“Our main goal was to create a functional and simple house, full of light. The interiors exude purity of form and a focus on detail. The minimalist approach is evident not only in the form and color scheme of the interiors, but also in the conscious use of materials, products and finishes. The idea for the interior focused on the energy created by light, material and color. It is complemented by works of art – sculptures by Tomasz Górnicki and paintings by Katarzyna Zygadlewicz.
Justification: Even at the early design stage, one of the basic assumptions was to combine architecture and art as complementary elements. The monochromatic interior, based mainly on whites, grays and blacks, is enriched by consciously selected paintings in tones of orange, red, yellow and even dark pinks and purples, which appear in the painting of Katarzyna Zygadlewicz. An important and consciously introduced element of the space are, next to the paintings, unusual sculptures by Tomasz Górnicki. They have non-accidental locations and build a dialogue with the environment in which they are placed – both inside and outside. For us, they are the perfect combination of minimalism and art.”
Adam Pulwicki, architect
“The building was organized around two inner courtyards. Green courtyards surrounded by classrooms with direct access to the outside allow one to move around the entire space without having to return on one’s own footsteps. The terraces massing down towards Kabaty Forest emphasize the openness to the local context. The design process was holistic: construction decisions were fully integrated with landscape and artistic activities.
From an early stage, the project was created in collaboration with artists Monika Sosnowska and Katarzyna Przezwańska, which allowed for the incorporation of art works as integral parts of the building. Sosnowska continues her characteristic work with deconstruction of architectural elements. For this, she uses the railing of the stairs leading to the roof of the kindergarten and the railing along the school terrace. The artist drags and bends the constructions of both railings on the facades, connecting the blocks that make up the complex. Working on a mock-up of the building and analyzing the local natural surroundings, Przezwańska developed the colors and structure of the facades and interiors, including floors, door frames, cafeteria furniture, bathroom grout and the lines of the gymnasium playing fields. The result is works that contribute to the atmosphere and materiality of the building by being an inseparable part of it, rather than a decorative accessory.”
Maciej Siuda, architect
“The design of Echo Investment’s office in Warsaw, created by MIXD, directly relates to the nature of the investor’s business – the development industry and construction-related fields: including architecture, design and urban planning. Particular emphasis was placed on the scale of the company’s investment activities and the unlimited creative possibilities in the area of city construction. The main inspiration for the project was the film “Inception,” directed by Christopher Nolan. Justification: The role of decoration throughout the office is played by the works of Polish artists (Martyna Berger, Nikodem Szpunar, Maciej Blaźniak) and an international group of architects affiliated by the Desplans service. Some of these graphics are artistic interpretations of buildings erected by Echo Investment and were made specifically for this office. They were arranged according to a strictly thought-out key. They were framed in custom-made wooden frames, and some of them were suspended from conveyor belts, which is one of the many interior details that refer to the construction.”
“The hotel, which opened in 2019, was created for the increasingly eager tourists visiting the capital of Bosnia and Herzegovina, who are attracted not only by the exotic clash of cultures and picturesque mountainous surroundings, but also by the city, which is recovering from the tragic war in the Balkans. The 192-room hotel was created by combining an existing building with a newly constructed high-rise. Designers from MIXD decided to use as many elements as possible referring to the peculiarities of Sarajevo: its architecture, history, local crafts.
Studio MIXD used the 1984 Winter Olympics – an event that Sarajevo residents still recall with great nostalgia – as the theme of the project. A series of murals by Karol Banach, in the artist’s typical warm, cheerful and humorous way, depict local landscapes and people spending time practicing winter sports. These works perfectly harmonize with the hotel’s design theme and reflect the emotional attitude of Sarajevo’s residents towards the event. The Olympics are still treated there today as a time of happiness, fun and peace, which was quickly followed by a cruel war.”
“The 350-square-meter villa is located in Spain, on the Costa Blanca. The house has an amazing view of the Ifach mountain. However, the beautiful landscape was not the main guideline for the designed interior. The owners of the house are people sensitive to art and have been collecting it for years. The house, although located abroad, is full of Polish accents – sculptures by Karol Wycisek and Mateusz Góralczyk, as well as paintings by Andrzej Kozyra and Jerzy Kenar, wonderfully complement the interior, making Polish art and design not far from the world level.”
