Office Magazine – for the first time in English and for the first time at the ORGATEC fair! We are extremely satis-fied because of our taking part in this important event devoted to furniture industry. Additionally, we are excited about the fact that we can present there our magazine, which is the Polish Ambassador of Design. We present Polish creators and their projects, and also show a dose of inspiration from different parts of the world.

On the occasion of ORGATEC fair, we decided to raise the problem of still occurring copies and fakes of office furniture. Can we think of fakes as the products inspired by the world’s best brands? Can we treat them as cheat-ing on a client?. Let’s check it yourself...

Let’s start the treat at place where the largest manu-facturers present how the future office should look like. In Office Magazine, you can see new trends in the indus-try. Also, you can find out whether the global crisis has changed the approach to an office arrangement, its equipment and functioning. This year’s exhibitions will certainly give you a satisfactory answer. In addition, they will help you to find inspiration. It promises to be really interesting!

Marcin Czeczoteditor in chief

It’ s tIme for a treat

EDITOR In ChIEfMarcin Czeczot

MAnAGInG EDITORDominika Mrowińska

DEsIGnERMariusz Kamil Trocewicz

throcu@gmail.com

COLLAbORATIOnEwa Pokorska, Nikodem Marzec

TRAnsLATIOn

Monika Jabłońska, Dorota Koblańska

MARkETInG Laura Seroczyńska

ADvERTIsInG Wiktor Król

PhOTOs (PhOTO sEssIOn) Bartłomiej Trzmiel, Katarzyna Bawor

MAkE uP Anna Matejek

MAGAzyn OffICEF.H.U. Adrian Bajor

Obserwatorów St. 1/402-714 Warszawa

NIP: 661-231-41-29REGON: 260390130

T: +48 883 633 423E-mail: office@magazynoffice.pl

Editors are not responsible for the content of advertising material.

Publisher reserves the right to the shortcuts of the materials submitted.

All rights reserved. You cannot reprint it in whole or in part,

without the consent of the publisher.

WWW.MAGAzynOffICE.PL

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Voo Voo

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Bejot Sp. z o.o | Manieczki, ul. Wybickiego 2a, 63-112 Brodnica | Poland | Tel: +48 61 2812225 | biuro@bejot.eu

DESIGN QUALITY ERGONOMICSwww.bejot.eu

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contents

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interview Constructing reality – Robert Majkut 8

Case study YETI - Advertising Agency Aneta Nytko-

Święcicka 22

speCial feature Made in Poland 16

offiCe design Inspiring products, not inspired ones 44

administration

Time for changes 48

offiCes in the world Yandex 28

Ebay Int. 32

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22

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Creative inspiration consists of many different factors – micro-revelations or micro-fascinations that are collected in my head. These can be little or big things, and sometimes they pass a long, complex and unpredictable transformation from what was observed to what will be created

An interview with a designer, Robert Majkutby Marcin Czeczot

interview

Marcin Czeczot: You graduated from the Academy of Fine Arts, Cultural studies and Art High School. You are a designer and businessman whose name represents the product. Do you keep up to date with what is happening in the culture, art, and does it influence your present job?Robert Majkut: Indeed, my education has significantly influenced on how I see my job today and how I fulfil tasks entrusted to me. From my point of view, purely technical edu-cation and workshop always seemed to be insufficient for becoming a good designer. Thus, this determined me very early how to think of my own education. I could say that I chose the learning path which allowed me to prepare for what I intended to do in my life. I had an idea for myself and decided to acquire the knowledge that helps me to fulfil myself.

Actually, my architectural episode es-caped your notice. However important it was, it had only a negative meaning. Archi-tectural education in Poland turned out not to be something I expected and wanted. In fact, I was disappointed by it, which is why, this is only an episode in my life.

The contact with Polish education has al-lowed me to make a selection and to choose the topics I wanted to explore and go for only those which would develop me. First of all, I did not want to learn things that were contrary to what I believed in, to the foun-dation of my thinking about my role. Cultural studies were methodologically complement-ing my ways of understanding of the modern world, gave me the tools and made me aware of the complexity and nature of these top-ics, changed my way of seeing the centre of gravity of various topics and allowed me to keep distance to stereotypes. Despite the fact that I am not able to participate in the cultural life as I used to during my studies, I try to keep up to date with current events. I have met and befriended many artists and owners of art galleries so I try to visit the places where something important happens and I can see in what direction it evolves. I maintain my status quo on a certain level to have an idea what the modern world is. We also have to be aware that everything what happens in public sphere, any cultural phenomena and activities, have sometimes a greater impact on design than art itself which, currently, has a very specific formula for communication. Art is strongly diversi-fied and many other factors of civilization appeared that have a greater impact on the design than art itself.

You have had an interesting academic path, a lot of experience and understand-ing of the industry. Is there something that young designers should draw their

attention to? Is there any happy medium to achieve one’s aims?Basing on my own experience, I can only recommend that everyone should take care of their workshop agility which should not be limited by a work tool. One of the main problems today is that people often submit to the tool they use. Meanwhile, one should think in a more comprehensive way and try to adjust their methods of working to the desirable results. The tool itself should not determine these efforts, which, unfortu-nately, is a commonly seen mistake among young people who grew up in the computer era and the first tool they work with is a

computer. Instead, they should start from themselves, from what they think, what they know, what results they expect. An-other important thing is to deeply under-stand the context, the world and the re-cipient, not only at the level of a client who orders a specific project, but primarily, to consider to whom this project finally goes.

You promote a good design. What exactly is a good design?I think that a good design can be defined by three classical factors. Primarily, a good project, which in itself cannot be easily de-fined, secondly, high quality materials and

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thirdly, a proper project execution. Each of these three aspects can be determined by other issues. A good design is perspicuous and innovative. Innovation has a bit vague definition since it does not refer only to technological progress, which we take ad-vantage of from the world of science and im-plement in life. It is for and foremost based on looking ahead. A good design requires a sort of understanding, I do not want to use the word ‘ecological’ because this word is often misconstrued, it is more about tacti-cal understanding. One should ask: why am I doing it? What is it used for? How long will it last? What measures should be used to create something sensible and wise? How long will it exist? What will happen with it later?

High quality materials are extremely important in designing because they allow using solutions at the levels of the design – universal, and of the material – durable. Products durability means they last longer and are more satisfying, and this makes the rotation of things taking place in our world a bit delayed, slowed down. In fact, this is

one of the biggest concerns of the modern world: things change too quickly, which re-sults in problems which we are all aware of. Proper execution and durability provide effi-cient, long, safe and convenient functioning, which is of great importance in design.

So, does it mean that good and innovative design is aging very slowly?We all live in fast times where aesthetic values are evolving very quickly. I think, how-ever, that good design should strive against quick devaluation. It means that the com-mon space should not be cluttered with unimportant and flimsy things. It seems to me that the design should aim at durabil-ity, especially if it concerns common, public spaces.

Does it mean that good designers work-ing for a different culture must have a great knowledge of it? Do they have to decipher the alphabet, spoken by people of a certain culture? If someone invites a designer from a dif-ferent continent to work, from a different

mental circle, I assume there is a purpose in it. This designer can be interesting due to his specific exoticism. At the same time, an implementation of some concepts to a completely different ground, to different culture is based on an exchange of ideas and applying solutions that are previously unknown, which doesn’t mean – bad. The potential coming from tension and confron-tation can bring something interesting to such a project. It is also a great dose of optimism, when there comes a task to work for very distant recipients.

You work for culturally distant China. We are delighted that the Chinese like your projects. How do you satisfy their desire for luxury?This is a very complex issue. In fact, it is difficult to answer this question basing only on my experience. You have to look at it a little bit larger and understand why Chinese people order good design. Sorry for such im-modest words, however, this phenomenon is quite evident and common. It is important to know that China is a specific market and

interview

a specific recipient, which in contrast to other centres in the world invests a lot of money in design. Many architects and de-signers have their greatest achievements in that market because the needs and un-derstanding of what something is done for is very important and quite specific in China. I have an impression that the Chinese re-construct their own reality anew, catching up quickly some differences that resulted from years of isolation and influence. They want to build their world in a balanced aes-thetics, and they are able to do that since they can simply afford it. By making up for the long-term absence of foreign influences, including Western way of thinking, their aim is to create a modern reality in which they want to function and which is not based only on the Chinese tradition. European or American art and culture tradition is very progressive and we know that over the dec-ades we have evolved dynamically. I mean new trends in art, culture, theatre and film. In China, throughout the twentieth century, from the perspective of evolutionary dy-namic trends and changes no such things

were happening and prior periods were also based on a model of repeatability which was a value in itself. What was built in the four-teenth and nineteenth centuries for us does not almost differ from each other since imi-tation and duplication is the greatest value for them. It is an absolute contrary to our functioning. These differences cause a lot of confusion in the cooperation and contacts with the Chinese who recognize an existing aesthetic or functional value as a common good which should be imitated respectfully. The presence of modern projects on the one hand is an attempt to make up for the difference in material culture, and, on the other hand, an attempt to shape reality at their imaginary level. This is done on a large scale which often produces very interest-ing results. We have different methods of cooperation, from entering deeply into the context of the place, listening to the Chi-nese culture, to things that absolutely ig-nore this context. A full scale of tones be-tween these two attitudes is present there and makes it a very diverse and interesting market.

