Anna Wiśnicka

Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara

Abstract Polish-born, -based designer, Dorota Koziara has been active on the international design scene for two decades. Her artistic career has swung between her national roots and the well-established traditions of Italian design. Working alongside the iconic Alessandro Mendini, Koziara gained a brand-new way of self-expression, smoothly intermingling between the two cultures. Her activity covers an outstanding range of projects, she is also the winner of the Third Millennium International Sculpture Competition held in . Her achievements on both Polish and Italian design scenes are a unique example of how fluid contemporary trends based on national heritage can be. In this border-free society, the influences and relations between Polish and Italian design seem to be highly important. After centuries of inspiration and domination by Italian art, today’s scene shows a different approach to multicultural dialogue, the results of which are apparent in Koziara’s works. The article focuses on her achievements in the light of reciprocal Polish-Italian influences.

Keywords Italian design, Polish design, design history, contemporary art, Milan

© 2017 Anna Wiśnicka Cardinal Stefan Wyszyński University in Warsaw | [email protected] The author declares that there is no conflict of interest. pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 ISSN: 2384-9266 | plitonline.it 161 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara . ------1 . Polish Polish . 2 Prima Esposizione Prima Esposizione . In the late 1980s 3 . 4 , Muzeum Narodowe w Warszawie, , Thames and Hudson, London 1991. , Instytut Sztuki PAN, Warszawa 2005. (First International Exposition of We Want Want to We be Modern: Polish Design 1955-1968 / Chcemy Chcemy być nowocześni: polski design z ko1955-1968 Polskie meble 1918-1939 meble Polskie The Arts and Crafts Movement Arts and Crafts The , SBM, Warszawa 2015. Warszawa , SBM, Polski Design Polish Polish and Italian design are two phenomena on the art scene so diffe The traditions of Italian design are marked by big companies, style diver I. Kozina, I. Kozina, from from the Collection of the National Museum in Warsaw 2011. Warszawa See A. Kostrzyńska-Miłosz, A. A. Dembska, A. Maga, Frąckiewicz, lekcji Muzeum w Warszawie Narodowego The Arts and Crafts movement, present between 1880-1910, craftsmanship emerged and from high-quality items available the for the public. need For more on of the matter, see E. Cumming, Kaplan, W. 4 2 3 1 tionship between art and international industrial traditions was manifested, Internazionale d’Arte Decorativa Moderna Decorativa d’Arte Internazionale the in firstfor where 1902, Arts) time Modern held rela theDecorative Turin in sification and numerous fieldsof expertise,covering projects from jewellery, through interior décor, fashion, packaging up to cars history of and Italian industrial motorcycles. design The is strictly linked with the new companies and organising exhibitions and fairs and exhibitions and organising companies new Modzelewski, Modzelewski, Maria Chomentowska, Wróblewski Zdzisław since identity its rebuilding slowly shadow, the in was scene design Polish the establishing arts, fine of academies the at programmes changing by 1990s the ding various avant-garde solutions including plywood and then-new synthetic synthetic then-new and plywood including solutions avant-garde various ding materials. The key-figures of that period were Teresa Kruszewska,Roman stic stagnation; however, stic the stagnation; design however, scene came into prominence during the period in of particularly growing restoration, strength in the 1950s and 1960s. At that time, the approach to forms and materials was provi very innovative, history, being history, marked wars by and political turmoil, resulted in a very non-li near development of design. WWI and WWII were moments of relative arti gners, to mention Spółdzielnia ŁAD (Order Cooperative), Warsztaty Krakowskie Krakowskie Warsztaty Cooperative), (Order ŁAD Spółdzielnia mention to gners, Art) Applied (Polish Stosowana Sztuka Polska and Workshops) (Cracow both spheres, represented by both the by spheres, represented Wyspiański, prominent figuresof Stanisław and At Sienicki. that Stefan Jastrzębowski, various time, Wojciech Tichy, Karol artistic societies came to life, which would gather and promote Polish desi The beginnings of the twentieth century in Poland were marked by the search search the by marked were Poland in century twentieth the of beginnings The in regionalism in resulted which design, and art through identity national the of Polish Polish design starts as the aftermath of the leading – intellectual Arts movement and Crafts – spread in Europe at thanks the to turn the of British the designer John nineteenth Ruskin century and philosopher William Morris the same time both of them are deeply rooted in their distinctive national tra national distinctive in their rooted deeply the them same are time both of ditions, reflecting the ever-changing history of countries. the historyThe of turies. Italy, having grown out of the ancient Mediterranean traditions, holds the heritage of the Greco-Roman culture, while Poland’s artistic back roots to the date tenth century as far as the organised statehood is concerned. At historical historical and cultural backgrounds were forged by the geographic position which determined their entire line of development over the course of cen rent from each other, that any attempt of comparison cannot be justified. Their Their justified. be cannot comparison of attempt any that other, each from rent 162 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 6 5 self-expression, of way a brand-new gained Koziara Mendini, Alessandro nic ico the with cooperating been Having design. Italian of traditions stablished the well-enationalherbetweenrootsand oscillating been career herhas artistic (UAP), Poznań Arts the of University Design, and Architecture of Faculty the from graduation her Since Koziara.Dorota designer: Polish a Milan-based Fair) 8 7 famous the through stars ming upco and icons design promoting by position leading its maintaining is Italy while companies, and studios new establishing by arts applied of field the in growing on an keep being they Polish scene, the in-the-making and fairs design and art world-famous of traditions the -wide magazinepublications, exhibitions, andprestigious fairs. world with scene the promoting fields, different in ideas various developing mid-1970s,the with AlessandroGuerriero’s kept Group,design Alchimia Italian Since States. United the in popular became design pure whose Vignelli Lella and Massimo to thanks attentioninternational gained aesthetics Italian 1960s anti-design which was fully embodied by the Archizoom Associati group perception resulting in appearance of such movements like radical design and the changed however decade following The colours. bright in pieces playful wave of pop-design came into prominence, enchanting global imagination with newa few.the but d’Ascanio,time, name tosame Osvaldo Borsani, the