Wzorowanie. Dizajn w Europie Środkowej

Does Central Europe have a distinctive design?
In the countries of our part of Europe – which in the last 150 years have experienced constant political, ideological, class, and cultural transformations – design reveals surprisingly many common features.
Distinctive patterns of identity were provided at the turn of the 20th century by Ruskin’s and Morris’s ideas embodied in the Arts and Crafts movement. By way of Vienna, they emanated on the whole area of Central Europe. The phenomenon of the Krakow Workshops is a perfect illustration how Ruskin’s idiom was put in practice to give shape to the vernacular, the local, the national.
Sovietisation, which made its mark on the second half of the previous century with its ideals of industrialisation and progress, paradoxically also unleashed in people a great desire to emphasise their own uniqueness. An enclave of freedom was found in design, after the Stalinist era liberated from the straitjacket of socialist realism – it allowed artists from behind the Iron Curtain to manifest their cultural belonging to the West and at the same time to underline their own identity.
In the last quarter century, design has allowed the countries of Central Europe to strike for their artistic and cultural independence, and to overcome the colonial divisions into the colourful West and the drab, imitative East.
So perhaps the distinctive Central European nature of our design is not an illusion after all.

    • 1
      Editorial

    • 4
      Worth a Look

  • Patterning. Design in Central Europe
    • 12
      Subjective Atlas of Central European Design

      Mirela Duculescu, Gyula Ernyey, Czesława Frejlich, Żanna Komar, Zuzana Michalovičová, Tatiana Pavlova, Adriena Pekárová, Tetiana Rudenko, Maroš Schmidt, Peter Szalay

    • 42
      Jugokeramika and Rade Končar: Two Approaches to Design
      Koraljka Vlajo

    • 56
      Bihać Industrial Zone: Design and Production during Socialism
      Irfan Hošić

    • 70
      Poisoned with the West: Popular Music Posters from Soviet Ukraine
      Wasyl Kosiw

    • 82
      Open Form and the Polish Influence on Soviet Design of the 1960s
      Tom Cubbin

    • 94
      Industry vs Craft: Czech Lamps 1950–1990
      Adam Štech

    • 110
      Under the Surface. The Design Landscape at the Turn of the Millennium
      Gyula Ernyey

    • 128
      Folk Culture: The Leitmotif of Polish Design
      Piotr Korduba

    • 146
      Etnodizajn: Polish Games with Modernity
      Ewa Klekot

    • 160
      The Triumph of the Knock-off! The War between the Parody and the Original
      Helena Chmielewska-Szlajfer

    • 172
      Design: Illusion or Reality?
      Michał Wiśniewski

  • Interview
    • 186
      The Nutcracker

      Zuzanna Skalska in conversation with Żanna Komar and Aleksandra Szczepan

  • Ideas in Practice
    • 196
      Looking at the Sea through Trees

      Agnieszka Jacobson-Cielecka in conversation on the „Roundabout Baltic” exhibition with Klara Czerniewska-Andryszczyk

    • 210
      The Battle for Modernism. Remarks on the exhibition Design for a New World
      Bojan Krištofić

    • 220
      The “Observatory” Workshops: Adam Mickiewicz Institute for Design
      Barbara Krzeska

  • Reflections, Impressions, Opinions
    • 224
      Africa: Pure Form?
      Szymon Piotr Kubiak

    • 237
      Worth a Thought

      Marta Skowrońska, Peter Michalík, Katarzyna Kotyńska,
      Kinga Siewior, Wojciech Wilczyk, Wojciech Szymański,
      Szymon Piotr Kubiak, Nawojka Cieślińska‑Lobkowicz

  • By Myself
    • 256
      Do-It-Yourself and Aspirations: Changes in the Polish Iconosphere during the Transformation Period
      Olga Drenda