You said a very interesting thing about coping good design by Chinese people. Does it mean that fakes are not criti-cised there? I cannot understand why they so often copy products considered to be cultish.Imagine a culture where for hundreds of years they repeated architectural and util-ity forms of some basic things in life in an immanent but glorifying way, making in fact, the thing a model for the copies. If some-one built a beautiful house, it then would become, in very simple terms, an ideal ref-erence. If someone created something that existed in the public space and was of great value for all, it became a naturally followed pattern, and there was nothing wrong in it. On the contrary, it was the obvious norm, if not an imperative, for them to follow it. It’s a kind of „method” of constructing reality, replacing weak things with those commonly considered to be good ones. If it has been such through the hundreds of years, it is difficult to change this kind of mentality in several years. Thus, it’s difficult to convince anyone there that such copying is wrong

due to the values of our world where copy-rights are extremely respected.

If someone, for example, created a lovely garden there, they would all try to follow the same perfection and recreate it as well as they could. Because of the fact that beauty is a universal value for them, this gave them an opportunity to experience and possess it. In our culture beauty has become an ap-propriated and privatized value. The high price of the famous artists’ works which are by this mean protected against their universal access, patents and copyright prove that we understand the essence of their value and importance of the public, except that at the same time we want to possess and individualize this value. There is a visible tension and contradiction of these two systems. In China, it is somehow more democratic, which may sound rather gro-tesque in the context of the country.

Have you seen the copies of your own projects?(Laughter ...) From the point of view of the man from Europe, fortunately, I have not seen such copies. Although in the context

of China I should see them, because it would mean that my projects are valuable for them. In fact, I’m not aware of everything what’s going on in China since it is a huge country. I only happen to see local followers of my projects.

Let’s go back to the Polish market. Is your cooperation with Polish entrepre-neurs and investors satisfying? What has changed in recent years?It is difficult to judge what is happening in Poland without the context of what is going on in the world and in Europe. Last years were very difficult period for all projects based on innovations. For and foremost, people fight for survival. A very serious crisis in Europe has caused that many pro-jects were kept on hold, and they are of dif-ferent importance category for the future. Primarily, people fight for jobs and existence in the market. Thus, it is not a favourable time for any radical investments and pro-jects which does not mean that nothing is happening because the design industry can create such processes and jobs. The condi-tion of Polish design market fares well as

compared to other markets. Contrary to the global tendencies a lot of projects were created here, although, the crisis was also used as an instrument to manipulate orders and prices, as an argument for the neces-sity to reduce costs. In fact, it was not al-ways a reasonable argument, especially if we are talking about companies that are in a very good condition and have good results.

I think that in the context of what is happening in other European countries, a lot, actually, has happened in Poland, which is the result of several favourable circum-stances. Our position in Europe as a big country, but which was not fully integrated with all the mechanisms that led to the cri-sis in the world, on the one hand helped to save and protect us, and on the other hand led to creating an internal market. Despite the fact that the market supports itself, it is not yet saturated. It seems to me that Poland as large European country should or can generate a little more. It should be taken into account that we are a very young economy and democracy. In fact, it may be considered that twenty years is enough, but in the context of European history, it is

interview

not much. This is the period in which certain things have just gotten on the right track I believe that the Polish design market is very dynamic. There are a lot of people who are involved in it, they create interesting things and have great potential. It seems to me, however, that this potential is not used enough. In unfavourable times, unfortunate-ly, it loses its impetus. It would be a shame to waste it since we have the resources and we should take advantage of them.

The largest companies, especially banks, choose your projects. Is it true that you can design the interiors in which custom-ers are able to spend more money?This is a quote from one of the interviews, often repeated, but a little out of context. This idea should be explained, and, fortu-nately, I have the chance to do it. The mech-anism of encouraging people to spend more money is not so easy and it’s not about pay-ing more for some products. We are talk-ing about a business efficiency oriented to increase sales. In collaboration with a com-mercial customer, who has specific sales, marketing and branding targets and is ori-ented to push their businesses forward, the main goal is to create a project which will facilitate his operation. Design is, in this case, the driving force, maybe not at 100%, or even not at 50%, but to some extent, to

achieve these aims. In other words, when you create a good project in terms of the business strategy and it influences on satis-factory results, it means that the company makes more money because people are will-ing to cooperate with this company or brand and spend more money on their products. People choose to use the services in this place and not another, choose their product not of their competition and chose to be a loyal, frequent client. This is not a simple mechanism and can be easily simplified and misunderstood. Therefore, what you asked me about has a little broader strategic as-pect meaning that design can support the development of business and what is more, I firmly believe that it does – by making it more reliable and customer-oriented.

And this is how I see my job and the func-tion of design which is incorporated into business strategy. This is a top of the man-ager heap since it requires a number of fac-tors that need to be met at once. Firstly, it requires a very conscious client who wants to take profits from design representing his business strategy in a fundamental way. Secondly, a customer must believe that this has a deep meaning, and an intelligent de-signer who works on his project will be able to understand the client’ s market, custom-ers and will offer solutions that are not only a designer’s fad, but a response to people’s

needs. On such occasions I always say that when creating projects, I do not design for my clients but only for their clients. The understanding of it should be reflected in strategic aims, methods of collaboration and evaluation of solutions, making them possible to achieve. A simple example: a well and poorly designed hotel. At the time of virtual maps and tours, where there is only one click of the mouse from one hotel to the other , which would you like to stay in? In a hotel which at the same price and offer looks nice or repulsive? It is a simple under-standing of how people choose their hotels and how they assess the quality of the place by standard, location, price and service, which define certain boundary conditions for such a task, and the operation of the business. A good design can in this case be translated into the number of guests, the best proof of it are the well-designed hotels in Poland which always have many visitors.

What I can see in your projects is that you are fascinated by modernity. How do you use technology in your projects?Technology is a very broad and interesting subject. On one hand, we try to use them at the level of tool - that helps us to design. I’m for matching tools to the aim we want to achieve. I am also an absolute fanatic of mo-dernity. I love the modernity in its concept of

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seeking innovation for sheer fun of exploring it. I like technology and advancement of us-ing it because of, what is more to say, their cognitive attractiveness and a kind of spec-tacularity of use. If we as customers have an access to solutions that we do not know yet and we can be enchanted by them – we natu-rally sympathize with them. A pure technol-ogy milling, the existence just for existing, technological ‘perpetuum mobile’ of civiliza-tion is not interesting. What is interesting is what you can create with the help of tech-nology. For me, technology is not a value in itself. It’s the key, or rather a platform used for creating a particular effect, function or impression which will fully benefit from its possibilities. It means balancing on the edge of surprise, having possibility to move the frontiers of cognitive skills – the ability of us-ing technology. Each of us has such limit of experience, and if our projects exceed this limit, we will experience something new. This new allows us to create on a scale we have never done before. It is especially interest-ing in these projects which in the context of used or represented technologies should be based on such solutions. That is why the Copernicus Science Centre in Warsaw is such a popular place, because there one can experience everything in a tangible way, and these experiences are, although some-times very simple, yet absorbing. A continu-ous desire to experience is always alive in a human being. Of course, it’s not attractive for everyone, but in most cases the value of experience harnessed in such high-tech pro-jects is a unique factor, which is why I try to enjoy it to its fullest. Generally, I believe that life and reality is changing very much now. I am intrigued and excited about what may happen soon. Looking at modern inven-tions, for example, wireless communication, I assume that probably in the nearest future we will also have wireless electricity, and I know that it will change our reality in a fun-damental way. If we also solve the problem of natural energy production – our reality will change in such a diametrical way that it is difficult to imagine. For example, transpor-tation. Maintenance-free electric cars that draw power from the air, handled by the GPS in a collision-free way. We eliminate traffic jams, pollution, accidents and the need to use such resources as oil. Such a simple technical factor as wireless electricity may cause that things work in any place and com-municate with each other, which will free us from being focused on operating of our equipment, we will only adapt them to each other and consume the benefits of this ad-justment.

So then, we would have almost perfect civilization of consumption?

