2024-11-12
The Artists' Cooperative "Ład," founded in Warsaw in 1926, played a key role in shaping Polish design and applied arts. Its mission was to create products that combined aesthetics with functionality while being accessible to a wide range of recipients. Inspirations were drawn from both local traditions and modern stylistic solutions. "Ład" was a response to the need of a society that wanted to experience beauty in their surroundings every day. Among the founders of the cooperative were prominent creators such as Professor Karol Tichy, Wojciech Jastrzębowski, Zofia Stryjeńska, and Ludwik Czajkowski, who aimed to make art an integral part of Polish life. Their vision, rooted in the idea of harmony between beauty and utility, formed the foundation of Grupa Ład's activities aimed at enhancing the aesthetics of interiors in Polish homes.
The beginnings of "Ład" can be traced back to the success of the Polish pavilion at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, which motivated professors and students from the Warsaw Academy of Fine Arts to establish the artistic cooperative. The name "Ład," proposed by Professor Tichy, expressed the idea of harmony and order, which were key principles of design. The first headquarters of the Group was located in the Academy building on Powiśle, and in 1931 it was moved to the European Hotel at 13 Krakowskie Przedmieście Street, where it thrived and represented Polish applied arts until 1943.
The artists of Grupa Ład, including the esteemed architect Jan Kurzątkowski and designer Wanda Zawidzka-Manteuffel, placed great emphasis on the quality of materials and precision of execution. Their motto "beauty in everyday life" reflected the belief that applied art should meet daily needs while maintaining exquisite forms. Designers like Antoni Kenar focused on close collaboration with craftsmen, allowing for the creation of high-quality products.
The style of Grupa Ład emerged from folk traditions but also drew inspiration from international patterns, particularly Art Deco and Secession. It was characterized by elegance, simplicity of form, and a harmonious blend of traditional and modern elements. The works of Wojciech Jastrzębowski, an interior designer, featured elegant lines, geometric shapes, and skillful use of light. The designs combined folk motifs with classical patterns that fit within the principles of the "Ład style." The constructions were massive yet thoughtfully detailed, giving them a subtle character. The use of natural materials such as wood, ceramics, and textiles achieved an aesthetic close to nature, which became a hallmark of the "Ład style." Moreover, designers emphasized functionality—furniture and accessories were not only beautiful but also practical, making them ideal for everyday use.
Grupa Ład was known for the diversity of its activities—from furniture design to ceramics and textiles, as well as other everyday items. The furniture was made from solid wood, characterized by massive forms and rich artisanal details. In Olgierd Szlekys' workshop, techniques such as wood scorching were experimented with, giving surfaces a unique appearance. Textile and ceramic creators, such as Stefania Milwiczowa and Halina Jastrzębowska, designed patterns that became permanently inscribed in the canon of Polish applied arts, utilizing floral and geometric motifs.
After World War II, the activities of Grupa Ład were resumed. Group members, including Jan Kurzątkowski, Halina Jastrzębowska, and Stefania Milwiczowa, became involved in the reconstruction of the artistic infrastructure. In 1950, Grupa Ład was incorporated into the Institute of Industrial Design, allowing it to continue its mission, although under the constraints imposed by state institution guidelines. The "Ład style" continued to set standards for aesthetics in public and private spaces; however, over the years, Grupa Ład lost its autonomy and ceased operations in the 90s.
The 1930s marked the peak popularity of Grupa Ład, and its style became a symbol of quality in applied arts. Despite the cessation of its activities, Grupa Ład left a lasting legacy that continues to inspire Polish designers today. Its ideas related to the harmony of form and function, as well as respect for craftsmanship, remain relevant, and Polish design still draws from tradition, combining innovation with an appreciation for beauty and functionality in everyday life.
Fot. baner : Meblostan