a great financial crisis. After the Great Blackout and due to human dependence on portable communication devices, Duje Senior, a former engineer of the Split shipyard, constructs an electricity generator from recycled parts. He put it in the old pedal of the sewing machine, and named it Nervo due to the mode of electricity production imitating foot tapping. This “speculative” device is placed on the ground and the person constantly presses the foot to produce electrical power. The coffee shop is wired with a cable network supplying power to all the necessary appliances.

concept • initiative • critical design

Poligon — Platforma za multisenzorno učenje ∕ Polygon — Platform for Multisensory Learning dizajn ∕ design Sara Pavleković Preis studij ∕ school Studij dizajna, Arhitektonski fakultet Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb diplomski rad ∕ thesis mentor Stipe Brčić asistentica ∕ assistant to the mentor Marija Juza komentori ∕ co-mentors Vedran Kasap, Ivana Fabrio 2016 ∕ 17

Rad se bavi aspektima neformalnog i cjeloživotnog učenja - novim modelima usvajanja i razumijevanja apstraktnih koncepata na primjeru jedne znanstvene discipline - matematike. Razumijevanje i učenje matematike u ovom se projektu odvija putem kreativnih sustava iskustvenog poimanja sadržaja, s ciljem kvalitetnog usvajanja znanja i osvještavanja mogućnosti kombiniranih pristupa učenju koji rezultiraju povećanjem motivacije, samopouzdanja i kreativnosti.

koncept • inicijativa • kritički dizajn

This design deals with various aspects of informal and lifelong learning, i.e. - new models of learning and understanding abstract concepts using the example of a scientific discipline mathematics. In this project, understanding and learning mathematics takes place through creative systems of empirical perception of particular content, with the aim of acquiring knowledge and becoming aware of the possibilities of combined approaches to learning resulting in increased motivation, self-confidence and creativity.

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Fjaka Party dizajn ∕ design Sara Poljak, Dora Stupalo, Mate Žaja, Marija Polović, Pina Šegula Seršen, Otto Kušec, Nika Tecilazić, Anja Kepert, Milica Novaković, Jelena Strugar, Helena Tošić, Ana Sutlović, Elin Engström, Adrian Rovina, Miljenko Dujić, Anamaria Buljan, Felicia Nilsson, Lara Benevides Da Silva Fernandes studij ∕ school Odsjek za dizajn vizualnih komunikacije, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split diplomski studij, 1. semestar ∕graduate studies, 1st semester mentor Demitrios Kargotis asistent ∕ assistant to the mentor Oleg Šuran 2016 ∕ 17

Dosta vam je mainstream stranaka koje dominiraju političkim sustavom? Zašto ne osnovati svoju? Sudionici radionice dobili su zadatak osmisliti vlastitu stranku koju su trebali predstaviti građanima Splita kako bi ih uzrujali ili uključili u stranku. U duhu “uradi sam” stvorili su alternativu onome što smatraju da nedostaje mainstream strankama te ih ismijali. Ideja Let’s Party – DIY Politics nastala je iz tradicije nezavisne politike kako bi inspirirala mlade ljude da promisle o vlastitim političkim ciljevima..

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Are you fed up with mainstream parties dominating the political system? Why not set up your own political party? Participants of the workshop were given the task to devise their own party that they were supposed to present to the citizens of Split in order to upset or engage them in the party. In the spirit of “do it yourself”, they have created an alternative to what they consider to be missing to mainstream parties and ridiculed them. The idea of Let’s Party - DIY Politics originated in the tradition of independent politics to inspire young people to think about their own political goals.

concept • initiative • critical design

koncept • inicijativa • kritički dizajn

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aktivnosti u organizaciji hrvatskog dizajnerskog druĹĄtva activities organised by croatian designers association

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Aktivnosti u organizaciji Hrvatskog dizajnerskog društva, rujan 2016. – rujan 2018. ∕ Activities organised by the Croatian Designers Association, September 2016 – September 2018

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HDD galerija — Izložbe i [d]razgovori HDD galerija je izložbeni prostor i prostor javnih diskusija o dizajnu i vizualnoj kulturi, ali i društvenom kontekstu dizajna, kulture i umjetnosti koji sve te prakse bitno određuje i unutar kojeg one aktivno djeluju. Galerija potiče suvremenu dizajnersku produkciju, realizira nove autorske projekte na sjecištima disciplina, istražuje povijesne dosege dizajna te podržava projekte angažiranog karaktera koji pozicioniraju dizajn kao etički odgovornu disciplinu. Bitno načelo programa je i da se on ne oslanja na nekritičku prezentaciju postojećih projekata, nego da služi kao produkcijska platforma unutar koje se razvijaju i realiziraju novi projekti, te je u tom smislu vidimo kao svojevrstan laboratorij. Zbog važnosti njegovanja stručnog i javnog diskursa o dizajnu, te su izložbe popraćene razgovorima, okruglim stolovima i predavanjima. HDD galerija ne prezentira „lijepe“ predmete i nastoji otklanjati stereotipne predodžbe o dizajnu kao ekskluzivnoj domeni te u svom programu ukazuje na neraskidivu povezanost dizajna i svakodnevnog života, njegovu inherentno interdisciplinarnu prirodu i revitalizira pomalo zanemarenu papanekovsku ideju dizajna kao alata za društvenu promjenu. To je mjesto na kojem se propituje sam sadržaj pojma dizajn te govori o načinima kako dizajn stvara nove odnose i hijerarhije, kako sukreira društvo, svakodnevicu, javnu sferu itd. Važan dio galerijskog programa bavi se i poviješću dizajna u Hrvatskoj te nastoji prikazati dizajn ne samo u njegovom oblikovnom i estetskom kontinuitetu, nego i kroz društveni, ekonomski i kulturni kontekst u kojem se razvija. U većini ovih programa sudjeluju mladi autori otvoreni inovativnim i eksperimentalnim promišljanjima, ali i profesionalni dizajneri koji svoje kompetencije koriste u različitim izložbenim projektima formirajući nove hibridne oblike kustosko-dizajnerske prakse. Program je podijeljen u pet programskih linija: Dizajniranje povijesti – historizacija dizajna, Dizajn iz drugog rakursa, Studije slučajeva, Diskurzivni objekti i U prvom licu.

Voditelj galerije je Marko Golub, asistentica voditelja (od kolovoza 2017. do kolovoza 2018.) je Monika Džakić, a članovi Savjeta galerije su Luka Borčić, Andrea Hercog, Zlatko Kapetanović, Maroje Mrduljaš, Sunčica Ostoić i Slaven Tolj.

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CDA gallery — Exhibitions and [d]talks CDA gallery is an exhibition space and a public discussion space intended for design and visual culture, but also for the social context of design, culture and art, which determines all of these practices and provides a framework for their activity. The Gallery promotes contemporary design production, carries out new projects at the intersection of these disciplines, explores historical achievements in design and supports projects involved in establishing design as an ethically responsible discipline. Another important principle of its programme is that it does not depend on an uncritical presentation of existing projects, but it serves as a production platform for the development and implementation of new projects, which is why it can perceived as a kind of a laboratory. Due to the importance of nurturing professional and public discourse on design, the exhibitions are accompanied by discussions, round tables and lectures. CDA gallery does not present “beautiful” objects and it aims to eliminate the stereotypical views of design as an exclusive domain. Within its programme, it points to the unbreakable connection between design and everyday life, to its inherently interdisciplinary nature and it reinvigorates the somewhat neglected Papanekian idea of design as a tool for social change. It is a place where the very concept of design is deconstructed and where we talk about how design creates new relations and hierarchies, how it co-creates society, everyday life, the public sphere etc. An important part of the Gallery’s programme includes the history of design in Croatia and it tries to showcase design not only in its formative and aesthetic continuity, but also through the social, economic and cultural context within which it develops. Most of these programs involve young authors open to innovative and experimental consideration, but also professional designers who use their competencies in various exhibition projects, forming new hybrid forms of curatorial-design practices. The programme is divided into five sections: Designing History – Historicising Design, Design from Another Angle, Case Studies, Discursive Objects and In the First Person.

The Gallery Curator is Marko Golub, the Assistant to the Curator (from August 2017 to August 2018) is Monika Džakić, and members of the Gallery Council are Luka Borčić, Andrea Hercog, Zlatko Kapetanović, Maroje Mrduljaš, Sunčica Ostoić and Slaven Tolj.

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Organizam & UBU: U krugu škole – Zeleni val ∕ Organizam & UBU: In the School Circle – The Green Wave 7. - 22.10.2016.

Život umjetnosti – 50 godina: Kada, kako, s kim i za koga živi umjetnost? ∕ Life of Art – 50 Years: When, How, With Whom and for Whom Art Lives 22.9. – 4.10.2016. organizacija ∕ organisation Hrvatsko dizajnersko društvo, Institut za povijest umjetnosti ⁄ Croatian Designers Association, Institute of Art History kustoski tim ∕ curatorial team Marko Golub, Irena Šimić, Marija Borovičkić, Sanja Horvatinčić, Sandra Križić Roban tekst ∕ essay Maroje Mrduljaš dizajn postava i grafički dizajn ∕ exhibition design and graphic design Studio Bilić_Müller produkcija i organizacija ∕ production and organisation Marko Golub *[d]razgovor ∕ [d]talk (30.9.2016.)

Kada, kako, s kim i za koga živi umjetnost? ∕ Life of Art – 50 Years: When, How, With Whom and for Whom Art Lives (Marko Golub, Ješa Denegri, Ivana Hanaček, Damir Bralić, Sandra Križić Roban) Izložba kojom je obilježeno 50 godina izlaženja časopisa Život umjetnosti osvrnula se s jedne strane na njegovu evoluciju s aspekta grafičkog oblikovanja, a s druge na uređivačke osobitosti i mijene u njegovoj ulozi u kontekstu znanosti o povijesti umjetnosti, arhitekture i urbanizma, dizajna, fotografije, teorije, likovne kritike i same moderne i suvremene umjetničke produkcije. Kronološki prikaz u prostoru sadržavao je najvažnije podatke o strukturi uredništava i promjenama u uređivačkoj koncepciji časopisa od 1966. do danas, čineći svojevrsnu skicu portreta časopisa kroz vrijeme.

The exhibition that marked 50 years of the Life of Art journal looked back on its evolution from the aspect of graphic design on the one hand, and on the other hand on the editorial peculiarities and changes in its role in the context of art history, architecture and urbanism, design, photography, theory, art criticism and modern and contemporary artistic production in itself.

The chronological display in space comprised the most important information on the editorial structure and changes in the editorial concept of the journal since 1966, sketching a sort of a portrait of the journal through time.

organizacija projekta ∕ project organisation UBU – Udruga bivših učenika Škole primijenjene umjetnosti i dizajna – Zagreb ∕ UBU – Association of Former Students of the School of Applied Arts and Design organizacija izložbe ∕ organisation of the exhibition UBU, Hrvatsko dizajnersko društvo ∕ UBU, Croatian Designers Association produkcija ∕ production Organizam (UBU+Sintoment+Babushke+ NM) u suradnji sa ∕ in collaboration with Školom primijenjene umjetnosti i dizajna Zagreb (ŠPUD) ∕ School of Applied Arts and Design, Zagreb voditelji projekta ∕ project managers Bernarda Cesar, Marija Juza, Filip Pintarić stručni suradnici ∕ associates ABS (Ivan Skvrce, Ivica Blažić, Alan Alebić) projektni tim ∕ project team Aleksandra Ajzenhamer, Goran Babić, Jelena Lovrec, Marina Mršić, Neva Zidić asistenti u projektu ∕ project assistants: Vinka Mortigjija Anušić, Margareta Belančić, Tena Bošnjaković, Marko Marendić, Dijana Protić, Valentina Sunek marketing & PR Ivanka Bičak *[d]razgovori ∕ [d]talks (7.10.2016. 11.10.2016. - 12.12.2016. - 17.12.2016.

Goran Babić, Mia Biondić, Marko Golub (moderatori ∕ hosts), HDD, Oaza, Pimp my Pump, Design District, Akupunktura grada∕Adventski kalendar∕ Zagreb za mene (gosti ∕ guest speakers) Izložba je dokumentirala kulturno-umjetnički i edukativni projekt U krugu Škole koji se u nestalnoj dinamici odvija od 2009. na potezu ulica Masarykova-Gundulićeva-Ilica-Frankopanska s ciljem upoznavanja i senzibiliziranja šire javnosti prema značaju Škole primijenjene umjetnosti i dizajna u prostoru i vremenu. Riječ je o jednoj od etapa cjelogodišnjeg istoimenog projekta koji se u galerijskom prostoru spontano izgrađivao i rastao, bez formalnog početka i otvorenja – prema završnoj prezentaciji koja se odvila na zadnji dan izložbe.

The exhibition documented the cultural-artistic and educational project In the School Circle, which has intermittently been taking place since 2009 on the Masarykova-Gundulićeva-IlicaFrankopanska streets, with the aim of introducing and sensitizing the general public to the importance of the School of Applied Arts and Design within space and time. It was one of the stages of a yearlong homonymous project, which was spontaneously built and developed in the Gallery, with no formal beginning or opening – until the final presentation that took place on the last day of the exhibition.

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Jugoslavenski neoavangardni umjetnički časopisi 1960. – 1990. ∕ The Yugoslav Neo-Avant-Garde Artists’ Periodicals 1960. – 1999.

27.10. – 15.11.2016.

Dizajn s feedbackom – OZEHA: Primijenjena umjetnost u službi propagande i publiciteta ∕ Design with Feedback – OZEHA: Applied Arts on the Service of Propaganda and Publicity 22.11. – 8.12.2016

kustosica ∕ curator Ana Radovanović vizualni identitet i dizajn postava izložbe Maja Subotić produkcija i organizacija ∕ production and organisation Marko Golub

kustosi ∕ curators Alira Hrabar Oremović, Slavko Henigsman grafički dizajn ∕ graphic design Alira Hrabar Oremović dizajn postava izložbe ∕ exhibition design Alira Hrabar Oremović, Slavko Henigsman tekstovi ∕ essays Josip Šintić, Igor Lah, Alira Hrabar Oremović produkcija i organizacija ∕ production and organisation Marko Golub

*[d]razgovor ∕ [d]talk (15.11.2016.) Časopisi umjetnika kao samoupravni artefakti ∕ Artists’ Periodicals as Artifacts of Self-Management (Ana Radovanović, Vlado Martek, Darko Šimičić, Dejan Kršić, Jasna Jakšić, Marko Golub) Izložba predstavlja povijesni i dizajnerski pregled umjetničkih časopisa nastalih na teritoriju bivše Jugoslavije u razdoblju od 60-ih do početka 90-ih godina, te donosi analizu konteksta u kojem su nastajali, autora i grupa koje su stajali iza njih, kao i njihove međusobne veze na lokalnoj i međunarodnoj razini. U sklopu projekta i izložbe obrađeno je ukupno 28 časopisa koji se mogu svrstati u kontekst neoavangardne umjetnosti.

The exhibition represents a historical and design overview of artistic periodicals created on the territory of former Yugoslavia in the period between the 1960s and the early 1990s, and it provides an analysis of contexts in which they were created, the artists and groups behind them, and their mutual relationships on the local and international level. A total of 28 periodicals, which can contextually be classified under neo-avant-garde art, were analysed within the project and the exhibition.

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*[d]razgovor ∕ [d]talk (15.11.2016) Dizajnirano u Ozehi ∕ Designed in Ozeha (Petar Šalić, Slavko Henigsman, Vladimir Hinić, Alira Hrabar Oremović, Marko Golub) Izložba predstavlja sažeti presjek djelovanja agencije Ozeha u periodu od 50-ih do kraja 80-ih godina prošloga stoljeća fokusirajući se uglavnom na produkciju u Hrvatskoj. Koncept izložbe temelji se na četiri poglavlja. U poglavlju Ozeha – više od full service agencije razmatra se ustroj agencije unutar njenog formativnog razdoblja od 1945. do 1965. godine, njen utjecaj na kulturu komercijalnog oglašavanja i začetak oblikovanja marketinške struke obrađuje poglavlje Promjena klime – pogled na zapad, poglavlje Arheologija dizajna pruža uvid u tadašnje radno okruženje dizajnera koji su 70-ih bili dio Ozehinog Kreativnog odjela, dok su dugogodišnje suradnje agencije s tada priznatim dizajnerima prikazane unutar posljednjeg poglavlja Ozehina orbita.

The exhibition is a summarised review of Ozeha’s activity in the period from the 1950s to the end of 1980s, with the main focus on its production in Croatia. The exhibition is conceived into four chapters. The chapter Ozeha – More than a Full Service Agency deals with the structure of the agency within its formative era from 1945 to 1965, its influence on the commercial advertising culture and the beginning of the marketing profession is discussed in the chapter Climate Change - West View, the chapter Archaeology of Design provides an insight into the working environment of designers who were a part of Ozeha’s Creative Department in the 1970s, whereas the agency’s long-time collaborations with the then-recognised designers are shown within the last chapter, Ozeha’s Orbit.

activities organised by croatian designers association

Informacija: Dizajn za kulturu Željka Borčića 70-ih i 80-ih ∕ Information: Design for Culture by Željko Borčić in the 1970’s and 1980’s 16.12.2016. – 16.1.2017.

Dizajn u praksi 1.0 – Izložba prototipova ∕ Practicing Design 1.0 – Exhibition of Prototypes 20.1. – 7.2.2017.

koncepcija izložbe ∕ exhibition concept Marko Golub kustosi ∕ curators Marko Golub, Goran Martin Štimac tekstovi ∕ essays Marko Golub, Dejan Kršić suradnici ∕ associates Ian Borčić, Luka Borčić, Dejan Kršić grafički dizajn ∕ graphic design Damir Bralić, Lana Grahek produkcija i organizacija ∕ production and organisation Marko Golub video Work-in-Progress - Video dokument o Željku Borčiću ∕ Work-in-Progress – Video Document about Željko Borčić (režija ∕ director Marko Golub; snimatelj i montažer ∕ camera and video editing Miran Krčadinac)

organizacijski tim izložbe ∕ organisation team Ivana Borovnjak, Marko Golub, Ksenija Žakula grafički dizajn ∕ graphic design Niko Mihaljević dizajn postava ∕ exhibition design Ivan Goran Žunar, Lea Jurin, Elizabeta Bošnjak, Janja Roškar, Vlatka Blakšić

Retrospektiva grafičkog dizajnera Željka Borčića (1942. – 2015.), fokusirana na njegov rad u sferi kulture tijekom 70-ih i 80-ih godina prošlog stoljeća, podjednako u svojstvu dizajnera i umjetnika – sudionika tzv. nove umjetničke prakse 70-ih, a zatim i profiliranog autora u području umjetničke fotografije. Iako je Borčić kao autor ostavio snažan biljeg na sceni i u drugim područjima, posebno dizajna ambalaže, vizualnih identiteta i tržišnog oglašavanja, izložba je bila posvećena segmentu rada vezanom za klijente kao što su Teatar &TD, Galerija Studentskog centra, Studentski list, ali i nekolicini njegovih ključnih konceptualnih umjetničkih projekata među kojima središnje mjesto zauzima Prvi svjetski psihokibernetički superautoportret.

Izložba prototipova dizajnerskih proizvoda nastalih u sklopu projekta Dizajn u praksi.

Više na stranici 444.

An exhibition of prototypes of designer products created within the project Design in Practice. More on page 444.

A retrospective of the graphic designer Željko Borčić (1942 – 2015), focusing on his work in the field of culture during the 1970s and 1980s, both in the status of a designer and as an artist – a participant of the so-called new artistic practice of the ‘70s, and later a well-established art photographer. Even though, as a designer, Borčić left a strong impact on the scene and in other areas, especially in packaging design, visual identity and marketing, the exhibition was dedicated to his work for clients such as Teatar &TD, Student Centre Gallery, Studentski list, and also some of his key conceptual artistic projects, among which the World’s First Psycho-Cybernetic Super Self-portrait is the core project.

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Krivotvorine, dezinformacije i smrznute slike – Dizajn Dalibora Martinisa 70-ih i 80-ih ∕ Counterfeits, Misinformation and Frozen Images – Design by Dalibor Martini sin the 1970’s and 1980’s 23.2. – 11.3.2017. kustosi ∕ curators Marko Golub, Dejan Kršić grafički dizajn ∕ graphic design Dejan Kršić postav izložbe ∕ exhibition design Marko Golub tekstovi ∕ essays Marko Golub, Dejan Kršić produkcija i organizacija ∕ production and organisation Marko Golub *[d]razgovor ∕ [d]talk (7.3.2016.)

