We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Jurica Huljev ("JH").
Synthesis is a forward-thinking boutique architecture and design studio that specializes in production. Our interdisciplinary approach seamlessly integrates architectural and design theory into every project. We thrive on challenges, excelling at bespoke tasks with our experience, talent, and cutting-edge technology, crafting each endeavor with passion and precision to bring clients' visions to life. We prioritize personalized design solutions, offering exclusive treatment to every client regardless of scale. Our client-specific process, driven by deep knowledge and adaptability, enables us to explore new tools and materials for unique outcomes. From conception to realization, we excel across various areas, delivering top-of-the-line elements that prioritize innovation and quality. Our philosophy centers on designing for people, addressing their material and spiritual needs while considering cultural and environmental contexts. With ONE.618, our new luxury audio brand, we leverage expertise and technology to create unparalleled audio experiences, enhancing our dedication to innovation and quality, and enriching the lives of our clients through the power of sound.
Jurica Huljev Designs
We are pleased to share with you original and innovative design work by Jurica Huljev.
Jurica Huljev Design - One618 Omnee Wireless Speaker
Designer Interview of Jurica Huljev:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
JH : From an early age, I was captivated by the intersection of mathematics, technology, and creative expression. I attended the XV. High School of Mathematics and Informatics (MIOC) in Zagreb, where my senior thesis—“Application of Computers in Architecture”—marked the beginning of my lifelong fascination with digital design tools and computational methods. Driven by this spark, I pursued a Master of Architecture at the University of Zagreb's Faculty of Architecture, graduating in 2001 with a commendation for the best thesis of my generation. My professional journey began as a CAAD lecturer at my alma mater, teaching students how to harness computers in architectural practice. Early collaborations with international brands such as Rolex and the Swatch Group honed my skills in visualization, light simulation, and project leadership. Over two decades, I’ve led multidisciplinary teams at Synthesis d.o.o., integrating architecture, product design, multimedia, and advanced concrete research. A defining moment in my career was the complete reimagining of the classic sailing boat Ntombifuti with Swiss sailor Ralph Villiger. We started by stripping the vessel down to its original hull, then I took comprehensive measurements as there were only aging scanned plans—no 3D models. Relentless iteration of interior design schematics followed, constructing a full digital model from scratch. I designed all interior and exterior elements, developed the ballast pumping mechanism and custom electronics, and organized as well as supervised construction at a shipyard in Cowes, Isle of Wight. This project exemplifies my approach: combining deep technical knowledge, hands-on problem-solving, and persistent iteration to create something new from the ground up, rather than relying on inherited systems or existing templates. What drives my work is the creative intertwining of architecture, design, mathematics, computers, electronics, sound, and social perspectives—transforming disparate influences into unique, holistic solutions. I did not grow up with a fixed dream of becoming a “designer,” but through a series of academic and professional challenges, I found that design offered the richest tools for solving complex real-world problems. Whether I’m engineering graphite composites, developing omnidirectional concrete speakers, or pioneering digital fabrication for architectural environments, my commitment is to fuse curiosity, rigor, and relentless refinement in everything I do. With each new project, I’m reminded that true innovation springs from the willingness to cross boundaries, question conventions, and see possibility where others see only limits.
DI: Can you tell us more about your company / design studio?
JH : Synthesis d.o.o. is a boutique interdisciplinary atelier founded in 2003 and based in Zagreb, Croatia. We specialize in the integrated application of material performance, emergent design technologies, and digital fabrication across scales—from family homes and mixed-use buildings to temporary pavilions and bespoke furnishings. Our in-house Production Lab pioneers ultra-high performance concrete development, advanced 3D form fabrication, and electronics integration, allowing us to deliver site-specific solutions that blend architecture, product design, multimedia, and sound engineering. Over the past two decades, our team has collaborated with leading international firms—including Rolex, Swatch AG, and Bruketa&Žinić&Grey—on projects spanning flagship retail environments, cultural pavilions, and experimental installations. We work closely with material scientists, master craftsmen, digital fabrication experts, and electronic engineers to create unique, experimental designs that respond to social, cultural, and technological contexts. At Synthesis, every project is an opportunity to challenge convention, explore new combinations of inputs, and push the boundaries of what is possible.