Atand and 1960s Italian design was in its heyday thanks to Marcello Nizzoli, Corradino sed on visual aspects rather than technological improvement focuaesthetics”“product so-called of rise the in resultedsituation economic difficult The Reconstruction). Industrial for (Institute Industriale Ricostruzione la perIstituto industry,the design growththe ofeconomicbody forresponsiblethe new the appointed government The Fiat. as such factories big around mainlyconcentrateddesign, of rationalisation afteron focusedwastion WWII reconstruc of period The Bottoni. Piero and Albini, Franco Sant’Elia, Antonio growtoto thanks began 1930s the of design Rationalism.NovecentoThe and twentiethcentury,ofthe namelyFuturism,beginning the Europe atpresent in bro thers. Bugatti The design boom had continued alongside the with new artistic movementsand Basile, Ernesto Ginori, Richard as artists such to thanks smit (Comitato Organizzatore del Salonedel Mobile Italiano), Milano 1996. Lazzaroni, L. 245-267; pp. Oxford2014, fetto, D. Rinallo, For more information on the history and features of Italian design fairs, see H. Bathelt, F. Gol Una modernità incompleta ci, sowana for further reflections. For thorough compilation on the matter, see I. Huml, a background onlyas serve design Italian and historyPolishof the informationon brief The Mondadori Electa,Milano2007. Gargiani, R. see rozzi; Mo Massimo and Deganello ofgroupconsistedCorretti,PaoloGilberto The AndreaBranzi, Ch. Fiell,P. Fiell, Currently, despite the Italian design being based on name recognition andrecognition name on based being design Italian Currently,the despite Design italianodelDesign XXsecolo 8 . The two separate worlds however, are linked by a distinctive figure of figure a distinctive by linked arehowever, worlds separate two The . , Wydawnictwoi Filmowe Artystyczne Trade Shows intheGlobalizing Knowledge Economy Masterpieces of Italian Design Archizoom associati, 1966-1974: dall’onda pop alla superficie neutra superficie alla pop dall’onda 1966-1974: associati, Archizoom , Baldini&Castoldi, Milano 2008. , Giunti, FirenzeGiunti, , 2014; Branzi, A. Salone del Mobile diMilano 35 anni di design al Salone del Mobile 1961-1996Mobile del Salone al design di anni 35 , Carlton Books,London 2013,pp. 6-23. , Warszawa 1978; A. Colonetti, E. Brigi, V.CroBrigi, E. Colonetti, WarszawaA. 1978;, 7 Pln i bidn is identity its building is Poland . Introduzioneal italiano.design , Oxford University Press, 5 . During the 1950s Mln Furniture (Milan Polska sztukasto 6 . In the , Co , ------, 163 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara - - - - - ). Koziara ). is Koziara the winner of the Third Fig. 1 (Twelve Angels). Contrary to other eminent Polish figures connec figures Polish eminent other to Contrary Angels). (Twelve Swatch Italy – retail space design, phot. Atelier Mendini Archives Mendini Atelier phot. design, space – retail Italy Swatch pluralism in almost all of her activities, being her both Polish a combinationand pluralism in of of almost all dialogue, whose What achievements works. are in presented Dorota Koziara’s distinguishes Koziara on the contemporary design arena is her characteristic -free -free society the influences and relationsbetween Polish and Italianseem design highly important. After centuries of Italian art’s inspiration and domina tion, the nowadays undertakings show a different approach to multicultural gained the similar level of recognition on both markets, being the key figure In the border range. international in the leading design magazines of featured design, retail space design, glass work, sculpture and pottery. Her ments on achieve both Polish and Italian design scenes are a unique example of how fluidcontemporary trends based on national heritage are. sheMoreover, has ted to the broad Italian art scene, Koziara did not limit the scope of her activities activities her of scope the limit not did Koziara scene, art Italian broad the to ted furniture scenography, décor, field,touched but uponone to interior particular Alessi, Cosimo Martinelli and ( Swatch sculpture with her held in Italy Competition Sculpture Millennium International Angeli Dodici standing range of projects, the including works for Polish Bolesławiec factory, for showrooms as well as Silesia, Lower in palace Schreiber Karl the of interiors smoothly smoothly intermingling between the two cultures. Her activity covers an out Fig. 1. 164 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 12 11 10 9 Polish-Italian relationships. curator was Medini. The events were carefully arranged and accentuated the design del exhibitioncuratedby Dorota Koziara on Alessandroentitled Mendini with cooperation by globalunderlined been has collaborationofbrands. importance the leading The of concept the and scene design the with Dorota presented has architecture, and arts applied Italian of master the as known being Mendini, aesthetics. of level different a completely on flourish design an internship her offered at hisMilaneseatelier who Mendini, Alessandro met also she , In createto needs brand-newit because posed within yetcoherent landscape. co-existsubstantialcom can pieceswith habitat the realisedthat she when point, natural architecture starting historic surrounding its ficent the and was scape had a huge impact on her future career. The union between the magni explorationthe of manycountryside Italian land famous set the villas within reason this for and relation object-environment the to sensitive particularly Koziarawas eco-design, in masters her had Havingalwaysdesigner. the havefascinated landscape and culture art, Italian as Rome for set was choice The scholarships. international three awarded was she Poznań in Arts Fine of Academy the from honours with graduating after when 1995 by marked is It heritage. Italian the with contact first her with together started tionship Mendini Alessandro with cooperation long-lasting Renesans theirmetaphoricalofand her meaning: names collections the serve can example the categorised.As be cannot which mixinspiration unfettered the of the is career her in significant most the is What Bolesławiec. Władysław of characteristic so wicker, of Wołkowski, use and co-operations with well-established Polish brands, to mention the i.e. techniques, and mate rials native typically uses she as relevance high of also is side “Polish” the However, Pesce. Gaetano and Mendini Alessandro Castiglioni, Giacomo Pier and AchilleBoccioni, Umberto Balla, Giacomo mention to just design, and art Italian both of classics the from coming inspirations bythe markedprincipally dominated by form. Her achievements, which can be considered “Italian”, were Italian the way of designing objects ofunderstand bold shapes and striking colours, often pre fully to Koziara Dorota allowed which point starting the was co-operationwith MendiniAlessandrolong-lasting of inspiration. The terms approach in individual an gained which entity closed a being project every for proofthe being foreignratio, nationaltraditionforand patternprecisethe one no is There works. her in incorporated selectively are which elements, Italian

