Print making

I am getting ready for print making and the work shop will take a place end of this month. For now i am preparing patterns which i would like to use for printing in wood.

drukkk ljl pattern test wzoryy

proposed models of my cabinets.

model 2 model1


October// Tutorial with Shane

After last tutorial with Shane it made me sure in how hard work i have to do. How should i identify my  culture with object as furniture. To make it clear for audience that “this has been made in purpose to say story of particular country, culture…”

i have t make more research in Kashubian Culture in their traditional Dance , stories and music.

– Identify cultural affiliation

– the meaning of the object i am going to make

– furniture of 1970

-practice more with laser cut and screen printing.

September// Folk Exhibition

While being in Poland i have a pleasure to visit interesting exhibition, related to folklore painting and paper cutouts. Shown in unusual way.

The author of that unique work it is a young  artist Berenika Kowalska, whose work has included, among others, during the last Jagiellonian Fair in Lublin. Berenika Kowalska in her work combines traditional technique of cut-outs of painting and drawing. Her work refers to the folk traditions: wedding ceremonies, funeral costumes.

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Madonna-Krakowska100x80cm Madonna-Kurpiowska-100x80cm Madonna-Łowicka-100x80cm wycinanki_weroniki_b_gl-960x50017

September// Research paper – Essay

 folklore as a indicator of cultural affiliation


Every country promotes its folklore, in Poland we have something to be proud of.

Folklore is part of our cultural identity, source of knowledge about old times is enchanted with all their goods. By seeing them we can admire and imagine for example how in old times people were making them and using in daily ritual. Folk Art should be protected, and if possible, traditions should survive as long as possible.

It is Hard to define in one sentence what the folklore is. Folklore as the science of the phenomena of culture and social group. But this group it is not one uniform, it includes in it b “customs, rituals and beliefs associated with each other very closely, sometimes very old, even pre-Christian, though Christianized. Customs and rituals , a spiritual or secular, have a common substrate composed of beliefs and superstitions of the ideas and activities, simply magical. All this, however, is closely associated with the phenomena constituting artistic culture. “(Dictionary of Polish folklore, ed. J. Krzyzanowski, 1965)

Folklore playes a huge role in our daily life. It become an inspiration, and sometimes a indicator to our life succes.

On the example of the Kashubian folklore I would like to define the roles of folk art in nowadays crafts. To do this i will try to answer the following questions: how this culture and their art is alive in nowadays craft ?and why is it interesting for the present?, even for someone outside of the Kashubian environment like me? Also briefly introduce the history of folklore art in Poland.

I am going to divide my essay in four chapters.The first one it is an introduction to the history of folklore culture in Poland with special attention to the Kashubian region. The second chapter I look for the specific characteristics of Kashubian art and crafts.The third chapter explores different how Kashubian traditional design is shown today , where we can see it and what people thing about it. Chapter four define methodology and techniques of making used before and nowadays and what do they mean today.

Key words:



  • History of folklore culture in Poland p.2-4

    Folklore in PRL time (Communism Era of 1945–1952) p.2

  • Characteristic of Kashubian folk art and craft p.4-9

  • Kashubian crafts today p.9-12

  • Methodology and techniques of making used before and nowadays p. 13-14

History of folklore culture in Poland

“In order to strengthen the bonds of national community and to raise the cultural level of the population should be available to the general public and to facilitate the use of works of art ancient and modern (…) by organizing large-scale folklore festivals (…). Art is in fact one of the strongest and most direct voices of the national genius. Art and music, which draws its content from an extremely Polish folklore, will determine the national and homely character of our culture ” (prof.Jan Steszewski, 1991)

Polish folklore brings together tradition and the art of many regions. Folk art is a term that refers to literature, theater, music, dance, and songs, but mostly from
 fields related to material forms. Folk art in Poland was born in late XVIII century, and at the beginning of the XIX century. It was the impact of the abolition of serfdom and the awakening of social consciousness. It was both form and way of manifesting. Cultural, artistic way of expressing needs with specific and functional character. Of course, folk art is associated with folk culture and social life – it is connecting members of the local community, giving them a sense of belonging and a sense of separateness in compared to other regions, as the folk culture is created, operated and developed only in the form of regional varieties. A characteristic feature of Polish folk art and the phenomenon is on the one hand loyalty to tradition, on the other originality and artistic thinking, naturally resulting from respect and knowledge of raw materials, tools, techniques and execution. Also very important was sharing development skills from generation to generation, from master to students.