DI: What is "design" for you?
JH : Design, to me, is the art of orchestrating diverse elements—materials, technology, human behavior, and context—into cohesive, meaningful experiences. It is the continual dialogue between form and function, where the inherent properties of materials (“truth to materials”) guide every decision, and interdisciplinary inputs—from mathematics and electronics to sound and social impact—come together in synthesis. Design is not merely the aesthetic shell enveloping a product or space; it is the rigorous process of asking questions, analyzing constraints, and iterating solutions until only the essential remains. It requires deep empathy for users, a relentless pursuit of clarity, and the courage to remove everything superfluous. In this light, design becomes a tool for problem-solving, cultural expression, and emotional resonance—ultimately shaping how we interact with the world and with each other.
DI: What kinds of works do you like designing most?
JH : I am most passionate about projects that sit at the crossroads of disciplines—where architecture, product design, digital fabrication, and sound engineering intersect. These include site-specific installations and experimental furnishings that leverage advanced materials, such as ultra-high performance concrete, and integrate electronics or sensors to create interactive experiences. Working on bespoke audio systems like the ONE.618 omnee.m combines my love for acoustic purity with my fascination for sculptural form, allowing me to translate complex technical requirements into minimalist, emotionally resonant objects. I thrive when translating abstract concepts—mathematical ratios, material science breakthroughs, or cultural narratives—into tangible designs that engage multiple senses and invite users to form a personal connection.
DI: What is your most favorite design, could you please tell more about it?
JH : My favorite design to date is the ONE.618 omnee.m omnidirectional concrete speaker system. This project encapsulates my core philosophies—truth to materials, mathematical harmony, and interdisciplinary synthesis—while addressing a complex technical challenge in a minimalist form. From the outset, I was inspired by the Golden Ratio; its proportions guided the speaker's sculptural silhouette and internal geometry, ensuring both visual elegance and optimal acoustic dispersion. Developing the omnee.m required nearly four years of iterative R&D in our Production Lab, where we refined low-carbon concrete mixes for acoustic neutrality, selected an ideal full-range driver for point source reproduction, and developed a mathematically constructed custom innovative acoustic lens to achieve 360° horizontal and 90° vertical coverage. The result is a deceptively simple form that delivers holographic imaging, studio-grade clarity, and an immersive soundstage without a traditional "sweet spot." The design is minimalistic yet packed with features that users naturally discover and use—hidden fiber-optic touch controls, gesture controls, integrated wireless charging, and bespoke customization options transform it into a personal, tactile ritual. This design remains my favorite because it demonstrates how deep integration of material research, electronics, and mathematical principles can yield a product that resonates both intellectually and emotionally.
DI: What was the first thing you designed for a company?
JH : My earliest professional design work dates back to 1996 with the Didactic Equipment Shop/Gallery for Ida Didacta. This project introduced me to the complexities of retail environments and educational spaces. However, my first major international commission came in 1999 when I led the design of Rolex boutiques for top world locations including Moscow, Shanghai, Sydney, São Paulo, and Mexico City. This was followed by the Swatch Kiosk Display System in 2000, where I developed modular presentation solutions that could be adapted across different cultural contexts. These projects were pioneering in their use of CAD technology at that time, allowing us to achieve unprecedented precision in visualization and coordination. These early experiences taught me how to balance brand heritage with local adaptation, and established my approach to creating environments that serve both functional and emotional needs.
DI: What is your favorite material / platform / technology?
JH : Concrete has become my material of choice, thanks to its remarkable versatility and sculptural potential. At Synthesis, we developed ultra-high performance, low-carbon concrete mixes that offer acoustic neutrality, structural integrity, and a tactile finish. This material allows us to blur the lines between architecture, product design, and installation art—transforming raw concrete into bathroom elements, lighting fixtures, furniture, and even omnidirectional speakers. Concrete’s inherent robustness also enables us to embed electronics, sensors, and wireless charging seamlessly, creating hybrid objects that feel both timeless and technologically advanced. This fusion of the ancient and the cutting-edge—what I call “acoustic alchemy and invisible complexity in brutalist beauty”—continually fascinates me and drives my work.
DI: When do you feel the most creative?
