Upute za doradu prijava na DS Arhitektura i urbanizam 08.03.2013 ...

Upute za doradu prijava na DS Arhitektura i urbanizam 08.03.2013. 

UPUTE ZA IZRADU OPISA ZNANSTVENO-ISTRAŽIVAČKOG INTERESA I PORTFOLIA 

Opis znanstveno-istraživačkog interesa kandidata i portfolio stručnih radova dva su osnovna dokumenta na 

temelju kojih Vijeće doktorskog studija ocjenjuje kompetentnost i predispoziciju kandidata za upis na 

Poslijediplomski doktorski studij Arhitektura i urbanizam Arhitektonskog fakulteta Sveučilišta u Zagrebu. 

1. Opis znanstveno-istraživačkog interesa 

Opis znanstveno-istraživačkog interesa je strukturirani tekst dužine najviše 1.000 riječi. U tekstu je potrebno 

precizno i sažeto opisati područje znanstveno-istraživačkog interesa, odnosno uže problemsko područje kojim se 

pristupnik/pristupnica namjerava baviti u okviru ovog studija. 

Opis mora biti napisan jasno, standardnim književnim jezikom, bez pravopisnih ili tehničkih pogreški, s 

numeriranim stranicama i navedenim imenom kandidata (ime otisnuto na kraju ili u gornjem desnom uglu i sl.). 

Iako ne postoji jednoznačna uputa za sastavljanje opisa interesa, a na strukturu i kompoziciju teksta redovito 

utječe i predložena tema ili specifičan pristup temi, svaki takav opis mora, u pravilu, osloviti najmanje sljedeće 

elemente: 

uvod: o kojem se užem problemskom području radi, precizno opisana i problemski ograničena tema, 

relevantnost predložene teme i razlozi za izbor te teme, radni prijedlog naslova teme disertacije, i tome 

slično; 

istraživački kontekst: što je dosad istraživano u području predložene teme, do kud se došlo s 

istraživanjima, što je ostalo neistraženo, kako se predložena tema uklapa u poznati problemski horizont i 

na koja se istraživanja nastavlja ili kako se prema njima odnosi, relevantna literatura, izvori, osvrt na 

ostala trenutna istraživanja u tom području, akademski ili stručni opseg u kojem se kandidat dosad bavio 

predloženom temom, i tome sl.; 

metodički pristup istraživanju predložene teme: na koji se način planira istraživati predložena tema, 

istraživačke metode koje se predlažu, argumenti o provedivosti istraživanja, primarni i sekundarni izvori 

za istraživanje, dostupnost građe, referentni i komparativni primjeri, itd.; 

očekivani znanstveni doprinos: zaključna razmatranja o tome zašto je predložena tema bitna i 

opravdana, koji su očekivani rezultati istraživanja, njihova primjenjivost i buduća korist, itd. 

Izradi opisa znanstveno-istraživačkog interesa potrebno je pristupiti ozbiljno i temeljito. U očekivanom obliku, opis 

interesa zapravo je predsinopis teme budućeg doktorskog istraživanja. 

Što opis znanstveno-istraživačkog interesa jest? 

jasno, koncizno, pravopisno i tehnički korektno napisan autorski tekst; 

promišljen, sadržajno svjež, istraživački nadahnut, studiozan i obaviješten plan budućeg istraživanja; 

logički smislen i povezan, argumentirano izložen, sustavan i strukturiran opis teme buduće doktorske 

disertacije; 

ogledni kvalifikacijski rad na temelju kojega Vijeće doktorskog studija ocjenjuje intelektualnu, akademsku 

i istraživačku spremnost pristupnika da savlada nastavne obaveze na doktorskom studiju i uspješno 

izradi doktorsku disertaciju. 

Što opis znanstveno-istraživačkog interesa nije? 

općenit i nedovoljno informiran tekst o preširokom problemskom području; 

esejizirana autobiografija; 

lista nejasnih ili neprovedivih želja; 

autoreferencijalna meditacija na neuvjerljivu temu, i tome sl. 

Veliki broj uputa i savjeta o izradi istraživačkih prijedloga dostupan je i na Internetu. U dodatku ove Upute 

priloženo je nekoliko takvih smjernica s inozemnih sveučilišta koje – iako u formalnom smislu nisu potpuno 

identične zahtijevanom obliku opisa znanstvenog interesa za prijem na ovaj doktorski studij – vjerojatno mogu biti 

korisne, usporedne, ogledne... 

Na kraju dokumenta priložena su četiri primjera opisa znanstveno-istraživačkog interesa koje je Vijeće doktorskog 

studija ocijenilo pozitivno i prihvatilo bez primjedbi. 

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Upute za doradu prijava na DS Arhitektura i urbanizam 08.03.2013. 

2. Izbor stručnih radova (portfolio) 

Izbor stručnih radova obavezan je prilog za one pristupnike koji su završili visokoškolski studij arhitekture. Izbor 

stručnih radova je kronološki, tipološki, sadržajno ili po nekom drugom ključu organiziran pregled stručnih radova. 

Radovi se prikazuju čitljivim, vizualno ujednačenim, te za format portfolia prilagođenim ilustracijskim materijalom 

(nacrti, fotografije, crteži, vizualizacije i sl.), na način da se svaki pojedini rad prikaže onim ilustracijama koje su 

nužne i dovoljne da bi se rad objasnio. Redovito se uz svaki rad navode osnovni faktografski podaci (naziv rada, 

vrsta rada, lokacija, autorski status pristupnika na projektu/planu/realizaciji, godina, itd.) 

U portfoliu nije nužno prezentirati sve ikad izrađene/izvedene projekte/realizacije/planove, već je potrebno 

odabrati reprezentativni uzorak radova koji pokazuje lepezu dosad stečenog stručnog iskustva i kompetencija, 

autorski prosede, dostignutu stvaralačku zrelost, itd. 

Ukoliko je to moguće, posebno je bitno izbor i/ili prezentaciju radova u portfoliu osmisliti tako da logično 

nadopunjuje i korespondira s predloženom temom znanstveno-istraživačkog interesa. 

Za ovaj natječajni postupak, portfolio je propisan isključivo na A4 formatu, opsega najviše 20 listova. 

Duljina gornjeg teksta iznosi 675 riječi. 

Vijeće doktorskog studija Arhitektura i urbanizam 

8. ožujka 2013. 

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STUDENT 

Learning 

Centre 

FLINDERS UNIVERSITY 

CRICOS Registered Provider: The Flinders University of South Australia 

CRICOS Provider Number: 00114A 

WRITING A RESEARCH 

PROPOSAL 

WHAT IS RESEARCH? 

The ultimate aim of research is to contribute in some way to the existing knowledge we have in a 

particular field. A research project or thesis is a documented record of what that contribution is and 

how it was achieved. You need to thoroughly research what is already known in your field, identify an 

area that needs further research, then make claims based on your findings. The claim should be the 

most reasonable based on the available evidence. 

WHAT IS A RESEARCH PROPOSAL? 

A research proposal is just that – it is what you propose to do. First, you need to think what it is you 

propose or intend to research. The next step is to explain why you would do it. What is the point? 

What do you hope to achieve? This is not always obvious and needs to be explicitly stated. You must 

justify your proposal in light of the literature and what this indicates about the state of knowledge in 

your field. This is commonly known as the ‘gap’ in our knowledge. Once you have done this, the next 

step is to describe how you will conduct the research. Simply, your research proposal should reflect: 

• what you are going to research, 

• why you are going to research this particular area 

• what is the significance of researching this area and 

• how you are going to conduct the research 

Your supervisor will be an invaluable source of advice and support throughout your candidature. 

They are the ones who will offer guidance on your proposal. 

THE STRUCTURE OF A RESEARCH PROPOSAL 

While each discipline has some slightly different requirements for setting out a research proposal, the 

major differences will be dictated by the kind of research you are undertaking – ie whether you are 

doing what is called primary research or secondary research. 

Secondary research means that you are not gathering or creating your own empirical data but are 

using existing data that someone else has collected, recorded and analysed. Generally this applies within 

the Humanities and some social science topics (Sociology, History, Politics) Consequently, you will not 

need to include a detailed methodology or research methods section in the proposal. Nevertheless, you 

should provide an outline of how you intend to approach your research problem, the theoretical 

framework you intend to use and the areas, issues or authors you intend to focus on. 

Although you are not conducting primary research, you should still use what are called the primary 

sources. These will be the original texts, films, magazines, novels or poems produced by the authors 

themselves. In the case of history, for example, you may need to access original records, letters, 

journals, diaries, shipping logs or museums. Your proposal must illustrate who and what you intend to 

access for data and why/how it is relevant to answering your question or problem. 

