Interviews med Jurica Huljev

With over 20 years in the design and architecture industry, my journey began at XV. High School of Mathematics and Informatics in Zagreb, continuing with a master’s degree in architecture from the University of Zagreb. Since then, I’ve collaborated with world-class brands like Rolex and Swatch, taught design software at university, and founded my multidisciplinary studio, Synthesis d.o.o. My work now spans architecture, product and sound design, material innovation, and digital fabrication, merging each discipline into coherent, award-winning projects.

A decisive nudge from my older sister, an architect herself, set me on this path. Studying architecture revealed my fascination for synthesizing various fields—graphics, interiors, materials, electronics, and mechanics. Tinkering with mechanical parts as a kid, and experimenting with computation and materials, made design feel like a natural extension of my interests. Curiosity and the drive to create solutions that merge technology, emotion, and tangible experience have kept me deeply engaged ever since.

I prioritize three things: material honesty, user experience, and mathematical harmony. My process is hands-on—starting with sketches, model-building, and physical mock-ups, then evolving ideas through parametric design, scripting, and prototyping. I pay particular attention to details that users can discover and appreciate, like hidden functions or tactile feedback, all while striving for simplicity and emotional resonance.

There’s genuine excitement in the early ideation stage, especially when a concept emerges that feels both bold and inevitable. The phases of deep problem-solving and refinement sometimes bring frustration, but they’re also where the most satisfaction is found. Seeing an idea realized—especially when someone “gets” the hidden layers or unspoken intentions—brings me real joy and fulfillment.

Besides my formal design training, my experience in programming, hands-on electronics, and material experimentation have all profoundly shaped my approach. Early exposure to computational tools, coupled with a love of mathematics and mechanics, gives my projects depth beyond aesthetics. My family, mentors, and frequent collaborations with scientists and engineers have been vital influences, pushing the boundaries of what I can achieve.

I aim to continually expand my practice into new territories—merging acoustics, architectural elements, and interactive technologies. My dream project is a modular concrete housing system, with sculptural interlocking elements and embedded smart systems. I’d love to be remembered for pioneering human-centered solutions that balance technological innovation with timeless materiality.

Stay relentlessly curious—explore fields outside of traditional design like programming, science, or sociology. Don’t be afraid of failure; every setback is a lesson. Never copy—start with your own thoughts before consulting references. And always maintain empathy for the people who will use or encounter your work.

Keep refining your process and remain humble. Celebrate collaboration with experts—engineers, artisans, scientists—as it’s in these partnerships that real breakthroughs occur. Avoid chasing trends for their own sake; instead, define your own standard of excellence rooted in purposeful simplicity and user experience.

My days start with strong coffee and a review of sketches or prototypes from the day before. I split time between digital modeling, lab-based material tests, and meetings with collaborators. The most rewarding parts of the day are hands-on sessions in the workshop, tuning details, or those rare moments when a solution unexpectedly clicks.

I stay aware of major trends by following publications and attending exhibitions, but I don’t chase them. Instead, I focus on timeless materiality, mathematical logic, and unique interaction. Real innovation comes from within—though I do enjoy seeing how global design language evolves.

A good design feels inevitable—as if every element is there for a reason. It should serve a clear purpose, honor material integrity, and evoke an emotional response before its function is even explained. I know a project is successful when users notice subtle details or feel the dedication embedded within the result.

A design is ready when further changes begin to complicate rather than clarify, and its purpose is distilled to its clearest form. Still, I believe perfection is a moving target; sometimes the best work comes after setting it aside and returning with fresh perspective.

The ONE.618 omnee.m speaker stands out—born from years of research and driven by a quest to unite acoustics, high-performance concrete, and interactive technology. It challenges categories, rewards user curiosity, and proves that timeless materials can yield cutting-edge performance.

Dieter Rams for his clarity and reduction, Tadao Andō for expressing concrete’s poetry, and Zaha Hadid for audacious formal thinking. If I could meet anyone, it would be Leonardo da Vinci—the original interdisciplinary innovator.