Imagine the stress generated by the trans-port in the cities would be eliminated. You get in a small capsule, which operates like a public bus. You do not drive this vehicle and you are not afraid of having collision at a red light. You can spend this time as you wish, which is even few hours a day in large cit-ies, on doing something else, to say nothing of the noise and fumes. Many elements can change in our reality, and, in fact, it is already happening. There is no need to rush to go shopping since you can order it via phone and Internet, therefore big stores do not need to occupy valuable space in urban area or a fridge can check the freshness of products and order what is needed. Many factors can be programmed for our use and connected in a way that will eliminate a lot of absorb-ing activities which take a lot of time. It is valuable because there is always a deficit of time in our life, so any solution that would eliminate it is extremely significant. You will spend this time with other people and not in the line to the cash register. I also hope that we will not concentrate on the technol-ogy because the technology at some point will handle itself.

What is it like to be a designer, who has as many opponents as supporters? Do you still have some unquenchable desire to create more and more new things even though you have already achieved much?I still have a feeling that I should do more things, and that I could use much more of my potential which, unfortunately, is not used enough in Poland. There are so many things to do here, a lot of opportunities, a lot of which are missed. I have this feeling every day and mostly it makes me frustrat-ed. What is seen as realized concepts, is only a fraction of what could have been. I think this is my Polish incompletion. There are a lot of things that are happening here, but they are not used enough.

My supporters and opponents? I have seen a lot of things in my life and I have experienced many different reactions both to my work and to my method of working. I often confront with people from my envi-ronment and with my clients on many levels: ideological, professional, ethical and busi-ness. The results of these confrontations are sometimes important, they can change our reality or they can even more diversify and deepen the divisions. And at the end of the day, I have to ask myself whether I acted justly, fairly, and if I have nothing against myself - then I can sleep peacefully. Much more often I cannot sleep because of ideas, projects I want to realize or I work on, rather than because of envy or anger of people, which seems to me more pathetic than edifying.

Since these ideas do not allow you to sleep, we will not have to worry about running out of ideas for the interiors, thus, for the inspiration?The question about inspiration is one of the standard questions to a designer. At the same time, the more I think about it, the more difficult it is to answer. This seem-ingly simple question of where these things come from refers to – one might say – a solid and vivisected analysis of where it re-ally, personally comes from. And frankly, I have less and less idea about it. Creative inspiration consists of many different fac-tors – micro-revelations or micro-fascina-tions that are collected in my head. These can be little or big things, and sometimes they pass a long, complex and unpredictable transformation from what was observed to what will be created. It is impossible to for-mulate a clear pattern of something that translates into something else. Life is made up of a great number of impulses and de-grading one to another one which would be more important – is first of all, unjust, and second of all, untrue. I think that the way how projects are created can be called a state of mind. Their birth is like setting a radar on things which I look for in the con-text of something else. The radar is sensi-tive to the reality that surrounds me. It is not always on in my mind, it is more a task, starting of a process, directing thoughts. It happens that there is something in the media, in the materials we watch, in site inspections, in publications or in existing formal concepts even from quite distant fields. In our design practice we have an es-tablished research method, the method of dealing with projects in which we have our phase. It’s not about sitting with closed eyes and listening to music, although it is sometimes the element of this phase. It is more a programmed, organized process and a conscious action based in time. It has to give us a chance to think and gather all things which can be needed in this specific project. We collect knowledge, solutions, ideas in order to face them, see what is significant, useful, or definitely wrong for us. Especially in case of commercial design, when we talk about creating products for institutional clients, it has its utility and fundamental importance for the effects of designing. Then we analyse the competition, all the conditions of a particular client and define what we want to achieve. The analyti-cal research is a part of the inspiration and guidance to what goals we want to achieve. Chaos often appears, too much irrelevant information or such which is formulated on a non-evaluative but contrasting basis. All in all, designing is always a complex process, not easily defined.

interview

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RobeRt majkut

Born in 1971. Designer, the founder and the general director of Robert Majkut Design studio – one of the most respected companies in the creative in-dustry in Poland. The expert on business design.

The quality of the proposed solutions, unique working methods and an understand-ing of the strategic importance of business design caused that Robert Majkut has become the partner for the most demanding investors. His team of designers makes projects in both Poland and abroad, in China and Russia.

MADEPresently, Polish design and young Polish designers are gaining more and more popularity. Their ideas are appreciated at the prestigious festivals, markets and they are presented in popular industry magazines. Foreign markets underline originality, freshness and innovative ideas of Polish design. Unfortunately, the amount of Polish design projects appearing at the international market is just a drop in the sea since Polish designers have many unconventional and innovative projects

by Ewa Pokorska

in Poland

design studios and it was only recently these pieces of furniture saw the light of day getting young Polish designers inspired by. They are often unique works which, for various reasons, for example, lack of access to modern materials, have never entered mass production. Besides, they depicted the most important and latest trends, and thus, they could compete with foreign projects of that time.

Woodie and PoP-Communism FashionPop-communism fashion and the revitalization of design are currently very popular, even among foreign customers. One of the example of pop-com-munism fashion is an office chair WOODI designed by Polish architect, Vonhausen Anna. The office chair was appreciated by the international jury at this year’s Red Dot Design Award. Vonhausen, the creative director SIT-AG Formy Siedzenia, took the idea of the revitalisation of craftsmanship via combining traditional materials with clear, reduced, futuristic form and fine finishes. This combination created a new aesthetic, angular and strong figure, a kind of game between the continuity of forms and the contact points interpenetrating seat planes. This shows a contrast and symbiosis of a traditional plywood and a futuristic form. Moreover, the WOODI project was not appreciated only by the audience and the jury of the Red Dot. These seats have been already seen in the Polish office interiors and even in an of-fice interior of one of the Polish government ministries.

his situation is due to the fact that until recently Poland was the part of socialist planned economy and the resulting constraints which affected the design. Presently, echoes of the past affect the talented designers who cannot count fully on the financial and promotional government sup-port. Thus, designers are forced to play a triple role of the

creators, producers and sellers. They create handicraft design rather than massive design. Fortunately, this situation is changing quite rapidly. There has been an intensive growth of interest in designing in industry and cul-tural environment, and creative ideas of young Polish designers, who have started their career after the fall of communism, are reaching to more and more groups of people, even abroad. Indeed, we have something to be proud of! Polish design shows is very unique and it is so because of our history and traditions. With the fall of the Berlin Wall, we started living in a country where everything had to be re-designed. Thus, designers had and still have a great range of possibilities, searching for original solutions and interesting design, not only from the world but mainly from Polish roots and culture. Our post-war history project is a great source from which young artists can get inspiration. The designers from PRL period, despite the depend-ency on political and economic system, created a great number of successful projects that can easily compete with foreign projects of that time. Modern furniture, like sculptures, was made in the prototypic phase in the art and

Special feature

The Value oF PlyWoodThe sources for this extremely modern chair style designed by Anna Von-hausen can be found in the 1950s and 1960s. For Poland, it was a time of furniture expansion made of plywood, which was considered by the authori-ties as an accessible material with extraordinary art potential. Designers used this material as a substitute for unavailable plastics at that time. The main aim was to search for project solutions, having regard for the rules imposed by the political system, in order to give the furniture the modern design coming from the West. The great number of projects of that time is considered as icons of contemporary Polish design. An example of such a project is the chair designed by Teresa Kruszewska fascinated with Alvar Aalto. The designer recognised and well-exploited the possibilities of ply-wood. The flexibility and strength of the material allowed her to do struc-tural experiments. As she recalled, when creating the chair, she paid her attention to design and simplicity, the combination of aesthetics and func-tionality, the beauty of the object shape and the surrounding space which she found as the sum of the brightness of function, simplicity of design and the logic of material discipline. When designing furniture, a human is of great importance for her. It can be seen in her chair ‘Muszelka’ (1956). Maria Chomentowska is another great designer. Similarly to Kruszewska, she also was searching for the flexibility of seats, trying to use the flexibility of the plywood. Additionally, as it can be seen in her chair “Pluck”, she re-duced the rigid connection of furniture elements, replacing them with ones that enable natural material mobility.

naTure by Tomek rygalikThanks to the efforts and ingenuity of designers of PRL period, and despite the lack of access to modern materials and censorship, a great number of original furniture was created. They were the combination of traditional, natural materials and a modern form. What’s more, these experiments

are now an inspiration to young artists. In fact, not only is the office chair ‘WOODI’ an example of it, but also the furniture designed in 2011 by well-known world designer, Tomek Rygalik. When making his furniture for the Polish Presidency in Brussels, he used traditional Polish materi-als - beech wood and wool, combined with modern design and innovative technologies. Interestingly, his project of a conferential chair refers to the traditional stool. Rygalik’s furniture together with his very innovative and modern lamp “Genotype”, have made an original impression at the office interior of the European Union. These ideas get the attention of the media and design environments, not only in Poland but especially abroad.

leTTers From le CorbusierUndoubtedly, the projects of Roman Modzelewski, the author of one of the most famous Polish design of 50s, are also worth noticing. He designed the chair, which after half a century, saw the light of day, and gained so much popularity in Poland that they were mass-produced. Modzelewski was one of the first Polish designers who experimented with plastics unavailable at that time.