Wrocław, City Museum-Old City Hall, 09.06.2016-28.08.2016. www.asp.wroc.pl/410 show, the (accessed 30.05.2017). of opening the at Mendini Alessandro with Conversation Interview with Dorota Koziara (05.06.2017), notes inauthor’s archives. 2011. For more on Alessandro Mendini, see G.L. Ciagà, Probably the most important step in Koziara’s international career was the for Bolesławiec. (MasterDesign) of 10 . The professional relationship with his studio let her let studio his with professionalrelationship The . 11 as well as by the solo showDorotaofsolo bythe wellas as Alessandro Mendini 9 hi poesoa rela professional Their . Pelagie , 24 ore cultura, Milano forNoti 12 Maestro whose

and ------

165 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara ------. It shows clearly 15 Forme uniche della uniche della Forme . The unusual sources sources unusual The . 16 ). Dinamismo di un cane al al Dinamismo di un cane Umberto Boccioni and 100 Years of of Years and 100 Boccioni Umberto Fig. 2 in which the artist has presented has been placed in the picturesque picturesque the in placed been has 14 Gardner’s Art through the Ages: Modern Europe and Modern Europe Ages: the Art through Gardner’s , 1913, bronze figure. Currently in thecollection of . It was a transition time in her career as she 13 Dodici Angeli Dodici , 1912, oil on canvas. Currently in the Albright-Knox Art Gal Art Albright-Knox the in Currently canvas. on oil 1912, , (Unique Forms of Continuity (Unique in Continuity of Forms Space) Władysław Wołkowski: z dziejów teorii i praktyki polskiej sztuki użytkowej XX wie użytkowej sztuki polskiej i praktyki teorii z dziejów Wołkowski: Władysław (Dynamism of a Dog on a Leash) , www.andrewgrahamdixon.com/archive/umberto-boccioni-and-100-years-of-fu , Wadsworth Publishing, Belmont (CA) 2011, pp. 853-870. 2011, pp. 853-870. (CA) Publishing, Belmont Wadsworth , , in “Ikonotheka”, n. 2, 1996, pp. 83-113. pp. 83-113. n. 2, 1996, , in “Ikonotheka”, The international career of Dorota Koziara, strictly connected to Italy, fully ku turism.html (accessed 05.06.2017). (accessed turism.html Różańska, A. The Unique Forms of Continuity in Space Continuity of Forms The Unique A. Graham-Dixon, in Milan, see Novecento the Museo del Futurism The Dynamism of a Dog on a Leash on a Dog of Dynamism The F.S. Kleiner, York, see in New Buffalo, lery America The International Third Millennium Sculpture Award organised and sponsored by the Ter the by and sponsored organised Award Millennium Sculpture Third The International was prof. the jury the Heritage, head of of the Ministry by and supported Group Moretti ra Restany. Paul

