2 - Polska institutet

Transcription

Polish Design Quarterly
Special Edition 2010
ISSN 1642-7602 INDEX 378348
The Polish Institute in Stockholm
promotes Polish culture and
science in Sweden, propagates
knowledge about Poland and
seeks to develop contacts between
Swedish and Polish artists,
opinion-forming circles and
cultural institutions.
The Polish Institute frequently initiates or participates in Polish-Swedish
cultural projects across Sweden, organizes study trips to Poland, which often
constitute an introduction to these projects, and also assists representatives
of Polish cultural circles and institutions in establishing contacts
in Sweden.
The Polish Institute is a non-profit
institution operating under the
auspices of the Polish Ministry
of Foreign
Affairs,
whose
activities
focus on
the idea
of a close
collaboration of
Polish and Swedish
partners as well as
a Polish-Swedish
dialog.
In May, 2009 the institute relocated
from a period villa in the elegant
Östermalm district to an office in
the artistic and vibrant Södermalm
district.
Our website at
www.polskainstitutet.se
contains information
about the institute’s
current projects, movie trailers
for upcoming events and links
to interesting Polish websites.
The Institute operates actively on
Facebook, Twitter, the Swedish
journalist portal Newsdesk and is
present on You Tube.
Editorial
Contents
On the cover: Bartosz Mucha, Bar of Gold
Czesława Frejlich, Editor‑in‑chief, 2+3D
2
In offering this special edition of 2+3D to English‑speaking
readers, I hope that it will bring them at least one small step
Polish Design in a Nutshell
Czesława Frejlich
closer to gaining a sense of Polish graphic and industrial
design. This magazine has been in publication since 2001, and is
6
A Short Guide to Polish Graphic Design
Jacek Mrowczyk
aimed at Poland’s relatively large pool of designers, to serve as
a source of information from Poland and abroad on their chosen
10
profession. In the Polish edition we attempt to show the achie‑
The New Face of Polish Type
Jacek Mrowczyk
vements of both recognized and beginning designers, and
the values they represent; we aim to comment on events with
16
reference to our own history and provide information on new
Directed by Homework.
Posters by Joanna Górska & Jerzy Skakun
professional tools and methods.
The Polish Institute in Stockholm first approached us
Tomek Budzyń
with the initiative to prepare a special English‑language edi‑
24
tion. Bearing in mind all those foreign readers who are intere‑
Harmony in Chaos.
sted, but seldom have the occasion, or the opportunity, to wit‑
Graphic works of Jakub Stępień
ness the dynamic growth of our design market, we readily
Bogna Świątkowska
accepted. In keeping with this aim, the publication you have
32
before you contains only Polish events, institutions, and desi‑
Huncwot Style. Interactive Design
Agata Szydłowska
gners. The introductory texts are not limited to listing accom‑
plishments – though we certainly note these as well – but also
38
address the shortcomings and challenges we face in the near
Between Art and Design.
future. At the end of the magazine you will find information
Ceramics by Marek Cecuła
concerning our most important ongoing events – in both gra‑
Barbara Banaś
phic and industrial design – as well as a guide, with selected
46
addresses of the Polish institutions, associations, academies,
The Designer and the Retailer.
Czesława Frejlich speaks
museums, and galleries we recommend.
with Renata Kalarus
Most of the material featured presents the work of eight
selected designers. The choice was not an easy one. We adopted
54
the criterion of maximum diversity in the disciplines we pre‑
Using Carpets Differently.
sented, while also attempting to present designers of the youn‑
Agnieszka Czop & Joanna Rusin Design
ger generation. In the section devoted to graphic design we are
Anna Demska
presenting typography, web sites and posters, which were once
60
our national specialty. Furniture (currently the leading field
Functionality as a Side Effect.
of Polish production), ceramics and fabrics make up the indu‑
The Strange World of Bartosz Mucha
strial design section. As a supplement, we also include expe‑
Magda Kochanowska
rimental works bordering on art and design, which – although
66
shown in galleries and not in store windows – is a field favored
Events
by many young designers. The selection in no way represents
all that Polish design has to offer. It ought to be seen more as
an introduction to the topic, and one we hope to continue explo‑
by the Polish Ministry of Foreign Affairs.
This publication has been financed
Mosebacke torg 4, 116 46 Stockholm, Sweden
Polish Institute in Stockholm
cooperation
Tabac Basic and Eureka Sans
set in
Drukarnia Skleniarz, Krakow, Poland
printing
Kuba Sowiński ♗ kuba@2plus3d.pl
Wojciech Kubiena ♗ wojtek@2plus3d.pl
graphic designers
Kuba Sowiński
layout designer
Susan Orsato
proofreading
SØren Gauger
English translation
Maciej Pawłowski ✂ maciej@2plus3d.pl
text editor
3D – Magda Kochanowska ♖ 3d@2plus3d.pl
2D – Jacek Mrowczyk ♖ 2d@2plus3d.pl
section editors
Czesława Frejlich ♕ tel. +48 / 605.39.86.85
editor‑in‑chief
1000 copies
circulation
ISSN 1642–7602
www.2plus3d.pl
e‑mail: redakcja@2plus3d.pl
tel. +48 12 / 292.62.12, 292.62.92 ext. 20
ul. Smoleńsk 9, 31-108 Krakow, Poland
WFP ASP Kraków
Rzecz Piękna Foundation
publisher
Polish design quaterly
2+3D grafika plus produkt
ring if it proves to be of interest.
2
Overview
Polish Design
in a Nutshell
Czesława Frejlich
T
1.
hough Poland is not currently a leader in world
such as interior design, applied graphics, and
design, the situation is improving from one
advertising.
year to the next. This is primarily a result of hav‑
ing achieved and maintained a high level of pro‑
The international situation is conducive to
the development of Polish design. The Polish
duction. Despite the crisis, the economic state
community is beginning to take an active
of the country and the constant added growth of
part in many events, and not without success.
the Gross Domestic Product favor the growth of
Its most recent international successes include
design. Producers are beginning to note its contri‑
awards at the “Red Dot” Competition.* The Adam
bution, particularly as a factor in making products
Mickiewicz Institute, which promotes Poland
more competitive.
abroad, has deemed our local design worth present‑
In Poland, industrial designers are educated
ing in foreign countries, in addition to more tradi‑
at seven fine arts academies (Gdańsk, Katowice,
tional fields of art. This has borne fruit in recent
Krakow, Łódź, Poznań, Warsaw, and Wrocław),
exhibitions including “Polska! Year” in London and
and at two technical academies, as well as a few
Milan, the “UnPolished – Young Designers From
private schools. Eight hundred B.A. and M.A. gradu‑
Poland” show in Brussels (2009) and Berlin (2010).
ates leave the halls of these learning institutions
Polish Institutes – such as those in Berlin, Brussels,
award went to Matylda
every year, and the majority of them go on to
London, and Stockholm – have also begun using
Golędzinowska and
work in advertising. It is estimated that 5,000 to
design to show foreign visitors our country’s culture.
* In 2010 a “Red Dot”
Bogusław Małczyński
for the Modico R45
stamp, produced
7,000 people are currently employed as designers
in Poland (in applied graphics, industrial design,
Domestically speaking, the last few years have
seen the organization of temporary exhibitions,
by Modico, while Kata
or interior design.) However, few find work in
as well as ongoing design festivals. In October
rzyna Okińczyc and
industrial design – only around 300 people are
the Łódź Art Center organized the fourth edi‑
employed in this profession. There are only about
tion of the Łódź Design Festival, the largest and
ary mentions for their
a dozen large agencies in Poland who employ
most dynamically developing event of its kind
OVAL bag. In the previ-
designers; almost all others work on commission.
in Poland. It focuses mainly on young design‑
Whether they work at an agency, or as a freelancer
ers, often those working on the fringes of art and
Remigiusz Truchano
wicz earned honor-
ous year Renata Kalarus
was singled out for her
Comma chair, produced
by Noti.
on commission, most designers need side jobs.
design. One of the most important exhibitions
Their main source of income is from related fields,
and competitions is “Dobry Wzór” [Good Design],
2+3D special edition / 2010
1.Michał Biernacki, Moho
Design, Spider chair, prod. Iker,
2007, www.codedesign.pl
2.Tomasz Rygalik, Termo
chair, 2009, prod. Noti,
www.tomekrygalik.com
3.Oskar Zięta, Plopp stools,
2006, prod. zieta prozessdesign,
www.zieta.pl
2.
Copyright by Museum für Gestaltung Zürich
3.
4
4.
organized since 1993 by the Institute of Industrial
of a permanent museum exhibition and a compre‑
Design in Warsaw. A regional equivalent of this
hensive book chronicling Polish design should be
competition is “Śląska Rzecz” [Silesian Thing],
regarded as glaring shortcomings.
organized for the fifth time running by the Sile‑
Without a doubt, the most important posi‑
sian Castle of Art and Enterprise in Cieszyn.
tive shift in our attitude toward design is Polish
Young designers have their own review of the best
producers’ growing awareness of the valuable role
diploma projects, organized for eight years now
design plays in selling their products. Consum‑
by “2+3D” quarterly magazine.
ers are increasingly on the lookout for products
There are several institutions and organiza‑
that are not merely inexpensive, but also well
tions involved in promoting design. Among
designed. Domestic production has, for the most
the most important, since 1963, has been
part, reached a high technical standard – the time
the Industrial Designers’ Association, a group of
has come for added value. Polish customers are
active industrial designers. Since 1950, the Indus‑
prone to trust local producers. Furthermore, cul‑
trial Design Institute in Warsaw has been the cen‑
tural event organizers are beginning to see design
tral state institution for the promotion of domes‑
as a field unto itself, including it in their calendars
tic design. It focuses its activities on counseling
of exhibitions, festivals, competitions and confer‑
and training companies, and local and govern‑
ences. This optimistic picture is somewhat over‑
ment administrations. A regional equivalent of
shadowed by the non‑comprehension of the role of
the Institute is the dynamic Silesian Castle of Art
design in daily life, for which both the central and
and Enterprise in Cieszyn – and two additional
the regional authorities are responsible. Price, not
centers will be coming soon: the Design Center
design quality, continues to be the most important
in Kielce and the Wielkopolska Design Center
criterion in selecting minor urban architecture,
in Poznań.
interiors of clinics, schools, preschools, etc. Signs
Since 1979, the Modern Design Center
at the National Museum in Warsaw has been
involved in preserving the legacy of Polish design.
of change are, however, appearing on the horizon.
This brief description on the state of contem‑
porary Polish design is by no means complete;
Their priceless collection numbers over 24,000
it merely provides a bit of fundamental informa‑
pieces. It is kept mainly in storehouses, however,
tion based on the data collected through the edito‑
and seldom sees the light of day. Poland’s lack
rial offices of our magazine.
5
4.Michał Biernacki, Code, series of household
show appliances, client: Zelmer SA, 2008,
www.codedesign.pl
5.Bartosz Piotrowski, Elf Electric Multiple Unit,
engineer’s cabin designed by Mariusz Gorczyński
and Bartosz Piotrowski, prod. PESA Bydgoszcz, 2010,
www.pesa.pl
6.Leszek Gonciarz, Noon 55 yacht, interior
designed by Monika and Krzysztof Kozielewicz,
2005, prod. Noon Yachts Co., Krakow,
www.zasadasa.pl/produkcja/noon_yachts.htm
5.
6.
6
Overview
A Short Guide
to Polish
Graphic Design
Jacek Mrowczyk
B
oth graphics and industrial design in Poland
have undergone great transformations in
the past few years. The dynamics of the develop‑
ment of civilization and technology are crucial in
determining the level of design. The improving
quality of life for the Polish middle class is also
having its effect, though this group continues to
have low financial status in Poland. The increased
buying power of the middle class is the engine
that will fuel economic development, and subse‑
quently, the need for new graphic designs.
According to art historian and critic Michał
Warda, “Poland, a country that for the last dozen
years or so has been trying to recoup its losses while
rebuilding a civilization, is now almost a full‑fledged
participant in the computer and technological
revolution. As such, it is difficult to determine
categorically the pace of progress and the quality
of changes in the field of graphic design. In many
areas we see a sort of regression, yet in others
there is a kind of dynamic progress that is driven
by free‑market forces and economic expansion.” 1
In other countries, Poland may still be associ‑
ated with the painterly posters of the latter half
of the 20th century, though people who are more
interested in the subject surely noted the presen‑
tations of young designers featured in the maga‑
zines – America’s “Print” (May/June, 2006) and
Germany’s “Novum” (11/2006). The sub‑heading
Ryszard Bienert, Aleksandra Ska catalogue, 2009
7
Robert Czajka and Łukasza Kaniewski,
“Enchanted Hen” magazine for children, 2008
Jacek Utko, “Puls Biznesu” daily, 2003–2004
8
Przemek Dębowski, book cover series for the Karakter publishing house, 2009–2010
of the article Polski Dizajn Rising Competition from
game www.bubole.pl. The Poznań Huncwot Studio
the East in “Novum” read: “A fresh wind is blow‑
(see p. 32) has won Site of the Day awards several
ing from the east – the design world in Poland is
times in the Favourite Website Awards competi‑
growing in strength and confidence. But so few of
tion, including one for the website of the Com‑
us in the west know anything about ‘Polski dizajn’.”
monwealth of Diverse C
ultures: Poland’s Heritage
The important domestic events remain the Polish
multimedia exhibition of the National Library
Poster Biennial in Katowice and the International
in Warsaw.
Poster Biennial in Warsaw, which generally draw
a large international crowd. After a visit to Warsaw,
The greatest achievements of recent years,
however, have been in press design where Polish
British design critic Rick Poynor wrote for “Eye”
designers have had two spectacular successes:
[61/2006] – “When the Polish Cultural Institute
Jacek Utko for the newspaper “Puls Biznesu,”
invited me to the event, I welcomed the chance to
and Marek Knap and Marek Trojanowski for
correct my oversight, but I was not expecting to
the newspaper “Rzeczpospolita.” Both designs
see anything that blew me away. What I found in
were awarded by the prestigious Society for
Warsaw obliged me to think again. The poster, far
News Design – placing this field, which should
from being dead as a means of modern communi‑
be extended to magazine design, at the forefront
cation, shows every sign of thriving.”
of the domestic applied graphics.
Polish graphic design is now beginning to be
We continue to remain strong in poster design,
noticed, and even appreciated. Its success stories
as well. In 2008 Joanna Górska and Jerzy Skakun
include honors in recent editions of the Euro‑
(Homework Studio – see p. 16) took first place at
pean Design Award competition. Silver medals
the 10th Poster Biennial in Mexico for The Danton
went to Ryszard Bienert of 3group studio for
Affair, a play performed at the Polski Theater in
their design of the Aleksandra Ska catalogue,
Bydgoszcz. As the Homework Studio’s d
esigners
and to Robert Czajka and Łukasz Kaniewski for
noted, “Our posters are intentionally deeply rooted
their “Czarodziejska Kura” (The Enchanted Hen)
in the ‘Polish poster school.’ The idea, metaphor
children’s magazine. Gold medals went to Alek‑
and illustration are what count. It would be hard
sandra and Daniel Mizieliński of Hipopotam
for us to make a design that was strictly formal,
Studio for their design of the Bubole Internet
experimental or abstract (on the other hand,
9
Małgorzata Gurowska, “Notes na 6 tygodni” magazine, 2008–2009
we would be lucky to find a client who would
and typography for professionals and academics.
accept such a thing).” 2 This year, two theater ban‑
Every two years, the Katowice Academy of Fine
ners by the Homework Studio were presented dur‑
Arts organizes a retrospective of student work
ing the prestigious “Why Design Now?” exhibition
in applied graphics and hosts the International
at the National Design Triennial at the Cooper
Design Conference.