Dalibor Martinis, Dejan Kršić, Marko Golub Retrospektivni pregled dizajnerskog rada jednog od najznačajnijih hrvatskih konceptualnih i medijskih umjetnika, Dalibora Martinisa. Riječ je većinom o izložbenim plakatima realiziranima u kontinuitetu od ranih 70-ih do kasnih 80-ih godina za Galeriju suvremene umjetnosti (današnji MSU) u Zagrebu, filmskim plakatima za autore kao što su Rajko Grlić i Lordan Zafranović, ali i televizijskim grafikama (telopima) za Radioteleviziju Zagreb 70-ih dizajniranima u suradnji sa Sanjom Iveković.

A retrospective review of the design work of one of the Croatian most significant conceptual and media artists, Dalibor Martinis. It mainly involves exhibition posters continually created from the early 1970s to the late 1980s for the Gallery of Contemporary Art (today Museum of Contemporary Art) in Zagreb, movie posters for filmmakers such as Rajko Grlić and Lordan Zafranović, but also television graphics (telops) for Croatian Radiotelevision in the ‘70s, designed in collaboration with Sanja Iveković.

430 pregled hrvatskog dizajna

This Town Needs Posters 16.3. – 31.3.2017. autori izložbe ∕ exhibition concept Sven Sorić, Hrvoje Spudić grafički dizajn ∕ graphic design Lana Grahek postav izložbe ∕ exhibition design Sven Sorić, Hrvoje Spudić, Marko Golub tekstovi ∕ essays Marko Golub, Bojan Krištofić produkcija i organizacija ∕ production and organisation Marko Golub *[d]razgovor ∕ [d]talk (28.3.2016.)

Tko treba plakate? ∕ Who Needs Posters?

(Sven Sorić, Hrvoje Spudić, Marko Golub) Izložba je predstavila pregled dosadašnjeg djelovanja istoimenog autorskog tandema This Town Needs Posters. TTNP kontinuirani je projekt, ali i teza djelovanja istoimenog dvočlanog tima posvećenog analognim i manualnim tehnikama tiska. Tehnički ograničeni na male naklade, na jednostavan i čist grafički jezik, najbliže suradnike i naručioce nalaze upravo na prostoru nezavisne kulture. Počevši s koncertnim plakatom, koji je i dalje njihov najučestaliji medij, angažman se proširio na plakate za eksperimentalne filmove, naslovnice i pakiranja nosača zvuka, suradnje s drugim dizajnerima te na nekolicinu samoiniciranih projekata.

The exhibition presented a review of the work created so far by the homonymous tandem This Town Needs Posters. TTNP is a continuous project, but also the action thesis of the homonymous duo dedicated to analogue and manual printing techniques. Technically limited to small editions, to a simple and clean graphic language, they find their closest collaborators and customers right in the area of independent culture. Starting with the concert poster, which is still their most common medium, their work has spread to posters for experimental movies, disc covers and packagings, cooperation with other designers and a number of self-initiated projects.

activities organised by croatian designers association

Izložba radova natječaja za vizualni identitet Turističke zajednice Dubrovačko-neretvanske županije ∕ Exhibition of Works in Competition for the Visual Identity of the DubrovnikNeretva County 4.5. – 6.5.2017. voditelj natječaja ∕ competition manager Damir Bralić postav izložbe ∕ exhibition design Damir Bralić, Marko Golub produkcija i organizacija ∕ production and organisation Marko Golub [d]razgovor ∕ [d]talk (4.5.2018.)

Iva Babaja, Damir Bralić, Ivana Borovnjak, Izvorka Jurić, Maša Milovac, Mirna Ptiček S obzirom na sve veći angažman HDD-a u organiziranju i provođenju javnih natječaja, a s ciljem njihovog što transparentnijeg provođenja i žiriranja, HDD je organizirao izložbu svih pristiglih natječajnih radova vizualnog identiteta Turističke zajednice Dubrovačko-neretvanske županije. Izložba je bila i povod za raspravu i razmjenu iskustava iz pozicija voditelja natječaja, sudionika, prošlih i sadašnjih vodstava HDD-a s ciljem definiranja jasnih strategija i politika u ovom vrlo živom segmentu HDDovog djelovanja. Više na stranici 431.

Due to HDD’s growing involvement in the organisation and implementation of public tenders, and with the aim of creating a more transparent implementation and judging process, HDD organised an exhibition of all the works submitted in the competition for the visual identity of the Dubrovnik-Neretva County. The exhibition was also an occasion for discussion and exchange of experiences from the position of the competition organizers, contestants and past and present HDD leadership boards, in order to define clear strategies and policies in this very lively segment of HDD’s activity. More on page 431.

D(r)ugo sjećanje ∕ The Other Memory 14. – 25.4.2017. kustosi ∕ curators Barbara Blasin, Marko Golub, Aneta Lalić dizajneri i umjetnici ∕ designers and artists Ivan Benussi, Damir Bralić & Aleksandar Kovač, Katarina Duda, Damir Gamulin, Ante Filipović Grčić, Igor Grubić, Mirko Ilić, Sanja Iveković, David Kabalin, Zlatko Kopljar, Dejan Kršić, Boris Ljubičić, Tonka Maleković, MAZ, Niko Mihaljević, Petra Milički, Negra Nigoević, Matija Raos, Vladimir Straža, studio Božesačuvaj (Albino Uršić, Boris Kuk), Saša Šimpraga, Nedjeljko Špoljar, Trio Sarajevo (Bojan Hadžihalilović, Dalida Hadžihalilović, Lejla Mulabegović Hatt), Katarina Zlatec, Željko Zorica tekstovi ∕ essays Marko Golub, Sandra Uskoković grafički dizajn ∕ graphic design Barbara Blasin produkcija i organizacija ∕ production and organisation Marko Golub Izložba je predstavila dizajnerske, ali i umjetničke radove koji tematiziraju kulturu sjećanja, odnos prema civilnim žrtvama ratova, antifašizmu i povijesti ratnog nasilja. Dizajn i umjetnost ovdje su izravno dovedeni u vezu s etičkim odnosno načelnim pitanjem kako se sjećamo i kako shvaćamo našu modernu povijest, konkretno što nam znače: holokaust, genocid, civilne žrtve rata, ideološki protivnici, Drugi svjetski rat, rat na području bivše Jugoslavije devedesetih te odnos kolektivnog i individualnog identiteta.

The exhibition presented design as well as artistic works that thematise the culture of memory, the treatment of civil war victims, antifascism and the history of war violence. The design and art are directly related to the ethical, i.e. principal question of how we remember and understand our modern history, namely the significance of the holocaust, genocide, civil war victims, ideological opponents, World War II, war in former Yugoslavia in the nineties and the relationship between collective and individual identity.

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Louvre u Zagrebu ∕ Louvre in Zagreb 11. – 26.5.2017. autori izložbe i postava ∕ exhibition concept and design Sandro Dujmenović i Marko Hrastovec grafički dizajn ∕ graphic design Sandro Dujmenović, Marko Hrastovec, Dream On tekstovi ∕ essays Marko Golub i Marko Hrastovec produkcija i organizacija ∕ production and organisation Marko Golub *[d]razgovor ∕ [d]talk (26.5.2017.)

Marko Hrastovec, Sandro Dujmenović, Marko Golub Detaljan izložbeni prikaz dizajna i razvoja sustava tipografskih pisama Louvre Serif i Louvre Sans koje je ovaj hrvatski dizajnerski dvojac oblikovao kao nova ekskluzivna službena tipografska pisma za pariški muzej Louvre, najslavniju muzejsku instituciju u svijetu.

Dizajnirani u razdoblju od 2014. do 2015. godine, ovi fontovi su već sad u službenoj upotrebi i Louvre ima ugovor za njihovo korištenje u sljedećih 5 godina.

A detailed exhibition of the design and development of Louvre Serif and Louvre Sans typeface letters that this Croatian designer duo created as new, exclusive official typeface letters for the Parisian museum Louvre, the most famous museum institution in the world.

Designed in the period from 2014 to 2015, these fonts are already officially in use and the Louvre has a contract for their usage over the next 5 years.

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Tink Things – Dizajn i senzorna inteligencija ∕ Design and Sensory Intelligence 2.6. – 20.6.2017. autorica izložbe i postava ∕ concept and exhibition design Dorja Benussi grafički dizajn ∕ graphic design Ivan Benussi tekst ∕ essay Marko Golub, Dorja Benussi mentori ∕ mentors Mladen Orešić, Ivana Fabrio, Rea Fulgosi-Masnjak produkcija i organizacija ∕ production and organisation Marko Golub *[d]razgovor ∕ [d]talk (19.6.2017.)

Dizajn i senzorna inteligencija ∕ Design and Sensory Intelligence (Dorja Benussi, Mladen Orešić, Marko Golub) Temeljito predstavljanje istoimenog projekta i serije proizvoda, uz uvid u izuzetno važnu temu uloge dizajna u razvoju djece na području senzorne inteligencije. Izložba je bila prije svega didaktičke prirode – nije prikazivala samo namještaj, odnosno dizajnerske predmete već ovjenčane s nekoliko važnih strukovnih nagrada, već je funkcionirala kao ambijent za učenje o problematici dizajna za djecu u kontekstu senzorne inteligencije, jasno prikazujući čitav projekt iznutra, u svim njegovim konceptualnim, istraživačkim, procesualnim i produkcijskim aspektima koji nisu uvijek vidljivi na površini.

A thorough representation of the project and the homonymous product series with an insight into an extremely important role of design in children’s development in the field of sensory intelligence. The exhibition was primarily of a didactic character – it did not only display furniture, i.e. designer pieces holding several important industry awards, but it also functioned as an environment for learning about the problematics of design for children in the context of sensory intelligence, clearly showing the entire project from within, in all its conceptual, research, process and production aspects, which are not always visible on the surface.

activities organised by croatian designers association

Utopijski kolektiv ∕ Utopian Collective 27.6. – 6.7.2017.

Dock Culture 12. – 22.7.2017.

kustosica ∕ curator Maša Milovac dizajneri ∕ designers Maja Čule, Hrvoje Hiršl, Maja Kolar, Maša Poljanec, Oleg Šuran, Mauro Massarotto, Mauricio Ferlin i Hrvoje Živčić produkcijski tim projekta ∕ production team of the project Martina Granić, Morana Matković, Jan Pavlović produkcija i organizacija ∕ production and organisation Marko Golub

autorica izložbe, dizajna i izložbenog postava ∕ concept, exhibition design, graphic design Bojana Vuksanović maketa doka ∕ dock model Hrvoje Spudić produkcija i organizacija ∕ production and organisation Marko Golub

*[d]razgovor ∕ [d]talk (27.6.2017.)

Maja Čule, Hrvoje Hiršl, Maja Kolar, Maša Poljanec, Oleg Šuran, Mauro Massarotto, Mauricio Ferlin, Hrvoje Živčić, Marko Golub Zagrebački postav izložbe Utopijski kolektiv kojom se Hrvatska 2016. godine, u organizaciji HDD-a i Ministarstva kulture RH, predstavila na premijernom izdanju Londonskog bijenala dizajna. Detaljnije na stranici 442.

The Zagreb edition of the Utopian Collective exhibition that Croatia, in the organisation by HDD and the Croatian Ministry of Culture, presented at the inaugural 2016 London Design Biennale. More on page 442.

*[d]razgovor ∕ [d]talk (27.6.2017.)

Bojana Vuksanović, Marko Golub Izložbeno predstavljanje istoimenog projekta i inicijative arhitektice Bojane Vuksanović, usmjerenog očuvanju plutajućeg Doka 9 (originalno Doka F), jedinog preostalog objekta ove vrste iz austrougarskog vremena u svijetu, a trenutno lociranog u Cresu. Idejni projekt predlaže očuvanje objekta kao povijesnog industrijskog artefakta, integraciju objekta, putem niza aspekata, u kulturnu, društvenu i urbanu scenu te pretvaranje objekta u novu kulturnu platformu.

An exhibition of the homonymous project and initiative by architect Bojana Vuksanović, aimed at preserving the floating Dock 9 (originally Dock F), the only remaining object of this kind in the world dating from the Austro-Hungarian era, currently located in Cres. The preliminary project proposes the preservation of the object as a historic industrial artefact, its integration through a series of aspects into a cultural, social and urban scene and its transformation into a new cultural platform.

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Davor Grünwald – Retrorama industrijskog dizajna 1968. – 2008. ∕ Retrorama of Industrial Design 1968 - 2008 13.9. – 3.10.2017. kustosi ∕ curators Marko Golub i Koraljka Vlajo autori izložbenog postava ∕ exhibition design Marko Golub, Koraljka Vlajo, Barbara Blasin grafički dizajn ∕ graphic design Barbara Blasin produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić video Artefakti retrorame industrijskog dizajna ∕ Artefacts of the Retrorama of Industrial Design (režija ∕ director Marko Golub; snimatelj i montažer ∕ camera and video editing Miran Krčadinac) Retrospektivni pregled autorskog djelovanja dizajnera starije generacije čiji radovi su nastali ranih sedamdesetih godina za tvrtke poput Tvornice računskih strojeva (TRS), Prvomajske, Jadrana i Tvornice vaga i tkalačkih strojeva (TTM), te imaju značajno mjesto u povijesti hrvatskog industrijskog dizajna. Također, izložba je dala i uvid u više od trideset godina njegove daljnje dizajnerske karijere u Kanadi, kao i aktivnosti u sklopu strukovnih organizacija.

A retrospective review of the work of a designer of the older generation, whose works were created in the early seventies for companies such as Tvornica računskih strojeva (TRS), Prvomajska, Jadran and Tvornica vaga i tkalačkih strojeva (TTM), and which hold an important position in the history of Croatian industrial design. The exhibition also provided an insight into more than thirty years of his design career continued in Canada, along with his activities within professional organisations.

434 pregled hrvatskog dizajna

Politika emocija – Dizajn indie videoigara ∕ Emotion Politics – Design of Indie Videogames 18.10. – 28.10.2017. kustos ∕ curator Srđan Laterza postav izložbe ∕ exhibition design Marko Golub, Monika Džakić tekst ∕ essay Srđan Laterza grafički dizajn ∕ graphic design Monika Džakić produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (30.10.2017.)

Dokumente, molim! Videoigre i stvarni svijet ∕ Documents, Please! Videogames and the Real World (Srđan Laterza, Andrej Kovačević, Marko Golub) Prva izložba u HDD-u isključivo posvećena dizajnu videoigara bila je fokusirana na međunarodne autore i studije koji djeluju iz nezavisne pozicije te na recentnije primjere videoigara koje dekonstruiraju etablirane žanrove, autorefleksivno propituju konvencije korisničkog iskustva i interakcije u igrama i kritički adresiraju društvene teme.

The first HDD exhibition exclusively dedicated to the design of video games was focused on international designers and studios that work independently, and on the more recent examples of video games that deconstruct established genres, self-reflectively questioning user experience conventions and interactions in the games, while critically addressing social topics.

activities organised by croatian designers association

Grupa – Anatomija dizajna: Baluna ∕ Anatomy of Design: Baluna 15.12.2017. – 12.1.2018.

Damir Gamulin – Dizajnom, izvan dizajna ∕

By Design, Outside of Design 10.11. – 1.12.2017. kustos ∕ curator Marko Golub koncepcija i izložbeni postav ∕ concept and exhibition design Marko Golub, Damir Gamulin grafički dizajn ∕ graphic design Damir Gamulin tekstovi ∕ essays Marko Golub produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (8.12.2017) Dizajnerske taktike Damira Gamulina ∕ Design Tactics by Damir Gamulin (Damir Gamulin, Marko Golub) Tematski pregled Gamulinovih dizajnerskih radova od ranih 2000-ih do 2017. u rasponu od publikacija, plakata, vizualnih identiteta, preko signalizacije i izložbenih postava do složenih projekata prostorne tematike realiziranih unutar interdisciplinarnih autorskih timova. Odabrani projekti uvjerljivo svjedoče o tome kako dizajner samosvjesno iščitava temu, iznova je artikulira na visoko konceptualan, racionalan i informiran način te je interpretira koristeći sva sredstva i instrumente koji su mu na raspolaganju, uključujući i one koji možda još ne postoje, ali projekt zavređuje da se zbog njega razviju.

A thematic review of Gamulin’s design works from the early 2000s to 2017, ranging from publications, posters, visual identities, signage and exhibition design, to complex spatial projects created within interdisciplinary teams. The selected projects convincingly testify how the designer confidently re-reads the subject and rearticulates it in a highly conceptual, rational and informed manner and interprets it using all the tools and instruments available to him, including those that may not yet exist, but the project deserves to have them developed.

kustos ∕ curator Marko Golub asistentica kustosa ∕ curatorial assistant Monika Džakić dizajn postava ∕ exhibition design Grupa grafički dizajn ∕ graphic design Bunch produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (21.12.2017.)

Filip Despot, Ivana Pavić, Tihana Taraba, Marko Pavlović, Marko Golub Detaljno izložbeno predstavljanje evolucije Grupinog najnovijeg proizvoda Baluna, procesa njegova nastanka, bitnim dizajnerskim odlukama koje su ga oblikovale te stvarima koje je dizajnerski studio naučio iz njega, kao i iz svojih prijašnjih projekata. Prikazana je temeljita analiza elemenata proizvoda Baluna, s rekonstruiranom kronologijom i topografijom njenog nastanka, označavajući mjesta na kojima su donesene određene odluke, gdje su projektirane, proizvedene ili testirane određene komponente, ili mjesta gdje je izlagana.

A detailed exhibition of the evolution of Grupa’s latest product, Baluna, the process of its creation, important design decisions that shaped it and the things that the design studio learned from it, as well as from its former projects. A thorough analysis of Baluna’s elements as a product was shown, with a reconstructed chronology and topography of its creation, marking the places where certain decisions were made, where certain components were designed, produced or tested, or places where the product was displayed.

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Boris Ljubičić – Jednina množine: Simbol, znak, logo, brend ∕ Singular of Plural: Symbol, Sign, Logo, Brand 25.1. – 6.2.2018. kustos ∕ curator Marko Golub grafički dizajn ∕ graphic design Boris Ljubičić, Monika Džakić produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (2.2.2018.)

Boris Ljubičić, Marko Golub

kustos ∕ curator Marko Golub tekstovi ∕ essays Damir Bralić, Marko Golub grafički dizajn ∕ graphic design Niko Mihaljević fotografije ∕ photography Borko Vukosav produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (22.2.2018.)

Lana Grahek, Sven Sorić, Marko Golub

Izložbeni pregled dizajnerskog rada Borisa Ljubičića u području dizajna zaštitnih znakova i logotipa najrazličitijih institucija, tvrtki, manifestacija i proizvoda u vremenskom rasponu od 1970. do danas, uključujući one za VIII. Mediteranske igre u Splitu 1979., Svjetsko prvenstvo u atletici u Splitu 1990., brend YASSA, Labud, Muzički bijenale Zagreb, HRT, Zagrebački velesajam, Hrvatsku turističku zajednicu te brojne druge. Na izložbi je predstavljeno oko 250 radova, od kojih su 24 rada posebno izdvojena te su prikazani koncepti i priče koji stoje iza njih.

An exhibition reviewing Boris Ljubičić’s design work in the field of designing trademarks and logos for various institutions, companies, events and products in the time span from 1970 to date, including the ones for the VIII Mediterranean Games in Split in 1979, the 1990 European Athletics Championship in Split, the brand YASSA, Labud, the Music Biennale Zagreb, HRT, the Zagreb Fair, the Croatian Tourist Board and many more. Around 250 works were exhibited, 24 of which were singled out, with the background concepts and stories presented .

436 pregled hrvatskog dizajna

Lana Grahek u Društvu dizajnera ∕ Lana Grahek at the Designers’ Association (9.2. – 22.2.2018.)

Izložba Lane Grahek, jedne od najproduktivnijih i najzanimljivijih hrvatskih grafičkih dizajnerica mlađe generacije predstavlja svojevrsni presjek profesionalnog djelovanja autorice, samostalno i u suradnjama. Izložba je zamišljena kao pregled radova autorice, nastalih tijekom posljednjih pet godina, a glavnina ih je vezana za njenu višegodišnju suradnju s Kulturom promjene Studentskog centra, na programima Teatra &TD, MM centra SC-a, Francuskog paviljona te na pojedinačnim projektima KP-a poput Ganz novog festivala i Velesajma kulture.