What has changed in nowadays folk culture ,currently it is not isolated area, field of social life.It’s functionality and also customers environment ,but beyond that it is created and continued almost in unchanged form. Significant impact on the current folk art and the continuity of its duration had and have institutions such as Cepelia ( folklore art shop) and the Association of Folk Artists and competitions created by ethnographic museums or regional fairs, festivals, folk art, workshops.

Folklore in PRL time (Communism Era of 1945–1952).

Folklore from the time of the era Young Poland has been fascinated yang generations of artists, and previously was an extremely important point of reference, for poets. Village life has become not only important subject for writers and painters, but also inspired many of the most important artists of the first half of the twentieth century. It was time were to look for sources for the creation of a national art differently understood. Zakopane style as the first in architecture was one of the most original phenomena of the first decades of the last century. In turn, folk weaving, ceramics and furniture were supposed to help in the revival of arts and crafts. Rural paintings on glass or wood engravings was very common subject to study. Folklore was also important in the era of communism. Willingly exposed relationships between politician community with the village environment, but more in symbolic form. Government started to treat a folklore as a useful propaganda. It began to pay more attention to folk music and dance.

Folklore also invaded the typography and book projects, especially addressed to children. Also in the era of the PRL the most famous animation ” wedrowki pyzy “was also inspired by folklore motifs. A good example are books compiled by Katarzyna Bogucka by pushing away from the dominant style dictated by the American animation, economical in form and color.

Kashuby it region stretched on most of the northern side of the country.

Kashubian folk art it’s based on a ancient tradition inextricably linked with this unique strip of Pomerania (north land of Poland).

Survived by enthusiasts who were captivated of Kashubian charm as Theodore and Isidore Gulgowski who devoted his entire life to saving this activities for the local arts. Their biggest achievement in the beginning of the twentieth century was the creation of the first ethno-museum of kashubian culture.

The most interesting and defining art of this region is embroidery. 
These were single-color embroidery, made of gold and silver thread. Bonnets decorated with floral motifs: tulips, pomegranates, lilies, camomile and others, which later moved to the multi-colored Kashubian embroidery.

The places were girls of noble families and middle-class could learn how to saw and make embroidery were in monasteries. After the dissolution of the monasteries by the Prussian government in the eighteenth century embroidery products almost dissapeared but skills and knowlege survived.

Multicolored Kashubian embroidery known as ”seven-color” embroidery, was created at the beginning of this century by Isidore and Theodore Gulkowski who in 1906 organized the first workshop of embroidery made for public. Since that time, Kashubian embroidery took first place and was extremely widespread, what in our time have contributed issued by the Kashubian-Pomeranian Association embroidery book. In addition to individual embroidery work teams and workshops, which are making embroidery with similar motifs and similar colors, and above all separate centers called ”schools of embroidery” that differ in compositions, techniques and colors. Between the I and II world war period and even after the war, the embroidery was very popular, collectively created about 20 schools which operate untill today. The same, the popular embroidery patterns were used to decorate traditional costumes and also in another very popular field of manual work pottery-art. (Damrosz. J 1992)

Characteristic of Kashubian folk art and craft.

Polish folk art associated with manual art forms can be divided into two groups. 
The first is called ”imaging arts ”, which include sculpture (wood, stone, bread-sculpture), woodcut and painting (on wood, glass, baking tray, paper, tiles).

The second one (where Kashubian folklore belongs), includes products of artisans and forms of crafts like pottery, plaiting, 
metalwork, paper cutting, woodcarving, carpentry, saddlery, weaving and embroidery.