‑Hewitt Design Museum in New York.
A growing interest in typography is apparent,
in spite of how our tradition does not measure up
In an increasingly stylistically uniform world,
a defined national style is getting harder and
harder to find. The Internet facilitates a rapid
to our southern neighbors’. The group of people
exchange of information, and young designers
involved in designing typefaces in Poland is small
more often compare their work to their peers’
(see p. 10). Among them, Łukasz Dziedziec has
abroad than to their older colleagues in their
achieved some success in this field, and his fonts
own country. They are also more predisposed
can be found for sale in the catalogue of Fontshop
toward individualism than to search for a national
International.
identity. Might our strength be in our differ‑
Some spheres of design are changing less
ences? According to Artur Frankowski, a delegate
dynamically. There is still little visible improve‑
at the International Typography Association
ment in the public institutions – the schools, train
(ATypI), contemporary Polish design must derive
stations, post offices, or even official state docu‑
from our national traditions, and from the place
ments and brochures.
we live. “It has to be authentic, not fabricated
A few institutions and organizations attend to
or borrowed. At the same time, our technologies
the promotion of Polish graphic design. The Asso‑
must be competitive with those of other coun‑
ciation of Applied Graphic Designers (STGU)
tries’. Then our designs will be noticed, and will
organizes conferences, lectures, and exhibitions,
have a shot at success in the world.” 3
and has over one hundred members. The Silesian
Castle of Art and Enterprise in Cieszyn has been
instrumental in spreading knowledge, promot‑
ing many events and courses for local design‑
ers, and organizing workshops in graphic design
1. Ed. Jacek Mrowczyk, Polish Applied Graphics Here and Now,
2+3D no. 23 / 2007
2. Ibid.
3. Ibid.
10
Typography
Ewa Satalecka
The New Face
of Polish Type
Henryk Sakwerda at work
Jacek Mrowczyk
W
hile Poland may not have the rich tradition
of typeface designs of its Slavic neighbors
(Czech Republic, Slovakia), it shouldn’t be dis‑
Adam Półtawski, the designer of the most popu‑
counted entirely.
lar Polish text type: Antykwa Półtawskiego (cast
The first homegrown Polish typeface was
inter‑war period there came about other Polish
of the 16th century by Krakow printer Jan
typefaces, such as Antykwa Jeżyńskiego (the work
Januszowski. Unfortunately, the print arts of
of Stanisław Jeżyński and Jan Kuglin), designed
this era collapsed with the end of the “golden
and cast in 1929, and Militari by Anatol Girs and
age of Polish culture.”
Bolesław Barcz. However, Antykwa Półtawskiego
Typography, features a whole range of Polish names
from the avant‑garde, including Henryk Berlewi,
Władysław Strzemiński, Mieczysław Szczuka, and
2000, Design
Writing Research,
Phaidon Press
Limited, London
for the first time in 1931). In the 20th‑century
The New Polish Character, designed at the end
Herbert Spencer’s 1969 book, Pioneers of Modern
* Lupton E., Miller A.,
One of the most interesting designers of
another – “traditional‑classical” – stream was
is the only one that withstood the test of time –
and was in general usage until the early 1990s.
1960 saw the first casting of Antykwa
Toruńska, a typeface designed by Zygfryd
Teresa Żarnower – all representatives of Polish
Gardzielewski. In the 1970s a whole range of
Constructivism. The most well known typeface
typefaces were created in Warsaw at the Type
associated with this movement is Władysław
Printing Center (including Hel and Helikon by
Strzemiński’s 1930 Komunikat, which often crops
Helena Nowak, Bona by Andrzej Heidrich, and
up in international publications. In Design Writing
Alauda by Jerzy Desselberger). The Zelek type‑
Research, Ellen Lupton and Abbott Miller state
face, named after its creator, also hails from
that “the formal parameters of [such] avant‑garde
this period. In 1979, the center moved to Kato‑
typefaces suppress the individuality of letters
wice. It was there that another Polish type style
by forcing attention to the system – the discrete
was developed: the still unexecuted old‑style
figures in Strzemiński’s font, for example, are
Akant typeface by Henryk Sakwerda. Bogdan
indecipherable apart from the surrounding code.
Żochowski also designed Glowworm at this
These fonts are a typographic analogue for struc‑
time, which was for sale through Mecanorma.
turalist philosophy and linguistics, which seeks
It is presently available as a font through both
to find, as Derrida has written, ‘a form or function
Mecanorma and Agfa Monotype.
organized according to an internal legality in which
The majority of types described here from
elements have meaning only in the solidarity
the 1970s were not, unfortunately, industrially
of their correlation or opposition’.” *
cast, nor were they later produced in other media.
11
The Polish poster school was, however, in full
bloom, and a close look reveals many outstand‑
Henryk Sakwerda, Artur Frankowski, Silesiana, 2006
ing typographical solutions (including specially
designed letters or calligraphy). Among the masters
of creating new lettering for their posters were
Roman Cieślewicz, Piotr Młodożeniec, Franciszek
Starowieyski, and H
enryk Tomaszewski.
Currently there are only a few noteworthy
typeface designers active in Poland. Among them
is Artur Frankowski, a lecturer at the Institute
of Printing of the Warsaw Technical University,
and a designer for over twenty years. After study‑
ing printing technology at the Warsaw Technical
University I decided I would become a designer.
I had been interested in typography for years,
but I then decided to go into it professionally.
At the beginning of the 1990s, I attended courses
with Maciej Buszewicz and Wojciech Freudenreich,
professors at the Academy of Fine Arts. That gave
me the basics of practical typography.
Frankowski’s first types, designed midway
through the 1990s, were ornamental typefaces.
I very much liked the typefaces designed by
Neville Brody (FF Autotrace, FF Blur), Max Kisman
(FF Fudoni, FF Cutout), and other designers that
were fashionable at the time. Unfortunately, using
them went beyond my financial capabilities, and
that’s how my own designs came about. Frankowski
learned from English‑language books and by study‑
ing type specimens. The book Stop Stealing Sheep
by Erik Spiekermann and E.M. Ginger made a big
impression on him: There I found beautiful, straight‑
forward, and yet modern typography, and clear
examples – I read it like a novel. He admits today,
however, that Counterpunch by Fred Smeijers
or Letters of Credit by Walter Tracy are far more
interesting. I remember when I got my hands on
Type for Books – A Designer’s Manual (1965), with
beautiful examples of typefaces like: Bulmer, Caslon,
Fry’s Baskerville, Romulus Open and Vendôme.
Then I realized what it meant to design a good type.
In 1995, he first took part in the yearly ATypI (Asso‑
ciation Typographique International) congress in
Barcelona. That was an incredible several‑day‑long
typography fiesta. The opportunity to hear the stars
of typography live, to chat over a beer with Neville
Brody, and above all to see what was new in typo
graphy, gave me a new impulse – to create my own
fonts. Frankowski admits that he learned a great
deal at the subsequent ATypI conferences in Bar‑
celona, the Hague, Lyons, Leipzig, and Helsinki.
In 2006 he became the ATypI country delegate.
Artur Frankowski, Grotesk Polski FA (roman, italic, stencil), 1999–2005
12
Łukasz Dziedzic, Blokersi typeface (available in 48 styles), 2003
His most interesting designs include
Grotesk polski (based on the same principles as
the above‑mentioned Antykwa Półtawskiego), and
his typefaces that develop the ideas of the Polish
inter‑war avant‑garde, such as FA Julian, FA Komu‑
nikat, FA Praesens, FA Szczuka, and FA Modernista.
Perusing the typographical achievements
of the Dutch or the Germans, one might wonder what
Polish type design has to offer. This is where my inter‑
est in the inter‑war avant‑garde came from, and in
the figure of Adam Półtawski. Unfortunately, apart
from Władysław Strzemiński’s attempt to create
a new alphabet, no complete modernist typeface
design emerged in Poland. In the case of FA Szczuka,
Frankowski took lettering from a book cover by
Teresa Żarnower as his basis, while the FA Julian type‑
Łukasz Dziedzic, Circa, 2005
face is an extension of forms used by Strzemiński
on the cover of Julian Przyboś’s From Above. This is
not a digitalization of the letterings of the designers
mentioned, but an attempt to creatively extend them.
The FA Praesens typeface I based on letters used by
various designers, including Szymon Syrkus (the cover
of the second issue of “Preasens” magazine from 1930),
Łukasz Dziedzic, Clan, 2007
Andrzej Pronaszko and Karol Kryński.
The work of Adam Półtawski was an inspira‑
tion in the creation of Grotesk polski. The idea for
a sans serif type based on Antykwa Półtawskiego
came to me in 1998, when I first saw the ITC
Stone family of typefaces designed by Sumner
Łukasz Dziedzic, More, 2006–2009
Łukasz Dziedzic, Good, 2006
Stone. Półtawski tried to adapt his Roman type
to the specifics of the Polish language. For this
reason he designed letters like k, w, y, z and R,
K, Y differently from those of the other Euro‑
pean languages. Another characteristic quality
of this Roman type was the polygonal period.
In designing Grotesk polski I wanted to retain
the qualities of Antykwa Półtawskiego, and simul‑
taneously create a typeface that was sans serif.
Frankowski worked on his first designs, made in
1999, at the Institute of Printing for some years
to come. The italic version of Grotesk polski is
not based on Antykwa Półtawskiego. My goal
was to achieve a “true italic,” in which the signs
have a calligraphic quality and are not merely
a mechanically slanted variant on the straight
Grzegorz Klimczewski, NaomiSans, 2004
ąbćdęfghijklłmńópqrśtuwxyzż
ABCDEGHIJKRYW1234567890
ąbćdęfghijklłmńópqrśtuwxyż
letters. Eric Gill’s Gill Sans and Robert Slimbach’s
Myriad served as models for the designer. There
presently exist the following variants: regular,
italic, bold, bold italic, light, and thin, as well as
the stencil version of the regular variant. Grotesk
polski has old-style and lining figures, as well
as a range of ligatures.
13
Łukasz Dziedzic, Empik, 2006
In 2006, on commission by the Silesian Marshall
Łukasz Dziedzic, Pitu, 2003–2008
This was “academic” work, there was no real room for protest, or for
Council, Henryk Sakwerda and Artur Frankowski
applying what I did. I tried to test out the typeface I made with photo
created the Silesiana type, designed for occasional
reproductions (photocopiers were still a rarity back then), carefully
prints to promote Silesia (dedicatory letters, diplo‑
arranging the cut‑out photographs of the symbols and keeping each
mas, invitations, etc.). Since 2004, Frankowski and
of the copied letters in a field of the same size.
his wife Magdalena have been running the Font
His next experience in typography was his diploma in the book
arte Studio, which specializes in typography,
graphics studio. I based my idea on pairing hand and text typeface.
the design of visual ID, and publishing graphics.
Because there were insufficient types at the academy’s type‑setter’s,
The Frankowskis recently authored a book enti‑
I composed the texts by transfer carrier. Pressing each individual letter
tled Henryk Berlewi, about the precursor of con‑
by hand makes it impossible to get a precise kerning, and so after years
temporary typography and functional graphics.
Another professional Polish typeface designer
of using computers I rate my typographical work of that period quite low.
I did show myself, however, that expression can be granted to a text not
is Franciszek Otto. He encountered typography
only through compositional strategies, but also through giving the type‑
as a freshman at his arts high school in Bydgoszcz.
face the right dynamic.
I was fascinated by the process of printing a small
After graduating from the Academy of Fine Arts in Krakow, Otto was
text I myself had created, and by the foundry
employed as an interior decorator by the Społem General Consumers’
type itself, the delicate building of whose face of
Cooperative in Nakło nad Notecią. He then saw how useful an educa‑
type reminded me of the precise work of a jeweler.
tion in lettering could be. In the crisis years after Martial Law we had to
In his classes he first encountered the pleasures
fill the shop windows with banners that read “Spring” or “Long live the 1st
of carving out the details of an old‑style typeface.
of May.” There was also lots of work doing smaller inscriptions, such as:
Type specimens were trickling through to us from
“The complaints and application forms are at the store manager,” or “Preg‑
the West from such transfer‑carrier producers as
nant woman are not obliged to stand in line.”
Letraset and Mecanorma.
Otto designed his first typeface while in his
fourth year at the Academy of Fine Arts in Krakow.
Directly after graduating, Franciszek Otto tried to display his
typefaces in various Western typographical houses, but with no suc‑
cess. I then started subscribing to “U&lc” magazine. It was there I found
14
Wojciech Janicki, Genetika (sans, serif, slab-serif), 2009
information regarding current tendencies in type‑
face design, and the layout was full of typographi‑
cal treats. Timothy Donaldson and Phill Grimshaw
made the greatest impression on me.
In 1987, Otto returned to the arts high school
in Bydgoszcz as a teacher. At the start of the 1990s
the first computers arrived at the school. That was
a real revolution in typography. Suddenly we had
the capability of modifying the proportions of exist‑
ing typefaces. Today I see that my “fun” with defor‑
mations was a mistake, though at the time I hadn’t
noticed the dire effects of letters that have been
graphically manipulated.
In 1994 he encountered a font‑making program –
Fontographer – for the first time. My earlier expe‑
riences with foundry types facilitated my under‑
standing of the principles of computer design work.
The first font was a hand type. I sent my design
in to the Morisawa Award competition, but to no
avail. In the catalogue of awarded works, how‑
ever, I could see how types were being designed
in the world today.
In 1998 Franciszek Otto received an invitation
to take part in the 3rd edition of the international
Linotype Library competition. The main premise
of my design (the Noteć typeface) was a dynamics
of the sign and a harmony in the connecting lower‑
case letters. Readability was the overriding aspect
of my designs. The starting point for the search
was the mark made by a round stick dipped in ink
and left on white paper. My testing ground was
the school’s computer lab. Otto also used Noteć for
the layout of the regional newspaper, “Powiat.”
The jurors recognized the virtues of the design.
In December 1999 I received a jury decision that
said that I had received 2nd Prize in the “Display”
category. The decision was especially emotional
for me, given that Herman Zapf, whose Optima
(Ottawa) I had long admired, was sitting in the jury.
The typeface was put on sale. From that moment on
I have sent an avalanche of new designs (Cracovia,
Zefir, Europa, Powiat, Rokita, Noteć Dings) to
Linotype, but they haven’t raised any interest.
In 2003 a second success came along. In the next
edition of the Linotype competition, Otto received
a distinction for his Brda type. I had six months
to measure up to this challenge. I prepared seven
designs, all of which I tried out in “Powiat.” These
were text and title typefaces, or sets of symbols.
I realize that it is mainly luck that wins competi‑
tions, but without sufficient work put into a font
design, I wouldn’t have stood a chance. The Noteć
15
and Brda typefaces can be purchased on the Lino‑
Franciszek Otto, Brda Regular, 2004, Brda Extra Bold, 2003 (awarded)
type Library web page, www.linotype.com.
