Design Destination: The Openness of Polish Design in Lighting & Objects

The D1 lighting fixture from Magda Jurek’s award-winning TRN collection translates the abstract, calligraphic language of Jan Tarasin’s paintings into ceramic form. Finished with brass details and available in fourteen glazes, the hand-crafted piece resembles a fragment of an invented alphabet suspended in space.

The Alice wall lamp by Hasik Design balances restraint with material richness, pairing raw hand-brushed aluminum with deeply veined Calacatta Viola marble. Built from simple geometric forms, circles and rectangles, the piece carries an architectural presence, while the shifting marble patterns prevent it from becoming overly rigid or minimal.

Blampa30 by BLUBA Studio brings a playful, slightly futuristic energy through its wavy silhouette and bold Memphis-inspired forms. Available in vibrant shades, the compact lamp shifts throughout the day, functioning as a sculptural object in daylight before casting a soft glow at night.

This Art Deco-inspired lamp by Szostak Atelier pairs stainless steel with clear glass shades held inside a sculptural metal basket. Hand-assembled in collaboration with a Polish glasswork, the piece balances industrial detailing with a refined silhouette, while variations in the cable materials subtly alter its character.

The Big Puff floor lamp by PUFF-BUFF transforms an air-filled TPU shade into a monumental lighting object standing nearly two meters tall. Supported by slim stainless-steel legs, the lamp balances geometric structure with soft folded edges, casting a broad diffused glow through its matte white surface.

FAT OP treats the standing lamp almost like a living form, with a heavy ceramic body topped by a concave “eye” that reveals its hidden color once illuminated. The inward-facing light draws attention to the depth of the glazes and the surface of the ceramic itself, turning the lamp into both lighting object and material study.

Herbarium preserves hand-harvested plants collected along the Vistula riverbank, transforming them into illuminated wall pieces tied to memory, seasonality, and family ritual. Backlit through a touch-sensitive frame, each botanical specimen reveals its delicate structure in detail, turning the lamp into both archive and ambient light source.

Lullaby by PUFF-BUFF reinterprets the drama of a Baroque chandelier through inflatable technology, replacing heavy Murano glass with transparent air-filled arms that appear almost weightless. The flexible structure introduces a subtle sense of humor alongside the ornament, while the soft folds and shifting arrangement of the arms emphasize the lamp’s unusual construction.

Blampa90 combines Memphis-inspired geometry with a softer, atmospheric glow, balancing graphic structure with a more playful sensibility. Built from interchangeable 3D-printed modules and customizable light filters, the lamp moves between functional lighting and collectible object, with each arrangement developing its own distinct character.

The In Between table lamp balances cool stainless steel with hand-finished piping made from archival jacquard fabric, turning a traditionally soft decorative detail into a structural element. Layered ornamental glass shades diffuse the light into a warm glow, while reflections across the steel and textured fabric emphasize the lamp’s sculptural character.

The Op lighting objects use ceramic discs, color, and directed light to examine the optical and emotional effects created through their interaction. Slightly surreal in character, the pieces turn illumination into part of the composition itself, drawing attention to the depth of the glazes and the material presence of the ceramic surface.

Starlette by PUFF-BUFF turns air into the primary building material, using transparent inflatable BUBBLES® modules suspended within a polished stainless-steel structure. Lightweight but visually expansive, the spherical lamp scatters points of LED light across its transparent surface, creating something that sits between futuristic lighting and decorative installation.

Hand-blown in Poland from transparent sodium glass, these wine glasses embrace irregularity through an experimental shaping process involving stone, sand, wood, and ceramics. Each piece carries slight imperfections, air bubbles, sharp edges, scorch marks, and shifting forms that give the glassware a raw, organic character.

Studio Speculo’s Float Series Mirrors use hand-poured silver on Opti White glass to create fluid, abstract surfaces that sit somewhere between mirror and wall sculpture. The organic silvering patterns remain adjustable through a rotating hanger system, allowing each piece to subtly alter its composition within the space.