In 1961, he got inspired by the possibilities of modern materials and abstract paintings which resulted in the creation of the chair, RM 58th model made entirely of epoxy. The weight of the seat of the organic form lies on the thin, delicate metal legs. Its innovative design was appreciated by Le Corbusier, who asked the Polish designer to obtain the patent, and an agreement on its mass production. Unfortunately, due to the reality of that time in Poland, it never happened. Finally, in June 2012, a Polish com-pany ‘Vzór’ decided to implement mass production of RM58, along with two other interesting projects by Modzelewski. Therefore, the works of the master of Polish design have been already seen at homes, public spaces and offices. What is more, along with the old design, we get to know about rich and uneasy history of Polish design.

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Special feature

A good design is becoming more and more recognized abroad. It is thanks to Tomek Rygalik who designed furniture for Polish presidency in the Council of the European Union. He used the combination of natural and traditional materials, i.e. beech wood or wool combined with contemporary design, together with the application of modern industry with technologically advanced, innovative solutions. Simplicity of the form presents the innovative use of material, which spreads the light with a unique quality.On 17, Net chair project by Tomek Rygali

Polish insPiraTionSuch stories inspire young and talented Polish designers. For example, Dagmara Surus, the author of a seat used for public spaces, was inspired by Modzelewski. The “Frutti” project, whose inspirations were fruit and nature, is a very original concept of creative public seat. This piece of furniture, on the one hand, is inspired by Modzelewski’s seat, and on the other hand, by modern style. Besides, it is an original idea for making an employee active in the social space. Its modularity and mobility allows users to shape the seat and surrounding space. It stimulates the imagination, creativity and also, it affects interpersonal relations. It is worth mentioning that in the ‘60s, there were projects of the furniture used for public spaces, which main aim was to stimulate the users’ imagination. The chair by Teresa Kruszewska made of plywood (1966) is the example of such users’ activation since it can also function as an additional table module. Similar solutions were applied by Chomentowska Maria, the author of the table-desk (1954) and functional escritoire with many shelves and a very simple and futuristic form.

an oFFiCe in young designers’ handsPresently, designers outdo themselves in creating projects used for space office that will draw attention not only by their form, colour or material. The most important factors are their functionality, ergonomics, quality, environmental aspects and ingenuity. These factors serve to increase employee productivity and their involvement. Poland can be proud of such projects! They are created by graduates of Educational Programmes and Cooperation with Industry, operating on the Academy of Fine Arts in Poznań. An interesting project was made by Wojtkowiak Mikołaj and that is a multifunctional desktop “Mandy” designed for a small work space. Its minimalist form recalls the Chomentowska’s project (1950s) but used materials, imaginative solutions and modern technology give the innovative character to the project. “Mandy” project can function as Magnetic board panel, desktop, lampshade derived from a single sheet of linoleum and the commodious

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drawer - all these accessories packed into 60s stylised packets. Importantly, furni-ture linoleum was used here in a different and more innovative way – in the shape of free loop serves as lightshades placed in the corner. This constructive closeup shows the breakthrough in the perception of lino-leum as just a cladding material. Another example of that creative piece of furniture is “Corner” desk, designed by Polish office ‘Mowo Studio’. On one hand, this piece of furniture is an example of the post-war design revitalisation which searches for functional design solutions used for small interior spaces. On the other hand, due to its modern and original form, bold colours and applied technologies “Corner” takes the long view. This multifunctional desk chest can accommodate all the usable functions, including the multimedia and office ac-cessories. Opala certainly broke the canon of typical cabinet furniture and created unconventional and creative monomodu-lar work space with interesting design. A similar idea was used by three graduates of Educational Programmes and Coopera-tion with Industry, Joanna Korżak, Hono-rata Poznańska and Dorota Januszek, the authors of the minimum kitchen “Miss Jelly”. They performed the original design of monomudular kitchen used for an of-fice or a conference room. The main goal was to provide basic kitchen functions in a small space while searching for convinc-ing and comfortable office space form. As a result, “Miss Jelly”, which recalls the unit furniture from 60s, is extremely light in the monomodular form and its creative cabinet system provides each user with their own private space with regard to public space. It is the desktop connected to the multifunc-tion top wall, on which there are placed diverse colour cabinets which can be added or subtracted and hanging in any configura-tion, depending on the needs of the office workers. The form includes functions.

naTional PoTenTialAll presented names and examples of Polish design, both contemporary and of few past decades, are only a poor substitute for our museum design collections and the current projects. Ambitious young designers have a huge range of possibilities in a country where there is a lot of to design. What is more, they have a very interesting history of design, strong roots, from which they can benefit. The post-war design world is extremely exciting but difficult, and that is confirmed by Dan-ish, Italian and German experts who have had the opportunity to see our museum stores. The young designers have much potential as it is evidenced by their projects, which for various reasons are often still in the prototype phase. Fortunately, an intense time of change in Polish thinking approach to think about design issues. We are open to explore the world design.

1. Mowo Studio, the pro-ject by Wojciech Opala, „Corner” desk, 2005

2. Zdzisław Wróblewski, small table, 1959

3. Maria Chomentowska, desk, 1954

4. Roman Modzelewski on the armchair RM58

5. Roman Modzelewski, armchair RM58

Polish production with the help of Vzor studio, iconic chair designed by Roman Modzelewski came into the market

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Special feature

Duporet, the project by Bartosz Mucha, www.poor.pl

The har monious

CLIENT

YETI –

AdvErTIsIng

AgEncY AnETA

Nytko-Święcicka

LOCATION kryspiNów

407 32-060 LIszkI

(Near kraków)

YEAR OF COMPLETION 2012

OFFICE AREA 1090 m2

by Dominika Mrowińska

A building, which is ‘alive’ and an interior harmoniously matched to the nature of work that takes place in. YETI Advertising Agency changed the working place which has resulted in a new quality

case study

relationshipThe har monious

DESIGN OFFICE

group_A

ArchITEcTs

krych+Gajewski

zwycięstwa st. 40/9

44-100 Gliwice ARChITECTS

chIEf dEsIgnEr: JAcEk krYch

DesiGNer: Dariusz Gajewski

iNterior DesiGNer: arch. jacek

krych authorial cooperatioN: arch.

Darius Gajewski, arch. klauDia FieGler

by Dominika Mrowińska

ffice interiors of advertising agencies can be of differ-ent forms. Their tasks are to stimulate the imagina-tion, to create ideal conditions for creative work which let people be concentrated with and also to create the conditions for interactions and discussion. YETI Advertising Agency Office, which moved its address

in 2012 to Kryspinów near Kraków, is also responsible for production. Therefore, projects are created not only in the conceptual stage, but they are also produced there.

Tailored-To-needsThe main task of YETI - Advertising Agency Nytko-Święcicka Aneta is a precise processing of various types of advertising materials: plastic, the production of short-run marketing materials (like POS), and the design and construction of different-sized prototypes, gadgets and products for the advertising industry, and the development of products from prototype phase to their implementation to advertising production The requirement was to design a building hall, which would identify the company profile and its business. In addition, all office interiors were to encourage work on new projects and represent the agency.

Group_A Krych + Gajewski design office, faced the task to create a space used for different types of work. At the same time, the architects

had to design the whole building into the existing space in Kryspinów. In addition to the building design, their task was to create interior that is compatible with the company’s profile and the employees’ needs

auTonomyThe new YETI headquarter was architectural challenge due to the nature of the company and the tasks which are performed there. The combination of the two functions, the office and warehouse & production, required an imaginative architectural perspective on this subject. Typically, warehouse & production and small-scale production facilities which combine these functions are limited to the implementation of ruled buildings made of panels with a built-in office. It is usually accentuated by an entrance, win-dows and other solid forms signalling an entry zone. The Office buildings can be attached, and they are often lost in the scale of the hall building and resemble architectural and not attractive growth.

The combination of two functions in Yeti was treated with a dose of architectural finesse, thanks to which the created building was a novelty in the field. The Exterior hall matches to the surrounding, the service and manufacturing facilities, and green belt on the highway. At the same time, the building is a stand-alone against a slightly undulating terrain. A translucent facade and an oval shape form its character. The light in the evening and night hours help to ease identification of the company loca-

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The light in the evening and night hours help to ease identification of the company location

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case study

The relations with the external form of the building can be seen in the office in entry and exit zone where the reception desk is made of polycarbonate chambers

An open patio is located inside the whole structure. Such solution let the natural light fill the inside of the office. Glass walls that surround the patio allow natural light to reach the central structure parts, which are extremely rare in this type of buildings

case study

tion. Besides, it shows the attractiveness of the used solution because it allows you to show the transparency of the façade of the building interior life. The use of plastics in elevation is related to the investor’s work that is known for using high quality products and precision processing of plas-tics. The organic form of the building without sharp edges is an original negation of rectangular halls, which are so popular in the market. Due to their shape, a hall in the landscape is interpreted as being smaller, and less eye-pleasing.