The exhibition of Lana Grahek, one of the most productive and interesting Croatian graphic designers of the younger generation, is a kind of an overview of the designer's professional work, both independent and collaborative. The exhibition was conceived as a showcase for the designer's works, created over the past five years, most of them tied to her long-standing collaboration with the Culture of Change of the Student Centre, Teatar &TD’s programmes, the MM Centre of the SC, the French Pavilion, and on individual KP projects, such as the Ganz New Festival and the Fair of Culture.

activities organised by croatian designers association

Kombinat – Kratka povijest stranputica ∕ A Brief History of Sidetracks 2.3. – 16.3.2018. koncepcija izložbe ∕ exhibition concept Kreativni kolektiv Kombinat ∕ Creative Collective Kombinat produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (16.3.2018.)

Lea Jurin, Leo Kirinčić, Marin Nižić, Marko Golub Izložba predstavlja četverogodišnji rad Kolektiva kroz deset različitih projekata u rasponu od dizajna vizualnih identiteta, preko gerilskih kampanja do multimedijskih događanja, ali kroz prizmu pogrešaka i prepreka promatranih i interpretiranih kao neodvojivi dio priče o tim projektima i neizbježan dio kreativnog procesa. Kreativni kolektiv Kombinat je skupina mladih nezavisnih profesionalaca koji osmišljavaju i provode projekte na području kreativnih industrija. Djeluju na komunikacijskom (vizualna i tekstualna rješenja te odnosi s javnošću), umjetničkom i organizacijskom polju. Peer-topeer razmjenom znanja i vještina Kombinat ujedno služi kao platforma mladim budućim profesionalcima. Na taj način, osim produkcije kreativnih rješenja, podržavaju i razvoj lokalne zajednice.

Boris Greiner – Sad Up Sad Down 22.3. – 9.4.2018. kustos ∕ curator Marko Golub asistentica kustosa ∕ curatorial assistant Monika Džakić grafički dizajn ∕ graphic design Boris Greiner *[d]razgovor ∕ [d]talk (9.4.2018.)

Boris Greiner, Marko Golub Na izložbi je predstavljena serija od 24 plakata pod nazivom Sad Up Sad Down i istoimeni časopis tiskan u nakladi od 200 primjeraka, a riječ je o osobnom autorskom projektu koji u integralnu cjelinu povezuje izražajne mogućnosti dviju djelatnosti kojima se Greiner danas dominantno bavi – grafičkog oblikovanja i pisanja.

The exhibition presented a series of 24 posters entitled Sad Up Sad Down and a 200-copy magazine edition of the same name, a personal project creating an integral unit by linking the expressive possibilities of the two activities that Greiner is predominantly engaged in – graphic design and writing.

The exhibition represents Kombinat’s four-year work across ten different projects ranging from visual identity design and guerrilla campaigns to multimedia events, but through a prism of mistakes and obstacles observed and interpreted as an inseparable part of the story about those projects and an inevitable part of the creative process. The creative collective Kombinat is a group of young independent professionals that design and implement projects in the field of creative industries. Their field of work is communicative (visual and textual solutions and public relations), artistic and organisational. Due to peer-to-peer knowledge and skills exchange, Kombinat is also a platform for young future professionals. In this way, apart from producing creative solutions, they support the development of the local community.

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Treći primjer sa Studija dizajna – Rešetke nisu prepreke ∕ The Third Example from the School of Design – Bars Are not Barriers 17.4. – 4.5.2018.

Sanja Iveković – Dvostruki život: Dizajn, umjetnost, aktivizam ∕ Double Life: Design, Art, Activism 10.5. – 1.6.2018.

organizatori projekta ∕ project organisers RODA – Roditelji u akciji i Studij dizajna Arhitektonskog fakulteta Sveučilišta u Zagrebu ∕ RODA – Parents in Action; School of Design, Faculty of Architecture, University of Zagreb koncepcija izložbe ∕ exhibition concept Andrea Hercog dizajn postava ∕ exhibition design Ivana Hrabar, Ivana Bačanek, Andrea Hercog grafički dizajn ∕ graphic design Ivana Hrabar, Ivana Bačanek fotografije ∕ photography Domagoj Kunić, Ivana Zanze, Ivana Fabrio inicijator ciklusa Primjeri sa Studija dizajna ∕ Example from the School of Design exhibition cycle initiator Marko Golub produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić

kustosi ∕ curators Marko Golub & Dejan Kršić asistentica kustosa ∕ curatorial assistant Monika Džakić tekstovi ∕ essays Marko Golub, Dejan Kršić grafički dizajn ∕ graphic design Dejan Kršić

*[d]razgovor ∕ [d]talk (4.5.2018.)

Sanja Bencetić, Ivana Fabrio, Andrea Hercog, Izvorka Jurić, Maša Milovac Izložba je predstavila istoimeni projekt koji su 2015. godine pokrenuli Udruga Roda i Studij dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu, koji je adresirao probleme roditeljazatvorenika, odnosno djece čiji se roditelji nalaze u nekima od hrvatskih zatvora i kaznionica. Baziran na metodama participativnog dizajna, projekt je imao za cilj razviti održivi model financiranja njihovih susreta, a dosad su u sklopu njega realizirane dvije radionice na kojima su sudjelovali studenti Studija dizajna, njihovi mentori i zatvorenici.

*[d]razgovor ∕ [d]talk (29.5.2018) Sanja Iveković, Dejan Kršić, Marko Golub Izložba je po prvi put na jednom mjestu predstavila pregled grafičkog dizajna Sanje Iveković, jedne od najistaknutijih hrvatskih suvremenih umjetnica čiji je rad izlagan u nekima od najprestižnijih svjetskih umjetničkih institucija.

Radovi Sanje Iveković prikazani na ovoj izložbi sežu od oblikovanja knjiga, preko dizajna plakata i vizualnih identiteta, do televizijskih grafika, a nastajali su od početka 70-ih do kraja 90-ih godina. Osim dizajna, izložba se osvrnula i na nekoliko umjetničkih projekata u kojima upravo dizajn igra važnu ulogu.

For the first time, this exhibition presented a review of Sanja Iveković’s graphic design in one place. She is one of the most prominent Croatian artists whose work has been exhibited in some of the world’s most prestigious artistic institutions. Sanja Iveković’s works presented at this exhibition range from book designs, posters and visual identities to television graphics, and they were created in the period from the beginning of ‘70s to the end of ‘90s. Apart from design itself, the exhibition also looked at several artistic projects where design plays an important role.

The exhibition presented the homonymous project initiated in 2015 by the Roda Association and the School of Design of the Faculty of Architecture of the University of Zagreb, which addressed the problems of parents-prisoners or children whose parents are in custody of some of Croatian prisons and detention facilities.

Based on the methods of participative design, the project aimed at developing a sustainable financing model for their meetings, and so far, two workshops have been organized involving design students, their mentors and prisoners.

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Baggizmo 2015.– ∕ Making of 6.6. – 26.6.2018. koncepcija izložbe ∕ exhibition concept Izvorka Jurić i Kristina Volf tekst ∕ essay Koraljka Vlajo & Marko Golub produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić *[d]razgovor ∕ [d]talk (19.6.2018) Dizajn, crowdfunding i nosiva tehnologija ∕ Design, Crowdfunding and Wearable Tech (Izvorka Jurić, Ladislav Jurić, Kristina Volf, Koraljka Vlajo, Marko Golub) Izložba je detaljno predstavila projekt Baggizmo od prvih ideja, izvedbe prototipa, ulaska u neizvjesnu crowdfunding kampanju, do testiranja proizvoda, masovne proizvodnje, distribucije i nastavka rada na unapređenju budućih verzija, ali je i dala uvid u tekući proces iza nasljednika prvog Baggizmo proizvoda, pametnog novčanika Baggizmo Wiseward.

The exhibition provided a detailed representation of the Baggizmo project from the initial idea, the prototype design, and the launching of an uncertain crowdfunding campaign, to the products testing, mass production, distribution and continuation of work on improving future versions, but it also provided an insight into the current process behind the successor to the first Baggizmo product, the smart wallet Baggizmo Wiseward.

Kako raditi s predmetima – Zadaci u dizajnerskoj edukaciji ∕ How to Do Things with Objects – Assignments in Design Education 13.7. – 10.8.2018. koncepcija izložbe ∕ exhibition concept Nina Paim & Emilia Bergmark koordinacija ∕ co-ordination Dorja Horvatić, Karla Paliska, Morana Matković, Petra Milički, Marko Golub, Monika Džakić Izvorno prikazana u sklopu festivala Plan D 2017, izložba je prearanžirana i postavljena u HDD-u u ljeto 2018. kao najava narednog izdanja festivala. Izložba se bavila metodologijom dizajnerske edukacije, fokusirajući se na praktične verbalne zadatke kao važan alat u obrazovanju dizajnera.

Originally held as part of the 2017 Plan D Festival, the exhibition was rearranged and displayed in HDD in the summer of 2018 as an announcement for the festival’s next edition.

The exhibition covered the methodology of designer education, focusing on the practical verbal assignments as an important tool in designer education.

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Tko radi scenu? Dizajn za nezavisnu glazbu u Hrvatskoj 2011. – 2018. ∕ Who makes the scene? Design for Independent Music in Croatia 2011 - 2018 11. – 25.9.2018. kustosi ∕ curators Bojan Krištofić i Sven Sorić grafički dizajn ∕ graphic design Lana Grahek produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić Izložba je bila fokusirana na najbolje i najreprezentativnije primjere dizajna i ilustracije za nezavisnu glazbenu scenu u razdoblju od posljednjih sedam godina te je obuhvatila radove četrdesetak autorica i autora koji su oblikovali plakate, omote, promotivne materijale i druge predmete i vizuale koji idu rame uz rame s glazbom.

The exhibition focused on the best and most representative examples of design and illustrations for the independent music scene in the last seven years, and it included works by some forty designers who designed posters, packagings, promotional materials and other objects and visuals that go hand in hand with music.

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Projekti, događanja i suradničke aktivnosti, rujan 2016. – rujan 2018. ∕ Projects, events and collaborative activities, September 2016 – September 2018

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Izložba hrvatskog dizajna 1516 ∕ Exhibition of Croatian Design 1516 Muzej za umjetnost i obrt ∕ Museum of Arts and Crafts, Zagreb Izložbeni salon Izidor Kršnjavi ∕ Exhibition Salon Izidor Kršnjavi, Zagreb 13.9. – 16.10.2016. organizacijski tim ∕ organizational team Mirjana Jakušić, Marko Golub, Karla Paliska, Tvrtko Bojić, Ksenija Žakula partneri projekta ∕ project partners Muzej za umjetnost i obrt; Škola primijenjene umjetnosti i dizajna, Zagreb ∕ Museum of Arts and Crafts; School of Applied Arts and Design, Zagreb međunarodni ocjenjivački sud ∕ international jury Iva Babaja, Andrej Filetin, Marko Golub, Silva Kalčić, Gjuro Korać, Blasius Osko, Oliver Deichmann, Mladen Orešić, Jean François Porchez, Koraljka Vlajo vizualni identitet ∕ visual identity Nikola Đurek & Marija Juza dizajn postava izložbe ∕ exhibition design Ruđer Novak-Mikulić, Marija Ružić + Karla Paliska, Tvrtko Bojić Deveto izdanje izložbe, koju Hrvatsko dizajnersko društvo organizira od 1999. godine, obuhvatilo je 213 radova (169 profesionalnih i 44 studentskih) u osam kategorija: Dizajn vizualnih komunikacija, Dizajn u digitalnim medijima/ dizajn interakcija, Dizajn ambalaže, Industrijski /produkt dizajn, Prostorne i grafički intervencije i sistemi, Modni i odjevni dizajn, Cjeloviti projekt/proizvod i Koncept/inicijativa/kritički dizajn. Nagrada HDD-a za životno djelo posthumno je dodijeljena Željku Borčiću, dok je Velika nagrada HDD-a dodijeljena projektu Dizajn Distrikt Zagreb.

The ninth edition of the exhibition organised by the Croatian Designers Association since 1999 comprised 213 works (169 professional and 44 student) in eight categories: Visual communications design, Digital media design/Interaction design, Packaging design, Industrial/product design, Spatial and graphic interventions and systems, Fashion and clothing design, Integral project/product, and Concept/initiative/ critical design. The HDD Lifetime Achievement Award was posthumously awarded to Željko Borčić, and the HDD Grand Prix was awarded to Design District’s project.

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Utopijski kolektiv ∕ Utopian Collective Londonski bijenale dizajna ∕ London Design Biennial Somerset House, London 7. – 27.9.2016 kustosica ∕ curator Maša Milovac dizajneri ∕ designers Maja Čule, Hrvoje Hiršl, Maja Kolar, Maša Poljanec, Oleg Šuran, Mauro Massarotto, Mauricio Ferlin i Hrvoje Živčić produkcijski tim projekta ∕ production team of the project Martina Granić, Morana Matković, Jan Pavlović Kustoski koncept Maše Milovac i tima suradnika naslovljen Utopijski kolektiv odabran za predstavljanje Hrvatske na Londonskom bijenalu dizajna bazira se na odmicanju od očekivanog i poznatog. S obzirom na pomalo zastarjeli format reprezentacije dizajna unutar bijenalnih nastupanja koja prakticiraju izdvajanje ponajboljeg dizajna s nacionalnim podznakom, te imajući na umu zadanu temu Utopia by Design, Utopijski kolektiv zamišljen je kao nekonvencionalni eksperimentalni proces s ciljem istraživanja rada kolektiva i rada u kolektivu, odnosno statusa zajedničkog, sinergijskog i suradničkog kao jednog od mogućih formata dizajnerskog djelovanja. Taj odmak stoji naspram individualističke prakse kao imperativa kompetitivnosti i antagonizacije u potrošačkom društvu i neoliberalnom tržišnom okruženju. Tim dizajnera Utopijski kolektiv okupljen je za potrebe ovog predstavljanja koje čini njihovu prvu zajedničku suradnju.

The curatorial concept of Maša Milovac and her team of collaborators, entitled Utopian Collective, was chosen to represent Croatia at the London Design Biennale and it was based on detachment from the expected and the familiar. Given the somewhat outdated representation of design within biennial performances that practice singling out the best design within a national context, and considering the given theme Utopia

by Design, the Utopian Collective was conceived as a non-conventional experimental process with the aim of exploring the work of a collective and in a collective, i.e. the status of the shared, synergetic and collaborative as one of the possible formats of design work. This detachment is set against the individualistic practice as the imperative of competitiveness and antagonism in the consumer society and the neo-liberal market environment.

The designer team of the Utopian Collective was gathered for the purpose of this representation, which marks their first joint collaboration.

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Dejan Kršić – Što, kako i za koga & tako dalje: Grafički dizajn za suvremenu umjetnost ∕ What, How and For Whom & So On: Graphic Design for Contemporary Art Multimedijalni kulturni centar ∕ Multimedia Cultural Center, Split 30. 9. – 20.10.2016. kustos ∕ curator Marko Golub postav izložbe ∕ exhibition design Dejan Kršić, Marko Golub, Oleg Šuran organizacija ∕ organisation Platforma 9,81 i Hrvatsko dizajnersko društvo, u suradnji s partnerima Multimedijalnim kulturnim centrom, WHW i DVK UMAS ∕ Platforma 9,81 and the Croatian Designers Association in collaboration with partners – Multimedia Cultural Center, WHW and DVK UMAS Gostovanje izložbe Dejana Kršića, izvorno postavljene u HDD galeriji 2015. Izložba je tematizirala dizajnerski rad Dejana Kršića u kontekstu njegove suradnje s kustosima, galerijskim i muzejskim institucijama, umjetnicima, odnosno različitim dionicima suvremene umjetničke prakse, ali najviše se fokusirala na dugogodišnju suradnju s kustoskim kolektivom WHW od ranih 2000-ih do danas.

A guest exhibition by Dejan Kršić, originally displayed in CDA gallery in 2015. The exhibition thematised Dejan Kršić’s design work in the context of his collaboration with curators, gallery and museum institutions and artists, i.e. different participants of the contemporary artistic practice, but it mostly focused on his long-term cooperation with the curatorial collective WHW since the early 2000s.

Spekulativnost – Postdizajnerska praksa ili nova utopija ∕ Speculative – Post-Design Practice or New Utopia Galerija umjetnina u Splitu ∕ Gallery of Fine Arts, Split 6. – 30.10.2016. kustosi ∕ curators Ivica Mitrović, Oleg Šuran organizacija ∕ organisation Hrvatsko dizajnersko društvo, Ministarstvo kulture RH ∕ Croatian Designers Association, Ministry of Culture of the Republic of Croatia dizajn postava izložbe ∕ exhibition design Filip Havranek, Kristina Lugonja tekstovi ∕ essays Ivica Mitrović, Marko Golub dizajneri i umjetnici ∕ designers and artists Lina Kovačević, Robert Čanak, Anselmo Tumpić, Nikola Bojić, Damir Prizmić, Ivica Mitrović, Oleg Šuran, Andreja Kulunčić, Nina Bačun, Anders Mellbrat, Silvio Vujičić Gostovanje izložbe Spekulativnost, kojom se Hrvatska predstavljala na 12. Milanskom trijenalu. Cilj izložbe je bio na jednom mjestu prikazati i kontekstualizirati relevantne suvremene spekulativne radove hrvatskog konteksta koji, iako često sami sebe tako ne nazivaju, spadaju u područje spekulativnog dizajna. Zajedničko navedenim radovima je da ne postoji neki specifični ili distiktivni pristup spekulativnoj praksi, već je, zapravo, on refleksija globalnog utjecaja njenih pristupa i metodologija. Stoga se ova hrvatska selekcija može čitati kao pregled globalnih spekulativnih praksi.

A guest exhibition Speculative that represented Croatia at the 12th Milan Triennial. The aim of the exhibition was to display and contextualise in one place the relevant contemporary speculative works in the Croatian context, which fall under the category of speculative design, even though they are often not categorised as such by their authors. The shared feature of all the works is that there is no specific or distinctive approach to speculative practice, but it is, in fact, a reflexion of the global influence of its approaches and methodologies. For that reason, the Croatian selection can be interpreted as an overview of global speculative practices.

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design workshop participants Vlatka Blakšić, Simona Dolinga, Margareta Kovačević, Irma Mihovec Schmidt, Elizabeta Bošnjak, Lea Jurin, Janja Roškar, Marko Šostar, Milena Jovanović, Tomica Perković, Alica Pancer, Ivan Goran Žunar, Tvrtko Bojić, Domagoj Mamić, Marijana Tkalec, Marijana Penava grafički dizajn ∕ graphic design Niko Mihaljević video Miran Krčadinac 2016∕2017 Projekt Dizajn u praksi suradnički je dvogodišnji projekt europskih dizajnerskih strukovnih organizacija, dviju obrazovnih ustanova te dviju tvrtki, pokrenut s idejom promicanja učenja kroz praksu i razvoj transverzalnih i poduzetničkih vještina u visokoškolskom obrazovanju dizajnera. Cilj projekta bio je predložiti i testirati inovativne prakse obrazovanja dizajnera kako bi se premostio raskorak između obrazovanja i profesionalnog rada te poboljšale vještine dizajnera potrebne za kvalitetnije socio-ekonomske rezultate. Osim niza radionica i drugih događanja, kao finalni dio projekta organizirana je i izložba. Više o istoj na stranici 429.