Kashubian folklore art stands out from other regions because of its sofisticated designs, an extensive body of crafts and especially because its delicate embroidery. Kashubian embroidery uses unusual motives and beautiful color. Their embroidery patterns stands out above all, thanks to their delicate colors. Color palette consisting of seven main colors: three shades of blue, red, yellow, green and black. That code has been established already between I and II war. Until today, it is strictly observed. The main theme found in Kashubian embroidery is a floral motif. Frequently used: pomegranates, sea star, roses, tulips, forget-margaritas.

Kashubian outfit ( different dress for different profession ).

Kashubians relatively quickly stopped using traditional costumes, it happened already in the nineteenth century. However they have several different outfits depending of the job they were doing .

Different wore farmer and different fisherman. Today, we can se traditional costumes only in music performances or special occasions for example : Christmas .

Meaning of the colors

royal blue color – like the beautiful Kashubian Lakes

blue – sky of Kashubia;

navy – as profound depth of the sea;

yellow – like grain ripening in the fields;
green – like forests rich of animals;

red – like blood, which every Kashubian willing to shed in defense of their land;

black – like the earth on the field waiting for seeding

Other symbol of Kashubian craft is amber

Thanks to close access to the Baltic sea, in Kashubia most of the popular decoration were made of that stone, like : Earings, pendant in the shape of a cross or a heart rings, buttons, mugs, snuff bottles, boxes and others..

Another popular object of Kashubian region are snuff boxes made of amber, cattle or deer horn.

One of the oldest areas of Kashubian folk crafts it is Pottery. Kashubian ceramics has a long tradition. The most popular products comes from three families Meissner, Necel and Kaźmierczak. The best known

samples of their work are stove tiles, vases, mugs. Kashubian pottery are characterized by specific motifs in the form of a Kashubian star, ichthyosis or tulip, then replenished with wavy lines or dots.

Shortly after the war, Kashubian culture besides embroidery started disappear slowly.

Luckily today is different than 20-30 years ago. Kashubian language is reborn, it becomes fashionable, language is daily used , kids can learn it at school, and even listen it in Kashubian radio, read newspapers and even many places of northern Poland are named in Kashubian language. The last two decades is the time of the Renaissance, (in the Kashubian region there are over a hundred folk groups, many artists, there are numerous open-air contests , exhibitions, folklore experiencing a revival in a music stage etc..)

Kashubian crafts today

Today we can see how Kashubian folklore and folk art are accepted and practiced by people who do not have Kashubian roots . On the other hand, in that folklore and folk art are elements that, in principle, it never occurred like cutouts. . Kashubian ceramics has a very positive public acceptance has today, one of the oldest folk crafts. Which various processes of creation you can see from time to time on display at the Kashubian museum. Currently, Kashubian embroidery cultivate various schools to promote this craft and cultivating native traditions. The best known of them are: Chojnice, Pucka, Slupsk, Wdzydze, Wejherowska and Żukowska.Today Kashubian embroidery design is also used to decorate dishes, ceramics, everyday objects and souvenirs from the region. Example for promotion of these motives are Katarzyna Turczyńska i Rafał Jarmołowski who a few years ago joined the love of Kashubia and love for their son and created a company which designs and manufactures items for children. KASZUBEBE produces today teethers, blocks, educational games and stickers, all in a very modern style, but inspired by the tradition of Kashubian embroidery. – their philosophy it is importance to educate children from an early age with design cultivated for hundreds of years in the region where they were born. It cultivating Kashubian heritage. KASZUBEBE products are recommended by the Institute of Industrial Design, has been awarded the prestigious competition Lodz Design Festival and represent Poland at the shows in Milan and Berlin.

