Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four

Sustainability, Social Design, Solutions for the City
Art historian, continuing her scientific work as part of her doctorate, focusing on issues related to intercultural dialogue, hybridity of art and the problem of cultural identity.
Professionally associated with Tri-City cultural institutions since 2014. Since 2020, a member of the Gdynia Design Days team and PPNT Gdynia | Design Center. Curator of exhibitions, manager of exhibition program for the festival, manager of the MANUBA project, author of articles on design and history of art.
MANUBA project, Long Live Design Exhibition, Creative Circular Cities EU project, Gdynia Design Days exhibitions, IKEA partnership, Porsche partnership

In Poland after World War II, many designers were active in creating graphic symbols. Due to specific political conditions, these projects could be much more free and artistic than in the West. Besides the Polish poster, it is the graphic symbol that is particularly noteworthy when it comes to design in Poland.

Polish design culture is deeply rooted in a rich tradition of poster art, known as the "Polish School of Poster Art," a movement that combined bold graphics and a strong sense of symbolism to convey complex messages with minimal resources. Contemporary Polish design often draws inspiration from this heritage, including "designing by hand", while blending it with a modern, digital aesthetic.

I think that Polish design is mainly associated with the Polish school of posters – and this is definitely superficial, because we had very good illustrators and an extremely interesting history of typography and the geopolitical changes that influenced its development.

History of Korean design and Hangul(Korean Letter), conservatism of Korean culture.