Erasmus+ Dizajn u praksi ∕ Erasmus+ Practicing Design projektni partneri ∕ project partners Hrvatsko dizajnersko društvo; Designaustria; Veleučilište VERN’; Prostoria d.o.o.; Public Room Skopje; Fakultet umjetnosti i dizajna Europskog sveučilišta u Skopju (EURM), Zavar d.o.o. ∕ Croatian Designers Association; Designaustria; Prostoria Ltd.; VERN’ University; Public Room Skopje; Faculty of Art and Design, European University in Skopje (EURM), Zavar Ltd. koncept ∕ concept Ivana Borovnjak, Aleksandar Velinovski projektni tim ∕ project team Ivana Borovnjak, Marko Golub, Mirjana Jakušić, Ksenija Žakula (HDD); Severin Filek, Tamara König (designaustria); Gordana Ćorić, Dubravko Kraus, Diana Plantić Tadić (VERN’); Mirjana Vidaković, Iva Šilović Grabovac (Prostoria); Marija Novović-Jovanovska, Aleksandar Velinovski (Public Room Skopje); Jana Maneva-Chuposka, Gordana Vrencoska, Zoran Gjureski, Aleksandra Jovanovska, Elena Makarovska, Blagojce Naumovski (EURM); Marta Naumovska Grnarova, Violeta Cvetanoska (Zavar) istraživanje i studija ∕ research and study Biserka Komnenić, I. Borovnjak, S. Filek, A. Velinovski, G. Ćorić priručnik Program obuke Dizajn u praksi 1.0 ∕ Practicing Design 1.0 Training Programme Handbook I. Borovnjak, G. Ćorić, S. Filek, A. Velinovski istraživači i suradnici ∕ researchers and associates T. König, K. Žakula, J. Maneva-Chuposka, G. Vrencoska mentori dizajnerskih radionica ∕ design workshop mentors I. Borovnjak, Damir Bralić, Danijela Domljan, Oliver Deichmann, Iva Šilović Grabovac, M. Golub, Marko Koržinek, Nikola Radeljković, G. Ćorić, Boris Jurič, Diana Plantić Tadić, Ivana Vrcić, Ivana Vrhovski polaznici dizajnerskih radionica ∕

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The project Practicing Design is a collaborative two-year project by the European professional design organisations, two educational institutions and two companies, launched with the idea of promoting learning through practice and the development of transversal and entrepreneurial skills in designer higher education.

The aim of the project was to propose and test innovative practices of designer education, in order to bridge the gap between education and professional work and to improve designers’ skills necessary for higher-quality socio-economic outcomes. Aside from a number of workshops, an exhibition was organised as the final part of the project. More about it on page 429.

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Konferencija Dizajn u praksi ∕ Practicing Design Conference Lauba, Zagreb 20. – 21.1.2017 projektni partneri ∕ project partners Hrvatsko dizajnersko društvo; Designaustria; Veleučilište VERN’; Prostoria d.o.o.; Public Room Skopje; Fakultet umjetnosti i dizajna Europskog sveučilišta u Skopju (EURM), Zavar d.o.o. ∕ Croatian Designers Association; Designaustria; Prostoria Ltd.; VERN’ University; Public Room Skopje; Faculty of Art and Design, European University in Skopje (EURM), Zavar Ltd. organizatori konferencije ∕ conference organisers Hrvatsko dizajnersko društvo, Veleučilište VERN’ ∕ Croatian Designers Association, VERN’ University partneri ∕ partners ULUPUH, Lauba koncept ∕ concept Ivana Borovnjak, Aleksandar Velinovski sudionici ∕ participants Gordana Vrencoska, Danijela Domljan, Damir Bralić, Marko Koržinek, Vlatko Cvrtila, Ivana Borovnjak, Aleksandar Velinovski, Severin Filek, Goran Golik, Marta Naumovska Grnarova, Nikola Radeljković, Benno Flotzinger, Gordana Ćorić, Biserka Komnenić, Oliver Deichmann, Tvrtko Bojić, Ivan Goran Žunar, Danijela Savikj, Michael Schwab, Maja Vardjan, Maja Lalić, Relja Bobić, Petra Milički, Karla Paliska, Sonia Jojic, Isidora Nikolić, Borut Vild, Ivica Mitrović, Harald Begusch, Veronique Marrier Dvodnevna konferencija Dizajn u praksi služila je kao platforma za diseminaciju rezultata provedene studije i programa obuke Dizajn u praksi 1.0 svim relevantnim dionicima. Raspored prvoga dana organiziran je u obliku rasprava i panel-diskusija sudionika uključenih u pilot-program. Drugi dan konferencije bio je otvoren široj javnosti te usredotočen na otvaranje tema neformalnog obrazovanja u dizajnu, dizajna u općem obrazovanju i budućnosti dizajnerskog obrazovanja, s naglaskom na regionalnim praksama.

Predavanje: Marko Golub – ‘Ovaj plakat nije dobar plakat’ – Grafički dizajn i konceptualna umjetnost 5. međunarodna konferencija (Grafički) dizajner: Autor ili univerzalni vojnik ∕ 5th International Conference (Graphic) Designer: Author or Universal Soldier Kulturni centar Beograda ∕ Belgrade Cultural Center 23.3.2017.

Predavanje o neočekivanim vezama i dodirima konceptualne umjetnosti i dizajna, fokusirano na primjere djela hrvatskih i internacionalnih dizajnera, ali i umjetnika koji koriste grafički dizajn kao jedan od ključnih instrumenata u svom radu.

A lecture on the unexpected links and shared features between conceptual art and design, focused on the examples of Croatian and international designers’ works, but also artists who use graphic design as one of the key instruments in their work.

The two-day-long Practicing Design Conference served as a platform for disseminating the results of the conducted Study and the Practicing Design 1.0 Training Programme to all relevant participants. The first day of the Conference was organised comprising discussions and panels of the participants involved in the pilot programme. The second day of the Conference was open to the general public and focused on raising the questions about informal education in design, design in general education and the future of designer education, with an emphasis on regional practices.

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Serija predavanja Dizajn i kriza ∕ Design and Crisis Lecture Series Gradska galerija Bihać, Tehnički fakultet Univerziteta u Bihaću ∕ City Gallery Bihać, Technical Faculty of the University of Bihać 26.4.2017.

Jugoslavenski neoavangardni umjetnički časopisi 1960. – 1990. ∕ Yugoslav Neo-AvantGarde Artists’ Periodicals 1960 – 1990 5. međunarodna konferencija (Grafički) dizajner: Autor ili univerzalni vojnik ∕ 5th International Conference (Graphic) Designer: Author or Universal Soldier Galerija Pro3or, Beograd ∕ Gallery Pro3or, Belgrade 21.03. – 01.04.2017. kustosica ∕ curator Ana Radovanović vizualni identitet i dizajn postava ∕ visual identity and exhibition design Maja Subotić organizacija ∕ organisation NGO Blokovi produkcija ∕ production Hrvatsko dizajnersko društvo ∕ Croatian Designers Association

Tri predavanja održana u okviru projekta Dizajn i kriza autora Irfana Hošića, u organizaciji Odsjeka za dizajn tekstila Tehničkog fakulteta u Bihaću. Održana su dva predavanja Marka Goluba Transformacije objekata i Historizacija dizajna - Dizajn kuriranja, predavanje Koraljke Vlajo Dizajn u Tranziciji te predavanje Dejana Kršića Socijalizam i modernost: Socijalni i kulturalni aspekti dizajna u socijalističkoj Jugoslaviji.

Three lectures held within the Design and Crisis project by Irfan Hošić, organised by the Department of Textile Design of the Faculty of Technical Engineering in Bihać. Marko Golub held two lectures: Objects Transformations and Historicising Design – Designing Curatorship, Koraljka Vlajo held the lecture Design in Transition, and Dejan Kršić held the lecture Socialism and Modernity: The Social and Cultural Aspects of Design in Socialist Yugoslavia.

Gostovanje izložbe o neoavangardnim umjetničkim časopisima s područja Jugoslavije, izvorno održane u HDD galeriji u listopadu i studenom 2016. Više o izložbi na stranici 428.

Hosting an exhibition on neo-avant-garde artistic periodicals from the former Yugoslavia, originally held at CDA gallery in October and November 2016. More about the exhibition on page 428.

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Predavanje: Marko Golub – ‘Ovaj plakat nije dobar plakat’ • Grafički dizajn i konceptualna umjetnost Odsjek za dizajn vizualnih komunikacija, Umjetnička akademija u Splitu ∕ Department of Visual Communication Design, Academy of Fine Arts, Split 17.5.2017.

Krivotvorine, dezinformacije i smrznute slike – Dizajn Dalibora Martinisa 70-ih i 80-ih ∕ Counterfeits, Misinformation and Frozen Images – Design by Dalibor Martini sin the 1970’s and 1980’s

Predavanje povodom izložbe Dalibora Martinisa u MKC-u u Splitu. Više na stranici 445.

A lecture on the occasion of Dalibor Martinis’s exhibition in MKC in Split. More on page 445.

Multimedijalni kulturni centar ∕ Multimedia Cultural Center, Split 16. – 26.5.2017. kustosi ∕ curators Marko Golub & Dejan Kršić organizacija ∕ organisation Platforma 9,81 i Hrvatsko dizajnersko društvo, u suradnji s partnerima Multimedijalnim kulturnim centrom ∕ Platforma 9,81 and the Croatian Designers Association in partnership with Multimedia Cultural Center postav izložbe ∕ exhibition design Marko Golub, Miranda Veljačić grafički dizajn ∕ graphic design Dejan Kršić dizajn plakata ∕ poster design Oleg Šuran tehnički suradnici ∕ technical staff Ivo Boban, Mladen Knežević produkcija ∕ production Hrvatsko dizajnersko društvo ∕ Croatian Designers Association Značajno proširena splitska verzija izložbe izvorno održane u HDD galeriji u veljači i ožujku 2017. Više o izložbi na stranici 430.

A significantly expanded Split version of the exhibition originally held in CDA gallery in February and March 2017. More about the exhibition on page 430.

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Spekulativnost – Postdizajnerska praksa ili nova utopija ∕ Speculative – Post-Design Practice or New Utopia 25. BIO – Bijenale dizajna ∕ 25th BIO – Biennial of Design Kreativni centar Poligon ∕ Creative center Poligon, Ljubljana 2.-22.6.2017. kustosi ∕ curators Ivica Mitrović, Oleg Šuran organizacija ∕ organisation Hrvatsko dizajnersko društvo, Ministarstvo kulture RH ∕ Croatian Designers Association, Ministry of Culture of the Republic of Croatia dizajn postava izložbe ∕ exhibition design Filip Havranek, Kristina Lugonja tekstovi ∕ essays Ivica Mitrović, Marko Golub dizajneri i umjetnici ∕ designers and artists Lina Kovačević, Robert Čanak, Anselmo Tumpić, Nikola Bojić, Damir Prizmić, Ivica Mitrović, Oleg Šuran, Andreja Kulunčić, Nina Bačun, Anders Mellbrat, Silvio Vujičić Gostovanje izložbe Spekulativnost, kojom se Hrvatska predstavljala na 12. Milanskom trijenalu. Detaljnije na stranici 443.

Guest exhibition Speculative, which represented Croatia on the 12th Milan Triennial. More on page 443.

D(r)ugo sjećanje ∕ The Other Memory Centar za kulturnu dekontaminaciju, Beograd ∕ Center for Cultural Contamination, Belgrade 3. – 10.7.2017. kustosi ∕ curators Barbara Blasin, Marko Golub, Aneta Lalić organizacija ∕ organisation Hrvatsko dizajnersko društvo, Srpsko narodno vijeće ∕ Croatian Designers Association, Serbian National Council partner Centar za kulturnu dekontaminaciju, Beograd ∕ Center for Cultural Contamination, Belgrade dizajneri i umjetnici ∕ designers and artists Ivan Benussi, Damir Bralić & Aleksandar Kovač, Katarina Duda, Damir Gamulin, Ante Filipović Grčić, Igor Grubić, Mirko Ilić, Sanja Iveković, David Kabalin, Zlatko Kopljar, Dejan Kršić, Boris Ljubičić, Tonka Maleković, MAZ, Niko Mihaljević, Petra Milički, Negra Nigoević, Matija Raos, Vladimir Straža, studio Božesačuvaj (Albino Uršić, Boris Kuk), Saša Šimpraga, Nedjeljko Špoljar, Trio Sarajevo (Bojan Hadžihalilović, Dalida Hadžihalilović, Lejla Mulabegović Hatt), Katarina Zlatec, Željko Zorica tekstovi ∕ essays Marko Golub, Sandra Uskoković grafički dizajn ∕ graphic design Barbara Blasin produkcija ∕ production Marko Golub Gostovanje izložbe izvorno održane u HDD galeriji u travnju 2017. Više o izložbi na stranici 431.

Guest exhibition originally held in CDA gallery in April 2017. More about the exhibition on page 431.

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Plan D 2017 – Tehnooptimizam / Tehnopesimizam ∕ Techno-Optimism / Techno-Pessimism 27.9. – 1.10.2017. organizacija ∕ organisation HDD — Hrvatsko dizajnersko društvo partner Tehnički muzej Nikola Tesla ∕ Technical Museum Nikola Tesla programske direktorice ∕ program directors Karla Paliska, Petra Milički produkcija i PR ∕ production and PR Morana Matković koordinacija studenata i volontera ∕ students and volunteers co-ordination Luka Borčić vizualni identitet ∕ visual identity Dora Kasun, Leo Kirinčić, Filip Latin, Krešimir Lončar, Sara Pavleković Preis, Marin Nižić radionica izrade vizualnog identiteta ∕ visual identity design workshop Emanuele Bonetti, Loredana Bontempi, Luka Borčić, Dario Dević, Lana Grahek (mentori ∕ mentors); Tina Blagušević, Dorja Horvatić, Dora Kasun, Leo Kirinčić, Filip Latin, Krešimir Lončar, Sara Pavleković Preis, Marin Nižić, Leona Vertuš, Vita Vrebac, Brigita Krog, Tomislav Mravičić, Sven Rastovac, Mislav Zlatar (polaznici ∕ participants) radionica dizajna postava ∕ exhibition design workshop Tvrtko Bojić, Sven Sorić, Maša Milovac (mentori ∕ mentors); Antonia Balić, Jana Horvat, Dora Gorenak, Ivan Dijanošić, Ivana Hideg, Marta Badurina, Karla Kocijan, Maja Jandrić (sudionici ∕ participants) Plan D je međunarodna dizajnerska edukativna platforma proizašla iz procesa programske nadogradnje Dana D — međunarodnog festivala dizajna, koji se održavao od 2010. do 2016. godine. U sklopu festivala 2017. su priređene četiri izložbe. Tematska izložba Tehnooptimizam / Tehnopesimizam predstavila je dizajn koji kroz različite medije i strategije istražuje odnos tehnologije i društva, odnosno propi-

tuje, demistificira i komentira suvremene tehnološke fenomene koji svakodnevno mijenjaju svijet u kojem živimo. Međunarodna izložba mladih autora prikazala je selekciju radova pristiglih na međunarodni natječaj za studente i mlade dizajnere u dobi do 30 godina. Izložba Eksperimentalno izdavaštvo okupila je radove koji, kroz odnos dizajna i tehnologije, ispituju procese i mogućnosti suvremenog izdavaštva.

Odabrani radovi eksperimentalni su hibridi koji dokidaju granice tradicionalnog i suvremenog, analognog i digitalnog izdavaštva, ali i problematiziraju različite tehnološke, političke i eko nomske postavke različitih izdavačkih sistema.

Izložba How to Do Things with Objects autorica Nine Paim i Emilie Bergmark nastala je specifično za Plan D, a bavila se istraživanjem zadataka u njihovom arhetipskom obliku – kao usmenih uputa – te je predstavila 14 zadataka uparenih s 14 predmeta koje posjetitelji rješavaju. U diskurzivnom dijelu programa sudjelovali su Petar Jandrić, Tomislav Medak, Darija Medić, Bruce Sterling, Ivica Mitrović, Jasper Otto Eisenecker, Yuri Veerman, Martin Wecke, Silvio Lorusso, Nina Paim, Emilia Bergmark, Uroš Krčadinac, Nikola Bojić i Lorenzo Romagnoli.

Plan D is an international designers’ educational platform stemming from the process of upgrading the programme of D-Day – International Design Festival, held from 2010 to 2016.

Four exhibitions were held within the festival.

The thematic exhibition Techno-Optimism / Techno-Pessimism represented design that investigates the relationship between technology and society through different media and strategies. In other words, it questions, demystifies and comments on the contemporary technological phenomena that constantly change the world that we live in. The International Exhibition of Young Designers presented a selection of works applied for the international concourse for students and designers younger than 30. The exhibition Experimental Publishing collected works that, through the relationship between design and technology, questioned the processes and possibilities of the contemporary publishing practice. The selected works were experimental hybrids which eliminate the boundaries between the traditional and the contemporary, analogue and digital publishing, but also problematize different technological, political and economic settings of various publishing systems. The exhibition How to Do Things with Objects by Nina Paim and Emilia Bergmark was created specifically for Plan D, and it involved exploring tasks in their archetypal form – as oral instructions – and it presented 14 tasks paired with 14 objects, which the visitors then solved. The participants of the discursive part were Petar Jandrić, Tomislav Medak, Darija Medić, Bruce Sterling, Ivica Mitrović, Jasper Otto Eisenecker, Yuri Veerman, Martin Wecke, Silvio Lorusso, Nina Paim, Emilia Bergmark, Uroš Krčadinac, Nikola Bojić and Lorenzo Romagnoli.

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Predavanje: Maša Milovac – Predstavljanje djelatnosti HDD-a ∕ Lecture: Maša Milovac – Presentation of Activities by the CDA Nova Iskra, Beograd ∕ Belgrade 27.10.2017.

Predavanje Maše Milovac o aktivnostima Hrvatskog dizajnerskog društva i njegovoj ulozi u razvoju dizajna u Hrvatskoj.

Maša Milovac’ lecture on the activities of the Croatian Designers Association and its role in the development of design in Croatia.

Damir Gamulin – Dizajnom, izvan dizajna ∕

By Design, Outside of Design Multimedijalni kulturni centar ∕ Multimedia Cultural Center, Split 14. – 30.12.2017. kustos ∕ curator Marko Golub organizacija ∕ organisation Platforma 9,81 i Hrvatsko dizajnersko društvo, u suradnji s partnerima Multimedijalnim kulturnim centrom ∕ Platforma 9,81 and the Croatian Designers Association in partnership with Multimedia Cultural Center koncepcija i izložbeni postav ∕ concept and exhibition design Marko Golub, Damir Gamulin grafički dizajn ∕ graphic design Damir Gamulin tekstovi ∕ essays Marko Golub produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić koordinacija izložbe u Splitu ∕ co-ordination at the Split venue Miranda Veljačić dizajn plakata ∕ poster design Oleg Šuran Gostovanje izložbe izvorno održane u HDD galeriji u studenom 2017. Više o izložbi na stranici 435.

Guest exhibition originally held in CDA gallery in November 2017. More about the exhibition on page 435.

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Boris Ljubičić – Jednina množine: Simbol, znak, logo, brend ∕ Singular of Plural: Symbol, Sign, Logo, Brand

Predavanje: Indra Kupferschmid – Sve za svaku, svaka za sve ∕ Lecture: Indra Kupferschmid – All for Each, Each for All

HUIU – Hrvatsko udruženje interdisciplinarnih umjetnika ∕ HUIU – Croatian Association of Interdisciplinary Artists, Pula 8.3. – 21.3.2018.

HDD galerija 20.4.2018.

kustos ∕ curator Marko Golub organizacija ∕ organisation Hrvatsko dizajnersko društvo i Hrvatsko udruženje interdisciplinarnih umjetnika ∕ Croatian Designers Association and the Croatian Association of Interdisciplinary Artists asistentica kustosa ∕ curatorial assistant Monika Džakić grafički dizajn ∕ graphic design Boris Ljubičić, Monika Džakić Gostovanje izložbe izvorno održane u HDD galeriji u siječnju i veljači 2018. Više o izložbi na stranici 436.

Guest exhibition originally held in CDA gallery in January and February 2018. More about the exhibition on page 436.

U svom predavanju Indra Kupferschmid osvrnula se na projekt Alphabettes te predstavila iskustva njegova pokretanja i vođenja zajedno s Amy Papelias i Nicole Dotin. Predavanje je organizirano u suradnji s Peterom Bilakom i Nikolom Đurekom povodom međunarodne tipografske konferencije Fontstand koja se po prvi puta održala 21. travnja u Orisu – Kući arhitekture u Zagrebu.

In her lecture, Indra Kupferschmid looked at the Alphabettes project and presented the experience of launching and running it with Amy Papelias and Nicole Dotin. The lecture was organised in cooperation with Peter Bilak and Nikola Đurek on the occasion of the Fontstand International Typography Conference, which was held for the first time on 21 April in Oris House of Architecture in Zagreb.

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Jugoslavenski neoavangardni umjetnički časopisi 1960. – 1990. ∕ The Yugoslav NeoAvant-Garde Artists’ Periodicals 1960. – 1999.