Today we can also talk about new projects inspired by the fashion of the Polish folklore, and for a moment perhaps we can called as a manner. Recently we can observe various of events one of them famous in Poland workshop situated in Poznań “ New Folk Design”, during which design graduates learned the old handicraft techniques characteristic of the Polish countryside. Folklore becomes one of the sources of inspiration. Certainly very important, but not the only one. Browsing the portfolio of many designers you can find many refer to quite different style patterns. Today, developers derive from very different traditions. After all, indicate quite different work, inspired by architecture and design of PRL times (and there were quite a few). Nowadays they are more frequently discover and exploted. But now, in a multitude of different designs and sea of inspiration, “with such easy way, you can imitate others, and create projects using» cut and paste “, but what is known, familiar, tame, has the strongest power” – (Michal Kopaniszyn 2010).

Folklore has not discourage it is the opposite – it attracts: it becomes one of the main sources of inspiration for artists and designers. Proved of that

it is one of the “flagship” examples Polish Pavilion of folk architecture at the EXPO in Shanghai in 2010. Taken by Marcin Mostafa and Natalia Paszkowska of WWA Architects. Building proposed by them resembles a bent piece of paper covered with ornamental pattern of folk cutouts. Simple, modern, and sculptural form was contrasted with ornate decoration. The particular importance of this project it is a game of light and shadow, thanks the penetration of sunlight, emphasizing the folk motifs , the building intrigues and attracts. Architects says it was about finding a formula appropriate for a building having a talk about Poland. They tried in a modern way to present the country, its specificity and diversity. Pavilion at EXPO is an attempt to translate the ancient patterns on contemporary architectural language. While turned attention to what happens in the Polish design, on how to work with our folklore for young designers and “translating” them into modern language. This way of thinking decided to make a symbol of Poland in XXI century.

– article

Moho Design

was created out of love for design, in 2004. It was founded by Magda Lubińska and Michal Biernacki, whose passion for creating the motivation to act. The idea behind the brand is to find new directions in the creation of objects using the new language of design. Carpets designed by the company is an example of a contemporary approach to the Polish folk tradition. They are made of pure wool, the traditional technique of making cloth highland.

Carpets from the Moho are one of the example how todays design is

ifluenced by folklore motifs, in this cays (paper out cuts) and it is not

only decorate the interior, but they are also an example of a masterpiece in design.

article from (2010)

Methodology and techniques of making used before and nowadays

Today we can notice the effects of modernization wrapping over the effects of the political transformation. Kashubia, especially in the area of the sea side and lakeland becomes a valley of tourism, where the service sector begins to dominate, and traditional crafts are more fashionable than ever. In spite of the risks of this trend most designs and techniques remains as in the example of Kashubian pottery and embroidery, where it can be observed that old methods are still in use. The Kashubian folk museum very often runs workshops conducted by Ryszard Necel (ninth generation of a family involved in this activity). The exhibition presents the various stages of the technological process, manual or mechanical treatment of the raw material (clay), vascular formation, drying, firing and decorating and glazing.

Changes in the social and economic sphere, could not stay without affecting the sphere of cultural identity in the Kashubian, sense of identity, self-esteem of Kashubs. Still, as an example of the vitality of folk art we can find the contest for young people “folklore talents” with thirty years of tradition and great prestige in the fild. Another example is the twenty-five years, outdoor folk event for artists from all over the region. Kashubian folklore is experiencing its rebirth. It is presented in all ethnographic museums in Kashubia and Pomerania, also became an important source of income for many artists who can show their work mainly in the tourist season, when various kinds of fairs and festivals going on. Folklore art hit also shops, art galleries specializing in sale of Kashubian souvenirs. People keep making their crafts by using traditional method passed from one generation to another. Knowing the history of their country, and while living in the uncertainty of what will be tomorrow. I think by keeping that knowledge, Poles, Kashubians try to maintain their identity, to remember who they are and where is their origin. By crafting in the traditional way they trying to show what is their advantage and characteristic element of culture. Culture which gone years ago through dramatic history in their past . And needs to be rebuild once again. Roles that today meets folklore in Poland can be compared to the period of Romanticism. When was born the modern concept of the nation as an “imaginary community”. On which existence determines “spirit of the nation “ not the borders of the country. I think that today, in the era of forming new culture in Poland, Poles are seeking that spirituality of the people in the original customs and traditions. We can say that the folk therefore becomes a kind of aesthetic.