Łukasz Dziedzic, another of our typeface
designers, doesn’t remember exactly where his
interest in the subject came from. I only recall
two moments: Neville Brody’s book, The Graphic
Language of… and my first Internet contact
with the Font Bureau. It was beautiful! Speak‑
ing with Andrzej Leraczyk in an interview for
the Rzeczy web site in December 2004, he recalled:
“In the 1990s I worked on the design for the ‘Gazeta
Franciszek Otto, Fotto Regular, Fotto Extra Bold, 2005
Wyborcza Magazine,’ and the newspaper’s new lay‑
out. We had to patch on ogoneks, condense Times
a bit, and pad out Franklin. Without any knowledge
and respect for the material at all I went in and …
I was hooked.” He describes himself as self taught.
I learn from my own and other people’s mistakes:
more often others’, because your own are harder to
spot. I sift through the Internet and foreign news‑
papers. I notice signboards, packaging, instruction
booklets and film titles. I check out books and typog‑
rapher conventions. I pay attention to typefaces.
Franciszek Otto, Powiat, 2003
I look, I fiddle, draw, if I don’t like something, I try
again, and again. In the above‑mentioned interview,
we later read: “Typefaces are born in the head. Their
taste, character and function … Some letters just
pour right out of the head and onto the page. Some
are more ‘stubborn,’ with their flow increasing grad‑
ually, in growing groups. Dozens of A4 sheets travel
from a ream to the desk and into the wastebasket.
setting diacritical marks, playing innocent games with the letter Ł etc.
Only when a whole word is made, and it looks as it
Once a friend asked me to change the logo of her windsurfing company
should, do I cut it out and set it aside. I often lose
to the name of her fiancé (she pressed it on a T‑shirt and gave it to him for
it, but that’s OK, by then ‘the hand knows how’.”
his birthday), and once an advertising agency commissioned me to “make
He jokingly admits that all his typography heroes
a cake out of letters for the following day.” Presently one of the largest
start with ‘B’: Brody, Black, Berlow… He tests how
typography houses, FontShop International, sells his Pitu, Clan, Good,
his typefaces work by changing the original texts
and Mach typefaces. Dziedzic also designed the corporate typeface used
in a newspaper, book or poster. It should fit better
in the new ID for the Empik chain (2007).
than the original. When I’m convinced that it’s good,
Grzegorz Klimczewski, who runs an Internet business at fonty.pl,
I have people look at the work. The “uninitiated”
created the NaomiSans type – a sans serif type family with 18 variants.
should notice a change, but I don’t expect them to
Although the design seems similar to Meta, the latter’s creator, Erik
know what has changed. The “initiated” can give
Spiekermann, admitted in a discussion forum at pl.comp.dtp, that:
their opinions, but I don’t listen too carefully to
“There certainly exist some similarities, such as the delicate rounding
what they say. I study their pupils and the corners
of the upper extensions or the fat dot over the letter ‘i,’ but I did not pat‑
of their mouths. A few big publishers use Dziedzic’s
ent these things… In creating Meta, I was inspired by the Letter Gothic
typefaces – Agora: Champaigne (Wysokie obcasy),
and Syntax types… NaomiSans is a very nice type.”
Edipresse: Blockersi (Vita), Axel Springer: Blockersi,
Pitu (Europa). The now unfortunately deceased
Among designers selling their fonts in typography houses abroad you
can find a few more Polish names, mainly creators of decorative types.
“LUB czasopismo” monthly magazine used solely his
In Poland, graphics education is normally offered in state acad‑
types. At the beginning, his fonts were mainly sold
emies, but typography design is not treated as a priority. One school
through acquaintances. When asked about special
that takes typeface design seriously is the Arts University in Poznań.
commissions Dziedzic responds: Mainly it’s adapt‑
Among the teachers at this academy are such outstanding specialists
ing typefaces to Polish needs – making ogoneks,
as Wojciech Janicki, creator of the Gentica typeface family.
16
Presentations
Directed by Homework
Posters by
Joanna Górska
& Jerzy Skakun
www.homework.com.pl
Tomek Budzyń
A
few years ago, a poster with matches on it,
(and other cities, no doubt), where their work can
advertising the “Encounters” Festival of Theater
be seen in places other than bus shelters.
Festivals, caught my eye. It stuck in my memory
With an interest mostly in theater, film and
for a few reasons. First, it was put up on practically
cultural events, their designs go well beyond post‑
every bus shelter in Krakow. Second, I thought
ers, comprising a full range of visual identification
the name “Festival of Festivals” was rather curious.
for plays, concerts and magazine covers, and even
Third, it took me back to a time when the simplest
postage stamps.
pyrotechnics were making a splash. Later, I saw
Their work is characterized by a fresh approach
the poster again, when I received a portfolio from
to form reminiscent of budding student work.
two graphic designers hailing from the Baltic
This is an enormous advantage, often overlooked
coast: Joanna Górska and Jerzy Skakun.
by “adult” designers, who, having found their own
Graduates of the Gdańsk Academy of Fine Arts,
individual expression, often become mired in
they both received honors degrees in the studio
tried‑and‑true methods. With Górska and Skakun
of Professor Janusz Górski – Joanna in 2001, Jerzy
it’s just the opposite. They create designs that are
a year earlier. During his student years, from
diverse, based on many different ideas. In some
1998–2000, Jerzy worked in the Pracownia graphic
of their works photography dominates, in others,
design studio. Joanna joined the same studio from
graphics are paired with basic text (e.g. The Sui‑
2001–2002 after completing her degree. Jerzy also
cide, H. Art Chaos, Mecanica Popular). The finished
served as art director for the ICON advertising
product often catches the viewer off‑guard with
agency from 2001–2003. For the past seven years
its interesting graphic strategies. The “Encounters”
they have run their own design studio: Homework.
Festival of Theater Festivals is a fiery example.
They have won numerous awards and honorable
We can clearly see the flame that at any moment,
mentions, including a silver medal at this year’s
and surely during the festival, could ignite in its
Chicago International Poster Biennial, USA.
full brilliance. The designers themselves say that in
Gorska and Skakun have a strong presence
making the poster they meant to capture the spirit
within the Polish graphics scene, as in Krakow
of the festival’s slogan: “East – West – Inspiration.”
Shut Up and Shoot Me, movie poster for Vivarto film distributor in Warsaw, 2006
18
The Suicide, theater poster, 2004, award at the 5th Poster Festival
in Krakow
5th Spanish Films Week, catalogue, 2005
The plays were multicultural, combining various
theatrical traditions and styles. The poster shows
this diversity in a sideways fashion, avoiding liter‑
alness. The entire visual narrative for the festival
was comprised of elements using the matchbox
motif.
Subsequent work for the Dramatyczny Theater
uses a collage effect. Packing paper appears, as do
cutout and glued‑on letters (e.g. Tales of Common
Insanity). As I mentioned, I admire their capacity
for change. Compare The Suicide with the poster
for To You, the Birdie – a play based on Jean
Racine’s Phèdre.
Their poster for Mikhail Ugarov’s Oblom-off,
much like their Muzzeum Jazz poster for
the Museum in Warka, are bold commentaries
with deconstructive leanings, more evidence of
the designers’ constant searching and willingness
to experiment. On the one hand, one might speak
of ascetic experiments, and on the other, ones that
are even decorative (Muzzeum Jazz). A bold use
of color is evident: blood red comes screaming out
To You, the Birdie! (Phèdre), theater poster, 2003
of subdued photographs, while Spanish Film Week
exudes the Iberian heat.
When we look at the composition of other
programs and invitations, we notice an unusual
honesty and consistency. There is an emphasis
19
Mecanica Popular, theater poster, Dramatyczny Theater in Warsaw, 2004.
2nd prize at the 8th Poster Biennial in Mexico, 2004
“Encounters” Festival of Theater Festivals, theater poster, Dramatyczny
Theater in Warsaw, 2004
H. Art Chaos, theater poster, Dramatyczny Theater in Warsaw, 2004
Tales of Common Insanity, theater poster, Dramatyczny Theater
in Warsaw, 2005
20
Oblom-off, theater poster, Dramatyczny Theater in Warsaw, 2005
Muzzeum Jazz, music poster, Kazimierz Pułaski Museum in Warka, 2005
on readability and transparency. I am compelled
can do such different things and cooperate with art‑
to use the word “ascetic” once more, as this quality
ists from completely different fields. In these times of
makes their prints stand out among the increas‑
ever‑narrowing specializations, graphics are some‑
ingly slapped‑together, illegible and banal com‑
thing special, and we try to take advantage of this
positions on the market, which merely aspire to
diversity. To my mind, this stylistic diversity is best
modernity and deconstruction. The simplicity of
exemplified in two series of posters. In three works
Skakun and Górska does not make them tedious.
for the Polish Theater in Bydgoszcz: Tourists, Babel
Both the poster and the program for Oblom-off
and The Danton Affair the designers use collage –
strike the viewer with powerful color contrasts,
playing off the photographic images with refined
aggressive, straight‑ahead (even crude) lettering,
and subdued typographical elements. The second
and, in the case of the program, sharply drawn
series of posters for the Pigasus Polish poster gal‑
fragments of typography along with the insertion
lery in Berlin perhaps best represents Homework
of big, one‑tone contrasting surfaces.
Here we must return to the stylistic diversity
Studio’s most minimalist work. Here, the design‑
ers use only three or four colors, a few shapes and
of their projects I mentioned at the start.
forms, and more refined and subdued typography.
Do these designers have their own style? Are they
Though the effect seems simple at a first glance,
still in search of it? Is this lack of style, in fact,
the solutions are complex, and often witty.
their style? Or perhaps they prefer to work without
A style must be developed over years, as any‑
being hampered by custom, with the chance to
one will tell you. These designers are no exception.
find their own response to each new challenge, to
When I look at their works from the perspective
each design situation? They’ve told me the answer,
of the time since I have had their portfolio on my
so I know. They admit that design provides enor‑
computer, and from the perspective of the length
mous opportunities to experiment and to mix
of this article so far, I am struck by the individu‑
various fields. Collaborating with many other art‑
ality of their designs. First of all, they are truly
ists in various cultural arenas, they are, it seems,
strong and legible. The designers say that this is
condemned to this diversity and changeability
one of the first tasks they set before themselves
of approach to problems. It is worth noticing that
when creating a design. In making posters, they
they themselves recognize the value of this, some‑
believe it is most important that, on the one hand,
times, difficult situation. It’s fascinating that one
the viewer decodes and understands their idea,
Cinema Classics series, movie posters for Vivarto film distributor in Warsaw, 2008
Czechoslovak Cinema in Polish Posters, exhibition poster
for the Polish poster gallery in Berlin, 2009
Soviet Cinema in Polish Posters, exhibition poster
American Cinema in Polish Posters, exhibition poster
and on the other, that the idea itself be affiliated
Skakun have been successful in this. Their abil‑
with the theme, with the client’s intentions – not
ity to obtain commissions is the best proof. Their
with the designer’s aspirations to create a body of
clients feel unique because the designers treat
work. This is no doubt a result of hard work and
each subject and client individually. This pays off
professionalism based on real world experiences.
with clean, legible designs, and clear understand‑
In this changeable reality, with such varying cli‑
ing between the designer and the viewer. This
ent demands, they are able to take on fresh chal‑
is a fresh and vital approach to design, rather
lenges without falling prey to habit and routine.
than a mannerist one. The variety also springs
This, combined with an awareness of the skills
from the fact that this is a collaborative effort.
they need and the ability to collaborate with cli‑
The designers tell us that sometimes they inspire
ents (not to be confused with capitulation), is
each other, and sometimes they obstruct each
a key to achieving success and leaving a lasting
other. The fact is that the cliché “two heads are
mark in the world of Polish design. Górska and
better than one” applies.
The Return of Odysseus, theatre banner, Polski Theater in Bydgoszcz, 2007
Terrorism, theatre banner, Polski Theater in Bydgoszcz, 2007
23
The Danton Affair, theater poster, Polski Theater in Bydgoszcz, 2008.
1st Prize at the 10th Poster Biennial in Mexico, 2008
Tourists, theater poster, Polski Theater in Bydgoszcz, 2009
The other immeasurably important element,
and the task they set before themselves, is to
make the viewer curious about their work. They
say that in their theater posters they draw from
the source – the character of the play – while bear‑
ing in mind that design is, above all, an applied
field. This is an important declaration. To take
this to a lighter level, I would say that it is per‑
haps important that some pleasure be taken
from the design process. This sounds trivial, but
I believe in it, and it is confirmed by numerous
observations. In a nutshell, if you don’t like some‑
thing yourself, nothing good will come of it. You
have to love design when you design all the time.
You can design as a duo even when you’re miles
apart. That’s how it was with the Mutations Cal‑
endar for the Akobi publishing house. Joanna
lived in Sopot, and Jerzy in Warsaw while they
were working on it. They shared the design tasks
resulting in work made up of a Warsaw half and
a Sopot one.
This is enough for now. If you would like to
learn more, visit www.homework.com.pl, or their
blog: shivadog.blogspot.com. We’ll end things here.
Surveying the work of Skakun and Górska, you
can see that they really do work a lot. When they
speak of their own work, they say it has to be
good fun, and then the more the better. I hope
the fun continues.
Babel, theater poster, Polski Theater in Bydgoszcz, 2010.
Silver medal at 2010 Chicago International Poster Biennial, USA
24
Presentations
Harmony in Chaos
Graphic works
of Jakub Stępień
www.hakobo.pl
Bogna Świątkowska
I
wake up early in the morning. That’s when I can
to have someone on the other side of the world look‑
get something done, because later all hell breaks
ing at my posters.
loose. This is not a report from the frontlines. This
They’re seeing his work not only in publica‑
is how Hakobo (a.k.a Jakub Stępień) speaks of his
tions, but on billboards too. The story of the series
typical day at work.
Kuba Stępień is thirty‑four years old, and
of billboards Hakobo designed for the Wyborowa
advertising campaign in France (2004/2005) shows
a graduate of the Graphics Faculty of the Academy
that in an information society, the Internet is
of Fine Arts in Łódź. Born and currently living in
a tool that can break down a great many barriers –
Łódź, he is one of the most recognizable personali‑
of which distance is one of the more mundane.
ties in Polish graphic design. He has participated
in numerous poster exhibits in Poland and abroad,
I sent my work to an exhibition at the Polish
Institute in Paris. People from the Young & Rubi‑
winning awards at the Poster Festival in Krakow
cam agency found my poster there, jotted down
(2002, 2005), the Vidical Calendar Competition
my address and wrote to ask if I wanted to help
(2004), and the Grand Prix at the Young Polish
with their design. I did the work and it turned
Graphics Competition (Krakow, 2003). His style is
out OK. (Kuba clearly does not suffer from over‑
marked by exploration, intensity and synthesis.
stating this sort of thing.) I didn’t even send in my
And work. Lots of work.
work; these people asked for it. And that’s cool; it’s
Ever since the day John Foster, author of
the book New Masters of Poster Design, placed him
among the fifty best poster designers worldwide,
very nice. And, surprising, really.
Kuba’s most interesting achievements are com‑
plex event identifications – cultural events being
Hakobo has been competing in the same circles
his specialty. Among the nearly sixty clients he
as the “hottest” International designers. The book
works for, most are cultural institutions, galler‑
was published in April 2006 by Rockport Publish‑
ies and museums. But even among such informed
ers (USA), specializing in design and architecture.
clients, his designs often spark conflict.
Now both the worldwide media and potential cli‑
ents write to Kuba.
How did Foster find out about you?
