Above Standard: Villas Designed by Jan Dudek-Kornecki as a Contribution to the Study of the Housing Culture of Affluent Residents of Poznań in the Last Decades of the People’s Republic of Poland
Journal Title: Ikonotheka - Year 2018, Vol 28, Issue
Abstract
In the 1970s both sociologists and experts on housing culture correctly noted that a tendency towards consumerism was developing in Polish society. These tendencies were described as the neo-bourgeois lifestyle. This lifestyle was supposedly characterised by a focus on material possessions and prestige. The achievement of affluence was pronounced to be the life aim of this group, and the outward marks of affluence (and the acts of demonstrating them) to be an important element of favourable self-assessment. It was noted that these consumerist aspirations resulted from the citizens’ acceptance of Western models. It was also stated that the main indicators of this style were the apartment itself, its standard and equipment, and the culture of leisure time. Poznań in the last years of the communist government in Poland seems to be a particularly fitting place to exemplify the phenomena characterised herein. It has for a long time been associated (not only in popular perceptions) with the bourgeoisie, the entrepreneurial spirit, and affluence; scholarly research points to the same fact. In those days, a detached house for one family, or a villa – especially one constructed to an individually commissioned design and with equipment that exceeded standards in various aspects – was a clear and socially distinctive signal of status to a far greater extent than it is at present. Such buildings were commissioned by members of the affluent intelligentsia, but also by numerous private entrepreneurs. Jan Dudek-Kornecki (b. 1928) was particularly fashionable and sought after as a designer of such villas. His designs were a compromise between the aspirations of his clients, the restrictions imposed by construction law, and the availability of building and finishing materials. Nevertheless, in terms of equipment they differed significantly from contemporary residential quarters, mainly due to the presence of antiques and works of art, as well as unique pieces of contemporary furniture acquired from exhibitions at the Poznań International Fair or from the furniture factory in Swarzędz. The essay offers an analysis of the practices and strategies of deluxe living in Poland in the period before the 1989 breakthrough.<br/><br/>
Authors and Affiliations
Piotr Korduba
The Kabbalistic Alphabet of Libeskind: The Motif of Letter-shaped Windows in the Design of the Jewish Museum in Berlin
The present article attempts to analyse and interpret the structure of windows in the Jewish Museum in Berlin, designed by Daniel Libeskind and constructed in 1989–1999. Elongated, narrow, irregular window openings arran...
The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588
The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identifie...
“Ethnology Has Introduced Law and Order”: Remarks on the Works of Bronisław Malinowski as a “Hybrid Activity”
This essay is an attempt to look at the work of the eminent ethnologist Bronisław Malinowski as an artistic creation. His work could be of interest to visual arts researchers. In this essay, his work is treat ed as a col...
Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland
Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the...
Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)
The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conc...