The relaTionship wiTh an inTeriorThe external form of the building influenced interior where the office function plays a very important role. It was built around an open patio, which is located inside the whole structure. Such solution let the natural light fill the inside of the office. Glass walls that surround the patio allow natural light to reach the central structure parts, which are extremely rare in this type of buildings. At the same time, it’s a huge advantage since the right amount of light affects the efficiency and well-being of employees.

The relations with the external form of the building can be seen in the office in entry and exit zone where the reception desk is made of poly-carbonate chambers. This clearly refers to the facade. It is worth noting that most of the furniture created from plastic, was created by the same

investor. This allowed for an integration of the interior and tasks led by the company. It has also an influence on building its identity and employees identification with what they deal every day. A wide range of options let YETI create office spaces which present its character

In the office halls there are ceilings made of transparent polycarbon-ate plate. There are no fixtures and lamps because such arranged ceilings diffuse light with fluorescent lamps placed above, giving a light favourable to work. This solution is also significant for interior design, which has a minimalist form and lacks frills. In public offices and conference rooms the walls are covered with coloured MDF weight of individual mill, im-proving room acoustics. Acoustic is an important factor for offices since it allows you to concentrate on work and prevent scattering. In the materials used for interior decorating there are also stainless steel, resin epoxy or black Plexiglas. Matched to individual rooms arrangement gave the solu-tion as a result of a very harmonious interior with unique character.

The use of typical-storey industrial building materials such as clad-ding tile layer and polycarbonate, and present them in a different, unique dimension, , was designed to show the creative possibilities of the mate-rial. They tightly bound the building with its façade and exterior form and showed another dimension to the use of materials widely regarded as unattractive in both elevation and interiors.

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In a world of office design, architects are often given an impossible task of transforming a boring, carriage-like space into an extraordinary work place. Za Bor Architects might just have done it again

by Nikodem Marzec

entert h e ya n d e x

Offices in the wOrld

Client Yandex

Designer za bor

architects

loCation benois business

center, saint Petersburg,

russia

Completion Year 2012

total floor area 3310 m2

he studio, which has been designing offices of Russian IT-giants around the world for the last four years, this time was commissioned by Yandex – the largest Russian IT-corporation and the most popular Russian-language search service in the world.

Stepping it upThe process of designing has been to some extent a return-to-the-roots experience for both Za Bor and Yandex, as both parties had previously collaborated on the office which is situated in the same

building of the Benois business center in Saint Petersburg, but on a lower floor. In 2008 the project was acclaimed as one of the most brilliantly designed office, and in the short time since its completion it has

picked up numerous architectural awards. Four years later Za Bor Architects and Yandex decided to repeat the success on a larger scale. Yandex Saint-Petersburg office II is almost twice as large as the previous one, and houses the

entire fourth floor of the building, along with its 200-meter-long corridor. The scheme involved organizing a very complex and logical office in this narrow space, while still making it look showy and exciting. It was also hoped that the new office would

attract fresh talent to the company and would keep the creative fires burning. What evolved from this palette of requirements and basic spatial characteristics was a refreshingly different design direction - one more typical of an advertising agency than an IT company.

Initial ideas drew on imagery from cinema, computer games and various websites, and the final scheme owes its fun and energetic feel to influences as diverse as Hitchcock’s “Vertigo” and Pac-Man. Despite the 3,310-square-meter floor’s somewhat narrow proportions, the designers were

able to create a layout that is anything but a numbingly linear succession of spaces.

pleaSant VertigoThe main concept was to make guests feel as if they were “browsing” the office space just like they browse the cyberspace - via the Yandex search service. In a unique language of material, color and form, visitors are immersed in a complete world that is distinctively Yandex.

At the reception they are met by a well-known “Search” button and a huge yellow arrow, an unofficial Yandex logo. Progressing deeper into the office brings

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Offices in the wOrld

30

another vibrant punch in the form of giant web icons and

symbols of Yandex services, which explode with colorful pixels, creating unique, mosaic tiled

walls. Here, the simple and often boring graphics from our monitors grow into giant art objects. Not only are they fun,

and guide visitors through the office, some of them fulfill a specific role. For instance, spiral elements are separating informal zones from the

corridor, polymer clocks conceal network printers, and the enormous mouse pointer performs very well as a ledge for the flowers.

Certain industries are often strongly identified with specific office “looks”. Imagining an office of an IT company evokes visions of exquisitely sober and dull spaces. Yandex office

dispels a lot of these preconceptions, proving that there is a lot of opportunities to be creative in this sector. While the work areas make the most of the building’s natural character, meeting rooms have been

given a more decorative touch. Guests and staff can choose from a wide variety of settings, each offering unique qualities to suit their needs and purposes. For those who require a modicum of privacy for their discussions, a

place behind the red curtain with seating for two beckons. Those who enjoy quietly sinking into a comfortable couch may choose one of the enclosed rooms.

eVerything in itS right placeAs Yandex offices have twenty-four-hours operation schedule, the project was provided with variety of well-developed

recreation zones. In addition to working areas and rooms, the office has a gym, cafeteria, showers, and several coffee-points. The number of formal and informal points for negotiation, two lecture halls, and workplaces perfectly equipped with

Herman Miller and Walter Knoll systems, make this office a place of attraction and surely makes work an enjoyable pastime.There is a feeling of spaciousness and unhindered circulation that belies the workplace’s relatively modest floor area. Rather

than being cramped, this interior feels cozy - and with equal ease, manages to fulfill all the technological, communicative and branding requirements that define any contemporary office. Clients who come to Za Bor time and time again are the greatest

indicator of the firm’s success and the newest Yandex office is another example of something that Za Bor architects call a “virtuous circle” of collaboration. Ya

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by Nikodem Marzec

Offices in the wOrld

he working style at Ebay is agile, creative, and intensely collaborative, which are all qualities that tend to be supported in an open, flexible environment in which people can easily see and hear each other, and move to where the action is. Ebay’s selection of a 2,000-square-meter floor at the My Office Building, Istanbul, promised ample room for staff to stretch their legs.

GoinG openFor this particular project choosing an open-plan solution seemed to be a no-brainer. With an open-space architecture offering few opaque walls or other barriers, natural light floods in and through the space unimpeded, diminishing the need for artificial illumination. More natural light means smaller electric bills, a reduced carbon foot-print, and a generally more pleasant working environment conductive to higher pro-ductivity.Visitors are also integral to the Ebay’s work. The space would therefore need to instantly convey company’s brand qualities, as well as offer the flexibility to cope with everything from small, private meetings with partners to larger social affairs like lunches and celebrations.

Deep impressions are formed as soon as one enters the travertine and timber ge-ometry of the new Istanbul office. Eyes are perhaps first drawn to the striking wooden pergola which rises up behind the reception counter. Its main function is to partly conceal a break-out area, eclectically furnished with minimalist coffee tables, three sofas and a sharp angular, white counter. Rather than a corporate arrangement of identical seats, this space is equipped with colorful chairs. Suitable for everything from staff lunch breaks to “town hall” meetings, the longue area can be everything from playful to serious to inviting cozy.

A transparent glass door inset into a section of transparent glass wall separates the office’s public areas from the main work floor. Instead of being confined in a small, gloomy space, visitors can look right through into the next space, and enjoy the view outside as well. Should one prefer to eat or simply take a breather outdoors, the social space connects directly with one of the building’s terraces.

Work in proGressArrayed to the left and right of reception, behind glass walls and glass doors, are a num-ber of glass-enclosed meeting and conference rooms. By contrast to the reception space, the design theme in each is almost spartan in its simplicity, the color scheme being basic white. All meeting rooms are enclosed in floor-to-ceiling transparent glass, preserving the office’s sense of openness and flow whilst allowing ample natural light to radiate through the space. Echoing the theme set in meeting rooms, the main work area is also minimalist in character, with all staff members working from simple desks arranged around the outer circumference of the floor plate to receive maximum natural light.

Most of the work area is carpeted with circular shapes mirroring the brand’s colors, which makes walking into the work space like wading into a sea of color. Here again the office‘s colorful theme emerges in the form of a cavernous suspended ceiling, which is fitted with acoustic panels and LED lightening. The whole structure makes the in-trusive columns blend in with the surrounding. Adding to the calmness of the pace is the logical “flow” imposed by the placement of its workstation clusters. Instead of dispersing them at different angles, designers decided to arrange them in predictable ranks. All of the meeting rooms and library had been placed around the periphery of the room, with open plan seating in the middle. Designers decided to place all of the office’s basic functions in the centre, within one key structure that they called the “hub”. The hub is basically the backbone of the office containing all its hardware. They saw it as a framework or grid in which to plug in all the essential elements. By spreading most of the enclosed spaces around a hub, the rest of the area could be kept relatively uncluttered, flowing and tranquil.

efficiently sufficientAlong with refreshing the company’s working culture by fostering better communica-tion between people and teams, a single space has also offered an opportunity to express a coherent brand message through design. One important point that reviled itself was that Ebay doesn’t usually have clients constantly visiting their office, so there was no need for an extensive “front of house” - a reception whose design would simply explain what the company does has shown to be completely sufficient. The final result stands as a compelling example of a kind of ideal: an office that does everything its users can ask of it, where each centimeter of space is meticulously brought into effective use, exudes serenity, and supports collaborative work in all its colors.