What defines nowadays crafts I can say design growing in various forms , but maybe we should submit these forms onto a larger scale to go as an example of the famous pavilon for expo 2010. To show our identity and the element of which we are belonging, but to the bigger audience. Patterns from the immediate surroundings appear to be attractive, understandable, but also different from the mass of other projects emerging around the world. It is no coincidence also said today in relation to the architecture of “critical regionalism” or regionalism unsentimental, which is not an imitation of the past, but looking for a way to define their own identity in a universalist world.

Although specific Renaissance Polish folk, in subsequent texts on the promotion of Poland abroad might find a sentence that folk art captures the world of the traditional image of the country – backward land. Perhaps we are hostage of our own imaginations. Folklore has many faces, also very attractive. It attracts young generation of Poles.

Intrigued by foreigners. Folklore can provide patterns,

can be used to build distinctive statement.


Benedict R., Wzory kultury, tłum. J. Prokopiuk. Warszawa 1999

Fleischer M., Teoria kultury i komunikacji, Wrocław 2002

Jackowski, A., Polska sztuka ludowa, Warszawa 2004

Jenks Ch., Kultura, tłum. J. Burszta, Poznań 1999

Taylor Ch., Etyka autentyczności, tłum A. Pawelec, Kraków 2002

Woźniak J., Polski folklor muzyczny, „Zeszyty Naukowe Akademii Muzycznej im. S. Moniuszki” nr 25, Gdańsk 1995

Burszta J., Folklor, folklorystyka, folkloryzacja, „Teatr Ludowy” 1966 nr 1

Burszta J., Folkloryzm w Polsce, w: „Folklor w życiu współczesnym” Poznań 1970

Frackiewicz, Anna. 2009. .“Etnodizajn ma sto lat.”, a paper presented at the opening of Festiwal Etnodizajnu,

Cracow, 6/11/2009.

Grabowski, Józef. 1976. Dawny artysta ludowy. Warszawa: Ludowa Spóldzielnia Wydawnicza.

Jackowski, Aleksander. 1975. .“Sztuka ludowa, relikt czy wartosc zywa?.”, Polska Sztuka Ludowa 3:133 154.

Jackowski, Aleksander. 1999. Cepelia: tradycja i wspólczesnosc. Warszawa: Fundacja .“Cepelia.”/ Wydawnictwo

Edytor SA.

Jackowski, Aleksander. 2002. Polska sztuka ludowa. Warszawa: Wydawnictwo Naukowe PWN.

Kosiewski, Piotr. 2009a. .“Cepelia XXI wieku.”. Tygodnik Powszechny 16/08/2009.

Kosiewski, Piotr. 2009b. .“Ludowosc jest trendy. Rozmowa z pracownikami agencji PZL.”. Tygodnik Powszechny 6/08/2009.

Kulikowska, Katarzyna. 2009. .“Problematyczna egzotycznosc muzeum etnograficznego. Jezyk ekspozycji a tozsamosc.”. Etnografia Nowa 1:105110.

Kunczynska-Iracka, Anna. 1988. .“Wstep.”. U E. Frys-Pietraszkowa, A. Kunczynska-Iracka i M. Pokropek, ur.

Sztuka ludowa w Polsce, Warszawa: Arkady, 7-9.

Damrosz J., Kultura ludowa w społeczeństwie industrialnym, Warszawa 1992

Dadak-Kozicka J., Folklor sztuką życia. U Źródeł antropologii muzyki, Warszawa 1996

Dąbrowska G., Obrzędy, zwyczaje i tańce ludowe jako tworzywo repertuaru zespołów artystycznych, w: Folklor w życiu współczesnym, Poznań 1970



August// Project proposal II

My ideas changed a little bit regarding the furniture i am going to make on this course. This is upgraded project proposal.

