Predchodcom nášho oddelenia bolo na ŠKOLE UMELECKÝCH REMESIEL oddelenie drevorobné, ktoré viedol prof. Ferdinand Hrozinka. Súčasné oddelenie DIZA JNU A T VAROVANIA DREVA sa hlási k odkazu ŠUR - ky, pretože mnohé jej tvorivé a pedagogické koncepcie, ako aj celkový duch a étos školy sú i po mnohých rokoch inšpiratívne a aktuálne.
■ Na našom oddelení sa snažíme žiakom poskytnúť sumu všeobecných informácií o výtvarnom umení a jeho vyjadrovacích prostriedkoch, ako i špecifické znalosti a zručnosti týkajúce sa najmä výrobkov z dreva, ktoré je dominantným materiálom oddelenia.
■ Od menších cvičení v prvom ročníku zameraných na výtvarnú, remeselnú a technologickú abecedu sa postupne prechádza k samostatným návrhom a realizáciám funkčných úžitkových predmetov, ako sú hračky, nábytok, bytové doplnky, športové potreby, hudobné nástroje, šperky...

Okrem toho sa snažíme rozšíriť škálu možností uplatnenia našich absolventov, hľadať hlbšie sociálne, ekologické a pamiatkárske opodstatnenie ich tvorivej činnosti. Nachádzame oblasti, ktoré sú zatiaľ u nás na okraji záujmu, ktoré však otvárajú nezaplnený priestor pre zmysluplnú tvorivosť. Ako príklad „prosociálnej kreativity“ spomenieme rad hračiek a rehabilitačných pomôcok, ktoré sme vytvorili pre pohybovo a zrakovo postihnuté deti a tvorivé dielne, ktoré robíme v ústavoch pre mentálne postihnutých.
■ O spojenie výtvarna s ekológiou sa snažíme v bezprostrednom okolí školy. „Modelovaním“ terénu sa pokúšame zahojiť devastačné stavbárske zásahy. Prvky drobnej architektúry či exteriérového dizajnu osádzame do krajiny tak, aby čo najmenej narúšali prírodné prostredie. Hľadáme inšpiráciu v ľudovom umení a životnom štýle minulosti ako protikladoch kultúrnej vykorenenosti, nevkusu a konzumu. Učíme sa ovládať tradičné remeslá a hľadáme možnosti ich súčasného využitia. Okrem iného organizujeme brigády na záchranu ľu dovej architektúry a rozbiehame návrhársku spoluprácu s tradičnými slovenskými fabrikami na výrobu nábytku z ohýbaného dreva. Výsledky oddelenia prezentujeme na výstavách, súťažiach a na stránkach odborných časopisov.
■ Našich absolventov by sme radi videli ako tvorcov schopných nielen vytvárať, ale o zmysle a perspektívach ľudských výtvorov aj uvažovať. Ľudí schopných presadzovať taký životný štýl, kde hmotná kultúra nebude ubíjať, ale kultivovať ducha, kde nebude zraňovať, ale ochraňovať prírodu.

The department of woodworking was the predecessor of our current department and it was lead by Prof. Ferdinand Hrozinka. The current Department of Design and Shaping of Wood acknowledges the legacy of the saa through the many creative and pedagogical concepts as well as the overall spirit and ethos of the school that are still inspirational – even after so many years.
■ Similarly to other school departments, the first two years of the curriculum focus on artistic preparation while the latter two focus on design work. These two major subjects are completed with technology studies and practical workshops.
■ In the first two years students study basic arts terminology as well as techniques and means of expression. They become acquainted with the elementary skills and technologies that relate to their future profession. This is achieved through various exercises that range from drawing on paper through modelling in clay to the realization of an object in its final material.
■ Easier exercises become more difficult, realistic studies are replace d with stylized shapes, and free creations are replaced with simple objects of utility. In the second year, the students gain practical experience with machines; they better understand the possibilities as well as the limitations of concrete material and its constructional jointing. Arts preparation work leads to the harmonization of aeasthetic qualities with functional design requirements.
■ In the third and fourth years, the focus is paid on students’ independent thinking. The tasks are more complex and difficult; more time is needed for preparation, normally requiring more than one draft, drawings, models from ancillary materials, blueprints and computerized visualizations. The actual realizations are often preceded by free exercises – objects and plastic artworks freed from utilitarian functionality and ergonomic criteria.
■ Despite the fact that the essential material within this department is wood, students also learn how to work with metals, vinyl, leather, textile and stone. Besides furniture and interior accessories, they design toys, sports gear, musical instruments, jewelry, etc.
■ We attempt to widen the potential of our future alumni and find deeper social, environmental as well as preservation- related aspects to their creative work. We discover areas that have so far been out of public focus in Slovakia but are often very important and fill the gaps within the broad scope of artistic creation. Here is an overview of some of our activities in the past few years:
■ We created a series of toys and rehabilitation tools for children with motoric and visual handicaps. We also organize creative workshops in hospitals for mentally handicapped children.
■ We realize modifications of the landscape around our school. We “model” the terrain in an attempt to heal the wounds left after devastating construction works. We plant new and look after the old trees.
■ We implement minor architecture and exterior design objects in the landscape so that they do not disturb the environment but rather become integrated and aesthetically suitable parts of it.
■ Each year we take part in the so-called “Living Lime Tree Buildings” in Austria.
■ We find inspiration in traditional folk crafts and look for possibilities to actualize their shape and function.
■ We organize summer holiday work camps attempting to preserve traditional wooden architecture.
■ From the very beginning our students are told to use materials economically, to separate litter and use waste objects or their fragments for artistic purposes; for example in “recycled” furniture, toys and jewels.
■ We have also started cooperation with traditional Slovak factories producing goods made of bended wood.
■ The results and/or outcome of these projects are usually presented through various exhibitions, contests as well as specially-targeted media, such as professional art magazines, etc. What should the profile of our alumni look like?
■ It should show an artists and a producer at the same time. A creator whose artistic instincts, sense for harmony and moderation are interconnected with material, understanding its essential features and qualities as well as the techniques for its processing. Such a person should be able to think progressively, contemplate the meaning and perspectives of civilizational development in order to create new styles and trends that would elevate human spirituality through innovating material culture and be environmentally aware at the same time.