Primary research means you are going to collect or create your own data through applying different 

methods of data collection (ie. experiments, interviews or questionnaires, surveys or by compiling 

statistical charts). In what is called empirical research, the research proposal plays a crucial role. First, 

STUDY SKILLS BROCHURE SLC/06/2006

you need to work out who (or what) you are going to access for information and how you are going to 

collect or obtain it. This has to be carefully recorded as part of your proposal. You then need to say 

what you are going to do with the data, and how it will be processed and analysed. This means your 

proposal will need to include a methodology and research design section. These must be accurate and 

detailed. You may need to apply for ethics approval. 

RESEARCH PROPOSAL STRUCTURE 

The content of the proposal usually goes from the general to the specific and is often represented as a 

funnel. (Adapted from Jane Haggis, Development Studies DV ST 9020, Flinders University) 

RESEARCH FUNNEL 

Broad Research Area (context) 

RESEARCH PROPOSAL OUTLINE 

The proposal needs to show clearly that you understand your field, you have identified an area that 

warrants research and you know how to conduct that research. It should contain some or all of the 

following elements: 

• Working title 

• Statement of the problem or gap in the current research in your field of study. 

• Context in which the problem arises; historical and current research in the field 

• Reasons why the problem exists and justification for addressing it 

• Methodology you will use to address the problem 

• Key research questions 

• Expected contribution to knowledge 

• Time-frame and (special) resources 

• References or bibliography 



Research Topic (relevance) 

General Approach / Questions 

Specific Questions 

Specific Questions 


HOW TO STRUCTURE A RESEARCH PROPOSAL 

The following sections provide more detail on what should be included under each section. What is 

included will depend on the kind of research you are doing. 

(The following is a guide only; adapted from fIRST website, www.first.edu.au) 

WHAT IS THE RESEARCH PROGRAM? 

WORKING TITLE 

It is important to have a title for your research proposal that is clear, concise and which reflects 

the content of your research program. The title should not just be descriptive but should indicate 

your likely position. 

THESIS STATEMENT / DESCRIPTION OF RESEARCH PROBLEM 

This is a summary of your research aims and objectives giving an introduction to, and accurate 

outline of, the central problem you will address, the broad research questions to be answered and 

the expected outcomes. This section may also briefly indicate the originality of the research or the 

gap which your research will fill. 

LIMITATIONS/DELIMITATIONS OF THE STUDY (SCOPE) 

Generally this part would set out the parameters of the research project. It is important to specify 

what is within and outside the scope of your research. You also need to explain why. 

WHY ARE YOU UNDERTAKING IT? 

BACKGROUND CONTEXT/ LITERATURE REVIEW 

This section deals with the historic and current state of research in your field. By addressing the 

literature, you will place your research into its context and reveal what problem it is attempting to 

address. 

JUSTIFICATION 

It is important to state clearly why there is a problem that needs to be addressed. You will need 

to show that the research fills a gap in the current research by referring to the literature in the 

field. It should then be evident where your research project fits in the overall context. 

RESEARCH SIGNIFICANCE 

State clearly why this research is important, what the benefits will be and how your work will 

contribute to knowledge in your field. This may include commercial benefits, changes in current 

practice, a new perspective on an old issue or other benefits to the community. You need to 

indicate why it is significant and how it advances understanding of the issues under discussion. 

HOW THE RESEARCH IS UNDERTAKEN 

THEORETICAL FRAMEWORK 

It should be clear what paradigm you are working within, what theoretical assumptions you are 

making or questioning. You need to offer a justification for the adoption of the particular 

methodology you will use to conduct your research. This needs to be supported by the literature. 




RESEARCH PROCEDURES / METHODOLOGY / DESIGN 

This section sets out the mechanisms of conducting your research, the sort of data needed to 

answer your research questions and the details of how this is to be achieved in practice. State 

clearly how you plan to conduct your research. What methodology are you using? Why? What 

information needs to be gathered? Will this data be applicable to the research questions? Who or 

what will you use as the data source? How will you collect data or construct experiments? What 

controls are in place? How will the data be analysed? Do you need ethics approval? 

RESOURCES AND TIMEFRAME 

It is important to know what sort of resources you will need, how available they are and the costs 

involved. You may need to attach a proposed budget. You will also need to indicate how long each 

stage of the project will take. 

BIBLIOGRAPHY 

REFERENCES 

The proposal should cite research material which supports your research. Any text referred to or 

quoted from in the proposal needs to be listed and attached. Formatting should follow the 

standard method advised by your discipline, ie Harvard system (sometimes called author, date 

system) or footnoting system (author, note system). 

RESEARCH FOCUS 

Remember that your research proposal is a useful guide. A good research proposal can become 

the first chapter of your thesis. As you learn more about your topic, your ideas will change. This 

may mean that the focus of your proposal will also change. It may take you several months to 

finalise the proposal you will use for your thesis. This is quite normal. BUT BE CAREFUL. Don’t 

keep changing directions. The sooner you have a good working proposal, the sooner you can start 

work on the main body of your thesis. 

** Useful reference: 

Patton, Michael Quinn 1990, Qualitative Evaluation and Research Methods (2 nd Ed), Sage 

Publications, USA. 






STUDENT LEARNING CENTRE 

STUDENT CENTRE, LEVEL ONE 

TELEPHONE: 61-8-8201 2518 

FAX: 61-8-8201 3839 

E-MAIL 

study.skills@flinders.edu.au 

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http://www.flinders.edu.au/SLC 

POSTAL 

PO BOX 2100, ADELAIDE, SA 5001 


Writing a PhD Proposal or synopsis 

To enter a PhD program at COFA you are required to submit a 

research proposal (of approximately 1000-2000 words). You may 

submit an APA or course application form before your proposal is 

ready, but you will be required to submit a developed proposal before 

a place is formally offered. You are encouraged to discuss your 

proposal and to work on drafts with members of staff (such as a 

proposed supervisor or the school postgraduate coordinator). 

The proposal should establish the area of the research project, the 

central “research question”, and the methods to be employed. During 

the course of study, your initial ideas will be refined. You may even 

change the direction of your research. For this reason, we ask you to 

present a revised synopsis each year at an annual review. The 

synopsis is organised in the same way as a proposal, although it will 

also include a summary of work already completed. Current Masters 

students seeking to upgrade to PhD are asked to submit a PhD 

proposal, incorporating a summary of work completed/underway for 

the Masters and a clear indication of how this is to be developed. 

The following guidelines may be followed in the preparation of: 

• a proposal for entry to a PhD; 

• a proposal for upgrade to a PhD; 

• a synopsis for a PhD review 

General points: 

NB. The term ‘thesis’ refers to the total PhD submission, including 

practical and written components. 

It is important to remember that the principal criterion for the award 

of a PhD is that the submission constitutes an original contribution to 

knowledge. To establish your project in these terms you need to 

determine the field into which you are contributing. This may be a 

distinct area of practice or theory (eg. ‘installation art’, or 

‘contemporary design theory’), but it may also be an interdisciplinary 

field (for example, if your project is a video-based investigation of 

comedy, it may intersect with areas such as film theory; if your project 

touches on social or political issues, it may intersect with areas of 

humanities and social sciences). 

Having established the field of inquiry and what is ‘known’ about your 

topic already, you then need to demonstrate how your thesis will add

something original and significant to the field. It may do this in a 

variety of ways - for example, by redressing a bias or oversight in the 

existing literature, or by applying a new method (such as a practicebased 

approach) to yield new insights to an established field, or by 

simply being the first to systematically study an important 

phenomenon. 

There is no need to make research in art/ design conform to a rigid 

‘scientific’ model. Think about how and why your work is innovative 

and important (eg. culturally, socially, environmentally, historically, or 

in terms of a technical breakthrough or an aesthetic or conceptual 

development within a field of practice) and try to articulate this clearly, 

making reference to other significant research. 

Structure of the proposal /synopsis 

Working title: 

Give a working title that describes the nature of your project. You may 

use a ‘poetic’ title, but it is useful to indicate, after a colon, the nature 

of the study or your approach. 

eg. Urban Detritus: a performance-based study of waste in the Sydney 

CBD. 

Statement of topic and aims: 

Identify the general subject area and outline how your topic relates to 

the field. Establish why it is a significant topic and what contribution 

your work will make. 

(for example: This project investigates the self-perception of teenage 

girls in relation to the phenomenon of eating disorders. Through a 

form of ‘interactive performance art’ it will explore the ways in which 

bodies are experienced and ‘misrecognised’. It will draw on and 

contribute to the current literature in psychology and women’s 

studies….) 

Review of literature and relevant practice: 

The ‘literature review’ is a major part of a proposal. In order to 

demonstrate that your project makes a significant contribution to the 

field, you need to show that you are aware of the traditions and ‘state 

of the art’ research in that field. At COFA, the term ‘literature review’ 

should be understood in the broadest sense. You should cite examples 

of relevant practice if these are what establish the context of your own

esearch (for example, if you are proposing work that constitutes a 

technical breakthrough in interactive cinema, outline the achievements 

and limitations of precursors). 

