Polish Design Ukrainian Reconstruction - charity auction catalog

Polish Design Ukrainian

MONDAY

27.11.23

Reconstruction

1

Charity auction in support of the WINDOW project BRDA Foundation

Charity auction in support of the WINDOW project BRDA Foundation Monday November 27th 2023 19:00

DESA Unicum Piękna 1A Warsaw

4

Designers Nikodem Szpunar

Olga Milczyńska

Splot

Aleksandra Zawistowska

Pani Jurek Dominika Krogulska-Czekalska

Paradowski Studio Tartaruga Studio

Karolina Balcer

UAU project

Kaja Gadomska

Zakwas Studio

Agnieszka Owsiany

Anna Milczanowska

Aleksandra Kujawska

Alicja Patanowska

Malwina Konopacka

Trzask Ceramics

TOTEM STUDIO WARSAW

Izabela Wilk

Marcin Rusak Tomek Rygalik, Studio Rygalik Jan Lutyk Marek Bimer Oskar Zięta Świergolia Studio Ola Mirecka P55 MIRRORS

5

Lexavala Zofia Strumiłło Studio Marzena Krzemińska-Baluch Jan Kochański Studio Speculo GRYNASZ STUDIO Olga Micińska

6

7

About WINDOW About BRDA

Zofia Jaworowska a social activist who has been active in the voluntary sector for many years.

She graduated from the Inter-Faculty Individual Studies in Humanities at the University of Warsaw, Social Anthropology at Goldsmith’s College in London, and Screenwriting at the FAMU in Prague and Wajda School. Combining activism and creative work, she has developed communication strategies and coordinated projects in the Roman Czernecki Educational Foundation, Kościuszko Foundation and SEXED.PL Foundation.

She also created the Polish programme Refugees Welcome Poland. This experience later inspired her to establish and coordinate Grupa Zasoby – an initiative which has received numerous awards as one the most effective projects supporting refugees from Ukraine in Poland. She founded the BRDA Foundation and keeps developing it, in order to expand the space for good, safe, and sustainable housing.

8

From the very moment of being established in July last year, our foundation has worked to make housing better. It’s a truly tangible aim – both in the environmental and the social aspect. Within the past year and a half, we’ve taken the world of demolishing by storm, entered construction sites, and together with our investors, we’ve been retrieving construction materials including windows, which are the reason we gathered here today. We created the BUDO project, within which we give a new life to stone, parquet wood flooring, dropped ceilings, fitted carpets and lighting, by finding new owners for them. Within the short time of functioning, our foundation has already succeeded in saving nearly a hundred tons of good materials from going to waste. Recycled materials create a chance for us to get our cities back on the right, environmentally responsible track. We’re glad to contribute to making our planet a healthier, safer place.

Since January we’ve also worked together with the City of Warsaw on the Electrivity project. The aim of the project is to send electric generators and air dryers to cultural institutions in Ukraine. We also organize workshops for kids in refugee centres, we take part in conferences and spread knowledge about material reuse. The exhibition we created together with the architectural atelier TŁO won the first award at the Design Biennale in London. A lot has been going on, but the heart of our efforts has always been and will always be our beloved project WINDOW. WINDOW has been active since the foundation was established.

The idea behind it is simple: we collect windows from all over Poland and send them to social organisations in Ukraine, which rebuild destroyed houses. So far we’ve sent as many as 1863 windows (we’re very meticulous about numbers in the project!).

Many panes and windows get damaged in missile attacks on Ukraine. Broken windows result in no thermal insulation. What

is more, water gets inside houses whenever it rains, damaging anything and everything there. All in all, broken windows mean no safety. Cling film and oriented strap boards are no solution to this problem. Before the war, Ukraine, Belarus and Russia imported as much as 80% of glass. The only Ukrainian glass factory in Lysychansk was closed down in 2015. Without glass in Ukraine, there are no windows. And without windows there is no shelter.

A window with a minor defect is unfit for sale, but is still perfectly fit for use. Recycled windows are a valuable material, which helps to provide safe houses and flats to people who lost the most – refugees, who need basic shelter, and the people of Ukraine, who remained home or came back to their country.

Considering all that, we’ve been going around Poland collecting fully functional windows that are perfectly fit for use from private donors, manufacturers, distributors, investors, developers and demolition companies. We pack the windows in our warehouse in Warsaw and send them out into the world – to anywhere between Kyiv, Kherson, and Kharkiv. The farthest place our windows have reached is Donetsk!

Windows are donated to us but the costs of packing and transporting them to Ukraine are considerable. Logistics take over 60% of our foundation’s budget. Collection, packing and sending away 200 windows costs about 13,000 PLN. It is the cheapest way to get a window (it amounts to 65 PLN per window) but in order to continue our activity we need an influx of money.

For this reason, I am very glad you decided to join us. The auction will help us prolong the life of our foundation for at least a year, which means a minimum of 1,500 more windows sent to those in need. It is also a tangible way of providing help. The November auction is also a beautiful continuation of supporting our designers, artists and architects for Ukraine. The continuity of solidarity and help is truly touching to our partners in Ukraine. We would like to thank you all most sincerely!

Zofia Jaworowska BRDA Foundation Director

9

Designing Relationships “My colleagues teach students how to design things. I teach them not to do it” – in this playful way, a theorist of design, Cameron Toninwise opens his essay titled “Design Away: Unmaking Things”. In the essay, he proposes an active practice of un-making – striving for reducing the number of things.

Agata Szydłowska researcher, author, curator.

Graduate of Art History at the University of Warsaw and of the School of Social Sciences by the Institute of Philosophy and Sociology of the Polish Academy of Sciences. She works at the Faculty of Design of the Academy of Fine Arts in Warsaw. Among other things, she wrote a book titled “Futerał. O urządzaniu mieszkań w PRL-u.” [Case.

Decorating flats in the Polish People’s Republic.]

(Czarne Publishing House, 2023). She is also a co-creator of the year-long Zoepolis project, which focused on interspecific communities and encompassed exhibitions, artistic research and a book.

10

According to the British Design Council, 80% of the environmental impact of products, services, and infrastructure is decided upon at the stage of design. If that is the case, the most obvious solution would be a more ecological approach, which is making sure that more goods of better quality are sent out into the world. Production of sustainable products follows this very reasoning – that is how biodegradable, recycled, local products made out of ecological materials, as well as products of low carbon footprint, which do not require packaging or storage etc. come into being. Tonkinwise proposes something more radical: designing elimination. The main aim of it is for designers not to participate in production of new goods, but rather to act to reduce the number of goods altogether. However, designers’ studios are not supposed to be closed down and their employees should not start looking for new employment. On the contrary – designing elimination still means designing. Designers, as opposed to artists, do not create things for the sake of creation. Their designs are a means to an end. Judging the value of designing is therefore not about judging the product of design per se, but rather about assessing what a given object or service allow us to do.

In this sense, design is nearly always about relationships. If we design a table, we actually create an opportunity for families or strangers to meet for a meal. If we design a flowerpot, we facilitate contact between a human being and a plant. Therefore, if we care about creating possibilities and relationships, rather

than generating more and more goods, which takes a toll on the natural resources, the perfect way of implementing the idea of designing elimination might be the WINDOW project realized by the BRDA Foundation. Following the three R’s rule – reduce, reuse, recycle – the project is about reusing products and fulfilling people’s needs with existing resources which would otherwise be backlogged or would go to waste.

Above all, the WINDOW project is about relationships. Not only does it allow for decent accommodation in Ukrainian cities struck by missile attacks, where windows are the first thing to break leaving no chance for safety and comfort, but it also helps to create and sustain relationships based solidarity and a will to change. By connecting more and more people, businesses and institutions in collection and transport of windows to Ukraine, the BRDA Foundation has been expanding a network, which allows all of us to join an international community following the zero waste movement and respecting the environment. Thanks to the design auction, more people, businesses, Polish designers who donated their designs, and those who will buy the designs at this auction, will join said network. This in turn makes a Utopia turn into reality, as we rebuild infrastructure destroyed by war thanks to the solidarity of human relations, while implementing one of the most progressive, ecologically responsible design ideas.

11

12

How to bid?