Katarzyna Typek/Project proposal/MA Designer Maker

Project title:

Polish folklore in contemporary design

Aims + Objectives:

Kashubian folklore. Traditional pattern -What role plays today?

As a interior designer and illustrator important for me is explore new opportunities in field of art and design and folklore environment. Folk art known in Poland as (simple art of daily life) is widely cultivated. Folk art is divided into seven different type, characterized by different style. Every style it is also different in every single city or village. My main interest of that art is placed in north of my country. Style called Kashubian , very new and interesting for me, known from the books of it’s characteristic art decoration. Through a process of research this project will explore life of Kashubian people , their believes and relation to tradition nowadays. Whether this art disappears or if it continues , and how it is perceived by today’s generation. I am especially interested in confront this style in concept of low budget wooden object as furniture(or set of furnitures). Especially in this case when Kashubians are not making object as furniture, in compare to other styles of polish folk art.

Another important part of my project is to study the various crafts in order to understand their usefulness in the production process based on a Polish folk crafts. At this point based on my personal experience and observation of design trends, production methods are to bring more benefits to its results.Therefore, are those that better match the main idea of my project: the concept of kashubian art with the fields of contemporary craft and design.

  1. To identify the importance of tradition of today’s Kashubian art.

  2. To research meaning of their characteristic decoration.

  3. To explore how Kashubian pattern appear in contemporary design.

  4. To create a body of work furniture that explores my point , techniques, sketches and practice samples.



My interest is in history and origin of Kashubian. The changes which were taking place in their culture . Time between the first and second world war and the time after the war. The tradition preserved till today in the famous schools of embroidery. Characteristics of 8 school Kashubian embroidery.



artists related to my proposal is Stanislaw Witkiewicz polish artist, writer ,philosopher. Artist from southern Poland , creator of famous folklore style. Zakopane style known from wooden objects, furniture, decoration making.

Fascinated with the culture of people from mountains (Podhale )proposed the creation of a new style based on the popular building highlander , general admired by all the guests at the Podhale for casting a unique folk art as aesthetic maturity and refined simplicity which fit perfectly into the landscape . The new style was not only architecture , but also furniture , wood-carving , products of small household items and decorations made ​​of wood , fabric and embroidery : rugs , blankets , etc.
New style of Zakopane , which rapid development starts in the 80s of nineteenth century, wasn’t only aesthetics , but also – as generally in Poland were reminiscent of that age – mission to rescue national substance.

Witkiewicz to his artistic ideas: ” Hidden against the tsarist censorship subtext was clear to all of the Poles in Poland divided between the occupants, priority was to preserve national identity and giving it expression in art . ”
Thanks so Witkiewicz and his style, which he wanted to give national status , Zakopane became a meeting place for intellectuals,writers,artist.

By staying in that place ,motivates you to take action and reflection about art and nature.

In my project I would like to take up the challenge and do experiments to create my own decorative motif, inspired by the style mentioned above,inspired by the vegetation, but also from the traditional paper cut-outs decorations and embroidery. I’m going to find

the perfect one adequate and harmonizing with my furniture by study Highlands themes from that particular region of my country.

S.Witkiewicz Willa Koliba

cico-koliba3 coliba2koliba

Dutch Designers

I think that everyone who is interested in today’s design knows or heard about this

name. Tord Boontje is a Dutch designer. He combine advanced modern technology with traditional craftsman, creates unusual designs lighting, furniture, glass. `

He was born in 1968 in Enschede in the Netherlands, but grew up in Sweden, where his mother comes from. From his mother he learned the practical approach to life and optimism. That she also drew attention to his abilities and helped them grow. Art and design accompanied him since he was a child.Tord studied industrial design at the Design Academy in Eindhoven, and then the Royal College of Art in London. In Eindhoven taught to experiment, to invent items that do not exist yet. In London, looked at the design broadly, watched it as it combines with art and other disciplines. In 1996, Tord Boontje open his first Studio. Initially, his work was minimalist, strict, ascetic, intentionally unfinished. (This is a collection of furniture Rough and Read). Also the project (tranSglass ) created in collaboration with Emma Woffenden, life partner of Todd. They used wine , beer bootles and created a collection of : vases, glasses, carafes and candlesticks. TranSglass was very successful at the exhibition 100% Design, after all they receive orders of design and their studio could develop. The breakthrough was the birth of his daughter in 2000. 

