LodzDesign2011_EN_texts by chenmeixiu


One of the unchangeable human features is the need to subject the world to our demands and change it.
Technologies are developing and artificial intelligences are being produced. The world changes as a result
of our actions, but it also transforms against our will. Development of the industry and economy ruins the
environment, causes social changes, reformulates the way we live and our living conditions. What is more,
there are also natural disasters, whose results we can only try to prevent. During merely few generations,
the world that we had known for ages has changed a lot, and it will not stop changing. The society and
economy are transforming, and we are the perpetrators and victims of this process. The needs are
changing and so is the awareness. However, what remains stable regardless of other things is the need to
react to changes on every level, both mental, which is to solve problems, and emotional – to get
accustomed to these new feelings.

During the 5th Łódź Design Festival, we dedicate two exhibitions of the Main Programme to changes:
Redirection, prepared by Centrum Architektury from Warsaw, and NeoFarm, whose curators are Boaz
Cohen and Sayaka Yamamoto, the Israel-Japanese couple that work in Eindhoven in Holland. Many other
festival events will refer to this unchangeable and continuous phenomenon.

The Redirection exhibition will show us the changes in architecture – how this stiff, monumental field of
design, meant to last as long as possible, faces grass-roots initiatives? To what extent is it flexible and ready
to cope with overpopulation, resource crisis or environment devastation? To what extent is architecture
prone to experiments? Are the changes caused by architects, or are they a bottom-up phenomenon to
which the architects must react? A building, an urban complex, when it is handed over to the users, starts
to live its own life, more than any other work. The Redirection exhibition will not provide ready recipes and
answers, but it will show the directions in which to look for them. It will show how to look and read in
order to understand the nature of unavoidable changes with which architecture must and will have to

The NeoFarm exhibition refers to changes in the social structure. In spite of industrialization and migration
of a considerable part of the society to cities, we still long for rural life, craft made objects, natural
materials, etc. However, even if we go to the countryside, it is hard to find them. Nowadays, the level and
quality of life in the countryside do not differ from the life in the city, or at least they do not have to be
different. Villages are mechanized. The land is cultivated, and animals are ‘bred’ by computers, which are
operated by people, of course. Yet, computers, the Internet or access to knowledge and technology –
undoubtedly valuable and needed – have deprived the humankind of other values connected with rural
life. Unification and industrial repeatability are an unwanted side effect of the development. It is a change,
new and irreversible. However, designers fill this gap. Instead of suggesting artificially ‘natural’ objects,
they play with tradition and in this way they satisfy our emotional needs on the one hand and make light-
hearted and rather warm fun of them on the other hand. They balance on the verge of kitsch, joke,
pastiche, but their suggestions are quite serious. They encourage us to establish a new connection with
nature and simple life, and establish new conditions, favourable for both sides.

Change is a continuous process. But to notice it, you have to stop running. To understand it, you have to
stop for a longer time. The Main Programme of this year’s Łódź Design Festival invites us to slow down,
think, and ask again – where do we come from, who are we, where do we go?

                                Agnieszka Jacobson-Cielecka – Artistic Director of Łódź Design Festival 2011

Redirection. Change in architecture.
Architecture is experiencing a crisis.

The era of systems aiming to organise the entirety of human existence while providing ready architectural
formulas to improve lives – such as ‘machines for living’ or comprehensively planned cities – is over.
Explosive population growth has caused an unprecedented increase in architectural production. The
construction industry is rapidly undergoing a technological revolution. The pace of all these changes
intensifies the feeling of confusion. On the other hand, rigidity and resistance to modifications continue to
characterise architectural works, raising questions about their usability in a changing world. The design of
modern buildings and housing estates must take into account society’s new problems, like:
overpopulation, an approaching global resources crisis, deepening social differences as well as
environmental concerns.

Does contemporary architecture have an idea for itself and its future? There are spontaneous, bottom-up
ideas which indicate the industry’s future directions. Redirections are happening here and now. In fact,
these ideas, such as environmentally friendly living, experimental modes of education and work, prototype
systems for data calculation – dataism, or new forms of social participation in urban design, are all being
tested right now. While we do not know where these ideas will lead us, it is worth examining them as
attempts to avert a global crisis. There are no ready solutions and answers, but we do have some hints and
strategies to share.

                                                                              Curator: Centrum Architektury

Urban agriculture
It is estimated that by 2050, the Earth’s population will have grown by 3 billion. As much as 80 per cent of
the people will live in cities – currently, already about 50 percent do. In order to feed everyone, we will
need additional farmland with an area of Brazil and Libya combined. But where will we find these new
fields? How much more carbon dioxide emitted by trucks transporting spinach and lettuce to cities will our
atmosphere accommodate? One solution is growing vegetables in urban wastelands, on balconies, walls
and roofs. Urban agriculture is not going to solve the world’s food supply problem, but it will certainly help
local communities, while significantly changing the appearance of our cities.

Chicago Honey Co-op
The apiary is located in an abandoned parking lot in a Chicago neighbourhood that suffered major damage
during race riots in the 1960s. Since 2004, this co-op of beekeeper-volunteers has been working in
accordance with the principles of sustainable development to produce chemical-free honey and honey-
based cosmetics, while organising job training programs for local residents.

Edible Park
A public vegetable garden in The Hague, designed by the British artist Nils Norman. Situated in the centre
of this urban farm is a pavilion which is a place to rest, a storage space for tools, and an information point
for visitors. Around the pavilion, there are examples of eco-friendly gardening installations such as
a composting toilet and a willow water filter.

Urban Physic Garden
A temporary medicinal herb garden, with a cafe and a rich programme of cultural events, built out of
recycled materials by a group of volunteers on an abandoned site in south London. Open from 11 June to
15 August 2011.

Prinzessinnengarten in Berlin
An organic garden made up of moveable vegetable planting boxes. Located in Berlin/Kreuzberg, in an area
which had been an urban wasteland for more than half a century. The non-profit Nomadisch Grün
(Nomadic Green) organisation along with a group of enthusiasts, activists, friends, fans and neighbours
created the garden.

Design has responded to the challenges of sustainable development – transforming useless objects into
new by giving them a new function or appearance, utilizing waste to produce new materials and using
recycled packing paper are all standard solutions by now. Meanwhile, architecture is just beginning serious
experiments with eco-aesthetics. Specialist technologies of producing PV cells, heat pumps, and advanced
ecological materials are one thing. The other one is a return to traditional, tested and proven methods, and
making use of wastes in construction. We have gotten used to travertine facades, but what if we have to
use plywood instead? In the most developed countries, a new trend has appeared – post-abundance.
According to this new vision, old buildings are renovated only to the extent that it is really necessary, old
appliances are thrown away only when they really stop functioning. Why demolish an old railroad station,
when it is enough to clean it? Do we really need to remove tiles in a newly-purchased flat, just to put new
ones in? Why tear-up old floors, when you can paint them? By asking such questions and changing our
behaviour, we are acting out of care for the environment. After all, we cannot expect architecture to
continuously transform, improve, and modernize our surroundings.

Recycled Paper Building PHZ2
A building made out of waste paper, designed as a mobile workspace by German studio Dratz & Dratz
Architekten, and built in 2008. Pressed into blocks, supermarket carton boxes (also made from recycled
paper), turned out to be a cheap and solid material for (so far) temporary architecture.

Freitag Flagship Store
A store for Freitag, a producer of bags made of used tyre tubes and seatbelts. It is located in Zurich, in
a transportable structure made up of 17 containers, with a rooftop viewing platform. Design: Annette
Spillmann, Harald Echsle.

The design process is based on analysing data: needs, capabilities, desires, and strictly quantifiable
parameters. In dataism, this last factor is crucial. Parameters and data are not just some of the factors -
they constitute the core, and are both the starting and ending points. Thanks to this approach, in times
requiring quick and rational design decisions, the role of the architect’s ego has been limited. Dataists aim
toward ‘growing’ architecture, practicing the occupation in a way resistant to manifestos, almost
approaching the methodology of horse-breeding or winemaking. Dataist architects and designers create
open systems instead of finished forms.

Cabin Vardehaugen
A seaside cabin on the Fosen peninsula, designed by the Fantastic Norway studio. It offers great comfort in
a harsh and varying climate.

New work, new education
Thanks to the Internet, it is possible to run a company without even leaving your computer desk.
Unfortunately for many, telework (or tele-commuting) has made the home-office a prison. These workers
missed interacting with other people, and started gathering in groups and creating co-working spaces. At
the same time, owners of traditional offices noticed that their employees feel better in spaces which look,
at least a little bit, like home. Or a café. Thus, we have home-offices, homes at offices, co-working spaces,
and none of these are like a ‘typical‘ workplace. So, is the form still that important? After all, you can write
computer programs in centuries-old buildings – a good laptop is just as good in a simple cottage as it is in
a big office. Which leads us to the question of what office buildings will look like in the future? Or, will we
even need them at all?

Children are not exempt from experiencing the changes happening in architecture. Instead of classrooms,
they often learn in open-spaces with moveable walls. Learning no longer has to take place in a traditional
setting with the teacher’s desk facing rows of students. Until recently, such arrangements were only
available in experimental schools. A new approach to learning, where a teacher accompanies students in
exploring the world, rather than instructing them from behind a desk, is increasingly influencing newly built
or renovated schools and kindergartens.

Multifunctional space for Teletech
A low-cost office in an old mustard factory in Dijon, for 600 call centre operators. The employees can
choose their own workspaces in the informally designed interior. Design by Dutch studio MVRDV.

Culture of participation
Architects and urban planners have always acted a bit like demiurges – organizing the chaos of organically-
growing cities, planning ideal spaces, designing modern houses and sunny estates full of fresh air and green
trees. Unfortunately, a project that exceeds the human scale is overwhelming and rather repulsive. A space
shared with thousands of anonymous neighbours seemingly belongs to no one, so nobody takes care of it.
Devoid of individual features, a ‘completely’ designed building in which nothing can be changed, seems
unfriendly and odd. The residents have no way of making their surroundings their own. Traditionally,
architecture has stood on a pedestal, treated like a work of art, with which the public may not interfere.
User’s attempts to modify it were considered sacrilegious, despite the fact that they only reflected
a natural human desire for aesthetic individualisation and the taming, warming, and adjusting of our
surroundings to meet our needs and desires. From now on, no more icons in architecture! Dear architects,
it is time to ask future users what they want and need!

A courtyard in Warsaw's Praga district, Równa/Szwedzka Streets
A community project for the renovation and improvement of an apartment-building courtyard, developed
as a result of close collaboration between the residents, local authorities and administrators, Praga-Północ
Pedagogy and Social Animation Group and the Odblokuj (Un-block) association.

Project: architects Marek and Marlena Happach, landscape architect – Joanna Hernik, 2011

Quinta Monroy social housing
Social housing development in Chile, designed by Elemental. Only half of each building was built, so that
residents could individually decide on its further development.