We are a young, creative team of interior designers. We avoid randomness, we like firm design decisions. We believe in the power of good design focusing on detail, form, quality and, above all, functionality. We excel in designing homes and interiors in Spain.
Justification: The project deserves to be nominated because it is the art that creates its interior. Its selection and purchase (in addition to the functional issues of the entire establishment) became the first design stage. An additional advantage of the project is the promotion of Polish artists abroad.
Weronika Król i Marta Żebrowska
„Arrangement of the exhibition “Hokusai. Wandering…” is an attempt to create within the museum halls a space on the borderline between art, architecture and nature. In addition to the unique woodcuts of Katsushiki Hokusai (1760-1849), the project was inspired by motifs rooted in Japanese tradition, culture and aesthetics. The exhibition on display is a substitute for the experience of time travel and a brief visit to a slightly different, but so fascinating reality. It is an architecture of shadow, mystery and unhurried contemplation.
The layout of the exhibition follows the idea of hiding and gradually revealing the view (miegakure), bringing to mind historical temples, palaces, gardens or houses of the “cherry blossom country.” Diagonal screens painted with silver and gold lacquer were introduced into the cuboidal interiors. Such a subdued metallic color scheme is a reference to similar colors used in Japanese art and architecture. The seven free-standing narrow walls disrupt the regularity of the plan and the symmetrical amphitheatre layout, and their drawing may somewhat resemble calligraphic brushstrokes or woodcut incisions in wood. The dark colors of the halls and discreet lighting, in turn, are a nod to the book “Praise of Shadow” by Jun’ichirō Tanizaki. One of the most important elements of the arrangement are the four “gardens” (karesansui), matched in scale to the individual exhibition spaces. They are an attempt to introduce the nature so beautifully and synthetically depicted by Hokusai into museum interiors.”
“The design of office interiors for OTO Film, one of the first and most recognized film studios in Poland, is a project in which the space is designed to both influence creativity and allow for tranquility and inspiration.
The modern, glazed, three-story residential building, including a basement, was adapted for office use. The minimalist body of the building stands out against the traditional buildings of Warsaw’s Mokotow district. Large planes of windows reveal original interiors letting the surrounding greenery inside. Plenty of light, a garden and three terraces give breath and space for creation.
The base of the interior is concrete. It can be found both on the exposed raw reinforced concrete ceilings and on the floors and individual walls. The raw, loft-like atmosphere was warmed up with colorful accents and upholstered furniture, and the whole was completed with art.
This project is a new look at office space. It is a world of creation set in a minimalist interior, which shows the importance of art in space. The 5m wide and just under 3.5m high wall covered with microcement was given over to muralist Monika Prus. A tangle of black structural lines with strong patches of color creates non-obvious, dynamic silhouettes of figures. We get the impression of brainstorming, without which there is no creative work so present in a creative industry such as the work of OTO Film.
The mural adorning the main wall of the first floor was born together with the interior design, so it is an inseparable part of it. It attracts attention with its scale, texture and intense colors. Its purpose is not only to decorate, but also to carry a message by leading the interior user into awe, reflection and reverie. Other elements of the interior, including classics of world design and excellent designs by Polish designers, are only to complement it.”
“An intimate, boutique, unique and very private lakeside hotel. Built in 2000 as an adaptation of a village school building. In 2007 it was significantly rebuilt and expanded to include a swimming pool, a conference room and more rooms – a total of 21 rooms. The architectural and interior design and functional concept, followed by implementation and use, made by the studio “Manufaktura 69”, that is, the duo Malgorzata and Wojciech Żółtowscy. The hotel is a member of prestigious networks like Design Hotels, The Aficionados, Visa Luxury Hotels, Michelin Guide, DNA Hotels.
Justification: From the seed of the idea to the final realization only 2 authors – Małgosia and Wojtek Żółtowski. Out of the need to display their own creations, a very unique object was created, which was to become a home for art, and became a work of art in its entirety. Each piece of architecture and interiors was created in their own tiny manufactory as a result of passion and imagination. Every piece of furniture, object, lamp or sunshade, was handmade in the author’s workshop. In the common space of the hotel – every inch of space serves as an exhibition area for paintings by Małgosia aka Meggy Bernhardt and sculptures made together with Wojtek. There are also several works by friends of the artists – Jan Pruski, Robert Listwan, Henryk Cześnik. In the showcases there is jewelry made by Tomasz Żółtowski and unique dresses by designer Isabella Cremer. Here at Galery69 applied art is in everyday use. Spotting an art gallery in a place where art is celebrated at all hours can be difficult, so here and there there are card-marks suggesting that the chair you’re sitting on can be purchased. We’re whetting our appetite for beauty, aided by a gorgeous lake landscape framed by large windows.”
