2000s–NOW
The 21st century brings with it a wave of fresh new faces on the Polish design scene. These are designers who are no longer entangled in Poland’s turbulent and trying history. Polish resourcefulness becomes a new tool in their hands. They believe in their products and their ideas and want to share them with the world – and they are free to do so. In the 2000s, design becomes a part of economic development strategies within Polish government programmes. Both large producers and small family companies, who make up the majority of Polish capital, benefit from this. Polish studios are working on both domestic and international orders.
Polish designers are presenting their work at international trade fairs and festivals. And their products are finding their way into homes around the globe. Design is finally taking its rightful place in Poland – it has become part of everyday life. Polish design festivals, such as the Łódź Design Festival, Arena Design in Poznań and Gdynia Design Days, and trade fairs, like 4 Design Days, Warsaw Home and the Poland Design Festival, regularly showcase the very best of Polish design – new concepts, materials, forms and explorations.
Experiments with new technologies are accompanied by art-like unrestrained explorations. In addition to the large-scale production of pragmatic design, like furniture, there is no lack of room for conceptual design. Modern, globalised designs go hand-in-hand with designs heavily inspired by the past or folk traditions. This diversity bodes well for the future. And what better time would there be to take stock of Poland’s most exciting design achievements than exactly 100 years after the country regained its independence.
Many Polish design organisations and institutions, like the Institute of Industrial Design in Warsaw and Zamek Cieszyn, stimulate new activities and take a closer look at what has been done, while many programmes like the Adam Mickiewicz Institute’s POLSKA DESIGN work to promote Polish design and designers around the globe – as a key part of Polish culture. Polish design after 2000 is like a crazy kaleidoscope – extremely rich in forms and materials, full of colour and subject to constant changes.
CERAMICS
Transform+ & PapForm for Peter Marino
Monika Patuszyńska is one of Poland’s leading ceramic artists. She mainly works with porcelain: she smashes it, she breaks it into pieces, she cuts it, and then puts back together again. In Patuszyńska’s unique world, destruction goes hand in hand with creation. She takes an ancient craft and completely reinvents it. Patuszyńska’s TransForm+ collection is a series created using old, broken molds from ceramic factories: the objects from the collection look as if they were made from crumpled paper – delicate and yet extremely powerful. Her PapForm, created in collaboration with architect Peter Marino, is a series of vases and bowls created using precious Parian porcelain. Its composition was created in the mid-nineteenth century, in Staffordshire, England. The name Parian was adopted because of its properties which resembled white marble from the island of Paros. Patuszyńska’s vases grace the Guerlain headquarters in Paris.
Otoczaki, Ala & Modus 2 Urns
Bogdan Kosak is a ceramist and scupltor. His work incorporates both traditional craft techniques and modern design. Although he tends to value form over function, his pieces are always functional in the end. Take his Otoczaki (Boulders). They look like random river stones formed by the flow of water and time – organic forms devoid of a clearly defined function. They can be what we want them to be: vases, bowls, flower pots or just decorations. Inside, the material is glazed, allowing for a variety of uses. Outside, the raw gritty porcelain seemingly dares people to touch it. Kosak’s urns are an entirely different matter. They have a clear purpose. Kosak shows how design takes on the matter of death. Design is supposed to make life easier, so why should it stop in death?
“To design is to introduce order to the space we live in, both personal and public. In this case, introducing order means to improve and enhance; to do away with objects and actions that contribute to aesthetic and communicational untidiness.”
—Bogdan Kosak
Kiwi Bird and Blue Line
The Ćmielów Design Studio is the perfect example of co-operation between craftsman and designers, artists and industry, old and new. Two titans, Marek Cecuła, the world-renowned Polish ceramicist, and the legendary Ćmielów & Chodzież Polish Porcelain Factories, came together to create the Ćmielów Design Studio. Its design philosophy is centred on a revival of the ‘artists in industry’ movement, in which designers work together with manufacturers to create new products. The studio is also a testing ground for modern technologies and experimental techniques in the production of utilitarian and decorative porcelain.