16 15 14 13 of both Polish and Italian art and design heritage ( Polish both of kept kept being in use for several decades, serving material work such basic the designers was as wicker Władysław whom for Wołkowski reminiscence a contemporary is which installation an in resulted inspirations of which only natural materials could have provided. Moreover, Polish heritage played an important role: the material has been quite popular nationally, and lation, however, lation, it however, is highly significantto underline a different approach to the materials. The use of wicker clearly shows fascination of ecological solutions and, in this case allowed to present the high of level dynamism and lightness continuità nello spazio nello continuità instal the for inspiring and strong very were influences futuristic Italian the that guinzaglio guinzaglio undefined of movement fluid of idea The chronophotography. of fascination his vividwork Umbertoof in Boccioni the very was also figures its various various its faces, can be to compared the ideas the of Italian futurism, particu to the larly famous painting Giacomo of Balla entitled of dramatic movement. The figures of the angels look as if they were suddenly suddenly were the angels they lookof as if The figures movement. dramatic of caught in motion. This concept, applying the study creative of movement and figurative group of sculptures. Koziara’s angels are highly expressive and dyna and expressive highly are angels Koziara’s sculptures. of group figurative of straw of pieces with finished edges Their move. a constant in be to seem mic, impression the giving suggestive, very concept entire the make length different long-lasting interest in bio-design, which often uses natural and environmen thana regular was different far however The effect final materials. friendly tally delle sculture in Franciacorta (Franciacorta Sculpture Park) located in Erbusco, in Erbusco, Park) located Sculpture (Franciacorta in Franciacorta delle sculture . The installation consists of seven pieces of the them by was inspired almost The meters high. three choice the of material wickerwork, each of Giuseppe Rivadossi, Ilmi Kasem, the to donated Parco were The pieces selected Spiller. Nakamura, and Giorgio Giuseppe Bergomi, Salvatore Sava, Maki studio. Her installation entitled entitled installation Her studio. Simon as artists prominent such among Franciacorta, in located park sculpture Benetton, Mario Costantini, Ray King, Giancarlo Marchese, Nissim Merkado, Award held Award in Franciacorta, Italy was still working at the Atelier Mendini, while already running her own design flourished when in 2000won she the Third Millennium Sculpture International 166 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 18 17 of Italian design, particularly the longue chair for Casa M-1 by Carlo Mollino Carlo byM-1 Casa forchair longue the particularly design, Italian of from the 1960s. The elongated backrests are not a new concept, it recalls icons howevercolourfulis distinctiveone most velvetthe piecesresemblingdesign seclusion. All of the pieces of furniture are available in a number of upholsteries, grows.completeprovideuserisolation the ones the and with highest tion The betweenhigherthe people, backreststhe moreget,the feelingthe of separa ferent character of the interior. The low-backrest pieces favour communication dif a completelycreate to allows heights of a diversity Such cm. 170 and 130 importantly,most and, backrestdimensions of threewith different 90, heights: lobbies, hotels, restaurants etc. Each of the armchairs was available in different offices, as environment any such in fit wouldwhich pieces statementfortable, com create to was idea main The elements. dedicated space public various scovered inthe of style Italian distinctive furniture with its The strong forms works.and unfettered Koziara’s use of on colours can be redi impact its had aesthetics design Fig. 2.

idon Press, London 2010. For more information on Carlo Mollino, see F. & N. , by theNoti company. The collection was launched in 2017, consisting of eight individual pieces. Materials provided h claoainwt lsado edn ad h sbeso i Italian in submersion the and Mendini Alessandro with collaboration The Dodici Angeli, Franciacorta Sculpture Park, 2000,phot. Ramak Fazel Hussar collection for Comforty 17 . The launch was composed of The Furniture of Carlo Mollino , Pha 18 - - - - - , 167 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara - - - col Pelagie , and the Feltri 19 ). consists of simple tab , The Museum of Modern Art, Fig. 3 marble. The use of wood and Pelagie , Taschen, Berlin 1994, pp. 85-87. Taschen, , grigio orobico . The source of inspiration for the visual aspect of aspect visual of the inspiration The for of . source 20 . Once again, the source of inspiration for the project 21 Italian Design Italian Objects of Design from the Museum of Modern Art Hussar collection for Noti, 2012, phot. Noti 2012, phot. Noti, for collection Hussar Dorota Dorota Koziara maintains the relationship with Polish furniture brands Comforty is a Polish upholstered furniture brand established in 2000. brand furniture upholstered is a Polish Comforty P. Antonelli, P. pp. 4, 262-266. 2003, York New N. Börnsen-Holtmann, N. Börnsen-Holtmann,

20 21 Koziara’s works. works. Koziara’s 19 wood, wood, painted wood and the in present so eco-design, and natural the to reference another yet was stone customer customer to the creative search for the most suitable come also they elliptical; and round tops, table solution. of types two have tables the Therefore, in different heights and legs’ angles, combining various materials such as les of different heights which can be freely combined, creating the furniture the furniture combined, creating which can be heights freely different les of archipelago of one’s own. The concept of the design was to encourage the lection for Comforty came directly from Italy, specifically from the Pelagie Islands, an archipe lago of islands three tiny The south of Sicily. examples illustrate the attitude towards design thinking in collaboration with with collaboration in thinking design towards attitude the illustrate examples young Polish producers. In 2014 there was the premiere of the for the eminent and elegant shapes of the pieces ( the pieces shapes of and elegant eminent the for which can be seen through her various projects in the field. The following of of Polish military. The central European Hussars, who were members of the light with cavalry, their distinctive costumes and lances, provided an impulse the San Luca armchair by Achille Achille and the Giacomo Pier San Castiglioni Luca by armchair Gaetano Pesce by armchair history the of inclination the by well, as side Polish the from came collection the Fig. 3. 168 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 led “peacock-eye” ( cal pattern iconic the is renownedgeometric-floral which among decoration, its developedmanufactory the time, century.that nineteenthAt the in ceable dates back to the fourteenth century, however the peak of popularity was noti production ceramichistoryof The concerned. are arts decorative and design Polish as far as place a representative is itself Bolesławiec in tory manufac The Silesia. from has deriveroots Koziara Dorotawhose to history known been its and place The coincidence. a not was partner manufacturing Italian and the Polishas Bolesławiec of choice – background.The artist’s culturesthe of core twothe – being the within intermingling as seen be can it cooperationBolesławiecpotterythe with manufactory. entirebehind The idea 25 24 23 22 the reputable traditions of Polish craftsmanship. All the patterns introduced by and area the ofhistory the torefers clearly manufactory.It the at handmade areproducts the Allcups. and bowls plates, including tablewareof types ral within thecity landscape. spaceinteractioncasualby creating people connect to need the showsarly cle project The it. of top on board a chess with or section table middle the The materials. of thickness even The entirepieceis table. veryofbasis the on built being geometric,straight and angles small and seats as serving construction a meander-like is there construction consists of twoThe tallpeople. planks, twowhich serve as gathering backrests, in between a table, and seats two replace to designed was solution A one-piece spaces. urban the to dedicated furniture of collection with Astrini Design focuses onhigh-end,innovative pieces. Cassina company Italian the by promoted design furniture in trend project, visually corresponds elegant with verythe tendencies in sculptural, Italian fashion. It evokesThe the structure. luxury entire the closes which bed forthe frame a cosy creatingfoldable, and optionalare elements side the as sional, structural composition of the bedhead. It is also gently bent on the side, three-dimen the emphasising different angles, at placed are which triangles two into divided is field the of Each fields. square grey eighteen of consists It bedhead. sculptural tall, a with supplemented was bed upholstered grey