The best approach is to start from your project and work out. For 

example, if you were planning to develop a commemorative sculpture, 

you would review the best examples of similar work, identifying key 

international trends, and the theoretical arguments currently 

influencing the design of monuments. You might also evaluate 

literature relating to the content of the work (ie. the subject(s) being 

commemorated). 

The literature review should not be approached like an undergraduate 

essay, surveying a broad field. Its purpose is to set-up your particular 

research project, and it should therefore be focused and evaluative, 

rather than general. For example, if you are researching a topic such 

as ‘body image’, do not give a general account the work of Foucault, 

Freud, feminist theory etc. Try to focus on key concepts from earlier 

work and be aware of the way in which these have already been 

applied in your area (eg. You might note that certain feminists in the 

1980s and 1990s took up Foucault’s notions of ‘bio-power’ or the 

‘docile body’ to account for women’s compliance with dieting regimes). 

Indicate where earlier work – both theoretical and practical - has taken 

us and what remains to be done. 

Do not provide a reading list (though it may be useful to do this with 

your supervisor at some point). The proposal should demonstrate that 

you have a grasp of existing work – and that you know enough about 

the field to determine an area of inquiry or a starting point for 

research. (NB. The literature/area review will become more detailed 

and sophisticated in the synopses that you develop in the course of a 

PhD, and may form the basis of an introductory chapter.) 

Often you will need to draw on literature from several fields in order to 

establish the niche in which your project sits. Many art-based projects 

establish their ‘contribution to knowledge’ by reviewing the literature 

in a non-art field and showing how art can interrogate something that 

the other literature has missed (for example, clinical studies of eating 

disorders might miss an aspect of experience that art can uncover). 

Bear in mind that the purpose of a review of the field is to establish 

not just innovation but significance. PhD research can be radical, bold 

and unconventional but it must address a community of academics, 

professionals or artists. There is no need make your work conform to

the models and expectations of areas outside your own. Use the 

literature review to define the parameters of your field. Do not, 

however, willfully ignore work that relates to your own. You must 

know your own field. In the course of PhD study you will need to 

familiarize yourself with any [significant] work that intersects with 

your project. 

Method/ Approach 

Outline how you will approach your topic. Your aim should be to 

demonstrate that your chosen method or approach will serve to 

advance your thesis or argument. For example, if you are a 

holographic artist experimenting with the construction of darkness, 

explain how the work you plan to make will test specific ideas or 

‘hypotheses’, or uncover the best way of solving a complex problem. 

If you need to gather data, describe how you will go about this. For 

example, an artist designing a commemorative sculpture may need to 

research the subjects being commemorated. This might involve 

archival research, interviews with stakeholders, or various forms of 

fieldwork. 

There are many established research ‘methodologies’. At COFA 

students can take research methodology courses and workshops to 

assist in the formulation of an appropriate method. However, in an 

initial proposal you need to give some indication of how your project 

will be realized. If your approach is experimental or comparative, 

outline how this approach will yield results (what do you expect to 

discover; why have you selected particular case studies?) 

Some theses take up a particular theoretical position, inspired by key 

philosophers, thinkers or practitioners. Rather than adopting an entire 

philosophy, you may propose to borrow specific concepts from certain 

writers and apply them to a particular area or within a particular 

practice. If you are doing this, identify which concepts are useful and 

how you will apply them in order to achieve a particular result. 

Although you will doubtless draw on material from various disciplines, 

your own approach/method should generally reflect your training or 

‘home’ discipline/practice. If you are a practitioner addressing 

social/political/cultural/scientific/philosophical questions (or, indeed, 

issues intrinsic to art/design practice), articulate in detail how you do 

this through your practice. You do not need to write like an art 

historian or a sociologist or something you are not. Research through

practice is just that – although you do need to focus on articulating 

method. 

Remember, however, that for many arts PhDs the questions of method 

are complex conceptual issues that continue to be considered 

throughout the candidature and beyond. The proposal provides a brief 

indication. It is the beginning of the process. 

Research time-line (required for PhD review synopsis or 

upgrade proposal; optional for first proposal): 

Identify goals and milestones and estimate time required to complete 

each chapter/component of practical work /aspect of fieldwork, etc. 

Chapter outline and thesis breakdown (required for PhD review 

synopsis or upgrade proposal; optional for first proposal): 

Identify each chapter and practical component, clearly defining its 

relationship to the overall thesis. In a PhD review synopsis/ upgrade 

proposal, identify which parts are complete/in-progress/yet to be 

done. 

References 

List all publications cited in your proposal. It is best to get into the 

habit of using a standard referencing system (such as MLA or Chicago 

– for which there are style guides) so that material can be transferred 

into your thesis. Do not cite from memory without referencing. 

Remember… 

The brief examples given in the text above reflect some of the types of 

research undertaken at COFA. You will receive more precise and 

discipline-specific advice from your prospective supervisor and school 

coordinator. Supervisors should also advise on further reading. You 

are not expected to know everything already. The proposal is about 

identifying a viable topic and plan of attack… 

These notes have been prepared by the Director of Postgraduate 

Research, COFA [May 2005]. The UNSW Learning Centre provides 

additional information on proposal writing: 

http://www.lc.unsw.edu.au/onlib/thesis1.html

Considering a UK PhD: Your Next Steps 

Writing a PhD research proposal: A 6‐step general guide for prospective PhD 

researchers 

Introduction 

This short guide is aimed at helping you to write a good research proposal. It is intended to help you 

to think about your proposed PhD research in a clear, structured and meaningful way. 

It should be stressed that the following is only a general guide and it does not guarantee acceptance 

onto a PhD programme. Accepting PhD students onto a research programme depends on many 

factors, including the nature of your proposed research, the quality of your ideas, your ability to 

commit to an intensive period of research study, the effectiveness of your research proposal in 

communicating your ideas, the “match” between the proposed research and the potential supervisor 

and the capacity of the research department. 

The key message in this guide is that it is your research proposal and the quality of it will be a 

considerable factor used in the university’s decision to accept you onto a PhD programme. 

In short, the better your proposal, the better your chances of being accepted. 

Note: If you are applying for a specific pre‐defined research project in science, technology, 

engineering, mathematics or medicine you may not need to submit a proposal. 

Why a good research proposal is essential to the application process 

As outlined above, your research proposal is an integral part of the PhD application process, so it is 

certainly worth investing time and energy into it. It needs to outline the nature of your proposed 

PhD study and give some indication of how you will conduct your research. 

Remember that a research proposal is about what you want to study; it immediately reflects your 

initial understanding of, and commitment to, PhD study. A research proposal can and should make a 

positive and powerful first impression about your potential to become a good researcher. 

Importantly, the main purpose is to enable the university to assess whether you are a good ‘match’ 

for our supervisors and our areas of research expertise. 

Therefore, in a good research proposal you will need to demonstrate two main things: 

1. that you are capable of independent critical thinking and analysis 

2. that you are capable of communicating your ideas clearly 

Applying for a PhD is like applying for a job, you are not applying for a taught programme. 

When you start a PhD you will become a valued researcher in an academic department. Through 

your research proposal your colleagues want to know whether they can work with you, and whether 

your ideas are focussed, interesting and realistic. Try and impress them!


Since you are going to be investing a minimum of three years of your life working hard on your PhD, 

a few days spent researching and writing a thorough research proposal is a small initial investment to 

make. In short, a research proposal is an essential first step in your PhD journey. Make sure you give 

it your fullest consideration and effort. 

You are not expected to be the expert 

Remember, you do not need to have a PhD to write a research proposal! Your proposal should be 

indicative and it should outline your areas of interest and your general insight into the research 

topic. You are not expected to be an expert and to be familiar with all the specific details of your 

subject. However, you are expected to have a good level of knowledge about the subject and where 

you might make a valuable contribution to research. 

6 steps to a successful research proposal 

Some people seem to think a research proposal is too complicated and an inconvenient part of the 

application process. A good research proposal should not be complicated. However, it can be 

challenging to write and it is important to get right. A PhD is challenging, so it is good training 

working on your research proposal. 

Although there is no exact prescribed format for a general research proposal (across all subjects), all 

of the following are deemed important to consider. You need to check your own subject’s particular 

conventions and expectations (by looking on the appropriate Exeter college website). In summary 

though, a research proposal should generally include six main sections, as detailed below: 

1) a clear working title for your research project 

o what will you call your project? 

o what key words would describe your proposal? 

2) a clear statement about what you want to work on and why it is important, interesting, 

relevant and realistic 

o what are your main research objectives? – these could be articulated as hypotheses, 

propositions, research questions, or problems to solve 

o what difference do you think your research will make? 

o why does this research excite you? 

o what research ‘gaps’ will you be filling by undertaking your project? 

o how might your research ‘add value’ to the subject? 

o is your research achievable in the time allocated? (e.g. 3 years full‐time) 

3) some background knowledge and context of the area in which you wish to work, including 

key literature, key people, key research findings 

o how does your work link to the work of others in the same or related fields? 

o would your work support or contest the work of others? 

o how does your work relate to the expertise within the department you are applying 

to?