Fluid Design Forum Narodni muzej Crne Gore – Crnogorska galerija umjetnosti „Miodrag Dado Đurić“ ∕ National Museum of Montenegro – Montenegrin Gallery of Arts „Miodrag Dado Đurić“, Cetinje 26.4. – 10.6.2018. kustosica ∕ curator Ana Radovanović organizacija ∕ organisation Fluid Design Forum vizualni identitet i dizajn postava izložbe Maja Subotić produkcija ∕ production Marko Golub (Hrvatsko dizajnersko društvo ∕ Croatian Designers Association) Gostovanje izložbe izvorno održane u HDD galeriji u listopadu i studenom 2016. Više o izložbi na stranici 428.

Guest exhibition originally held in CDA gallery in October and November 2016. More about the exhibition on page 428.

Boris Ljubičić – Davor Grünwald Multimedijalni kulturni centar ∕ Multimedia Cultural Center, Split 3. – 17.5.2018. kustosi Marko Golub, Koraljka Vlajo organizacija ∕ organisation Platforma 9,81 i Hrvatsko dizajnersko društvo, u suradnji s partnerima Multimedijalnim kulturnim centrom ∕ Platforma 9,81 and the Croatian Designers Association in partnership with Multimedia Cultural Center organizacijski tim ∕ organisational team Miranda Veljačić, Marko Golub, Oleg Šuran, Monika Džakić grafički dizajn ∕ graphic design Barbara Blasin, Monika Džakić, Boris Ljubičić dizajn plakata i brošure ∕ poster and brochure design Oleg Šuran * predavanje ∕ lecture (4.5.2018.) Boris Ljubičić – Dizajn koji trebamo ∕ Design that We Need, Etnografski muzej ∕ Ethnographic Museum, Split Gostovanje izložbi Jednina množine – Simbol, znak, logo, brend Borisa Ljubičića i Retrorama industrijskog dizajna 1968. – 2008. Davora Grünwalda. Više o izložbama na stranicama 434 i 436.

Guest exhibitions Singular of Plural – Symbol, Sign, Logo, Brand by Boris Ljubičić and Retrorama of the Industrial Design 1968 – 2008 by Davor Grünwald. More about the exhibition on page 434 and 436.

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Boris Ljubičić – Jednina množine: Simbol, znak, logo, brend ∕ Singular of Plural: Symbol, Sign, Logo, Brand

Politika emocija – Dizajn indie videoigara ∕ Emotion Politics – Design of Indie Videogames

MOP Špancirfest Galerijski centar Varaždin ∕ Gallery Center Varaždin 15. – 20.5.2018.

MOP Špancirfest Hrvatsko narodno kazalište ∕ Croatian National Theatre, Varaždin 17.5. – 19.5.2018.

kustos ∕ curator Marko Golub organizacija ∕ organisation Hrvatsko dizajnersko društvo, Galerijski centar Varaždin, Udruga Mop, Sveučilište Sjever ∕ Croatian Designers Association, Gallery Center Varaždin, MOP Association, University North asistentica kustosa ∕ curatorial assistant Monika Džakić grafički dizajn ∕ graphic design Boris Ljubičić, Monika Džakić * predavanje ∕ lecture (15.5.2018.) Boris Ljubičić – Dizajn koji trebamo ∕ Design that We Need, Palača Herzer ∕ Herzer Palace, Varaždin

kustos ∕ curator Srđan Laterza organizacija ∕ organisation Hrvatsko dizajnersko društvo, Udruga Mop, Sveučilište Sjever ∕ Croatian Designers Association, MOP Association, University North postav izložbe ∕ exhibition design Marko Golub, Monika Džakić tekst ∕ essay Srđan Laterza grafički dizajn ∕ graphic design Monika Džakić produkcija i organizacija ∕ production and organisation Marko Golub; asistentica ∕ assistant Monika Džakić organizacijska podrška ∕ organisational support Fran Mubrin, Hrvoje Selec, Igor Pičuljan, Antonio Mohenski

Gostovanje izložbe izvorno održane u HDD galeriji u siječnju i veljači 2018. Više o izložbi na stranici 436.

Guest exhibition originally held in CDA gallery in January and February 2018. More about the exhibition on page 436. .

Gostovanje izložbe izvorno održane u HDD galeriji u listopadu 2017. Više o izložbi na stranici 434.

Guest exhibition originally held in CDA gallery in October 2017. More about the exhibition on page 434.

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Dizajn s feedbackom – Ozeha: Zagreb – Rijeka ’45-’48-’90-’95 ∕ Design with Feedback – Ozeha: Zagreb – Rijeka ’45-’48-’90-’95 Galerija Kortil ∕ Gallery Kortil, Rijeka 9.7. – 21.7.2018 kustosi ∕ curators Alira Hrabar Oremović, Slavko Henigsman organizacija ∕ organisation Hrvatsko dizajnersko društvo, Galerija Kortil ∕ Croatian Designers Association, Gallery Kortil grafički dizajn ∕ graphic design Alira Hrabar Oremović dizajn postava izložbe ∕ exhibition design Alira Hrabar Oremović, Slavko Henigsman tekstovi ∕ essays Josip Šintić, Igor Lah, Alira Hrabar Oremović suradnik u istraživanju ∕ research associate Egon Hreljanović izvršna produkcija ∕ executive production Marko Golub Značajno proširena verzija izložbe izvorno održane u HDD galeriji krajem 2016., koja se bavila poviješću jedne od prvih i najvećih oglašivačkih agencija u Hrvatskoj i bivšoj Jugoslaviji od sredine prošlog stoljeća do sredine 90-ih godina. Iako zadržava koncepciju i osnovnu strukturu postava iz njene zagrebačke verzije, za ovu priliku su njeni autori detaljno istražili i predstavili djelovanje Ozehine prve filijale, osnovane u Rijeci još davne 1948. godine.

Godine iz naslova izložbe označavaju osnivanje Ozehe (1945.), pokretanje njene riječke filijale (1948.), gašenje riječke filijale (1990.) i prestanak postojanja ove full-service agencije 1995. godine.

Krivotvorine, dezinformacije i smrznute slike – Dizajn Dalibora Martinisa 70-ih i 80-ih ∕ Counterfeits, Misinformation and Frozen Images – Design by Dalibor Martini sin the 1970’s and 1980’s HUIU – Hrvatsko udruženje interdisciplinarnih umjetnika ∕ HUIU – Croatian Association of Interdisciplinary Artists, Pula 17. – 31.7.2018. kustosi ∕ curators: Marko Golub & Dejan Kršić organizacija ∕ organisation: Hrvatsko dizajnersko društvo, Hrvatsko udruženje interdisciplinarnih umjetnika ∕ Croatian Designers Association, Croatian Association of Interdisciplinary Artists postav izložbe ∕ exhibition design: Marko Golub grafički dizajn ∕ graphic design: Dejan Kršić dizajn brošure ∕ brochure design: Oleg Šuran produkcija ∕ production: Hrvatsko dizajnersko društvo ∕ Croatian Designers Association Gostovanje izložbe izvorno održane u HDD galeriji u veljači i ožujku 2017. Više o izložbi na stranici 430.

Guest exhibition originally held in CDA gallery in February and March 2017. More about the exhibition on page 430.

A considerably expended version of the exhibition that was originally held at the CDA Gallery in the end of 2016. The exhibition was dedicated to history of one of the first and largest advertising agencies in Croatia and the former Yugoslavia in the period from the mid-1950 to the mid-1990s. Although it has preserved the concept and the basic structure of Zagreb’s version of the exhibition display, for this occasion the designers have researched and presented a detailed insight in Ozeha’s first branch established in Rijeka in 1948. The years expressed in the title of the exhibition evoke the establishment of Ozeha in 1945, starting of their branch in Rijeka in 1948, closing of that branch in 1990 and termination of this full-service agency in 1995.

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Dizajnerska početnica, rujan 2016. – rujan 2018. ∕ Design 101, September 2016 – September 2018 Dizajnerska početnica edukativni je projekt HDD-a započet 2009. godine.

Riječ je o seriji kreativnih radionica namijenjenih djeci osnovnoškolskog i srednjoškolskog uzrasta, a od 2014. godine i djeci vrtićke dobi. Radionice potiču djecu i srednjoškolce na kreativno razmišljanje i umjetničko izražavanje, konceptualno promišljanje i razvijanje vizualne pismenosti i sposobnosti opažanja, a tematski su koncipirane u odnosu na korištenje specifičnih materijala, tipove zadataka ili teme od društvenog značaja. Cilj radionica je upoznati djecu s osnovama dizajna i njegovom utjecaju i važnosti na svakodnevni život putem stvarne realizacije jednog dizajnerskog projekta, odnosno kreativnog procesa. Voditeljica programa Dizajnerska početnica u HDD-u od veljače 2017. je Ksenija Žakula, a članovi selekcijske komisije bili su Maja Subotić Šušak, Dario Dević, Petra Milički (2016.), Damir Bralić (2016.), Izvorka Jurić (2017.) te Mia Bogovac (2018). Voditelj programa Dizajnerska početnica u Splitu (DVK UMAS) je Ivica Mitrović, a koordinira ga Jelena Perišić.

Design 101 is an educational project launched by HDD in 2009. It is a series of creative workshops targeted at primary- and secondary-school children, and, since 2014, at pre-schoolers, too. The workshops encourage children and high school students to think creatively and express themselves artistically, stimulating their conceptual thought and the development of visual literacy and perception skills, and they are thematically conceived in relation to the usage of specific materials, task types or socially significant topics. The aim of the workshops is to familiarise children with the basics of design and its influence and importance for daily life by carrying out an actual design project, i.e. a creative process.

The Design 101 programme has been led by Ksenija Žakula since 2017, and the selection comission members were Maja Subotić Šušak, Dario Dević, Petra Milički (2016), Damir Bralić (2016), Izvorka Jurić (2017) and Mia Bogovac (2018). The Design 101 programme in Split is led by Ivica Mitrović, and coordinated by Jelena Perišić.

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Reciklotisak ∕ Recycloprint This Town Needs Posters (Sven Sorić, Hrvoje Spudić) Muzej za umjetnost i obrt ∕ Museum of Arts and Crafts, Zagreb 24.9.2016.

Taktilna igraonica: Tink Things ∕ Tactile Workshop: Tink Things Ana Klara Komazlić & Dorja Benussi HDD 10.6.2017.

Dizajnerski crtež ∕ Design Drawing Danijela Domljan Konferencija Otvoreni grad – prema Interkulturnom društvenom centru ∕ Conference Open City – Towards the Intercultural Community Center Stara vojna bolnica ∕ Old Military Hospital, Zagreb 15.10.2016.

Upalite lampice novih ideja Ljiljana Lozančić HDD 8.7.2017.

Eco Fu(rni)ture Ada Kezić HDD 17.12.2016.

Zastavljajmo ∕ Let’s Flag Una Rebić MOP Špancirfest, Varaždin 26.8.2017.

VJ Zabava ∕ VJ Party Ena Jurov i Lejla Kasumović 36 Mountains Festival HDLU, Zagreb 9.9.2017.

Svestrane boce ∕ Versatile Bottles Damir Prizmić & Sanda Vrljičak HDD 11.2.2017.

Prva Dizajnerska početnica u Splitu ∕ The First Design 101 Workshop in Split Jelena Perišić DVK UMAS, Split 11.3.2017.

Zastavljajmo ∕ Let’s Flag Una Rebić MOP Špancirfest, Varaždin 12.5.2017.

Mnoge strane papira ∕ The Many Sides of Paper Maja Jandrić MOP Špancirfest, Varaždin 13.5.2017.

Stripkovnica Davor Schunk HDD 16.9.2017.

Reagiraj, ilustriraj! ∕ React, Illustrate!

Ivan Milas i Goran Radošević DVK UMAS, Split 14.10.2017.

Dizajnersko crtanje ∕ Design Drawing Danijela Domljan HDD 21.10.2017.

Gradimo uzorkom ∕ Building with Patterns Tatjana Liktar Elez i Kristina Careva HDD 28.10.2017.

2d3d Ana i Veljko Armano Linta HDD 20.5.2017.

Dizajn ambalaže ∕ Packaging Design Lana Vitas Gruić DVK UMAS, Split 11.11.2017.

Brižni lutak ∕ The Caring Puppet Margareta Peršić HDD galerija 27.5.2017.

Kalupiranje ∕ Molding Petra Bilić Križan HDD 11.11.2017.

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Maškart Nina Bešlić HDD 18.11.2017.

Dizajn iz+van kutije ∕ Design Out-Side the Box Ana Bodrožić DVK UMAS, Split 25.11.2017.

Soba+ ∕ Room+ Veljko & Ana Armano Linta HDD 2.12.2017.

VJ zabava ∕ VJ Party Ena Jurov, Lejla Kasumović i Marina Jukić HDD 9.12.2017.

Reanimacija ∕ Reanimation Petra Bilić Križan HDD 16.12.2017.

Tipografska vizualizacija ∕ Typographic visualization Matea Erceg DVK UMAS, Split 3.2.2018.

Od šale do kapitale! ∕ From a Joke to Square Capitals!

Andrija Večenaj HDD 26.5.2018.

Skica ∕ Sketch Goran Radošević DVK UMAS, Split 30.6.2018.

Zašto je važno od čega je? ∕ Why It Matters What It’s Made from?

Maja Subotić Šušak HDD 16.6.2018.

Nogoradiona ∕ Footworkshop Lana Vitas Gruić DVK UMAS, Split 14.7.2018.

Ajd’ nacrtaj neš’ – Heroji bez plašta ∕ C’mon Draw Somethin’ – Heroes Without a Cape Inja Kavurić Kireta HDD 22.9.2018.

Slagalica ∕ Jigsaw Eleonora Matijašević DVK UMAS, Split 10.3.2018.

Zastavljajmo ∕ Let’s Flag Una Rebić HDD 10.3.2018.

Logopočetnica ∕ Logo Starting Kit Ivan Milas DVK UMAS, Split 7.4.2018.

Heureka!

Jelena Perišić DVK UMAS, Split 21.4.2018.

aktivnosti u organizaciji hrvatskog dizajnerskog društva

croatian design review

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Natječaji, rujan 2016. – rujan 2018. ∕ Competitions, September 2016 – September 2018

458 pregled hrvatskog dizajna

activities organised by croatian designers association

Natječaj za dizajn vizualnog identiteta Turističke zajednice Dubrovačko-neretvanske županije ∕ Competition for Visual Identity of the Dubrovnik-Neretva County 10∕11,2016 – 02∕2017 naručitelj ∕ investor Turistička zajednica Dubrovačko neretvanske županije ∕ Dubrovnik-Neretva County Tourist Board provoditelj natječaja ∕ competition management Hrvatsko dizajnersko društvo ∕ Croatian Designers Association voditelj natječaja ∕ competition manager Damir Bralić ocjenjivački sud ∕ jury Nikola Dobroslavić, Vladimir Bakić, Izvorka Jurić, Maroje Mrduljaš, Sean Poropat nagrade ∕ awards 1. Prospekt (Nikola Šubić, Martina Vasilj Matković, Mile Kušić); 2. Maji studio (Luka Predragović); 3. Lana Cavar, Narcisa Vukojević, Hrvoje Živčić Javno-pozivni natječaj za rekonceptualizaciju nastupa HTZ-a na europskim turističkim sajmovima ∕ Public∕Invited Competition for the Re-Imagining of the Croatian National Tourist Board Entries in the European Tourist Fairs 05, 07∕2017 naručitelj ∕ investor Hrvatska turistička zajednica ∕ Croatian National Tourist Board provoditelj natječaja ∕ project management Hrvatsko dizajnersko društvo ∕ Croatian Designers Association voditelj natječaja ∕ project manager Damir Bralić ocjenjivački sud ∕ jury Zinka Kvakić, Mirjana Resner, Đive Zuber, Ivana Borovnjak, Damjan Geber, Silvije Novak, Koraljka Vlajo tri jednakovrijedne nagrade ∕ three equal awards Retail Solutions (Roko Bahat, Tin Koprivc, Dora Biočić, Marko Balaša, Karolina Borković, Matej Goreta, Vilim Redza); Studio.

HR (Bojana Bota, Kora Demel Zadro, Hrvoje Končar); Grupa + Arhikultura (Filip Despot, Tihana Taraba, Christian Rendulić) *odabran za realizaciju ∕ chosen for implementation

Otvoreni natječaj za oblikovanje vizualnih standarda izdavačke djelatnosti Akademije dramske umjetnosti u Zagrebu ∕ Open Competition for Design of Visual Standards of the Publishing Program of the Academy of Dramatic Art in Zagreb 07,10∕2017 naručitelj ∕ investor Akademija dramske umjetnosti Sveučilišta u Zagrebu ∕ Academy of Dramatic Art, University of Zagreb provoditelj natječaja ∕ competition management Hrvatsko dizajnersko društvo ∕ Croatian Designers Association voditelj natječaja ∕ competition manager Damir Gamulin ocjenjivački sud ∕ jury Zoran Đukić, Ana Kunej, Goran Trbuljak nagrađeni rad ∕ awarded work Oaza (Roberta Bratović i Maša Poljanec) Otvoreni javno-pozivni natječaj za oblikovanje vizualnog identiteta i slogana predsjedanja Republike Hrvatske Vijećem EU 2020. godine ∕ Open Public∕Invited Competition for Visual Identity and Slogan of the Croatian Presidency of the European Council 2020 03, 07∕2018 naručitelji ∕ investor Ministarstvo vanjskih i europskih poslova i Ministarstvo kulture ∕ Ministry of Foreign Affairs of the Republic of Croatia, Ministry of Culture of the Republic of Croatia provoditelj natječaja ∕ competition management Hrvatsko dizajnersko društvo ∕ Croatian Designers Association voditelj natječaja ∕ competition manager Damir Gamulin ocjenjivački sud ∕ jury Damir Bralić, Zvonimir Frka Petešić, Antti Hinkula, Jan Pavlović, Katja Šare, Nevena Tudor Perković, Jakov Vilović nagrade 1. Iva Primorac (Studij dizajna pri Arhitektonskom fakultetu Sveučilišta u Zagrebu ∕ School of Design, Faculty of Architecture, University of Zagreb), mentor Stipe Brčić, komentorica ∕ co-mentor Marija Juza; 2. Sensus Design Factory (Nedjeljko Špoljar, Kristina Špoljar); Superstudio (Iva Hrvatin, Ira Payer sa suradnicama ∕ with contributors Sara Pavleković Preis, Rebbeca Mikulandra)

aktivnosti u organizaciji hrvatskog dizajnerskog društva

croatian design review

459

Izdanja, rujan 2016. – rujan 2018. ∕ Publications, September 2016 – September 2018

460 pregled hrvatskog dizajna

activities organised by croatian designers association

Pregled hrvatskog dizajna 1516 ∕ Croatian Design Review 1516 izdavač ∕ publisher HDD – Hrvatsko dizajnersko društvo urednik ∕ editor Marko Golub asistentica urednika ∕ assistant to the editor Mirjana Jakušić tekstovi i intervjui ∕ essays and interviews Ivana Borovnjak, Marko Golub, Bojan Krištofić, Koraljka Vlajo; uz sudjelovanje ∕ with contributions from Iva Babaja, Andrej Filetin, Gjuro Korać, Blasius Osko & Oliver Deichmann (Osko+Deichmann), Mladen Orešić, Jean François Porchez dizajn i prijelom Babushke ∕ Marija Juza (suradnici ∕ contributors Typonine - Nikola Đurek, Organizam - Bernarda Cesar) redakcija opisnih tekstova ∕ redaction of project descriptions Marko Golub lektura ∕ proofreading Ksenija Žakula, Mirjana Jakušić, M.G. prijevod ∕ translation Language Lab ∕ Mirna Herman tisak ∕ print Stega tisak, Zagreb naklada ∕ print run 800 godina ∕ year 2016 440 stranica ∕ 440 pages ISBN 978-953-6778-20-1 Pregled hrvatskog dizajna reprezentativno je popratno izdanje s više od 400 stranica teksta i reprodukcija, koje služi ne samo kao katalog izložbe nego i temeljni dokument o tekućoj produkciji hrvatskog dizajna. Osim kataloškog dijela koji sadrži ne samo fotografije nego i kratke tekstove o svakom radu, publikacija sadrži i 120 stranica dodatnih tekstova, intervjua sa žiratorima i priloga koji govore o stanju hrvatskog dizajna danas.