 “We are designers, not curators.” – this was the first thing which came to our minds when we were asked
to create an exhibition for the Łódź Design Festival. Yet, almost at the same time, this thought transformed
into an exciting challenge. When we design, our goal is often to bring together different elements and
merge them into one harmonious entity, and when thinking about it, this approach is also what we would
like to see when looking at an exhibition.

Choosing different works and placing them side by side is like building our very own farm – a place which
provides our basic needs along with some of our utmost desires. The chosen objects are often ‘animated’
through the use of references to our life and our surroundings, and through the positioning in a relevant
In the course of time many designers have recognized the significance of exploring and looking beyond the
purely functional properties of their creations, through additionally addressing emotional and personal
aspects. This resolution often leads to a stronger bond between the viewer and the object. Such values,
along with the functional/practical needs are often seen as essential in order to generate ‘good design’,
and often are complementary – the function raises the emotion and vice-versa.

Our urge to express the individual within a rapidly changing milieu is drawing us toward the familiar,
triggered by the visual properties, as well as the tactile, smell or any other sensory stimulation. The relation
could derive from our own nostalgia, or emerge from collective memory.

The result is a welcoming surrounding which is well known, yet innovative. An environment seemingly
simple, yet very clever.

                                                          Curator: BCXSY – Boaz Cohen & Sayaka Yamamoto

Arzu Firuz & Paul Huber
Wood Trompe l’Oleil Collection (2007)
PVC floor covering, digital cutting

Arzu and Paul's creations are based on their exchange of stylistic references and the synergy of their
inspirations. Their interest for the oriental carpet as a nomad item led them to question the concept of
floor covering. They chose to gather the qualities of a vinyl floor with the delicacy of Persian or Ottoman
patterns in the collection of rugs suitable for private indoor use. Made in residential vinyl floor covering
that looks like wood, in which antique Persian and Zellige designs are cut, these Trompe l'Oeil rugs look like
delicate wood lace. Flexible and light, they are easy to carry.

Christien Meindertsma
The Netherlands
The Flax Project (2009)
flax, winding rope
By analysing the history of the traditional Dutch 16th-century cordage industry, Christien Meinderstma has
reduced the ropery to the original material: flax. Using the flax from a Dutch farmhouse, the filaments are
spun in flax yarns, after which these are twisted into strands. The fresh and innovative approach of
Meindertsma to the very old techniques as spinning, weaving, twining and splitting has resulted in an
astonishing collection of different objects, and one of them is the Flax Ottoman.

Manufacturer: www.thomaseyck.com

Max Lipsey
Branch Hooks (2008)
powder coating, cast aluminum

Part of a project exploring ways to bring more nature and life into our often sterile, static home
environments, the coat hooks are aluminum branches which pose a semi-violent intrusion of a tree
growing in through the wall. The tree bark is a textured, matte surface which ends in a mirror polished flat.
These clean and modern hooks also bring to mind a strong organic feeling of growth. I believe that we can
tolerate this much ‘organicness’ in our homes.

AZE design
Anna Kotowicz-Puszkarewicz, Artur Puszkarewicz
NODUS carpet (2006)
cotton cord, handmade carpet, needlecraft technique

The NODUS carpet is a transposition of historical and ethnographical folk needlecraft art. Its rich
ornamentation and elaborate weaves resulted from skilled processing of a simple material – thread.
Changes introduced to the material, as well as the size and the structure shaping principle gave the object
a new function and brought about a surprising aesthetic effect. The NODUS carpet is handmade from 1.5
km of cotton cord.
Front Design
Sofia Lagerkvist, Charlotte von der Lancken, Anna Lindgren
Soft Wood Sofa (2010)
stress-resistant polyurethane foam with differentiated densities, wood frame, covered by TREVIRA fabric
with digital print according to a specific design by FRONT

The concept of appearances emerges clearly in the work of an all-female group of young Swedish
designers, Front. The “Moment” collection makes a striking use of photographic images to create an
illusion of movement in the objects and to twist the experience of their shape and materiality. The images
make the cushions of the sofa balance on their edges, turn a flat surface into one richly draped with fabric,
and make a wooden surface soft.

Manufacturer: Moroso

Matylda Krzykowski
Daddy Would Be Proud (2011)
old peer tree wood, woodworking

Extraordinary wood carvings can be found when you visit Polish markets. Some of the most interesting
ones are carved in the Beskids, a mountain range in southern Poland. The wood carvers from there present
their wares on the markets. My father is from this region. My mother has always said that he is a true
‘Goral’, a boy from the mountains. Influenced by these crafts from the country of my origin, I used my own
woodworking skill to create a series of small objects made of pear tree wood.

Ika Kuenzel
Caution This Is Rodeo (2006)
polyurethane, polymethane cellular plastic, leather, classical upholstery
 “Caution This Is Rodeo” is a ready-made rocking stool: a used riding saddle has been taken from the barn
into the living room and transformed from an active sports tool into a domestic rocking chair.

Katharina Mischer, Thomas Traxler
Reversed Volumes (2010)
impregnated pigmented ceramic powder, casting

“Reversed Volumes” are bowls that are shaped by capturing the imprint of a fruit/vegetable.

The space between a vessel and a fruit/vegetable is filled with ceramics. After the original organic material
is taken away, the bowl preserves the actual imprint. The use of ceramic powder, which becomes really
hard without being fired, gives the possibility for each bowl to be as unique as the actual used fruit
/vegetable. Therefore, each cast bowl is an unique piece. The surface of each fruit/vegetable is represented
in detail and lets the user see it from a different perspective.

Yvonne Fehling & Jennie Peiz
Still Lives (2010)
fiber glass body, traditional leather upholstery, handmade

Objects for domestic space. Fitment, toy, luxury good, sculpture. Stuffed toy, gym equipment. Projection
area. Confounding. Adorable. What is it that puts people in a happy mood when they see these objects?
Silent, house-trained, low-maintenance. Maybe they are an expression of a certain type of saturation. Or of
deprivation. Maybe, they simply eagerly strain the classic concept of design. In any case, they deliberately
defy all definition. There is something both confounding and liberating about it. In any case, they are
a welcome change in an unexpected direction.

Timo Sarpaneva
Iittala Sarpaneva pot (1960)
cast iron, enamelled inside, wooden handle

Combining the practicality of a traditional cast iron pot with a timeless form, the pot designed by Timo
Sarpaneva in 1960 is a popular evergreen. The pot is as practical in the kitchen as it is beautiful on the
table. This enamelled, cast iron ware is ideal for various casseroles and slowly simmering oven dishes. The
Sarpaneva pot remains a classic that demonstrates the ability of thoughtfully designed objects to withstand
both use and time.

5.5 Designers
Fire Kit (2010)
blown glass, wood

Since ancient times, man has been forging objects inspired by nature. The idea is to return to the origin of
artefacts by building a lamp that looks like a bonfire on the beach. The base is made of two crossed
wooden elements supporting a blown-glass flame that contains the bulb. The light creates the illusion of
a picnic on the beach.

Manufacturer: Skitsch

Parrot Party (2010)
porcelain pieces made by hand with porcelain

“The Parrot Party Collection” is the first initiative from Lladró Atelier. Taking its starting point in sketches of
a lamp created in 2007 at the Lladró Design Department, its creative team began to conceive a project
which ended up in this original collection. The refined forms of the supports, reminiscent of the abstraction
of a tree with its horizontality and verticality, contrast with the minute plumage of the birds. It depicts the
duality – the essential and the ornamental, functionality and decoration, brightness and balance, matte
and gloss – that makes the first Lladró Atelier collection so special.

Yanes Wühl
Wood Stove (2010)
cast-iron and armed concrete

I created my wood stove interpreting it as a sculpture, a monument, because generally it is an imposing
object that once placed will not be removed anymore. It has a concrete base, which is used to store the
logs, and a cast iron upper part, where the wood is burnt. When the door is closed, it can be an auxilary
heater for a room of 120m3, and when open it creates a cozy fireplace atmosphere.

Ronan & Erwan Bouroullec
Algue (2004)

Plastic decorative elements, resembling plants, which can be combined in various ways, thus creating
a transparent, densly knit, tridimensional curtain – web.

Manufacturer: Vitra

Floris Hovers
The Netherlands

Archetoys (2005-2009)
steel – metal tubes, cutting, welding and painting
With basic, factory-made metal parts, Hovers assembles what he calls Archetoys, archetypes of familiar
motorized vehicles. The designer creates a three-dimensional impression of an ambulance, a fire truck or
a double decker bus with few elements, but enough imagination to make anyone smile with surprise.

Suggesting Tin (2004)

A fascination for tin toys and a passion for suggestive thinking of children formed a ‘classic’ cabinet.
Not from wood, though it looks like this, but in fact it is made from tin-plate. It looks like a materialized,
three dimensional illustration in a children book. Tangible and useful, yet somewhere between fantasy and

Paul Loebach
Great Camp Chair (2010)
CNC-milled wood, traditional grass weaving

 “Great Camp” collection derives its inspiration from the Adirondack vacation culture of upstate New York
in the late 1800s – a unique time and place where untamed wilderness and bold domestic grandeur met in
seamless fashion. Built in the USA, Great Camp is made using proprietary computerized machining
techniques developed specifically for this project, capable of producing uncommonly meticulous faceted
forms. Designed for MatterMade.

Big Game
Moose (2005)

Moose is one the three assembled wood trophies designed by Big Game. It is a decorative item confronting
heritage and modern lifestyle. It belongs to the “Heritage in Progress” collection of 2005, focusing on the
aspects of tradition and contemporariness.

Manufacturer: Moustache
Hans J. Wegner
The Peacock Chair (1947)

Despite the chair’s almost postmodern design, it was actually manufactured as far back as 1947. However,
its consciously modern lines are not merely a matter of looks. Rather, the sweeping back with its
extravagantly shaped sticks are a feat of ergonomic aesthetics. The flat parts of the sticks, which give them
the peacock-like appearance, are placed where the shoulder-blades meet the chair’s back. Also, and not
unusual with Wegner, the chair has a historical anchorage, namely the classic Windsor Chair.

Manufacturer: PP Møbler

Sebastian Wrong & Richard Woods
the United Kingdom
Brick Chair (2009)

The upholstery bears a classic Woods’ screen print that turns recycled, domestic motifs into applied ‘icons’.
The irony of the design lies in the extreme comfort of the chair in comparison to the perceived ‘hardness’
of the print. The elegant, fundamental shape of the single seat chair, two-seater sofa and ottoman provide
the ideal vehicle for Woods’ bold design.