That time has been a shift towards decorative and cozy, creating an atmosphere. The designs are delicate, warm, more feminine. As he says, he began to think differently about the house, woke him writhing nest instinct. It seems that from this point his style becomes clearer in form. His trademark are floral motifs, a tangle of flowers, leaves, twigs and small animals, as birds. It features real poetry decoration, while it does not go towards the baroque splendor. Extraordinary imagination of insightful observation of the natural world and pure emotion makes this effect. Because design it is also a “feeling”. Projects are natural, free, friendly. And also graceful and with unique charm. Romance combines with functionality, the new with the old, nature and technology. Tord knows how to use traditional themes and apply them in a modern form.

Art_1_2_jpg_472x1200_q85 z5850322X

Piet Hein Eek -designer, architect,producer based in Netherlands , i discovered his work recently, and specially appeal to me “The Waste Project” its the closest to my proposal project not only because the author has been inspired the same way as me by unwanted , rejected object but also by not tolerating, unnecessary waste of necessary items.

Piet Hein create a products which aren’t perfect , and they can be still acceptable in the matter of aesthetics and functionality.Product made with materials abundantly available. ‘Uncommon materials combined with methods that were equally uncommon, but also simple…’ Designer likes to ‘show the work that is gone into a product, show the screws and details. Details were born from necessity, out of simplicity, but can be designed so that it looks like they are an enrichment…’ P.H.Eek

Everything he does a huge collection of work its made by hand. The waste project-furnitures were made of a huge amount , cut down blocks of wood , which resulted in an exceptionally beautiful results, thanks to the diversity of wood finish, and a hole process of making, concept of marquetry which i would like to go through by making my object. Not only to build the raw object, but give it a value of search and discovery.

P.H.Eek “ The Waste Project”




I would like to go into the process of making , but not only to be limited by just creation of furniture, but go through this process with all kinds of attempts and experiments. I would like to know more about the secrets and ‘ recipes ‘ of creating furniture and knowledge of wood, which will be my new challenge with furniture making .

I am planning to find out more about furniture design methodologies in Poland, and for this case i would like to go to north of poland to visit Kashubian museums and visit embroidery schools to learn more about their patterns.

-Marquetry technique is another task which i want to explore , mainly , to learn more about the technique it self. And for this purpose very helpful for investigation will be my home town ,where the marquetry-furniture , has been very famous and known ,for the whole country, in the 18th century. Today the museum of those unique furnitures is closed and they can only be found in private houses. I’m going to find a few people and talk to them about this valuable technique and also study the book published in the honor of those great furnitures.

My proposed model will have a finishes, pattern in example of my own marquetry technique.

– Nowadays cabinet making : I would like to find company dedicated to making cabinets, here in the UK and just to see how does it works the process of making here , maybe to compare with how it is made in my country.


To create my object i will use university facilities , and also knowledge i will gain while studying and way of trying. The main material will be every kind of wood, plywood.

Planned Outcomes:

Outcomes of my planned final work will be example of sets of furnitures required small budget production.

Work Plan:

1.the first stage in first year of the course i have to find right objects witch perfect for me shape, size and built it from the proper material ( go through the wood research)

2. find out the right techniques to built the objects , and make the right connection joins,( research on the different techniques of furnitures building)

3.internship for furniture making to learn and make observations about nowadays furniture making.

4.find out about different techniques in furniture finishes and make my own finish for example: laser cut,marquetry technique. Folklore- Kashubian decoration.



Stanislaw Witkiewicz “ Zakopane Style”

Marquetry-furnitures of my town “ meble kolbuszowskie”


museum of Zakopane

Piet Hein Eek

Primary Research

taking and interviewing , craftsmen , and right people related to my project.