Urszula Gruszewska, architect and Kontakt-Simon brand scholarship recipient, talks about the role of empathy in the design process, her work on the concept of a center designed for people facing cancer, and the Kontakt-Simon brand scholarship.
Photo by Bartek Barczyk
The design process is a synthesis of knowledge, workshop skills, individual creativity.... However, I wonder if there is also room in it for social sensitivity, a certain empathythat goes beyond purely professional issues?
Definitely yes. Personally, I think that social sensitivity and empathy are key in the design process. By understanding the perspective of others, designers have a chance to create solutions that are inclusive and friendly, and above all, responsive to real needs. This certainly requires more involvement in the conceptualization process and a deeper understanding of the subject matter related to more than just the architect's work. However, it is as achievable as possible. Interior design is essentially designing for people - for their daily comfort, needs and emotions. It is a huge responsibility, and at the same time an extraordinary opportunity to create places that will truly support people.
Photo by Bartek Barczyk
It was no coincidence that I started our conversation with such a question, because your thesis is a projectwithagreat emotional charge. It seems to me that the concept of a center forpeople facing cancer would be difficult to pigeonhole as a standard project...
The design of the center is particularly important to me, so I'm pleased that it is generating such interest. I must admit that the theme of the project is unusual, which is also the result of my personal long-term research. I wanted to shed new light on centers related to recovery and show that properly designed interiors can have an incredible impact on the well-being and effectiveness of various therapeutic processes.
Reception Cottage A
Photo Bartek Barczyk
Did the idea mature in you for a long time? Howwas it even born?
The idea to create a day support center for people experiencing cancer and their loved ones was born out of personal experience and observation. When I was in my last year of studies at the Academy of Fine Arts in Warsaw, I wondered what project would best sum up my previous knowledge and skills.
At the time, I noticed some shortcomings in the designs of existing centers and the lack of places offering multi-faceted support in a properly designed space. This inspired me to look for solutions that could fill this gap.
Interior of group therapy room 2 Cottage C
Photo by Bartek Barczyk
Reviewing the visuals of this project, one can feel the warmth emanating from the creation of these interiors, their coziness. But one cannot forget in this case the primacy of functionality. Howdid you manage to reconcile aesthetics and practicality in this project,which is determined primarily by the needs ofpatients and their families?
I think that when creating such projects, the most important thing is to carefully develop a functional concept, which later becomes a suitable foundation for all artistic decisions.
When I started working on the project, I spent a lot of time analyzing the needs and understanding the daily challenges of sick people and their families. It was important to me that the center offer a holistic approach that would restore balance and well-being after a difficult experience. For this reason, the design was also based on scientific knowledge. Using neuroarchitecture and psychology research, I created certain principles that I adhered to throughout the design process. This made the design consistent. Each of the elements found in the visualizations was carefully considered and selected with commitment. The choice of location, historic architecture, functional layouts, furniture forms, colors and material finishes were all intended to influence the quality of the therapeutic process. Reconciling the center's functionality with its aesthetics was a challenge, but I believe it was necessary in order to make the most of the healing potential of the architecture and interiors.
The interior of the group therapy room C House
Photo by Bartek Barczyk
The design of the center forpeople struggling with cancerdrew the attention of the Kontakt-Simon brand,which awarded you a grant. Could you reveal some of the secrets and explain the beginnings of your cooperation?
I learned about the scholarship program of the Kontakt-Simon brand thanks to the authorities of the Faculty of Interior Design at the Academy of Fine Arts in Warsaw. Then I was introduced to the topic by Olga Kisiel-Konopka, who officially announced that I had become a scholarship holder of the Kontakt-Simon brand. This is a wonderful honor for which I am extremely grateful to everyone, and I am glad that world-class manufacturers appreciate this type of project.
The interior of the living room 2 House B
Photo Bartek Barczyk
How important are such forms of support for youngdesigners- I mean scholarships, such as the one awarded to you by the Kontakt-Simon brand? Of course, I'm not just talking about financial issues here.
Forms of support, such as the scholarships awarded by the Kontakt-Simon brand, are extremely important for young designers. In addition to the financial aspect, which can significantly facilitate career development, scholarships offer access to valuable resources, training, and opportunities to pursue their own projects. Such support motivates further development, building a valuable portfolio and gaining experience in various projects. Such awards also foster a sense of belonging to the industry, which is crucial in the early stages of a career.
Interior of the Domek B showroom
Photo Bartek Barczyk
Speaking of the Kontakt-Simon brand.... In November this year, you participated in a ceremonial meeting organized by the Kontakt-Simon brand in the interiors of Barceló Warszawa Powiśle hotel. The event was a summary of the first edition of the ambassador program, and at the same time the inauguration of its next iteration. From the perspective of your own professional experience, how do you assess the activities that integrate the design and manufacturing industry? To what extent are theyimportant for the community ofarchitectsanddesigners?
I think they are extremely important for the architectural community. I know from my own experience that such initiatives foster the exchange of knowledge and inspiration, which translates into a better quality of projects. The integration of these two worlds allows us to understand the needs of both designers and manufacturers, which ultimately leads to more effective cooperation. It also strengthens relationships in the industry and contributes to its development.
Photo Bartek Barczyk
You studied at the Academy of Fine Arts in Warsaw, and now you support the university's professor Beata Dobryjanowicz and MA Marta Czeczko in design classes with students. What would you advise graduates leaving the thresholds of the academy and taking their first steps in the profession? Is there any universal recipe for success in the design industry?
I think there is no one universal recipe for success in the design industry. However, I could advise graduates leaving the academy to, first of all, never stop developing. Passion, commitment and self-confidence, supported by the knowledge they have already gained, will certainly be reflected in their dream position. The key is not to be afraid to experiment, and to set yourself new challenges. This allows you to try yourself out in different fields and find your strongest points, so that you can then strengthen them.