Monday 27.11.2023 Curated tour of the pre-auction exhibition 18:00 Auction 19:00 DESA Unicum Auction House Piękna 1A w Warszawie

The auction will take place in the DESA Unicum Auction House located at Piękna 1A in Warsaw, on the 27th of November 2023.

At 6 p.m., right before the auction, also in DESA, we invite you to join our curated tour of the pre-auction exhibition.

You can take part in the auction in person, by submitting a bidding order via Desa Unicum or online, in the Desa Unicum app. Participation in the auction requires prior registration.

HOW TO JOIN THE AUCTION? 1. Bidding in person When bidding in person, in the auction hall, one must fill in a questionnaire before the auction.

2. Bidding order Before the auction, Customers may place a bidding order for selected items over the phone (direct contact with the Customer throughout the auction) or by specifying a price limit (a representative will bid on behalf of the customer until the limit price is reached).

Bidding orders will be accepted until 12 p.m. on the 27th of November in Polish and in English. You can also write an email concerning bidding orders to zlecenia@desa.pl or call +48 22 163 66 00. Desa does not charge the Purchasers with the buyer’s premium.

3. Bidding online To take part in the auction via the Desa Unicum app, one must register at least 12 hours before the auction. The app is available in Polish and in English.

COLLECTION OF THE PURCHASED OBJECTS Once the price is paid, the purchased objects may either be collected in person in Warsaw or shipped by a receiver-paid courier once the auction is over. The lots will be available for collection in the Desa Unicum headquarters at Piękna 1A after the auction (Monday-Friday from 11.00 am to 7.00 p.m. and on Saturdays from 11.00 a.m. to 4.00 p.m).

13

16

NIKODEM SZPUNAR

Painting „20220923/01” MEASUREMENTS 80 × 60 cm MATERIAL acrylic on canvas

1

Szpunar has been creating paintings with original tools on exhibitions such as Łódź Design Festival, Fair of Fine Items, and at the Municipal Gallery BWA in Bydgoszcz since 2022. His works are appreciated by private collectors, as well as hotels and offices all around the world. Acrylic on canvas is an integral part of his latest artistic explorations.

ESTIMATION 4 000 – 6 000 pln

NIKODEM SZPUNAR

17

Nikodem Szpunar is a designer, graduate of the design course at the Academy of Fine Arts in Warsaw and National College of Art and Design in Dublin. He designs furniture and elements of interior design both for mass production and for limited collections. He has received many awards, including the following: Dobry wzór, International Furniture Design Award (Asahikawa), Make me!, Must Have. He was also named Designer of the Year 2019 at Arena Design, and Designer of the Year 2021 by the Institute of Industrial Design. His designs have been exhibited at international fairs, exhibitions and design events in such places as Berlin, Milan, London, New York, Hong Kong and Japan.

18

SPLOT

Nowa Weranda Kilim MEASUREMENTS 220 × 100 cm MATERIAL wool, linen ESTIMATION 7 000 – 10 000 pln

SPLOT

19

2

When designing a kilim for Splot, Zofia Strumiłło analysed the wooden architecture of Podlachia – that was the main inspiration for her pattern. The module of a traditional country porch in her interpretation seems to break, following a computer error, and mounts on the surface of the fabric. Upon careful consideration, we may say that handlooms and computers share the same binary rule of functioning – zeros and ones, and threads of warp and weft, which create a unique pattern by interweaving.

Splot is a brand making kilims, which attempts to reinstitute the tradition of this design branch in Poland and Ukraine. The Splot fabrics are made in Bobowa near Cracow and in Hlyniany near Lviv. The patterns incorporate both historical and completely new designs, which give a new life to this old technique. Among the artists designing for Splot are Piotr Niklas, Zofia Strumiłło, Edgar Bąk, Ola Kotarska.

20

PANI JUREK

Wazon Barva, model Barva 4 MEASUREMENTS 27 cm × 17 cm × 5,5 cm MATERIAL pottery glazed by hand, glazed and englobed COLOUR pistachio / lilac

3

Colour stains, lines, contrasts, textures and subtle gradients. The newest ceramics collection by Pani Jurek has its roots in the world of paintings. Solid-like forms weigh towards the flat composition characteristic of paintings. The name of the collection – BARVA – refers to the colour theory, the perception of colours which is the effect of deliberate colour correlation and individual experiences of the viewer. The vases come in limited colour series. The process of glazing and englobing by hand allows for combining the most surprising colours in the most surprising gradients. The vases, especially when paired, look just as great without any flowers, as stand-alone abstract compositions. They can be mounted on the wall, which increases the abstract and artsy value of the objects.

ESTIMATION 1 000 – 2 000 pln

PANI JUREK

21

The Pani Jurek brand was created by Magda Jurek, who majored in painting. From the very start, the brand has combined design, craft and art. Magda very rarely designs something following a brief.

She views functionality in artistic terms, as a way of expressing her own ideas. She thinks of objects as if about signs, sculptures or installations. The functionality of Pani Jurek products, though is not the main aim of the product per se, is never overlooked. Ergonomics and design discipline are important, as they help to harness both imagination and matter. All objects are created in an artisan way in a small workshop under the designer’s direct supervision. The newest collection has been awarded the 2023 Must Have.

22

DOMINIKA KROGULSKA-CZEKALSKA

“Twisted Tradition” colourised R+T MEASUREMENTS 244 × 167 cm MATERIAL cotton 60%, acrylic 35%, polyester 5% ESTIMATION 7 000 – 10 000 pln

DOMINIKA KROGULSKA-CZEKALSKA

23

4

The „Twisted Tradition” textile is the result of searches and analyses of traditional compositions and motifs appearing in textiles in different areas, particularly in Eastern Europe. The author’s respect towards patterns and their comprehensive form prompted her to use the contemporary methods of building artistic patterns and of simplifying the picture for the sake of printing techniques. The result is a design in which a composition of patterns reminiscent of kilims is made of elements of different gradients created with a “halftone” of row weaves. The rug is reversible and each side has a dominant colour, which allows for an easy and subtle change of atmosphere in a room. The textile will also work well as a wall decoration or a curtain.

Dominika Krogulska-Czekalska is a doctor of Fine Arts, and a teacher at the Academy of Fine Arts in Łódź, where she engages students in the search for unconventional ways of utilizing the traditional jacquard technique. Her main point of interest is the artistic activity which combines different disciplines in a speculative, critical, and reparative way. She participated in numerous international exhibitions, including the International Triennale of Fabrics in Łódź and the Textile Art Biennale in Poznań. She was the cocurator of the Divisions open/Divisions closed exhibition and of the international YTAT 2022 exhibition. Her most recent exhibitions are Soft woven voices in Slovenia, as well as cod_a and Gimme Shelter in Poland. She was a speaker at the Textile Talks BTA in Poznań and at the Contextile Biennale in Portugal. She received the Must Have award at the Łódź Design Festival in 2020.

24

KAROLINA BALCER

Struggle, 2021 MEASUREMENTS 85 × 85 cm

5

The works is a part of the “Happy Family” project, which presents the family history of the author and touches upon issues connected to mental health.

MATERIAL artwork created through tufting ESTIMATION 6 000 – 9 000 pln

KAROLINA BALCER

25

Karolina Balcer graduated from the Academy of Fine Arts in Wrocław under the supervision of professor Piotr Błażejewski in the studio of painting and professor Paweł Jarodzki in the studio of multimedia. In 2020, she defended her doctoral thesis at the same university. She won the FreshZone competition at the ArtBoom festival in Cracow. She also participated in Wro Media Art Biennale, Bielska Jesień Painting Biennale, Sopot Artloop Festival, Biennale of External Art „Out of Sth” in Wrocław and the Open Triennale in Orońsko. Her main interests include painting, video, creating installations in public spaces, and as of recently, working with tufting. Family is a recurring motif in her works. Family members are active participants of events, so personal stories and experiences can spark a discussion about social issues. She was the co-founder of the Wykwit gallery in 2015-2019, and a board member of Wytwórnia Wykwitex in 2017-2020. Since 2019, together with Iwona Ogrodzka, she has been co-creating the Why Quit nomadic initiative.