The KIWI project is a series of forms inaugurating a line of porcelain figurines created for the Ćmielów Design Studio by Agnieszka Tomalczyk. This collection represents an interpretation of the shape and movements of the exotic kiwi bird. The design process took place in multiple stages, with the use of paper, plaster and 3D printing. The resulting figurines are crafted in porcelain that has been glazed and finally hand-painted. Even though the process may look different, the figurines are an homage to Ćmielów’s figurines of the 1950s & 60s.
OKO Vases
Malwina Konopacka is an illustrator and designer – both separately and simultaneously. How so? She took illustration to the next level, practically drawing in 3D, even 360˚. Each of of Konopacka’s OKO (Eye) vases is, simultaneously, identical and unique. Each vase’s ceramic form is always the same – a tall, white vase with a scattering of round indentations. But they are all decorated differently – each vase is hand-painted by Konopacka. Initially, the hollows were painted as eyes. Soon, they became dollops of colour and white vases were painted black. Some look like abstract collages, while others still look like they came from deep in the jungle. Konopacka is taking illustration into a new dimension.
PLANTATION
Alicja Patanowska’s Plantation sprung from observations of London night life. Walking through the streets of the city in the early morning, the designer gathered discarded bottles and glasses. Then she added porcelain elements to them, which she then used as planters. Patanowska took seemingly unexciting everyday objects, like old jars and drinking glasses and turned them into magical mini-gardens. Plantation uses hydroponics to grow herbs and plants – the plants only need water, no soil necessary! You can choose from four different ceramic add-ons, which are made so they fit onto a basic drinking glass. The transparency of the glass makes it possible to observe the entire process of the plant’s growth. Porcelain, glass and nature come together in beautiful harmony.
“Careful observation of everyday life provides the ultimate inspiration for my projects. The duality of function and sculptural qualities in my work illustrates the inherent link between art and design. One complements the other, making an integrated whole.”
—Alicja Patanowska
GLASS
Agnieszka Bar’s language is glass. She continues to create new vocabulary, new sentences. Interested in exploring the properties of glass, she handcrafts her objects using traditional glass-making techniques. Take her On Finger collection, for instance. This ergonomic line is created to become one with its user. The carefully fashioned thumb indentations make it easy to hold each glass, at the same time, the users hand becomes an integral part of the glass it’s holding. In Bar’s Plisowanki series of ‘pleated’ crystal vases, light reflects off of each pleat, creating the impression of movement.
Her My Dear is a less drastic version of a hunting trophy, just right for the conditions of the urban jungle. The piece is a criticism of cruelty to animals. With the titular play on words, the designer’s intention was to create a bond between the user and the object. The user can domesticate the ‘dear’ and bring it to life by placing fresh flowers or bouquets where the antlers should be. The sculpture invites reflection on the role of people in the lives of animals and their mutual relationship.
Kosmos Project is an experimental design studio set up by Ewa Bochen and Maciej Jelski. Their projects are inspired by observations of modern society. At first glance, their wine decanter The Heart may look as if it belongs in a laboratory, but look a little closer and you see it does indeed resemble a heart. The designers didn’t want the decanter merely to pour wine, but also to become a pretext for people to reflect on their spiritual condition. Is there any place left for the metaphysical in today’s world?
FURNITURE AND LIGHTING
SEVEN Coat Hanger and TULLI
Tomasz Rygalik is a curator and design educator with a PhD in Industrial Design. He is among Poland’s most prominent contemporary designers. Studio Rygalik is a design studio he created with his partner, designer Gosia Rygalik. Tomasz Rygalik has designed for companies including Moroso, Noti, Profim, Ideal Standard, Siemens, Heineken and IKEA. He is also the creative director for the leading Polish furniture brands Comforty and Paged. Made from durable steel, his SEVEN coat stand is simple and sleek, bold and colourful. The stand’s distinctive elements are its contrasting hooks which pop out of the simple design. Meanwhile Rygalik’s TULLI are a collection of modern armchairs, which are perfect for both outdoor and indoor use. There are a number of versions of the chair – you can choose from a steel base or wooden legs, an upholstered version for your interiors or one without material, which can be used outside. TULLI armchairs are excellent for public spaces. They are also an attractive option for large events, festivals and trade fairs. At home, they look equally amazing in the garden as they do in the living room. A distinctive element of the armchairs are its armrests, which are subtly curved outwards. With its subtle reference to the Tulipan armchair designed by Teresa Kruszewska in 1973, TULLI is also an attempt to maintain the continuity of Polish furniture design. TULLI was awarded with the Red Dot Design Award in 2016.