4) some consideration of the methods/approach you might use 


o how will you conduct your research? 

o will you use existing theories, new methods/approaches or develop new methods/ 

approaches? 

o how might you design your project to get the best results/findings? 

5) some indication of the strategy and timetable for your research project and any research 

challenges you may face 

o what would be the main stages of your project? 

o what would you be expecting to do in each year of your PhD? 

o what challenges might you encounter and how might you overcome these? 

6) a list of the key references which support your research proposal 

o references should be listed in the appropriate convention for your subject area (e.g. 

Harvard). Such references should be used throughout your research proposal to 

demonstrate that you have read and understood the work of others. 

o other relevant material that you are aware of, but not actually used in writing your 

proposal, can also be added as a bibliography 

All of the above six sections are important, but section 2 is particularly important because in any 

research project, establishing your main purpose represents the whole basis for completing the 

research programme. Therefore, the value of your proposed research is assessed in relation to your 

research aims and objectives. 

The appropriate length of a research proposal 

A good research proposal is as long as it takes, but a guide would be 1000‐2000 words. Remember 

that it is meant to be an accurate overview, not a thesis, so you need to provide enough detail for the 

reader to understand it. It should not be too long, or too short. A paragraph would not be enough, 

and 5000 words likely too much. 

The perfect research proposal 

In addition to the above, an excellent research proposal also needs to: 

o follow any university and college/departmental guidance on websites. Conventions can, 

and do, differ across subjects and therefore across the University of Exeter. Therefore, you 

must check the college/department website for specific (subject) advice and guidance. 

o be refined and edited a number of times before it is submitted. You must demonstrate that 

you have given your proposal a lot of individual attention and care. Make sure it is well 

written, without any errors.


o leave the reader with a clear sense of the purpose and direction of your research project. 

The reader should not have to read it twice to understand it. 

o leave the reader interested, excited and wanting to find out more about your ideas, and 

about you! 

Follow the ‘3 Cs’ rule: 

When you have written your research proposal, ask a friend to read it critically and provide you with 

feedback. Also, ask yourself whether it follows the ‘3Cs’ rule: 

CLEAR: is what you have written intelligible and clearly articulated? Does it make sense, or is it vague 

and confusing? 

CONCISE: have you written your proposal in a succinct and focussed way? 

COHERENT: does your proposal link together well so that it tells the reader a short story about what 

you want to do, why you want to do it and how you will do it? 

If you can answer all of these ‘3C’ questions with confidence, you have probably put together a good 

proposal. 

Last thoughts… 

Remember that your research proposal should leave a positive first impression upon the reader 

about your ‘fitness’ to study a PhD. It is your project, so it is important to demonstrate leadership in 

this first stage of the application process. An ideal proposal should leave the reader feeling in no 

doubt that you have done some preliminary research about your subject and that you are 

knowledgeable and ready to tackle the challenges of the PhD. 

Give your proposal your utmost attention and time, but also be realistic ‐ you are not expected to 

know everything at this stage. Your proposal can also be flexible. It is not a contract. Always ask 

someone else to read your proposal before you submit it, and to offer you some critical but 

supportive feedback. 

Finally, remember that a research proposal instantly reflects your potential competence to 

undertake a PhD effectively. A proposal is ultimately about your ability to demonstrate that you are 

capable of PhD study, so you should put time and effort into it.

The Research Proposal 

An integral part of your application for any of our research degrees is the initial 

research proposal. It should outline the nature of your proposed study and give 

some indication of how you will conduct your research. 

Students on PhD, DBA, MPhil and MSc by Research degrees complete their work 

under the personal supervision of a member or members of staff in the Business 

School. The success therefore of any research degree is largely dependant on the 

working relationship between the supervisor and the student. The selection of 

candidates for our research degrees programme is based on the nature of the 

research proposal, and whether or not we consider that the research would be of 

benefit to both the candidate and to the supervisor(s). Your research proposal is a 

major vehicle for you to communicate to us your area of research interest, and the 

way in which you propose to carry it out. We expect you to be able to demonstrate 

some understanding of the existing knowledge in your chosen area, and to show how 

you plan to carry-out your piece of research. 

The outline proposal is not considered to be a final ‘contract’. The field and the 

approach to the study may well change considerably in negotiation with your 

supervisor if you are admitted to a programme of study. The main purpose of this 

proposal is for the School to identify a possible supervisor, and for you to be able to 

indicate to the School that you have the ideas and knowledge to begin independent 

research and that you can explain and discuss your ideas coherently. 

These guidelines will help you produce a meaningful research proposal. However, it 

must be stressed that following these guidelines does not guarantee an acceptance 

onto any of the programmes. Acceptance depends on several issues, including the 

nature of the research area, the quality of the ideas that have been generated, and 

the effectiveness of the proposal in communicating these ideas. 

Although there is no set format or prescribed length for a research proposal, the 

following sections are considered and therefore should be addressed in your 

proposal: 

1. The Research Topic 

An introductory section, in which you discuss the general field of business 

administration from which your research is to be drawn, and in which you explain the 

particular domain on which you will focus. For example, the general field may be 

strategic management, and the particular domain may be managerial behavioural 

issues, which in turn may be narrowed down to managerial expectations. However 

the latter is also part of the organisational behaviour literature, so for this example 

you would need to explain which of these general fields you would be working from; 

indeed you may need to work from both. 

You should also give some explanation as to why it is important to do this research 

(for example, a general lack of knowledge in the literature), and why it is of interest 

to you (for example, to realise your career aspirations). If you have any experience 

in this area of study you should outline it here. It is important that you give these 

issues some attention.

2. Review of the Literature 

In this section you should demonstrate that you are already familiar with some of the 

literature relevant to your topic. You should outline existing knowledge within the 

area, making reference to some of the writers who have contributed to this 

knowledge. This should include conceptual, prescriptive, and empirical works. For 

the latter you should be able to show that you are aware of some of the previous 

research results that are appropriate to your research. It would also be useful to 

include an outline of wider literatures that may relate to your particular research 

domain. 

3. Research Objectives 

In this section you should explain what you are intending to achieve by conducting 

this research. These intentions should be derived from the existing body of 

knowledge, although there needs to be some originality in your research. Indeed the 

results of research degrees are meant to contribute to further understanding of the 

literature, and should be of publishable quality. There are several ways in which your 

research objectives can be established, as follows: 

3.1. Hypotheses; An assumed relationship between two or more variables. 

Several hypotheses may be established and the overall aim of the 

research would be to test the actual nature of these relationships with 

respect to the hypotheses. 

3.2. Propositions; Statements that explain likely phenomena that may be 

observed in reality, but which do not include assumed relationships. 

Again the overall aim would be to test the nature of these actual 

phenomena with respect to the propositions. 

3.3. Objectives or Questions; Objectives related to a set of aims or targets 

to be achieved through completion of the research programme. An 

alternative would be to pose the objectives as a set of research 

questions. Here the overall aim would be to satisfy the requirements of 

the objectives or to develop feasible answers to the questions. 

3.4. Problems; An unsatisfactory set of conditions will have been identified 

and explained in detail. The overall aim will be to find solutions to these 

conditions. 

This section is extremely important, as in any research the establishment of one of 

the above represents the whole basis for completing the research programme. The 

value of the research is assessed in relation to the research objectives. 

4. Research Strategy 

This section should focus on how the research will be undertaken. Therefore the 

proposal should consider alternative methods of collecting data to either test the 

hypotheses or propositions, or to satisfy the objectives or questions, or to solve the 

problems. The proposal should also suggest which alternative will be the most 

appropriate. 

Consideration will need to be given to both primary and secondary sources of data. 

For primary sources of date, the strategy can range from a census of the total 

population, to a sample of the population, to case studies of a few members of the 

population. These different strategies all have different purposes and will generate 

different types of data, and therefore it is important that you explain the strategy 

that you consider to be most appropriate to your research. For secondary data you 

must explain the sources that have been identified.

5. Anticipated Results 

In this stage of the proposal there are two issues to consider; the type of results that 

could be expected and the ways in which data could be analysed. You should 

obviously not prejudge the conclusions of the research, but you must give 

consideration to the type of data that will be generated, and whether or not it is likely 

to satisfy the requirements of the research. Potential problems of data collection 

should be addressed, such as the difficulty in getting an acceptable response rate to 

a sample survey. 

Some attention should also be given to the analysis of data. Will this be parametric 

or none parametric data or both? What kind of statistical tests are likely to be 

employed? Will tests of association, causation or difference be appropriate? We 

would expect that these ideas will change and develop as your research progresses, 

but would like to see that you are aware of the issues. 