JH : I feel most creative at the intersection of hands-on experimentation and theoretical exploration—usually late at night in our Production Lab, surrounded by concrete samples, CAD models, and electronic prototypes. There, free from external deadlines, I can iterate material mixtures, sketch algorithmic forms, and test acoustic behaviors. This blend of tactile research and computational analysis often leads to unexpected discoveries, sparking new design directions.
DI: Which aspects of a design do you focus more during designing?
JH : I prioritize material properties and user experience above all else, ensuring form and function are in perfect harmony. From the outset, I analyze how a material’s structural, tactile, and acoustic characteristics will inform both the aesthetic and practical aspects of a design. Simultaneously, I consider the social context—how people will interact with, feel immersed in, and live alongside the design. This dual focus guarantees each project is technologically rigorous while remaining emotionally resonant and intuitively functional.
DI: What kind of emotions do you feel when you design?
JH : Designing evokes a mix of intense curiosity and focused determination. There’s the thrill of uncovering novel solutions and the satisfaction of translating abstract concepts into tangible realities. At the same time, there’s a deep sense of responsibility—to respect materials, users, and cultural contexts—driving me to refine details until each element feels indispensable.
DI: What kind of emotions do you feel when your designs are realized?
JH : Seeing a concept come to life evokes profound satisfaction and a touch of awe. There’s pride in witnessing how abstract ideas and meticulous calculations transform into tangible experiences that resonate with people. It’s deeply rewarding to observe users intuitively engaging with and deriving joy from a design that began as sketches and simulations.
DI: What makes a design successful?
JH : A successful design balances innovation, usability, and emotional resonance. It solves real problems while inspiring delight, seamlessly integrating into its context and eliciting a sense of belonging. When users adopt a design as an extension of their lives—unaware of its complexity yet profoundly impacted by its presence—that is the truest measure of success.
DI: When judging a design as good or bad, which aspects do you consider first?
JH : I first assess clarity of purpose and material integrity—does the design address its intended function without extraneous features, and does it honor the innate qualities of its materials? Equally important, I consider the emotional response: does the design evoke feelings of delight, curiosity, or comfort before the user even understands its function? If these fundamentals are strong, I then evaluate the contextual fit—does it feel right in its environment and for its users?
DI: From your point of view, what are the responsibilities of a designer for society and environment?
JH : Designers must champion sustainability, social equity, and cultural sensitivity. While designs should solve problems effectively, they should also evoke positive emotions and foster human connection. This means selecting materials responsibly—minimizing environmental impact—crafting inclusive experiences that make people feel seen and respected, and respecting local contexts. By prioritizing ecological harmony alongside emotional resonance, designers contribute to healthier communities and a more resilient planet.
DI: How do you think the "design field" is evolving? What is the future of design?
JH : The design field is becoming ever more interdisciplinary, driven by advances in computation, materials science, and user-centric research. Future design will harness AI for pattern discovery, bio-inspired materials for self-healing structures, and immersive AR/VR for experiential prototyping. Yet, at its core, design will remain about human connection: fostering empathy, forging meaningful experiences, and addressing global challenges through creative solutions.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
JH : My most recent public showcase was at the Sleeper Sessions workshop in 2023, held in Dubrovnik, where I presented on architectural acoustics and concrete technology. Since then, I have showcased the ONE.618 omnee.m speakers at the Auto Sport Adria shows in 2024 and 2025, demonstrating their immersive sound in dynamic, high-profile environments. I plan to hold my next formal exhibition in 2026 at Milan Design Week, featuring an immersive installation that integrates sound, light, and material research.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
JH : Inspiration arises from nature’s geometries, technological breakthroughs, and social dynamics. I draw on mathematics—especially the Golden Ratio—contemporary art, academic research in material science, and everyday observations of human interaction. Creativity is nurtured through travel, interdisciplinary collaborations, and hands-on experiments in the lab.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
JH : My style is minimalist and material-driven, characterized by clear geometries, honest use of materials (“truth to materials”), and hidden complexities. I embrace Brutalist minimalism tempered by ergonomic precision, embedding technology discreetly to preserve aesthetic purity. My approach begins with rigorous analysis of form, function, and context, followed by iterative prototyping and refinement until only the essence remains.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
JH : Based in Zagreb, Croatia, I am enriched by the region’s architectural traditions—from austere medieval fortresses to modernist icons—which inform my respect for materiality and structural clarity. The local craftsmanship culture fuels experimentation, though limited local industrial infrastructure sometimes requires international partnerships to realize large-scale fabrication projects.