TOffices in the wOrld

34

When it’s time to get down to business, open working space can be occupied by up to 164 people

35

Martin Ballendat is an internationally successful designer for 25 years

After 3 years as an employee for the company Sedus at the border to Swit-zerland he took over the Design and Development Department of the Austrian company Wiesner Hager, major Austrian furniture manufac-

turer and shaped their design for more than 10 years.

In 1995 he founded his own studio in Upper Austria and shortly afterwards a second one in Germany. Meanwhile Design Ballendat is a company with 18 employees and is working for well-known brands in more than 10 countries ( Germany, Austria, Switzerland, Italy, Netherlands, Thailand, USA, Egypt, Poland, France and the UK).

He achieved more than 100 design prizes and other awards, among them 17xRed Dot, 2xBest of the Best, IF-Award , Best of Neocon Chicago Gold and Silver, Good Design Award Athenae-um, Best of the Best Interieur-Innovations-Award and many other prizes in Belgium, Neth-erlands, Japan, China, Hungary, Canada and many more places around the world.

Martin Ballendat is also working as lecturer and visiting professor at the University of Ap-plied Sciences in the field of de-sign in Graz and Salzburg.

His newest project – designed for Nowy Styl Group – is 4ME swivel chair. From the front it presents a classic look with troughed seat and upholstered backrest , but as you turn it back to the viewer a certain feature comes to light: The backrest of the chair shows four elements that are spread as fingers of a hand. They are not only visually appealing but have a meaningful function: the “fingers” carry the elastic spring with four spherical attachments that provide extent flexibility to the backrest. Here the technology and design work altogether to create perfectly er-gonomic solution.

The four-finger-shaped back-

Born in Bochum in 1958 he studied Design at the Folkwangschule in Essen

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P r e s e n t a t i o n

rest bar is not the only feature that makes the chair ergonomic. Another one is the free-floating mechanism of the chair called S-MOVE also designed by Martin Ballendat.

S-MOVE is a seating sys-tem offering multi-dimensional movement processes. Thanks to this mechanism the seat can accommodate the entire range of human movement, equipped with a 3D platform all natural 3D movement processes may be performed. S-MOVE is supple-mented by SELF mechanism – synchronic one with self-tension function which means it is main-tenance-free. It automatically ad-just the seat and backrest moves to the weight of the user.

It moves according to the cent-er of gravity of the user and that is why maintaining the biologi-cal predispositions of the human body to exercise while moving in all three spatial dimensions. The movements provoked by the S-MOVE mechanism are entirely biodynamic propriocepthic body movements that are unnoticeable by the user but keep his body fit due to the full blood circulation, muscular tension and nutrition that it enables.

The name 4ME relates to the distinct design of the chair but also to the target group of the us-ers, simply saying: I am designed for you and will respond to your personal needs!

Once again Martin Ballendat managed to reveal the essence of his work, that is represented by the approach to design ex-pressed in clear, uncomplicated form. “Good design must be sim-ple - very simple,” he says. “But simplicity can only be achieved through an intelligent and crea-tive balance of technical, practi-cal and artistic factors.” All these you can find in 4ME swivel chair.

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A mAn who likes vAriety.Production of furniture from the drAwing boArd to the finished

Product cAn tAke uP to severAl yeArs, while PrePAring A shoP window design should not tAke more thAn A few months

Christian – as a famous designer, sets the tone to many things taking place right now. As I write this article, spring is coming and Halleröd is completing work on a shop window for the Acne boutique, which wants to present its spring women’s fashion; for the summer, he is preparing several new designs of sunglasses for Sunpocket.

On top of that, the Stockholm Furniture Fair has just ended, where a new product from this versatile de-signer was introduced: an acoustic panel Oktav by Kinnarps.

– Designing Oktav, I wanted to create something that will bring harmony to the workplace – he ex-plains.

In this way, a typical “Halleröd product” has been created. One of many. In addition to furniture, he can also design flashy clothing ac-cessories and intriguing store in-teriors and exhibitions. The Acne boutiques are a long project, which includes a new exhibition every month.

– The process that leads from an idea to the finished product is usu-ally the same, even if the aesthetics and the pace vary greatly – he says.

Of course, the shop windows created in collaboration with Acne depend on the advertised collection. Today, it is a woman’s spring fashion, and a collection of denim clothing is scheduled for the next month. Each exhibition has its theme; the next one will be “infinity”.

– We will need a lot of mirrors, kaleidoscopes and headlights ...

Colours and functionality are more important in the case of sun-

glasses, where the latest trends are intertwined with classics.– I promise you that this spring will be very colourful – both in regard to the frames and the lenses!

Does working in such different areas cause you any problems?– Not at all. All I need is to know what’s going on in the world, and I’m one step ahead of the rest. It is worth to follow developments in the world of art, fashion, architecture ...

It seems to be difficult ... but coming from Christian Halleröd it sounds like enough to have his finger on the pulse. Perhaps it is thanks to his personality. His self-restraint, which borders with conservatism, gives the impression of a modest and friendly person. He has little in common with the stereotypical image of an arrogant designer, an egocentric, who has found popularity on television.

Without this, there would be no magic - says Christian Halleröd, a man who likes to have many irons in the fire and is known for his great passion for everything he does

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P r e s e n t a t i o n

On the contrary, when I arrive at the interview to his apartment in Södermalm, a cosy district of Stockholm, he seems genuinely happy and excited and greets me with freshly baked cookies.

– I don’t need to impress anyone. Despite his creativity, he prefers adapting his work to his clients and

their needs. Sometimes this applies to functionality, and other times to a certain aesthetic value.

– The clients know what is most important to them. I just need to listen to them, and then present my knowledge of the given topic.

Cooperation is therefore – according Halleröd – the basis from a successful concept, and he himself prefers long-term and stable relation-ships with clients from quick, one-time orders. Especially in the “slow” furniture industry. In this way, he builds self-confidence, which in turn allows him creative freedom.

Currently, Halleröd’s major clients include Elf, Lintex and of course Kinnarps. Working with them is a result of earlier contacts and employ-ment. Christian joined Kinnarps in the autumn of 1998, shortly after completing his studies at the Carl Malmsten Furniture School and in-terning at Lammhults Möbel (where he learned everything about metal). He worked there for four years, to finally open his own agency, Christian Halleröd Design, which he runs to this day.

Material countsSelection of materials, especially wood, has always played an important role in Christian Halleröd’s designs.

– Choosing the right material for the given product is very important. This is a separate branch of science - very important in my work, even though hardly anyone has heard about it.

Environmental protection is a key issue, of course, but the emotions that material and products made from it transfer are also important.

– Wood, for instance, emanates the heart.

What are you inspired by?– Art exhibitions, travel, literature and meetings with clients and designer friends.

– This last element is particularly inspiring and makes the create juices flow - adds Halleröd. Ideas are born and develop in meetings with other people. This is why (and not just because of his innate modesty) Halleröd believes that cooperation is of great importance to the projects on which his works.

Interior design of shops and fashion are at the other end of the spec-trum of Halleröd’s interest. Certainly they have a lot in common with furniture design, for example, work processes and material concepts, but many aspects are also quite different.

– Changes occur much faster in the fashion industry and a com-pletely different, experimental driving force carries them, both in terms of colours and materials. In this industry, the idea and initiative usually comes from the client, while in the furniture industry I often look for inspiration myself.

You have to sing to someone else’s tune - is that not frustrating?- On the contrary. Both sides benefit. I can afford to take a critical view or become its focus. This is both useful and stimulating.

The scope of projects in which you are involved is very wide – do they have a common denominator?- In part, it is the choice of materials, and in part - their playful nature. I try to find something joyful in everything I do. Design does not have to be pretentious! by Eva-Lotta Sigurdh

Rezon is good at creating a sense of privacy in open spaces, screening off the open landscape and providing an efficient area for storage. The screen system has a so-phisticated, modular design based on an aluminium frame and panels in various colours with different paddings. You can also choose to add a functional panel to the desktop screen, allowing you to mount several useful accessories and clear the desk surface.

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’I am an ordInary person who has a great passIon.’

Although he is one of the most recognized furniture designer, who has the prestigious Red Dot Design Award to his credit, he makes me feel a little confused boy when he comes for our meeting.

Daniel Figueroa visits the fair for the first time and so far he is very pleased with what he saw. I cannot see any traces after the dramatic journey he has just esperienced. Due to the engine failure his flight from Germany took twelve hours instead of three.