Manufacturer: Established & Sons

Marcel Wanders
the Netherlands
Egg Vase (1997)
white unglazed porcelain outside, glazed inside

A collection of three playful porcelain vases. The form is created by stuffing latex rubber condoms with
hard-boiled eggs.
Manufacturer: Moooi

David Clarke
Great Britain
Unusable Tableware (2010)
silver plated nickel and pewter, simple fabrication techniques of objects

The spoon – a tool, an implement, a utensil. Used for serving, mixing, for feeding, and as a measure. Here,
it is an opportunity to visit a familiar silversmithing object and raise questions about function, greed and
excess in a playful manner.

Juliette Warmenhoven
The Netherlands
Potato Music Box (2010)
paper, rope, metal, plastic coating

”The Potato Music Box” (a part of the “Everyday Growing” collection) is a completely handmade music box
which reveals its aesthetic elegance and delicate beauty. It reflects the original thoughts of showing the
hidden beauty of the sprouting potato. The potato as a consumption article is usually constrained and
therefore not allowed to shoot. Shooting potatoes are generally seen as tainted. This music box invites the
audience to renew their view on this apparently familiar object. It will bring a twinkle to their eyes.

Benjamin Hubert
United Kingdom
Chimney Light (2009)
earthenware clay, terracotta, sand, white tin glaze, slipcast moulding

The Chimney Lights are manufactured by Viaduct Furniture. The lamps are produced using a technique
known as slip-casting (liquid clay poured into plaster moulds) – they are cast with white earthenware clay.
They are produced in a pottery studio in Wales and utilise the natural clay of the region. After casting, they
are hand painted with a terracotta slip which has an addition of 25% sand. The painting process takes place
on a potter’s wheel.

Manufacturer: Viaduct

Special Exhibitions
Why East?

The experience gained during the previous editions of the festival helped us realise that while we are
opening up for the latest global trends, we are often not aware of what is happening in our own
neighbourhood. Additionally, our international guests visit Łódź to experience eastern design as well, and
see projects from this part of Europe. They would like to meet the designers that were not presented on
the biggest European design-oriented events. Therefore, we decided that during Łódź Design 2011 we
would display eastern design as part of our Special Exhibitions. We want to be the cultural link between the
East and the West.

The exhibitions we selected are not intended to present the objective overview of tendencies in Eastern
Europe, but they adequately reflect current trends. They define the areas of interest and surprise with the
unexpected. Even though our history and experiences differ, we can make them our asset and the source
of strength that makes our design so special.

Moving island – Kitchen Budapest (2011)

Kitchen Budapest (KIBU) is a moving island with young researchers from different backgrounds (architect,
programmer, artist, designer), who are working together on new technology-based cultural projects.
            – KIBU is a moving island with various experimental and research projects, from interactive
              installations, through DIY or design prototypes, auto-ethnographic research to mobile
            – KIBU is a moving island with the aim to share knowledge and skills with universities, schools,
              creative groups and companies from Hungary and other countries.
           – KIBU is a moving island with a collaborative working method – common workshops, projects,
             lectures, residencies.
           – KIBU is a moving island with a local and international network of contacts.
           – KIBU is a moving island which serves as an innovative platform for those who want to try
             themselves at new things.
           – KIBU is a moving island with a dynamic, open and creative community.
Kitchen Budapest is a medialab created in 2007 with the support of Magyar Telekom.


Arbour Light (2007-2009)
“Arbour Light”, an intelligent lighting system, can reproduce the visual atmosphere of natural phenomena.
It recreates the ambient atmosphere rather than a photographic image, hence it extends communication
into non-intrusive modalities. While it is a design object in our living space, it also provides environment for
alternative communications (instead of hypertext) between places and people. It acts as a metaphor for
how, at a subconscious level, we perceive natural phenomena through a play of light. Its purpose is mainly
visualization rather than correct representation. With the help of “Arbour Light”, we can map feelings and
senses. The manifestation creates a sort of meta-communication between various levels of perception
through which one can get in touch with other places and people. “Arbour Light” could be used in real time
when it is attached to a webcam. The image from the webcam is directly transmitted and transformed. We
can also use it as representations of videos that already exist. A built-in application processes our videos
and sends them to the “Arbour Light”.

The website is coming! The site will for instance give an opportunity to reach an ambient database, which is
based on the videos of “Arbour Light” owners and “phenomena-collectors”. It provides the possibility to
register our “Arbour Light”, upload and download videos, connecting and streaming webcams. We imagine
it as a sort of web-community and encourage people to share their experiences and feelings in a non-image
based, non-textual way.

LANdelion (2010)
The name LANdelion is a mixture of two English words: dandelion and LAN (Local Area Network). Our aim
was to somehow visualize the appearance on social media sites and the enormous amount of information
flow that is on the Internet with an interactive kinetic installation. Making it an experience-based work
played an important role as well, because the user experiences have been the focus of technological
innovation. Beyond the elements of experience used in the market race, labs that analyze social
relationships in terms of tools and applications find it important to experiment with alternative
experiences. Experiments with DIY and user interaction design resulted in this dandelion-like object that
reacts to blowing with light and sound.

The organic-shaped LANdelion was made of recycled cables. It can be brought to life by blowing on its
petals. There are simple sphere-like sensors which gently glows on default. When someone blows on the
sensors, a light wave appears on the surface, followed by sound effects and vibration.

Landprint (2007)
This project represents the symbiosis between the human and nature with the help of new technologies. In
other words: let’s hack nature! We modified a lawnmower that, with computer control, can cut patterns or
text in the grass. As we push the clips in a routine way, the programmed electronics switches on and off the
small blades of the machine. In the end, the differently cut grass-area reveals the image. Pictures created
with this method can become potential advertising spaces. Smaller ones could be created in gardens of
office buildings, while larger ones, created on fields, could be even seen on Google Maps.

Nighmo (2007-2011)
Our home could be really intelligent and cozy, if everyday objects around us adapted to the requirements
of our living patterns. What would you think, if they knew what we need at the moment? „Nighmo” is
a smart night lamp, which feels when you need assistance. It gives you comforting ambient light when you
are moving, so that you don`t stumble in the dark. It is designed to have a natural-like light, similar to
candle or shining of the full moon.

“Nighmo” has an organic shape made of snowwhite silicone, with a motion sensor, which senses the
infrared radiation of the human body. Instead of switching “Nighmo” on manually, it detects motion and
lights up when you need it. There are no buttons and no controls, everything happens automatically. You
don’t have to pay attention to it, just leave it anywhere in the room. All care it requires from you is that you
is to recharge it from time to time, which happens through a standard recharger or your computer’s USB
port. There is another thing which grabs the attention when you examine “Nighmo”. It is a plastic knob that
is the “eye” of “Nighmo”. It has a motion sensor and a light sensor, so it can detect whether there is
darkness in the room and it also detects human motion. It works like a smart bedside lamp, which provides
as much light as you need to move around in the space during the night.

Noisy Coat (2010)
“Noisy Coat” is a fashionista performance tool. The project is the effect of collaboration between the Kepp
showroom and KIBU. The idea behind the work is to remind the audience of the long and difficult process
of creating fashion. In order to do that, sounds of different machines from a sewing workshop (sewing
machines, irons, coat hangers and so on) and environmental sounds were recorded in the showroom to
create an interactive noise composition that a dancer brings to life. The movements of the dancer trigger
and modulate the sounds. The whole project concentrates around putting clothes and fashion itself into
new light. We felt that if we want to be true to ourselves, we have to make the sensors out of textile. That
is why we made pressure and bend sensors using conductive material. At the exhibition, we present the
coat and sounds which were recorded during the previous performance.

Opera Looper (2009)
Built on our previous experience from the “MobileJam” project, “Opera Looper” creates a collective
musical experience by controlling musical loops using four iPods. “Opera Looper” is a combination of two
software tools: a sample-based sound system written in Pure Data, and a real-time animation system
created in Animata. “Opera Looper” made its debut at the Opera Unbound event, organized in
cooperation with Samu Gryllus, Brooklyn Museum and Extremely Hungary.

The system consists of a server computer that connects four iPod Touches that act as remote controllers.
Certain keys and key combinations can start, stop, and change different parameters of pre-composed
sample-loops. One user can control four different samples at the same time. The created music can contain
a maximum of 16 musical layers. The audio composition technique recalls the work of Mozart or Haydn, as
used in their musical dice games.

The projection part of the installation consists of four scenes created in Animata, reacting to the sound in
realtime. Four people can use the system. The chosen scene is projected onto the canvas. Each scene
contains four characters, or groups of characters. Each of the users gets an iPod with the appropriate
character on the screen. After they start making music with the iPods, the characters on the canvas follow
their parts, as dictated by the music.
There are four scenes: a Lehár-style musical comedy, a baroque chamber opera, a romantic opera, and
American minimal music.

Subjective Atlas of Hungary (2010-2011)
In December 2010, 40 contributors and a young Hungarian graphic designer created the “Subjective Atlas
of Hungary” The participants of a 2-week workshop were selected after a public call for participation. The
aim was to create the “Subjective Atlas of Hungary” similarly to former international editions (Subjective
Atlas of Palestine, Subjective Atlas of Serbia, Subjective Atlas of the Netherlands) – the Hungarian edition
follows the original concept by Dutch designer Annelys de Vet, who created the atlas in collaboration with
local contributors.

The atlas represents today’s Hungary from a visual perspective. The authors looked forward to create
a diverse, exciting and visually appealing representation of Hungary, and its cultural and national identity.

SubMap (2010-2011)
“SubMap” is a virtual distortion of the map of Budapest, depending on the location of the participating

Map itself is an objective genre, but we wanted to show the city from our perspective, so that we can get
a visual feedback on how we live and where we go. It is continuously changing and distorting according to
our movements in the city. We would like to follow up and visualize our unique use of the city in this
project. Utilizing Foursquare, we are constantly uploading the coordinates of the places we go to. Check-ins
in the application are translated into distorting forces applied to the map of Budapest. Those places serve
as epicenters of these unique, spherical, perspectival distortions, and places which are closer to us become
perceptively larger.

Light Sculptures, Czech table lamps 1950-1990
Antonín Hepnar, Růžena Žertová, Jaroslav Anýž, Helena Frantová, Zukov Workshop, Pavel Grus, Josef
Hůrka, Stanislav Kučera ... and others

A curatorial selection of table lamps made in 1950-1990 in former Czechoslovakia, or in the territory of the
present-day Czech Republic.
The installation starts in the 1950s, when the Czechoslovak design was not forced to conform strictly to the
period’s socialist realism and historicism. Czech lighting designers tended towards international
modernism. Lights were delicate statues with a luminous function. This holds true for both the production
in the newly established producer cooperatives, (Napako, Drupol, Lidokov, Zukov), and the hand-crafted
lights (Alena Nováková, Antonín Hepnar, and others). Their aesthetics and designing methods
approximated modernist designs of European and American designers in many aspects, but superb
workmanship and materials were substituted with imitations and substandard quality of socialist
production. The unique table lamp designed by Jaroslav Anýž serves as an exception here. It is an artful
combination of porcelain, metal, and glass. Lamps designed by Josef Hůrka, Pavel Grus, and others are also
very elegant despite some workmanship flaws.

