Written by: Damir Gamulin
Mladen Orešić, designer and mentor, has left a profound mark on the spaces we use daily. However, his contributions extend beyond physical objects; his legacy lies in the continuous promotion and appreciation of Croatian design, as well as in the knowledge, enthusiasm, and inspiration he imparted to generations of young designers. Orešić’s professional journey was shaped by a solid educational foundation and early industrial collaborations. After graduating from the University of Applied Arts in Vienna, where he earned both his bachelor’s and master’s degrees under the mentorship of Hans Hollein, Orešić quickly began crafting innovative solutions for the Jadran factory. Jadran supported him through a scholarship and provided opportunities for professional work, leading to a fruitful collaboration in developing various furniture programs for widespread use. His work on products such as the Uni ’87 furniture line and the Ergoline and Modres chairs embodies a commitment to thoughtful and enduring design. Orešić consistently balanced structural and aesthetic demands, the flexibility inherent in materials, and the need for warmth and comfort in human experiences.
Modres, Studij dizajna u Zagrebu, fotografija: Bojan Mrđenović
Blending with the Everyday: Modres, Ergoline, and Uni ’87 Chairs
Orešić’s modular Modres chair became a symbol of Zagreb’s daily life, not only through its ubiquity in student dining halls and cultural institutions like the Museum of Arts and Crafts, but also in lobbies, waiting rooms, and other public spaces. The Ergoline, Modres, and Uni ’87 chairs are now recognized as quintessential examples of “invisible design.” These are designed objects that quietly shape everyday life, from sports arenas and healthcare facilities to cultural and hospitality spaces. According to Marko Golub, it is precisely this ubiquitous presence that makes them iconic, even though they often go unnoticed by the casual observer.
Modres, dizajn: Mladen Orešić, Marijan Orešić, TMN Jadran, 1983. Fotografija: Luka Mjeda
The Modres program was conceived as a flexible solution adaptable to various public spaces. Practicality, modularity, and cost-effectiveness became hallmarks of this design, which found applications in student and hospitality environments as well as in healthcare facilities and cultural centers. Orešić’s collaboration with Jadran also included the development of chairs for the 1987 Universiade, a time when Zagreb underwent radical infrastructural changes. This period saw the construction or renovation of numerous sports facilities, expanded student housing, and the creation of new public spaces.
Stolice Uni ’87 u Domu sportova, Zagreb.
Fotografija: Bojan Mrđenović
The Uni ’87 chairs became a symbol of this transformation, bridging diverse aspects of urban life—from sports centers like Jarun and Mladost to Zagreb’s Bus Terminal. This project emerged during a transitional period between the socialist system and a modern market economy, when design played a crucial role in society’s modernization. Designers like Orešić not only created objects but also transferred valuable knowledge and practices from the earlier system, ensuring the continuity of quality and functionality despite political and societal changes. Through design as a stable framework of activity, community-oriented values were preserved and enhanced, while simultaneously laying the groundwork for the development of new forms of production and use.
Ergoline, dizajn: Mladen Orešić, Marijan Orešić, TMN Jadran, 1981. Fotografija: Luka Mjeda
Education and Understanding of Fundamentals as the Foundation of Design’s Future
Perhaps Orešić’s most significant contribution was his role as an educator and mentor. After achieving success in the industry, he channeled his passion for design into nurturing new generations of designers, contributing to the establishment of the School of Design at the Faculty of Architecture in Zagreb in 1989. Orešić was one of the key founders who shaped the vision of the School as a place for developing not only aesthetically proficient but also socially responsible designers. As a mentor, he tirelessly worked with young designers, sharing his knowledge and experience while encouraging them to be open and progressive in exploring new ideas, emphasizing the designer’s responsibility toward society and the environment. He supervised numerous graduate theses, many of which received recognition and awards on an international level.