STAND UP R Desk
Tomasz Augustyniak is a product and interior designer. He has worked with many top Polish and international furniture companies including Vox Industrie, Noti, Ade Line, Comforty, Profim, Mikomax, Nowy Styl, Balma, Adriana, Marbet Style, Nap & Piu Design. Augustyniak’s STAND UP R desks are based on a patented manual height adjustment system, which allows the user to adjust the height of the desk to accommodate their preferred working position: they can sit, they can stand or anything in between! As a result, the desk supports ergonomic and comfortable day-to-day professional activity. Frequently changing one’s position helps prevent ailments and pain caused by prolonged sitting. The design received the 2017 Best of the Best Red Dot Award in Product Design.
CLAPP
Piotr Kuchciński is an architect and designer. He has worked with the Polish company NOTI for over 10 years. Kuchciński has won numerous Polish and international awards including the Red Dot Design Award: in 2013 for the H2 tables for BALMA, and in 2014 for the CLAPP sofa for NOTI. The CLAPP collection was created with public spaces in mind, such as offices and hotels. Inspired by popular armchairs from the 1960s (especially the 366 armchair designed by Józef Chierowski), the collection is a modern take on timeless furniture designs. This combination of vintage aesthetics and modern form, with a wide range of wood finishes and upholstery, make the collection suitable for a variety of interiors, styles and functionalities. He has also designed many other NOTI collections including Alter, Bloc, King, Linar Plus, Manta, Mishell, Mula, Muse, Origono, Queen, Rosco, Sosa, Tritos and x40.
VANK
VANK is young Polish brand created by architects, designers and engineers. They focus on creating furniture for offices and open spaces, such as lobbies or foyers. Their BELONG sofa is a modular furniture composition. Mix and match, put it together however you want, however it will best suit your needs – whether in your living room or in a commercial space. Arrange it into different sofas or simple armchairs. Elsewhere, MOVE is a contemporary take on a desk that is ready to follow our movements throughout the day. It is an answer to the growing demand for ‘sit/stand’ workplaces. The accompanying V6 swivel chair screams modernity – its modern and dynamic aesthetic clearly references the distinctive design of sports car interiors. The chair is adjustable to the extent that it will be comfortable for both a tall man and a petite woman. It is also customisable: choose from an array of upholsteries and colourful aluminium elements.
MALAFOR
For Malafor – the design duo Agata Kulik-Pomorska and Paweł Pomorski – design is as much about the ideology behind it as it is function or beauty. Inspired by nature and ecology, Malafor gives new meanings to common materials and objects. The TRUNK series of furniture is their most recognisable line. It revolves around a simple object – a tree trunk. Rather than carve into the wood or build new pieces of furniture out of it, the tree trunk itself becomes something new. Made from the trunks of oak trees, each stool is enveloped in steel. The metal not only protects the wood, but also creates a surface which reflects its surroundings – each stool blends into what’s around it like a chameleon. A steel handle makes it easy to carry and move around. The TRUNK also comes in a colour version, enveloped in bright colourful aluminium casings, as well as a natural version sans metal, and a burnt version. Malafor’s BLOW collection, on the other hand, is made out of 100% recyclable inflatable paper bags and steel rod structures. Sit down, get comfy and draw, write or doodle all over the sofa! When the bags get too crowded with your creations – just exchange them and start over.
