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Interview with Mateusz Gornik |
Home > Designer Interviews > Mateusz Gornik |
Editor Frank Scott (FS) from DesignPRWire has interviewed designer Mateusz Gornik (MG) for A’ Design Award and Competition. You can access the full profile of Mateusz Gornik by clicking here.
FS: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
MG: We identify ourselves fully with what Hannes Meyer said: “I believe that there must be more in architecture than you can see at first glance, something that needs to be discovered, and what we, as observers, must be seen. we should find on several levels.” And following this course, I believe that as architects we should play with the unobvious, introduce seemingly clean and simple forms of understatement so as to enable the recipient to discover them. To give observers and users a sense of experiencing architecture, taste unconventional, surprising solutions.
FS: Can you tell us more about your company / design studio?
MG: The Gornik Architects studio was founded in 2009 by Mateusz and Magdalena Górnik. The studio brings together experienced architects and industry engineers, carrying out comprehensive projects of residential buildings, single-family houses, multi-family buildings, office buildings, hotels, public facilities and industrial architecture. The architectural studio is part of the GF Projekt industrial engineering center. Experience gained in professional architectural offices in Poland, Italy, Ireland and Scotland has allowed to develop various design techniques and a creative and innovative approach to architecture. We are a member of the Chamber of Polish Architects and the Association of Polish Architects in Katowice and Wroclaw. Philosophy From the very beginning of our architectural adventure we are accompanied by the idea of shaping the space and influencing the perception of surroundings. Many years of practice and a decade under the name of Górnik Architects strengthened our belief that we design to break stereotypes, preserving local character and respecting the values that has survived for generations. We place our realizations in the context of the region, stepping outside the frames of predictability, adding projects their individual style, leaving the space for form and interiors evolution. We believe, houses just like their owners have to transform, because it is the feature of life. Designing, we encounter barriers and have to find innovating solutions or compromise. As designers we strive to achieve simplicity, carefully choosing tools and ways of reaching the goals.
FS: What is "design" for you?
MG: The project combines the needs and dreams of the investor with the vision and experience of the architect. It is a common creation, where practical considerations fight for domination with what is ideological, which often remains only in the concept zone, is not expected to be realized. Design is a path where at the end there is the success or unfulfilled ambitions and a zone of oblivion.
FS: What kinds of works do you like designing most?
MG: Simplicity dominates our projects. We like geometry, but we also like to break through cubical forms, so we very often open the interiors with large glazing, terraces, we design patios and external relaxation zones.
FS: What is your most favorite design, could you please tell more about it?
MG: The form of a modern barn is extremely plastic and grateful when it comes to transformations, perhaps that is why we often return to it. The space enclosed in such a traditional shape can be freely shaped, giving the rooms functions depending on the needs. We are all changing, we are evolving. Our homes should adapt to us, and the barns give in to this trend. Moreover, thanks to their versatility and simplicity, they fit perfectly into the existing buildings, introducing order in it and giving it lightness.
FS: What was the first thing you designed for a company?
MG: I started with the design of a small public utility architecture such as bus shelters, city bathrooms.
FS: What is your favorite material / platform / technology?
MG: We like to play with materials, so we do not stick to one concept. We adjust the appearance and technology of the building to the preferences of investors, usually we offer several solutions. What we choose gives the building a character and also depends on the environment, the conditions of the building, but also the capabilities of the owners. We have at our disposal a whole range of facade classics, but also novelties, which we are happy to weave into projects, and we are limited only by the market availability of materials. We focus on wood, concrete and sheet metal – classics in various forms.
FS: When do you feel the most creative?
MG: Creativity is a search. This is the laying of individual concepts into one whole, sewn in terms of the investor’s needs. Creativity means no barriers. Thanks to it, we are able to meet every challenge. This is our secret power.
FS: Which aspects of a design do you focus more during designing?
MG: Since the beginning of our adventure with architecture, we have been accompanied by the idea that we can shape space and have a real impact on the perception of the environment. Many years of practice in the profession confirmed us in the belief that we design to break stereotypes, while maintaining and respecting the values and local character developed by generations. We put the projects into the context of the region, and at the same time we go beyond the framework of predictability, give the designed buildings an individual style and leave space for the evolution of the form of the solid and interior design. We believe that homes, as well as their owners, must change because transformation means life. We try to objectively assess the extent to which a given implementation has met its goals. This is not often a short-sighted guideline included in the investor’s business plan, but a long-term impact that the project has on the place where it occurred, how the given implementation fits into the existing network of links, what values and elements of tradition it represents, and what new opportunities to live, actions and interaction creates.
FS: What kind of emotions do you feel when you design?