26

KAJA GADOMSKA

Relief from the Autoformulations series, 2023 MEASUREMENTS 40 × 40 cm MATERIAL artistic fabric, own technique ESTIMATION 5 000 – 8 000 pln

KAJA GADOMSKA

27

6

Relief is a part of the Autoformulations series, which combines automatic drawing with Arno Stern’s formulation theory. Working with fabrics allows for formal exploration of shapes. Moreover, using a soft stuffing to create small sculptural forms makes it possible to focus on the distinction between flat and bumpy forms, creating an illusion of homogeny from a distance. The materials used for relief “sewn paintings” are recycled and hand-painted or dyed. Once sewn together, the fragments create an abstract colourful and spheric composition comprising of numerous soft elements. What the elements create together is a certain unique, undefined structure, which reflects in a viewer’s eye with a soft chiaroscuro.

Gadomska was born in 1990 in Warsaw. In 2014, she graduated from the Faculty of Graphic Arts at the Academy of Fine Arts in Warsaw.

In her work, she combines her interest in colour, shape, visual processing ad perception, as well as the unique experience created by the contact with a picture. She examines reactions to an object separately from the theory behind the object, as well as together with it. She emphasises the role of the author’s personality, their artistic process, and the value of time as a constituent to the finished work.

What is more, she analyses the possible ways of perceiving paintings, as well as reasons for a painting to draw people’s attention and to influence them. She currently works with the Leto Gallery.

28

AGNIESZKA OWSIANY

Untitled MEASUREMENTS 67 × 52 × 4 cm MATERIAL Jute twine on jute fabric, oiled oak wood frame, created through embroidery

7

The artist has lately been working on experimental series, using plant fibres such as jute, hemp, and sisal to achieve brand new visual effects. A part of said series is the auctioned object. It is made entirely out of jute materials.

ESTIMATION 4 000 – 6 000 pln

AGNIESZKA OWSIANY

29

Agnieszka Owsiany is an architect and creator of artistic textile. She is based in Poznań, where she graduated from the Academy of Fine Arts. For a couple of years, she ran an architectural studio where she discovered her love for textiles. Using embroidery, she focuses on textiles, paying special attention to the origins or wool, which is especially dear to her. Following a long search motivated by ethics and locality, she reached Beskids, where she found Górale (Polish highlanders), who now supply her with wool from an endemic breed of Polish mountain sheep. Her efforts were noticed by the creator of XTANT. This, in turn, resulted in an invitation to join the educational programme and exhibition in Palma de Mallorca in 2022.

30

ALEKSANDRA KUJAWSKA

8

„Comets” set – carafe and 6 glasses CARAFE 32,5 × 14,7 × 14,7 cm GLASSES 20 × 9,4 × 9,4 cm MATERIAL soda-lime glass ESTIMATION 6 000 – 9 000 pln

ALEKSANDRA KUJAWSKA

31

“Comets” by Aleksandra Kujawska were given the Must Have 2023 award at the Łódź Design Festival. The object adorns the National Museum in Wrocław, being a part of the temporary exhibition: “Glass Biographies. Polish Women Glass designers (1945-2020)” until January of 2024. The artist created this extraordinary collection inspired by Stanisław Lem’s prose. Every element of the set, which includes six glasses and a carafe, was made by hand, with incredible attention to detail. Thanks to the hand work and the traditional technique, each dish has its unique soul and character.

The objects evoke positive emotions and are pleasant to look at.

Sculptor and designer specializing in glass. Graduated from the Department of Glass and Ceramics at the Academy of Fine Arts in Wrocław. She took part in numerous collective and solo exhibitions in Paris, London, Milan, Luxembourg, Venice, Nový Bor, Sofia, Dresden, and many more. The artist received the Must Have award in 2020 and 2021, at the Łódź Design Festival, and she was a finalist of the Dobry Wzór 2021 competition at the Institute of Industrial Design in Warsaw.

She took part in the most important festivals of design around the world, including London Design Week, Expo Mediolan, Salone del Mobile Milano and Venetian Glass Week. Her works are on display in Karkonoskie Museum, Museum of Ceramic Techniques in Koło, and Gallery of Polish Design in the National Museum in Warsaw. She is the vice president of the Students of Glass Society at the Academy of Fine Arts in Wrocław. She also is a curator of exhibitions, as well as an author of publications about the art of glass.

32

MALWINA KONOPACKA

OKO Vase MEASUREMENTS w. 42 cm / ø 19 cm MATERIAL noble ceramics, black glaze

9

The OKO vase premiered in 2014 at the Tokyo Designers Week. Since then, it has appeared in many forms and series, decorated and hand-painted by the author herself, or glazed in original shades (the Forms collection). Lately, OKO appeared in a handbook of art and art history, as an example of 21st century design. The unique version of the vase, OKO/Dots, was created in 2023. The body of the vase is covered by black glaze, with distinct, contrasting dots.

ESTIMATION 2 000 – 4 000 pln

MALWINA KONOPACKA

33

Malwina Konopacka is an illustrator and a designer. She studied Industrial Design at the Academy of Fine Arts in Warsaw and Illustration at the Universität der Künste in Berlin. In 2014, she turned her illustrations into ceramics, creating the first design of the OKO vase. Since then, the family of ceramic, hand-painted items such as vases, fruit bowls, and plates has been growing. Ceramic works by Konopacka can be found in many private collections as well as in the design collection of the National Museum in Cracow. Her works can be viewed on exhibitions in Poland and abroad every year.

34

TOTEM STUDIO WARSAW

10

TOTEM KOKAKOLOR, nr 2/23 MEASUREMENTS w. 29,1 cm / ø 11,5 cm MATERIAL beech wood handpainted through the acrylic technique, colours: green, black, pink, orange ESTIMATION 1 000 – 2 000 pln

KOKA SKOWROŃSKA

35

Totems from the Totem Studio Warsaw collection are sculptural objects for interior design, which are centred upon the idea of admiring the geometric balance of solids. The harmonic design based on elaborate proportions constitutes the main feature of the wooden home sculpture of a Totem. Limited colour editions are created in quantities of up to 23 pieces in a series. Every object has a spot at the base for writing a personal sentiment – in the case of this object, related to the notion of freedom. This takes the Totem as an object beyond its aesthetic function, making it a medium for an individually chosen message. The present Totem with an hourglass design is made of beech wood.

Skowrońska is a visual artist and founder of the Totem Studio Warsaw (2020), born in 1988. She created the notion of Totems taking the form of in-house sculptures with a particular sentiment. Moreover, she promotes the idea of toteming, i.e., building vertical compositions of objects we use every day. In her work, she explores the subjects of relationships between items, focusing on interplay, form, and colour.

She used to manage the SHOOTME Visual Artists, she worked with the Polish Comics Society and was active in the creative field. She graduated from Arts Education at the University of Warsaw and cofounded a boutique photography studio Wunderkamera.

36

MARCIN RUSAK

Tephra Sculpture 04 MEASUREMENTS 33 × 45 × 27 cm MATERIAL selected and processed flowers, burlap fabric, steel wire, zinc

11

Tephra is a series of objects created from hand-picked and handprocessed flowers placed on sculptural forms made of metal and jute. Every structure is then metalized using the thermo-coating technique, which covers the object in a thin coat of melted metal.

The sculptures made in this multi-stage process look like rock fragments covered in volcanic dust, which is reflected in the design name.

ESTIMATION 15 000 – 25 000 pln

MARCIN RUSAK

37

Marcin Rusak, a multidisciplinary artist and designer, was born in 1987 in Warsaw. He pays special attention to the creation of a narrative, while remaining focused on the process, as he creates objects and installations around the elements of reality which are oftentimes overlooked – the subtle, unapparent ones – and he sheds a new, surprising light on them.

In his works, as a descendant of flower growers, he explores nature in the perspective of cultural, economic, and environmental changes caused by humans. He displayed his works at solo exhibitions during such events as BIO 27 Design Biennale in Slovenia, and in galleries including the Carpenters Workshop Gallery in Paris, the Ordet in Milan, the Twenty First Gallery in New York, and in the Horta Museum in Brussels. The objects created by Rusak have also appeared on collective exhibitions at the Hauser & Wirth Gallery in Somerset and London, Museum für Gestaltung in Zürich, and at the William Morris Gallery in London. He received the EDIDA Young Designer of the Year award in 2022 and he regularly appears on the AD100 list in the Architectural Digest.