Utopijski kolektiv ∕ Utopian Collective izdavač ∕ publisher Hrvatsko dizajnersko društvo ∕ Croatian Designers Association urednica ∕ editor Maša Milovac tekstovi ∕ essays Utopijski kolektiv ∕ Utopian Collective (Maja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić), Hrvoje Hiršl, Maša Milovac urednice kolaborativnog teksta ∕ collaborative essay editors Martina Granić, Maja Kolar, Maša Poljanec prijevod ∕ translation Domagoj Živčić lektura ∕ proofreading Morana Matković, Domagoj Živčić autori vizuala ∕ visuals Maja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić fotografije ∕ photography Marko Milovac, Maša Milovac grafičko oblikovanje ∕ design Jan Pavlović naklada ∕ print run 500 godina ∕ year 2016 160 stranica ∕ 160 pages ISBN 978-953-6778-19-5 Publikacija tiskana povodom istoimene izložbe kojom se Hrvatska predstavila na premijernom Londonskom bijenalu dizajna u Galeriji Somerset House u Londonu u rujnu 2016.

A publication printed to accompany a homonymous exhibition that represented Croatia at the inaugural London Design Biennale in the Somerset House Gallery in London in September 2016.

Croatian Design Review is a representative accompanying edition with more than 400 pages of text and reproductions, which not only serves as the exhibition catalogue, but also as the key document about the current production in the Croatian design. Apart from the catalogue, which contains not only photographs but also a short accompanying text about each work, the publication also contains 120 extra pages of texts, interviews with curators and reports on the current state of the Croatian design.

aktivnosti u organizaciji hrvatskog dizajnerskog društva

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Rethinking Design Education Study autori ∕ authors Biserka Komnenić, Ivana Borovnjak, Severin Filek, Aleksandar Velinovski izdavači ∕ publishers Hrvatsko dizajnersko društvo, Zagreb; designaustria, Beč; Public Room, Skoplje suradnica ∕ contributor Gordana Ćorić istraživači ∕ researchers Tamara König, Ksenija Žakula istraživači suradnici ∕ associate researchers Jana ManevaChuposka, Marko Golub, Marta Naumovska Grnarova, Marija Novović Jovanovska, Diana Plantić Tadić, Gordana Vrencoska, Iva Šilović Grabovac, Mirjana Vidaković grafički dizajn ∕ graphic design Niko Mihaljević lektura ∕ proofreading Maja Kuzmanoska naklada ∕ print run 100 godina ∕ year 2016 258 stranica ∕ 258 pages ISBN 978-953-6778-22-5 Istraživačka studija o edukaciji u dizajnu proizašla iz projekta Erasmus+ Dizajn u praksi.

A research study on design education stemming from the Erasmus+ Practicing Design project.

462 pregled hrvatskog dizajna

Practicing Design 1.0 Training Programme Handbook autori ∕ authors Ivana Borovnjak, Gordana Ćorić, Severin Filek, Aleksandar Velinovski izdavači ∕ publishers Hrvatsko dizajnersko društvo, Zagreb; designaustria, Beč; Public Room, Skoplje vanjski konzultanti Biserka Komnenić, Danijela Domljan suradnica ∕ contributor Tamara König, Ksenija Žakula, Jana Maneva – Chuposka, Gordana Vrencoska, Simona Goldstein grafički dizajn ∕ graphic design Niko Mihaljević lektura ∕ proofreading Branka Šuput naklada ∕ print run 900 godina ∕ year 2016. 120 stranica ∕ 120 pages ISBN 978-953-6778-24-9 Programski priručnik nastao kao rezultat projekta Erasmus+ Dizajn u praksi.

A programme handbook created within the Erasmus+ Practicing Design project.

activities organised by croatian designers association

Art Is Not a Mirror, It Is a Hammer autori ∕ authors Marko Golub & Dejan Kršić izdavači ∕ publishers WHW – Što, kako i za koga, Hrvatsko dizajnersko društvo ∕ WHW – What, How and for Whom, Croatian Designers Association urednice ∕ editors WHW – Što, kako i za koga prijevod ∕ translation Dušanka Profeta, Una Bauer, Domagoj Živčić lektura ∕ proofreading Dušanka Profeta, Jane Warrilow oblikovanje ∕ design Dejan Kršić naklada ∕ print run 500 godina ∕ year 2016 178 stranica ∕ 178 pages ISBN 978-953-55951-5-1 Formalno hibrid između dizajnerske monografije, zbirke tekstova i tematske publikacije, ova knjiga daje kratak uvid u više od tri desetljeća djelovanja grafičkog dizajnera i publicista Dejana Kršića, a sadrži ilustriranu kronologiju koja pokriva razdoblje od ranih osamdesetih do danas, tri teksta autora Marka Goluba koji iz različitih rakursa kontekstualiziraju njegov rad, kao i izbor eseja samog Kršića na teme u rasponu od alternativne kulture do odnosa umjetnosti, politike i ideologije.

Formally a hybrid between a design monography, a collection of texts and a thematic publication, this book provides a short insight into more than a three-decade-long work by graphic designer and publicist Dejan Kršić, and it includes an illustrated chronology that covers a period from the early eighties to the present day, three texts by the author Marko Golub, which contextualise his work from different angles, and selected essays by Kršić on topics ranging from alternative culture to the relationship between art, politics and ideology.

Plan D 2017 – Tehnooptimizam/Tehnopesimizam ∕ Techno-optimism/Techno-pessimism izdavač ∕ publisher Hrvatsko dizajnersko društvo urednice ∕ editors Karla Paliska, Petra Milički tekstovi ∕ essays Karla Paliska, Petra Milički dizajn i prijelom ∕ design and layout Leo Kirinčić, Dora Kasun naklada ∕ print run 400 godina ∕ year 2017 220 stranica ∕ 220 pages ISBN 978-953-6778-27-0 Publikacija međunarodnog festivala dizajna Plan D 2017 pod tematskim okvirom Tehnooptimizam / Tehnopesimizam uključuje intervjue s Bruceom Sterlingom i Jasminom Tešanović, kolektivom Automato i Silvijem Lorussom, dok drugi dio čini katalog izložbenog programa koji uključuje izložbu Tehnooptimizam / Tehnopesimizam, Međunarodnu izložbu mladih autora i izložbu How to Do Things With Objects autorica Nine Paim i Emilie Bergmark.

The publication of the international design festival Plan D 2017 within the Techno-Optimism / Techno-Pessimism thematic framework includes interviews with Bruce Sterling and Jasmina Tešanović, the Automato collective and Silvio Lorusso, while the other part comprises an exhibition catalogue that includes the exhibition Techno-Optimism / Techno-Pessimism, the International Exhibition of Young Designers and the exhibition How to Do Things with Objects by Nina Paim and Emilia Bergmark.

aktivnosti u organizaciji hrvatskog dizajnerskog društva

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Davor Grünwald – Industrijski dizajn ∕ Industrial Design autori ∕ authors Marko Golub & Koraljka Vlajo izdavač ∕ publisher Hrvatsko dizajnersko društvo ∕ Croatian Designers Association urednik ∕ editor Marko Golub dizajn ∕ design Barbara Blasin transkripcija intervjua ∕ interview transcript Ksenija Žakula lektura ∕ proofreading Ksenija Žakula, Mirjana Jakušić fotografije ∕ photographs Miran Krčadinac, Barbara Blasin, Jadran Boban naklada ∕ print run 250 godina ∕ year 2017 100 stranica ∕ 100 pages ISBN 978-953-6778-26-3 Knjiga predstavlja pregled dizajnerskog djelovanja Davora Grünwalda od kasnih šezdesetih do sredine sedamdesetih u Hrvatskoj te od 1976. do danas u Kanadi i uključuje sve najvažnije projekte ovog autora u više od 40 godina njegove karijere, kao i osvrt na kontekst u kojem je djelovao. Knjiga je realizirana paralelno s izložbom Davor Grünwald: Retrorama industrijskog dizajna 1968. – 2008. i sadrži dokumentaciju prikupljenu u tijeku priprema same izložbe, ali uključuje i mnoge segmente Grünwaldovog opusa koji nisu bili predstavljeni na samoj izložbi te obuhvaća i nešto širi vremenski okvir.

The book represents a review of Davor Grünwald’s design work from the late sixties to the mid-seventies in Croatia and since 1976 in Canada, and it includes all of the most important projects of this designer, created over more than 40 years of his career, as well as an overview of the context within which he created. The book was simultaneously created with the exhibition Davor Grünwald – Retrorama of Industrial Design 1968 – 2008 and it contains all the documentation collected during the preparation process of the exhibition, but it also includes many segments of Grünwald’s work, which were not exhibited, encompassing a wider time frame.

464 pregled hrvatskog dizajna

Dizajnom, izvan dizajna – Dizajnerske taktike Damira Gamulina ∕ By Design, Outside of Design – Design Tactics of Damir Gamulin autor ∕ author Marko Golub izdavač ∕ publisher Hrvatsko dizajnersko društvo ∕ Croatian Designers Association dizajn ∕ design Damir Gamulin fotografije ∕ photography Robert Leš lektura ∕ proofreading Mirjana Jakušić naklada ∕ print run 250 godina ∕ year 2017 118 stranica ∕ 118 pages ISBN 978-953-6778-28-7 Knjiga predstavlja osamnaest odabranih dizajnerskih projekata Damira Gamulina, kako onih nastalih u suautorstvu ili u suradnji s drugim autorima, tako i samostalnih. Odabrani projekti uvjerljivo svjedoče o tome kako dizajner samosvjesno iščitava temu, iznova je artikulira na visoko konceptualan, racionalan i informiran način te je interpretira koristeći sva sredstva i instrumente koji su mu na raspolaganju, uključujući i one koji možda još ne postoje, ali projekt zavređuje da se zbog njega razviju.

The book comprises eighteen selected design projects by Damir Gamulin created in co-authorship or collaboration with other authors, as well as independent projects. The selected projects convincingly testify how the designer confidently reads the subject and rearticulates it in a highly conceptual, rational and informed manner and interprets it using all the tools and instruments available to him, including those that may not yet exist, but the project deserves to have them developed.

activities organised by croatian designers association

Sanja Iveković – Dvostruki život: Grafički dizajn i suvremena umjetnička praksa ∕ Double Life: Graphic Design and Contemporary Art Practice autori ∕ authors Marko Golub & Dejan Kršić izdavač ∕ publisher Hrvatsko dizajnersko društvo ∕ Croatian Designers Association fotografije ∕ photography Monika Džakić prijevod ∕ translation Leo Štedul (Language Lab) lektura ∕ proofreading Mirjana Jakušić dizajn ∕ design Dejan Kršić pre-press Dario Sabljak tisak ∕ print Tiskara Zelina naklada ∕ print run 300 godina ∕ year 2018 125 stranica ∕ 125 pages ISBN 978-953-6778-39-3 Umjetničko djelovanje Sanje Iveković prije svega obuhvaća konceptualnu umjetnost, videoumjetnost i performans, ali važno poglavlje njezinog rada pripada i grafičkom dizajnu, kojim se kontinuirano bavila od ranih 70-ih do kraja devedesetih godina. Unatoč tome, njen dizajnerski rad, kao i dizajnerski aspekti niza njenih umjetničkih projekata dosad uglavnom nisu obrađeni. Ova knjiga posvećena je upravo tome — s jedne strane naručenim dizajnerskim radovima, a s druge onim umjetničkim projektima Sanje Iveković koji ne samo imaju nezanemarivu grafičku dizajnersku komponentu, nego je za njihovo razumijevanje bitno razgovarati upravo o dizajnu, oglašavanju, masovnim medijima itd.

The artistic work of Sanja Iveković primarily involves conceptual art, video art and performance, but an important portion of her work comprises graphic design, within which she was continually working between the early ‘70s and the late ‘90s. Nevertheless, her design work, as well as the design aspects of a number of her artistic projects, have rarely been studied so far. That is precisely what this book is dedicated to – on the one hand to the commissioned design work, and on the other hand to her artistic projects that not only possess a significant graphic design component, but in order to fully understand them it is important to talk precisely about design, advertising, mass media etc.

Robert Bringhurst – Elementi tipografskog stila ∕ The Elements of Typographic Style autor ∕ author Robert Bringhurst izdavač ∕ publisher Hrvatsko dizajnersko društvo ∕ Croatian Designers Association urednik ∕ editor Dejan Kršić prijevod ∕ translation Mirna Herman Baletić stručna redakcija prijevoda ∕ expert redaction of croatian translation Damir Bralić, Nikola Đurek, Dejan Kršić, Hrvoje Živčić lektura ∕ proofreading Vesna Arsovski, Mirjana Jakušić, Dalibor Jurišić, Ksenija Žakula dizajn korica ∕ cover design Damir Bralić, Nikola Đurek prijelom ∕ layout Andrija Mudnić, Luka Reicher tisak ∕ print Stega tisak Zagreb naklada ∕ print run 500 godina ∕ year 2018 420 stranica ∕ 420 pages ISBN 978-953-6778-06-5 Hrvatski prijevod jedne od najvažnijih, a svakako najutjecajnijih, suvremenih knjiga iz područja tipografije, kanadskog tipografa, pjesnika i prevoditelja Roberta Bringhursta Elements of Typographic Style. Knjiga je originalno objavljena 1992. i do danas je tiskana u nizu izdanja i nekoliko osuvremenjenih verzija. Ovo izdanje priređeno je prema originalnoj verziji 3.2 na engleskom jeziku.

The Croatian translation of one of the most important, and most definitely the most influential contemporary books on typography, by the Canadian typographer, poet and translator Robert Bringhurst, entitled Elements of Typographic Style. The book was initially published in 1992 and to this day, it has seen a number of re-editions and several modernised editions.

This edition was arranged in accordance with the original English version 3.2.

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Kazalo ∕ Index

466 pregled hrvatskog dizajna

index

(Grafički) dizajner: Autor ili univerzalni vojnik 445, 446

Babushke 246, 427, 461

Beroš, Nada 363

Borčić, Ian 429

Bačanek, Ivana 438

Bertina, Matea 415

2rPi 286

Bachrach Krištofić, Tessa 227, 228, 367

Bešlić, Nina 457

Borčić, Luka 415, 425, 426, 429, 449

25 FPS 177

Bachrach&Krištofić 86, 228

3LHD 286, 310, 311

Bacinger Škrlec, Helena 300

2dizajnera 197

AB Forum 57, 58, 351 Adris grupa 200, 202, 313, 317 Agačević, Gorjan 350 Ajzenhamer, Aleksandra 427

Bačun, Nina 106, 186, 229, 231-234, 325, 326, 443, 448 Badel 1862 267 Badurina, Marta 449 Bagić Barić, Maja 274

Beta&Co. Split 262

Borčić, Željko 429, 442

Beton Brut 263

Borić, Laris 57, 58, 255, 256, 351

Beton Design Agency 179

Borković, Karolina 459

Bezić, Vicko 391

Borota, Marko 390

Biblija 365 199

Borovičkić, Marija 336, 427

Biblijski institut 199 Bičak, Ivanka 427

Borovnjak, Ivana 231, 232, 324, 325, 327, 358, 429, 431, 444, 445, 459, 461, 462

Bilak, Peter 451

Bosek, Mateja 403

Bilandžić, Dora 286, 310

Bošković, Valentino 272

Bilić Križan, Petra 456, 457

Bosnić, Maja 254 Bosnić+Dorotić 352

Akademija likovnih umjetnosti u Zagrebu 236

Bahat, Roko 459

Akupunktura grada 427

Bakić, Vladimir 459

Alebić, Alan 427

Bakija-Konsuo, Ana 205

Bilić_Müller studio 168, 311, 312, 427

Andrijević, Nikola 231

Balaša, Marko 459

Biočić, Dora 459

Aničić, Mario 241, 260

Balcer, Zvonimir 231

Bistričić, Andreja 337

Bošnjak, Elizabeta 358, 429, 444

Antolić-Soban, Alenka 231

Balić, Antonia 449

Bite art, Zagreb 268

Bošnjak, Ivana 224

Arčabić, Goran 319

Baltić, Nejla 229

Blagušević, Tina 449

Bošnjaković, Tena 427

Arčabić, Maja 231

Balzareno, Antonio 333

Bota, Bojana 459

Arheološki muzej u Zagrebu 238

Ban, Snježana 236

Blakšić, Vlatka 288, 358, 429, 444

Bakal, Boris 231

Bošnjak, Anja 255, 351

Brajnović, Andrea 239

Banić Göttlicher, Ana 287

Blasin, Barbara 431, 434, 448, 452, 464

Baranović, Franka 290

Blasius, Osko 442, 461

Bartaković, Tatjana 373

Blatina, Zagreb 274

Bralić, Damir 169, 199, 247, 264, 358, 427, 429, 431, 436, 444, 445, 448, 455, 459, 465

Bartolić, Dina 414, 415

Blažević, Domagoj 348

Bralić, Petra 212

Bashota, Đuro 231

Blažić, Ivica 427

Brandibur, Dominik 404

Armano Linta, Ana 456, 457

Bashota, Džan 231

[BLOK] 229

Brandoctor 170, 201

Armano Linta, Veljko 456, 457

Bašić, Miran 197, 416

Blumenšajn, Vanja 370

Battistella, Alexia 339

Boban, Ivo 447

Bratović, Roberta 106, 229234, 326, 459

Bauer Minkara, Anja 248

Boban, Jadran 464

Begović, Damir 402

Bobaš, Krešimir 356

Begović, Saša 286

Bočak, Renato 231

Bela film, Ljubljana 161

Bodrožić, Ana 271, 457

Belamarić, Dino 329, 332

Boelen, Jan 231

Belančić, Margareta 427

Bogovac, Mia 289, 455

Bencetić, Sanja 398, 438

Bojić, Nikola 443, 448, 449

Benevides Da Silva Fernandes, Lara 420

Bojić, Tvrtko 324, 358, 442, 444, 445, 449

Benussi, Dorja 431, 432, 448, 456

Bolia, Danska 296

Arhikultura 459 Arhitektonski fakultet 237, 247, 383-386, 389, 391, 398, 410, 411, 414, 415, 419 Arhitektonski kolektiv Biro 346

Arsovski, Vesna 465 Art radionica Lazareti 176, 206 Artisan, Tešanj 301, 302, 373 Aster kulturno društvo 289 AVC Zagreb 351 B10 Istrian Fusion 270 Babaja Branding & Design Consultancy 261 Babaja, Iva 261, 431, 442, 461 Babić, Bruno 102 Babić, Goran 427

Benussi, Ivan 431, 432, 448

Babić, Jelena 201, 314

Bergmark, Emilia 439, 449, 463

Babić, Marica 57, 58, 351

Beroš, Martin 232

kazalo

Bonačić, Marita 294, 323 Bonetti, Emanuele 449 Bontempi, Loredana 449 Boras, Želimir 176, 198

Brajnović, Tomislav 217

Brčić, Stipe 419, 459 Brendsfera, Zagreb 232 Brenum, Mlini 176 Brigada 313, 314 Bringhurst, Robert 465 Briski Uzelac, Sonja 357 Brletić, Marina 313 Brnas, Anđela 385, 391 Broz, Vlatko 53, 54, 356 Bruketa&Žinić&Grey 138, 170 200-202, 248, 265, 266 Bruketa, Davor 133, 170, 200-202, 248, 265 Budimir, Saša 57, 58, 255, 351

croatian design review

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Budiselić, Zlatko 231

Čabraja, Igor 236

Buljan, Ana 88

Čabraja, Tajana 415

Buljan, Anamaria 420

Čadež, Ivan 202

Bunch 171-173, 249, 347, 435

Čaljkušić, Igor 53, 54, 356, 382

Buntak, Tomislav 236 Burger, Mila Marina 348, 349 Burić, Erik 391 Burić, Željko 333 Bušić, Andrea 322 Careva, Kristina 457 Cavar, Lana 92, 174, 346, 459

Dizajn Distrikt Zagreb 329332, 367, 373, 427, 442 Doboš, Marko 350

Džakić, Monika 2, 83, 113, 425, 426, 434-440, 450-453, 465

Dobrić, Mina 405

E. Blokland, Frank 53, 54, 356

Dobroslavić, Nikola 459

Elna kabel 287

Čanak, Robert 443, 448

Dogan, Nada 315

Energia naturalis 280

Čavar, Miro 246

Dogan, Nenad 370, 383, 384, 410

Engine rooms 184

Četković, Saša 350 Čibarić, Antonia 391 Činić, Vanja 138 Čukelj, Ivana 199 Čular, Iva 252, 253