TEDDY BEAR
Wierszyłłowski i Projektanci (Wierszyłłowski and Designers) invite us on a journey to our childhood, cuddled up with our soft brown teddy bears. Their TEDDY BEAR armchairs are, in part, inspired by these childhood buddies and, in part, by the organic shapes of 1950s and 1960s Polish design. The TEDDY BEAR collection has three types of seats and backs, two kinds of armrests and a headrest, and a variety of upholsteries, which allows the user to create their own individual armchairs. Each of the elements can be easily put together, engaging the user in the design of the chair – essentially allowing the user to become a co-designer.
UME Armchair
Maja Ganszyniec designs everyday objects. She has worked with a number of large international companies, such as Comforty, Leroy Merlin, NOTI and IKEA. In 2018, IKEA released two new collections designed by Ganszyniec: HJÄRTELIG and SPÄNST. Ganszyniec’s UME armchair follows the Japanese notion of wabi-sabi – the acceptance of imperfection. It explores the ideas of geometry and asymmetry. Three strips of fabric hug the chair, with only four stitching lines and one fold. Available in a wide selection of tones and colours, the richness and depths of the textile emphasises the uniqueness of the armchair’s geometry.
“I believe that different objects have their own energy, so a product made of natural materials like glass, linen, cork or solid wood will be more friendly than others.”
— Maja Ganszyniec
PUFF-BUFF
DESIGN LAB
APPLIANCES AND TRANSPORTATION
ZEN oven
Who knew an oven could be zen? The ZEN, designed by Michał Biernacki and Magdalena Lubińska of CODE Design, has a simple aesthetic which is actually soothing. The monochrome rectangle has a handle, just a few knobs and no buttons at all. The design duo did away with most of the options basic ovens today offer, because they believe people never actually use them. They made comfort and simplicity their priority: metal, matt glass and a wooden handle. With the ZEN oven, less is truly more. Aesthetics, high-quality and functionality brought many awards, including the Red Dot Award for ‘Best of the Best’ 2012.
HOT 2 HEATER
In 2010, the Polish company Instal-Projekt came out with an innovative product: the HOT 2 electric heater for central heating radiators, a great example of intelligent technology combined with modern design. Equipped with an economical control system, it guarantees low energy consumption. Simple shapes and bold colours (white or black, and signalling in red and blue) together with simple lettering create an object that exudes the modernity and high functionality of this solution.
BLAST FROM THE PAST
More than half a century after its creation, the iconic RM armchair designed by Roman Modzelewski made its ‘re-debut’. Handmade in 1958, it was one of the earliest Polish examples of polyester-glass laminate furniture. VZÓR wanted to introduce Modzelewski’s classic chair to the modern consumer and finally it put into mass production. Thanks to modern technology and open markets, VZÓR brings back the glossy classic version of the RM, now branded as the RM58, while also offering a range of new colour and material variations.
MOHO DESIGN shows that one can draw on tradition to create modern designs. MOHO DESIGN took a well-known Polish folk cut-out motif, changed its scale, the material and the function to create their popular MOHOHEJ! DIA carpet. Wool woven on old looms gains new life thanks to the use of laser cutting. MOHO DESIGN’s carpets have won numerous awards including an award from Wallpaper* magazine in 2006 and the Red Dot Award in 2008. But above all, they began a new chapter of folk inspiration in contemporary Polish design.
BLAST FROM THE PAST
After over half a century since its creation, the iconic armchair designed by Roman Modzelewski made its ‘re-debut’. Handmade in 1958, it was one of the earliest Polish examples of polyester-glass laminate furniture. VZÓR wanted to introduce Modzelewski’s classic chair to a modern consumer and finally it put into mass production. Thanks to modern technology and open markets, VZÓR came out with the glossy classic version of the RM58 as well as new colours and materials.
MOHO DESIGN shows that one can draw on tradition to create modern designs. MOHO DESIGN took a well-known Polish folk cut-out motif, changed its scale, the material and the function to create their popular MOHOHEJ! DIA carpet. Wool woven on old looms gains new life thanks to the use of laser cutting. MOHO DESIGN’s carpets have won numerous awards including an award from Wallpaper* magazine in 2006 and the Red Dot Award in 2008. But above all, they began a new chapter of folk inspiration in contemporary Polish design.