38

TOMEK RYGALIK, STUDIO RYGALIK

The LONG BRIDGE table

12

MEASUREMENTS The Long Bridge table was created with sustainability in mind.

103 × 402 × 74 cm It was made using the technologically advanced infrastructure of the DesignNature campus. The symbolic name of the MATERIAL table refers to the distance, which we have left to cross, and aluminium which may seem uncrossable. The table is a combination of a tabletop made entirely out of recycled polypropylene and of ESTIMATION an anodised aluminium structure. Within the creative dialogue 60 000 – 80 000 pln between the handiwork and the state-of-the-art technologies, crafting qualities were in this case combined with the world of possibilities provided by advanced technologies.

TOMEK RYGALIK, STUDIO RYGALIK

39

Designer, founder of Studio Rygalik, working on architecture and products for leading companies and international brands such as Cappellini, Comforty, Moroso, Miloni, Nobonobo, Noti, Ghidini, Paged, Profim, Siemens, Heineken and Ikea. Teacher of the next generation of designers, with openness, extensive experience and a Ph.D., professor at Aalto University. Founder of the furniture and accessories brand TRE Product. Co-founder of the interdisciplinary DesignNature community and its creative campus in Sobole.

40

JAN LUTYK

Ribbon

13

MEASUREMENTS Ribbon is an innovative approach to a traditional material, i.e., 46 × 35 × 35 cm plywood, based on bending it in three directions. Its organic form derives from the way the material behaves – the veneers MATERIAL follow the natural order of wood fibres. The object looks as if it oiled beech plywood was made of a single “ribbon” of plywood, although the material was actually split in the production process. Each leg is a single ESTIMATION pressed module, three of which make up one stool. The profiles 1 500 – 2 500 pln aim to create convex shapes, rather than flat structures typical of plywood products, which allows for rigidity to be achieved while we use less material. The wood used for the object is local beech.

Awards: Red Dot Design Award, DMY Festival Berlin, Make Me Łódź Design, Bayerisher Staatspreis. The object is on display in: the National Museum in Warsaw, the National Museum in Cracow, the National Museum of Decorative Art and Design in Trondheim.

JAN LUTYK

41

Jan Lutyk is a designer and a graduate of Industrial Design at the Academy of Fine Arts in Warsaw. He received numerous awards, including the Red Dot Design Award, the Make Me! award, and the DMY award in Berlin. Lutyk was also granted a BMW Art-Transformy scholarship. He gained professional experience in Stefan Diez’s office in Munich and in Tomek Rygalik’s office in Warsaw. For several years he collaborated with a design studio Dys.studio. The artist currently runs a workshop and a bicycle brand, True Love Cycles. He also makes sculptures and unusual objects for artists and galleries.

42

MAREK BIMER

No title needed

14

MEASUREMENTS The sculpture comes from an earlier period of Bimer’s work, during 44,5 × 18 × 11,5 cm which he enclosed various objects, mainly rubbish, in large epoxy resin blocks. It is the artist’s ironic response to the scandals MATERIAL involving representatives of the Catholic Church. resin, wire, old hammer handle ESTIMATION 4 000 – 6 000 pln

MAREK BIMER

43

Marek Bimer, a sculptor, graphic designer, drawing artist, and a designer of interiors and objects, was born in 1962. In 1989, he graduated from the Faculty of Graphic Design at the Academy of Fine Arts in Warsaw, where he studied in professor Halina Chrostowska’s studio. He participated in numerous exhibitions and competitions in Poland and abroad. He is considered to be one of the most important living and actively creating Polish sculptors. Bimer grew up in the Warsaw Old Town, in an old studio of Alina Szapocznikow and Roman Cieślewicz, which was taken over by his parents – his mother, Zofia Wolska and his step-father, Tadeusz Łodzian, who was also a remarkable Polish sculptor.

44

OSKAR ZIĘTA

BOLIDE

15

MEASUREMENTS BOLIDE is a unique mirror object and a sculpture. The dynamic 80 × 20 × 10 cm form of a streamlined longboard symbolises movement, and adds a futuristic dimension to the concept of transport. Its functional MATERIAL form serves as a starting point for a purely decorative purpose. inox BOLIDE may be hung or leaned against the wall, where it opens the story of the power of light reflections on the polished steel ESTIMATION surface. Its minimalistic and pure form makes BOLIDE perfect for 6 000 – 8 000 pln modern interiors with dynamic contexts.

OSKAR ZIĘTA

45

Oskar Zięta is a designer and an architect who created one of the most innovative technologies of steel processing, i.e., FIDU (Freie Innendruck Umformung – internal pressure forming), which received numerous awards, including the Red Dot Design Award 2008, Schweizer Design Preis 2008, the German Design Council Award 2009 and the Audi Mentor Prize 2011. His Plopp stool (“Polish Air-Pumped Folk Object”) is a part of the Centre Pompidou collection in Paris, as one of twelve chairs which changed the modern design. He runs design and research studios Zieta Prozessdesign in Zürich and in Wrocław. His projects have been displayed in Cardi Black Box Gallery in Milan, Stilwerk Limited Editions Gallery in Hamburg, Pinakothek der Moderne in Munich, Museum für Gestaltung in Zürich and in Badisches Landmuseum in Karlsruhe. He received many awards, including Materialica 2009, Dobry wzór 2009, DMY 2008 for the innovation of the production process 2008 and YDMI 2008. Zięta was also granted a scholarship at the Technology Institute of the ETH in Zürich.

46

ŚWIERGOLIA STUDIO

NIUNIA 2

16

MEASUREMENTS The second vase in the NIUNIE series. It is a ceramic object made 40 × 21 × 60 cm of clay and covered in a chalk drawing characteristic of the artist.

A common element of all objects in this series is the exclusion MATERIAL of the grinding phase, which is the main process of treatment in clay, pigmented chalk, ceramics, allowing to achieve a special texture. The works in this transparent glaze series explore the limits of what a vase can be. The artist used her personal sensibility to modify the inspiration coming from the ESTIMATION traditional understanding of the form. Clay can take and transfer 1 000 – 2 000 pln emotions, and when the NIUNIE are being created, they receive care and joy.

ŚWIERGOLIA STUDIO

47

The artist was born in 1997 in Warsaw. She paints, works with clay, and paper made from plant fibres. In her artistic explorations she follows intuition and naturalness, searching for her own place at the intersection of attention to detail characteristic of craftmanship and the free joy of making things with her own hands. Since 2023, she runs the Świergolia Studio in Mokotów in Warsaw, where ceramic objects are made to brighten everyday lives of the studio’s customers.

48

OLA MIRECKA

People on Greek Vases

17

MEASUREMENTS Inspired by ancient Greek vases, Ola creates playful illustrations 31 × 30 × 25 cm / of daily life in the 21st century on vases she makes by hand. ø 80 cm Inspired by how the ancient Greek ceramics give us a glimpse into the ancient world, Ola pictures stories of ordinary people of the MATERIAL modern world, using vases as her canvas. Moreover, seeing how terracotta, Greeks left their mark on history through ceramics, Ola hopes underglaze, that her works will become a time capsule of sorts, offering an transparent glaze illustrated guide for future generations, allowing them to discover the details of our contemporary culture.

ESTIMATION 3 000 – 5 000 pln

OLA MIRECKA

49

Ola Mirecka is a Polish designer who currently lives and creates in Denmark. She graduated from the Academy of Fine Arts in Warsaw and from the Royal College of Art in London. Her studio designs various objects and experiences, often combining traditional craft with modern technologies. For nearly 10 years Ola has been designing products for the LEGO group. She also is a judge in the LEGO Masters Polska TV show. In her approach to design, she explores the role of play as a tool for innovation and solving problems in the adult world. Her work has been awarded and exhibited internationally, as well as featured in numerous magazines and books.