I don’t know. He said he was interested in
While his designs may irritate some, others are
drawn by the fact that Hakobo’s posters are some
times so condensed that they hover on the verge
of illegibility. Thus it was with the poster for the
the subject of graphic design. He was keeping an eye
“Beauty, or: Effects in Painting” exhibition prepared
on what was happening in the world, and he was
by the “exgirls” – Magdalena Ujma and Joanna Zieliń
looking at competitions. Thanks to that book, I met
ska. In this work, letters reminiscent of the Arabic
other designers. And it’s also a kind of payoff for me
alphabet are wound up in a tangle of floral motifs.
Bad News, exhibition poster, Kronika Gallery, Bytom, 2006
26
Kuba’s designs often draw consternation and
rejection, laughs Magdalena Ujma. Only after some
time did I become accustomed to them. And then
it turned out that his design was the quintessence
of what we were doing. Kuba has known the exgirls
for years. He worked with them on the famous
“Bad News” exhibition for Kronika in Bytom (2006),
and earlier on “Boys” at Krakow’s Bunkier
Sztuki (2005).
Compared to his designs, other proposals seem
timid, to say the least, says Ujma. He is not a crafts‑
man; he’s an artist. Whenever we commission a logo
and an exhibition package from him, Kuba always
asks us to tell him as much as possible. He asks for
illustrations, so he can look everything over. What
he puts forward is an independent response, which
has more than practical value.
Kuba is open to new experiences like few
others – and not only in design. He values physi‑
cal labor, as well as contact with his audiences.
In 2005 he made a poster for the Club Cube project
at the Center for Contemporary Arts in Warsaw,
which both announced the event, and also served
as the decor for the presentation space. Kuba hung
Cool Kids of Death, music poster, Cool Kids of Death rock band, 2001
each of the 170 posters personally.
That was a cool experience, he recalls. I had
Establishment (and its discontents), exhibition poster,
Centre for Contemporary Art in Warsaw, 2008
a volunteer helping me, a kid who was studying
Beauty, or Effects in Painting, exhibition poster,
Bielska Gallery BWA in Bielsko-Biała, 2004
He helped me out, and had such good ideas for
CLUB CUBE, cultural poster (fragment),
Center for Contemporary Art in Warsaw, 2005
boss. We’re going to hang it just like you said.”
at some technical school, ventilation or something.
hanging the works that I just said to him: “Damn,
His openness to connecting with the receiver
the “Czacha Tour 2006” – a mad crusade to intro‑
is most evident in the work he does for a differ‑
duce some innovative attitudes to the world of
ent group of clients: underground jobs, those
skateboarding.
affiliated with independent culture. Kuba enjoys
Now I let him get away with anything, because
designing prints for shirts, stamps and scarves
I see that he’s more than just a craftsman, says
for soccer fans and skateboarders. Small wonder
Dabov. I see his ideas and his style in what he
that the street scene is close to his heart – he has
designs. Simple logos and good texts… seemingly
a number of friends who are a part of it.
dashed off, like they were done in fifteen minutes,
Piotr Dabov, owner of PogoSkate, an insti‑
but it’s the way they should look. This is an alter‑
tution that promotes creative and innovative
native to all those companies that have very nice
skateboarding, met Kuba back in the early 1990s.
designs, but are completely shallow.
There was a big punk/skateboard scene back then,
The minimalism of Kuba’s designs that Dobov
and hip‑hop was on its way in. Kuba was a skate‑
lauds, means that what he comes up with are
boarder, and as a student at the arts high school,
rather controversial goods. There are some
he dreamed of designing boards. Piotr skated too,
designs that sell like hotcakes, and others quite
and one day they met. Ten years later he called
the reverse. This is surely why Kuba values con‑
Kuba and suggested he design the Pogo logo,
tact with the user. Whenever I have the chance
some wear and skateboard images.
I ask: Why are you buying this one? Why do you
Kuba took the easy way out and copied some
like it? I want to be close to the users, to under‑
designs that were “in” at the time, Dabov laughs.
stand these people. I try to imagine that I’m my
Super colorful, skulls and blood… although there
own client. I ask myself: Would I buy that, or am
are an unlimited number of things that fit on
I just designing for design’s sake? Because that does
a skateboard. It was the real pits. I didn’t go for it.
happen, sometimes.
Today, Kuba laughs about this as well. I made
At first I imagined that I would make post‑
some designs, and he turned his nose up, said
ers and hang them in galleries, he recalls with
I didn’t know what I was doing, that the kids
a smile. But that’s a real mutual admiration society.
would never buy the stuff. After many more
The galleries, the display windows, the lights… that
attempts, last year Hakobo’s first four skate‑
just wasn’t for me. I feel good when I do a skate‑
board designs went into production. Kuba also
board design and I see that some kid chooses it,
designed two issues of Pogo’s company zine,
that he’s stoked. When I see that, that’s every‑
a series of clothing prints, and the packaging for
thing – that’s the whole reward. Or if someone
28
Scarf (2007), skateboard prints (2007) and poster for the Pogo Night
movie (2005), Pogo snowboard and clothing producer (Łódź)
chooses a shirt I designed. I once saw here, on
Piotrkowska Street, someone wearing a shirt I made
with a cat on it, and it was so well worn and crum‑
pled... That for me was the biggest kick, that young
people, future art audiences get off on it, and not
some old men with blinders on.
Kuba is doubtless among those artists who
care little for the past and are less than concerned
about the future. He is firmly rooted in the here
and now, he seems to possess a natural ability
to sense what’s current.
I kind of forget about what’s happened, what
I’ve already done, he says. I’ve always got new ideas,
I keep moving ahead.
One of these new ideas is to design wear. Not
clothing or outfits, but wear. Łódź’s past, its tradi‑
tion as a great textiles center, is not only impor‑
tant for Kuba, it’s inspirational. The proximity of
clothing factories and the affordable prices seem
to encourage experimentation.
Abilities passed down from generation to gen‑
eration mean that tradition is alive. My mother
worked in fabric design, Grandpa was a director of
a company that made textile machines, says Kuba,
who began his studies in the Textiles and Clothing
Department. We have huge plants in Poland, from
which the largest armies in the world order their
fabric production, but we have no design. Poles
aren’t designing anything.
It would seem, however, that a long time
will pass before a purchaser is found for his
decorative jacquard fabric called Time to Remain
29
The Art Museum in Łódź’s new building visual identity, 2008
(hand‑made fabric, 180 × 250 cm), which can be
Hope in youth, and meanwhile the crisis in arts schools in Poland
ordered through the Hakobo Co. Internet store:
is a fact. Some fine arts academies are making an effort to break with
(www.hakobo.art.pl) for 5000 PLN. There are
the routine at work in their classroom, with varying degrees of success.
bound to be more takers for his T‑shirts (55 PLN),
The academies have lost all reason to exist. My opinion is that only
sweatshirts (170 PLN), and trucker caps (65 PLN).
craftsmen can be taught, and teachers have to watch out, or they’ll kill
Those who want original items at a reasonable
the artists. These are the words of the late Professor Andrzej Smoczyński,
price – can own an accessory that makes them
who was head of the Silkscreen Workshop in the Print Making Studio
stand out. However, given that there are still com‑
and also the Silkscreen Center at the Łódź Academy of Fine Arts, as well
paratively few people who want to stand out from
as co‑founder of the Polish Silkscreeners’ Association. A master’s school
the crowd through their clothing, he might only
would be the ideal way out. Henryk Tomaszewski, for example, didn’t have
sell a limited amount of designer clothing, but his
to vie with anybody, and this made him a brilliant teacher.
satisfaction is huge. The fact that you’re putting on
clothing I designed, that this isn’t a poster, a flyer,
Kuba has his mind made up about the academy, too. He was
employed at the Łódź Academy of Fine Arts for four semesters. He had
a piece of paper you pass by, or a book that’s on
great rapport with his students. Even today, despite the fact that he
your shelf, but that you’re carrying my work around
hasn’t taught there for two years, students still send him work to cor‑
with you, that you’re as close as you can get – that’s
rect. Kuba was, nevertheless, fired and this was justified by saying that
the greatest recognition I can have.
he was not fulfilling his obligations towards his students.
The cheap Chinese production flooding
I was a threat to the professors. They didn’t like the fact that I was
the planet means that the distance between what’s
doing something outside of the school, that I was sending my work to
fashionable, what’s being worn “in the West” and
competitions, that I had had some successes, he recalls. I get a lot out
in Poland is steadily decreasing. There are, how‑
of working with the younger generation, out of showing them that they
ever, certain limits of “difference” that the Polish
can do something interesting. When I started class, people would come
consumer won’t go beyond.
Poles are terribly prejudiced against color. Black
up to me and show me this or that sad design. I told them: “Look at how
you’re dressed, how many colors you’re wearing, look at what music
is funereal, white is cadaverous, pink is for pigs, red
you’re listening to – and you bring me this sad shit? Come on, wake up!
is communist, green is for scouts or soldiers, blue
You’re not going to take me for a ride.” At first they were scared. What’s
for militiamen, orange for Hare Krishnas, and so on.
with this madman? But later they started to respect me and would show
I could go on forever, says Kuba. I recently pulled
up after class with the work they’d done. I always had time for them.
out a photo I took on the street some ten years ago.
Professor Smoczyński thought that Kuba’s tough attitude caused him
Everything was gray and brown, and the people
to have to resign from his job. The academy is less than fond of a young
were dressed in these colors too. Today’s young peo‑
person who has gained European – or even worldwide – recognition, in
ple are starting to liven things up; they’re our hope.
contrast to those who are holding on to their posts, have the titles of
30
Studio + Kitchen workshop space visual identity, the Znaki Czasu
Centre of Contemporary Art in Toruń, 2009
professors, but are lagging behind in the real world,
of print technology. He owes his success to the fact
he says.
that besides his talent, he has a great control of
Kuba acquired his thorough knowledge of
printing techniques back in the Silkscreen Work‑
his printing technique.
Kuba likes to do everything himself. Buttons,
shop of Professor Smoczyński. He showed up
for instance. He and his friends bought a button
every day at 9:00 a.m., and by noon he already had
‑making machine through the Internet (700 PLN).
all his graphics printed out. It went well for him.
He designed and hand made 1500 buttons – includ‑
He had, and still has, an excellent rapport with
ing 500 for the “Bad News” exhibition. He got up in
the printers and the technical workers.
the morning and made 100 buttons every day.
I had loads of questions for them, Kuba says.
When you do manual labor, you know the value
They’re great people, and I really value their opinions.
of your work. When you work on a computer you
I often show them my work and ask them what they
have no idea how much something should cost, how
think. Even just from a production angle, because
much you earned, if you’re tired or what tired you
I try to prepare my work so that it prints easily.
To Kuba, whose works are so complex that they
could drive more than one printer to distraction,
out. I don’t like computers. I treat them as a neces‑
sary evil, because the computer really absorbs your
attention. They turn a person into a vegetable, only
design also needs to be based in a firm knowledge
the eyes and the brain do the work, and the rest of
of technical production. He admits that some‑
you is rendered useless. Physical movement, work
times he makes designs to test the printers. And
in the open air is a much better thing. I always
sometimes it does seem as though he is push‑
try to find some kind of work where you have to
ing the boundaries of their endurance. Printing
go somewhere and cut down wood – that’s amaz‑
machines are the same everywhere, after all, so
ing. The work is done, I’m happy, I want to sleep,
why shouldn’t prints of the highest quality be
I’m tired, my head isn’t full of junk; it’s healthy.
made in Poland. You only have to get past people’s
habits, their reluctance to experiment.
Today, the majority of designers just need
His preference for doing everything himself
has meant that he gets his own work ready for
printing. He tries to be free from other people’s
a computer screen. Their designs come out on
mistakes. He prefers his own mistakes to others’ –
ink printers, which means they have no idea what
because he does make his own, after all. But as
their work will ultimately look like. Kuba, however,
one might expect from him, he sees their positive
sees his designs as silkscreen stencils. He gener‑
sides. They are an experience that can teach you
ates his effects through his in‑depth knowledge
a lesson, make you stronger. At any rate, Kuba is
Time to Remain, jacquard tapestry, Łódź, 2006
capable of using the “human factor” in his work. Sometimes
he intentionally makes a slight adjustment to his work, so that
something is just a bit off kilter.
When you work as hard as Kuba does, you have to main‑
tain a healthy balance between creative work and the real
world. When he’s at work for 24 hours straight, he has to count
on tiredness and stress leading to the “human factor,” even
at the worst moment. And then he tests his clients’ patience.
He works very intensively, very creatively, Piotr Dabov says
of Kuba. But then he suddenly drops out of the picture! And
he doesn’t pick up the phone for a week, or ten days. Although
I can’t stand that, I forgive him.
Hell, you know, I’ve got all kinds of ups and downs and
in‑betweens, but I really couldn’t live without the craziness, Kuba
admits. When those moments come that I’m overworked, I have
to really give myself a break, do nothing at all, go for a bike ride,
go fishing, wade in the water – do something completely different.
On days when Kuba is dangerously swamped with work, his
wife Paulina, enters the picture.
What do I do when I see that he’s working too much? I tell
him off and order him to turn off the computer. Design is his
passion, realizing his ideas, and working on this is what’s most
important for him, but he has to keep up some kind of hygiene,
he has to rest.
Paulina Stępień has a degree in graphics and painting.
She works in interior design, and recently has been designing
avant‑garde T‑shirts for girls. She met Kuba during her studies.
It was at a plein air painting workshop in Mielno, she recalls.
He came all bruised up, with a shiner. He’d been in some kind
of scrap. And so I fell in love with him. Clever guys are very
attractive to me.
HGW: Hakobo Graphic World, published by Juice, Wrocław, 2010
32
Presentations
Huncwot Style
Interactive Design
www.huncwot.com
Agata Szydłowska
W
hen media theorist and programmer
Alexander R. Galloway was asked about
subjectivity in the analysis of a computer code, he
responded: “In the case of the code, the subjectiv‑
ity is absolute… The subjectivity is everywhere.
1. www.commonwealth.pl
A Commonwealth of Diverse Cultures: Poland’s Heritage
client: National Library, 2008,
animation: Studio Platige Image, music: Adam Wardin,
logo and print: Kuba Sowiński, Jacek Mrowczyk,
coordinator: Mikołaj Baliszewski (National Library).
That’s what computers do: they take something
that was a problem for the new social movements
of the 1960s (subjectivity being something one
does not encounter, but which should be striven
for and cultivated), and make an infrastructure
out of it for a new format. This we call interac‑
tivity… I never ask: ‘Where is the subjectivity?’
because the computer is subjectivity, and noth‑
ing more. In other words, if we take the political
concept of subjectivity and transfer it to the real,
existing material culture, then what we have is
the computer.” 1
Interactivity presupposes communica‑
tion between the machine and the user; it
involves the equipment taking information
from the person and responding to it. Reflect‑
ing upon the phenomenon of the Internet,
it is generally considered advantageous that
the user can respond to a stimulus provided
by a machine. The euphoria evoked through
the incorporation of the user has been accu‑
rately summed up by Donna Haraway: “Our
machines are disturbingly lively, and we our‑
selves frighteningly inert.” 2 One gets a similar
impression from the web pages and visualiza‑
tions of Poznań’s Huncwot duo. Sophisticated
forms, often more reminiscent of animation or
film than a web page, along with creative navi‑
gation are trademarks of the studio. In spite
of the fact that the Huncwots work in a field
called interactive design, the user has little
to do in these meticulously planned designs –
apart from clicking and admiring.
