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HRVATSKI DESIGN
DIZAJN NOW
SAD
VICTOR MARGOLIN is Professor Emeritus of Design History at the University of Illinois, Chicago. He is a founding editor
and now co-editor of the academic design journal Design Issues. Professor Margolin has published widely on diverse
design topics and lectured at conferences, universities, and art schools in many parts of the world.
FEDJA VUKIC had got his ph.d. in design theory at University of Ljubljana, Slovenia. Trained as art historian at the Uni-
versity of Zadar, Croatia. He is holding a permanent lecturing position at the School of Design, Faculty of Architecture,
University of Zagreb since 1994. Fellow of The Wolfsonian Foundation, Miami Beach, 1995. Has lectured at the universi-
ties and schools worldwide and contributed to a number of conferences. Has published a number of papers on design
issues in national and international magazines.
As I reviewed the examples selected for the book I was struck by their freshness and the enthusiasm of the designers
that was evident in the work. I might have anticipated a dutiful homage to older designers from places where design tra-
ditions are longer and stronger but was instead surprised to discover how delightfully original Croatia’s designers can
be and how well tuned they are to the many aspects of economic, social, and cultural development in Croatia today…….
first international presentation of croatian design | (Victor Margolin, CROATIAN DESIGN: A VIEW FROM ABROAD, extract from introduction essay )
60 authors & 180 works | Therefore, the graphic design dominates in Croatia today, which is obvious in all the past trade exhibitions of yearly
production, because in the social context there is the strong need for mediating the new identities, new individual and
corporate subjects, which take part in the transition, from the political to private ones. This is the reason why term of
Impressive insight of recent croatian design production |
design has today become a standard signifier of the practice of creating the visual meanings and (less often) of the ob-
ject for the mass production and consumption. Therefore it is possible to trace its questionable aspects right in the gap
croatian design on a world map |
between the two opposite contexts - the first one, where the profession is conceptually and theoretically founded, and
the second one, where it is accomplished.……. (Fedja Vukić, THE IDEA OF DESIGN IN CROATIA, extract from introduction
captivating book that you must have |
essay)
108 109
title/naziv | Kratis
032 agency/agencija | Bestias 033
authors/autori | Božidarka Brnas, Tomislav Kraljević
client/klijent | Kratis printer/ tiskara Kratis
year of production/godina realizacije | 2006
title/naziv | Visual Identity of Istria as the Tourist Desti-
nacion/Vizualni identitet Istre kao turističke destinacije
authors/autorice | Cavarpayer (Ira Payer, Lana Cavar,
Narcisa Vukojević
collaborators/suradnici | Goran Zmaić(ilustrator), Andri-
jana Čuljak (brand konzultant)
client/klijent | Istrian Tourist Board/Turistička zajednica
Istre
year of production/godina realizacije | 2005-2006
techinical description/tehnički opis | manual, stationery,
promotional gifts/priručnik, aplikacije identiteta, promo-
tivni darovi, različite naklade
168 169
178 179
title/naziv | The Garden Festival slogan “Game on!” and extended the concept to all visual co-
studio | Fiktiv mmunications material, from ads and posters to The Funny
author/autor | Andrej Filetin Money – the Festival’s official currency.
co-autors/koautori | Goran Raukar, Ana Kovačić, Želj-
ko Paulić Svako ljeto “The Garden Festival” se održava na prekrasnom
client/klijent | Bašta Zadar d.o.o. malom poluotoku pokraj Zadra. Ovo atraktivno trodnevno
year of production/godina realizacije | 2006-2008 događanje predstavlja svjetsku elektronsku glazbu i postalo
je iznimno popularno među mlađom britanskom publikom,
Each summer, The Garden festival takes place on a beauti- a vodeći europski mediji proglasili su ga jednim od najzani-
ful little peninsula in a village next to the city of Zadar. This mljivijih ljetnih događanja. Fiktiv prati festival usmjeravajući
fine electronic music 3-day event has become very popular i dizajnirajući njegove vizualne komunikacije od samog osni-
within the younger British population and has been named vanja. Glavnina festivala odvija se na otvorenom. Organizatori
the place to be in summer by leading European media. Fiktiv su željeli naglasiti da se festival odvija na poluotoku okru-
has been working on the festival’s visual representation sin- ženom morem. Fiktiv je sve pretvorio u društvenu igru sa
ce its very first edition. Major part of the festival’s program sloganom “Game on!” i primijenio koncept na sve elemente
happens outdoor. The organizers wanted to emphasize the vizualne komunikacije, od oglasa i plakata do festivalske va-
fact that the festival takes place on a peninsula, surrounded lute – The Funny Money.
by the sea. So, Fiktiv turned it all into a social game with a
title/naziv | Sexus, Nexus, Plexus - Chosen Works of The synthesis of headlines and the visual are skilfully knitted
Henry Miller, Series of Covers/Sexus, Nexus, Plexus through each book individually as well as all three books to-
- odabrana djela Henryja Millera - serija naslovnica gether. When trilogy is put together we see that both covers
studio | Bestias and headline create a visual whole emphasized with large
author/autor | Božidarka Brnas, Tomislav Kraljević XXX that in a way is a hidden homage to Miller himself.