50

P55 MIRRORS

Set of UA mirrors ESTIMATION 1 000 – 2 000 pln

18

The set includes two round silver mirrors made using the artisanal silver pouring technique. The irregular mirror surface, with naturally derived grey colours at the delicate edges, is enclosed within a geometric, regular shape of the mirror’s form. The circles of differing diameters, with two different colour accents (light blue and yellow), were designed as one, dynamic composition of two elements which complement each other. The free, effortless colour accents and mirror pourings offer an interesting contrast to the geometric shape of the mirrors.

MEASUREMENTS MATERIAL ø 30 × 2,2 cm silvering solution, acrylic paint, Planibel Dark Blue glass manufactured

by AGC Glass Europe, blue, 4 mm thick, black MDF board, moistureproof (with a diameter smaller by 10 cm than the diameter of the mirror, the edge of the board is extended by 5 cm as compared to the edge of the mirror), hanger embedded in the board ø 20 × 2,2 cm

silvering solution, acrylic paint, 4 mm thick Pilkington Optiwhite™ glass, black, moisture-proof tinted MDF board (with a diameter smaller by 10 cm than the diameter of the mirror, the edge of the board is extended by 5 cm as compared to the edge of the mirror), hanger embedded in the board

P55 MIRRORS

P55 MIRRORS is an original mirror studio managed by Beata Ludwin and Łukasz Wołek in Toruń. Their collaboration is based on a variety of experiences in the field of visual arts. They both studied at the faculty of Fine Arts at the Academy of Fine Arts in Toruń. Beata majored in conservation and restoration of works of art, while Łukasz majored in sculpture in professor Maciej Szańkowski’s studio. What is more, they both are members of the NÓW. Nowe Rzemiosło Association. Mirrors by P55 MIRRORS are created using traditional gilding techniques, which include silver pouring and gilding the glass with gold fakes. Individual approach to every mirror makes all of them unique.

51

52

OLGA MILCZYŃSKA

Vase 1, 2018

19

MEASUREMENTS The vases are a part of the Unlikely Movements series. Their 31,5 × 17 × 17 cm irregular shape mimics the properties of matter they were made from, which may also be associated with unexpected movements MATERIAL inside the planet Earth. Thanks to her experience, the artist stoneware, englobed shapes the object freely, making the bulges on the stoneware and glazed multiple vases unique. The colours of the entire series, including dark times shades of navy blue, light blue, various tones of green, as well as different shades of grey and pink, are also unique. Each vase is ESTIMATION first covered in a colourful englobe, followed by several coats of 1 500 – 2 500 pln glaze, which add more depth and glow to the objects. As the coats permeate one another, the glow gently turns into matt. The lack of homogeneity and the multi-layering can be appreciated upon deeper contemplation of the object.

OLGA MILCZYŃSKA

53

Olga Milczyńska is a ceramist, an artist and a craftswoman. She taught ceramics at the School of Form. Milczyńska graduated from the Ceramics Faculty at The Royal Danish Academy of Fine Arts, and from the Academy of Fine Arts in Poznań. She gained practical knowledge by working in ceramics studios in Great Britain, France, Denmark, and North Korea. Being involved in supporting of the disappearing craft of Polish country pottery, she co-created several projects with the Pottery Centre in Medynia Głogowska. Milczyńska is the co-founder and director of the Nów. Nowe Rzemiosło Association. As an artist, she took part in many exhibitions in Poland and abroad, including the Ceramics Biennale in Indonesia.

54

OLGA MILCZYŃSKA

Vase 2, 2021

20

MEASUREMENTS The vases are a part of the Unlikely Movements series. Their 23,5 × 16 × 16 cm irregular shape mimics the properties of matter they were made from, which may also be associated with unexpected movements MATERIAL inside the planet Earth. Thanks to her experience, the artist stoneware glazed on shapes the object freely, making the bulges on the stoneware the inside, englobed vases unique. The colours of the entire series, including dark on the outside shades of navy blue, light blue, various tones of green, as well as different shades of grey and pink, are also unique. Each vase is ESTIMATION first covered in a colourful englobe, followed by several coats of 1 500 – 2 500 pln glaze, which add more depth and glow to the objects. As the coats permeate one another, the glow gently turns into matt. The lack of homogeneity and the multi-layering can be appreciated upon deeper contemplation of the object.

OLGA MILCZYŃSKA

55

Olga Milczyńska is a ceramist, an artist and a craftswoman. She taught ceramics at the School of Form. Milczyńska graduated from the Ceramics Faculty at The Royal Danish Academy of Fine Arts, and from the Academy of Fine Arts in Poznań. She gained practical knowledge by working in ceramics studios in Great Britain, France, Denmark, and North Korea. Being involved in supporting of the disappearing craft of Polish country pottery, she co-created several projects with the Pottery Centre in Medynia Głogowska. Milczyńska is the co-founder and director of the Nów. Nowe Rzemiosło Association. As an artist, she took part in many exhibitions in Poland and abroad, including the Ceramics Biennale in Indonesia.

56

ALEKSANDRA ZAWISTOWSKA

Vase

21

MEASUREMENTS The hand-made blown glass vase was created by Aleksandra w. 23 cm Zawistowska and her team at the glass factory by the Nationaal Glasmuseum in Leerdam in the Netherlands. The organic form MATERIAL of the vase owes its shape to the manufacturing process, during made of Swedish which natural materials such as stone, wood and bricks, are used.

Glasma 705 glass Aleksandra deliberately avoids using casts and forms prepared in advance, to make every object unique and impossible to recreate. Her ESTIMATION glass is made in small series. The production of a single item takes 1 500 – 2 500 pln around five days. The vase is 23-centimetres high and is made of Swedish Glasma 705 glass. It has the artist’s signature at the base.

ALEKSANDRA ZAWISTOWSKA

57

Aleksandra Zawistowska is an artist and designer active in many fields and techniques, as well as the founder of Szkło Studio. In her work, she combines her love for raw, natural materials with the element of spontaneity. Zawistowska started working with glass at the university in Amsterdam, from which she graduated in 2022. She is a graduate of the Faculty of Architecture at the Warsaw University of Technology and of the Studio for Immediate Spaces at Sandberg Institute. She also received the UrbanGlass scholarship in New York. What is more, Zawistowska received a New Talent 2023 award from OBJECT Rotterdam. She was a finalist of the Kunszt: More Light programme of the Starak Family Foundation. Her works have been on display in such places as the Museum of Warsaw, Het Nieuwe Instituut, Dutch National Opera, Tbilisi Architecture Biennial, and the Nilufar Gallery. In 2024, she will participate in The Arctic Circle Expedition programme and will be a resident at the Baltic Gallery of Contemporary Art.

58

PARADOWSKI STUDIO

Spheres Vase

22

MEASUREMENTS The Spheres Vase is made of blown glass as designed by Zuza 32 × 14 cm Paradowska and Piotr Paradowski. The design was first created in 2021 as a part of a collection going back to Polish traditions of MATERIAL artistic glass. It quickly became a bestseller of DOM, sent out to glass places all around the world. It takes several hours to make the vase and it requires a high skill level. Each sphere is glued to the vase ESTIMATION by hand, which makes the vase unique. The process of making the 700 – 1 500 pln object is demanding and it combines artistry, focus and physical strength.

PARADOWSKI STUDIO

59

Zuza Paradowska and Piotr Paradowski are co-founders and owners of the Paradowski Studio design office, and of the DOM initiative.

Zuza studied Design at the University of Arts in London and at the Royal Academy of Arts in Antwerp. She started her design journey in Raf Simons’ and Alexander McQueen’s studios. Piotr graduated from Architecture at the Cracow University of Technology and continued to develop his skills in renowned design offices in Hong Kong and Paris.

60

TARTARUGA STUDIO

Flora Kilim

23

MEASUREMENTS The Flora kilim was made for the Progress Does Not Exist 100 × 70 cm exhibition, which comprised works of the members of NÓW. Nowe Rzemiosło Association and was displayed at the Łódź Design MATERIAL Festival in 2020. The textile was made using a traditional kilim cotton warp, woollen technique on a floor loom – the construction and mechanism yarn hand-dyed using of operation of it has not changed in hundreds of years. The natural dyes material used for the kilim was mainly raw sheep wool, dyed using natural dyes: tansies, goldenrods, birch leaves, nuts, as ESTIMATION well as spruce and alder cones. The wool was then stained in 2 000 – 3 000 pln an alum solution. The dying bath was an experiment, in which the designers used various chemicals: iron sulphate, vinegar and sodium bicarbonate. The Flora kilim is a unique textile – its pattern will never be recreated.