wiec Ceramics A. Bober-Tubaj,Maniatowicz, J. ceramiki miasto Bolesławiec, MoniatoŻak, J. K. production,see ceramic the historytownForand ofthe the moreon cesco Ippoliti. FranbyMazurekand cooperationprojectDorotaKoziaradesigned Joannawith in was The design solutionfor urbanspaces. environmental in specialising Stróżyk, Andrzejby founded brand, a Polish is Design Astrini (ed.), Bosoni G. see information, more for furniture, of promotingpiecesdesigner beginning the fromMeda, in 1927 in foundedS.p.A. was Cassina Yet another furniture-related project was accomplished in collaboration in accomplished was project furniture-related anotherYet called bed the wasComforty for made project Another The collection designed by Dorota Koziara for Bolesławiec consists of seve KoziaraDorotabyAtelier projects recognisable most the of One , Moniatowicz, Wrocław 2014. 23 Fig. 4 . Contrary to the previous realisation, the ). . oełwe,Tw o Ceramics of TownBolesławiec, Vademecum Ceramiki Bolesławieckiej. Handbook of Bolesła of Handbook Bolesławieckiej. VademecumCeramiki Due comes in a few combinations, without combinations, a few in comes Made in Cassina Mnaoiz rca 2004; Wrocław Moniatowicz, , Due Floe , Skira, Milano 2008. Milano Skira, , is an outdoor . The simple, The . 25 inthearea 24 22 was the was , which , ­wicz, ------169 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara - - - (Renaissance) (Renaissance) , there is far more than Renesans 27 . Simple dots, lines and criss-cross patterns in bright colours such 26 Renesans collection for Bolesławiec, phot. Dorota Koziara Studio Archives Studio Koziara Dorota phot. Bolesławiec, for collection Renesans Interview with Dorota Koziara (05.06.2017), notes in author’s archives. archives. in author’s notes (05.06.2017), Koziara with Dorota Interview Film material on the history of the project available at the “Domus” magazine website: www. website: magazine at the available the “Domus” project of on the Film history material 01.06.2017). (accessed domusweb.it/en/news/2016/02/17/dorota_koziara_renesans.html

27 26 common common to both Polish and Italian culture. For the always an designer, invitation to a a dialogue table and set meeting of different is cultures focused The level of freedom encourages freedom of the to part The take customer in level pro a creative cess. The other meaning of the collection was the re-birth of hospitality, so should be perceived and how they can serve the user in a creative way, hence hence way, a creative in user the serve can they how and perceived be should combined, individually be can which colours and patterns different of idea the each time creating a new set which was the a novelty for tradition-led brand. as a sign of their regional identity. The other meaning, equally significant, was was significant, meaning, The equally other identity. as a signregional their of products how in changes great the thinking, design of renaissance mental the one meaning behind the name. First all, of the name to the relates of re-birth always people have where Silesia, vivid in Lower so traditions, craft the Polish been familiar with these products, growing up with them and treating them larly strong. For this reason, the title of the collection, the collection, title of the this reason, For strong. larly plays such an important role. As the designer states mics, announcing a contemporary approach which aims to attract the young previous the of style old-fashioned the with familiar necessarily not audience, products. The idea of connecting generations with the projects was particu the place as blue, red and orange opened a new chapter in the history of Polish cera the artist are geometric and modern, yet somehow inspired by the heritage of of heritage the by inspired somehow yet modern, and geometric are artist the Fig. 4. 170 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 32 28 of appearance jewellery-like The pink. and white blue, light and transparent piece colour,however theyother each ordercomplement in do tocreate a coherent different a slightly has part the of Each bracelet. or necklace verticallyplaced like look which parts fluted bead-like, of consisting vertical, are holders The glass. enamelled of technology a different using made are KoziaraDorota by ofscencethe world-known production,howeverMurano designed pieces the dleholders was made of colourful glass, which might have been a slight remini gathering twelve designers working with Italian brands 31 30 29 for the exhibition readybe to of2013 end prepared the quicklybe quitetoat meantdesign was Dorota Koziara’s portfolio, i.e. maintained inthesamecolour range. collectionwere hexagonalofthe arrangement.tiles Anotherpart dynamic the introduce together mixed sized many in stripes structural Different -scheme. colour landscape summer the of impression the giving together, combined oftiles different grey blue, Light be dimensions. can and tiles shapes ecru and light-colouredstructuralofreplacedsubtleon stripes the angles, variouswith been has Zień, Maciej or Fornasetti Piero by tiles famous the mention to just collections, designer of style glamourous typically The nature. Polish of des Poland entitled tiles of collection manufactory.The Tubądzin tile the from offercooperation the accepted She 2016. in production Polish typically the to for thelong-lastingtraditions of theBolesławiec manufactory. respect the with artist the of experienceinternational the from derives which showedlection a progressive towardsattitude of designceramicquestion the idea on the Polish market, particularly in case of historic manufactories. The col mix-and-match concept which allows the customisation of each set was a new The heritage. national to approachtradition-rooted innovativeyet the praised Decoration”“Elle leading the Polishincluding magazines, design “Label”and ate a harmonious yet individual entity. everyalthough differentcollection, is singular,pattern and together they cre on mind-broadening and understanding each other. It feels the same with the