The decorative aesthetics of the so-called Brussels style, named in relation to the world exhibition in 1958,
dominated until the late 1960s. In the 1970s, new impulses arrived –simplification and monumentalization.
Růžena Žertová and Antonín Hepnar stood out most in that period and continued to do so into the 1980s.
The unique lights, which they made themselves in very limited editions, correspond with the period’s
interest in space-age design and minimalism. Most objects on display are presented in such a curatorial
selection for the first time.

Curator: Adam Štěch, OKOLO

Gone with the wind (2010)
Nika Zupanc

Enter the windy garden, where things such as Black Cherries, Sugar Cubes and Modest Thoughts fall
hopelessly in love with the ways of nature. Inside the windy garden, Nika Zupanc presents her family of
objects on display. This time, they come to address you as advocates of a sort because they present a case
for new symbolic and emotional readings of design, and are told through elements of modesty and self-

Exhibition patron: Elle Decoration
…and I woke in Europe
“...and I woke in Europe” is the first presentation of Ukrainian design in Europe (and in the world). Most of
the presented works were created in the last 5 years, i.e. more than 10 years after the dissolution of the
Soviet Union and 20 years after Ukraine gained independence. The West took notice of its eastern
neighbours only after the world got involved in “the Orange Revolution.” So when the West finally decided
to invite Ukraine to Europe, it turned out that it was already there. The Ukrainians woke up one day and
understood that they are on the same train and whatever they do, they do it on the European level.
Ukrainian design is the same. It is mature and conscious of its tradition and European membership.

New wave, the so called post-transformation generation, took their lesson on European art, which had
been shaping the experience of the remaining part of the continent for ages, in less than two decades.
Young Ukrainian designers have chosen a course far from the easiest one. In their projects, there is
something fresh, new, devoid of ideological limitations. This is a harmonious choir of typically post-
modernist Ukrainian defiance, provocation, understatement, carnivalesque and eccentricity. The young
play with function, they mix hierarchies and provoke questions. They respect tradition and good
craftsmanship, and they believe in professionalism, but, still, they find passion in hard work.

Ukraine. Ideal geography: to be an inseparable part of Europe, set in the global context, and, at the same
time, to retain the fantastic uniqueness. The “... and I woke in Europe” project is not only an exhibition of
several selected examples of contemporary design. The accompanying catalogue, presenting individual
designers and their cities, is a record of places and traces which accumulate emotions of the young and
free generation. It is an emotional record of a road which runs across Europe. A road without borders,
gates and visas.

The title of the exhibition is a sentence without the beginning. We value only here and now. We leave the
past to historians. The first part of the sentence is past, whereas the rest is up to you. We are interested in
this moment of awakening. We show art devoid of historical weight and free from martyrology. Instead, we
offer the creative potential and maturity of the young generation. The “... and I woke in Europe” project
does not define the character of Ukrainian design, but it is an attempt to show work in progress, change.
We witness changes on the mental map of Europe. The project is of open character since, in the words of
Ukrainian poet Andrij Lubka, change is what can be already experienced, but not yet described.

Curator: Ksenia Kaniewska
Andrey Bondarenko
Dog and Tax (2011)
wood, textile

Alexander Kozynets
Linne (2011)
handmade prototype: metal base, styrofoam, textile

Grycja Erde
The Simplest Chair (2010)
wood (oak)

Kateryna Sokolova
ZIG & ZAG (Redesign of Gerrit Rietveld chair (2006)

Igor Pinigin
Föhn (2010)
thermoresistant polymer, ceramic glass, metal frame
Egglight (2006)
hen eggs, LEDs

Roman Zubaryev
ZU (2010)
Oleksandr Shestakovych
Duga (2011)
bent and welded metal, soft seat

Tereza Barabash
Triptych: Kids (2007)
collage: fabric, paper, print

Roman Shpelyk
Pianocomod (2011)
painted MDF

Nataliya Aulova
Aulova Organ (2011)

Mukomelov Studio
TR Lamp (2010)
Shark Lamp (2010)

Valeriy Kuznetsov & Kateryna Kuznetsova
Plane (2006)
birch plywood
Lying-in (2008)
ash wood
Oksana Shmygol
“... and I woke up in Europe” exhibition catalogue (2011)
book, format 170x220mm, 150 pages

School Review
The School Review is one of the key events of the festival. It allows art schools to establish cooperation and
confront their curricula and teaching methods, to exchange thoughts and experiences. It is a great
opportunity to promote themselves and to show their accomplishments. Multimedia shows and exhibitions
present the works of the most talented students, and that is how the most fundamental aim of the Festival
is realized – to discover young talents.

This year, the theme of the School Review is “Textile”. We decided to focus on the tradition of teaching
textile design. There aren’t many things in our every day life that have a history as long as textiles. They
have been part of our lives for eight thousand years. Starting with primitive pleats, made with natural
materials such as grass, fibres, flexible twigs, all the way to the newest discoveries from NASA and sports
laboratories, they fulfill our practical needs and at the same time play the decorative and artistic function.
They continuously evolve, yet manage to retain their identity: they use ever newer materials and
technologies that respond to the changing human needs and expectations. They live continuously. They
surprise us by embracing new forms, patterns, colours and functions.

During the School Review, we decided to take a closer look at textiles and their meaning nowadays as well
as at the directions in which they are evolving. Is it an area of discovering new possibilities, implementation
of innovative projects, a field of aesthetic aspirations, or is it just a historic artifact which can be honoured,
but is no longer a design challenge? Each of these possibilities is a description and an expression of change.
The change of human expectations, their aspirations and needs. It is still too early to part with textiles.
Those who foresee new trends promise their great comeback. What do modern textiles say about us?
What do students try to say when working with them? Let’s bring textiles back to Łódź which was once the
heart of textile industry.
Magdalena Ataman
doily (2011)
steel frame, plaited round elastics

University of Arts in Poznao, Faculty of Architecture and Design, Department of Interior Architecture,
Furniture Design Studio III, 5th year
Tutor: dr Mateusz Wróblewski

Doily seats. Let’s take the napkins outside, to the garden, terrace or balcony, sink in them and enjoy the
sunny day.

Marcin Sutuła
Red Rose (2011)
decoration felt, organza

Technical University of Koszalin, Design Institute, Industrial Design, Studio of Clothing and Costume Design,
3rd year
Tutor: dr Alina Adamczak

The outfit has been inspired by a rose as a symbol and by unique characteristics of the fabric. The whole
concept is based on the relation of these two values, and on the third – independent – one, namely, the
mystery of feminity.

Pablo Londono Sarria
Pedes In Orbis (walking in circles) (2011)
Gerrit Rietveld Academie, Design, Fashion, Mode11, 4th year
Tutor: Karima Benali

Pedes in orbis is Latin for ‘walking in circles’. This is my story about the survival of seven young men in
a distant future. They scavenge the surface of what once was a civilization, looking for useful scrap,
treasures that will help them survive another day walking in circles. That is what you do in deserts, but not
all deserts are made out of sand.

Katarzyna Staryk
Lamps (2010/2011)
wood, wire, yarn

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Carpet and Tapestry Studio, 3 rd
Tutor: prof. Jolanta Rudzka-Habisiak

A series of unique floor and pendant lamps inspired by nature and ecology.

Dorte Agergaard
The Pure Collection´s (2010/2011)
textiles and digital printing

Kolding School of Design, Design, Department of Product Design, Textile Design, graduate 2007
Tutor: Helle Graabaek

The concept behind the collections PURE is about ‘keeping it pure’. It is a design series created for home,
where expression and form start from rearranging everyday objects and placing them in a new context –
a play with our concepts of normality. It’s fun and serious.
Anna Szydłowska
Untitled (2010)
jacquard-woven fabric

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Decorative Textile Studio, 4 th year
Tutor: prof. Krystyna Górska

A fabric for interiors based on a simple geometrical pattern and shaded weft.

Weronika Sochacka
Handmade, Paper Lounge Chair & Paper Bar Stool (2011)
steel, recycled newspapers

University of Arts in Poznao, Department of Interior Design, Design, Product Design Studio, 3 rd year
Tutor: prof. Jolanta Usarewicz-Owsian prof. zw. UAP

Environmentally friendly, stylish furniture (a lounge chair and a bar stool) with a simple, modern shape.
Their unique and surprisingly strong seats have been woven of recycled newspapers. The idea of weaving
seats made of paper was born in the process of restraining this material, when paper weave was
strengthened with steel wire.

Walentyna Balcerzak
Amphibia (2011)
glass, plastic, phosphorescent material – natural rubber

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Experimental Textile Studio, 1 st
Tutor: dr hab. Lidia Choczaj

A free-standing transparent object. Thousands of multiplied capsules compose an organic form. Small
elements filling individual capsules shine in the dark and create a fine lacy pattern.

Marika Lewandowska
Felt coat (2011)

Technical University of Koszalin, Design Institute, Industrial Design, Studio of Clothing and Costume Design,
4th year
Tutors: dr Alina Adamczak, dr hab. Zygmunt Laskowski

A coat inspired by a flight attendant’s uniform, was made of one piece of decoration felt (2.5 mm and 1
mm thick).

Alicja Łaciak
daily (2011)
worsted wool, linen string, hot-melt glue

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design
Experimental Textile Studio, 2nd year
Tutor: dr hab. Lidia Choczaj

The composition consists of seven elements – a set of necklaces for each day of a week. Every necklace is
a logical continuation of the previous one.
Alicja Łaciak
patchwork (2011)
paper rolls, egg trays, brown paper, foil

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design
Paper Studio, 2nd year
Tutor: prof. Ewa Latkowska-Żychska

A monochromatic mass of small elements surprises with its internal relief. Although it was obtained in
a very simple way, it cannot be identified immediately.

Anna Szklioska
Viva Indifference! (2010-2011)
second-hand fabric, author’s own technique

Technical University of Koszalin, Design Institute, Industrial Design, Studio of Product Design, graduate
What is a fabric if not the matter placed in our nearest space? It contains the mystery, its own weight and
the warmth of our body, its smell… It’s absorptive, obedient, unclean. It’s like our inside.

Aleksandra Groś
Origami (2010/2011)
polyamide, artificial leather, satin

Technical University of Koszalin, Design Institute, Design, Studio of Clothing and Textiles Design, 4 th year
Tutor: dr Alina Adamczak
A collection of ladies’ clothing and accessories inspired by origami. It demonstrates the opportunities which
are provided by the oldest art of folding paper when it is used in functional design, and it shows the
relation between a silhouette and clothing geometry. The forms are simple but elegant and full of allusions,
surprising solutions and modern constructions.