TARTARUGA STUDIO

61

Tartaruga is an original weaving studio founded by Jadzia Lenart and Wiktoria Podolec in 2017 in Łódź. The designers purposefully oppose the mass production of textiles and its detrimental effects. All of their products are hand-made, using traditional tools and techniques.

Tartaruga studio creates modern kilims, rugs, and textiles. Tartaruga means “a turtle”. It’s a slow, yet a long-lived and unique creature.

Tartaruga’s textiles could be described with the same words. Jadzia and Wiktoria are also co-founders of the NÓW. Nowe Rzemiosło Association, which unites contemporary craftspeople from Poland.

62

UAU PROJECT

Untitled

24

MEASUREMENTS The vase was printed using the 3D print technology. The decorative 40 × 15 cm external part is made of a fully biodegradable thermoplastic material from renewable sources. The glass on the inside allows for effortless MATERIAL maintenance of the vase. plant-based bioplastic ESTIMATION 3 000 – 5 000 pln

UAU PROJECT

63

UAU is a multidisciplinary design studio from Warsaw, started by Justyna Fałdzińska and Miłosz Dąbrowski – graduates of Industrial Design at the Academy of Fine Arts in Warsaw and Escola Superior de Artes e Design in Porto. Together, they experiment with 3D printing in the field of usable objects – it is the most environmentally responsible way of creating good designs, which is at the same time the widely accessible for users. In caring for the environment, they use biodegradable or highly recyclable materials of high-quality.

64

ZAKWAS STUDIO

Sunset Vase MEASUREMENTS w. 33 cm, ø upper 12 cm, ø lower 15 cm MATERIAL original clay composition, spray-glazed

25

The “Sunset” Vase was formed on the potter’s wheel. It is made of an original clay composition prepared by the Zakwas Studio. The unique ornamentation of the vase is the result of many trials and experiments – a mix of glazes and englobes made from an original recipe creates an illusion of fluffiness on the surface. It is still a durable, rigid shell which may be touched and cleaned with water.

The colour gradient and colour combination used on the vase were inspired by the sky at sunset.

ESTIMATION 500 – 800 pln

ZAKWAS STUDIO

65

Zakwas Studio is a project realised by the Spółdzielnia Socjalna Zakwas, founded in 2018 by two designers: Dominika Kuczyńska and Mateusz Peringer. Zakwas is a ceramics and design studio as well as sewing centre. It creates individual and business designs, textiles and restaurant dinner services. The studio also focuses on educational activities in the field of environmental education, as well as on activation and reintegration of people at risk of professional exclusion.

66

ANNA MILCZANOWSKA

Moon Vase

26

MEASUREMENTS A spherical, hand-made object, polished with stone. Its surface is w. 24 cm / ø 23 cm smooth, slightly shimmering, pleasant to touch. Fired following an archaeological method. The production process of NULA ceramics MATERIAL is a ritual, which refers back to the old techniques of treating and grod clay, unglazed firing clay, as well as to the task of maintaining fire, associated with femininity. The artist forms objects by meticulously mounting rolls – in ESTIMATION a way that was used long before the invention of the potter’s wheel.

5 000 – 8 000 pln Dishes made of raw clay are fired in a pit dug by hand in the ground.

Next, they are submerged in ash and embers, where they slowly cool down. The process of formation takes several days, and firing takes over 16 hours. In this way, unique ceramic objects which combine sculpture and applied arts are created. Coming to terms with the fact that she cannot control the elements, being present during the firing process, leaving the final outcome of her work in the hands of nature – these aspects are all important for the artist’s work.

ANNA MILCZANOWSKA

67

Anna Milczanowska is the founder of the NULA brand. She mainly works with ceramic sculpting and artistic fabrics. Milczanowska is the concept creator of a series of exhibitions, social campaigns, and articles about modern art and literature. What is more, she received a scholarship from the Ministry of Science and Higher Education. The artist learned ceramics in Żaneta Christow-Jezierska’s and Justyna SkowyrskaGórska’s studios, and explored artistic fabrics under the supervision of Jagoda Krajewska. She runs her own studio in Saska Kępa in Warsaw, and works with architects and interior photographers. Her works can be found in collections in Poland and in Great Britain.

68

ALICJA PATANOWSKA

Plateau

27

MEASUREMENTS In this case, the line between a usable and an abstract object is purely 20 × 60 cm conventional. The horizon is determined by the imagination. Vivid colours are an outside, symbolic representation of a feeling body, flows, MATERIAL intuition, and mimetic knowledge – the knowledge coming from the potter’s wheel, body, which accompanies the process of sculpting. airbrush, fired at 1250 degrees ESTIMATION 3 000 – 5 000 pln

ALICJA PATANOWSKA

69

Alicja Patanowska studied at the faculty of Ceramics and Glass of the Eugeniusz Geppert Academy of Fine Arts and Design, and at the Royal College in London. In 2008, she was awarded a grant to study at the Istituto Superiore per le Industrie Artistiche in Faenza. In 2014, she received the Charlotte Frazer Award from the Royal College of Art. Her solo exhibitions have taken place in the Ceramics Centre in Bolesławiec and at the BWA Awangarda Gallery in Wrocław. Patanowska’s widely acclaimed master’s thesis titled “Plantation” comprised a series of plant pots, in which both the plants and their roots are visible. She achieved it by placing small, porcelain dishes on top of beer glasses left outside pubs in London. Patanowska specialises in porcelain items: she creates objects which bring back childhood memories or refer to tradition.

70

TRZASK CERAMICS

Pair of fireplace dogs

28

SINGLE PIECE The pair of fireplace dogs was inspired by English pieces from MEASUREMENTS Staffordshire. The dogs by Trzask are a modern interpretation of this 19 × 5 × 23 cm motif – each pair has a distinct, hand-painted pattern. The series is limited to 50 pairs. Every piece is numbered at the base.

MATERIAL porcelain slip casting, underglaze paint ESTIMATION 500 – 800 pln

TRZASK CERAMICS

71

Marta Kachniarz was born in 1992. She studied Media Art and Graphic Design at the Academy of Fine Arts in Warsaw. Since 2017, she runs her own studio – Trzask Ceramics. She designs and makes products of everyday use, sculpts objects on the potter’s wheel, and paints. She also makes use of her experience in illustration, and incorporates vivid colours in her works.

72

IZABELA WILK

Swan, 2023

29

MEASUREMENTS The plate is made of paste, with clay fired at 1240 degrees, which makes ø 27 cm it very durable and waterproof. As a painting on a ceramic plate, it is made for decorative purposes, to be hung on the wall. It was hand-made MATERIAL by the designer, and painted using the under-glaze method. The plate hand-painted represents the longing and love for various beings of this world. People stoneware have been portrayed next to animals and plants for many years in Wilk’s works – just like swans, which are an important symbol recurring in the ESTIMATION artist’s work. On the one hand, a swan is a cheesy symbol of romantic 1 000 – 1 800 pln love in the consumer culture, which occurs in many forms, including birds made of tires or folded towels in hotel rooms. In this sense, the swan’s majesty and animal dignity are reduced to kitsch. However, on the other hand, swans have a strong personality and they don’t like anyone getting in their way.

IZABELA WILK

73

Izabela Wilk, aka Devils Claws, was born in 1990 in Lublin. She graduated from the University of Westminster in London in 2011 with a bachelor’s degree. She specialises in illustration. She has been placing her drawings and paintings on ceramic pieces for six years now. Her illustrations reflect her life, gratitude, sadness, and anger. They pay homage to craftmanship and folk art. The author takes inspiration from fables, music, literature and living with goats in the countryside.