Mladen Orešić, Ivana Fabrio i studenti Studija dizajna na otvorenju izložbe Svjetla budućnosti, HDD galerija, 2016. Fotografija: Petra Vrdoljak
Changing the Perception of Design in Croatia
As president of the Croatian Designers Association, Orešić initiated numerous projects, including the Exhibition of Croatian Design and the publication of the Croatian Design Annual (later known as the Croatian Design Review), giving the local design scene the visibility and recognition it deserved. His work significantly contributed to redefining design—from being seen as a “luxury of aesthetics” to being understood as a critical social and industrial tool. In the first Annual, he emphasized that design is not merely decoration but an integral part of social infrastructure, a means of connecting various aspects of social and cultural life.
Metoda; koncept projekta, art direkcija, produkt dizajn: Mladen Orešić; art direkcija, produkt dizajn: NEISAKO (Neven & Sanja Kovačić); produkt dizajn: Nikola Radeljković (Numen/ForUse); Simon Morasi Piperčić (SMPDO); Ruđer Novak Mikulić
(Regular Company); Filip Despot, Tihana Taraba, Ivana Pavić (Grupa); Maša Vukmanović, Jelena Lukač Kirš,
Jakov Šrajer (Thinkobjects); naručitelj: Spin Valis, Požega, 2022.
Vision and Discipline in Design
Orešić described his work as “disciplined exploration of optimal solutions that meet the demands of production, distribution, and use”—a focus directly opposing tendencies to use design as a “cosmetic” tool for superficial beautification. His career followed a unique loop: from his own design education and early industry beginnings at the Jadran factory, to founding and leading the School of Design and mentoring generations of new designers, and finally to his later years with the Metoda project, reconnecting industry and design. One of the pivotal moments in his career was his work at the Jadran factory on the 1987 Universiade. In an online interview, he recalled how he approached the challenge of relying on imported programs: “Regarding the Universiade, Jadran regularly offered imported programs for sports grandstands, but based on our successful experience designing and implementing equipment for the Zetra Hall in Sarajevo for the Olympics and the SPENS arena in Novi Sad, we knew it was economically more viable to develop our own product. So, we decided to launch a new program.”
This statement clearly illustrates his approach to design—his vision and initiative to create domestic solutions, guided by analysis and rational reasons, were central to his professional philosophy.
Godišnjaci hrvatskog dizajna i Pregledi hrvatskog dizajna 01 – 21/22
The energy for creating developmental programs and promoting local industry was evident decades later through the Metoda project. In this venture, Orešić once again steered design toward functional and sustainable solutions, leveraging the knowledge and creativity of young designers he mentored at the School of Design. The industry not only recognizes the importance of design today but actively uses the innovations of new generations to develop products that emphasize local resources and sustainability. This completes the full circle of his work—from his early steps at Jadran and mentorship at the School of Design to bringing the same spirit of innovation back through new projects where industry, design, and generations of designers collaborate as partners in creating a sustainable future.
What makes Orešić’s work unique is not just his technical excellence or distinctive design style but his insistence that design be a tool for social change—a means to redefine everyday life and improve quality of life, rather than merely a superficial tool for embellishing reality. His leadership, innovations, and dedication continue to inspire designers and everyone who believes that design is much more than functionality or aesthetics—that it is an expression of our culture, values, and identity. The Lifetime Achievement Award presented to Mladen Orešić honors his contributions to Croatian design through his authored works, his role in positioning design within society, and the generations he inspired.
fotografija: Luka Mjeda
Sources:
- Golub, Marko, “Blending with the Everyday,” Fragments of Design History, ed. Marko Golub, published by HDD, 2019.
- Borovnjak, Ivana, “From the Life of Jadran,” Fragments of Design History, ed. Marko Golub, published by HDD, 2019.
- Interview with Mladen Orešić, Fragments of Design History, ed. Marko Golub, published by HDD, 2019.
- Dorotić, Ivan, “Design as the DNA of Culture, Heritage, and Values” (Interview with Mladen Orešić), Vizkultura portal, https://vizkultura.hr/razgovor-mladen-oresic/, accessed December 16, 2024.
- Orešić, Mladen, “Editorial,” Croatian Design Annual 01, published by HDD, 1999.
- Rebernjak, Rujana, Designing Self-Management: Objects and Spaces of Everyday Life in Post-War Yugoslavia, Royal College of Art, London, 2018.