Małgorzata Masłowska
90 m (2011)
metal pipes, rods, sailing rope (about 90 meters), white spray paint

University of Arts in Poznao, Department of Interior Design, Design, Furniture Design Studio III, 3 rd year
Tutor: ad. Mateusz Wróblewski

The form is a result of the synthesis of a solid and a band, where a series of repetitive weaves build an
organic, interactive surface limited by a stable geometrical construction. The main inspiration comes from
yarn moving as the fabric surface is created, its rhythmical path and a symmetrical, regular division of

Daria Balioska
Elevations IX (2008)

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Decorative Textile Studio,
graduate 2008
Tutor: prof. Krystyna Górska

A decorative textile that comes from the author’s diploma collection inspired by modern urban
Aleksandra Baraoska
Metro (2011)
bamboo mats, newspapers and magazines, tape

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Experimental Textile Studio, 3rd
Tutor: dr hab. Lidia Choczaj

Experimental textile made of bamboo mats in which straps of colour newspapers and magazines and white
scotch tape are weaved. The Metro textile may serve as a ‘wall’ that divides the interior.

Małgorzata Mróz
Shaft (2008-2010)
yarn, aluminium

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Experimental Textile Studio, 5 th
Tutor: dr hab. Lidia Choczaj

A two-sided textile handmade on a shaft-based loom. Besides the classic warp/weft, the ‘body’ of the
textile has been fitted with aluminium. Glittering lights, ajoure and subtle colours give a unique effect.

Milena Wiaderek
32 (2011)
transparent plastic film, x-ray film, thread pieces

Strzemioski Academy of Art Łódź, Faculty of Textile and Fashion, Design, Experimental Textile Studio, 3 rd
Tutor: dr hab. Lidia Choczaj

An experimental textile – a transparent interior screen, build of dental x-rays. The main element of the
picture are threads.

Myrza de Muynck
Poverty de luxe A/W (2011)

University of the Arts in London, Central Saint Martins College, Fashion Womenswear, MA in Fashion,
graduate 2011
Tutor: Louise Wilson

Myrza de Muynck found inspiration for the collection in dresses from the 1920s and a series of quotes she
collected from books about Paul Poiret, Coco Chanel and Diana Vreeland. She was fascinated by the
elaborate fabric designs of this period and thought it would be interesting to make very time-consuming
and handcrafted fabrics, but capture them in a simple sportswear-like silhouette. Her garments became
more contemporary – in a way they’re couture fashions, but they project an image of standardisation.

Phoebe English
MA final collection (2011)
hand crochet threading with hair,rubber and acrylic hair

University of the Arts in London, Central Saint Martins College, Fashion Womenswear, graduate 2011
Tutor: Wojciech Dziedzic
An experimentation into the relationship between garment and motion is at the forefront of my mind
when designing. Handmade laboured decorative details form the centre of my design ethos which includes
a sharp attention to composition.

Helen Bullock
A/W (2011)
screen printing, hand painting
canvas, linen, cotton

University of the Arts in London, Central Saint Martins College, Fashion, Textiles fashion, graduate 2011
Tutor: Wojciech Dziedzic

A collection created from spontanaiety and intuition. Unexpected colours and compositions inspired by
a festival scene of banners in the 60s movie “Candy” ... Paul Klee’s hand puppets... The Polyphonic Spree ...
Gordon Matta-Clark, splits in skirts, and my drawings of odd ladies. Created using screen printing, stenciling
and hand painting, and composed of canvas, linen and bought floral fabric, which was then manipulated by
using a technique to block out some areas. Shoes have been created by using found wood that was then
sculpted to fit the shoe.

Shaun Samson
Spring / Summer 2012
mexican blankets, wool, cotton, needle punch felting

University of the Arts in London, Central Saint Martins College, Fashion, Fashion Menswear, graduate 2011
Tutor: Peter Jenses

Native Mexican blankets, needle punch felted onto various other materials.
Joshua Enker
Untitled – flocked series (2011)
Tyvek paper, cellulose fiber, flock glue, flocking and dry heat treatment

Gerrit Rietveld Academie, Fashion, Fashion department, graduate 2011
Tutor: Wojciech Dziedzic

This series is the result of experimental research with flocking on Tyvek. The flock gives a completely
different tactile feel to the paper and how the heat treatment adds yet another dimension.

Joshua Enker
BA graduation collection (2011)
Tyvek paper, silk, cotton shirting, denim, yellow tape, machine punching, sewing

Gerrit Rietveld Academie, Fashion, Fashion department, graduate 2011
Tutor: Wojciech Dziedzic

The main inspiration came from “Boro”, Japanese peasant textiles. It was work wear for both men and
women, patched together from scraps and remnants over the years – a case of beauty born out of

make me!
For the fourth time Lodz Art Center has invited young designers to take part in the make me! contest.
The competition is open to young designers (both individual and project groups). All the participants must
be between 20 and 30 years old. There are no other restrictions! We would like to discover talents with
fresh look at design and give them the opportunity to exhibit their works during 5th International Design
Festival in Lodz, 20-30 October 2011.
This year, we have received 280 applications from France, Germany, Austria, the Czech Republic, Slovakia,
Portugal, Spain, Ukraine, Russia, Lithuania, Finland, the United Kingdom, the USA, Korea, Malaysia, Taiwan,
Greece, Canada, Egypt, Israel, Moldavia, the Netherlands, Serbia, Sweden, Switzerland, the Philippines,
Japan and, of course, Poland. It is an irrefutable proof, confirming the significance and range of the contest.
We are very grateful for all applications.

As is customary, the winner shall be selected from highlighted projects during the official opening of the
Łódź Design festival. The winner shall receive a monetary award in the amount of PLN 20,000. The award is
funded by the Main Patron of the Festival – Ceramika Paradyż.

The selection has been made by prestigious international jury, including:
Agnieszka Jacobson-Cielecka – Art Director of the 5th International Design Festival – Łódź Design, chair of
the jury,
Sławomir Kluziak – Brand Design Club, Managing Director of SiebertHead Limited ,
Jimmy MacDonald – Tent London Director,
Ake Rudolf – Director of DMY in Berlin,
Zuzanna Skalska – trendwatcher,
Aze Design: Anna Kotowicz-Puszkarewicz, Artur Puszkarewicz – designers.

Agnieszka Dybowska (Poland)
Fiu Fiu (2011)
wood, paint, bent wire

The project has been created as a result of observation of birds sitting on power lines and associating them
with pegs “sitting” on clothes lines. Modification of traditional wooden clothespins led to a shape that is set
somewhere between the symbol of a sitting bird and a classic peg. The clips are stored on a simple wire
house-shaped hanger.

Agnieszka Przewoźna (Poland)
Multiplo (2011)
Multiplo is an armchair which can be assembled in the most original way, without glue or any other
fastenings. The project serves its functions, yet the main idea was to show its aesthetic character and the
idea of multiplying the material without any additional elements. With a little patience, everyone will be
able to assembly this ecological piece of furniture with no tools. The form of the product conforms to the
assumptions of contemporary design, and the innovativeness of construction is its additional asset.

Anna Kruk (Poland)
100YEARS.PL (2011)
website, flash animation

100YEARS.PL project is a website created for educational purposes. It contains information regarding the
demographic structure of Poland, and the changes it has undergone over the last 100 years. A clear visual
code and simple animations explain complex information and processes in a way which is attractive for a
contemporary user.

Cordula Kehrer (Germany)
Bow Bins (2008)
plastic bucket, willow, cache pot, rattan, laundry basket, rush, willow structure

Bow Bins are made by using old and discarded plastic buckets found in thrift shops or in waste dumps on
the street. The plastic buckets are cut up in pieces, sampled in a new way and made whole again using
wickerwork or other natural material. Each object is handmade by local German basketweavers and each
one is unique, depending on the weaver's technique and the style of the plastic bucket. Bringing together
plastic readymades and traditional handicraft makes us think of how we could handle sustainable
production in the future.

Daniel Glazman (Israel)
Clamped Stool (2011)
maple wood, steel, brass
Clamped Stool is a three-leg knock-down stool, assembled with a single clamp-based joint integrated with
one of the stools legs that locks the whole construction together, giving it its strength. The concept of the
Clamped Stool was born after I looked at some DIY furniture and thought to myself that those pieces are
not so simple to assemble, and there is more desperation than satisfaction from the process of assembly,
Here, the whole construction is based on a single joint, thanks to which it is easy and intuitive to assemble,
and fun and satisfying at the same time.

Chang Yu-Chih, Hu Tsuo-Ning (Taiwan)
Type Y (2011)

Type Y is a plywood armchair with four "Y" legs. All four legs are cut from the same mold, with both ends
of each Y connected to the seat. The eight connection points ensure high stability, and, as they run
diagonally from the centre of the seat, the weight on all four sides is evenly distributed. The main concept
of Type Y is getting rid of extra structural parts. Each element not only has its function, such as a leg, back
rest, arm rest or seat, but it also supports the whole structure. Thanks to that, Type Y is a completely stable
chair characterised by material reduction and light weight.

Fawory (Poland)
Małgorzata Piotrowska, Monika Niezabitowska, Zofia Hejduk
Transformation (2011)
communication >> interaction >> fabrication

structure: polished steel, powder-lacquered, seats: PVC wire, safety belt, cotton rope, polypropylene cords,
polyester belts filled with polypropylene granulate

The project assumes creation of a platform for interaction between the designer and the user. By giving
tools to the user, the designer creates opportunities and sets limits. The furniture is based on furniture
frames from the 1950s, 1960s and 1970s. Stripped of their original finish, they are cleaned, polished and
varnished. Seats are made by filling the frames with such materials as all sorts of cords, pipes or belts
woven in various ways. Mass-produced furniture changes its face, not only in the visual sense. Mass
products undergo REPERSONALIZATION.

Jacek Ryo (Poland)
Doodle (2011)
aluminium, acrylic glass, MDF, varnishes and paints

Doodle has been born out of two ideas: searching for a new way of electric current transmission and
making the user a co-creator of the product. After receiving a kit (LED light sources, power source, electro-
conductive paint), the user can paint any lamp shape on the wall or any other object. The painted lines
conduct electric energy and become ornaments at the same time. The entire set can be changed on the go,
as the surface which carries the installation is exposed to magnetic forces.

Jakub Marzoch (Poland)
Shelter (2011)
polyester ripstop, aluminium

Shelter is a multifunctional tarp-type sheet, whose main advantages are versatility, low weight and small
size. The material was especially designed to be easily adjustable to the user’s needs and weather
conditions. Shelter helps to build a safe personal space in a new, unknown situation, in any conditions.
Shelter can have a form of a campsite tarp, a mattress, a raincoat, a one-person tent or a hammock.

Katarína Siposová (Slovakia)
Re-born napkins (2010)
100% cotton fabric, cotton thread, starch

The series of Re-born napkins is a set of textile baskets inspired by the tradition of wrapping bread in
a cloth napkin. The Re-born napkins are formed only by using starch spray that allows the basket to hold its
shape. The starch allows basket owners to create their own shape and look of the basket. The possibility to
wash the napkin and use it anew reflects current market needs and the customers‘ desire to own
something new. This product combines two elements – tradition, embroidery on the one hand, and
innovation, a new outlook on traditional elements on the other hand.