The Huncwot Studio was founded
in 2007 by Cultural Studies graduate Łukasz
Knasiecki and Arek Romański, who came from
the Poznań Academy of Fine Arts. Łukasz looks
after the interactive design and programming,
while Arek is in charge of the graphic design
and animation. Their main focus is designing
flash web pages in the field of culture and art,
since – as they themselves put it – this kind
of content gives them a wide scope for formal
experimentation. In addition, the team does
commission work for more commercial sites,
such as fashion and advertising.
In the seventies, California scientists
developed the concept of bitmaps created
by Douglas Engelbart of the Stanford Research
Institute, developing the GUI (Graphic User
Interface), together with the metaphor
of the desktop, which the Apple company
went on to popularize, and use, for Macin‑
tosh computers.3 The metaphor of the desk‑
top, or rather its literal presentation, was
used in the web page design for the official
site: Year of [Zbigniew] Herbert (fig. 2). This
is a play on the specifics of the medium,
i.e. the computer screen. The home page is
meant to be an illusion of the desk of the poet
scattered with jottings, notes, photos and
sketches, which the user can sift through
by clicking. As our gaze travels over the vir‑
tual surface – complemented by our hand on
the mouse – the movement of the eyeballs is
replaced by the movement of our hand shifting
the cursor.
Using a literal recreation of a desktop
on the monitor screen is typical of the Hunc‑
wots’ strategy of misappropriating the comput‑
er’s ‘material truth.’ They efface signs of their
designs’ digital origins; for example, they draw
from the esthetic of color analogue film made
on 35 mm tape for the web page advertis‑
ing the Reserved clothing collection (fig. 3).
On another occasion, they overstate and exag‑
gerate the digital image esthetic, as in the visu‑
alization for a play called Death of the Man
Squirrel by Usta Usta Theater (fig. 4). This
design is filled with static and disturbance;
34
2. www.herbert2008.pl/cogito
The World of Pan Cogito
client: National Library, 2008
the image is pixelated and has a limited color
spectrum. They achieved a similar effect for
the theater’s website, in which the esthetic
of pixel graphics is explored through the use
of icons associated with the interface of an out‑
dated computer (among other tactics). As they
put it, their work is “an attempt to build
another world within the somewhat superficial
and high speed world of the Internet – one
that follows its own rules and is more inspired
by the history of culture than by the latest
trends.” In practice, the Huncwots’ work is
dual in nature: under its seemingly analogue
or faulty and outdated digital image esthetic
are advanced technological solutions, without
which, paradoxically, there would be no way
to create such a realistic virtual world.
In his book, Techniques of the Observer
(1990), Jonathan Crary theorizes the emergence
of a new kind of viewer. He notices signifi‑
cantly growing optical faculties that correct
and change perception. Machines help us to see
things we could never perceive with the naked
eye. In addition, they format the vision to
match the level of technology, and separate
the viewer from the space where the object
is actually found. People have started to see
things outside of contexts and unaffiliated
with one another – regardless of geometrical
perspective, which since the Renaissance has
dominated our way of thinking about sight,
and has suggested a homogenous and poten‑
tially limited space. We are presently dealing
with a presumably limitless selection of unaf‑
filiated elements.4
Although linearity of the reading process
and the autonomy of text were both questioned
long before the advent of the Internet, a free‑
dom in composing and arranging text elements
is an implicit quality associated with virtual
reality. A site prepared for the multimedia exhi‑
bition entitled “A Commonwealth of Diverse
Cultures: Polish Heritage” (fig. 1) is devoted
to history – to a concept that the general
35
4. 2xu Theater / Usta Usta
3. www.reserved.com/abstracted2009
Adventures of the Stardust Girl
client: Reserved, 2009
trailer: Tomek Nalewajek (director),
Wojtek Zieliński (cinematography),
photos: Marcin Tyszka.
consciousness perceives as a linear series
of events. With the location of this exhibition
in virtual space, this linearity is disrupted, giv‑
ing the viewer a new way of looking at history,
one diametrically opposed to that acquired
through school education. On the other hand,
the opportunity to freely encounter fragments
of the exhibition means that its narrative
ceases to exist, and certain elements function
separate from each other, becoming disassoci‑
ated. The intention of the exhibition’s creators,
to show the cultural diversity of the Com‑
monwealth of Two Nations, could easily fail
if the viewer is not patient enough to go through
all the material presented. Particularly worri‑
some is the proposed manner of going through
the illustrations, pictures and other visual mate‑
rials, which are presented so that it is impossible
to see the whole of the image. Only fragments
are made available, which the user can pan
at will. We can only hope that the viewer is
capable of configuring these parts into a whole.
The fragmentary appearance of the objects,
the characteristic dismemberment and random
reassembling of reality seen through the lens
of modern technology5 is the basis of the web
site design for Metropolis, a company produc‑
ing outdoor advertising (fig. 5). This metropoli‑
tan hybrid has as many points of reference as
the average web surfer has in his bookmarks –
making it futile to list all the conscious,
unconscious, and potential sources of inspi‑
ration brought to bear here. The outcome is
an astonishingly coherent and intimate vision
of a metropolis, and also a brainteaser where
you have to “click the odd man out.” We must,
however, note the viewer’s disappointment
when he discovers that the nostalgic and
sophisticated aesthetic conceals the presenta‑
tion of an aggressive and conventional adver‑
tisement. Result: the web page advertising
could potentially harm the company, serving
as attractive competition for what they have
to offer.
36
5. www.metropolis‑media.com.pl/2007
Metropolis, 2007
In 1961 Theodore Nelson coined the terms
“hypertext” and “hypermedia” to signify
“space” and the texts, images and sounds that
function within it, and which can be combined
through electronics and joined by anyone par‑
ticipating in the network of docuverse. Nelson’s
“linked” space was to be non‑linear and branch‑
ing, allowing readers and authors to select their
own path through information.6
Within the Internet, the practical incarna‑
tion of Nelson’s ideas, the reading process is
discontinuous; the author can only predict
the path the reader will take to a certain
extent. The creator and receiver of the hyper‑
text or hypermedia become partners in the cre‑
ation of an interactive statement.7 This is most
probably how Galloway understands subjec‑
tivity, praising the computer as a medium
serving democracy, or in fact, epitomizing
it. Reflection on interactivity is of particular
importance when dealing with applied graph‑
ics. Because everything in our modern world
is designed down to the last inch, any visual
messages that are thoughtlessly shaped stand
out as ugly and nonfunctional. Giving the user
part of the designer’s power and control over
the final form of a precisely designed graphic
statement is a risky business, and might jeop‑
ardize the whole. The best laid out newspaper,
if cut up into paragraphs and put together ran‑
domly, becomes an illegible pile of scrap. Simi‑
larly, there is an art to designing a creative and
innovative web page navigator that a random
user can’t turn into a digital cacophony, and
will remain a freely composed series of logi‑
cally laid out information. On the other hand,
the best looking web site, if it favors clarity
of information at the expense of interest‑
ing and innovative navigational solutions, is
like a book with a well designed cover, whose
text is laid out in the most basic fashion.
Thus, we can only hope the Huncwots’ lat‑
est project – an intuitive and innovative site
navigation for the New Theater of Krzysztof
37
7. www.mediations.pl/2008/
Mediations Biennial, 2008
6. www.nowyteatr.org
Nowy Theater, 2009
Warlikowski (fig. 6), combined with sophisti‑
cated and spare graphics, will set a new stan‑
dard in Polish interactive graphic design.
In an article in www.designobserver.
com, architecture historian and theoreti‑
cian, Gabrielle Esperdy, makes reference
to Adolf Loos’s opposition to applying decor,
and to the early criticism of William Morris
aimed at the cheap mass aesthetic of products
presented at world fairs. Esperdy, recalling
these debates of a hundred years past, appeals
for restraint in using digital tools in design.
“We embrace technology because it is there and
embrace change for change’s sake … Things
are over designed because new tools must
be exploited.” 8 According to Esperdy, things
are in bad shape because the creative process
itself is too easy, allowing for the thoughtless
use of all available techniques, which often
substitutes for reflection on design. We might
risk the statement that Huncwot Studio uses
advanced tools in the service of design. Their
designs are not bravura, they do not dazzle
with technology; nor do they serve to prove
the designers’ ability to use the technology.
The “mechanism” is hidden “in the wings,” giv‑
ing an effect that is intimate, almost tangible,
almost analogue, and yet friendly to the users
of the world. The Huncwots’ designs, while
keeping in mind viewer interaction, stand
as separate, defined universes into which
the viewer is led; even as they allow the viewer
to click freely, for pleasure, the integrity of
the universe remains undisturbed.
1. Ręce ubrudzone kodem, “Kultura Popularna” 2008,
no. 4 (22), p. 20.
2. D. Haraway, Simians, Cyborgs, and Women, quoted in:
C. Paul, Digital Art, London 2003, pp. 10–11.
3. Ibid., pp. 10–11
4. M. Schwarzer, Zoomscape. Architecture in Motion and Media,
New York 2004, p. 16.
5. Ibid.
6. C. Paul, as above, p. 10.
7. Ibid., p. 190.
8. www.designobserver.com/archives/entry.html?id=39
067#more, as of 13.03.2009.
38
Presentations
Between Art and Design
Ceramics by
Marek Cecuła
www.marekcecula.com
1. Scatology series, set I, porcelain, steel tray, 1993
Barbara Banaś
2. Scatology series, set V, porcelain, steel tray, 1993
It’s the year 2010. At a onetime Russian jail
off his life’s journey. In those days he was work‑
on Zamkowa Street in Kielce, in the spacious,
ing with one of the larger porcelain producers,
brightly‑lit hall, a group of people is carefully
Schmidt, which had its headquarters in Curitiba.
reviewing various options flicking past on
In 1976 he set off to conquer another continent, and
a screen. Spontaneous remarks can be heard in
landed in the United States. New York was always
a variety of languages. Today they have to decide
on my list, he recalls. I arrived there as a young art‑
which design goes on to the studio.
ist in search of inspiration and energy in the urban
Marek Cecuła dreams of creating such
an open international ceramics design center –
metropolis. At the time it was important to me that
I was in the middle of the action, where new things
a place to meet, discuss, and work. He has already
were going on, and the atmosphere was progressive.
taken the first steps in this direction. The revital‑
Time and space were on my side – I ended up in Soho.
ization of this old prison complex will turn it into
Sullivan Street became the artist’s new headquar‑
a modern design studio with a semi‑industrial
ters – where he lived, worked, and showed his art
ceramics workshop and conference facilities,
in a small gallery.
with a library and a database of products made
around the world. Cecuła’s energy and “good
vibes” keep winning over converts to his plan.
B
Cecuła can get worked up talking about his rela‑
tionship to ceramics, to porcelain, and to the very
act of transforming these materials. He is fascina
ted by the possibilities within the material, not
orn in 1944 in Częstochowa, Marek Cecuła
only due to its physical qualities, but also through
spent his childhood in Kielce. His family that
the human invention that goes into it. A simple
was spared from the Holocaust decided to begin
plate may emerge from this complex material, but
life here all over again. His traumatic wartime
also a unique work of art. This artist has been
experiences were aggravated by the pogrom of 1946,
balancing for many years between artistic creation
which, as the artist recalls, “accidentally passed us
and industrial design.
by.” He set off to seek his fortune alone, and arrived
The Polish public had the chance to see Marek
in Israel in 1960, at sixteen years of age. There he
Cecuła’s work for the first time in 1999 at the
earned his “ceramic spurs” in the workshops of
Ujazdowski Castle Center for Contemporary Arts
Israeli artists, in time setting up his own workshop,
in Warsaw. He displayed two series of works at that
in the kibbutz of Hassolelim. He began designing
time: Scatology (1993) and Hygiene (1996). These
ceramics in Brazil in 1974. This was the next leg
were projects that evolved from observing everyday
39
1.
2.
40
3.Porcelain Carpet installation, Garth Clark Gallery, New York, 2002
3.
4.Hygiene series, set V, porcelain, chrome, 1995
5.From the Un-Refined Collection series, porcelain products
subjected to the destructive properties of water, 2006
behavior and becoming aware of the paradoxes that
the one‑of‑a‑kind handwork and the industrial
emerged from it. Cecuła analyzed our relationship
reproduction.
to porcelain objects – sanitary utensils. The artist
The next step in this artistic dialogue between
created a series of objects that alluded to human
Art and Design is – as the artist himself con‑
anatomy in their shapes, but simultaneously
fesses – a form of sabotage. This is a series of
belonged to the impersonal sphere of the equipment
works under the shared title of Un‑Refined Collec‑
we are accustomed to. Their twisted forms were
tion, made up of three projects: Mutant, In Dusty
negated by their integration and exhibition on metal
Real, and Beauty of Imperfection. Cecuła makes
trays or simple tables, as though in a laboratory.
use of ready‑made products – brand‑name por‑
Marek Cecuła has made a policy of contesting
celain with sophisticated shapes – and subjects
stereotypes of perception in terms of “pure” and
these venerable objects to a series of transforma‑
“applied” art. In 2002 he prepared a gigantic instal‑
tions. The forces of nature that participate in
lation entitled Porcelain Carpet where he recreated
their creation process are now used for destruc‑
a historical Indian carpet on 192 plates. The origi‑
tive purposes. In the first project, Cecuła deforms
nal was a masterful work by an anonymous crafts‑
the molds with a stream of water, in the second
man, rendered in a bygone era on a primitive loom.
tastefully shaped sugar bowls, cups and pitchers
With the help of modern technologies it found its
undergo more firing processes in a wood‑burning
reflection in ordinary mass‑produced table settings
stove. Ash melts into the ceramic material to cre‑
from a Polish factory in Ćmielów. The installation
ate new textures, lending extraordinary shades
gradually went through the various phases of its
of color, crystalizing enamel pours over and melts
industrial production: the first carpet was white
the edges, and the shapes of the dishes undergo
plates set on the floor in even rows, in the second
deformation. In Beauty of Imperfection the art‑
there appeared a black‑and‑white print of the Orien‑
ist uses a stream of air to destroy applied forms.
tal ornamentation from the original, and the third
Going against the grain of accepted standards
was in full color. In this installation, Cecuła cre‑
helps him to find new and creative solutions.
ates semantic contradictions: Here is a carpet
As Cecuła explains: The objects are set off bal‑
that would break if stepped upon; and then this
ance and lose their typical properties, creating
is fragile porcelain with an extraordinarily vivid
their own new directions and currencies in con‑
pattern, faithfully inscribing where threads have
temporary culture. Works from this series have
frayed and come loose, no longer good for serv‑
been purchased by the collections of the Victoria
ing meals. Another paradox is the clash between
& Albert Museum in London.
41
4.
5.
42
6.
7.
6.Liquid Forms tea-pots, porcelain, 1999
7.Takoy sake set, korund, 2000–2005
8.Nectar drink set, korund, 2000–2005
Marek Cecuła’s New York workshop became
of the dish softly melts into the asymmetrical
the headquarters of the Modus Design studio
cushion of the saucer. Obvious contrasts make for
midway through the nineties, with the artist as
the visual appeal of Cecuła’s design – the pairing of
founder and head designer. It has had a branch
a clear, geometrical, static form with the biomor‑
operating in Poland for the past few years, in
phic, dynamic shape is additionally emphasized
Kielce. Modus Design is presently a designer duo:
by the color of the set – the chilly, clinical white of
Marek Cecuła and Daga Kopala, the latter a gradu‑
porcelain fired with a high flame and shimmering
ate from the Wrocław Academy of Fine Arts. Their
gold. As the designer himself often emphasizes,
new collection is marked by the search for new
sensual reception is an important element in
forms, but also the urge to be thought-provoking,
contact with an object. The Midas Cup is doubt‑
to stir the imagination, and to play with conven‑
less provocative and inspires one to reach out and
tions. The catch phrases of their various lines
touch it. The glistening roundness draws both
are: “Interactive Product,” “Object as a Message,”
the eye and the hand. Cecuła’s concept is both
“Craft‑Industry” and “Mass‑Culture.” The first group
unpretentious in its simplicity and witty, in that
includes the Criss‑Cross set – an appetizer dish
it recalls the myth of the ancient ruler who could
set in the form of the popular game of tic‑tac‑toe,
change anything he touched into real gold.
and also a vase with the home‑style name of Sheaf.