Here is his answer:– Life is not about planning! We must take what life brings...

It turns out that it is the typical answer by Figuorei because that is his view on life and work. Just go with the flow. There is no point in worrying about things over which we have no control, but it is worth entrusting your instincts.

– I hate complexity and complicated people! My motto is to follow the intuitition and to make quick decisions. To understand what you see, two seconds are enough.

It’s his own view, moreover, thanks to this ability of making sense of the situation, he is very popularity in the industry.Figueroa added:– I am an ordinary person who has a great passion.

A chair has a soulWhen working on existing objects, he always follows his “feelings”. His aim is not to create something new, but to simplify and improve these things so as to make our life much easier.

What he likes the most is to design chairs. A chair, especially an office one, is his favorite piece of furniture. The greatest difficulty is to make such a chair on which one can sit comfortably for a long time. It much depends on

the functionality and ergonomics of the chair, for example, how to adjust the seat and the various possible changes in the seating position. However, there are other important features, such as materials and finishes.

– The chair is so vivid, expressive, and has its own soul and personality in contrast to the table.

What are the typical projects by Figueroi Daniel?– It’s difficult to say. I do not have a carefully thought-out design. My projects are in some sense like “handwriting”. Actually, what can characterize me are the soft lines and curves ...

Figueroa believes that an aesthetic is nothing obvious. It is undervalued by the culture that imposes its sense of style. That which functions in the United States may not be adopted in certain parts of Europe, and vice versa.

– Therefore, communicating with a customer is of great importance. It works for people like me who work in different parts of the world.It’s true: Figueroa works all around the world, but still mostly in the German market, as well as in the United States and several European countries. He strongly prefers

Europe, where for many years he was designing for Drabert and Martin Stoll companies.- I like the minimalist design.

Joy is the driving forceFigueroa comes from Cuba, but at the age of 25 he moved to Hanover, Germany, to study interior design and industrial design. He still lives there and is very happy with it. After few years of work, he opened his own design agency, Figueroa Design, which he runs for some time with his wife.

– At home, we talk a lot about the design, ha-ha!It’s not difficult to understand, especially since Figueroa tells of hir work as something that he lives and breathes with for 24 hours a day, 7 days a week.It does not mean, however, that design is the only thing he is involved in. On the contrary, in order to do his work well,he needs lots of impressions - he explains. He gets

them by doing very different things that make him happy (“I have to be happy to create good projects”).Fortunately, there are a lot of things to do, for example, travelling and meetings with people and doing extreme sports. He is particularly fond of kite surfing and fast mountain

biking.– Then I feel that I am alive and it inspires me! by Eva-Lotta Sigurdh

During my conversation with Daniel Figueroa about his life and successes which he gained at the Stockholm Furniture Fair, the designer says about his modesty

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P r e s e n t a t i o n

With a timeless yet unmistakably impressive character that suits a multitude of different uses, the filio visitor chair is compatible with the most diverse interiors and can complement any desk seating range. For rooms requiring frequent rearrangement, filio can work in a versatile way. The design of the visitor and conference chair is characterised by its elegant details – seamless blend of materials from the glass fibre reinforced armrests to the backrest and the frame, and the precise finish of the steel tube framing. For sitting comfort, the padded seat is moulded to follow body contours. A gen-tly curved backrest with upholstered front provides stability to the vertebral column. Whilst the seat is upholstered in every variant, the backrest is available either with woven mesh covering or with upholstered front.

Comprehends, interprets and puts technical construction to use. Complex functionality and movement. High qual-ity materials. Focussing on the essen-tials. The basis of the kinematics for salida’s synchronous mechanics was developed from the drabert concept of ergonomics. At the core of the me-chanics lies a 3D pressure-point spring unit, which identifi es the weight of the user and relays the intensity of this pressure straight from the seat to the backrest. This type of suspension im-parts a completely new sitting sensa-tion. The basic version of salida includes all adjustment features. Two backrest variants of the salida are available: apart from the standard plastic version with its front-only upholstery and a full mesh backrest version.

FILIO

SaLIDa

41

A n n A V o n h A u s e nThe CreaTive DireCTor of SiTaG formy SieDzenia

She is associated with SITAG Formy Siedzenia company for many years. Anna Vonhausen in her projects looks for common parts and components that connect our life with the world of art and beauty of form. With a continuous desire to improve the space, she avoids aesthetic repeti-tions, and interweaves traditional touches with a modern

performance and an un-compromising design.

In the Woodi project, she has proved that the use of traditional materi-als makes possible to cre-ate a unique design with a strong and original shape. Both courage and uncom-promisingness can be also seen in other projects by Vonhasuen Anna. The original SITI poofs and tables are clear and domi-nant element seen in many spaces. The extraordinary functionality, simplicity of form and the fullness of colours make each project unique.

Anna Vonhausen is also an originator of SIT-AG PREMIUM seats. In her projects, she was looking for products and solutions enabling the individuation of seats. The competition “Design Expressions” which was originated by Vonhausen changed the approach to office chairs and proved that office interior does not have to be boring and monotonous.

Anna Vonhausen, the director of the Institute of Architecture at the University of Technology, is the creator of the WOODI chair which is the winner of this year’s Red Dot Award

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P r e s e n t a t i o n

Woodi radiates strength and independence. Angular silhouette is not afraid of visual habits. By combining tradi-tional methods of production with modern form, the designer - Anna Vonhausen, the Director of the Architectural Department, Technical University and the Creative Director of SITAG, antnounces upcoming trends. By revitaliz-ing crafts, she points out that the design does not search for aesthetic repetitions but uniqueness in the pursuit of new values. Woodi was created out of the space game – searching for the continuity of form and contact points of interpenetrating planes. The unique line in each interior communicates clearly the rejection of imitation and bold look at the future. The distinctive design of the futuristic form underlines the fine finishes. A strong silhouette and a new, bold aesthetics do not like compromises and besides, they add uniqueness to any interior. Because of huge opportunities of product personalisation, the choice of the base version and upholstery method, WOODI can blend in with almost any interior. We are proud of the fact that it is another Polish product winning this important award on the international arena. To obtain more information about the project, read this article “Made in Poland”.

SITAG WoodiThe Winner of Red Dot Award 2012

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not inspired onesinspiring products

office design

44

he workplace consists of. Striving to achieve the feeling of prestige, a bit of luxury and superficial savings, results in the fact that in more and more office interiors we can find other than original products and counterfeit furniture. We would be ashamed to wear

counterfeit clothes, buy counterfeit perfume or watches in a random shop. So, why do we keep seeing craftsman work or mass produced copies of iconic projects like those by Charles and Ray Eames?

Why do We buy counterfeit products?The cost criterion, which is the overriding factor in most tenders, often forces the investor to make compromises. There are cases, where the budget was balanced only thanks to savings made on furniture. It should be remembered, though, that savings made by choosing cheaper solutions do not necessarily mean buying counterfeit products. An inspired product, which has got identical shape and simi-lar functionality, will never equal the original product in terms of quality. Salesmen and dealers often take advantage of their clients’ lack of knowledge about the market, and persuade them to buy imitations for a lower price. Tempo-rary satisfaction will quickly fade away when it turns out that we are dealing with a low quality product, which wears down quickly. Often the cause are the tender procedures, which forbid prior contact with those participating in the tender. When getting familiar with various products and dealers we can ask questions about their competition and we will probably be warned about companies using unfair practises. Often we see cases when an investor, after visiting the dealer, commissions making a similar piece of furniture to a small manufacturing company. These are cases, which prove lack of understanding of the idea behind creating of-

T

The office furniture market encounters many obstacles standing on its way to a fast and stable development. On the

one hand, there is the uncertain situation on international markets, on the other there are unfair competition and

multitude of counterfeit products as well as inspired furniture which are flooding Europe

by Marcin Czeczot

fake

45

fice furniture. The time devoted to research on the product and its distinguishing features, such as unique functionality and durability, are impossible to copy in a small workshop.

product copyingA good example to illustrate it is Vitra Panton. This iconic piece of furniture can be seen in every shopping centre and many offices. Even though many of the products we encoun-ter are “inspired furniture”, it is easy to distinguish them from the originals. Chinese and Italian factories producing imitations, have been unsuccessful so far when it comes to producing a stable piece of furniture without using unnatu-ral supports and reinforcements. The original shell of the Panton has got a clean shape an no reinforcements. Easy to copy is the shape of the iconic product but copying the production technology and quality is almost impossible. It is the most important reason why technologically advanced products like those manufactured by Kinnarps or Steelcase are rarely copied. The imitation of the shape and other simi-larities can only relate to the design, not the technology. An advanced technology is a sort of “protection” and the inter-est of counterfeit products manufacturers focuses on iconic designs, but simpler in production.

the producer and his philosophyWhen buying original furniture we do not only buy the item. We buy also its history, genesis of creation and its “back sto-ry”. If we want to identify ourselves with the features par-ticular products represent and their “added value”, we cannot become interested in imitations. Clients and business part-ners visiting our office can be familiar with furniture and often are able to discern counterfeit products. We can easily imagine a situation in which the piece of furniture which was supposed to be an icon of prestige and quality, turned out to be a counterfeit product and the fraud is disclosed.

small budget and the dilemma of the architectBold designs of modern office space raise the bar for archi-

eames Lounge Chair, c. 1956. Molded rosewood plywood. Black leather upholstery. aluminum base. This chair have 56 years. It is original. It’s looking great!