(accessed 02.06.2017). on more For E. Podolska, Milan. in organisedlifestyle, and interiordesign the to Faireventdedicatedannual Homi an The is terior décor, with over thirty years of experience. Velab is an Italian glass company from Talsano, specialising in chandelier production and in sed 30.05.2017). edition”,www.elle.pl/s/elle-deco-ludzie/dorota-koziara-projektuje-dla-boleslawca (acces gazine.com/dorota-koziara-dla-boleslawca-ezp-5337.html See In terms of ceramics, Dorota Koziara once again threw down the gauntlet the down threw again once Koziara Dorota ceramics, of terms In The The innovative approach to design can be seen in innovativeyetseen anotherThe be projectcan approachfrom design to ooa oir da Bolesławca dla Koziara Dorota 32 . The main colour schemes were gold and white, purple and pale grey,pale and purple white,and weregold schemes colour main The . was an aesthetic throwbackaesthetic an herinspiredwastomotherland,by allsha the Renesans Warto być odważną a anfc Forma Magnifica La collection won critical acclaim both in Poland and Italy. Many La Magnifica Forma , in“Cer Magazyn”, n.2,2014,pp.4-6. Wind of Salento se www.homimilano.com/it/la-magnifica-forma-0 see , i “ae mgzn itre edition”, internet magazine “Label in , (The Magnificent Form) at the Homi fair collection for Christian Dior ad El Dcrto internet Decoration “Elle and , 31 . The collection of can www.label-ma Colours of 29 . The 30 28 ------, , 171 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara - - 70 Angels 70 of the Façade. ). The show was presen , the experience of nature nature of experience the , 33 Fig. 6 ). Fig. 5 . The show pictured seven decades of undisturbed acti 34 , directed by Robert Wilson ( collection has been sold exclusively collection to has Christian been and Dior sold is exclusively in Wind of Salento Collection, phot. Dorota Koziara Studio Archives Studio Koziara Dorota phot. Collection, Salento Wind of Within the fieldof art and industrial design, DorotaKoziara has presented (accessed 22.07.2017). (accessed Interview with Dorota Koziara (05.06.2017), notes in author’s archives. in author’s notes (05.06.2017), Koziara with Dorota Interview See the websiteorganiser’s atofficial www.changeperformingarts.com/history/angels.html

33 34 and theatrical play the of Each scene. design and architecture international the on “Domus” of vity undertaking gathering over forty cast members with a few hundred furniture and design pieces which oscillated between the concept of performing arts Domus 1928-1998 ted for the seventeenth anniversary of the “Domus” magazine at the Piccolo di Teatro Milano between 1-3 December 1998. The performance was a huge The one having the broadest spectrum of impact the on play first ever design was entitled and architecture the scenography for several other projects which won critical acclaim critical won and which established position. her projects other several sale at their salons around the world ( world the salons around their sale at the only way to fully understand the beauty and the meaning of any object. The The object. any of meaning the and beauty the understand fully to way only the Wind Salento of with the natural beauty of the Salento landscape, full of light and reflections on on reflections and light of full landscape, Salento the of beauty natural the with times many underlined Koziara Dorota As water. the is surroundings wild the of contemplation the as works, her in important very is the candleholders made them a stand-out the bringing exhibition, of back the glassware traditions. Light and shiny finishof the pieces subtlycorresponded Fig. 5. 172 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 35 gned by Giovanni “Gio” Ponti, the founder of “Domus”. desi The simple, yet wascolourful cathedral contemporary famous its because meaningful very was being constantly changed by new ideas and possibilities. The choice of Taranto Mendini Elisa and KoziaraDorota with collaboration in studio, his bycurated was 1988 publicationthroughthe ledpost-modern the era. For reason,this 1979-period the 1979, in editor the became who Mendini, magazine. the of development the to important been has which a studio bycarefully designed was decades Fig. 7. Fig. 6.

