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In today's day and age, we are constantly surrounded by commercial advertisements of products appearing on billboards through to social media. Yet little do we think of how much work and effort goes behind the design created. What is exactly Croatia's history with product design? To begin with, the most intense modernisation in Croatia was in the period from 1945 until the late '80s. Looking back, design in Croatia throughout the 1950s began to take shape thanks to the lesser pressure of market laws as in other Western European countries. Although under Communism, designers and artists of commercial products had a lot of freedom of expression. The team of artists considered as pioneers in the field included Ivan Picelj, architect Vjenceslav Richter, Aleksandar Srnec and Zvonimir Radić. Companies such as Yugoslav Airlines, the Segestica Alcohol Factory, Kraš, Ghetaldus, Saponija, Jugoton and Pliva were just some of the giants that had their visual identity and product packaging worked on. The 1950s and '60 were fruitful years in the design of furniture with awards received both nationally and internationally. Božidar Murković's sofa in 1957 is now a part of the Museum of Arts and Crafts collection. The 60's and 70's were marked by Bernardo Bernardi and Bogdan Budimirov with the commercial design of the flexible drawing table Moya and Bernardi's armchair to name a few. Bruno Planinšek successfully created a number of practical items for the RIZ Factory (Radioindustrija Zagreb) and in particular his electric coffee grinder Miki. The 80's were marked by the three series of furniture that Mladen and Marijan Orešić designed for the Adriatic furniture factory. There were three series of chairs - Ergoline in 1983, Modres in 1984 and probably the most famous series Uni from 1987 that was made for the Universiade in Zagreb. In the last twenty years, the Croatian design scene has grown significantly with professional associations, academic studies and review exhibitions in existence. Visual communication has grown dramatically whereas in the category of product design, lack of funds has seen growth in the development of own brands, the running of private production and searching for alternative ways of distribution on the international market.


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- Ratko Koletić & Žiraha
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