Katarzyna Augustyniak (Poland)
Little Red Riding Hood (2011)

The book is meant to refresh in our minds the universal, and still very up-to-date, story about the Little Red
Riding Hood. The main character has been depicted wearing a mask, without stereotypical gender features
attributed to girls (pigtails, fair hair, etc.). She is somewhat disguised and can be any one of us. Thus, the
book presents a protagonist that has not been not fully defined, and, as a result, teaches children
tolerance, which is probably the greatest strength of this tiny publication.

TODO (Poland)
Katarzyna Jakubowska, Tomasz Gębala
CALDO ceramic tile (2011)
formable fireproof clay, glaze

CALDO ceramic tile employs traditional technology in creation of a new form, with craftsmanship as
a starting point and contemporary design as a goal. Depending on the angle of looking and lighting, the tri-
dimensional double-scale pattern reveals a multitude of graphic forms. This timeless, 100% ecological
product, which emanates pleasant heat, may be used in construction of decorative heating walls, stoves
and other elements of interior design.

Kristína Sekerová (Slovakia)
Denim patterns (2011)
A collection of denim patterns meant for fashion design. The inspiration comes from a jeans pocket, which
leaves a darker spot on the trousers, when ripped off. The author’s own method of making patterns is not
based on printing or dyeing, but on washing the colours off – only the denim´s colour itself is used here.
Stripes are sewn on the textile (according to the pattern of my choice), then bleached in a chemical
solution that bleached the fabric. The places where the stripes covered the textile stay dark, and the rest
reveals a bright pattern.

Magdalena Garncarz (Poland)
Baba Yaga’s stool (2011)
8 brooms (sweepers) made of natural hair or natural hair enriched with PET + beech studs

Baba Yaga’s stool was born on the way leading from a dream about flying on a broom to making it real in
the form of a seat. Flying didn’t work, but sitting does. Unforgettable sensory experience guaranteed! The
project is a dialogue with its surroundings. The item gets ripped out of its everyday routine and changes its
own destiny, assuming a new context. The history behind the item used is an important aspect of the
project .

Pilar Rojo Peso (Spain)
Series of ShowOFF Photobooks (2011)

A set of 5 artistic books of young Polish photographers – participants of Photomonth in Kraków 2011,
ShowOFF Section. Books, designed as the beginning of the series, were a supplement to the exhibitions on
one hand, and on the other hand, they served as collectables – limited edition, numbered, signed by the
author – promoting individual photographers. Books have a unified format, and only a form of binding
shows that they are a series – the cover is made of a folded poster that can be used independently. With
this solution, the designer has managed to avoid the limitations imposed by a series of publications,
emphasising the individual character of each of the photo projects presented in these books.

Sylwia Sroka (Poland)
Crystals (2011)
polyester in 3 colours (continuous filaments) 64x2tex, white warp, weaving techniques (weave design)

The project has been inspired by... apples. The jacquard fabric has been made on a Picanol loom at the
Institute of Textile Architecture, Technical University of Łódź, and is meant to be used in interior design.
The fabric was made using various satin weaves.

Thibaut Godard (France)
Porcelain (2010-2011)
porcelain, cork

Porcelain is a range of 9 Bordeaux wines bottles of 33 cL made of porcelain. An included packaging with
9 tasting phials of 6 cL allows the consumer to taste each wine in small quantities. There is a letter from the
word “porcelain” on each phial, and it is related to the wine inside. The same letters are repeated on the
bottles. Moreover, with Porcelain, we don’t remove the cork anymore, but we break the neck of the bottle
to open it. Porcelain allows to communicate the values of wine (know-how, tradition and culture) with
various visual codes, but not necessarily on the label, and add a new quality to the bottle contents, namely,
a touch of sensuality.

Urszula Kowal (Poland)
IGE Individual Energy Generator Open Source (2011)
2 mm corrugated board, photovoltaic panels, AAA batteries, USB port, diodes, wires

The IGE project – Individual Energy Generator Open Source – has been devised in order to decentralise
access to electric energy. The project consists of two complementary parts: a solar energy generator,
capable of powering small electronic equipment, and a manual on how to build it. Thanks to IGE, you can
construct the device by yourself, so access to technology is democratised, and the users are activated. The
idea behind IGE, an open source non-profit solution, is an example of an alternative design method,
questioning the postulates of industrial design.
Wojciech Kawczyk (Poland)
YGREK (2010)
stainless steel and acrylic glass

YGREK is a lighting system. Its exceptionally flexible structure allows it to adapt to any type of space. Its
intriguing name derives from the distinctive shape of letter “Y”, thanks to which the user may create
various spatial arrangements. The project has been inspired by natural forms. Just like plants, YGREK can
change over time and assume various shapes and sizes.

Tomasz Pydo (Poland)
Wrappie (2011)

Wrappie is a lamp whose height can be freely adjusted thanks to a long cable wrapped around a ceramic
tube. Materials used in the lamp have been used to the fullest – multi-functional cable supports the lamp,
adjusts its height and, coupled with noble ceramics, serves an aesthetic function by creating an interesting
structure around the shade. The lamp is characterised by the frankness of the material used and a rough
form, which are directly related to its function.

Accompanying Exhibitions
must have
must have is a vote in which a group of experts invited by Łódź Design has selected the most interesting,
attention-worthy projects of Polish design, reflecting current trends in our country. The laureates of must
have include big and well-known enterprises, and also small family and friends’ initiatives related to
furniture, interior design, lighting, packaging and toys. In each case, the choice was determined by their
innovativeness, functionality, ergonomics, quality and beauty of the project. Out of 150 nominated objects,
44 have been selected which we recommend as examples of a wise and conscious strategy of investing in
Interior Energy. Scandinavian Style (2011)
BoConcept, IKEA, Kinnarps, &tradition
Simplicity and functionality. This is how we can describe Scandinavian design, whose pragmatic character is
largely determined by the harsh northern climate. Snowy winters have always made people spend most of
their everyday live at home: interiors became cosy, comfortable and warm oases. Scandinavian design
makes use of the centuries-old handicraft tradition; and the solidity and durability of furniture is combined
with the natural beauty of wood. Form is determined by specific needs (also aesthetic), there are no
redundant elements. The success and strong position of Scandinavian design are shaped by the belief that
it should be accessible for every citizen. Sounds utopian? In our country, where the reality is rather far from
our wishful thinking, let us at least find inspiration in the ideas implemented in Scandinavia.

Overdesigned? (2011)
Exhibition of the Association of Applied Graphic Designers
It seems that Polish ‘design mainstream’ leaves much to be desired. At the same time, many young
designers more and more often rebel against the terror of ‘over-aesthetic’ form by experimenting with the
aesthetics of imperfection. What is it really like? Are we already in danger of ‘overdesigning’? Or are ‘dirt’
and carelessness only a temporary fashion? Or maybe it is just a way of searching our own identity in
design? The exhibition will encourage us to think about the place of Polish applied graphics A.D. 2011 in
response to the phenomena of total design typical of “old democracies”, i.e. the situation when everything
seems to have already been designed.

Curator: Agata Szydłowska

Modus Vivendi (2011)
Monika Jaworska
I believe that old clothes found in the attic have their own history. I have created a ladies’ clothing
collection of this kind. There is a little girl dressed in men’s clothes, much too large. Playing with the
structure, searching for the new form, creating an illusion of two things in one, inspiration found in men’s
clothes – and to be more precise, what is inside them – brings freedom from all the restrictions related to
the current season, size and tailor’s accuracy...
Silesian Icon 2010
“Silesian Icon” is the only regional design contest in Poland. Cieszyn Castle has organised it for 6 years. We
want good design to be as popular as Silesian dumplings. Therefore, in the “Silesian Icon” contest we award
companies which decided to cooperate with designers and make use of world-class design. The contest
contributes to the reconstruction of the Silesian ethos – the region is associated with diligence and high
quality products. Therefore, what we can say about any of the winners is: “It is good because it is Silesian”.

The “Silesian Icon 2010” contest is organized within the second edition of the project “Design Silesia”,
funded from the EU resources under the European Social Fund and the national budget.

Exhibition arrangement: Grupa Projektowa Wzorro: Natalia Jakóbiec, Katarzyna Pełka, Marcin Krater

Childishness – Polish design for children
The “Childishness” exhibition presents works of Polish designers addressed to the youngest audience.
Cuddly toys, blocks, lamps and furniture for kids. Some are individual, unique, inimitable, whereas others
are produced in short or long (industrial) series. Publications are a separate category – they are valued and
awarded around the world, but less known in Poland. Polish books illustration has a great and tradition
worth much more attention. The items presented on the exhibition are far from the stereotypical way of
thinking about toys and children’s stuff. They undermine the convention, discuss with the user, provoke
questions and play. They force a dialogue between a parent and a child. They teach and entertain at the
same time.

Curator: Agnieszka Jacobson-Cielecka
Organiser: Regional Museum in Stalowa Wola

NgispeN is a new Dutch brand founded by Gispen, one of the oldest and largest office furniture companies
from The Netherlands. Under the art direction of Richard Hutten, the collection is designed by Jerszy
Seymour, Michael Young, Dick van Hoff, Maarten Baas, James Irvine, Studio Makkink & Bey, Fabio
Novembre, ZUS, W.H. Gispen, Gerrit Rietveld, Wim Rietveld, Wiro van Vilsteren and Ontwerpers.nu.
All these products have one thing in common, they are designed under the credo ‘playing with tradition’.
Did you know that more than 50% of the product portfolio of NgispeN has been acquired by museums from
all over the world for their own collections?

50 years of Rosenthal Studio-Line, 50 years of design
For 50 years, Rosenthal Studio-Line has been a synonym of innovative and avant-garde design. In this
period, numerous famous artists and designers, i.e. Walter Gropius, Tapio Wirkkala, Björn Wiinblad, Jasper
Morrison, Marcel Wanders and Patricia Urquiola, have created for the Rosenthal brand their unique
collections that are of highest quality in terms of both form and function. For decades, they have been
milestones in Rosenthal Studio-Line development. Thanks to over 150 artists and designers, Rosenthal
Studio-Line has always followed the spirit of the times, and over 350 international prizes are the evidence
for the great creativity of the German atelier.

Organizer: Rosenthal Polska
Curator: Remigiusz M. Kuczuba

Enter Me – Spiritual Design (2011)
Karolina Hałatek
The exhibition has been created out of personal search for a universal language referring to the basic and
fundamental human issues, regardless of cultural background. Light is the first condition for art to exist.
Physical composition of light, made of elusive, always moving photons, is a direct inspiration and a key to
understanding the exhibition, consisting of three installations: Blue Gate, Light Timer and Prism.