Both ideas are ways of breaking free of routines –
Modus Design also collaborates with industrial
plants, preparing designs for mass production,
the X’s and O’s filled with various treats make for
such as the Tattoo series of dishes, which falls in
an original and surprisingly arranged buffet, which
line with the latest slogan of the new collection,
could turn into a fun game at the end of a party.
being decorated with a cobalt pattern that resem‑
Sheaf is a challenge: it is not enough to have flow‑
bles Maori tattoos. The cups from the Random
ers, you still have to construct the receptacle out
series also belong to this group, with their simple
of six glistening porcelain tubes and a colorful
cylindrical shapes that widen slightly at the top.
silicon handle. The Midas Touch cup is part of
The three black numbers are a prominent deco‑
the “Craft‑Industry” group which, as its name sug‑
rative feature. This is another of the artist’s
gests, presents designs at the crossroads between
“provocations.” Contemporary civilization imposes
two worlds: mechanized industrial production
numerical ID codes upon us. It’s hard to imagine
and artistic craftsmanship. The simple form of
our lives without PIN codes. The Random cups help
the mass‑produced cup attains new aesthetic value
us remember the numbers. Modus Design Studio
through its original base. The cylindrical form
tries to be active in world presentations – they have
43
8.
44
10.
9.
11.
displayed their designs at the prestigious 100%
Design fairs in London and Tokyo, for example.
Studio work allows them to experiment with
new materials – one of Marek Cecuła’s “discover‑
ies” is corundum, the most resistant structure
of aluminum monoxide, and an unusually resilient
material, requiring a firing temperature of over
1700°C (porcelain needs 1450°C). Another advan‑
tage of corundum is its high transparency, which
is emphasized when colored with metal monoxides,
giving readymade products beautiful colors and
semi‑matte textures. The artist has used this mate‑
rial for a set of sake cups, among other designs.
Marek Cecuła is also active in what is called
“urban design.” One of his latest designs, Station, has
appeared on the streets of the Norwegian town of
Porsgrunn. The artist prepared six station objects,
in whose metal constructions he set ceramic cyl‑
inders decorated with ornaments used in the local
porcelain factory. This work was intended to be
interactive; its form recalls Tibetan prayer wheels,
and everyone can create their own, practically
unique composition with a flick of the hand.
In 1983 Marek Cecuła accepted a proposal
from New York’s Parson School of Design, and
organized a Ceramic Design Department there
from the ground up. He developed a teaching pro‑
gram, and for twenty years he oversaw its prog‑
ress, at times as dean. He currently runs courses
at the National College of Art and Design in Ber‑
gen, Norway.
45
13.
9.Marek Cecuła, Daga Kopala –
Modus Design, Criss-Cross,
appetizer set, porcelain, 2005
10.Marek Cecuła – Modus Design,
Midas Touch cup, porcelain, 2005
11.Station design, Porsgrunn, Norway,
2007
Modus Design, Haystack vase,
porcelain, s ilicon handle, 2005
Modus Design, Tattoo Maori set,
porcelain, 2005
Modus Design, Random cups,
porcelain, 2003
12.
14.
46
Presentations
The Designer
and the Retailer
An Interview with
Renata Kalarus
www.kalarus.com
Czesława Frejlich: You graduated in 1997 and almost
immediately went to work in a furniture factory.
Renata Kalarus
That was not the best time to find work as an indus‑
Graduate of the Industrial Design Department
trial designer. You pulled it off. How did you do it?
Renata Kalarus: It was an absolute coincidence! I was
working as a freelancer. A year had just passed since
I’d defended my thesis. I dropped by to the academy
to pick something up, and saw an ad that had long
since expired on the bulletin board: “Furniture pro‑
ducer seeks designer.” It was full time, in Nowy Sącz –
which is where I’m from. My crafty mother talked
me into going for an interview. I went mainly out
of curiosity, because although I was very interested
in designing furniture, the move didn’t attract me
at all – I’d been living for 11 years in Krakow… I was
lured by a job proposal for a three‑month trial period,
and a three‑day week. Behind this amiable solution
lurked the assumption that, if things worked out and
I could be lured in, I’d eventually move there. Happily,
as the Internet became more widespread, the distance
stopped being so problematic. As you can see, it wasn’t
the best time for hiring a designer, either.
of the Academy of Fine Arts in Krakow.
From 1998–2006 she worked for IKER in Nowy
Sącz. She currently runs her own design studio,
METAFORMA, for which she also sells furniture
and interior furnishings.
Awards
2007 Henkel Award – main prize in the Polish
edition of the competition for the Comma
chair (prod. Metaforma)
2006 P ro Deco 2006 Prize for the Bibik sofa
(prod. NOTI) – “ELLE Decoration” award
2001 Award for design of Kiwi furniture
(prod. IKER) in the “Discovery of the Year”
category in the Perfect Thing 2000
competition
1994 Award nomination for garden furniture
design at the “Chair 94” Art of Design
Biennial in Krakow
1994 Honorary mentions for cutlery design
in the Gerlach competition
Exhibitions
2007 “Polish Home” in the “Łódź Design”
Festival
A beginning designer doesn’t have it easy in a com‑
pany. Generally it takes a lot of time and patience
from both sides: the designer has to understand
the mechanics of the company, and the company has
to accept the designer. How did it go in your case?
I had no idea about designing soft furniture. Using
my education and some experience in graphic design,
2007 “Made in Poland” in Berlin –
Bibik Loft and Kiwi
2004 Italian Design on Tour – participation
in the accompanying IDoT Polish design
exhibition in Warsaw
2004 “Made in Poland – New Poland,
New Forms”, Frankfurt am Main
2004 “ EU+” and “Polka Design” exhibitions
during the DESIGNMAI Festival in Berlin
47
1. Kiwi, prod. IKER, 2000
48
2.
49
3.
I first tackled designing promotional materials.
I was soon given the task of shaping the company
image, and right after that, building and developing
its retail network. A few years later I was even work‑
ing retail, selling furniture in Krakow! The standard
path in the career of a professional designer! This
was how I steadily progressed – because I thought
that my work was effective – to consciously design‑
ing with this unfamiliar technology.
A year later I had my first design produced:
the Kiwi sofa (fig. 1), which was innovative in both
form and construction. It was made with the great
support and knowledge of Marek Gawlik, a con‑
structor and designer of all the company’s previ‑
ous furniture. He taught me the ropes.
You’ve managed to have quite a few of your
own furniture designs produced. Can you
give us a “backstage look” at a designer’s life
in a company?
My first sofa – which few people in the factory had
any faith in – found admirers right from its retail
debut, and still has them almost ten years later.
Soon after it was implemented, it won the Discov‑
ery of the Year award at the Perfect Thing 2000
competition organized by the editors of “Dom
2. Meltemi, prod. NOTI, 2002
i Wnętrze” (Home and Interiors) magazine. This
3. Bibik Loft, prod. NOTI, 2006
meant it was often written up in the interior
50
51
design press. Meanwhile, I had worked my way
4. Bibik Classic, prod. NOTI, 2006
so far in marketing the company that my next
project was a much more subdued, more classic
piece of furniture, which to my mind was missing
on the Polish market. For various reasons this was
a painful gestation period – it took over two years –
but eventually it went on to be a real success
in retail. This model, which was called Meltemi
(fig. 2), is still popular, sells well and earns money.
That’s a great satisfaction, particularly considering
the fact that the premises of the design were eco‑
nomic. From the very beginning, it’s always worth
asking yourself an important question: Is this
work going to be sent off to competitions and exhi‑
bitions, or do we want to sell as many as possible?
It’s a hard decision to make, all the more so given
that our market seldom has the chance to finance
the expensive promotion of innovative products.
Now you’re running your own studio. You also
The chair is very simple in form, which made
make upholstered furniture for clients who put
it demanding and difficult in terms of technol‑
the designer’s name on their products. Does
ogy. The models prepared under my supervision
the work of a designer on commission differ
come from careful craftsmanship. The factory
from that of a designer on a salary?
prototype has to be translated into the language
Working for a large company means more public‑
of mass production: very fast, effective, and
ity and comfortable working conditions. Mak‑
uncomplicated for all the workers and various
ing designs in the framework of an independent
machines. Thus the work began again, but not
studio generally brings in much more money,
from the beginning. The two prototypes look
but there’s also a disproportionately greater risk.
similar, but their construction and properties
The best thing is to combine the two. Because
are somewhat different in effect.
clients know my name from designs they see
in the press, they trust my knowledge and experi‑
ence more.
You have often emphasized the role of dialogue
in design. It starts with communicating with
the client, obviously. Few understand, how‑
You also design limited‑series furniture. What
ever, that dialogue is important at every step
is the essence of this kind of design?
of the way.
I’ve got the mass production bug. Polishing up
It’s the most important thing. Many producers
models and prototypes, as if they were going to be
have a sincere desire, but are absolutely unpre‑
produced by the thousands, is exhausting work for
pared to cooperate with a designer. It once hap‑
my co‑workers and me. In limited series produc‑
pened that a client had nothing to say about
tion that’s quite bothersome, although it creates
the concepts I suggested – except that they were
a good effect. I like that factory sheen, which is
all cool! I indicated the aspects of the various
generally hard to get in an upholstery shop. When
proposals that could have an impact on the mar‑
the number of your products is limited, it doesn’t
keting of the final product. It didn’t help. Analyz‑
pay to order molders, formats…
To avoid losing time going to the factory,
I developed the most recent chair model myself
ing which one to choose took so much time that
we didn’t make the production deadline.
Producers often ask how designers are educated
(fig. 3). I indulged myself after winning the Hen‑
and how they can work together if the graduates
kel Award in 2007. I spent all of my prize money.
don’t know the technology. But it should be obvi‑
The result was satisfactory, but once in the fac‑
ous that they can’t know every kind of technology.
tory the whole process started all over again.
In my humble opinion, the problem lies mainly
52
5. Comma, prod. NOTI, 2007
in the desire and ability to communicate. In a cre‑
I give consultations and sell! I have this peculiar
ative exchange of knowledge and ideas with even
job as a product verifier that should be in terms
the least experienced designer one can achieve
of given items, but in practice it encompasses
more than with a non‑communicative person who
the interior designer’s preferences or the private
goes by the book.
Communicating with the workers is a different
expectations and the capabilities of the inves‑
tor. I use my designer qualifications, my interest
matter; the ability and desire to build an infor‑
in objects as such, as well as my lack of ambition
mal team to be responsible and even emotion‑
to independently design an interior. I like to and
ally engaged in the final product. I like that kind
I can, as it turns out, choose and hunt down
of task‑oriented work. The way a team can grapple
the right things for a space, and I know how to
with and solve a seemingly hopeless problem fas‑
count and what VAT means. For architects this
cinates me.
For some time now I’ve been cooperating with
is a great help indeed, and a great convenience
for the investor, because in one fell swoop
a young upholsterer who is absolutely passionate
he solves his problems and does most of his
about his job. The fact that we really listen to, a nd
shopping.
hear, each other has such a clear effect on the final
result that my heart just soars!
It’s not just furniture I help choose and buy.
Industrial design is a wide field, and one that
fascinates me, so I collect various ideas for light‑
Apart from design, you also work as a furni‑
ing, wallpapers and fabrics. I collect informa‑
ture‑purchasing consultant? Isn’t an architect
tion almost involuntarily, and when I’m in a bad
or an interior designer sufficient?
mood I buy myself another new pattern‑book!
53
6. Su, prod. NOTI, 2010
I have a towering pile of them: lots of beautiful
As a designer, my craziest ideas are reined in
solutions and ideas from various fields. I par‑
by my ‘retailer’ self, who says: “Nooooo! It might
ticularly enjoy wallpapers; this is a serious and
be super, but it won’t sell as well that way.
dynamically developing branch of the inte‑
Forget it.”
riors industry that I’ve been in love with for
Clients speak differently with a designer than
a year now. I’ve just picked up a few new books
they do with a businesswoman. My pragmatism
on the history of wallpaper in interior design,
and sober evaluation of the situation might seem
including some still produced that were designed
interesting, but it’s also a bit irritating, because
by William Morris. In the Tate Modern I found
of the perception that business is for the pro‑
a very interesting publication with a selection
ducer, not the designer.
of wallpapers by the Neu Wilde, who worked
I’ve tried focusing my energy exclusively in
in this field. Unfortunately, there wasn’t enough
one area – either retail or design – but am unable
room in my suitcase…
to; I am not sure it is necessary. After all, Lon‑
You once said retail was second nature to you.
and sell. Many of them successfully build their
Can retail and design be joined?
own retail brand, though they doubtless have
Yes. No. I don’t know! Those are the two sides
the help of experts from other fields. I, unfortu‑
don is full of places where designers both design
of myself, and they’re always quarreling.
nately, want to do everything by myself… Maybe
As a retailer I am influenced by my ‘designer
I achieve less in every field, but I’m compensated
self, to the effect that I don’t promote what pays,
by the fact that everything I’m doing continues
but what, in my opinion, is best for the design.
to allure and excite me.
54
Presentations
Using Carpets
Differently
Agnieszka Czop
& Joanna Rusin Design
www.agnieszkaczop.com
www.joannarusin.com
Anna Demska
T
into their designs for the Cars, Lozenges and Twist
carpets. Winning design competitions gave them
the chance to go into production. For the first
he remarkable quality of works by Agnieszka
Czop and Joanna Rusin – young decorative fab‑
time they combined two complementary ele‑
ments – an open‑work, neutral‑colored base of
ric designers from Łódź – is best seen in their felt
wool felt, with cut‑outs made of dyed felt. This is
carpet designs. The most fascinating thing about
when the notion of the “alternative carpet” was
their fabrics is their innovation and originality.
born: the designers combined the functionality
Both designers go beyond the traditional visual
of floor fabrics with fun compositions of patterns
structure of floor or wall coverings, and also favor
with motifs of little cars, lozenge‑drops, roosters,
new materials and technologies. The carpets are
and animals. Participation in fairs, exhibitions and
still handmade, but not woven. Instead, they are
numerous publications, and effective self‑promo‑
cut out of wool felt and embellished with tiny dec‑
tion paid off – leading to their first commissions.
orative elements, sometimes made from the same
The young designers’ innovative use of industrial
material. The designers are consistently reinvent‑
wool felt as a material for producing floor carpets
ing the functional concept of “carpet” – moving
attracted attention outside of Poland. In research‑
from utilitarian to creative and engaging. Decora‑
ing this technology, they have discovered wool
tive fabrics become “alternative” or “interactive,”
felt’s many capabilities: ease of dying, suitability for
thus provoking people to participate, and to “use
printed decoration, inlay or embroidery, and adapt‑
things differently.” Concurrently, Czop and Rusin
ability for use in weaves and cutouts. Op‑art (2005)
have been making industrially produced woven
and Kaleidoscope (A. Czop, 2006) are spun with
carpets at Łódź’s Dywilan factory.