Charles & Ray eames, 1950. Plastic Armchairs were first presented as part of a New York Museum of Modern art competi-tion, “Low Cost furniture Design”

fake

fake

office design

46

tects. Everyone wants to have in his office top notch equip-ment and design icons, while having a minimal budget. The designers in order to win the project are forced to make com-promises. It is good when, thanks to their creativity, they create forms, which become a unique feature of the interior, but some of them cut corners and offer buying counterfeit iconic products, which make the office look impressively at first sight. It quickly turns out, though, that low quality products are not only a thing to be ashamed of but they also generate costs, by requiring frequent repairs and change.

original product pays offInvestment in original products always pays off. The final price consists of not only the cost of manufacturing , but also money invested in research, tests and after sales services. The companies producing the best furniture find it difficult to compete solely by price with companies offering incom-plete services or repairs. The natural consequence of such savings is lack of warranty, service and after sales repairs.

An interesting argument in favour of buying original iconic products is their remarkably low loss of value over time. Prices of such pieces of furniture, such as Lounge Chair by Vitra, have not changed much in the past 50 years. Lounge is produced to this day according to the same project as the first piece ever produced. Consequently, the price of a 50-year old used model is the same as a new one.

counterfeit product versus the company’s imageWould you like to work for a company which knowingly vio-lates ethical standards by purchasing counterfeit products? You should be aware that equipping workplace in counter-feit products demotivates employees. Being aware that an employer is not afraid of breaking the law, we cannot be sure what his intentions towards his employees are. We can notice that in offices of the best companies we will not find counterfeit products. It is not a sign of a huge budget but a sign of a philosophy which brought them to the top. Trust is the key factor in business, so it is worth to invest in it.

fake

The egg is a chair designed by arne Jacobsen in 1958 for Radisson SaS hotel in Copenhagen. It is manufactured by Republic of fritz Hansen. The egg was designed in a typical Jacobsen style, using state-of-the-art material

The most copied product. In the picture you can clearly see that the fake has the support to prevent damage of the seat

A tip for An Architect

furniture that makes all the

offices unique. if we do not have enough

budgets to equip our offices in

these products, let’s focus on choosing just few originals, which will be a contrasting accent in this

space

fake

47

Office interior has a remarkable influence on one’s level of concentration, the flow of information between employees, or savings achieved by adjusting office interiors to their structure and needs. That is why, when creating a new office, one should pay attention to the key elements of the process

n order to meet the needs of the market and an ever-changing structure of the office functioning in Poland, we provide you with valuable advice which aim is to show that work environment is of great importance for employee productiv-ity. In „Office Magazine”, there were numerous articles on how to take care of the workspace, which generates profits, by introducing beneficial arrangement solutions. Research conducted by the world leaders of this field, for example, DEGW, has proved that skilful planning and design can provide long-term benefits. Therefore, an important issue is that top management should be aware of the need of changes which determine the future benefits.

In order to achieve the best results in terms of work environment, you need to perform the process of creating a new office thoroughly. The process itself often takes a lot of time and it requires an adequate knowledge and team leaders who take actions to create a perfect office interior for a particular company. The planned results can be achieved through the skilful creation of brief which will pay one’s attention to all the elements included in the proper adjustment of both a location, and a workspace suitable for employees and the company profile. A well-planned brief is the foundation of success and that is why one should pay a lot of attention when writing it.

BasicsIn order to create a well-planned brief, some basic elements associated with the functioning of the company, for exam-ple, its objectives and plans need to be taken into the consideration. Such briefing process is the basis of creating a plan to achieve maximum positive results within the planned actions. Briefing is a creative process which helps to achieve the clarity of the company situation and its goals. This allows both the client and the architect to notice the needs of employees at all levels and in accordance with them, it creates a space that is suitable for a business. Therefore, the commitment of all parties concerned in the process of change is of great importance. This co-commitment gives poten-tially greater opportunities to achieve ultimate success. Thus, the process is based on noticing the needs of all company

Iby Dominika Mrowińska

administration

48

members. Starting from an executive board and ending at individual employees - everyone has different expectations and they usually have their best interest at heart. When planning changes of the new location, all different needs and potential complications resulting from them should be analysed. The purpose of the briefing process is to achieve bal-ance between different groups and their expectations. Each opinion should be analysed since it may bring a new insight into the everyday working environment. Besides, it gives a chance to eliminate the errors of planning a new space.

Briefing process is associated with co-decision making and group work whose aim is to create an inspiring work-space. The process involves a group of people representing different interests (these are users themselves), those who are responsible for promoting the objectives and the project, and people responsible for the project implementation (the equipment and design management). At the same time, it is important to keep in mind that customers always have the last word and, in fact, the final results mostly depend on them. The client can be one person or a team, the owner of a small or a large business, the owner of a large company or a large corporation. In a small business, the owner is a decision maker, and in a large business, there are teams responsible for the project implementation. Regardless of who is a decision maker, it is important to cooperate with an architect who is experienced in creating a workspace. That is why, proper communication strategy is the most important element in the whole briefing process.

On the way tO sUccessProper communication strategy between a decision-maker and an architect leads to achieve the best results. Consulta-tion, mutual inspiration and communication at all stages of the process allows for fast reactions when some inaccuracies appear. Moreover, the cooperation of the clients, architects and design management often results in numerous ideas on how to create an inspiring and creative workspace.

The analysis of a client, an architect and several areas of a company will create an office interior that is compatible

49

with a business and a surface. The important factors such as the mission of the organization, its culture, the availability of funding for the selected target and any factors that may generate changes in the project, and thus, the continuity of the process should be taken into account when creating a new office.

The effective methods of defining these factors, as well as the needs and requirements of the organization are gath-ered via surveys, interviews with employees and the analysis of available facilities. In order to use the above methods, the exterior company can be employed, however, it is not necessary for the success of the project. The project group within the organization or a group that will cope with the communication process can also bring positive results.

DemOcratic DecisiOnsCreating a project group can take many forms. In the issue July / August „Office Magazine,” we could read about how to perform changes of the office location in quite unusual way for the Polish market and take actions concerning the arrangement of new workspaces. Scandinavian company Maersk has decided to create a new office via taking their employees’ opinions into account and creating a decision-making group from the parties concerned. Thus, in the project group there were people from management group, managers and employees from each department chosen by their colleagues. Such a solution allowed the project group to protect against errors resulting from the omission of one of the groups’ needs.

In each department, there was a person involved in the decision making process and that is why, all employees could express their opinions about the present and the future workspace. Additionally, all opinions concerning the work environment (its character, negative and positive sides of the current work location and expectations concerning the change of the location) were written down in the form of survey. The commitment of all employees in the process resulted in choosing a convenient location for a new office. The analysis of different locations and opinions concern-ing them brought very positive results. Thus, the project group including employees chosen by their colleagues gave

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measurable effects during the whole creative process. The involvement of the project leader responsible for the main contact with the architect, the project team, as well as organizing group meetings with the architect resulted in the accumulation of solutions, brainstorming, and consequently, it led to achieving the best solutions for the office. In ad-dition, conducting surveys concerning the goals of the future office, its strategies and the necessary solutions were the perfect prelude to project work.

a place fOr DesigningIn addition to the „process” of creation, which plays a key role in organizing a new workspace, office appearance can-not be overlooked since it is another important element of a new office location. The present market provides a large number of solutions to all kinds of offices. Whether open spaces are the lion’s share in the project or the space is divided into separate rooms for all employees (which currently happens very rarely), equipment ensuring the best working conditions can be matched to any kind of office area. Interior designer, Eve Pokorska, in the issue September / October 2012 ‘Magazine Office’ wrote about a conference room which is the most representative area in every company. The creation of convenient interiors on the home market is becoming more and more popular. Although the perceptual habits sometimes lead to the standardization when creating a new workspace, there can be seen more and more projects that focus on practical and convenient site of a room, office interior and modern design at the global level.

A conference room is just one of many examples presented in the journal which concern the issue of how the present offices can take care of employees and the company image. An office interior design is also a showcase for an office. A person coming to an office pays attention to the key elements of the arrangement. A first impression is often a decisive factor in relations with the customer. When thinking about a new location it is important to look for an inspiration and solutions which make the home market enriched by beautiful offices where functionality and satisfac-tion of employees will go hand in hand with the savings and a good image on the market.

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