DI: How do you work with companies?
JH : I engage in close collaboration from project inception, aligning on goals and context. Through workshops, virtual and physical prototypes, and transparent communication, I integrate client feedback at each stage. This adaptive process ensures the final solution reflects both the client’s vision and the project’s technical and social requirements.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
JH : Companies should seek designers who combine technical expertise with deep understanding—those who listen carefully to client needs and possess the analytical skills to decompile requirements from client words, translating them into innovative solutions. A designer should listen to the client, decode their true needs from their words, and offer creative, innovative solutions while clearly educating the client about the advantages and disadvantages of each option. Ultimately, the client should make the decisions about next steps, not the designer—a good designer is never ego-centric but serves as a knowledgeable guide. A successful partnership relies on clear communication, mutual respect, and shared commitment to excellence. Evaluate candidates based on their portfolio depth, collaborative approach, and ability to articulate design rationale without imposing their personal agenda.
DI: Can you talk a little about your design process?
JH : My process begins with in-depth research—understanding context, users, and material properties—followed by concept sketches and digital simulations. Prototyping in the lab tests structural, acoustic, or interactive behavior. Iterative refinement aligns form with function and aesthetic intent. Finally, detailed production documentation and close oversight during fabrication ensure fidelity to the original vision.
DI: What are 5 of your favorite design items at home?
JH : 1. A handcrafted concrete side table from our Production Lab—showcasing material innovation and design simplicity through pure function. 2. A custom glass kitchen wall I designed and produced, fitted with over 200 hidden magnets for spice storage—transforming everyday cooking into an organized ritual. 3. My vintage Land Rover Defender—an icon of functional, timeless engineering that combines durability with character. 4. The Artemide Tolomeo Decentrata Suspension lamp—a design icon from my university days, admired for its elegant balance of form and adjustability. 5. A record player designed by Dieter Rams—embodying my admiration for “less, but better” through its minimalist aesthetic and precise functionality.
DI: Can you describe a day in your life?
JH : My day starts rather late with coffee and material tests in the lab—evaluating concrete mixes or electronic prototypes. Mid-morning is dedicated to team meetings at our workshop, aligning on project milestones. Afternoons often involve client meetings and workshops in our Synthesis Showroom or site visits. Evenings and nights are reserved for peaceful solo deep work—CAD modeling, algorithmic scripting, or writing for upcoming publications—before concluding with a brief review of emerging research and design trends. Often after going home, I find myself rethinking projects and brainstorming new ideas in bed before going to sleep.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
JH : Cultivate curiosity and resilience; pursue interdisciplinary knowledge—mathematics, material science, programming—as they will expand your creative toolkit. Do not merely follow trends or replicate others’ work; instead, strive to create new trends and unique designs by rethinking form, function, and user interaction. Draw inspiration from everything around you—nature, art, technology, and daily life. When starting a new project, close all web pages and photos, begin with a blank sheet of paper, and allow your own ideas to emerge before seeking external references. Finally, embrace failure as a vital learning process and let “truth to materials” guide your creations.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
JH : Positives: the joy of creating solutions that enrich lives, the thrill of constant learning across domains, and the ability to collaborate with diverse talent. Negatives: the pressure of balancing artistic vision with practical constraints, navigating complex stakeholder dynamics, and occasional unpredictability in material performance.
DI: What is your "golden rule" in design?
JH : My golden rule is that every element must earn its place through purpose and necessity—if it doesn’t, it doesn’t stay. Form and function must be in balance, so I rigorously rethink each element and its role to ensure clarity, intentionality, and elegance in the final design.
DI: What skills are most important for a designer?