The designers collaborate on some projects,
spiral compositions. Relief and open‑work patterns,
along with the introduction of multicolored parts
gaining success at exhibitions and fairs, and also
or overlapping layers, is used to create both texture
work independently. They both graduated with hon‑
and vivid colors. The same jigsaw‑puzzle strategy
ors from the Academy of Fine Arts in Łódź.1 In 2004
was used to construct the layout of Animals (2006)
they received the Best Young Designer award
and Roosters (2005). In Flowers (J. Rusin, 2005),
given by the Polish edition of “Elle Decoration” for
large wool felt flowers are placed atop small ones,
their creative interpretation of 1950s / 1960s style
and stuck onto a uniform underlay to create a com‑
fabrics. Op‑art and multiplication of forms went
position that can be rearranged by the user.
55
1.Joanna Rusin, Pasanka
carpet, 2005, honorary
mentions at the 3rd Painting
and One-of-a-kind Fabrics,
Dobry Wzór 2010 finalist
(2009 version)
1.
2.Agnieszka Czop,
Kaleidoscope carpet, 2006
2.
56
3.Agnieszka Czop, Lamellar carpet, 2006
3.
4.Joanna Rusin, Agnieszka Czop, Lozenges carpet, 2004,
Prodeco 2004 Prize, winner of the “Toys for Fun!” competition
5.Joanna Rusin, Parade carpet, 2006
6.Joanna Rusin, Agnieszka Czop, Jets carpet, 2005
7.Joanna Rusin, Agnieszka Czop, Heaven carpet, 2005
4.
Sky (2005), another witty, alternative carpet,
is a “puzzle” with typical Renaissance‑style orna‑
mental print and a separate border. The designers
use the same construction principle in placemats
and the cropped Puzzle (J. Rusin, 2006) carpet.
Another sort of ornamentation uses jewelry ele‑
ments: red Swarovski jet crystals create sparkling
arabesques in the Jets (2005) carpet. Lamellar
(A. Czop, 2006) combines felt with printed tin but‑
ton die stamps; Hunting (A. Czop, 2006) is a linear
embroidered drawing on a gray background, while
Glow and Parade (J. Rusin, 2006) feature brocade
relief patterns.
The carpets inspired by folk decor are equally
unique – such as Pasanka (J. Rusin, 2005), made
from multicolored strips of cloth, glued together.
A motif recalling folk paper cut‑outs, set against
a gray background, appears in Cut‑outs (A. Czop,
2006). Joanna Rusin translated patterns inspired by
embroideries and laces into wool felt for the Lace
(in collaboration with Michalina Kacprzyk, 2006),
Tiles (2008) and Stamp (2009) fabrics. Merging
folk motifs and traditional materials that clash
with new technologies and synthetic add‑ons set
Agnieszka Czop and Joanna Rusin apart from their
contemporaries on the international design scene.
They emphasize the identity of Polish design.
Their works are frequently on display and recent
exhibitions include: “Unpolished. Young Design
from Poland,” Brussels and Berlin (2009) and Neu‑
münster (2010); “Young Creative Poland,” Trien‑
nial, Milan (2010) and “Polska FOLK,” 100% Design,
London (2009). During the last‑named exhibi‑
tion, a group of young Polish designers presented
a series of works illustrating the impact of folk
57
5.
techniques and motifs on contemporary Polish
6.
design, decorative art and architecture. While
these young designers may express a critical view
of their country’s past with a certain distance
and humor, there is no question they understand
the appeal of heritage and cultural ties to Europe‑
ans. “We’re ecologically minded, often folksy,” says
Agnieszka Jacobson‑Cielecka. “The 30‑something
generation, considered the most interesting in Pol‑
ish design, is no longer waiting for industry – they
design, produce and promote their own works.
This means their designs are becoming very con‑
ceptual, carefully thought out, intelligent, and
witty. This is much admired abroad – that you can
draw from your tradition and freely interpret it.” 2
Their first carpet with a variegated, layered
structure – Fish (2005) – the artists stitched from
strips of felt to create “fish scales,” reinforcing
the links with metal thread. The technique of
a canvas weave of strips of dyed felt, wrapped
in a simple border, was used in Twist (2005) and
in the red‑white‑and‑black Interweave (J. Rusin,
2005). In 2007 another “spatial carpet” came about,
with overlapping felt circles. Rings (J. Rusin, 2006)
was similarly built using a subtle chessboard pat‑
tern, as was 3D (2009), which was featured in this
year’s 13th International Fabric Triennial in Łódź.
This is a minimalist piece, spare in color, ordinary
in its natural palette of industrial felt colors, but
with a variegated relief composition. Another of
the designers’ projects was the “light‑up carpet,”
with LED diodes as a built‑in element.
The designers have been noted in many com‑
petitions. They are very proud of the Big Enter‑
tainer award they received from a children’s
7.
58
8.Joanna Rusin, Agnieszka Czop, Op-art carpet, 2005
8.
9.Joanna Rusin, Tiles carpet, 2008
10.Agnieszka Czop, Cut-out carpet, 2006;
honorary mentions in the “Villa” magazine competition
10.
9.
jury at the “Toys for Fun!” competition in 2009.
As the adult jurors and reporters noted, the Cars
and Lozenges carpets stimulate a child’s imagina‑
tion, allowing her to constantly alter a familiar
object. The designers had the chance to see proof
of this, observing the spontaneous fun of the chil‑
dren at the booth with the carpet‑puzzles spread
out. It’s possible that this direction could inspire
them to create carpets and interactive fabrics
to aid the rehabilitation of children with motor
disabilities.
Since they were students, Czop and Rusin
have been affiliated with Łódź’s Dywilan, a carpet
producer, and were recently named the factory’s
head designers. They have created various col‑
lections there: Top, Polonia, Omega Classic and
Omega Light, as well as Dywilan Design, which
responds to the latest trends – using the tuft‑
ing method, and design elements reminiscent
of the 1950s/1960s. For more conservative consum‑
ers they also offer collections inspired by classic
Caucasian and Persian compositions.
59
11.Joanna Rusin, Interweave carpet, 2005
11.
12.Joanna Rusin, Agnieszka Czop, 3D carpet, 2009
13.Joanna Rusin, Michalina Kacprzyk, Lace carpet, 2006
14.Joanna Rusin, Stamp, 2009
14.
12.
In the opinion of Agnieszka Czop, the line
separating art and design is slowly vanishing;
the qualities associated with of one‑of‑a‑kind
fabrics can now be produced industrially using
the latest technologies. As Itta Karpowicz‑Starek
has stated, “Poland now has an opportunity to
design niche products, semi‑one‑of‑a‑kind pieces
that border on artisan crafts. World trends favor
this move: the individualization of the market,
interest in original designs that appeal to the emo‑
tions, and a demand for luxury products made
of natural materials. We should be glad to see
the creation of small design studios that commis‑
sion the production of their own designs, and then
seek out clients, most often through the Internet.” 3
1. Both graduated from the Fabrics and Clothing Department,
in the studio of Professor Jolanta Rudzka‑Habisiak – Joanna
Rusin in 2002, and Agnieszka Czop in 2003.
2. M. Redzisz, One rządzą estetycznie, “Wysokie Obcasy” 2010,
no. 25, p. 39.
3. I. Karpowicz‑Starek, quoted from: K. Juszczuk‑Buszko,
Polski wzór użytkowy, “Podłogi i Ściany” 2 005, no. 11.
13.
60
Presentations
Functionality
as a Side Effect
The Strange World
of Bartosz Mucha
www.poor.pl
Magda Kochanowska
E
ver since he began working, Bartosz Mucha
Bartosz Mucha (born in 1978, Krakow)
has combined his interests in various fields
Studied at the Poster Design Workshop at
of design: industrial design and applied graphics,
the Academy of Fine Arts in Krakow. In 2003
and recently architecture as well. He is consid‑
he studied in Paris for six months at the
ered Poland’s most interesting conceptual / critical
ESAG (École Supérieure d’Arts Graphiques et
designer. He defines himself as a pragmatic artist.
d’Architecture Intérieure). He was awarded
Mucha’s most important accomplishment to date
a scholarship from the Ministry of Culture
has been his POOR Studio project from 2004–2009
and National Heritage (2005). Since 2006 he
in which the designer initiated, and then consis‑
has run graphic arts courses at the Pedagogi‑
tently developed a fictitious company offering
cal University in Krakow, in the Graphic Arts
everyday products. The products invented and
and Visual Design Wing of the Arts Depart‑
produced by the artist were presented on his pro‑
ment. He has taken part in several dozen
fessional looking www.poor.pl web page.
exhibitions in Poland and abroad, includ‑
The basic idea behind the POOR label was this:
ing “My World” at Zachęta (2007), the Łódź
functional fixedness, the inability to notice a new
Design Festival (2007) “10xPL” – a presenta‑
use of an object previously associated with a par‑
tion of young Polish designers in Marseilles
ticular purpose, has a damaging effect on prob‑
(2008), DesignMai in Berlin (2008), Vienna
lem solving and creative work. Bartosz Mucha’s
Design Week (2008), “Made in Poland” in
work calls attention to the fact that the objects
Stalowa Wola (2009), “Real World Laboratory”
around us can be perceived from various angles.
in St-Etienne (2008), in Tourcoing (2009),
Yet, accustomed to our routine apprehension of
in Kortrijk (2009) and in Vienna (2009).
the world, we take no notice of this. This happens
He received first prize in the “Make Me” com‑
because, as the artist puts it, we are “fixed” – our
petition at the Łódź Design Festival (2008)
way of thinking is petrified. Mucha’s designs free
for Clip. He is also the vocalist and songwriter
the user from this widespread shortcoming.
for a band called Maria Celeste.
61
Bar of Gold, 2009
62
Duporet, 2004
One of the first designs to declare his inten‑
PantOFFle, 2005
a sofa. When you manage to make the shape you
tions and his interests was the Duporet [Asstool –
want, you can order a special plastic covering
trans.] – a seat you put together yourself with
to hold the form together. The Accommodation
a screwdriver. Simple and affordable, it is made
design is a remarkable solution. It was made for
of five parts cut out of waferboard and twelve
the Available Art 2006 exhibition in Krakow, and
screws. The rough‑and‑ready look achieved using
“East’s Desires” in Norwich, Outpost Gallery, with
cheap and commonplace “poor man’s” materi‑
Polish émigrés hunting for work in mind. This is
als (rubber, felt, waferboard), is an essential part
an armband that comes in four sizes, to help your
of these designs. The designer also has a set of
head stay comfortable in all sorts of positions,
favorite forms he returns to. The use of crosses,
and to prevent your arm from going to sleep.
circles and squares comes from his fascination
(Your accommodation is always close at hand
for Constructivism, and also reflects his ten‑
– literally).
dency toward simple, natural spatial solutions.
For example, we find the artist’s preferred forms
Bartosz Mucha normally does his design pro‑
totypes himself – cottage industry style – which
in such designs as PantOFFle [the name is a pun
can make the outcome look rather chintzy. This
on pantofle (slippers) and the English word ‘off’] –
“chintziness” of the product is in no way shameful
made felt or rubber crosses attached with Velcro,
to Mucha; it is a quality that corresponds with
and Gwiazdół [Starbottom] – a table whose base
the premises of the POOR label. That the objects
makes a three‑dimensional cross. Much is also
received a professional look – packaging, the logo,
left up to the user’s imagination in the 40 design –
a catalogue and a web page – was essential to
a set of forty soft cubes from which you can make
the artist. He enjoyed playing with marketing
whatever you like – a mattress, an armchair, or
while developing POOR. The designs displayed on
63
Gwiazdół, 2003
40, 2005
the Internet gave the impression of real products
a well‑worn path: from the idea, through the ini‑
available for potential consumers, but this was
tial sketches, the technical drawings, and finally
sheer fabrication. The designer had no interest in
to the production. The project finished with
commercial success.
the showing of 11 objects (one could not be
In 2009 Mucha created 12% of the Quota,
executed, which the artist accepted as a natural
a design that was the crowning glory of the POOR
effect of the situation he had created) at an exhibi‑
Studio’s work. The task the artist set before him
tion at the BWA Design Gallery in Wrocław, and
was to design and produce one prototype a month,
the defense of his Ph.D. project entitled 12% of
resulting in twelve objects over the course of
the Quota, The Self Discipline of the Designer in
a year. Some of the artist’s most interesting work
Creative Work. Time Limitations and the Design
thus evolved: the anti‑cuddle‑toy (i.e. a pillow with
Process at the Design Department of the Academy
a hole in the shape of a teddy bear, or a bar of gold
of Fine Arts in Warsaw.
that serves as a handle for a floor scrub‑brush).
After closing the POOR Studio, Bartosz Mucha
“In this way, one object is ennobled, and the other
began a new undertaking entitled MOCKITECTURE.
degraded. Both objects – the scrub‑brush and
As the artist writes in his blog, this creative series
the bar of gold – create a functional whole, and
will include: conceptual designs, 3D visualizations,
their pairing does not jar us. It even seems that
mock‑ups, prototypes, and ideas on the notion of
this dead, useless object – the bar of gold – has
“home.” The home as shelter, the home as haven is
finally acquired function and significance,”
synonymous with security and warmth. The proj‑
the artist comments.
ect will come about in a framework the artist has
While making 12% of the Quota, Mucha
carefully marked out: Some designs might cover
documented his “design fever” as he followed
structures almost purely architectural in nature
64
Antymiś, 2009
Tesco House, 2010
Hamster House, 2010
through their dimensions and visual reception.
able to carry out more than one design a week.
They might also be “small architectures” that enter
Moreover, this quantity soothes my conscience.
into a relationship with the existing urban space.
The collection will conclude with the publication
I also foresee designs that will be individualized
of a book, which in turn will be a sort of portfolio –
solutions for one night’s accommodation in a for‑
I need it to seek out potential investors, to carry out
eign, perhaps hostile location. Purely conceptual
more concepts. I already have commissions to cre‑
and subversive works are also foreseen. And finally,
ate three, including the Hammock House.”
there will be the social designs, aimed at the home‑
less, and at people with no roof over their heads, as
a result of natural disasters.
At the writing of this text, Mucha is midway
Though Bartosz Mucha uses design techniques
(industrial design and applied graphics), his work
should be analyzed as art. He openly declares that
he doesn’t feel like a designer, and he tries not
through the 52 LAZY WEEKS project. The artist will
to step into the professional designers’ territory.
force himself to develop a new mock‑architectural
He draws his inspiration from the language of art,
concept once a week, with unbending consis‑
not from design. Surrealism, the absurd, Dadaism –
tency – regardless of his creative inspiration,
all these are dear to me, because they are ways of
the way he feels, or other circumstances. The point
describing a completely incomprehensible world,
is to force myself to do as much creative work as
and though there isn’t much they explain (or any‑
possible in a short time period. I can’t focus for too
thing at all), at least they don’t lie about it, he com‑
long on a single idea, and so this system organizes
ments. His work aims not to commercialize, but to
the chaos of ideas crackling in my head. It is also
present the artistic attitude. The functionality of
a way of combating my own idleness. The name
the resulting object is – as he says with disarming
LAZY WEEKS is deceptive, as it suggests that I am
seriousness – something like a side effect.