74

LEXAVALA

Aime Wall Lamp

30

MEASUREMENTS Made from recycled aluminium and glass, the Aime Wall Lamp 16,5 × 17 × 20 cm is reminiscent of a meteor in its form. Because of a hand-made casting, the lamp takes a different shape every time, making the MATERIAL present lamp is unique. glass ESTIMATION 1 000 – 1 500 pln

LEXAVALA

75

Lexavala is a Polish brand established in Nowy Sącz in 2018 by Jakub Szaradek. So far, six designs of lamps made of a variety of materials have appeared in the company’s catalogue, all of which are popular with architects and designers. Every lamp was designed by Jakub. They are manufactured by hand in a small workshop. The Misalliance lamp remains a flagship product of the company. It is used in many major projects in Poland and abroad. Lexavala’s designs are technical in form but unapparent in terms of aesthetics. The company’s core ideas are: concept, perfect execution and state-of-the-art solutions.

76

ZOFIA STRUMIŁŁO STUDIO

“Cave Nebula” Wall Lamp

31

MEASUREMENTS A reflector is usually an industrially processed material. In Zofia 50 × 20 × 25 cm Strumiłło’s wall lamp it takes the form of an organic structure, which transports us into the distant world of organic caves, and matter from MATERIAL other galaxies. It gives us a taste of an undiscovered world. The artist is paper pulp, fascinated by such unfulfillment. polyurethane foam ESTIMATION 2 000 – 3 000 pln

ZOFIA STRUMIŁŁO STUDIO

77

Zofia Strumiłło is an interior designer who graduated from the Academy of Fine Arts in Warsaw. For 10 years, starting in 2011, she co-created the Beza Projekt studio. Not only have her works been granted international awards, but they can also be viewed at the permanent exhibition in the Polish Design Gallery of the National Museum in Warsaw. She has designed for such brands as IKEA, ACRA / Du Pont, Bausch & Lomb, and Vox, Mdd.

78

MARZENA KRZEMIŃSKA-BALUCH

Folded Artefacts

32

MEASUREMENTS “Folded Artefacts” is a project created to use the artist’s unfinished, 30 × 40 × 20 cm imperfect works of art. Rather than put them away, the artist wanted to give them a distinct character, and decided to use a new method of MATERIAL expression that would convey the mood, atmosphere and shape of the blown glass, landscapes she remembered from her travels. Thus, in the process hot forming of hot forming glass, unique objects were created. Not only do they uncover the subtleties of the remembered places and events, but they ESTIMATION also encourage reflection and contemplation of their details.

800 – 1 500 pln

MARZENA KRZEMIŃSKABALUCH

79

Marzena Krzemińska-Baluch was born in 1980 in Wrocław. She works in a diploma-granting Art Glass Workshop ran by professor Małgorzata Dajewska, as well as at the Eugeniusz Geppert Academy of Fine Arts in Wrocław, where she is the Internationalisation Commissioner, and the dean of the Faculty of Ceramics and Glass.

She has taken part in numerous collective and solo exhibitions in Poland and abroad. Her works can be found in such institutions as the Glass Museum Alter Hof Hertig in Germany, Museum Jan van der Togt in the Netherlands, M. Glick Glass Centre in the U.S., Rakusuitei Art Museum in Japan, and the European Museum for Modern Glass in Germany.

80

JAN KOCHAŃSKI

„O” and „P” candle holder set with the „S” tray from the HOT collection MEASUREMENTS „O” candle holder: w. 4 cm / ø 9,7 cm „P” candle holder: 13 × 10 × 4. cm tray „S”: 27 × 18 × 4 cm

33

Hot is a new project which comes from the passion for creating and manufacturing. The collection will be created by means of exploring various manufacturing techniques and searching for pleasant subjectivity in objects. The first family of objects comprises of two candle holders – “O” and “P”, as well as the “S” tray, which was made using 3d wood milling. All objects are signed and numbered.

MATERIAL CNC milled ash wood, finished by hand, oiled ESTIMATION 500 – 800 pln

JAN KOCHAŃSKI

81

Born in 1985, Jan Kochański grew up in a family of designers. He studied Interior Design at the Academy of Fine Arts in Warsaw and at Politecnico di Milano. When he worked in design studios in Warsaw and Amsterdam, he gained experience in working with industry and top brands. During his time in Karim Rashid’s studio, he developed his designing skills, as well as his understanding of the processes connected to launching new products. Since 2013, Jan runs his own design studio in Warsaw. His design process is inextricably linked to prototype building, using state-of-the-art computer techniques. His designs have been awarded in many competitions. In 2014, Jan was awarded the Wallpaper* Design Award.

82

STUDIO SPECULO

Float Mirror

34

MEASUREMENTS Float mirrors are hand-made following a traditional method of pouring ø 80 cm × 4mm silver onto glass. The method dates back to the early 19th century.

Mirrors are made by hand, which is very rare in Poland. However, this MATERIAL is a fresh take on the traditional method. The deposition is performed optiwhite glass, wet in an unconventional way, which questions the mirror’s shape, although deposition of silver, the clear mirror serves its main purpose and reflects its surroundings water-based varnish, very well. Each piece is unique. Float is a mirror which can be treated metal hanger as a decorative element for interiors, or can simply serve as a hall mirror. Thanks to an original hanger, the mirror may be hung at any ESTIMATION angle, and its position may be adjusted to the user’s preferences.

1 500 – 2 500 pln

STUDIO SPECULO

83

The Studio was established in 2021 by Filip Bielicki and Wiktoria Bielicka.

They both graduated from Industrial Design at the School of Form in Poznań. Filip is also a graduate of the Master in Robotics and Advanced Construction course at the IAAC in Barcelona. The idea of creating designed objects first appeared when they both made an attempt to recreate an old craft method of silvering glass, i.e., making mirrors. Now, they are working on combining new technologies with their craft. Their passion for creating things using new technologies and possibilities of today’s world is all about making their little-big dream come true – namely purchasing a KUKA robotic arm, for which the studio has already got some crazy plans. In its approach to design and to the production process, the Studio focuses on four aspects: a timeless design which will be passed down in the family, new technologies, craft, and the experimental nature of the projects.

84

STUDIO SPECULO

FL-amy 3.4: candle holder

35

MEASUREMENTS FL-amy 3.4 candle holder is a cast object made from aluminium 18 × 10 × 14,5 cm scrap subjected to high quality manual grinding and polishing done by Polish craftspeople. It is a refinement of something that MATERIAL had already been written off, while its form is a deconstruction of aluminium classic, ornamental candelabra. Stripped of adornments, stones, and ornaments, the candle holder becomes a primal form, as if it was ESTIMATION melted. By clearly reflecting its surroundings and light, it will add 1 000 – 2 000 pln brilliance to your meetings at the table.

STUDIO SPECULO

85

The Studio was established in 2021 by Filip Bielicki and Wiktoria Bielicka.

They both graduated from Industrial Design at the School of Form in Poznań. Filip is also a graduate of the Master in Robotics and Advanced Construction course at the IAAC in Barcelona. The idea of creating designed objects first appeared when they both made an attempt to recreate an old craft method of silvering glass, i.e., making mirrors. Now, they are working on combining new technologies with their craft. Their passion for creating things using new technologies and possibilities of today’s world is all about making their little-big dream come true – namely purchasing a KUKA robotic arm, for which the studio has already got some crazy plans. In its approach to design and to the production process, the Studio focuses on four aspects: a timeless design which will be passed down in the family, new technologies, craft, and the experimental nature of the projects.

86

GRYNASZ STUDIO

Miodownik

36

MEASUREMENTS The honey spoon from ZACZYN was inspired by the architecture of 20 × 4 cm a honeycomb. Its form allows for portioning honey without unnecessary drops. It may also be used to scoop up crystalised honey, thanks to MATERIAL the manufacturing technologies and the materials used for making the galvanic silver spoon. What is more, the spoon has germicidal properties thanks to coating, 999 silver, the silver coating. Miodownik was manufactured for ZACZYN at Hefra 20-micron plating – a factory with over 180 years of tradition – from materials of highquality and using a combination of traditional and state-of-the-art silver ESTIMATION plating technologies, which ensures attention to detail and safety in use.