“Luxurious and minimalist interior of a detached house in northern Poland. The simple, clean and spacious interior, which focuses on quality rather than quantity, is characterized by perfectly chosen colors, furnishings, materials and lighting, which provide the whole with coherence and sophisticated taste. The interior was complemented by art: specially commissioned large-format paintings by Grzegorz Worpus-Budziejewski decorating the hall and cinema room. In the living room, two sculptures by Willy Verginer stand against a wall covered with steel, and in the hall, an exquisite sculpture by Marcin Rząsa stands against a painting.
The style is simple and kept in a sandy natural color scheme.
The project shows that art can be adapted to any interior. In the submitted house, the art is heavily exposed and is an inseparable part of the design. It is as streamlined as the rest of the furnishings. She is the dot over the “i” that makes the house personalized and more characterful. The fact that the art of Polish and foreign artists has been mixed is valuable. All the elements are consistent with each other despite the fact that they come from such distant places.”
Katarzyna Kuo Stolarska, architect
“When embarking on the project of arranging the exhibition of Stanislaw Wyspianski’s works from the collection of the National Museum in Krakow, we tried to strike a balance between a neutral background for the exhibits and a unique set design that emphasizes the genius of this artist. The varied character of each of the seven rooms corresponds to the chronological and thematic narrative of the exhibition, following the concept of “graded impressions” – as in a movie or theater script. Instead of literal quotations from Wyspianski’s work, we have proposed a contemporary interpretation of it, achieved through advanced technologies (design and execution) and modern materials. The opportunity to confront our design visions with the work of one of Poland’s most outstanding artists was a great honor and a challenge for us. In our project, we tried to create a scenario of space, in which the supporting roles – arrangement, lighting or etalting – help the main role – the multidisciplinary work of Stanisław Wyspiański – to fully exist. It is architecture that, while remaining in the shadow of the brilliant artist, is nevertheless visible, stimulating a dialogue between the works of art and their surroundings and viewers.
The monographic exhibition of Stanisław Wyspiański at the National Museum in Cracow was visited by more than 350,000 viewers, which is an attendance record for cultural institutions in Poland, and also has a concrete educational and promotional value (not only in terms of Young Poland art). The arrangement we designed was an attempt to closely integrate art with architecture, and the contemporary formal and color solutions were rooted in the work of this versatile artist, but also in the places with which he was associated and for which he created. To some extent, the exhibition contributed to the renewal of a kind of “fashion for Wyspianski,” evident not only in the scope of numerous accounts and publications, but also in the reuse of his works within various fields, not only art (e.g., in film, theater, fashion, graphic design and even tattooing). It was also a prelude to the launch of an international competition for a permanent home for his works in Krakow, to be built next to the Main Building of the National Museum.”
Bartosz Haduch, architect
“JEMS Architekci studio has been in existence since 1988, however, the architectural team, which is its nucleus, has been operating continuously since the early 1980s. Beginning independent practice during the period of political transformation, JEMS joined the current of rebuilding Polish architectural culture.
The studio operates under the formula of a workshop office, open to diverse ideas and views, but maintaining its own recognizable language, which is characterized by rationalism and moderation.”
Architect and painter, graduate of the Faculty of Painting at the Academy of Fine Arts in Warsaw and the Faculty of Architecture at the Warsaw University of Technology.
In his works he combines painting and architectural experience.
“At a time when the rank of architecture is increasingly determined by the extent of its media image, celebrating the 30th anniversary of the architectural studio with a series of paintings, formally closer to geometric abstraction than to polished renderings, has a touch of perversity in it. This gesture also says a lot about the studio itself, which, while taking a rational approach to the market and professional realities that surround it, consistently moves within them on its own terms.
Part of the exploration [of developing the workshop, facing successive design tasks in all their historical and cultural complexity] are the paintings by Tomasz Trzupek, who, using both his architectural and artistic training, has created his own painterly language, vividly illustrating the nature of JEMS studio’s projects.