I thrive in the rhythm of the Croatian coast, where raw nature and cultural heritage provide endless inspiration. Music is a daily companion and influences many of my acoustic explorations. Design is not just work—it’s integrated into my way of living and seeing the world, shaping small rituals and decisions every day.

I balance solo detail work with collaborations among highly skilled specialists. My philosophy: surround yourself with people who challenge your assumptions and force you to grow. Good partners value precision, honesty, and the relentless chase for improvement.

I support young designers by offering advice, allowing them to work on their own projects in my workshop, giving talks, and openly sharing my knowledge and experience. Fostering creativity, independent problem-solving, and a spirit of generosity in the next generation feels like one of the most meaningful ways to give back to the design community.

Participating brought international recognition, meaningful feedback, and connections with brilliant peers. It has opened new opportunities—both commercial and creative—and validated years of passionate experimentation. The three main benefits: wider exposure, industry credibility, and the motivation to push even further. I’m honored by the chance to be Designer of the Day and share my perspective with the global design community.

The ONE.618 omnee.m speaker was conceived around the Golden Ratio—its proportions guide both the external form and internal wave-lens geometry, ensuring optimal acoustic dispersion. Inspiration sprang from brutalist concrete architecture and classic point-source loudspeaker design, unified through computational form-finding to marry sculptural purity with holographic sound.

My focus was threefold: material honesty, acoustic performance, and user discovery. I sought a low-carbon concrete mix that is acoustically neutral; a mathematically derived lens for true 360° horizontal and 90° vertical coverage; and hidden interactive elements—touch and gesture controls, wireless charging—that invite users to explore beyond first impressions.

We plan to expand the omnee.m line with additional colors and finishes, integrate advanced DSP routines for room adaptation, and launch an open-source customization platform so makers and studios can tailor form, material, and software to unique contexts. We're also developing enhanced gesture controls, a custom state-of-the-art concrete touch remote, and an advanced smartphone configuration app. Beyond omnee.m (medium), we'll create omnee.s (small) and omnee.l (large) variants. Our future plans continue exploration of architectural acoustics and sound/video integration while developing totally new products.

From initial concept sketches to production-ready prototypes, the omnee.m endured a four-year R&D cycle—iterative material trials, acoustic testing, driver selection, and manufacturing process development.

It was a self-initiated passion project. I realized that a high-fidelity, omnidirectional autonomous all-in-one battery-powered speaker was missing from the market—most audio solutions are either directional systems that force listeners into a “sweet spot” or portable Bluetooth speakers with limited fidelity. Today, music is an integral part of daily life, so creating a single, elegant device that delivers 360° immersive sound while embodying material and aesthetic rigor felt like an essential and untapped opportunity. I aimed to demonstrate that concrete—a centuries-old material—could achieve studio-grade sound and modern interaction in a minimal form, challenging preconceptions about both material and speaker design.

Production remains in-house under the ONE.618 brand. Our boutique workflow ensures quality control across casting, electronics assembly, and finishing. Down the line, we may license select editions to specialty audio ateliers.

I’m fascinated by multidisciplinary synthesis—combining architecture, material science, electronics, and sound engineering. A speaker system allowed me to explore form, function, and interaction in a single object.

Dieter Rams’s Braun audio products for functional minimalism; Andō’s concrete works for textural depth; and avant-garde loudspeaker experiments by KEF and Bang & Olufsen for challenging dispersion norms.

Discerning listeners and design aficionados who value both acoustic fidelity and sculptural presence—those who appreciate tactile rituals and crave discoveries hidden within a product.

Omnidirectional coverage from a point-source driver; acoustically tuned concrete shell; hidden fiber-optic touch controls; and a true no-sweet-spot listening experience, all in a singular monolithic form.

“ONE.618” references the Golden Ratio (1.618…). “omnee.m” blends “omni,” denoting all-around sound, and “eem,” hinting at immersive experience. Together they signal material proportion and acoustic ambition.

