Jurica Huljev

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Jurica Huljev ("JH") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

JH : I studied at the XV. High School of Mathematics and Informatics in Zagreb, where my senior thesis, “Application of Computers in Architecture,” ignited my interest in computational design. I earned my Master of Architecture from the University of Zagreb’s Faculty of Architecture in 2001 with the highest thesis distinction. Early on, I lectured in CAAD at the same faculty, then went on to collaborate with global brands such as Rolex and Swatch, before founding Synthesis d.o.o. in 2003.

DL: What motivates you to design in general, why did you become a designer?

JH : I’m driven by the interplay of materials, mathematics, technology, and human experience. Design lets me synthesize these disciplines into solutions that are both functional and emotionally resonant—turning complexity into simplicity.

DL: Did you choose to become a designer, or you were forced to become one?

JH : I owe my path in part to an encouraging nudge from my older sister, an architect, who showed me the power of built environments. I studied architecture, but what all the time truly captivated me was the synthesis of architecture, interiors, graphic and product design, programming, materials, production, electronics, and mechanics. From early on, I delighted in exploring mechanical parts and functions, and experimenting with concrete in unexpected ways—pushing its nature to achieve maximum potential. This rich blend of influences naturally led me to embrace design as a lifelong pursuit.

DL: What do you design, what type of designs do you wish to design more of?

JH : I design across scales: from concrete product elements and omnidirectional speakers to architectural pavilions and installations. I hope to create more multidisciplinary, interactive environments that merge acoustic science, electronics, and material innovation.

DL: What should young designers do to become a design legend like you?

JH : Cultivate deep curiosity across fields—math, material science, coding, social research—and start every project on a blank page, letting original ideas arise before consulting references.

DL: What distinguishes between a good designer and a great designer?

JH : A great designer balances analytical rigor with visionary creativity, listens deeply to users and clients, then distills ideas into elegantly simple solutions that resonate emotionally.

DL: What makes a good design a really good design, how do you evaluate good design?

JH : True clarity of purpose—every element earns its place. It must solve real needs, honor material integrity, and evoke positive emotions before its function is even understood.

DL: What is the value of good design? Why should everyone invest in good design?

JH : Good design enhances quality of life, improves efficiency, and fosters emotional well-being. Investing in it yields lasting returns: greater user satisfaction, stronger brand identity, and positive societal impact.

DL: What would you design and who would you design for if you had the time?

JH : I’d pursue collaborations with leading architectural and design studios on sculptural installations or bespoke furniture where I could focus on concept development, advanced materials, sound design, and interactivity. My ideal projects invite a dual experience: an elegantly simple form for casual viewers, and layered depths—hidden acoustic behaviors, interactive features, or material innovations—for those with the curiosity, emotional sensitivity,

DL: What is the dream project you haven’t yet had time to realize?

JH : My dream project is a modular concrete housing system composed of prefabricated structural elements rather than flat panels. Each sculptural component—walls, roofs, and floors—interlocks seamlessly, leveraging ultra-high performance concrete’s strength and finish. Embedded smart systems for acoustics, climate control, and interactive lighting would remain concealed until discovered, offering both immediate functionality and deeper experiential layers for those who engage. This architecture would enable rapid, sustainable construction while rewarding inhabitants who delve into its hidden complexities.

DL: What is your secret recipe of success in design, what is your secret ingredient?

JH : Relentless refinement and empathy: continuously iterate down to the essence, guided by rigorous material research and a profound sensitivity to human interaction.

DL: Who are some other design masters and legends you get inspired from?

JH : I admire Dieter Rams for “less, but better,” Tadao Andō for his poetic use of concrete, and Zaha Hadid for her bold formal innovation.

DL: What are your favorite designs by other designers, why do you like them?

JH : The Farnsworth House by Mies van der Rohe for its purity of structure; the Tolomeo lamp by Michele De Lucchi and Giancarlo Fassina for its elegant adjustability; and Apple’s original iMac for combining simplicity with technological breakthrough.

DL: What is your greatest design, which aspects of that design makes you think it is great?