6. Schedule and Budget 

This part of the proposal relates to resources. For research degrees, time is most 

certainly a resource and needs to be carefully planned. Therefore we would expect a 

schedule which shows the various stages of the research, along with the expected 

time periods for the completion of each stage. Similarly we would expect an outline 

budget of financial expenditure. This should only include direct expenditure 

associated with completing the research, such as data collection, and should exclude 

your living and subsistence expenses. If you are planning to complete the 

programme on a part-time basis you should also outline the amount of time per week 

you are able to devote to study, as well as the facilities are available to you for the 

research. 

7. References and Bibliography 

In this section you should give details of all the references to the literature that you 

have used to prepare your proposal. The general rule is that the larger the number 

of references that you actually use in your proposal, the greater the opportunity to 

demonstrate your understanding of current knowledge in your chosen field. 

There may be other works that you are aware of, but which you have not actually 

used in preparing the proposal. These should be merely listed as a bibliography.

Outline Research Proposal 

Application PhD Position 

Department of Architecture 

The research proposal should include the following: 

I. Title : This will naturally be provisional – the nature of the title 

is simply to introduce others, in the most general way, to the project 

thematic or concept. 

II. Theme : Two or three lines that function like an architectural 

sketch – meaning that you communicate the general disposition of the 

research but do not yet explain in specificity the issues that the 

research will ultimately address, resolve, or seek to illuminate. 

III. Motivating Question(s): The thesis questions are used to express 

the primary motivations behind your project. If carefully formulated, 

the questions can clearly and succinctly introduce the aims and 

ambitions of your research. 

IV. Summary of research: Presents the primary findings of your current 

research. 

V. Research problématique: By the term problématique – we mean a set of 

inter-related conditions that are at once facilitating and limiting; or, ‘the 

particular unity of a theoretical formation’. The problématique offers 

critical insight into the position which you have so far taken with 

your thesis. It is also one of the defining factors that separates a 

Master level proposal from a Doctoral level proposal. 

VI. Disciplinary Approach: A statement which introduces the manner in 

which you approach your research subject (or object); and this from a 

view towards the disciplinary (or cross/ or inter/ or transdisciplinary) 

situated-ness in which you currently believe your 

research to belong. 

VII. Research significance: This puts forward an explanation of why it 

is that you believe this research is relevant and original. It can also 

include a comment as to who you believe your 'audience' to be. 

VIII. Bibliography: The bibliography is critical: please indicate in 

some manner which works have been engaged and those which have not. 

IX. Addendum: This can include anything you find relevant to advancing 

a clear picture of yourself as a potential PhD candidate – an example 

might be a published text. 

Document Length: The 1st Draft proposal, as outlined above, should be 

limited to no more than +/- 2500 words (exclusive bibliography & 

addendum). 

This document has been last revised in August 2010 

Page 1 of 1

Prilog 2.7. 

Opis znanstveno‐istraživačkog interesa 

ARHITEKTONSKI DETALJ 

Sveučilište u Zagrebu ARHITEKTONSKI FAKULTET 

Doktorski znanstveni studij ARHITEKTURA I URBANIZAM 

Studijski program ARHITEKTURA 

ak.god. 2012./13. 

Loše projektirani detalji smanjuju životni vijek građevine i ne osiguravaju tražene/zadane uvjete 

korištenja niti prihvatljive/očekivane troškove izvođenja, korištenja i održavanja zgrada. Uz 

nepotpune projekte na to utiču i nedovoljna suradnja između arhitekta i izvoditelja, česta samovolja 

nekih sudionika u građenju kao i nedostatak sustavnog timskog rada. 

Istraživanje bi bilo provedeno kroz dvije glavne teme: 

1. Produkcione metode i tehnologije 

a. Tradicionalni/povijesni proces proizvodnje/izvedbe zgrada i 

i. posljednje faze njegove transformacije: 

1. masovna produkcija nakon 2. rata, normiranje i kolektivizacija (1945‐85) 

2. prva generacija IT i razvoj projektiranih materijala (1985‐2005) 

b. Druga generacija IT tehnologije projektiranja (buildingSMART, BIM) 

i. i ponovno involviranje arhitekta u izvođačke aspekte građenja kao i u procese 

korištenja i održavanja zgrada (Post occupancy evaluation, Facillity 

management) 

c. Utjecaj odabira detalja na troškove izvođenja, korištenja i održavanja zgrada. 

2. Stvaralački postupci 

Damir Mance 

Zagreb, 24.2.2013. 

a. Odnos intuitivnog s matematički definiranim i tehnički determiniranim pristupima 

artikulaciji konstruktivnih sklopova i detalja materijalizacije zgrade 

b. razvoj inicijalnog koncepta zgrade tokom razrade konstruktivnih sklopova, detalja i 

odabira materijala 

c. uloga intuicije u projektiranju konstruktivnih sklopova i artikulaciji arhitektonskog 

detalja 

1/3

Popis literature: 




ak.god. 2012./13. 

‐ Shirky C. Cognitive Surplus: creativity and generosity in a connected age.Penguin Press; 2010 

‐ Ariely D. Predvidljivo iracionalni. V.B.Z. d.o.o.; 2009 

‐ Johnson S. Where good ideas come from: the natural history of innovation. Riverhead Books; 

2010 

‐ Berkun S. Making Things Happen – Mastering Project Management. O'Reilly media; 2011 

‐ Berkun S. The Myths of innovation. O'Reilly media; 2010 

‐ Kelly K. What technology wants. Viking Penguin; 2010 

‐ W. Chan Kim, Mauborgne R. Strategija plavog oceana – Kako stvoriti prostor bez konkurencije 

na tržištu. Masmedia d.o.o.; 2007. 

‐ Hays K. Michael, editor. Architecture Theory since 1968. A Columbia book of architecture; 

1998. 

‐ Sykes Krista A, editor. Constructing a new agenda: Architectural theory 1993‐2009. Princeton 

Architectural Press; 2010 

‐ Nesbit K, editor. Theorizing a new agenda for architecture: An anthology of architectural 

theory 1965‐1995. Princeton Architectural Press; 1996. 

‐ Spiller N, editor. Cyber reader: critical writings for the digital era. Phaidon Press Limidet; 2002. 

‐ Kozak‐Holland M, The history of project management. Multi‐Media Publications Inc; 2011. 

‐ Siza A. Zapisi o arhitekturi. AGM Zagreb; 2006. 

‐ Zumthor P. Misliti arhitekturu. AGM Zagreb; 2003. 

‐ Zumthor P. Atmospheres. Birkhäuser; 2006. 

‐ Balmond C. Element. Prestel; 2007. 

‐ Balmond C. Informal. Prestel; 2002. 

‐ Balmond C. Number 9: The Search for the Sigma Code. Prestel; 1998. 

‐ Sakamoto T, Ferré A, Meredith M, AGU, Sasaki M, Aranda/Lasch, et.al, editors. From control to 

design: parametric / algorithmic architecture. Actar‐D; 2008. 

‐ Bertoni F. Minimalist architecture. Birkhäuser; 2004. 

‐ Zabalbeascoa A, Rodrigues Marcos J. Minimalisms. Editorial Gustavo Gilli SA;2000. 

‐ Krausse J, Lichtenstein C, editors. Your private sky: R. Buckminster Fuller – The art of design 

science. Lars Müller publishers; 1999. 

2/3




ak.god. 2012./13. 

‐ VOB 2006. English translation of German standards (DIN) Handbook. Beuth; 2010. 

‐ Deplazes A, editor. Constructing architecture: materials processes structures a handbook. 

Birkhäuser; 2005. 

‐ Zimmerman A, editor. Constructing landscape – materials, techniques, structural components. 


‐ Hegger, Auch‐Schwelk, Fuchs, Rosenkranz. Construction materials manual. Birkhäuser Edition 

Detail; 2006. 

‐ Crnković‐Šarić. Građenje prirodnim kamenom. Upi‐2M books; 2012. 

‐ Wigginton M. Glass in architecture. Phaidon; 2004. 

‐ Behling S, Behling S, editors. Glass – Structure and Technology in Architecture. Prestel; 1999. 

‐ Giebeler, Fisch, Krause, Musso, Petzinka, Rudolphi. Refurbishment Manual. Birkhäuser Edition 

Detail; 2009. 

‐ Daniels K. Low‐Tech Light‐Tech High‐Tech: Building in the information age. Birkhäuser; 2000. 

‐ Daniels K. Advanced Building Systems: A technical guide for architects and engineers. 


‐ Eisele J, Kloft E, editors. High‐Rise Manual – Typology and design, construction and 

technology. Birkhäuser; 2002. 

‐ Allen W. Envelope Design for Buildings. Architectural Press; 1997. 

‐ Loughran P. Falling glass – problems and solutions in contemporary architecture. Birkhäuser; 

2003. 

Damir Mance 

Zagreb, 24.2.2013. 