Created by BLUBA Studio in collaboration with Julia Luteracka, DRYFT translates enlarged textile patterns into a folding spatial structure that organizes space without fully dividing it. Cut from natural plywood and connected through subtle brass details, the piece introduces rhythm, transparency, and a softer domestic character while maintaining the precision of digitally fabricated forms.

In Layers is a series of hand-blown glass objects built from overlapping, undulating forms that gather into dense centers before thinning toward translucent edges. Moving between utility and sculptural expression, the pieces catch light differently throughout the day, while curved rims and hollowed forms subtly accommodate fruit, flowers, jewelry, and other everyday objects.

Designed by HYZ, Carlo turns desk organization into a study in material and proportion, pairing brushed steel with leather-lined interiors inspired by the architectural language of Carlo Scarpa. Directional grinding patterns across the steel surface catch the light differently from every angle, giving the geometric form a layered, tactile quality.

Originally designed by Danuta Paprowicz-Michno in the early 1980s, the Jolly kilim or rug pairs organic, microscopic-inspired forms with the rhythm and movement of jazz. Handwoven in Bobowa using hand-spun wool, including natural mélanges from black sheep fibers, the piece reflects Poland’s long tradition of treating kilim weaving as a space for contemporary artistic expression rather than strict repetition.

This magazine holder pairs stainless steel with vegetable-tanned Tuscan leather in a form that is both restrained and highly functional. Designed to hold everything from magazines to laptops, the piece balances structural strength with a softer material warmth through its thick-grain leather construction.

Handcrafted from solid ash wood using traditional cabinet-making techniques, this mirror from the TRN collection translates the calligraphic forms of Jan Tarasin’s paintings into sculptural furniture. Stained and finished with natural wax, each piece carries slight variations that emphasize the individuality of the hand-worked wood.

Designed by Jadzia Lenart, the Mango kilim translates memories of travel, color, and landscape into a handwoven wool tapestry that functions equally as rug or wall piece. The work combines recycled wool yarns, hand-dyed variations, and traditional kilim weaving techniques into a richly textured composition shaped by movement, memory, and material irregularity.

The Very even stillness collection builds an entire visual language from a single repeated form, gradually altered through accumulation and variation. Crafted across multiple wood species and finishes, the wall-mounted objects resemble shifting lunar phases, balancing mathematical repetition with the tactile irregularities of carving, staining, waxing, and hand-finishing.

Aleksandra Zawistowska’s hand-blown vase embraces roughness and irregularity through an experimental process involving stone and ceramic elements during glass formation. The resulting organic shapes and textured surfaces give each piece a sculptural presence rooted in the unpredictability of hand-worked glass.

Part of the In Between collection, this table mirror pairs bent stainless steel with suspended laced detailing inspired by the rounded piping traditionally used on cushions. The contrast between the precise steel planes and the softer ornamental edge gives the piece a sculptural tension that becomes more pronounced through shifting light and shadow.

The Zefir vase combines molded glass with brushed aluminum in a form influenced by ikebana arrangements and restrained geometric design. A sandblasted gradient across the thick glass surface gives the piece a frozen, atmospheric appearance, while the perforated aluminum top guides flowers into carefully composed arrangements.

Shape N.1 by Anna Bera originated from a plasticine model made by the designer’s six-year-old niece, embracing the instinctive, unfiltered logic of childhood creation. Developed directly through making rather than predetermined plans, the room divider retains traces of experimentation, hesitation, and revision, resulting in a form that feels expressive, irregular, and deeply personal.

Pola by Pani Jurek draws from Op Art and the ceramic murals of the modernist era, translating geometric abstraction into a richly colored ceramic composition. Built from shifting shapes and bold tonal contrasts, the hand-signed work reflects Jurek’s distinctive visual language and approach to material experimentation.