B. Finessi, 70 Angels of theFaçade. Domus 1928-1998 scenography, 1998,phot. Ramak Fazel 70 Angels of theFaçade. Domus1928-1998 scenography, 1998,phot. Ramak Fazel 35 . offaçademagazine the The as the wasimagined Tarantocathedral, 70 Angels of the Façade. Domus 1928-1998 , in“Domus”, n.3,2016, p. 180. - 173 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara ------per 100% 100% Mendini tra tra Mendini (Lugano (Lugano 1998). The days before The days before Atelier Mendini Mendini Atelier (Fragilism, Paris 2002), Paris (Fragilism, . They were . were all They carrying the pieces 36 Fragilisme . This particular scene depicted the ever-changing nature nature ever-changing the depicted scene particular This . 38 . In the background, there was a quote by Alessandro Mendini Mendini Alessandro by a quote was there background, the In . 37 designed in 1992 Alessi for series consists of 100 identical porcelain vases decorated by dif by decorated vases porcelain identical 100 of consists series (Mendini between the Arts, Vicenza Vicenza 2001), Arts, (Mendini the between ). Six people stood on stage wearing white garment, reverentially appro garment, white reverentially ). Six people wearing on stood stage As far as interior décor is concerned, Koziara has designed many exhibition exhibition has designed many is concerned, Koziara décor as interior As far casa e nella città” [direct quotation, see fig. 7]. quotation, [direct casa e nella città” gusto e della modernità deve molto al suo intuito ed alla sua apertura intellettuale e ideolo intellettuale apertura sua alla ed intuito suo al molto deve modernità e della gusto gica. Questo sistema di strumenti si è dimostrato un luogo insostituibile e ideale di espres sione la dentro e divivere osservazione, campo dibattito del di nel del dell’arte promozione “È morto Gianni Mazzocchi, l’editore di questa nostra importante rivista. lui da state Noi sono che Industria”, vi e “Stile lavoria “Casabella” riviste, due Altre riferimento. un perdiamo mo, del internazionale cultura La progetto. sul eventi ed quaderni libri, a molti assieme inventate, Guido Venturini, Guido Nanda Venturini, Vigo, Acharya Vyakul, Mara Voce, Birgitta Watz, Gisbert Weiss, Han Artists), Rhonda Yentus, Leonid Zwillinger. Aspirations/Young Y.A./Y.A.(Young nes Wettstein, as Schulze, Suresh Sethi, Raja Babu Sharma, Jari Silvennoinen, Ettore as Sottsass, Spi Sethi, Schulze, Gregorio Suresh Raja Babu Ettore Jari Sharma, Silvennoinen, ni, Philippe Starck, Dagmar Peter Struycken, Sybilla, Cyprien Guillermo Tokoudagha, Tejeda, Venturi, Robert Vemren, Umeda, Hilde Masanori Seven, Seven Twins Turchet, Maurizio Trinks, Paola Paola Navone, Sinya Okayama, Luigi Ontani, Heikki Orvola, Salcido Javier Perez-Gil, Eduar do Pla, Plumcake (Gianni Cella, Romolo Pallotta, Claudio), Giorgio Rameckers, Rava, Arnold Van Geuns), Ravage Ronaldo (Clemens Pereira Rego, Roberto Remi, Cheri Samba, Andre dy Fischer, Harald), Shiro Kuramata, Quim Larrea, Cheikh Ledy, Stefan Lindfors, Kamba Luesa, Luesa, Kamba Lindfors, Stefan Ledy, Cheikh Larrea, Quim Kuramata, Shiro Harald), Fischer, dy Esther Malangatana, Mahlangu, Valente Malich, Karel Massimo Mariani, Giusi Mastro, Kivuthi Mbuno, Alessandro Mendini, Antonio Miralda, Seigei Vladimir Alexandre Mironenko, Mocika, di, Anna Gili, Milton Glaser, Michael Graves, Marie-Christina Hamel, Jan Mohamed Hanif, Pitt Ping Hisminuma, Yong Yoshiki Heinke, Huang, Aussi Jaffari,Jonson, Christer BodysIsek Kin gelez, Inka Kivalo, Mark Kostabi, Randi Kristensen, Milan Kunc, Kunstlug (Heiko Bartels, Har zo, Nigel Coastes, Cocktail (Renate von Brevern, Heike Mühlhaus), Heike Gianni von Brevern, Colombo, zo, Coastes, Riccardo (Renate Nigel Cocktail Dalisi, Nicola De Maria, Jan Digerud, Emmanuel Ekefred, Brian Eno, Gilar Piero Gibb, Louise Ellinor Santiccioli, Béatrice Galli, Flor, Giorgio Gaeta, Dan Piero Fritsch, Elisabeth man, Fried Antonio Antonio Abate, Carla Accardi, Sanchita Ajjampur, Andreas Applefeld, Yael Boetti, Qinuajuaq Alighiero Ashevak. Binazzi, Paolo Lapo Bien-Aimé, Gabriel Casoni, Monte Del Stefano Bertozzi, Ran Patrizia Cappelli, Sergio Capella, Juli Calatroni, Sergio Bouabré, Bruly Frédéric Brandolini, Ciagà, op. cit., pp. 64-65.