JH : Analytical thinking to deconstruct problems; empathy to understand user needs; technical proficiency in relevant tools (CAD, BIM, scripting); material literacy; and strong communication for collaborative success.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
JH : I rely on Rhino 3D and Grasshopper for parametric modeling, Python and C++ for custom scripting, and BIM tools for integrated project coordination. In the lab, I use concrete mixers, pumps, sprayers, silicone molds, CNC milling machines, metalworking rigs, acoustic measurement equipment, electronics prototyping tools, and microscopes for material analysis. My library includes texts on advanced material science, computational design, and architectural theory to fuel ongoing inspiration. It’s everything a creative person could dream of—and that’s exactly what I often hear from people visiting my workshop.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
JH : Prioritization is crucial—identifying the most impactful tasks and tackling them first. In reality, over 80% of the work lies in organization and preparation: setting clear objectives, creating detailed schedules, and aligning resources before diving into deep creative work. This structured approach ensures that every design phase runs smoothly and efficiently.
DI: How long does it take to design an object from beginning to end?
JH : It varies by complexity: small product prototypes can take 2–4 months, while integrated architectural installations or advanced R&D projects might span 1–3 years, including material research and iterative prototyping.
DI: What is the most frequently asked question to you, as a designer?
JH : “How do you achieve such a seamless blend of minimalism and functionality?” My answer: by iterating until only the essential remains, guided by material properties and user behaviors.
DI: What was your most important job experience?
JH : Every job experience has been valuable—from seemingly trivial tasks that teach you what to avoid, to complex projects that develop new skills. Each opportunity, whether simple or challenging, is dynamic and drives you toward growth. Collectively, these experiences—from early retail designs to intricate innovations—have shaped me into the designer I am today, constantly evolving and embracing each lesson along the way.
DI: Who are some of your clients?
JH : My clients span prestigious international brands and institutions, including Rolex International, Swatch AG, Nissan, Coca-Cola Croatia, Philip Morris International, World Bank, L’Oreal, McKinsey & Company Adriatic, Bruketa & Žinić & Grey, 3LHD, and OPPENHEIM Architecture.
DI: What type of design work do you enjoy the most and why?
JH : I most enjoy multidisciplinary R&D and bespoke installations where I can merge material innovation, computational design, and user interaction. These projects embody the synthesis of diverse fields and challenge me to forge novel solutions.My focus now is on the ONE.618 brand and further developing its core elements—concrete, electronics, programming, and sound—to create ever more seamless, immersive experiences. We are refining gesture and touch interfaces, enhancing DSP algorithms for adaptive acoustics, and expanding our customization platform to include new finishes and functional modules. I also plan to launch a series of immersive sound installations that showcase the full breadth of ONE.618’s material and technological integration.
DI: What are your future plans? What is next for you?
JH : My focus now is on the ONE.618 brand and further developing its core elements—concrete, electronics, programming, and sound—to create ever more seamless, immersive experiences. We are refining gesture and touch interfaces, enhancing DSP algorithms for adaptive acoustics, and expanding our customization platform to include new finishes and functional modules. I also plan to launch a series of immersive sound installations that showcase the full breadth of ONE.618’s material and technological integration.
DI: Do you work as a team, or do you develop your designs yourself?
JH : I handle the core design work solo—conceptualizing, prototyping, and refining—while consulting top specialists in acoustics, electronics, and fabrication to incorporate their expertise. This approach allows me to move faster and maintain greater control over the vision and details. I’m somewhat of a control freak, so I seek collaborators who share my dedication and attention to detail. As R&D transitions to production, I organize and oversee the entire manufacturing process to ensure every omnee.m meets our exacting standards.
DI: Do you have any works-in-progress being designed that you would like to talk about?
JH : I’m currently engaged in exploratory research for new architectural elements, blending concrete, electronics, and responsive systems to create adaptive environments. These concepts remain in early R&D stages, so I’m keeping details under wraps as we refine the underlying technologies and material behaviors.
DI: How can people contact you?
JH : Email: jurica.huljev@synthesis.hr Phone: +385 91 4855 385 Web: synthesis.hr / one618.eu LinkedIn: linkedin.com/in/jurica-huljev-88740916 Instagram: @synthesis_design / @one618.eu
DI: Any other things you would like to cover that have not been covered in these questions?
JH : I also value open dialogue within the design community—through select publications, intimate workshops, and thoughtful collaborations, I aim to share insights that inspire others while continuing to learn from their experiences.