200 – 300 pln

GRYNASZ STUDIO

87

Grynasz Studio was established in 2010 by Marta Niemywska-Grynasz and Dawid Grynasz. It works as a multidisciplinary team of designers specializing in furniture, product and supporting companies in building their industrial design strategies. The studio experiments with new materials and technologies, while still deriving inspiration from Polish craftsmanship and tradition. Grynasz studio received numerous design awards and is continuously present at Polish and international exhibitions, including the Milan Design Week, Maison Object, London Design Fair, Warsaw Home or Tokyo Design Week. Since 2016, Marta and Dawid run the Zaczyn brand. Objects they design in Zaczyn are already part of the National Museum collection in Warsaw. The studio works for recognized brands such as Bizzarto, Cosentino, MUJI, OKA Büromöbel, VOX, Devo and the National Theatre.

88

GRYNASZ STUDIO

CREMA Butter Dish MEASUREMENTS 8,2 × 14,3 × 8 cm pojemność: 100 g masła MATERIAL porcelain ESTIMATION 300 – 500 pln

GRYNASZ STUDIO

89

37

The porcelain butter dish CREMA is a fruit of collaboration between the ZACZYN brand and Monika Walecka, who is the owner of a famous artisan bakery in Warsaw, “Cała w Mące”. Their common love for bread, butter, and design, resulted in this unique design, which combines the beauty of the material with the tale of everyday rituals connected to the table and food. CREMA butter dish is made of high-quality porcelain from the Table Porcelain Factory Karolina, and it encourages the celebration of meals. Its shape is reminiscent of waves left on a slice of bread buttered with a wooden butter knife.

Grynasz Studio was established in 2010 by Marta Niemywska-Grynasz and Dawid Grynasz. It works as a multidisciplinary team of designers specializing in furniture, product and supporting companies in building their industrial design strategies. The studio experiments with new materials and technologies, while still deriving inspiration from Polish craftsmanship and tradition. Grynasz studio received numerous design awards and is continuously present at Polish and international exhibitions, including the Milan Design Week, Maison Object, London Design Fair, Warsaw Home or Tokyo Design Week. Since 2016, Marta and Dawid run the Zaczyn brand. Objects they design in Zaczyn are already part of the National Museum collection in Warsaw. The studio works for recognized brands such as Bizzarto, Cosentino, MUJI, OKA Büromöbel, VOX, Devo and the National Theatre.

90

GRYNASZ STUDIO

CZAJ tea and coffeepot MEASUREMENTS 14,5 × 21 cm pojemność: 800 ml MATERIAL porcelain

38

The CZAJ tea and coffeepot belongs to the CZAJ dish family used for preparing tea and coffee. It is made of porcelain of high-quality, produced for the ZACZYN brand by a manufacturer with over 160 years of tradition – the Table Porcelain Factory “Karolina”. The shape of the teapot is reminiscent of the Bauhaus or Le Combusier’s architectural details. The proposed aesthetics serve a certain purpose: the rim of the pot creates a “funnel”, so it can be easily filled with water. The special shape of the spout, on the other hand, ensures comfortable use.

ESTIMATION 300 – 500 pln

GRYNASZ STUDIO

91

Grynasz Studio was established in 2010 by Marta Niemywska-Grynasz and Dawid Grynasz. It works as a multidisciplinary team of designers specializing in furniture, product and supporting companies in building their industrial design strategies. The studio experiments with new materials and technologies, while still deriving inspiration from Polish craftsmanship and tradition. Grynasz studio received numerous design awards and is continuously present at Polish and international exhibitions, including the Milan Design Week, Maison Object, London Design Fair, Warsaw Home or Tokyo Design Week. Since 2016, Marta and Dawid run the Zaczyn brand. Objects they design in Zaczyn are already part of the National Museum collection in Warsaw. The studio works for recognized brands such as Bizzarto, Cosentino, MUJI, OKA Büromöbel, VOX, Devo and the National Theatre.

92

OLGA MICIŃSKA

“Franziska” 2020, from the “Guild” series

39

MEASUREMENTS The photograph is a part of the Guild series, which portrays women and 60 × 40 cm non-binary people working in technology and design of various sorts.

The eponymous Franziska takes measurements with a strange tool.

MATERIAL She has a “dryfta” – another imaginary object – which is a tiny piece print on archival of woven fabric, bearing all manner of distractions and denoting what paper, wooden frame escapes rationality and logic, but is unavoidable in the process of work.

ESTIMATION 6 000 – 9 000 pln

OLGA MICIŃSKA

93

Olga Micińska is a visual artist currently based in Amsterdam, who also works as a woodworker and a carpenter. She uses technological knowhow as the basis of her work, creating fictional narrations. In 2021, she founded The Building Institute – an experimental organization aiming to support women and non-binary people in their professional development in technology.

Regulations of the charity auction Section 1 1. The following regulations apply to a onetime auction organized on the 27th of November 2023 at the DESA Unicum Auction House located at Piękna 1A in Warsaw.

2. The auction is organized for charity.

Therefore, the entire income from the auction will be given to BRDA Foundation’s WINDOW Project.

3. The auction will be carried out by a representative of the DESA Unicum Auction House and a person invited by the BRDA Foundation.

Section 2 1 All objects have established estimates, and the Starting Price is the amount at which the auctioneer starts the bidding.

By convention, the starting price is between half and three-quarters of the lower limit of the estimate.

2. No additional fee will be added to the hammer price of each item.

3. No bid bonds are to be paid by the Participants before the auction.

4. Participation in the auction is voluntary.

94

Section 3 1. Participants may take part in the auction directly during the bidding process or via a representative provided by the Desa Unicum Auction House after submitting a telephone bidding request.

Customers who would like to bid over the phone should submit their request at least one day prior to the auction.

Desa Unicum employees will reach out to the customer before the bidding for selected objects starts. The Auction House will not be liable for the failure to participate in the auction due to any issues with calling the number provided by the client.

2. A bid is made when an auction participant or an Auction House employee bidding on a customer’s behalf confirms the price announced by the Auctioneer by raising the bidding paddle or raising a hand.

3. The bidding ends when the Auctioneer strikes the gavel, which also concludes the sales contract with the bidder who made the highest bid.

Section 4 1. Unless otherwise agreed, the buyer is obliged to pay the declared amount within 10 days from the auction day, regardless of obtaining an export license or any other permits. Payments must be paid in the Polish currency by cash (up to the equivalent of 10,000 EUR), card or bank transfer: a) DESA Unicum accepts MasterCard and Visa card payments. b) DESA Unicum accepts bank transfers to the following account: mBank S.A. 27 1140 2062 0000 2380 1100 1002, Swift: BREXPLPWWA3.

2. Please, provide the auction name and date, as well as the object name in the transfer title. Ownership of the purchased object shall be transferred to the Purchaser upon payment of the full purchase price to the bank account indicated above.

3. The Auction House issues VAT invoices for the purchased objects.

The purchased items may be collected immediately after the auction in the Desa Unicum Auction house located at Piękna 1A in Warsaw, open MondayFriday from 11.00 am to 7.00 p.m. and on Saturdays from 11.00 a.m. to 4.00 p.m.

INCREMENT TABLE The bidding opens with a starting price. The Auctioneer presides over the auction following the increment table. Depending on the course of auction, the auctioneer may decide on other increment amounts.

Price 0 – 2 000 2 000 – 3 000 3 000 – 5 000 5 000 – 10 000 10 000 – 20 000 20 000 – 30 000 30 000 – 50 000 50 000 – 100 000 100 000 – 300 000 300 000 – 700 000 700 000 – 1 500 000 1 500 000 – 3 000 000 3 000 000 – 8 000 000 over 8 000 000

95

Increment 100 200 200 / 500 / 800 (e.g. 3 200, 3 500, 3 800) 500 1 000 2 000 2 000 / 5 000 / 8 000 (e.g. 32 000, 35 000, 38 000) 5 000 10 000 20 000 50 000 100 000 200 000 at auctioneer’s discretion

96

97

Auction organisation BRDA Foundation Partner DESA Unicum Auction production Zofia Jaworowska, Magdalena Morawik Photos for the PR photoshoot Maciej Niemojewski Graphic design Nicola Cholewa PR photoshoot UKOS Studio Sponsorship Kielce Design Institute, National Institute for Architecture and Urban Planning Association of Polish Architects Media sponsorship Architektura & Biznes, Architecture Snob

→ www.fundacjabrda.org → instagram: @fundacjabrda