JH : My greatest design is the ONE.618 omnee.m speaker, which embodies my core beliefs—truth to materials, mathematical harmony, and interdisciplinary synthesis. Its sculptural concrete form arises from the Golden Ratio, while the custom acoustic lens and holistic integration of electronics reflect rigorous analysis and creative problem-solving. It distills complexity into minimalist elegance, demonstrating that devotion to material integrity and obsessive refinement can yield emotionally resonant and technically groundbreaking work.

DL: How could people improve themselves to be better designers, what did you do?

JH : Embrace interdisciplinary learning—study coding, acoustics, sociology—and balance theory with hands-on experimentation. I built prototypes nightly in our lab to bridge concept and reality.

DL: If you hadn’t become a designer, what would you have done?

JH : I possibly would have pursued computational research in architecture—an adjacent field that still satisfies my analytical curiosity and passion for blending technology with spatial design.

DL: How do you define design, what is design for you?

JH : Design is the orchestrated synthesis of form, function, material, and context into meaningful experiences that solve problems and spark emotions.

DL: Who helped you to reach these heights, who was your biggest supporter?

JH : My early professors at the XV. High School of Mathematics and Informatics (MIOC), mentors at the University of Zagreb, collaborators at Synthesis—material scientists, electronic engineers, and master craftsmen—and above all, my family and friends for their unending support.

DL: What helped you to become a great designer?

JH : A culture of continuous learning, embracing failure as feedback, and an obsession with material truth kept sharpening my skills and vision.

DL: What were the obstacles you faced before becoming a design master?

JH : Convincing traditional clients to embrace experimental methods, securing funding for long R&D cycles, and navigating the steep learning curve of advanced fabrication and electronics.

DL: How do you think designers should present their work?

JH : Narrative-driven presentations that communicate context, process, and emotional impact—combining visuals, prototypes, and interactive demos to engage stakeholders directly.

DL: What’s your next design project, what should we expect from you in future?

JH : Keep an eye out for immersive installations that blend sculptural concrete geometry with adaptive, responsive soundscapes—spaces where material form and acoustic behavior are so tightly integrated that they evolve with the presence of the audience.

DL: What’s your ultimate goal as a designer?

JH : To create timeless designs that enhance human experiences, inspire new ways of interacting with space and sound, and leave a positive legacy for future creators.

DL: What people expect from an esteemed designer such as yourself?

JH : They expect visionary ideas grounded in technical precision, thoughtful empathy, and trust that every detail is masterfully resolved.

DL: How does design help create a better society?

JH : By fostering accessibility, sustainability, and emotional well-being—design shapes environments that support healthier, more connected communities.

DL: What are you currently working on that you are especially excited about?

JH : Early-stage R&D on responsive concrete surfaces that shift acoustic and thermal properties via embedded sensors and control algorithms.

DL: Which design projects gave you the most satisfaction, why?

JH : The ONE.618 omnee.m speaker ranks at the top for its seamless fusion of material research, mathematical precision, and acoustic innovation, resulting in a product that is both intellectually rigorous and emotionally engaging. Equally formative was the Swatch kiosk system in 2000, where I pioneered visualization, 3D modeling, animation, and installation procedures—pushing my limits and learning to integrate multimedia elements to transform retail environments on a global scale. These projects exemplify how deep technical exploration and personal growth can yield innovative, human-centered experiences.

DL: What would you like to see changed in design industry in the coming years?

JH : Greater openness to interdisciplinary collaboration, faster integration of advanced materials and AI-driven design tools, and a stronger emphasis on social impact.

DL: Where do you think the design field is headed next?

JH : Toward immersive, adaptive environments—powered by generative design, embedded intelligence, and bio-inspired materials—that respond dynamically to human presence.

DL: How long does it take you to finalize a design project?

JH : Small products: 3–6 months. Complex installations/R&D: 1–3 years, due to material research and iterative prototyping.

DL: When you have a new design project, where do you start?

JH : I begin with a blank sheet of paper to sketch core ideas, then dive into contextual and material research before modeling concepts.

DL: What is your life motto as a designer?