Rhino 3D and Grasshopper for parametric form-finding; Python and C++ for driver optimization scripts; BIM for coordination; and concrete mixers, CNC mills, electronics prototyping rigs, and anechoic chamber testing.

Embedding invisible touch buttons and optical fibers directly within the concrete shell, combined with a mathematically constructed acoustic lens formed in solid concrete, achieves seamless omnidirectional dispersion without external waveguides.

This project was driven entirely by my own hands and mind. I conducted every phase—from concept, R&D, computational form-finding and material trials to prototyping touch interfaces, electronics and acoustic testing—through deep exploration, learning, and iterative problem-solving.

Technology underpins form-finding algorithms, driver-lens optimization, interactive gestures, wireless charging, and adaptive DSP routines—transforming concrete from static to responsive. It remains hidden, invisible, unobtrusive, and intuitive, activating only when needed.

Extensive acoustic simulations and empirical SPL mapping in anechoic tests; material porosity and damping studies; driver parameter sweeps; and user interaction trials to refine control layouts.

Balancing structural integrity and acoustic neutrality in concrete; achieving precision in thin-section molds; coupling driver vibrations to a brittle material; and concealing electronics without compromising serviceability.

After receiving enthusiastic feedback during prototyping demos and industry showcases, entering A’ Design Award felt like the natural next step to validate the concept globally.

I deepened my material science knowledge, honed parametric scripting to automate lens generation, sharpened my user-experience instincts to integrate hidden interactions intuitively, and advanced my programming skills in MCU, DSP programming, and electronics design.

The omnee.m embodies my belief that design should reward curiosity—its hidden features and layered experiences are invitations to look closer, learn deeper, and find joy in discovery.

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.

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.

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.

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.

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.

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.

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.

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.

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,

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.

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

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

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.

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.

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.

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.

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

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.

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

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.

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

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.

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.

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

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

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

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.

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

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

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

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

“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.

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

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

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

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

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

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.

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

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!

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

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

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

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.

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)

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

“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.

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.

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.

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.

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.

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.

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.

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

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.

Concrete’s selection was motivated by a deep fascination with its duality: a material traditionally associated with architecture and infrastructure, yet rarely exploited for its acoustic properties in consumer audio. I was inspired to push material boundaries, seeking a solution that combined mass, rigidity, and tactile richness while breaking free from expected forms. Ultra-high-performance fiber-reinforced concrete allowed me to create a dense, non-resonant enclosure that virtually eliminates unwanted vibrations and coloration, letting the music remain pure and unmasked. Beyond physics, the honesty and timeless elegance of raw concrete provide a sculptural, tactile presence—each speaker feels unique to the touch and eye, maturing gracefully with use and handling. By simultaneously serving engineering and artistic goals, concrete transforms the speaker into both an instrument and an object of architectural beauty.

The golden ratio and Fibonacci sequence guided the speaker’s proportions and internal architecture from the outset. The exterior follows φ (1.618), giving rise to harmonious, balanced curves that feel intuitively “right” to the human eye and hand—a visual clarity that also guides the flow of sound waves. Internally, the curvature and spacing of the acoustic lens and driver chamber are mapped to Fibonacci spirals, optimizing sound dispersion and minimizing standing waves. This results in not only a visually calming object but also a shell that naturally supports omnidirectional, uncolored sound propagation. The mathematics that underpin the form are mirrored in the way sound energy radiates smoothly from the core, achieving both an aesthetic and an acoustic ideal.

Marrying dense concrete with sensitive wireless electronics brought a suite of technical hurdles. Achieving precise tolerances in ultra-thin, monolithic concrete shells—while avoiding cracks, voids, and air leaks—required bespoke molds and many cycles of prototyping. Integrating touch controls, fiber optics, amplification, batteries, and antennas within a highly shielded enclosure meant carefully isolating sensitive electronics from electromagnetic and material interference. Because concrete results in a heavier overall structure compared to plastic or wood, it became essential to address how this extra weight would affect portability and battery efficiency. I had to optimize battery size and placement to ensure long playback time without sacrificing performance or making the speaker too cumbersome. Additionally, the mass and density of concrete can sometimes reduce wireless range or complicate antenna positioning—so meticulous internal layout and shielding were required to achieve reliable connectivity. These challenges demanded an inventive blend of computational modeling, material science, and hands-on experimentation throughout the development process.