3/3

PRIJAVA NA DOKTORSKI STUDIJ DUNJA MANDIĆ 

OPIS ZNANSTVENO-ISTRAŽIVAČKOG INTERESA 

OSJETILNA ARHITEKTURA 

U svojem dosadašnjem stručnom radu na projektima, radu u nastavi, istraživanju 

literature, studiranju, kako na fakultetu tako i u svakodnevnom životu, susretala sam 

se s raznim vrstama projekata, no vrlo rijetko su nastajali uključivanjem ostalih 

aspekta osjetilnosti, osim vizualnog i zvučnog. Vizualni aspekt prisutan je kod gotovo 

svakog arhitektonskog projekta, dok se širom problematikom zvuka arhitekti rjeđe 

bave. Zvukom su se kroz povijest u kontekstu oblikovanja bavili uglavnom kada je 

bilo potrebno naglasiti određenu funkcionalne karakteristike prostora (amfiteatri, 

katedrale, kazališta i sl.) a danas se pojam zvuka, osim kod akustički zahtjevnih 

objekata, susreće kod gotovo svakog projekta ali prvenstveno u vidu zaštite od buke. 

Doživljaj arhitekture drugim osjetilima zanemaruje se, iako on na nekoj nama 

nesvjesnoj razini postoji, jer je čovjek senzorno biće. Pokušamo li saznati zašto je to 

tako, nužno je postaviti pitanje što je uopće arhitektura u ovom kontekstu, odnosno 

kako ju i kojim osjetilima možemo doživjeti? 

Osjetilo je jedna od pet urođenih mogućnosti čovjeka i životinje da uspostavi fizički 

odnos s okolinom ( vid, sluh, opip, okus i miris) a osjet je doživljaj koji nastaje 

djelovanjem fizikalnog procesa na osjetilo; čulni opažaj ili u filozofiji onaj dio spoznaje 

koji zahvaća materijalne kvalitete objekta (protežnost, boju, oblik, otpor, toplinu itd.). 

Obzirom na tako definiran pojam osjeta, lako i arhitekturu možemo tumačiti kao 

senzornu. 

Tema senzorne arhitekture sama po sebi dijeli se prema vrsti osjetila kojom možemo 

promatrati arhitekturu: 

Vid – arhitektura se najčešće čita vizualno, no u okviru teme osjetilne arhitekture 

može se promatrati utjecaj osjetila vida i njegovo djelovanje u sprezi s drugim 

osjetilima. 

Sluh – tema zvuka u arhitekturi puno je šira od najčešće promatrane i primijenjene 

akustike prostora ili zaštite od buke. Ako se neki prostor i njegov oblik gleda, ako se 

arhitektura čita vizualno, zašto se ne bi mogao i slušati? U kontekstu toga bilo bi 

zanimljivo usporediti suvremene gradove s povijesnima, istražiti zvuk kroz razvoj 

gradova u povijesti te njihov utjecaj na našu percepciju zvuka unutar i izvan 

povijesne jezgre te obrnuto, proučiti naš doživljaj grada kroz upijanje zvukova te kako 

ti zvukovi doprinose slici grada i njegove okolice. 

Opip – arhitektura se može dotaknuti, ako ne u cijelosti, barem njeni pojedini dijelovi. 

Je li svejedno kakav taktilni doživljaj pojedinih materijali u arhitekturi pružaju korisniku 

i promatraču te koliko on utječe na ostale osjete? Može li se arhitektura osjećati kao 

topla ili hladna u kontekstu opipa? 

Miris – miris arhitekture, postoji li taj pojam samo u teoriji? 

Okus – vjerojatno najmanje relevantno osjetilo no budućnost je nepredvidiva. 

OPIS ZNANSTVENO ISTRAŽIVAČKOG INTERESA 1

PRIJAVA NA DOKTORSKI STUDIJ DUNJA MANDIĆ 

Kinestetička osjetila – su ona koja šalju obavijest o položaju tijela i kretanju pojedinih 

dijelova tijela. U arhitekturi ih možemo doživjeti kretanjem kroz prostor s 

neuobičajenim kosim i zakrivljenim hodnim plohama, gibanju konstrukcija u vidu 

vibracija, trešnje te njihovog namjernog ili slučajnog pomicanja. Ovo je područje 

pogotovo aktualno kod kinetičke arhitekture, privremenih objekata za najrazličitije 

potrebe boravka ljudi, bivaka u prirodi, urbanoj opremi i sl. 

Početni interes prema senzornom aspektu arhitekture nastao je kao rezultat rada na 

projektu uređenja velikog radijskog studija Hrvatske radiotelevizije, na kojem sam se 

prvi put neposredno susrela s projektiranjem prostora koji osim vizualnih i 

funkcionalnih zahtjeva mora zadovoljiti i stroge akustičke parametre. Na primjeru 

jednog takvog projekta studija može se kvalitetno objasniti pojam akustike u 

arhitekturi kroz primjenu u vrlo zahtjevnom obliku. Istraživanje teme akustike prostora 

dovelo me je do pojma senzorne arhitekture – doživljaja arhitekture promatrane svim 

osjetilima što je zanimljiva tema koja obuhvaća široko područje kao bazu za 

znanstveno istraživanje. Područje senzorne ili osjetilne arhitekture nije često 

proučavano, pogotovo u Hrvatskoj, stoga bih kroz daljnje znanstveno istraživanje 

htjela pokušati dati odgovor na neka postavljena pitanja i istražiti područja koja nisu 

toliko zastupljena u dosadašnjim istraživanjima. 

Suvremena hrvatska i svjetska arhitektura bilježi arhitektonske primjere koji propituju 

koncept osjetilne arhitekture. Na domaćoj arhitektonskoj sceni temom senzorne 

arhitekture pozabavili su se Penezić i Rogina u svom projektu u okviru Shinkenchiku 

natječaja: Staklena kuća za slijepog čovjeka 1990. god. te kasnije na Venecijanskom 

bijenalu s radom Transparency of the Hyperreal a oba projekta dala su u kontekstu 

senzorne arhitekture vrijedan konceptualni doprinos. Mora se spomenuti i Nikola 

Bašić sa projektom Morskih orgulja i Pozdrava suncu. 

Među svjetskim arhitektima najbolje o ovoj temi govori švicarski arhitekt Peter 

Zumtor. Za njega je bitan način na koji ljudi doživljavaju prostor, kako ga osjećaju, 

mirišu…a nedavno je upravo takvu arhitekturu imao priliku materijalizirati u Londonu 

projektom privremenog ljetnog Serpentine Gallery paviljona 2011. Dokaz da sinteza 

osjetilnih doživljaj arhitekture može biti snažna ovaj arhitekt pokazuje kroz niz ostalih 

realizacija (kao npr. Terme u Valsu i kapela Bruder Claus u Mechemlich). Japanski 

arhitekt Junya Ishigami također se bavi temom arhitekture i osjetilnosti (npr. izlaganja 

na Venecijanskom bijenalu 2008. i 2012.) 

Ova područja otvaraju široki prostor za znanstveno-istraživački rad u okviru 

doktorskog studija. Želja mi je istraživanjem odgovoriti na mnoga postavljena pitanja 

a konačne rezultati istraživanja u budućnosti koristili kao podlogu za dodatnu 

edukaciju studenata i eventualnu praktičnu primjenu. 

Zagreb, 25. veljače 2013. Dunja Mandić, dia 

OPIS ZNANSTVENO ISTRAŽIVAČKOG INTERESA 2

Tamara Marić - Prijava za poslijediplomski studij Prilog 07: Opis znanstveno-istraživačkog interesa 

Ključni pojmovi: 

PRILOG 07 

OPIS ZNANSTVENO-ISTRAŽIVAČKOG INTERESA 

grad, javni prostor, ulice i linearno kretanje, suvremeni urbani pejsaž 

Uvod 

Znanstveno-istraživački radovi Walkspace - Linearno povezivanje prostora na primjeru Splita, 

Petrinjska ulica u Zagrebu, Džepni vodič arhitekture Zagreba govore o interesnom području grada, 

gradskog urbanog tkiva te javnih prostora unutar njega. Tema užeg područja interesa je istraživanje 

ulica kao javnog prostora u njegovoj cjelini, promatrajući ga kao inducirani dinamički urbani landscape, 

odnosno aktivni javni prostor gdje je taj dio grada urbani pejsaž kretanja i prostora pogleda. 

Kretanje - čin, proces ili rezultat pomicanja koja podrazumijeva lokaciju osobe kao i aktivosti tijekom 

određenog vremena - je jedna od glavnih komponenata metode analiziranja prostora i situacija, 

posebice u perivojnoj arhitekturi. Kada govorimo o urbanom javnom prostoru postoji distinkcija između 

trgova i ulica, pri čemu je važna razlika između kretanja tim prostorom i njegovog utjecaja na 

projektiranje tih prostora. Na trgovima je izraženo više statično kretnje, to je mjesto čekanja i 

okupljanja. Ulice su mnogo dinamičniji prostori s kretanjem kao glavnom svrhom i programom. Ulice, 

ne trgovi ili prometnice (u kojima dominiraju vozila) su primarni predmet znanstveno 

istraživačkog interesa. Prekretnicu u povijesnom razvoju prostora kretanja ulica nalazimo u 

planiranju gradova 18. i 19. stoljeća kada veliku ulogu imaju javni parkovi i šetališta koji nastaju 

paralelno s novim prostorima bulevara i velikih ulica intenzivnog prometa. 