Fig. 7 38 37 le arti le 36 spaces in Italy and abroad. The most recognisable ones were the interior designs designs interior the were ones recognisable most The abroad. and Italy in spaces shows: Mendini Alessandro the for formance for Lincoln Centre in New York. York. in New Centre Lincoln for formance the anniversary of “Domus”, the the leading of “Domus”, anniversary Italian design publication, was a great ennoblement a non-Italianfor artist. with Her cooperation Wilson Robert con his for tinued, and in 1999 she designed the scenography the city and at home at and city the of design being investigated by “Domus” and its editors. The participation in ferent designers ferent Italy in publishing design of figure leading the as Mazzocchi Gianni reminiscing in living of art the perceiving of way new the to led approach innovative whose of design, foreshadowing the era design, of new the of foreshadowing 1990s as the the project of entire Up 100% Make ( aching the central piece, the enlarged, highlighted version of Mendini’s Make Vase Up gful scenes in the decade of the 1980s presented in the play was the mourning mourning the was play the in presented 1980s the of decade the in scenes gful 1929 in “Domus” purchased who publisher the Mazzocchi, Gianni to tribute and scheme of the scenography, with big screens playing quotes and photographs, photographs, and quotes playing screens big with scenography, the of scheme accentuated the post-modern quests of the 1980s. One of the most meanin 174 pl.it | rassegna italiana di argomenti polacchi | 8 | 2017 40 39 Koziara’s from derives which installation Angeli Dodici the to thanks scene art Italian inhabited hand, other the on wicker, as such Traditionalmaterials Poland.promotiontheirproductionin to and thanks design ofgralPolish part inte an became which pieces Italian-inspiredof examples bright are Floe or the search of formal innovation typical of Italian design. Works such as Hussar forwithbio-design fascination her combines She historyEuropeanofdesign. furniture,ceramicsand glass products show a thorough ofunderstanding the con who sistently recognition, unites internationalher native of Polish side designerwith the adopted a Italian background. is The she that prove ubtedly scene ( cularly important in terms of Poland which is currently growing its own design fairs is yet the only method to bring design consciousness to the public, parti the role of design education in heris career.important howThe participation in showsexhibitions and It 2007). Alba 1953-1964, times. e his Gallizio (Pinot Workat Men drodze. italiano designer 2004), as such abroad and Poland in artists Italian of shows solo Wielkopolska Region Costruttivismo Polacco (Milan 2017) 2013) Poland-related event organised at the Salone, to mention Salone del Mobile in Milan. Ever since she has been strongly bonded with any entitled exhibition first the sed design scene, presenting its history and current state. In 2005 Koziara organi the opening of her own studio, she has been successfully promoting the nal Polishrecognition, she became the “ambassador” of her homeland abroad. Since of curatorialfield internatio promotion.the gained Having design and works the unhampered stream of creativity, bright colours anddistinctive forms. style, Mendini’s emphasise to that of all ceiling, the from hung werefurniture of pieces some way, a chaotic in presented drawings and photographs with transparent cupolas with strong metal construction, one of the zones was filled surrounding. dream-like surreal, The exhibition in Lugano, a for instance, presented in Mendini’s objects under point large focal the them making armchair, ger visual effect, isolation of the most iconic pieces, such as the famous to all the shows were the multiplication of a certain object to gain a much stron designer, colourful, playful and full of contrasts. The distinctive features applied All of the projects were visually coherent with the artistic heritage of the Italian

cessed 01.06.2017). faculties,gn www.fuorisalone.it/2017/it/eventi/1087/polish-design-tomorrow-is-today(ac exhibitionspresentThe achievements ofdesign desi Polishalumni ofthe and students the (accessed 01.06.2017). A. Sural, Concluding, all the presented examples of Koziara’s artistic activity undo activityKoziara’s ofartistic presentedexamples the all Concluding, In addition to her design career, Dorota Koziara has many achievements in 39 , Touch and Go. Ramak Fazel Exhibition Fazel Ramak Go. Touchand Fig. 8 You. Me. Design Comforty Polish DesigninMilan 40 ). as well as in other cities: Mro err, tla Dsge,Wołw 1999), Wrocław Designer, Italian Ferreri, (Marco (Milan 2012). Koziara has also curated several group and (Wrocław1998), (Polish Constructivism, Caraglio 2005), Caraglio Constructivism, (Polish , 31.03.2013, www.culture.pl/en/event/polish-design-in-milan Polish Designers Polish (Milan 2014), Polish Designers Pinot Gallizio e il suo tempo. 1953-1964 tempo. suo e il Gallizio Pinot Polish Design. Tomorrow is Today (Wrocław 2007),(Wrocław which opened at the famousthe at opened which (Milan and Berlin 2005), Polish Design Mendini Marco Ferreri, Polish Design. Polish Roboty po (Poznań Proust (Milan ------

175 Anna Wiśnicka | Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara Mendini exhibition, Wrocław, phot. Dorota Koziara Studio Archives Studio Koziara Dorota phot. Wrocław, exhibition, Mendini Dorota Koziara demonstrates that Koziara Dorota design can be dialogue, a cross-cultural outside the box. backgrounds backgrounds seems an innovative approach. The trend towards globalisation ideas from seeking new society, the be to ever-changing a solution for proved an inspiring phenomenon on the European design scene. In a world where the the where In a world design scene. an inspiring phenomenon on the European search for the national identity and the contrasting two roots between oscillation fluid of of idea the decades, art several and for value crafts has been the where where any inspirations, quotations and art-plays are possible, and most often The welcome. intuitive fusion of Polish origins and Italian influences make her has developed a unique, new style of design, where various influences and in one project. can co-exist trends important is education in terms of design, especially in Poland. Moreover, she she Moreover, in Poland. design, especially is of important education in terms is a promoter of Italian culture in Poland, proving that the borderless Europe in-depth knowledge of Polish art history. Apart from her Apart artistic her from in-depth Polish activities, knowledge of art she history. is also a critic exhibitions All presented how the show and previously curator. Fig. 8.