The paintings are not calculated for media effect. Rather, they are an investigative look cast backward, toward selected projects. In their restrained, geometric form and limited color range (…) they say more about this architecture than many a photograph. They show its materiality: structure, mass, texture, choice of materials and composition: the rhythm of the facades, the tectonics of the masses, the dynamics of urban interiors, or the spatial relationships between building fragments.”
Aleksandra Kędziorek, from the introduction to Tomasz Trzupek JEMS Architekci’s album, published to commemorate the studio’s 30th anniversary, Warsaw 2019
“Nobu Hotel is located in Koszykowa Street in the center of Warsaw vis-a-vis the fashionable Koszyki Hall.
The lump, designed by the Medusa Group studio on behalf of Tacit Investment Polska, was created by staggering seven floors in relation to each other on a “V” projection. In this way, the rounded, corner block of colored architectural concrete gained balconies, which, planted with greenery, create a vertical garden in the center of the city. The interiors, sparing in form, operate with simple materials: concrete, wood, stone, glass.
They were designed in a Japaneseizing style, referring to the heart of the hotel – Nobu Restaurant.
Among the visual elements present in the hotel is the motif of a golden line running along the first floor facade, which appeared at the initiative of Walk with David – a company that designed the concept of the Visual Identification System based on the guidelines of the Nobu Hotels brand. Suminagashi – as the element is called – is a stylized motif based on a form of artistic expression from the 12th century, using water and ink to create planes and abstract forms. Its organic lines shatter monotony in an orderly arrangement. Suminagashi is meant to be used in a subtle way – Nobu Hotels uses it in its printed promotional materials, including business cards.”
“The art that fills Nobu Hotel’s interiors is a link between the hotel’s Japanese DNA and the Polish context of the place. Elegant, almost jewel-like works by Anna Bimer were selected for the rooms, evoking associations with Japanese woodcuts. The works of Piotr Uklański, one of the most recognizable Polish artists, use elements that refer to materials important in Japanese culture such as ceramics and fabric. The natural techniques of the works and their organic nature warm up the gently austere interiors of the hotel.”
Katarzyna Wąs, responsible on behalf of the investor and in consultation with the architects for the selection of artworks for the new part of the hotel.
Paintings and sculpture from the Jankilevitsch Collection were loaned for the hotel’s common areas.
Meanwhile, the art displayed in the historic part – the Rialto Hotel – was selected by the owner.
“Metro stations are the most visited public buildings in the city. So they are an excellent place for artistic expression, communicating with the public, if necessary, shaping their tastes. Since we designed the central section from a single “beat”, it was, in my opinion, an excellent opportunity to make one joint project-artifact co-generating the new metropolitan space of Warsaw.
Programmatically, I recognize that painting and sculpture are essential elements of architecture. That’s why for the competition project I invited Wojciech Fangor, one of the most prominent op-art creators, who knew perfectly well what Urban art means – suffice to mention his earlier realizations with, among others, arch. arch. J. Soltan, Z. Ihnatowicz, O. Hansen.
From the beginning we worked together on the whole space. Thus, a ticket to the subway became a ticket to the world of fine arts: architecture, painting and sculpture, where the painter together with the architect created something on a metropolitan scale thus influencing the shape of the city.”
Andrzej Chołdzyński, architect
“The idea of installing the WIR sculpture was born during the design work. Together with the Investor, we were thinking about introducing a contemporary interesting spatial form into the vast space of the inner atrium. We were looking for an interesting element, of appropriate scale and form, an object that would not dominate the space, but would interact with it. We considered various elements, materials, forms that could exist in this place. We were helped by the well-known artist Oskar Zięta, who specializes in the innovative FiDU steel processing technology. The form proposed by the artist, consisting of five upward-twisting steel forms resembling a vortex, fit into the designed space. The completed 3-meter mock-up looked inviting, and allowed the final decision to install the sculpture in the Gallery building. Due to its scale, the sculpture became a challenge not only for the artist but also for the team transporting and installing the elements at the site. The final result satisfied both the sculpture’s author, the investor and the designers of the building. WIR is an interesting form of contemporary art installed in a commercial building, which is received positively by visitors to Galeria Północna.”
Witold Dudek, architect