The quest for omnidirectional, full-range sound began with the principle that music should not be confined to a narrow “sweet spot.” Traditional speakers focus energy toward a single axis, but I wanted sound to fill the room evenly. After extensive acoustic simulations and prototype testing, I adopted a downward-firing driver paired with a custom-molded acoustic lens inspired by natural wave patterns and geometric principles. The lens was meticulously shaped to scatter sound in a 360° horizontal and 95° vertical field, ensuring that music remains coherent and tonally accurate no matter the listener’s position. Special attention to mass distribution and damping materials inside the enclosure preserves clarity, taming any resonance. The result is a truly immersive experience, where the speaker disappears and only music fills the space.

Winning the Gold A’ Design Award affirmed the value of taking creative risks and defying convention. It convinced me that the design community recognizes and rewards multidisciplinary innovation that bridges architecture, acoustics, and user experience. The visibility from this award not only brought new collaborations and client interest, but also fueled my resolve to further question the status quo—exploring new forms, unusual materials, and user-centric technologies in future projects. It’s a reminder that bold, well-researched ideas can resonate globally, and that craftsmanship and originality still matter in today’s tech-driven world.

I wanted the interface to be as discreet and intuitive as the music itself—present when needed, but invisible otherwise. Embedding touch sensors and guiding light via fiber optics beneath the concrete’s surface preserves the object’s monolithic, minimalist aesthetic while offering tactile and visual cues only upon interaction. This approach invites a sense of discovery, letting the user “learn” the device over time and deepening their connection with it. It also means less visual clutter—no distracting buttons or screens—allowing the speaker to integrate naturally into any environment as a functional object and an artwork.

Engineering for acoustic neutrality required a shell of precisely calculated thickness and mass, free of internal parallel surfaces to disperse standing waves and echo. Multiple layers of damping and absorbent material line the interior, while the exterior remains tactile—cool, smooth, but never harsh—thanks to careful casting and hand finishing. The resulting form is sensorial; its density and texture invite touch, and its weight signals authenticity. Every surface detail was iterated to harmonize with the acoustic goal: an enclosure that neither adds nor subtracts from the sound, yet stands as a beautiful, inviting presence.

Maximizing battery life without sacrificing continuous high-fidelity playback involved a holistic approach. High-capacity lithium cells were paired with a custom-designed power management system and ultra-efficient Class-D amplification, all optimized to minimize idle drain and heat loss. The DSP platform dynamically adjusts output according to listening levels and ambient conditions, further improving efficiency. The control circuit isolates charging and playback functions, and multiple input voltages—including solar—allow for truly flexible, off-grid operation. Each component was chosen for maximum performance-per-watt, resulting in a portable speaker that delivers both endurance and sonic excellence.

The One618 omnee.m sets a precedent for reconciling material authenticity with digital sophistication—proving that technology need not hide behind plastic or composite shells. I anticipate a new generation of audio products that prioritize lasting, honest materials and sensory experience alongside smart features and wireless capability. By harmonizing tactile and visual pleasure with acoustic and digital precision, this approach makes audio equipment into functional art. I hope it encourages others to explore natural, architectural materials in ways that heighten both sound reproduction and aesthetic delight, while promoting responsible, enduring craftsmanship.

To bridge the gap between indoor acoustics and outdoor weather, the enclosure is tightly sealed for resistance to dust, humidity, and temperature swings. Concrete’s inherent durability and thermal mass help regulate internal conditions for stable performance. The coatings and finishes are selected for UV resistance and tactile comfort, while weather-sealed gaskets and corrosion–resistant connectors safeguard electronics. The acoustic design avoids reliance on boundary reflections—allowing natural, balanced sound whether in a reverberant living room or an open-air patio—while the robust battery and flexible charging ensure reliable operation wherever music is needed.