Problemsko područje i okvirna tema 

Usporedba razmišljanja modernističkog i postmodernističkog urbanizma pokazuje koliko se u 20. 

stoljeću problem prometa i kretanja u gradovima povećava, da bi danas došlo do vrlo raznih projekata 

i realizacija suvremenih gradskih ulica, promenada i obala koji nagovještavaju promjene i/ili čak nove 

tipove gradskih prostora s primarnom premisom stvoriti humane prostore povezivanja, a ne 

razdvajanja. Stoga bi okvirna tema budućeg doktorskog rada bila: Metoda planiranja i projektiranja 

ulica kao javnih prostora (Method of Planning and Designing Streets as Public Places) rađena 

unutar područja: Perivojna arhitektura i urbanističko projektiranje (Landscape Architecture and 

Urban Design) što odgovara katedri i kabinetu na kojem sam kao znanstvena novakinja zaposlena. 

Pojašnjenje i cilj istraživanja 

Od 20 st. pojam landscape je postao puno više od pejsažne scene i uređenja vrta. Ono je važan dio 

urbanizma, infrastrukture, strategije planiranja i sličnih grana te "…it is not simply a reflection of culture 

but more an active instrument in the shaping of modern culture..." [...nije samo reflekcija kulture nego 

je aktivno sredstvo u formiranju moderne kulture, *** (1999), Recovering Landscape: 1]. Perivojna 

arhitektura (Landscape architecture) je na mnogo načina utjecala na gradove te je stoga važno istražiti 

odnos između nje i razvoja gradskih javnih prostora. Postojeće metode analiziranja ulica (poput 

metode analiziranja autocesta K. Lyncha) koriste se u kontekstu istraživanja urbanih uličnih sustava. 

Cilj istraživanja je stvaranje nove / suvremene metode planiranja gradskih javnih prostora koji bi 

proizašao iz proučavanja sustava gradskih ulica i kretanja; te definiranje kriterija za projektiranje ulica

Tamara Marić - Prijava za poslijediplomski studij Prilog 07: Opis znanstveno-istraživačkog interesa 

kao javnih prostora u gradu unutar različitih klimatskih uvjeta i onoga kako oni utječu na društveno 

korištenje javnih prostora. Ovo je urbanistička tema iz razloga jer se bavi gradskim prostorom u cjelini, 

ali i arhitektonska tema jer sagledava sve elemente ulica i prostora, a konačni cilj je doći do 

projektantskih smjernica za ulice i promenade današnjeg doba. 

Dosadašnja istraživanja i ključna literatura 

Brojna je dosadašnja literatura koja se bavi javnim prostorima među kojima ulice čine važno područje. 

Ovo je važna tema unutar arhitektonsko-urbanističkog diskursa posebice od 20. stoljeća kada promet 

uzima zamah, ali nažalost teme su tada rješavale upravo probleme vezane uz vozila, ušavši pritom u 

sasvim drugo mjerilo grada. Danas su brojne teme i istraživanja vezane uz pješački promet i kretanje 

poput skupa Walk 21. Međutim ovdje se manje govori o istraživanju grada, a više o pješačko 

pristupačnim susjedstvima i prostorima. 

Doktorata koji se dotiču predloženim područjem interesa nema mnogo, a teme su ili vezane više uz 

javni prostor općenito ili uz trgove ili uz pak jake prometnice, poput: Horvat, J. (2002.), Urbanistički 

parametri u projektiranju javnih gradskih prostora (na primjeru slučaja Britanskog trga u Zagrebu); 

Ivanković, V. (2008.), Ulica grada Vukovara 1945.-1971. i moderne vizije Zagreba u 20. stoljeću - 

refleksije utjecaja internacionalnog stila u Hrvatskoj arhitekturi i urbanizmu nakon Drugog svjetskog 

rata; Lipovac, N. (2000.), Planiranje u službi očuvanja identiteta mjesta, Gašparović, S. (2009.) 

Autocesta kao mogućnost razotkrivanja vrijednosti i slojevitosti krajolika. 

Generalna i ključna literatura vezana uz opisano znanstveno-istraživačko područje je u pravilu strana, 

a primjer za to su: Bernard, R., , Streets for People, Jacobs, A., Bulevard, Gehl J., Cities for People, 

Apppleyard, D., Lynch, K., Myer R. J., The view from the road.

Kandidat: Zorana Protić 

Zagreb, 04. ožujak 2013. 

Tema znanstveno-istraživačkog interesa: 

arhitektura dodane vrijednosti – inovativni pristupi europske prakse 

Arhitektonski fakultet Sveučilišta u Zagrebu 

Poslijediplomski doktorski studij 

Studijski program Arhitektura 

Teme holističkog pristupa projektiranju i društvena odgovornost u arhitekturi u 

nekom obliku se kod mene provlače kroz sve autorske projekte i realizacije, kroz rad 

na edukaciji studenata, budućih profesionalaca, te u skorije vrijeme i kroz stručne 

radove. Takav pristup u projektiranju očituje se od odabira ulaznih premisa do 

projektantskog rješenja detalja izvedbe i odabira tehnologije izvođenja građevine. 

Pretpostavljajući da svaki arhitektonski tip ima jasno izrečenu namjeru, pojava 

fenomena ambivalentnog pristupa projektiranju redefinira društveni, kulturni i 

ekonomski položaj arhitekture. Senzibilizirani pristup lokaciji stvara minimalni otisak 

unutar urbane strukture i/ili prirodnog okoliša. Inovativnost u pristupu urbanom 

planiranju i projektiranju očituje se kroz veliki broj aspekata, a ovdje ću se osvrnuti na 

neke kojima sam se bavila. 

Pojavnost arhitekture često je neplanirana, bez autoriteta, nastaje kao rezultat 

protočnog prostora bez jasne hijerarhije, s najrazličitijim scenarijima korištenja. Danas 

tranzicijsko doba omogućuje veću vidljivost ovog fenomena premda je partikularno 

oduvijek prisutan. Jedan takav primjer je kulturni centar s galerijom Le point du jour u 

Cherbourgu u Francuskoj iz 2006. godine, arhitekta Érica Lapierre. Lokacija objekta 

se nalazi u industrijskoj zoni uz glavnu prometnicu u blizini mora. Forma 

predimenzionirane arhetipske dvostrešne kuće, sa ceste djeluje poput skladišta. S 

izrazito malom investicijom Lapierre je projektirao građevinu betonske konstrukcije sa 

vanjskom završnom oblogom hidroizolacijskim bitumenskim ljepenkama na oplati 

zaštićene aluminijskom folijom. Takva obloga, osim što je izrazito jeftina, reflektira 

okoliš i vizualno odgovara na blizinu mora. Pod prizemlja u cijelosti je prekriven 

asfaltom kao i pristupno parkiralište. Na taj način arhitekt prenosi ambijent ulice u 

interijer galerije. Svi materijali korišteni u gradnji su ugrađeni bez naknadne obrade, 

dok detalji ostaju vidljivi, izvedeni velikom preciznošću, te omogućuju vidljivost 

strukture koja u klasičnoj gradnji ostaje zatvorena. 

Promjenljivost programa se očituje kroz inovativni pristup projektiranju koji 

većinom podrazumijeva njegovu čitljivost na nivou primarne konstrukcije, gdje 

oblikovanje postaje neutralna pozadina nepredvidivog sadržaja i ostvaruje se kroz 

jednostavnost korištenja. Varijabilnost prostora omogućuje njezina fleksibilnost uz 

redukciju površine. Ogledni primjer takve arhitekture je kuća Laptaine u Boredauxu u 

Francuskoj, arhitekata Anne Lacaton i Jean-Philippe Vassala. Oni se bave 

takozvanom nježnom revolucijom, fokusirajući se u projektima na izgradnju prostora 

dodane vrijednosti u okviru predviđenih sredstava. Ta dodana vrijednost uvelike se 

odnosi na povećanje projektirane površine, ali također i na kvalitetu, višeznačnost te 

fleksibilnost prostora. Stvaraju doktrinu koju sami nazivaju „stanovanje 

egzistencijalnog maksimuma“. 

Ekonomičnost izvedbe očituje se racionalnim korištenjem industrijskih 

materijala, niže cijene i primjerene tehničko tehnološke izvedbe. Jedan od pionira 

takvog pristupa, zanimljiva je ličnost tehnologa, dizajnera, arhitekta Jeana Prouvéa 

(1901. – 1984.). Među prvima je primijenio industrijsku tehnologiju u arhitekturi. Kroz 

konceptualni dizajn tretirao je razradu projekta kuće poput proizvodnje namještaja. 