In 1980, Romuald Ferens designed the LOTOS chair and submitted it for the competition at the Basel Furniture Fair in Switzerland. It won the main prize, the jury fascinated by the innovative unity of shape and function. It seemed like Ferens and his designs were going places. And then, in 1981, martial law was introduced in Poland, and the dream of putting LOTOS into production ended. It was only in 2017 that the chair finally went into production, thanks to the Politura company – many Poles were seeing it for the very first time.
Designed at the beginning of the 1980s by Tomasz Andrzej Rudkiewicz, REFLEX lamps were simple, easy to produce and high-quality. Even though they didn’t go into mass production, people loved them and wanted them to light up their homes. In 1986, like many other designers at the time, Rudkiewicz chose to leave the country. Today, he goes back and forth between Finland and Poland and has established his own company, TAR. And he continued his lively REFLEX line, expanding it with an XL version.
THE TRINKET RETURNS
It’s not just furniture from the 1950s and 1960s that’s making a comeback. The bibelot, or trinket, has returned. The AS Ćmielów factory resumed the production of the porcelain figurines designed by the artists from the Institute of Industrial Design. Vintage is in.
INTO THE FUTURE
PLOPP FAMILY
Zieta Prozessdesign was founded by Oskar Zięta as an interdisciplinary, engineering-based team comprised of architects, designers, engineers and technicians. The studio regularly works with specialists from other fields (like biologists or psychologists) in its effort to seek out new and innovative solutions. But what is Oskar Zięta’s FIDU technology? It involves taking two pieces of sheet-metal, welding them together at the edges and then inflating them under high pressure. Instead of ending up with a balloon, which would eventually burst or slowly deflate, this process creates actual pieces of 3D furniture! With FIDU, Zięta underscores the importance of the design process. FIDU enables mass production of individualised shapes. The forms created are extremely light but also very durable. Using this unique design process, Zięta has created extraordinary pieces of furniture – from the PLOPP family of stools, to TAFLA mirrors. We will have to wait to see what comes next!
POOR TOYS
Bartosz Mucha is the founder of POOREX, his own one man-studio. He is definitely not your typical designer – he doesn’t pay much attention to whether his designs can actually be manufactured or even used. His work is on the border between art and design – what’s important to Mucha is more the conceptual and experimental thinking about design. Mucha’s POOR TOYS are a set of toy cars made out of beechwood. But these aren’t just any toy cars. Each one is combined with a common household item: the PEG CAR is a tow truck with a large clothes peg instead of a hook; the BRUSH CAR is a limousine made of a scrub brush; and the SINK CAR is a suction-cup tow truck. His toys can be used both for play and for everyday chores. An unusual combination of business and pleasure.
NEPTUNE LAMP
UAU Project is a Warsaw-based multidisciplinary design studio founded in 2011 by Justyna Fałdzińska and Miłosz Dąbrowski. Their main interest is exploring and experimenting with consumer-oriented 3D printing. All of their designs are created using either biodegradable or highly recyclable materials. They use bold colours and interesting textures. Their 3D-printed NEPTUNE is a geometric and elegant lamp that looks amazing in every minimalistic space. It can be customised with three different colourful and crazy shades. The brightness of the light depends on the position of the lamp. What’s most remarkable is that they make their 3D-printable designs available for their users on their website: everyone with access to a 3D printer can download their designs and print them for themselves!
The world of Polish design is ever evolving and it would be impossible to cover everything within the eight chapters of this design guide. Luckily, we have the perfect resource for readers hungry for more. Culture.pl is the world's biggest and most comprehensive source of knowledge about Polish culture. Spread across a huge multi-lingual website and multiple social media platforms, Culture.pl is the digital brand of the Adam Mickiewicz Institute, an organisation devoted to promoting Poland and Polish culture to an international audience. A special section of Culture.pl is dedicated to Polish design, and includes information about the latest trends and the newest projects by Polish designers – the young and emerging, as well as the well-established and world-renowned.
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