65
Inflatable Crest, 2006
66
Events
The “Dobry Wzór”
Competition
Institute of Industrial Design
in Warsaw
www.iwp.com.pl
Dobry Wzór 2009 in the Household Sphere category
Michał Stefanowski
T
he “Dobry Wzór” [Good Design] competi‑
tion is the “brainchild” of the Industrial
Katarzyna Okińczyc and Remigiusz Truchanowicz,
Oval biodegradable bag, prod. Remigiusz Truchanowicz Studio
Advertising Agency
Polish design competition, and it was consistently
and energetically organized by a devoted team.
Design Institute (IWP). First organized in 1993 on
When Beata Bochińska took over as director of
the initiative of Ewa Mickiewicz, then serving as
the IWP in 2006, the competition changed its
head of the Applied Structures Institute, it was
structure, and this is how it operates to this day.
an attempt to promote well‑designed products by
Three groups have been distinguished: the home
local designers, made by Polish producers, being
sphere, the work sphere, and the public sphere.
sold on the newly free market. Good Design was
Any and all well‑designed products present on
a ray of light in the crisis‑ridden IWP. This first
the Polish market can be entered. Apart from
period of the competition was less than easy.
producers, distributors can now make submis‑
The 1990s were a time of economic transforma‑
sions. The structure of promoting well‑designed
tion, of the collapse of many leading produc‑
Polish products has been replaced by a consumer‑
ers and the birth of many new ones, funded
oriented structure of promoting good products,
on private, national and foreign capital. This
regardless of where they have been designed and
was a period of comparatively low awareness of
produced. In spite of these changes, the major‑
the significance of design and product quality.
ity of the products qualifying for the final
The choice of candidates for the award at the time
round remain local ones. Apart from the awards
was thus less than impressive, and the low pres‑
for the best products in the various “spheres,”
tige held by the IWP for many producers was
the Ministry of Economics Award is handed out,
insufficient motivation to take part in the com‑
and the Chairman of the IWP gives an award for
petition. This is why the Good Design exhibitions
Designer of the Year. The competition jury is
of that period evoked mixed feelings. Alongside
composed of designers (including guests from
products that truly deserved singling out, one
abroad), representatives of government, economic,
could find objects which perhaps should not have
and consumer organizations, and IWP employees.
been promoted. Yet this was doubtless the only
The awards given are thus the result of different
67
Tomasz Augustyniak, multi-sensory furniture for children,
prod. Vox Industrie, 2010
perspectives. Recent editions of Good Design con‑
firm the strong presence of the Polish furniture
industry, the production of transportation vehi‑
cles, and increasing numbers of admirable spe‑
cialist products, using advanced technologies and
created with engineering know‑how. The standard
of products submitted to the “Public Sphere” cat‑
egory is visibly improving. A major lack is felt in
industrial products which have traditionally been
strong branches of the Polish economy, such as
glass, ceramics and lighting. For this year’s com‑
petition, the organizers have planned a new cat‑
egory: “services sphere.” The Good Design Com‑
petition is organized based on the structure of
profit‑based international undertakings, in which
the distribution of prestigious awards is a factor
in selling the winning products. The competition’s
prestige is growing, and is stronger with every
year, yet a certain percentage of producers of
well‑designed products on the Polish market still
refuse to invest and take part in the competition.
DESIGNER of the year 2009
Winners of the Director of the Institute of Industrial Design Award
We can only hope that this situation will swiftly
Andrzej Śmiałek and Ergo Design Studio Andrzej Śmiałek
with Piotr Machura, Maciej Własnowolski, Agnieszka Grzegorczyk,
Zuzanna Łazarewicz, Jerry Teng, X‑Q stroller, prod. Deltim
the largest and most important design competi‑
change. In any case, Good Design is currently
tion in Poland.
68
Events
International
Poster Biennial
in Warsaw
Wilanów Poster Museum
www.postermuseum.pl
Maria Kurpik
T
he International Poster Biennial in Warsaw,
the mere qualification of a poster to the competition
inspired and organized for many years by
exhibition is recognized by graphic artists as a great
Professor Józef Mroszczak, is the world’s oldest
distinction, and is always mentioned on an artist’s CV.
in this discipline of art. It came to be in 1966, and
It has often transpired that an award received
since its inception, has been the most important
at the Warsaw Biennial has changed and facilitated
such competition in the world. Every edition
a participant’s professional path, earning them
sees approximately 3,000 works submitted from
the attention of the world’s critics and clients, which
around the world.
in turn has facilitated their swift artistic develop‑
With the passage of time, the Warsaw Biennial
has gained increasing recognition from the graph‑
ics community, and is now considered the most
prestigious event of its kind in the world.
It has been held every two years since 1994,
ment and increased demand for the work they do.
The Warsaw Biennial has become not only
a stage for the finest achievements in world
graphic design to compete, but it has also
brought together many remarkable artists and
as per tradition on the first Saturday of June,
art theorists. The names of the winners, par‑
in the headquarters of the world’s first poster
ticipants, jurors and the competition’s admirers
museum – created in 1968 in Warsaw’s Wilanów.
have included the world’s finest graphic artists.
2004 saw the addition of a new category to
Among those who have presented their works
the biennial’s regulations; apart from the original
are H
enryk Tomaszewski, Andy Warhol, Ikko
three (advertising, social and cultural), the Golden
Tanaka, Jan Lenica, K azumasa Nagai, Roman
Debut was created, to facilitate young designers’
Cieślewicz, Yusaku K amekura, Shigeo Fukuda,
first steps in the competition. This had consid‑
André François, Holger Matthies, Günter Rambow,
erable resonance, as evidenced by the fact that
Jan Młodożeniec, Milton Glaser, Paul Davis,
an increasing number of submissions come in
Franciszek Starowieyski and many, many others.
from debut designers every year.
The biennial is under the ongoing patronage
The significance and worldwide prestige of
of ICOGRADA (the International Council of Graphic
the Warsaw Biennial is confirmed by the fact that
Design Association), which funds the Special Award.
69
Mirosław Adamczyk, Posters by Mirosław Adamczyk, IPB 2010
Lex Drewinski, 2D/3D, The Third Dimension of War, IPB 2008
Maja Wolna, Scene 7, Golden Medal (ideological posters), IPB 2010
Anita Wasik, Corporate Abuse, The Henryk Tomaszewski Golden Debut,
IPB 2008
70
Events
Łódź Design
Łódź Art Center
www.lodzdesign.com
Michał Lewoc
A
Bartosz Mucha, Clothespin, 2008,
1st prize in the ‘Make Me!’ competition
spiring to become Poland’s answer to Milan,
Łódź has put their money on design and
fashion. The city’s potential in this regard is best
demonstrated by Łódź Design – one of the world’s
fastest developing design festivals. The three
editions to date have brought in 100 exhibitions,
presenting the work of several hundred designers
in the post‑industrial space of the Łódź Art Center,
and in over a dozen other exhibition venues all
across the city.
The project began in 2007 on the initiative of
the Łódź Art Center – the organizer of such events
as Photofestival and the Łódź Biennial. The orga‑
nizers have focused on presenting domestic design,
in the form of furniture, ceramics, typography and
architecture. In 2008, Agnieszka Jacobson‑Cielecka
was named the event’s artistic director. The second
edition of the festival she prepared was received
with great enthusiasm. Central to the program
was the “Play & Joke” exhibit – a presentation of
light, humorous design. This was the curator’s way
of summing up a widespread approach to design:
the kind that gives a playful wink and a nudge.
The event was visited by over 20,000 guests, and
the experts called it one of Poland’s most important
international events. The organizers have formed
ongoing ties with arts academies, cultural institu‑
tions and design companies from all over the world.
The event received two “Gold Format” awards
at the City and Region Promotion Festival in 2008,
and was listed among the ten most important arts
events of the year by the opinion‑forming “Polityka”
weekly. It also took home honors at the most
important local year‑end cultural round‑ups.
Paulina Lis, Soap Dish (out). The silicon lid makes the whole object
shrink as the soap is used up.
71
Aze Design, Tense coat hanger, 2008
Kamila Niedźwiedzka, Nikodem Szpunar (Poliszdizajn),
Mosquito lamp, 2010, Main Award in the “make me!” competition 2010
The organizers chose to play off their strengths,
and in 2009 they invited designers to take part
in another theme‑based presentation, entitled
“My Way.” This was a means of emphasizing the fes‑
tival’s open format, whose main aim was to pres‑
ent design as a kind of language – on the one hand
universal, and on the other very individualized.
The core of Łódź Design 2009 were the exhibi‑
tions prepared by Agnieszka Jacobson‑Cielecka,
Marek Cecuła and Tomek Rygalik. The festival was
attended by the Łódź‑born American “starchitect”
Daniel Libeskind.
The “Make me!” competition for designers
under thirty turned out to be the hit of the festi‑
val. In 2008 Bartosz Mucha won for his ingenious
design combining a clothespin and a Pen Drive.
In 2009 the main prize went to Paulina Lis for her
“Soap Dish (out).” Alongside the latest trends from
foreign design festivals, Łódź Design offers some
real lessons, presenting such pieces as furniture
by Charles and Ray Eames (produced by Vitra),
and ceramics from the Qubus Design Studio.
Even before its fourth edition, the festival
received a recommendation in the New York
Times and thereby joined the elite group of events
national calendars. Łódź Design 2010 will carry
the motto “Amazing Life.” The festival’s opening
will chronologically correspond with the finale of
Łódź’s fashion week – Fashion Philosophy Fashion
Week. Thus we might expect the two events to
be somehow coordinated – as in the exhibition of
bicycles created by fashion designers, including
Agatha Ruiz de la Prada and Kenzo Takada.
Nikodem Szpunar
that are obligatory points on the critics’ inter‑
72
Events
Agrafa
International Biennial of Students’
Graphic Design and International
Design Conference
Institite of Industrial Design
conference.aspkat.edu.pl/2009/
Ewa Satalecka, Justyna Szklarczyk‑Lauer
K
atowice has always been closely tied to
applied graphics. The very name of the school
Since 2007 AGRAFA has been accompanied by
an international conference devoted to the tasks
once served as an example, as for six years it was
of graphic design. The challenging topics to date
the Propaganda Graphics Division of the State
have been: “Basics in Graphic Design” (2007)
School of Visual Arts in Wrocław (1946–1952),
and “Responsibility in Graphic Design” (2010).
The Polish Poster Biennial, organized here for
Participating lecturers and guests from around
many years, and the high standing of Silesian
the world find this conference very attractive.
graphic designers in national and foreign com‑
This is a meeting place for established figures
petitions and exhibitions was also exemplary.
in the history of world design, such as Wolfgang
In later times, when the school became a branch
Weingart, Jonathan Barnbrook, Lex Drewinski
of the Academy of Fine Arts in Krakow, the idea
and Krzysztof Lenk, as well as instructors from
emerged to organize the AGRAFA Student Applied
the world’s leading academies – Aalto University,
Graphics Biennial in Katowice. The initiator and
Saint Martin College of Art, and Reading Univer‑
long-time organizer of the undertaking is Profes‑
sity. There have been debuts by such young acade
sor Tomasz Jura.
mics as Myra Thiesen and Angella Morelli, whose
Since 2007, the Biennial has served as an inter‑
national forum for the latest student achieve‑
ments in the field of graphic design in its widest
publications are gaining increasing attention.
The International Design Conference in
Katowice is a serious platform for intellectual
definition (e.g. books, posters, illustrations, visual
exchange, recommended by “TYPO” and “Eye” mag‑
ID, and multimedia). The event aims to compare
azines, and on university web sites in Europe and
education programs of various art academies,
the USA. The next edition, already being prepared –
to present a range of creative approaches, and
“Research in Graphic Design and Graphic Design
to extrapolate the most original, innovative
in Research” (2012) – has generated great enthusi‑
and inspiring solutions. The biennial is presented
asm and anticipation among both designers and
in the Arts Roundabout gallery at the Academy
those academics who use graphic tools for visual
of Fine Arts in Katowice.
processes and research.
A Handbook to Polish Design
Museums and Galleries
The National Museum in Warsaw
Aleje Jerozolimskie 3, 00-495 Warsaw
Center of Modern Design (collections not on display)
• www.mnw.art.pl
• wzornictwo@mnw.art.pl
The National Museum in Poznań
Gallery of Poster and Design
al. Marcinkowskiego 9, 61-745 Poznań
• www.mnp.art.pl
• mnp@mnp.art.pl
Wilanów Poster Museum
ul. St. Kostki Potockiego 10/16, 02-958 Warsaw
• www.postermuseum.pl
• plakat@ mnw.art.pl
Design Gallery
Świdnicka 2–4, 50-067 Wrocław,
• www.bwa.wroc.pl
• design@bwa.wroc.pl
Poster Gallery
ul. Stolarska 8–10, 31-043 Krakow
• www.cracowpostergallery.com
• office@cracowpostergallery.com
Schools
Academy of Fine Arts in Gdańsk
• www.asp.gda.pl
ul. Targ Węglowy 6, 80-836 Gdańsk
Department of Architecture and Industrial Design
• awdziekan@asp.gda.pl
Department of Painting and Graphic Art
• mgdziekan@asp.gda.pl
Academy of Fine Arts in Łódź
• www.asp.lodz.pl
ul. Wojska Polskiego 12, 191–726 Łódź
Department of Industrial Design • fp@asp.lodz.pl
Department of Textile Art and Fashion Design
• tiu@asp.lodz.pl
Department of Graphic Art and Painting
• gim@asp.lodz.pl
Academy of Fine Arts in Katowice
• www.aspkat.edu.pl
ul. Raciborska 37, 40-074 Katowice
• asp@aspkat.edu.pl
Academy of Fine Arts in Kraków
• www.asp.krakow.pl
Department of Industrial Design
ul. Smoleńsk 9, 31-108 Krakow
• zecygan@cyf‑kr.edu.pl
Department of Graphic Art
ul. Humberta 3, 31-121 Krakow
• zeturkie@cyf‑kr.edu.pl
Academy of Fine Arts in Warsaw
• www.asp.waw.pl
Department of Industrial Design
ul. Myśliwiecka 8, 00-459 Warsaw
• dziekanat.wwp@asp.waw.pl
Department of Graphic Arts
Krakowskie Przedmieście 5, 00-068 Warsaw
• grafika@asp.waw.pl
Academy of Fine Arts in Wrocław
• www.asp.wroc.pl
Plac Polski 3/4, 50-156 Wrocław
Department of Interior and Industrial Design
Department of Glass and Ceramics
• international@asp.wroc.pl
Arts University in Poznań
• www.asp.poznan.pl
Department of Architecture and Industrial Design
al. Marcinkowskiego 29, 60-967 Poznań
• office@asp.poznan.pl
Associations and Foundations
The Association of Industrial Designers in Poland (SPFP)
ul. Myśliwiecka 8, 00-459 Warsaw
• www.spfp.diz.pl
• spfp@diz.pl
The Association of Graphic Designers (STGU)
ul. Foksal 11, 00-372 Warsaw
• www.stgu.pl
• info@stgu.pl
Bęc Zmiana Foundation
ul. Mokotowska 65, 00-533 Warsaw
• www.funbec.eu
• bec@funbec.eu
Young Creative Poland
• www.youngcreativepoland.com
• agnieszka@youngcreativepoland.com
Institutions
Institute of Industrial Design
ul. Świętojerska 5/7, 00-236 Warsaw
• www.iwp.com.pl
• iwp@iwp.com.pl
The Silesian Castle of Art and Enterprise in Cieszyn
ul. Zamkowa 3 a,b,c, 43-400 Cieszyn
• www.zamekcieszyn.pl
• info@zamekcieszyn.pl

2 - Polska institutet

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