client/klijent | Meandar
year of production/godina realizacije | 2007 Trilogija je vizualno definirana prvenstveno iz ljudske aso-
cijacije na spomen imena Henry Miller. Henry Miller: “sek-
Trilogy’s visual identity derived primarily from the associati- sist” i pornograf. Crni korzet povezan crvenom bašunastom
ons arising when hearing Henry Miller’s name. Henry Miller: vrpcom. Sinteza fotografije i naslova trilogije u vizualu skriva
«sexist» and pornographer. konačnu sintezu korzeta s naslovima – kako na naslovnici,
The carrying visual is a Black corset tied with red velvet bow, tako i na hrbatu. Tako “skupljena” trilogija u crni korzet opet
which skilfully ties all three books in one unified concept. i dalje odaje skrivenu počast samome Milleru: crveni baršu-
216 217
title/naziv | St Peter’s Maternity Centre/ Petrova tru- client/klijent | “Healthy Newborn” Association/Udru- the campaign certainly doesn’t correspond to the needs of Ovi su oglasi bili dio kampanje za prikupljanje sredstava za
dionica ga “Zdravo novorođenče” the patients who spend up to seven months in it, safeguar- uređenje odjela za rizične trudnoće Petrove bolnice u Zagre-
agency/agencija | Bruketa&Zinic OM year of production/godina realizacije | 2007 ding their pregnancies. Horrible shape of the hospital influ- bu. Taj odjel nije obnovljen još od svog osnutka 1920. godine.
authors/autori | Moe Minkara, Tonka Lujanac (creative ences the mothers and through them it effects the unborn Stanje u kojem se danas nalazi sasvim sigurno ne odgova-
directors), Tonka Lujanac, Gordana Golik, Ana Belić, This ads were a part of the money rising campaign for re- children as well. The slogan was: What the mother feels, the ra potrebama pacijentica koje na njemu provode i do sedam
Petar Popović (art directors), Tanja Škorić, Daniel Vu- construction of the Risk Pregnancy Department of St Peters baby feels as well. mjeseci čuvajući trudnoće. Loše stanje bolnice uvelike utječe
ković, Ivan Čepelak, Ivan Čadež (copywriters), Ivana Hospital in Zagreb. This department has not been recon- na majke koje u njoj borave, a preko njih i na još nerođene
Pamiković (designer) structed since its founding in 1920. The state it was in before
268 269
title/naziv | Next, Office Chairs Design System/Next, ch offers warm seating experience Next project tend to step ferent surface finishes and materials the design can fit well sve potrebne ergonomske funkcije za maksimalnu udobnost.
dizajn sistema uredskih stolica aside from contemporary high-tech approach which treats into a wide range office interior projects. Seriju čini mogućnost odabira tri visine naslona, opcija sa
studio | Redesign office chair like a seating machine. i bez rukonaslona i tri vrste postolja s obzirom na funkciju:
author/autor | Neven Kovačić Design of “Next” chairs is based on innovative bent plywood Oslanjajući se na bogatu tradiciju dizajna stolica od savije- radna stolica, stolica za sastanke i fotelja. Različite povr-
collaborator/suradnik | Sanja Kovačić shell design which is shaped in a way to fit all ergonomic nog drva koji zove na sjedenje svojom toplinom nastojao se šinske obrade, teksture drva, boje tekstila i postolja pružaju
client/klijent | Tapo features for maximum comfort. postići odmak od aktualnog high-tech pristupa koji uredsku paletu odabira s obzirom na potrebe projekta uređenja inte-
year of production/godina realizacije | 2008 “Next” chair can be configured with three backrest heights, stolicu robotiziranog izgleda tretira kao stroj za sjedenje. rijera.
with or without backrest and three types of bases according Dizajn serije stolica “Next” temelji se na inovativnom dizajnu
Based on the rich tradition of bent plywood chair design whi- to the typology: task, meeting or lounge. By combining dif- školjke od savijenog drva koja je oblikovana tako da pruža
296 297
Published in 2009 by
UPI-2M PLUS d.o.o.
Meduliceva 20
10 000 Zagreb
Croatia
Tel: 00385 1 4921 389
Fax: 00385 1 4921 390
Email: info@upi2mbooks.hr
www.upi2mbooks.hr
A catalogue record for this book is available from Croatian National library
ISBN 978-953-95098-9-5
Authors: Victor Margolin / Fedja Vukic
Editor: Fedja Vukic
Design: Ivona Malcic
Project Manager: Danijel Malcic
Translation: Sanja Petrovic
Cover: hardbound
Pages: 310
Ilustrations: 500+ color ilustrations
Size: 21 x 25 cm
Language: english / croatian
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