Njegov fokus interesa bio je na proučavanju prirode materijala (aluminij, nehrđajući 

čelik), razradi njegovih spojeva, proizvodnji gotovih sklopova te u konačnici, sklapanju 

cjelovitog proizvoda. Razdvojio je termine nosivih i nenosivih elemenata, te proučavao 

mogućnosti učinkovitog dizajna, što je rezultiralo novim konstruktivnim mogućnostima. 

Nakon Drugog svjetskog rata projektira montažne kuće za izbjeglice, te industrijske 

zgrade, čijom je masovnom proizvodnjom doprinio urbanizaciji poslijeratne Francuske. 

Socijalna održivost je specifičnost društveno odgovorne arhitekture. Ona 

podrazumijeva uključivanje zajednice kroz planiranje, upravljanje i aktivizam. Korisnik 

se pojavljuje kao relevantni kritičar i aktivni sudionik u donošenju ključnih odluka. 

Aktivnim odnosom spram okoliša, arhitektura se integrira u susjedstvo. Na taj način 

lokacija postaje potentna za sve vidove društvenih i kulturnih programa, a prostor 

Tema znanstveno-istraživačkog interesa 1






namijenjen lokalnoj zajednici, postaje jedna od točaka identiteta. Neki od suvremenih 

koncepata gradnje stvaraju hibridne situacije takozvanih prostora slobode, poput 

knjige SOMETHING FANTASTIC, manifesta o svijetu, ljudima, gradovima i kućama, 

njemačkih mladih arhitekata Juliana Schuberta, Elene Schütz, Leonarda Streicha u 

izdanju Ruby Press iz 2009. godine. «This is a proposal for a governmental building, 

which instead of offering the citizens a moment of seeming participation, frozen in a 

spectator's perch, let the citizens become a part of an existential precondition of 

democracy: the forming of opinion. The proposed new type of government building is 

the workplace of the official 'newspaper readers', who each morning prepare up to 

date 'state of the world' for the politicians. Cafe Deutschland is a place of transparency, 

where citizens can see, check, and suggest what their representatives are or should 

be reading.» Na ovaj citat idealno se nadovezuje natječajni projekt arhitektice Lade 

Hršak za zgradu gradske uprave grada Rotterdama, iz 2001. godine. Nazvan «skin to 

skin» projekt se bavi temom integracije gradske uprave u tkivo grada. Vertikalnim 

povezivanjem sadržaja uprave s paralelnim nizanjem sadržaja namijenjenih 

građanima, kuća postaje gigantska struktura socijalne interakcije, mjesto suvremene 

agore. 

Čitljivost teme arhitekture dodane vrijednosti kroz inovativni pristup na 

primjeru nekoliko vlastitih projekata. 

Adaptacija privatnog stana, Livadićeva ulica, Zagreb, 2012. godine: prostor 

stana postaje platforma za propitivanje vlastitog prosedea; ekonomičnost izvedbe 

ograničenim sredstvima; racionalnost korištenja prostora; prostor tretiran kao 

neutralna pozadina različitih aktivnosti kroz njegovu fleksibilnost, gdje ograničena 

upotreba materijala rezultira sirovim oblikovanjem uz posebnu pozornost u izvedbi 

detalja; redukcija servisnih zona uz povećanje površine neodređenog sadržaja 

boravka kroz preklapanje funkcija; tehnička rješenja kojima se ukupna potrošnja 

energije za grijanje i hlađenje svodi na optimum, a smanjenje razine buke u prostoru 

rezultira unaprijeđenoj unutarnjoj kvaliteti boravka. 

Projekt doma socijalne skrbi, Zagreb, 2006. (s V. Mikić, D. Petric) 1. nagrada – 

izvedeno: tema ovog projekta je bila anonimnost objekta na izduženoj lokaciji između 

javne prometnice s jedne i privatnog imanja s druge strane. Natječajni program, 

nedostatnog egzistencijalnog minimuma, zahtijevao je širi studiozni pristup koji je 

rezultiralo novim programskim zadatkom. Anonimnost objekta postignuta je 

upotrebom istovjetnih materijala zatečenih unutar prigradskog naselja (lim, čelične 

mreže, ožbukano pročelje), strukturno sastavljenog iz niza obiteljskih kuća i velikih 

industrijskih pogona. Novoplanirani objekt je izrazito izdužene forme s intimnim 

usjecima, te ulaznim predvrtom i dječjim igralištem oblikovanim kao sastavni dio kuće, 

zaštićeni od vanjskih utjecaja. Uzdužna fasada ka vrtu u cijelosti je ozelenjena, kako bi 

korisnici mogli nesmetano koristiti vanjske terase bez izlaganja drugim stanovnicima 

naselja. Objekt odlikuje promišljanje teme anonimnosti i ugodnosti korisnika od 

početnog planiranja na parceli, do konačnog izvedbenog detalja. Na žalost, izvedba 

nije u cijelosti poštovala ove premise. 

Rekonstrukcija gospodarske zgrade u kuću za odmor, selo Mihaljevac, općina 

Plitvička jezera / 2000. – 2010. Kontekst kuće za odmor je oranica na kraju sela, 

podno Plješevice, u siromašnom, napuštenom krajoliku. U središtu velike livade, 

postavljeni temelji iz kamena dovučenog s polja, te dovezena građa rastavljene 30 

godina stare radničke barake. Zadržan je plitki dvostrešni krov, obložen bitumenskom 

šindrom, vanjska žbukana fasada, kapci izvedeni iz ostataka impregniranih 

građevinskih ploča. U interijeru se najveća pozornost posvetila obodnim plohama; 

podu iz OSB ploča lakiranim u debelom sloju, zidovima i stropu sa vidljivim gredama. 

Gradnja, ručno rađena, je trajala čitavo desetljeće. I još nije završena. 

Natječajni idejni urbanističko-arhitektonski projekt Ministarstva pravosuđa za 

Trg pravde, Zagreb, 2008. godine (s A. Vukojić, otkup): ideja stvaranje prostora 

jednakosti, bez hijerarhije i autoriteta. Ona se odnosi kako na afirmaciju trga kao 

kontinuuma prostora grada, tako i na zgrade suda kao kontinuuma javnog prostora 

trga. Plato trga definira se kroz oblikovanje same hodne plohe, kroz afirmaciju 

graditeljskog naslijeđa gdje se kulturno dobro tretira kao aktivni reper prostora te kroz 







gustoću rubnih sadržaja. Prostorno i oblikovno rješenje tri zgusnuta volumena zgrada 

pravosuđa stvara se dojam jedinstvenosti sadržaja; masom i visinom objekti postaju 

novo težište urbanog prostora; ostvarivanje kontinuiteta grada na nivou kuće; 

oblikovnim elementom pročelja postiže se dojam zatajnog naspram uvriježene 

reprezentativnosti institucija uprave; tretiranjem objekata na nivou partera potencira se 

primarno javni sadržaj; otvorenost javnih etaža sudnica čita se putem cirkulirajuće 

transparentne komunikacije obodnog hodnika koja neposredno komunicira sa 

okolišem trga. 

Natječajni projekt iz programa društveno poticane stanogradnje (POS) u Sisku, 

2002. godine (s B. Juras, V. Bišćanić, 2. nagrada): osnovna ulazna premisa bila je 

činjenica najsiromašnijeg grada u Hrvatskoj što je rezultiralo daljnjim odlukama: 

dvojako tumačenje prostora unutar funkcionalnih zona stana, redukcija površine sa 

potenciranjem raznolikosti sadržaja i svođenjem ulaganja na najmanju moguću mjeru, 

racionalnost nosive konstrukcije u skladu s lokalnim mogućnostima izvedbe, posebna 

pozornost u detalju izvedbe, ograničena upotreba materijala, oblikovanje u kojem 

dominiraju materijali u svojoj prirodnosti, prioritet ima uređenje interijera spram 

jednostavnog rješenja pročelja, interijer topao, nereprezentativan. 

Ove teme pokušavam svakodnevno ispitivati i kroz medijatorsku ulogu u 

edukaciji budućih mladih profesionalaca, gdje studenti postaju jednaki sudionici u 

procesu obrazovanja. Cilj daljnjeg istraživanja bi bio izborni kolegij diplomskog studija 

pod nazivom „Arhitektura dodane vrijednosti – inovativni pristupi europske prakse“. 

Kroz tri faze, učenje > istraživanje > realizacija, studenti postepeno stječu vještine 

snalaženja u mnoštvu informacija, kritičkog zaključivanja, razvijanja ideje kroz timski 

rad i senzibiliziranja za teme odgovorne arhitekture.

Upute za doradu prijava na DS Arhitektura i urbanizam 08.03.2013 ...

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