Dolić, Antonio 155 Dolinga, Simona 288, 358, 444 Domljan, Danijela 358, 444, 445, 456, 462

Engström, Elin 420 Ercegović, Marko 144, 147, 155, 176, 203 Ergić, Ivana 237 Ergić, Vedrana 317

Donassy, Branka 338

Esculap, Teo 193

Doroghy, Ivan 389

Etikgraf 263

Čuljak, Ivana 357

Dorotić, Ivan 254, 330

Čurić, Iva 200

Dotin, Nicole 451

Etnografski muzej Istre 240, 328

Čurić, Ivan 252

Dračić, Sebastijan 236

Cergna, Dominik 313

Ćorić, Gordana 358, 444, 445, 462

Dragojević, Nikolina 291

Cerovečki, Mateja 231

Ćorluka, Jurica 370

Dragosavac Ruta, Dejan 66-73, 203

Cerovečki, Thomislav 231

Dabrović, Marko 286

Draškić Savić, Tanja 166

Fabijanić, Damir 236

Cerovski print boutique 200-202, 280

Đaković, Iva 199

Dražić Selmani, Ivana 176

Fabrika 333

Daldon, Viktor 176

Dražić, Rafaela 204

Decker+Kutić 146, 147

Drempetić Čonkić, Teo 352

Fabrio, Ivana 232, 414, 415, 419, 432, 438

Deichmann, Oliver 358, 442, 444, 445, 461

Drugo More 362

Celić–Cella, Anita 200, 274 Centar za aditivne tehnologije 350 Centar za kulturnu dekontaminaciju 448

Cesar, Bernarda 246, 427, 461 CFSN 175 CHR Eko-projekt 201 Cifrek, Tin 391 Cigić, Tomislava 261

Čule, Maja 109, 111, 433, 442 , 461

Dekleva, Aljoša 231 Đemailović, Berina 416

Državni arhiv u Zadru 222 Duda, Katarina 431, 448

Etnografski muzej Split 452 Etnografski muzej Zagreb 323 Ex Libris 169, 208

Factum, Zagreb 158 Facultas 169 Fakultet umjetnosti i dizajna, EURM Skopje 358, 444, 445

Demel Zadro, Kora 459

Dugandžić, Igor 329, 331, 332, 373

Denegri, Ješa 427

Dujić, Andrea 325

Ferderber, Dario 253

Creattiva reklame 328

designaustria 358, 444, 445, 462

Dujić, Miljenko 420

Ferlin, Matija 148

Credo-ing 58, 261, 351

Designsystem 270

Dujmenović, Sandro 263, 432

Ferlin, Mauricio 433, 442, 461

Crljenak, Neven 201

Despot Domljanović, Petra 170, 248

Dušanović, Igor 311

Fijolić, Ivan 236

Dvoršćak, Igor 231

Fila, Filip 197

Dvorski, Ivana 373

Filburg 348, 349

đkć 146, 147, 175, 205

Filek, Severin 358, 444, 445, 462

CIMO - Centar za istraživanje mode i odijevanja 357

Croatia osiguranje 313 Croatia Records 281 Cuculić, Vanja 85, 86, 133, 139-143, 267 Cvetanoska, Violeta 358, 444 Cvetković, Nebojša 138, 200, 248, 265, 266 Cvijetić, Srđana 176 Cvitan Černelić, Mirna 357 Cvjetičanin, Ruža 318 Cvrtila, Vlatko 445

Despot, Filip 346, 435, 459 Dević, Dario 98, 102, 144, 145, 449, 455 Dežulović, Boris 169 Die Seiderer 261 Dijanošić, Ivan 449 Dimić, Marko 350 Dimovski, Dragan 328 Dioralop 110, 111, 337 Dizajn centar Zagreb 329332, 373

468 pregled hrvatskog dizajna

Đukić, Zoran 146, 147, 175, 205, 459 Đurašin, Danko 200, 201 Đurašin, Vesna 200, 201, 202, 266 Đurek, Nikola 53, 54, 99, 102, 103, 133, 199, 201, 219, 242, 246, 315, 356, 382, 386, 390, 442, 451, 461, 465 Džaja, Vedran 253

Fatović, Luka 57, 58, 351

Filetin, Andrej 348, 349, 442, 461 Filipec, Tihomir 301, 302 Filipović Grčić, Ante 431, 448 Fiškuš, Jelena 156, 157, 279, 304, 328 Flatz, Emil 411

index

Flomaster 176, 206

Gjureski, Zoran 358, 444

Fluid Design Forum, Cetinje 452

Goldstein, Simona 232, 462

Fobia 280 Franck, Zagreb 292 Franković, Orsat 176, 206 Frka Petešić, Zvonimir 459 Fructus & Flores, Split 271 Fulgosi Masnjak, Rea 432 Gadaf, Ali 231 Gadaf, Enver 231 Gagić, Andrej 201 Galerija Cvajner 154 Galerija Kortil 454 Galerija Kranjčar 172 Galerija Miroslav Kraljević 151, 215 Galerija Pro3or 446 Galerija Somerset House 442, 461 Galerija umjetnina 224, 443 Galerijski centar Varaždin 453 Galeta, Ivan Ladislav 194

Golik Horvat, Linda 270 Golub, Marko 2, 9-23, 67, 119, 127, 231, 347, 358, 425-440, 442-448, 450-444, 462-465 Golubovac Ehrenfreund, Hana 349 Gomboc, Stanislav 212

Hadžihalilović, Dalida 431, 448 Hadžijusfović, Mirel 185 Hafizović, Tania 229 HAL 57, 58, 351 Hamper 211, 212, 317 Hanaček, Ivana 427 Hasanbegović, Hanan 229

Hrvatski dom Vukovar 181 Hrvatski filmski savez 219 Hrvatski pčelarski savez 278 Hrvatsko dizajnersko društvo 288, 308, 358, 424-465 Hrvatsko narodno kazalište u Zagrebu 144, 147, 253

Havranek, Filip 443, 448

Hrvatsko narodno kazalište u Varaždinu 453

HEP Opskrba 287

HUIU Pula 451, 454

Herceg, Ana 314

Hulahop 183

Gradečak, Marija 300

Hercog, Andrea 411, 425, 426, 438

Huljev, Jurica 201

Gradska galerija Striegl 156, 157

Herman-Baletić, Mirna 2, 53, 54, 356, 461, 465

Grahek, Lana 71, 178, 208, 210, 372, 429, 430, 436, 440, 449

Hideg, Ivana 449

IITAC Chicago 207

Hinkula, Antti 459

Ilić, Mirko 130, 431, 448

Granić, Martina 432, 442, 461

Hiršl, Hrvoje 433, 442, 461

Infobip 333

Gregl, Miljenko 318, 319

Hižak, Dražen 57, 58, 255, 351

Inoplast 280

Gregorić, Marija 350

HKKKKI 232

Institut Tomislav Gotovac 219

Gregorič, Tina 231

Holjevac, Lora 357

Iron&ja 168

Greiner, Boris 74-81, 209, 437

Hortiriviera 251, 275

Ivančić, Ana 346

Horvat, Ivica 293

Ivančić, Viktor 169

Horvat, Jana 449

Ivanec, Mihaela 350

Gorenak, Dora 449 Grad Karlovac 311 Grad Šibenik 290

Hušman, Ana 216, 224, 348 Idearium 290

Galić, Andrija 415

Grozdanić Begović, Tatjana 286

Galić, Ivan 287

Grubić, Igor 431, 448

Horvat, Martin 246

Ivaniš, Jadranka 209

Galić, Zlatko 287

Grubić, Predrag 200

Horvat, Roman 246

Ivanov, Maša 200, 202, 248

Galović, Krešimir 232

Grubiša, Margita 352

Horvatić, Dorja 439, 449

Gamulin, Damir 61, 62, 133, 207, 316, 431, 435, 448, 450, 459, 464,

Grubišić, Petra 415

Horvatinčić, Sanja 427

Iveković, Sanja 430, 431, 438, 448, 465

Gruić, Lana 179, 456

House Is OK, Frankfurt 283

Gamulin, Judita 365

Grunwald, Davor 434, 452, 464

Hrabar Oremović, Alira 424, 458

Garmaz, Anja 416

Grupa 346, 347, 373, 435, 459

Hrabar, Ivana 438

Gašparac, Stella 231

Guo, Moto 404

Gašparović, Marija 191, 263, 280, 329, 330, 331, 332, 365, 373

Gurdon, Mirna 362

GDK Gavella 139-143

Gvozdanović, Jelena 214, 268, 269

Ganz novi festival 178, 436

Geber, Damjan 313, 314, 459

Gverović, Tina 176, 234

Gvozden, Mladen 304

Gedike, Lidija 200

Habjan, Ana Marija 250

Gerovac, Ema 286

Habjan, Klasja 182, 273, 330, 363, 370

Ghetaldus Optika 191 Giunio, Andro 372, 378, 380, 387, 388 Gjoni, Gjon 231

kazalo

Hrastovec, Marko 53, 54, 228, 242, 356, 385, 386, 391, 432 Hreljanović, Egon 454

Ivezić, Tina 148, 213, 231, 250, 325, 327 Ivičević-Barišić, Marica 231 Ivkić, Martina 265, 266 Jägle, Isabel 315 Jaklenec, Tajana 237, 415 Jakšić, Jasna 428

Hrga, Karolina 232

Jakušić, Mirjana 2, 358, 442, 444, 461, 464, 465

Hrvatin, Iva 294, 323

Jalšovec, Nenad 359

Hrvatska liječnička komora 198

Jandrić, Ivana 232

Hrvatska radiotelevizija 250, 320

Habjan, Stanislav 74-81

Hrvatska turistička zajednica 459

Hadžihalilović, Bojan 431, 448

Hrvatski audiovizualni centar 162

Jandrić, Maja 280, 449, 456 Jandrić, Petar 449 Janjić, Ivana 406 Janković, Maja 391

croatian design review

469

Javna ustanova za upravljanje zaštićenim dijelovima prirode KZŽ 212 Jeić, Tana 391 Jelavić Mitrović, Nikolina 318, 319 Jelavić, Ivana 176 Jelčić, Marin 352 Jendrašić, Luka 57, 58, 255, 351

Kapetanović, Zlatko 398, 425, 426 Kargotis, Demitrios 420 Karoly, Miha 200 Kasap, Vedran 82-87, 320, 415, 419 Kasumović, Lejla 456, 457 Kasun, Dora 98, 383, 410, 415, 449, 463

KO:KE kreativna farma 274 Kocijan, Karla 415, 449 Kolar, Maja 92, 231, 232, 325, 327, 364, 433, 442, 461 Komazlić, Ana Klara 457 Komenda, Mišo 149, 150, 181, 271, 272, 321 Komnenić, Biserka 358, 444, 445, 462 Komparak, Draga 103, 251, 275, 292, 330, 365

Johnson, Thomas 224

Katušić Kocbek arhitekti 349

Josić, Stipan 231

Kavurić Kireta, Inja 457

Jovanović, Milena 306, 358, 444

Kavurić, Đuka 223

Končar, Vladimir 57, 58, 85, 86, 255, 256, 351

Kazalište Trešnja Zagreb 186

Končić, Jasminka 227, 402, 403, 404, 405, 406, 407

Kazija, Dalibor 361

Kondić, Danilo 254

Kazinoti&Komenda 149, 150, 181, 271, 272, 321

König, Tamara 358, 444, 462

Jovanovska, Aleksandra 358, 444 Jović, Domagoj 320 Jukić, Marina 457 Juras, Luka 200 Jurčević, Matej 369 Jurčić Diminić, Ksenija 61, 62, 316

Kazinoti, Karlo 149, 150, 181, 271, 272, 321 Kelemen, Petra 371 Kepert, Anja 420

Jurič, Boris 358, 444

Kezić, Ada 456

Jurić, Igor 350

Kincl Zagreb 315

Jurić, Iva Maria 360

KinoKino festival 159

Jurić, Izvorka 180, 214, 268, 269, 293, 431, 438, 439, 455, 459

Kinoklub Zagreb 145

Jurić, Ladislav 293, 439

Kirinčić, Leo 98, 139, 141, 142, 362, 378, 437, 449, 463

Juričić, Bruno 171 Jurin, Lea 358, 362, 4429, 437, 444

Kinorama Zagreb 160

Krizmanić, Davor 304 Krog, Brigita 449 Kršić, Dejan 2, 27-41, 53, 219, 356, 382, 428-432, 438, 443, 446-478, 454, 463, 465 Krstačić-Furić, Marino 2, 216, 217, 218

Koprivc, Tin 459

Kuduz, Igor 220, 320, 371, 378-381, 388, 417

Korać, Gjuro 442, 461

Kuharić Matoš 277

Koren, Toni 212

Kuharić, Luka 277

Korlaet, Luka 237

Kuharić, Niko 231

Koržinek, Marko 358, 444, 445

Kuharić, Pavao 277

Košćak, Suzana 57, 58, 255, 256, 351

Kuk, Boris 431, 448 Kukmanović, Lea 417

Kulturni centar Beograda 126, 445

Kovač, Matea 168

Kulunčić, Andreja 443, 448

Kovač, Nikola 254

Kumer, Elizabeta 144

Kovač, Paula 415

Kuna zlatica 153, 183, 221, 222

Klemens, Vedran 173, 200

Juza, Marija 219, 246, 419, 427, 459, 461

Klepac, Dubravka 266

Kapec, Ivan 57, 58, 255, 351

Križić Roban, Sandra 427

Kovač, Aleksandar 368, 431, 448

Jurov, Ena 372, 456, 457

Kamgrad 179

Križanić , Vladimir 286

Klanjac Gubić, Marina 263

Klarxy 200

Kamenov, Krunoslav 236

Križaj Leko, Ida 362

Kultura promjene 178, 210

Jurišić, Lovro 57, 58, 351

Kalčić, Silva 442

Krištofić, Bojan 2, 75, 89, 330, 372, 430, 440, 461

Košuta, Saša 346, 373

Klarić, Iva 232

Kajp, Romana 383, 410

Kreativni kolektiv Kombinat 437

Kištra Zagreb 291

Jurišić, Dalibor 465

Kadriju, Amr 229

Kopljar, Zlatko 431, 448

Kreativni centar Poligon 448

Kukuljica, Paula 286

Klarić, Iris 149, 150, 321

Kaćunić, Tom Jura 211, 212, 317

Konzervatorski odjel Zadar 57, 351

Kreativna Republika, Bihać 185

Košmerl, Zoran 57, 58, 351

Jurišić, Dalia 382

Kabalin, David 431, 448

Končar, Hrvoje 459

Krčadinac, Miran 306, 358, 429, 434, 444, 464 Krčadinac, Uroš 449

Kovačević, Andrej 434 Kovačević, Lina 443, 448

Kunej, Ana 183, 221, 222, 459

Klisurić, Ivan 151, 152, 215

Kovačević, Margareta 288, 358, 444

Kunić, Domagoj 96, 112, 184, 232, 349, 438

Klub Močvara 372

Kovačić, Ana 276, 348

Kunić, Sanjin 322

Klub studenata sociologije Diskrepancija 197

Kovačić, Stela 268, 269

Kupferschmid, Indra 451

Kožar, Ivan 313

Kurtić, Andrea 357

Kožarec, Marica 200

Kurtić, Dragana 179

Kralj, Mario 346, 373

Kušec, Otto 197, 420

Kraljević, Iva 224

Kušić, Mile 459

Krasić, Ines 236

Kutleša, Mirna 216

Kraus, Dubravko 358, 444

Kuvalja, Žarko 184

Klinčić, Dorotea 352

Klubvizija SC 194 Knapić, Andrea 248 Knežević, Dorian 362 Knežević, Mladen 447 Knezić, Ana 300

470 pregled hrvatskog dizajna

index

Kuzmanović, Sanja 223 Kvakić, Zinka 459

Lukić, Marija 313 Lušičić, David 231

Lab Bel Francuska 195

Mabić Gagić, Ivanka 201

Labinac, Dajgoro 293

Maistra 61, 62, 316

Međunarodna zračna luka Zagreb 315

Labudović, Ana 88-95, 102, 103, 224

Maji studio 459

Medvedec, Ana 379

Majkić, Mario 191

Mehkek, Damir 231

Makarovska, Elena 358, 444

Mehmedović, Ubeida 229

Maleković, Tonka 431, 448

Mehulić, Leila 112, 368

Malešević, Boris 270

Mellbrat, Anders 443, 448

Mallarmé, Stéphane 387

Me-pal 373

Mamić, Domagoj 358, 444

Merlić, Maja 337

Latin, Filip 98, 449

Mance, Damir 287

Meštrov, Ivana 224

Le Meridien Lav 214

Maneva-Chuposka, Jana 462

Meštrović, Matko 27-49

Lacković, Dubravko 231 Ladišić, Goran 350 Lah, Igor 428, 454 Lalić, Aneta 431, 448 Laterza, Srđan 92, 102, 103, 263, 434, 453

Leboš, Sonja 232 Leeway Collective 361 Lenard, Igor 313 Lenard, Kristina 236 Lerotić, Jakov 325 Leš, Robert 464 Letilović, Iva 57, 58, 331, 351

Maračić, Mario 320 Marelić, Klara 278 Marendić, Marko 427 Maričević, Danijela 370 Marin, Jan 411 Marinčić, Silvia 391

Medić, Darija 449 Medika 236

Multimedijalni kulturni centar Split 8, 443, 447, 450, 452 Mlakar, Drago 202 Mlinarić, Domagoj 415 Mlinarić, Marko 263 MM Centar Zagreb 194 Močvarni hrast 280 Modrić, Dijana 415 Modrić, Tomislav 364 Mohenski, Antonio 453 Moonlee Records 276 MOP Špancirfest 453, 456

Metamedij 166

Morasi Piperčić, Simon 295-298

Mezga, Jelena 170, 248

Morosin, Daria 362

Mihaljčišin, Nataša 340

Morović, Oleg 154

Mihaljević, Marko 237, 352

Mortigjija Anušić, Vinka 427

Mihaljević, Niko 358, 360, 388, 429, 431, 436, 444, 448, 462

Mostečak, Tomislav 104111, 339

Marjanović, Jadranko 348

Mihovec Schmidt, Irma 288, 358, 444

Ligne Roset, Francuska 298

Marković, Damir 231

Mijić, Karlo 232

Mrđenović, Bojan 163, 231-232

Liktar Elez, Tatjana 456

Marković, Maja 264

Lipovec, Slađan 57, 58, 255, 351

Martek, Vlado 428

Mikulandra, Rebbeca 280, 459

Mrduljaš, Maroje 2, 32, 39, 43-48, 247, 425-427, 459

Mikulić, Nikola 382, 416

Mrkša, Laura 366

Milas, Ivan 262, 456-457

Mrnarević, Pero 169

Milat, Petar 224

Mršić, Marina 427

Miletić, Igor 57-58, 351

Mubrin, Fran 453

Matassi , Josip 57-58, 351

Milevčić, Zvonimira 370

Mucko, Bojan 231

Matičević, Davor 204

Milički, Petra 225, 431, 439, 445, 448-449, 455, 463

Mudnić, Andrija 247, 385, 391, 465

Milieu Grotesque 249

Mudri brk 272

Miljavac, Kristina 200

Mulabegović Hatt, Lejla 431, 448

Lipuš, Alen 200 Lišnjić, Ivana 313 Ljubičić, Boris 29, 33, 37, 40, 431, 436, 448, 451-453 Lloyds 350 Lokas, Joško 320 Lokas, Marko 252 Lončar, Krešimir 248, 449 Lončarić, Dora 346, 373 Lončarić, Mario 96-103, 251 Londonski bijenale dizajna 442 Lorusso, Silvio 449, 463

Martinuš, Nina 241 Marušić Klif, Ivan 348 Massarotto, Mauro 433, 442, 461

Matijaš, Antonio 362 Matijašević, Eleonora 382, 457 Matković, Morana 433, 439, 442, 449 Matoš, Bojan 277 Mavena 149, 150