The work presented as part of “Light Move Festival” – the 1st Festival of Kinetic Light Art

Fresh Light of Corian® (2011)
Jaroslav Bejvl, René Šulc, Jaroslav Vetvicka, Dorota Koziara, Przemysław Stopa
Light is immaterial but is transformed by materials. The art of transforming light through the creative
combination of materials, and through innovative shapes has reached a new frontier. The DuPont™ Corian®
material has begun a new designing era and offers designers superior modeling possibilities and sensorial
qualities. The exhibition will discover various inspiring light objects made by creative professionals from the
Czech Republic and Poland.
Curator: Andrzej Wojciechowski

Creative Meetings! (2011)
A well-designed meeting place means more than design and comfort. We create places which stimulate,
inspire and make people more open. It is the secret of “Creative Meetings”!

The idea of creative meeting places has become very popular recently. Psychological aspects of their
furnishing, as well as their influence on the atmosphere and creativity, have also been noticed. “Since the
mid-1990s, we have been promoting new functionalities and design interiors that support innovative work
processes. This is our unique expertise, our speciality,” says Lars Bülow, Centrum and Plint seatings
designer. According to Kinnarps, each office should stimulate to work. By creating solutions for different
workplaces, we pay attention to make the interior design encourage to activity. Our solutions are available
to be tested at our exhibition!

PININFARINA unknown – ORBITAL and Rother masterpieces of design (2011)
The exhibition presents the latest project with the PININFARINA logo – the ORBITAL table, designed for
Calligaris. It will be the first presentation of the table in Poland, showing the process of its creation, from
the concept-inspiration to the ready item of furniture.

Additionally, the exhibition presents earlier, less-known works by this amazing studio – the icon of global
design. Fast motorboats, watches, glasses, perfume bottles, coffee makers, suitcases, and even
a toothbrush, all bear the distinctive logo. The exhibition focuses on furniture, though – ORBITAL and other
items designed for various customers (incl. Reflex, Snaidero, Riva 1920 or Ares Line) during the over 80-
year history of the studio.

Organizers: Alto Galeria, Calligaris

Simple Past (2011)
multimedia presentation
domosfera.pl, bryla.pl
This multimedia time travel takes the viewer into the world that does not exist anymore. In the age of
modern technologies, we recall life without portable computers, e-books and smartphones. Forgotten
buildings, forgotten objects, forgotten places. Discovered anew, these images are waiting for you to make
your own story out of them.

Multimedia realization: Krzysztof Wykrota
Curators: Agnieszka Rumioska – Bryla.pl (redaktor naczelna/editor-in-chief), Marta Lubaszewska –
Domosfera.pl (editor-in-chief)
Project partner: National Digital Archives

From sketches in Stockholm to textiles for homes (2011)
In April 2010, Emma Jones, IKEA specialist for textile product development, has started her studies in
Beckman’s College of Design in Stockholm. During workshops, 22 students used various techniques to
create thousands of black and white sketches. With the authors’ consent, a digital archive of all the
projects has been sent to the IKEA office in Älmhult. There, they have been turned into new patterns in
tune with the company’s spirit. This August, IKEA included them in its range of products. MADDE, EDMA,
GULLIVI, LILLIVI, JULITA, DURITA textiles, SANDGRUND shower curtain, and EIVOR ORD bedclothes are
great examples of this fruitful collaboration.

Architects Welcome! (2011)
Architects Welcome! at Atak Design is an architect-friendly place – they will have an opportunity to see the
collection of design classics, permanent collections of well-known brands as well as the new releases only
just shown on fairs. The arrangement of all that makes staying there a real pleasure – contemplating good
design in a lazy atmosphere, listening to music and drinking good coffee. Additionally, the architects will be
provided with catalogues, 3D files and informational materials.

Atak Design invites you to see the collections of such designers as Philippe Starck, Charles & Ray Eames,
Verner Panton, Arne Jacobsen, Alberto Meda, Antonio Citterio, Marcel Wanders, Patricia Urquiola, Patric
Jouin, Ferrucio Laviani, Frank Gehry, Ron Arad, Eero Aarnio. It will present brands: Vitra, USM, Kartell,
Magis, Fritz Hansen, Alias, Moooi, B&B Italia, Foscarini, Diesel, Artemide, Belux, Fatboy, Bulthaup,
Lightyears, Porro, Gandia Blasco and others.

Qi & Dancing Fabric (2011)
Maciej Strumiłło
The exhibition combines a creative use of fabrics and a wide range of technology related to designing. In
Feng Shui, the term Qi denotes ‘a life force’, and this is why it glows with light. The fabric it wears makes
the item – a lamp – more human-like. “Dancing Fabric”, in turn, is a collection of contemporary textiles,
created with the use of a screen printing technique, which makes the fabric ‘dance’. Their author surely
belongs to a small group of designers with passion, who create unique works of design art using fabrics.

Honorary Patron: Hanna Zdanowska, Mayor of Łódź

MSES KOŁO by Janusz Kaniewski
Since spring 2011, the mobile KOŁO Exhibition-Training Room travels around Poland and Europe. The
construction was designed by Janusz Kaniewski, who is already known to the festival audience from
previous years. A huge Sanitec Koło lorry is a continuation of the designer’s interest in the automotive
industry. Earlier, he cooperated with such brands as Ferrari, Honda or Fiat. MSES KOŁO consists of a 470-
horsepower Scania truck tractor and a semitrailer with an exhibition of bathroom tiles, bath tubs, shower
cabins and furniture offered by the leading producer and distributor in the bathroom branch in Poland –
the Sanitec Koło company.

Design Auction (2011)
Design Auction and the preceding exhibition combine two aims – to popularize Polish design and to
support the idea of collecting design. The pre-auction exhibition is a selection of several original items
created since the 1930s up to today. It is an overview of the most important phenomena and trends in
Polish design, set in the context of examples from other European countries. The items include projects
implemented in mass production, short series and unique works. In our intention, the exhibition and
Design Auction are meant to be a step towards changing the way Polish design functions on the art market,
and the way to encourage the audience to build private collections.

Curator: Katarzyna Figura, ARTon

Combinations (2011)
Furnishing is almost entirely about the combination of materials, shapes and colours. But what actually
goes really well together? Interprint answers this question with inspiring combinations. Under the motto
‘Combinations’, the new Interprint décors (wood grains, stones and fancy pictures) offer a great
complement to trendy metallic single colours. The right single colour positively influences the effect of the
surface. It balances out, sets accents or, if necessary, produces the visual tension. Combined by Interprint –
the company that not only inspires with its trendy décors, it provides a versatile complement for
combinations with the perfect colour.

Stuccowork of CHANGES
The world of stuccowork is still an underestimated source of inspiration for spatial changes. The Academy
of Decorative Elements & Aniro present new directions of CHANGES which have contributed to creation of
the new image of stuccowork.

CHANGE of the outlook on classic elements of interior decoration: new rosettes and battens.
CHANGE of space by using 3D stuccowork.
CHANGE as an inspiration for bold design projects.
CHANGE as a new door in contemporary interior design.
New image of artwork and stuccowork – genuine joy of CHANGES.

% (2011)
MOOMOO Architects (Jakub Majewski, Łukasz Pastuszka)

Designed by Jurczyk Design (2011)

The exhibition presents the output of 13 years of work by the Jurczyk Design studio. Jurczyk Design has
been operating since 1998. The studio was born out of passion for harmony, aesthetics and... paper. Their
strongest and most distinguishing point is application of unconventional and bold solutions in printing and
paper refining. They specialize in creation of corporate and brand image, starting with trademark design,
planning marketing campaigns, and ending with putting these ideas into practice. As they want to be a full-
service agency for their clients, they also prepare multimedia presentations and websites. They have also
organised a series of training courses and workshops for their customer.

22nd Strzemioski Competition – Design 2011
For 22 years, the Władysław Strzemioski Academy of Art in Łódź has been the organiser of a competition
known as ‘Strzemioski Competition’. The competition presents students’ works created in all design studios
of the academy: Faculty of Textile and Fashion, Faculty of Graphics and Painting and Faculty of Industrial
Design and Interior Design.

Young designers present their ideas and works on an exhibition, where they can confront them with the
reality of the market. We can see designs relating to such areas as fashion and textiles, shoes, jewellery,
graphic design and industrial design.

Curator: mgr Przemysław Hajek

Image (2011)
Employees of the Department of Painting and Drawing, Faculty of Visual Arts at the Strzemioski Academy
of Art in Łódź: prof. Jolanta Wagner, dr hab. Włodzimierz Stelmaszczyk prof. ASP, dr hab. Aleksandra
Gieraga prof. ASP, dr hab. Andrzej Michalik, ad. Tadeusz Wodzioski, ad. Przemysław Wachowski, ad. Rafał
Sobiczewski, mgr Maciej H. Zdanowicz, mgr Maciej Bohdanowicz, mgr Krzysztof Ostrowski

What kind of meaning does an image have? Does it still constitute a value in itself? We ask about the limits
of an image, do they really exist? Can we define the borderline of meaning? Which areas does an image
annex? Will the question be asked: the image of whom? Of what? Will the question about the symbolic
white canvas be asked? Will the attempt to redefine the concept of an image manage to return the image
its place? What will it be?

Curators: Aleksandra Gieraga, Maciej H. Zdanowicz

Fashion Flash. Fashion in Elle Lens (2011)
Mateusz Stankiewicz, Aldona Karczmarczyk, Artur Wesołowski, Robert Ceranowicz
Great fashion in the lens of the best Polish photographers, spectacular shooting locations and world-
famous models. Dynamics and verve of urban fashion frames, as well as modern studio photographs. We
always invite photographers, make-up artists and hair stylists from the best Polish agencies to such
sessions. These images are ELLE’s showpiece.

Authentic Colour
The exhibition dedicated to the Le Corbusier, Charlotte Perriand and Pierre Jeanneret collections signed by
Cassina employs a concise language of short messages and centres on the concept of authenticity, which is
interpreted in various different ways.

The display modules, made of recycled cardboard panels, focus closely on the chosen themes – e.g. colour,
standards, copyright, Modulor, harmony of space. The exhibition is thus a presentation of the updates
made to Le Corbusier Collection over the last years, both in terms of the colours (numerous colour
combinations) and materials used (e.g. feather filling, soft leather coverings) and legal issues (Cassina as
the only licensed producer of Le Corbusier furniture in the world).

PechaKucha Night Łódź – Review (2011)
Cock’nbullstory, Grupa CUKIER, Szymon Hanczar, JOTE, Michał Kacperczyk, Bartosz Kosowski, Libido
Architects, Jacek Olszewski, Pink Pug Design, Maria Rybicka, Take Me, Tamizo Architects Group, Artur
Tenczyoski, Maja Urbaoska Allure

On the occasion of the first anniversary of PechaKucha Night Łódź, we would like to invite you to the
exhibition where you can see selected works presented during the first five editions of Pecha Kucha. It is
a unique opportunity to watch the projects related to architecture, design, fashion, graphics, photography
and illustrating.