JH : “Every element must earn its place.” It’s a guiding principle that drives me to continually question form and function, strip away the superfluous, and ensure that every aspect of a design contributes purposefully to its performance, aesthetics, and emotional impact.

DL: Do you think design sets the trends or trends set the designs?

JH : Designers set trends by pioneering new materials and experiences—trends follow as society adapts to visionary solutions.

DL: What is the role of technology when you design?

JH : Technology is both a tool and material partner—enabling simulation, fabrication, and intelligent behaviors that expand design possibilities.

DL: What kind of design software and equipment do you use in your work?

JH : Rhino 3D, Grasshopper, Python/C++ scripting, BIM tools; in the lab: concrete mixers, sprayers, CNC mills, electronics prototyping rigs, and microscopes.

DL: What is the role of the color, materials and ambient in design?

JH : They shape perception and emotion: material tactility, natural concrete hues, and ambient light define user comfort, context, and brand identity.

DL: What do you wish people to ask about your design?

JH : I’d love to hear, “How did you capture those subtle details and infuse such genuine dedication and emotion into your work?”

DL: When you see a new great design or product what comes into your mind?

JH : When I see a new great design or product, I feel a profound sense of satisfaction and admiration—celebrating the dedication, thoughtful insight, and craftsmanship someone invested to bring that exceptional idea to life.

DL: Who is your ideal design partner? Do you believe in co-design?

JH : Ideal partners are specialists with pristine attention to detail—acousticians, electronics experts, master craftsmen. Co-design accelerates innovation when mutual respect underpins collaboration.

DL: Which people you interacted had the most influence on your design?

JH : My ideal design partners are specialists with impeccable attention to detail—acousticians, electronics experts, and master craftsmen—who complement my skill set and share my dedication to excellence. I’m a big believer in co-design; in fact, my only perfect duplicate partner would be… well, me twice over!

DL: Which books you read had the most effect on your design?

JH : Antoine de Saint-Exupéry’s essays for minimalist philosophy, Dieter Rams’s writings for functional clarity, and academic texts on soundscape management.

DL: How did you develop your skills as a master designer?

JH : Through hands-on experimentation in our Production Lab, teaching CAAD, relentless prototyping, and synthesizing insights from architecture, engineering, and material science.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

JH : Leonardo da Vinci—his boundless curiosity across art, science, and engineering continues to inspire interdisciplinary exploration.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

JH : I don’t consider myself famous, and I’ve never been one to parade my achievements. Most awards require you to enter and compete, so they’re as much a reflection of participation as of merit. I’m a naturally reserved person who prefers letting my work speak for itself rather than boasting about accolades.

DL: What is your favorite color, place, food, season, thing and brand?

JH : Color: natural concrete gray
Place: coastal Croatian cliffs
Food: pasta of all kinds
Season: late spring or early autumn
Thing: a coffee cup
Brand: ONE.618 (my own)

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

JH : During a demo of the ONE.618 omnee.m speaker, someone earnestly asked if it was meant for making orange juice—completely mistaking the concrete enclosure for kitchenware! That moment still makes me smile at how form can delightfully confuse expectations.

DL: What makes your day great as a designer, how do you motivate yourself?

JH : A breakthrough in material testing or a client’s delighted reaction fuels my motivation—plus strong coffee and late-night lab sessions.

DL: When you were a little child, was it obvious that you would become a great designer?

JH : Not at all—I was drawn to math and computing. It was only later I realized those passions perfectly align with design.

DL: What do you think about future; what do you see will happen in thousand years from now?

JH : If the human race survives as conscious beings, I imagine we’ll have bio-integrated structures that self-heal, environments tuned by AI to human emotion, and symbiotic relationships with technology. Yet I’m partly scared about AI reaching a point where we lose control—there’s a risk of a global reset that could thrust us back toward something like a new stone age. Our challenge will be to guide technological evolution responsibly so progress doesn’t outpace our ability to manage its consequences.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

JH : Design, like life, is an endless journey of curiosity and craft—embrace experimentation, honor materials, and always create with empathy. Never give up, and thank you for joining me on this path.