{"id":23289,"date":"2025-01-06T13:32:58","date_gmt":"2025-01-06T12:32:58","guid":{"rendered":"https:\/\/izlozba.dizajn.hr\/2324\/2025\/01\/06\/dizajnerski-i-edukatorski-polet-mladena-oresica\/"},"modified":"2025-01-06T13:49:28","modified_gmt":"2025-01-06T12:49:28","slug":"the-design-and-educational-zeal-of-mladen-oresic","status":"publish","type":"post","link":"https:\/\/izlozba.dizajn.hr\/2324\/en\/2025\/01\/06\/the-design-and-educational-zeal-of-mladen-oresic\/","title":{"rendered":"The Design and Educational Zeal of Mladen Ore\u0161i\u0107"},"content":{"rendered":"

Written by: Damir Gamulin<\/strong><\/p>\n

Mladen Ore\u0161i\u0107, 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. Ore\u0161i\u0107\u2019s 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\u2019s and master\u2019s degrees under the mentorship of Hans Hollein, Ore\u0161i\u0107 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<\/em> furniture line and the Ergoline<\/em> and Modres<\/em> chairs embodies a commitment to thoughtful and enduring design. Ore\u0161i\u0107 consistently balanced structural and aesthetic demands, the flexibility inherent in materials, and the need for warmth and comfort in human experiences.<\/p>\n

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Modres, Studij dizajna u Zagrebu, fotografija: Bojan Mr\u0111enovi\u0107<\/p><\/div>\n

Blending with the Everyday: Modres, Ergoline, and Uni \u201987 Chairs<\/h2>\n

Ore\u0161i\u0107\u2019s modular Modres<\/em> chair became a symbol of Zagreb\u2019s 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<\/em>, Modres<\/em>, and Uni ’87<\/em> 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.<\/p>\n

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Modres, dizajn: Mladen Ore\u0161i\u0107, Marijan Ore\u0161i\u0107, TMN Jadran, 1983. Fotografija: Luka Mjeda<\/p><\/div>\n

The Modres<\/em> 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. Ore\u0161i\u0107\u2019s 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.<\/p>\n

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Stolice Uni \u201987 u Domu sportova, Zagreb.
Fotografija: Bojan Mr\u0111enovi\u0107<\/p><\/div>\n

The Uni ’87<\/em> chairs became a symbol of this transformation, bridging diverse aspects of urban life\u2014from 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 Ore\u0161i\u0107 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.<\/p>\n

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Ergoline, dizajn: Mladen Ore\u0161i\u0107, Marijan Ore\u0161i\u0107, TMN Jadran, 1981. Fotografija: Luka Mjeda<\/p><\/div>\n

Education and Understanding of Fundamentals as the Foundation of Design’s Future<\/h2>\n

Perhaps Ore\u0161i\u0107’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. Ore\u0161i\u0107 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\u2019s responsibility toward society and the environment. He supervised numerous graduate theses, many of which received recognition and awards on an international level.<\/p>\n

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Mladen Ore\u0161i\u0107, Ivana Fabrio i studenti Studija dizajna na otvorenju izlo\u017ebe Svjetla budu\u0107nosti, HDD galerija, 2016. Fotografija: Petra Vrdoljak<\/p><\/div>\n

Changing the Perception of Design in Croatia<\/h2>\n

As president of the Croatian Designers Association, Ore\u0161i\u0107 initiated numerous projects, including the Exhibition of Croatian Design and the publication of the Croatian Design Annual<\/em> (later known as the Croatian Design Review<\/em>), giving the local design scene the visibility and recognition it deserved. His work significantly contributed to redefining design\u2014from being seen as a “luxury of aesthetics” to being understood as a critical social and industrial tool. In the first Annual<\/em>, 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.<\/p>\n

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Metoda; koncept projekta, art direkcija, produkt dizajn: Mladen Ore\u0161i\u0107; art direkcija, produkt dizajn: NEISAKO (Neven & Sanja Kova\u010di\u0107); produkt dizajn: Nikola Radeljkovi\u0107 (Numen\/ForUse); Simon Morasi Piper\u010di\u0107 (SMPDO); Ru\u0111er Novak Mikuli\u0107
(Regular Company); Filip Despot, Tihana Taraba, Ivana Pavi\u0107 (Grupa); Ma\u0161a Vukmanovi\u0107, Jelena Luka\u010d Kir\u0161,
Jakov \u0160rajer (Thinkobjects); naru\u010ditelj: Spin Valis, Po\u017eega, 2022.<\/p><\/div>\n

Vision and Discipline in Design<\/h2>\n

Ore\u0161i\u0107 described his work as “disciplined exploration of optimal solutions that meet the demands of production, distribution, and use”\u2014a 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.”<\/p>\n

This statement clearly illustrates his approach to design\u2014his vision and initiative to create domestic solutions, guided by analysis and rational reasons, were central to his professional philosophy.<\/p>\n

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Godi\u0161njaci hrvatskog dizajna i Pregledi hrvatskog dizajna 01 \u2013 21\/22<\/p><\/div>\n

The energy for creating developmental programs and promoting local industry was evident decades later through the Metoda project. In this venture, Ore\u0161i\u0107 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\u2014from 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.<\/p>\n

What makes Ore\u0161i\u0107’s work unique is not just his technical excellence or distinctive design style but his insistence that design be a tool for social change\u2014a 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\u2014that it is an expression of our culture, values, and identity. The Lifetime Achievement Award presented to Mladen Ore\u0161i\u0107 honors his contributions to Croatian design through his authored works, his role in positioning design within society, and the generations he inspired.<\/p>\n

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fotografija: Luka Mjeda<\/p><\/div>\n

Sources:<\/h2>\n