Curator: Grupa CUKIER

Polish Stamp Design_Poczta Polska S.A. (2011)
Magdalena Błażków, Jacek Brodowski, Marzanna Dąbrowska, Jacek Dąbrowski, Joanna Fleszar,
Przemysław Krajewski, Paweł Myszka, Anna Niemierko, Jarosław Ochendzan, Agnieszka Sancewicz,
Agnieszka Sobczyoska, Janusz Wysocki

A stamp – a philatelic product, store of value, and collectors’ object – is widely available and reaches the
furthest corners of the world. It is also a little piece of Polish design art. What is startling is that in spite of
the small size the expression is comparable to a poster. This universal artistic language of Polish stamps has
become world-famous. “Polish Stamp Design” is an exhibition of Polish stamps and promotional materials
provided by Poczta Polska S.A., which in the last few years have won awards and honours in Polish and
international contests.
Curator: Agnieszka Trząskowska

My Space (2011)
Albino Celato, Enrico Benetta

“My Space” is an exhibition that presents the harmony of space and elements of street furniture that
surround us, with the use of the Albino Celato’s projects for De Castelli company. It shows how the
elements can live in symbiosis with nature – some of them imitate its forms, while others imitate the
structure of a surface. Such design stays in perfect harmony with the furniture and other elements of
interior furnishing presented at the exhibition, representing the world’s most prestigious projects by
Antonio Citterio, Paola Navona, Karim Rashid, Jamie Hayon, Patricia Uruquiola, Roberto Lazzeroni, Jasper
Startup, Zaha Hadid, who work for companies which set trends for contemporary design.

Open programme
This year, for the first time, we have announced an open call for the accompanying exhibitions programme,
as a response to the growing interest of designers in the festival. In the Open Programme, we can see 10
exhibitions selected out of 70 entries.

Design Faction (2011)
Gunnar Green, Santiago Ortega Haboud, Vilma Jaruseviciute, Marek Kultys, Gerard Rallo, Dominic
Wilcox, Ludwig Zeller, Sitraka Rakotoniaina, Studio Duho (Hina Thibaud & Olivia Decaris), Revital
Cohen, James Auger & Jimmy Loizeau, Alexandra Daisy Ginsberg

Lat. fictio, f. – creation, shaping, inventing
Lat. factio, f. – action

For the last hundred years, human body has changed like never before. Research shows that we are taller,
we weigh more, our bodies have different build. This way, human organism has adjusted to a variety of
changes which we have been exposed to during the last century. Where biology still has to work on
something, designers get involved. Mobile mini-devices, temporary prostheses and active implants are
their response to the technological progress. These are also examples showing how much design itself has
changed. A wide spectrum of 2D and 3D planning has been joined by creation of alternative scenarios and
speculative solutions which run far into the future. Design is also a critical commentary on
contemporariness – our lifestyle, ambitions and desires. At the same time, it disturbs our comfort of being
a user, making us wonder if what we witness is design fiction or another step in the technological

Partner of the project: British Council.
Curator: Kasia Jeżowska

Contemporary Polish Interior Photography (2011)
Piotr Antonów, Mariusz Bykowski, Marcin Czechowicz, Hanna Długosz, Cezary Hładki, Yassen Hristov,
Olek Iwaszkiewicz, Kalbar, Jacek Kucharczyk, Rafał Lipski, Jerzy Malinowski, Michał Mrowiec, Sara
Niedźwiedzka, Adam Oleksiak, Anna Orłowska & Mateusz Lipioski, Magda Pacana, Jakub Pajewski,
Michał Przeździk, Joanna Siedlar, Michał Skorupski, Juliusz Sokołowski, Aneta Tryczyoska, Radek Wojnar,
Leo Zappert, Krzysztof Zasuwik

The exhibition of 25 best Polish photographers cooperating with interior design and architecture
magazines, consisting of five hundred photos by artists of various professional experience, dealing with
different themes related to interior photography. The collection provides a review of this field of
photography, focusing mainly on the newest projects. The exhibition shows us what Polish interiors look
like and what is the artistic level of their portrayal.

Curator: Ola Buczkowska
Photo: Cezary Hładki

Custom bikes (2011)
KamilosKuztomKreationz and A dizajn as Kanciapa Kuztom Kreationz
Adrian Łucejko, Kamil Stysiak

Ergonomic custom-designed bicycles of exceptional look and form. The members of the Kanciapa Kuztom
Kreationz team create them comprehensively, starting from conceptual sketches and finishing with hand
construction of each model. The designers are inspired by motorcycles, cars or insects, but they also realise
their own futuristic ideas, and the search for the most interesting form sometimes lasts a few months. The
aim is to create a distinctive bicycle which is also very comfortable and pleasurable to ride.

Exhibition by the Jewellery Studio at the Strzemioski Academy of Art in Łódź (2011)
The Jewellery Studio at the Strzemioski Academy of Art trains future designers of jewellery and goldsmiths.
They design and produce items made of various materials and with the use of various technologies. The
changing reality influences our perception, sensitivity, and needs. When creating jewellery and other items,
we need to search for new forms and new material combinations so that our works do not look as if taken
out from grandma’s drawer. They need to communicate with the audience using a contemporary language.
The exhibition presents works by graduates from the studio. The diversity of these objects is the best proof
of development of individual artistic personalities of their authors.

Curators: Sergiusz Kuchczyoski, Michalina Owczarek

... And this room will be empty (2011)
Agnieszka Lasota

This video-installation shows the audience around a non-existent design exhibition. The main characters of
videos are objects, but the general message remains anti-material.

“Emptiness is an unwanted state, not worth contemplation. In the times of the omnipresent pressure to
produce things, the lack of space for Emptiness becomes even more evident. The project by Agnieszka
Lasota generates it. Instead of creating items, the artist removes them. She gives the audience a taste of
objects in the form of video images and frees them from the pressure of consumption, inviting to difficult
celebration of the ephemeral state of Absence.” Marika Kuźmicz

Glass Vegetable Garden (2008)
Anna Gawłowska

The exhibition has the form of a small vegetable garden. Planting vegetables, cultivating a garden – in this
case a glass vegetable one – has a symbolic, even mystical character. It is meant to symbolise human’s
return to the nature, and show the simplicity, but also fragility and importance, of our existence on the
Earth. “Glass Vegetable Garden” is a manifesto of naturalness for brave and determined women who by
their appearance, way of living and behaviour represent themselves in a natural and sincere way. They
know how they influence the reality, and their surroundings, so they knowingly choose their life goals. They
always live in harmony with nature, surroundings and reality. The highest value is to find fulfilment and
happiness in a natural way that is close to nature, respectful for the values of both sides.

There used to be a cinema here (2008)
Chrum.Company (Ewa Cieniak-Nowakowska, Bartosz Nowakowski)

The photography exhibition titled “There used to be a cinema here” shows changes in the appearance and
condition of traditional cinema buildings. The changes are caused by the ‘escape from the cinema to
a multiplex, computer, TV’. Left on their own, cinemas are not able to bear competition and fall into ruin.
Sometimes, somebody finds potential in them that can be used, but if a cinema building cannot even
function as a second-hand shop or a grocery store, it gets destroyed and replaced with new apartment
blocks. It is a sad lot of many buildings that we have photographed. We are aware that, in a way, our
pictures will be the last testimony to the existence of these cinemas.

Human Space / Change (2011)
Golioska/Biernacki (Gosia Golioska, Remigiusz Biernacki)

Change is an essential, fundamental element in our life and environment. This project focuses on watching,
finding and visualising the phenomena of un-changeability and changeability. The photographs present
young female friends. After props are attached around their bodies, the nearest surrounding of the women
changes – the way of communicating with the environment on the boundary of their skin is not the same
any more. Each of them is provided with different props, different lighting, different time spaces. The
photographs are accompanied by Gosia Golioska’s installations which are constructed of the props used in
the process of photographing, made of worn jumpers, scarves, bed covers, skirts, dresses, textiles and

In turns (2011)
SPRAWCY (Jan Kochaoski, Agnieszka Mazur, Kamila Niedźwiedzka, Przemek Ostaszewski, Maciek
Sobczak, Nikodem Szpunar, Łukasz Wysoczyoski, Małgorzata Żółkiewska)
 “In turns” is a design experiment involving young Polish designers. Each group member will create one
object and incorporate it into a series of interventions introduced by others. The title motif, ‘in turns’,
refers to the method of work which will result in a collection of functional objects, a recording of features
of all the designers who decided to intervene. At the same time, the title of the project touches upon the
nature of ‘turn’ as a ‘change’ – the main motif of the festival this year. The key aspect of the whole is the
design process and subsequent stages of development which will be documented and presented in the
form of a video during the exhibition.

Young Polish Design – Selected Objects
The idea of “Young Polish Design – Selected Objects” was born spontaneously in response to numerous
entries which contained only one or few interesting items, which meant they would not constitute
a separate exhibition. This was not the purpose of the Open Programme, which was addressed to curators
who wanted to present their ideas, or designers who wished to show their completed series of works,
installations, or other forms that could make an individual exhibition. A single object, a lamp or a furniture
piece does not provide such an opportunity. We did receive such projects as we wanted, and they are
included in the festival’s programme of accompanying exhibitions.

“Young Polish Design – Selected Objects”, on the other hand, consists of objects created during the last
year which haven’t been used in any of the curatorial exhibitions. The exhibition presents the condition of
young Polish design and its new aspects. Interestingly, although the subject of the Open Programme was
the main theme of the festival, namely “Change!”, we can actually say that young designers do not change:
they flirt with crafts, return to handiwork roots, their works are repetitive, but unique at the same time. It
is a good sign, as it means that such designers are able to face the industrial challenges, if anyone wishes to
present them with such a task.

Curator: Agnieszka Jacobson-Cielecka

Marta Florkowska-Dwojak, Magda Juszczak, Maya Ober, Dorota Kabala
Awateef (2011)

Tubo Motus (2010)
Buns (2011)
La Urna (2011)

Szymon Hanczar
Symbol (2010)

Karolina Gwóźdź
Isolation Loop (2011)

Maciej Baszko Trybek
Armchair (2010

Paulina Lis
Bathroom Thing (2011)

Tomasz Tomaszewski
Dancing stools (2009)

Zuzanna Jura
Toolset (2010)

Aleksander Pawlik
Photon (2011)

BOSO studio
Braider (2011)

Małgorzata Piotrowska, Monika Niezabitowska, Zofia Hejduk
Wire Chairs (2011)

Arek Wolski
God Honour Motherland (2011)

Marzena Rusiłowicz
Idler (2011)

Dominika Laskowska
Shelf (2007)

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