Lovrec, Jelena 427

MAZ – Mreža antifašistkinja Zagreba 431, 448

Lovrečić, Dominik 415

Mazinjanin, Damir 370

Lozančić, Ljiljana 456

MBM vrtni centar Lučko 329, 332

Lucić, Predrag 169 Ludwig, Ernst 224 Lugonja, Kristina 443, 448

kazalo

Medak, Tomislav 449 Medić, Ante 293 Medić, Berislav 57-58, 351

Miller, Alice 224 Milovac, Maša 2, 5-8, 97, 293, 431, 433, 438, 442, 449, 450, 461

Mravičić, Tomislav 418, 449

Multimedijalni institut 66, 219 Murgić, Marinko 301-302

Milovčić, Dina 227-228, 367, 384

Museo Lapidarium Novigrad 165

Mimica, Vedran 207

Muze 232, 348

Ministarstvo kulture 235, 443, 448, 459,

Muzej Apoksiomena 254

Ministarstvo vanjskih i europskih poslova 459 Mireldy 184-185, 226 Mitrović, Ivica 96, 394, 416, 418, 443, 445, 448-449, 455

Muzej grada Zagreba 318, 319, 326 Muzej Mimara 368 Muzej moderne i suvremene umjetnosti Rijeka 216-218

croatian design review

471

Muzej suvremene umjetnosti Zagreb 84, 204, 220, 223, 363

OPG Ante Sladić 264

Penović, Igor 191

OPG Cergna 263

Peraić, Filip 200

Muzej za umjetnost i obrt Zagreb 86, 324, 378, 442, 456

OPG Chiavalon 265-266

Peri oplate i skele 329, 332

OPG Darko Matijević 262

Nakić-Vojnović, Zita 182, 273, 363

OPG Franja 352

Perić, Katarina 294, 323, 476

Narodni muzej Crne Gore 452 Naumovska Grnarova, Marta 358, 444-445, 462 Naumovski, Blagojce 358, 444 Nekić, Martina 232

Orešić, Mladen 414, 432, 442, 461

Perica Krapljanov, Marina 318

Organizam 246, 427, 461

Perišić, Jelena 189, 282, 455-457

Orlić, Ivona 328

Perišić, Vedran 319

Orlić, Katja 323

Perkov, Ivan 389

Ostoić, Sunčica 425-426

Perković, Tomica 306, 358, 444

Nenadić, Damjan 254

Otto Eisenecker, Jasper 449

New Europe Film Sales 164 Nigoević, Negra 168, 357, 431, 448,

Porchez, Jean François 442, 460 Poropat, Sean 156-157, 328, 459 Posavec, Ivan 368 Poštenik, Matija 415 Potrebić, Suzana 270 Poturić, Igor 180, 268 Požar Piplica, Ana 176 Požar, Zrinka 200, 202, 248 Prado, Luiza 416 Predragović, Luka 459

Perković, Vanja 205

Prenc Opačić, Sara 239-240

Paim, Nina 439, 449

Pernar, Ana 176

Prgomet, Ivan 231

Palača Herzer 453

Perović Bilić, Ranka 312

Nikolić Popović, Ivana 232

Paliska, Karla 324, 439, 442, 445, 449, 463

Peršić, Margareta 456

Price on Request 110-111, 341, 369

Nikolić, Dražen 350

Pancer, Alica 306, 358, 444

Nikolić, Sanja 263

Papelias, Amy 451

Nilsson, Felicia 420 Nižić, Marin 98, 391, 437, 449 Njeguš, Jelena 394 NLV 189 No42 252-254 Nolan, Christopher 387 NOP studio 287

Pervan, Luka 370

Primorac, Iva 391, 459

PES kreativna tvornica 305

Primorsko-goranska županija 348

Patačić, Tomislav 293

Petek, Hrvoje 57-58, 255, 351

Prizmić, Damir 112, 152, 213, 250, 443, 448, 456

Patchineelam, Vijai 233

Petković, Tomislav, 293

Profeta, Dušanka 463

Paulenka, Marina 231-232

Petkus, Sarah 180

Profores 293

Pavelić, Adriana 310

Petrović, Neven 231

Project 6 studio 57-58, 351

Pavić, Ivana 346, 435

Pezdirc, Adrian 365

Prolix 350

Pavičić, Ana 386

Picelj, Ivan 30, 31, 33, 38, 40, 213, 223

Prospekt 459

Pavičić, Ivan 266

Pičuljan, Igor 453

Prostoria 168, 252, 288, 299, 306, 358, 373, 444-445

Nossiter, Adam 232

Pavleković Preis, Sara 98, 280, 416, 419, 449, 459

Nova Iskra 450

Pavlinek, Nika 112-117, 368

Pintarić, Filip 246, 427

Novak, Dražen 202

Pavlinović, Željka 349

Piplica, Luko 176

Novak, Silvije 286, 459

Pavlović, Jan 103, 187-188, 235, 433, 442, 459, 461

Pips, Chips & Videoclips 209

Pavlović, Marko 347, 435

Pirnat, Jan 361

Ptiček, Mirna 170, 201, 431

Novaković, Milica 420

Pavlović, Pavle 236

Novena 247

Pavlović, Stjepan 231

Plantić Tadić, Diana 358, 444, 462

Public Room Skopje 358, 444-445, 462

Novi život 153

Payer, Ira 280, 292, 329, 330-332, 373, 459

Plasinia 269

Pučko otvoreno učilište grada Vodnjana 167

Novak-Mikulić, Ruđer 301302, 442

Novosel, Lidija 183 Novović-Jovanovska, Marija 358, 444, 462

Pečanić, Maja Danica 269 Pedišić, Igor 57-58, 331, 351

Numen/ForUse 299, 324

Pegan Baće, Ivana 176

Održivi otok 221

Pelicarić, Hrvoje 250

Oldenburg, Claes 404

Pelicarić, Vinko 249, 347

Oliveira, Pedro 416

Pelivan, Lea 61-62, 316

One Suite Hotel 176 Opalić, Ana 176, 206

Pimp my Pump 427

Platforma 9,81 66,443, 447, 450, 452 Plava Tvornica 293 Plavotić, Antonija 322 Pleić, Toma 61-62, 316 Poljak, Renata 172

Protestantsko evanđeosko vijeće 199 Protić, Dijana 427 Protić, Zorana 415 Prpić, Asja 236

Pučko otvoreno učilište Poreč 188 Qtech design Zagreb 329, 332 Queer Archives Institute 204

Poljak, Sara 420

Radeljković, Nikola 324, 358, 444-445

Penava, Marijana 358, 444

Poljanec, Maša 92, 230-232, 324, 326-327

Radić, Zvonimir 27-28, 34-35, 223

Penezić & Rogina 348

Polović, Marija 420

472 pregled hrvatskog dizajna

index

Radičević, Radovan 27, 33-34, 40

Roth-Čerina, Mia 415

Starčević, Siniša Josip 350

Šakić, Dalibor 407

Rotter, Sanja 266, 303

Stari sat 192

Šantić, Paula 398

Rovina, Adrian 420

Start_aparat 350

Šare, Katja 459

Rožman, Maja 236

Stenbeck, Katarina 215

Šarić, Tena 330

Rukovanjski, Davor 169

Stepanović, Sara 391

Šarunić, Filip 236

Ružić Vukmanić, Marija 305

Sterling, Bruce 449, 463

Šavar, Alma 183, 221, 222

Radovanović, Mario 232

Sabljak, Dario 219, 465

Stinčić, Morana 313

Šegula Seršen, Pina 420

Radulović, Nino 231

Salem, Abdulrahman 229

Šerić, Ana 268

Radziszewski, Karol 204

Salem, Hamza 229

Stipaničev, Ante 57, 58, 255, 351

Raffaneli, Lucija 415

Salopek, Zlatka 183, 222

Rahmanović, Harun 229

Santini, Petar 331

Rakitničan, Sven 231

Scavone, Enzo 232

Ramović, Imelda 184-185, 226

Schunk, Davor 456

Stolarija Srebačić – Ribica 331

Scuderia 314

Strašek, Zvonimir 231

Sekula, Lucija 415

Straža, Vladimir 431, 448

Selec, Hrvoje 453

Strugar, Jelena 420

Sellers, Susan 118-125

Strukić, Kristian 319

Señor 192, 370

Stubičar, Saša 176

Šilović Grabovac, Iva 358, 444, 462

Sindik, Iva 161, 333, 353

Studenac, Omiš 179

Šimić, Irena 427

Sinković, Jurica 313

Studentski centar u Zagrebu 210

Šimić, Katarina 362

Radiona 88, 152 Radočaj, Morana 357 Radošević, Goran 456-457 Radovanović, Ana 128, 428, 452

Raos, Matija 431, 448 Rašić, Ante 236 Rašić, Marko 236, 350 Rašić, Petar 350 Rašić+Vrabec 236, 350 Raškaj, Slava 216 Rasol, Jasenko 331 Rastovac, Sven 449 Ratković Aydemir, Dragana Lucija 85-86 Real grupa 246

Šintić, Josip 428, 454 Sirotić Pavletić, Martina 157 Sitopapir 201,

Stojanac, Alen 57, 58, 255, 351 Stojanović, Slavimir 126-133

Studij dizajna 30, 82, 84, 383, 384, 385, 386, 389, 391, 398, 410, 411, 414, 415, 419, 438, 459

Šesnić&Turković 158, 159, 160, 161, 162, 163, 164, 192, 193, 238, 281, 333, 353 Šesnić, Deni 327 Šesnić, Marko 85, 86, 133, 158, 159, 160, 161, 162, 163, 164, 192, 193, 238, 281, 327, 333, 353 Šestak, Tomislav 202 Šijan, Slobodan 219 Šilić, Artur 247

Šimičić, Darko 428 Šimpraga, Saša 431, 448 Šimrak, Robert 236

Studio 33 191

Škarica, Daniela 352

Skoko, Božo 200

Studio Božesačuvaj 431, 448

Škegro, Ana 207

Skroz 352

Studio I-gle 340

Regular Company 301-302

SKUD “Ivan Goran Kovačić” 213

Studio Pangolin 224

Reicher, Luka 465

Slast & mast 180

Studio Revolucija 57, 58, 255, 256, 351

Renar, Sara 273

Slobodnjak, Petra 371

Studio UP 61, 62, 316

Šolin, Vanja 168

Rendulić, Christian 459

Smakiqi, Agnesa 229

Studio Zetho 349

Resner, Mirjana 459

SMD 293

Stupalo, Dora 420

Sorić, Sven 190, 194, 237, 273, 372, 430, 436, 440, 449, 456

Restart, Zagreb 163

Sokač, Tomislav 160

Retail Solutions 459

Sonda 156, 157, 279, 304, 328

Subotić Šušak, Maja 428, 446, 452, 455, 457

Rebić, Una 456-457 Redza, Vilim 459 Regeneracija 300, 373

Richter, Mihaela 327 Richter, Vjenceslav 28, 3334, 40, 43, 46, 47, 85, 223 Rimac, Stipan 248 Rodela, Luka 362 Romagnoli, Lorenzo 449 Roosvai 350 Roškar, Janja 358, 429, 444

kazalo

Sklad Profili 304

Sunek, Valentina 427

Spudić, Hrvoje 194, 372, 430, 433, 456

Superstudio 280, 292, 329, 330, 331, 332, 373, 459

Srdarev, Danijel 168, 200

Sutlović, Ana 420

Srnec, Aleksandar 31, 38, 223

Sužnjević, Andrea 162, 164, 192, 238, 353

Sršen, Lovorka 329, 330, 331, 332

Sveučilište Sjever 378, 379, 380, 381, 387, 388, 417, 453

Stadion Kantrida 322 Stanić, Mira 247

Šaban, Ivica 287 Šabić, Miran 236

Škola primijenjene umjetnosti i dizajna 427, 442 Škreblin, Dragutin 212 Škrobonja, Darko 166

Šostar, Marko 358, 444 Štedul, Leo 2, 465 Štefančić, Klaudio 234 Štefančić, Marina 380 Štefanec, Josipa 404, 405, 407 Štefanec, Vanja 254 Šteković, Zoran 253 Štrbac, Maša 371 Šubić, Nikola 459

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Šunjerga, Antonio 290 Šunk, Davor 200 Šuput, Branka 462 Šuran, Oleg 165, 166, 189, 282, 394, 418, 420, 433, 442, 443, 447, 448, 450, 452, 454, 461 Švraka, Danijel 232 Tadić, Josipa 416 Tadić, Marko 216, 236 Tadić, Stipan183

Turistička zajednica Dubrovačko-neretvanske županije 431, 459

Vertuš, Leona 388, 449

Vuksanović, Bojana 433

Verzelloni, Italija 295

Vukušić, Nenad 61, 62, 316

Turistička zajednica Grada Zagreba 146, 330, 331

Vetropack 350

Vuletić, Antonija 391

Vidaković, Mirjana 358, 444, 462

Waldgoni, Karla 391

Turković, Evelina 250 Turković, Goran 85, 86, 158, 159, 160, 161, 162, 163, 164, 192, 193, 238, 281, 333, 353

Vidović, Stefan 304

Tvrđava kulture Šibenik 321

Vinski podrum Buzet 279

Typotheque.com 243

Tanić, Ivan 248

UBU – Udruga bivših učenika ŠPUD-a 427

Taraba, Tihana 346, 435, 459

Udruga “Kuća o Batani” 239

Taslaman, Dino 415

Udruga 36 187

Teatar &td 210, 429, 436

Udruga Roda 438

Teatar Exit 138

ULUPUH 28, 241, 327, 445

Tecilazić, Nika 420

Umjetnička akademija u Splitu 382, 390, 394, 416, 418, 420, 447

Tehnički muzej Nikola Tesla 152, 196, 449

Vinković, Leo 191

Vitković, Marina 365 Vladislavić, Tonči 300, 357

Warrilow, Jane 463 Wecke, Martin 449 WHW 443, 463 Woud, Danska 297 Wurm, Erwin 404

Vlahović, Tea Silvia 248

Yellow Submarine, Zagreb 174

Vlainić, Tomislav 389

Zabrdac, Marko 138

Vlajo, Koraljka 5, 7, 367, 434, 439, 442, 446, 452, 459, 461, 464

Zadarska županija 57, 255, 256, 351

Vlašić, Ivona 176

Zagrebačko kazalište mladih 76, 155

Vodopija, Mirjana 236

Zaklada Solidarna 260

Vodopija, Monika 384, 391

Zanki, Sanja 265, 266

Vojvoda, Rozana 176

Zanze, Ivana 232, 438

Volf, Kristina 100, 293, 439

Zavar Skopje 358, 444, 445

Vrabec, Andrea 350

Zdjelar, Siniša 322

Vrabec, Vedrana 236, 350

ZDL arhitekti 322 Zelmanović, Nikola 294

Tekstilno-tehnološki fakultet 104, 110, 227

Universalmuseum Joanneum Kunsthaus Graz 364

Telišman, Karmen 300

Up there 325

Termist 350

UPI-2M 57, 58, 351

The Bird, Zagreb 349

Ured za fotografiju 203, 211

Vrbanić, Gala Marija 111, 341, 369

This Town Needs Posters 194, 372, 430, 456

Uršić, Albino 431, 448

Vrček, Marcela 391

Ursić, Ozana 320, 367

Vrcić, Ivana 358, 444

Tkalec, Marijana 358, 444

Uskoković, Sandra 232, 431, 448

Vrdoljak Ranilović, Martina 340

Tolj, Slaven 176, 425, 426

Utorak 347

Vrdoljak, Petra 305

Zmaić, Goran 283

Tomić, Ana 2, 216, 217, 218

Vajda, Filip 341, 369

Vrebac, Vita 449

Zorica, Željko 431, 448

Tomičić, Miran 138, 200, 201, 265, 266

van Middelkoop, Catelijne 53, 54, 356

Vrencoska, Gordana 358, 444, 445, 462

Zozoli, Ivana 168

Tomljenović, Elvis 350

Vasilj Matković, Martina 459

Vrhovski, Ivana 358, 444

Tintor, Hana 200

Topolovec, Filip 381, 387 Tošić, Helena 420 Trbuljak, Goran 459 Tretinjak, Franka 227, 228, 367 Trio Sarajevo 431, 448 Trumbić, Nina 370 Tudor Perković, Nevena 459 Tumpić, Anselmo 167, 195, 443, 448 Tumpić/Prenc 239, 240 Turisthotel, Zadar 312

VAU tim 305, 373

Vrljičak, Sanda 456

Zidić, Neva 427 Zlatar, Mislav 449 Zlatec, Katarina 431, 448 Zlatić, Tomislav 261

Zrnić, Željka 170 Zubčić, Marko-Luka 362 Zuber, Đive 459

Vavra, Viktoria Lea 291

Vrtić za pse “Veliki&Mali” 182

Večenaj, Andrija 457

Vučić, Ivana 211, 212, 317

Zvošec, Vinko 231

Veerman, Yuri 449

Vujičić, Silvio 110, 111, 342, 443, 448

Žaja Petrak, Ana 200

Veleučilište VERN 358, 444, 445 Velinovski, Aleksandar 358, 444, 445, 462 Veljačić, Miranda 447, 450, 452 Velvet Underground 386 Vene, Lea 2, 3, 357, 105 Verrocchi, Gino 57, 58, 351

474 pregled hrvatskog dizajna

Vukmanić, Ivan 305 Vukmanović, Maša 287, 352 Vuko, Ana 389 Vukojević, Narcisa 92, 174, 196, 346, 459

Zulić, Sara 229

Žaja, Mate 394, 420 Žakula, Ksenija 358, 429, 442, 444, 455, 461, 462, 464, 465 Žalac, Ivana 352 Žito, Osijek 248

Vukosav, Borko 231, 436

Žitoproizvod, Karlovac 277

Vuković, Dominik 350

Živanov, Aleksandar 157, 328

index

Živčić, Domagoj 231, 461, 463 Živčić, Hrvoje 53, 54, 99, 103, 186, 243, 251, 356, 433, 442, 459, 461, 465 Živković, Jure 286 Živković, Marija 112, 323 Žižić, Damir 147, 207 Žmak, Jasna Jasna 224, 260 Žugić, Goran 231 Žunar, Ivan Goran 306, 358, 429, 444, 445 Župarić-Iljić, Drago 371 Žuvanić i partneri 173

kazalo

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Izložba hrvatskog dizajna ∕ The Exhibition of Croatian Design 1718 25.10. – 25.11.2018.

organizacija ∕ organized by HDD – Hrvatsko dizajnersko društvo ∕ Croatian Designers Association direktorica izložbe ∕ exhibition director Mirjana Jakušić organizacijski tim ∕ organizational team Marko Golub, Mirjana Jakušić, Maša Milovac, Ksenija Žakula partneri projekta ∕ project partners Muzej za umjetnost i obrt ∕ The Museum of Arts and Crafts Miroslav Gašparović (ravnatelj ∕ director), Vesna Jurić Bulatović (marketing & PR), Vesna Ledić (voditeljica projekata ∕ project manager), Andrea Gerenčer (PR) Udruga bivših učenika ŠPUD-a Zagreb – UBU ∕ The Association of former students of SAAD Zagreb – UBU Bernarda Cesar (predsjednica ∕ president), Marija Juza (dopredsjednica ∕ vice president) Škola primijenjene umjetnosti i dizajna Zagreb ∕ School of Applied Arts and Design Zagreb Filip Pintarić (ravnatelj ∕ director), Bernarda Cesar (voditeljica ISO - Izložbenog salona Izidor Kršnjavi – ISO ∕ ISO - Gallery Izidor Kršnjavi exhibition manager) međunarodni ocjenjivački sud ∕ international jury Boris Greiner, Dejan Dragosavac Ruta, Vedran Kasap, Ana Labudović, Mario Lončarić, Tomislav Mostečak, Nika Pavlinek, Susan Sellers, Slavimir Stojanović dizajn vizualnog identiteta ∕ visual identity design Lana Cavar, Marino Krstačić Furić, Ana Tomić dizajn postava izložbe ∕ exhibition design Market kolektiv (Marita Bonačić, Iva Hrvatin, Katarina Perić) upravni odbor hrvatskog dizajnerskog društva ∕ croatian designers association executive board Maša Milovac, Dejan Kršić, Petra Milički, Karla Paliska, Maša Poljanec, Nenad Roban, Oleg Šuran

Partneri izloĹžbe ∕ Exhibitions partners

Podržali ∕ Supported by

Sponzori ∕ Sponsors

Gmund Bauhaus Dessau Weiss 2

Medijski pokrovitelj ∕ Media sponsor