MG: Designing is waiting. Waiting for the reception and feedback of the investor. Excitement and mindfulness in one.
FS: What kind of emotions do you feel when your designs are realized?
MG: The implementation of the construction according to the project is a icing on the cake. Then our visions materialize. It becomes tangible. They begin to exist and constitute a visible proof of our work. That makes us proud and fulfilled and gives satisfaction.
FS: What makes a design successful?
MG: In architecture, context is an extremely important factor – it means dependence on the environment and its impact on the reception of a given project. Having forgotten about it, we design creations completely detached from the neighborhood, creating a landscape composed of random forms or one where one element definitely does not fit the rest. Whether we call it an arrogance consisting in negating, destroying or erasing elements of history from memory, or passive tolerance, which is manifested by indifference to the historical heritage – both these phenomena lead to the slow death of tradition in regional construction. And for the project to succeed, it must be embedded in tradition.
FS: When judging a design as good or bad, which aspects do you consider first?
MG: Good aspects first. We look at aesthetics, context, then detail, and then conduct our internal criticism and try to eliminate bad solutions that can affect the success of the project.
FS: From your point of view, what are the responsibilities of a designer for society and environment?
MG: In the face of the climate change that we all face, all environmental solutions that will work for the benefit of our planet should become standard. For many years we have been educating investors with whom we cooperate and this trend is becoming more and more popular. We feel responsible for the future of our common home and therefore we are boldly implementing the assumptions of the European Bauhaus.
FS: How do you think the "design field" is evolving? What is the future of design?
MG: It largely evolves technologically, changes are visible in the way of presentation, creating virtual, and thus moving into the real dimension of increasingly bold solutions. Parametric design, ecology in architecture and respect for history - this direction is the future.
FS: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
MG: Our last exhibition was on 40u40 exhibition of awarded projects in 2021 in Athens, Greece.
FS: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
MG: The travels we love are certainly a huge source of inspiration. When we interact with world architectural concepts, we broaden our horizons and learn to think outside the box. Also our customers often stimulate our creativity, inspire their visions and this, in this profession we like the most.
FS: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
MG: Minimalism, asceticism, sometimes brutality, we often draw inspiration from nature. We always try to carry out analyzes in search of the idea of the project.it is it that is the main theme of our work. We approach architecture creatively, but with humility and distance. We know how important our decisions are and what consequences they can have for the future.
FS: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
MG: We live in Poland, which has a lot of architecture tradition. Regional architecture here is marked by the characteristics of the region, reflects the economic situation of the builders, their creativity, but also the resources at their disposal, the knowledge at that time concerning the construction, the preferences of the inhabitants, the external influences they succumbed to, often beliefs and traditions of a particular group of people, passed down from generation to generation, natural barriers occurring in a given area, cultural barriers or borders and political differences. All these elements determine the shape and characteristics of the architecture of a given region, making it unique and recognizable. Over the years, people have cultivated regional construction, which has served the economic development of regions, supported sustainable development with the use of local resources and was a major factor in shaping individual and collective identity. Today it is similar: Drawing on the experience of previous generations, we cultivate traditions and weave elements of regionalism into the architecture we create, making it a link between the past and the future. Thus we educate our children, we learn about the everyday life of our ancestors, because only on a properly established knowledge of the good practices of our predecessors can we build a stable future.
FS: How do you work with companies?
MG: We always try to approach teamwork, we create a team that fights to achieve a common goal, implement the project safely and in accordance with the vision. Thinking about customer needs, respecting budget and time.
FS: What are your suggestions to companies for working with a designer? How can companies select a good designer?
MG: To choose an architect for yourself, you need to share in some way his desire to achieve concrete forms or architectural ideas. But in cooperation there must also be a space for joint research, consent to concessions - mutual and conscious, active attitude and taking responsibility for the created project.
FS: Can you talk a little about your design process?
MG: The process of design itself should not only be a pencil drawing on a piece of paper – or on a computer screen. Creating a concept can not close in the four walls of the studio and focus on fashion and technology. The cognitive part of the process is not only reading studies, but also inspiring meetings and talks with representatives of associations, who are often ambassadors of the region, and local visions. At this stage, we create our own map of characteristic points, coherent elements, skeleton, on which we will base our later search for the final shape of the project. This map will also serve as a base and foundation of the concept, as well as a starting point for talks with the investor – because it is he who decides about the final effect. One should not forget that in fact one of the most important elements is also to analyze the plot and its surroundings in terms of opportunities and difficulties that may arise during the implementation of the project. Terrain, sunlight, winds, water reservoirs, vegetation – these are components of the landscape, often reflecting the character of the region, affecting the shape and size of buildings. Armed with this knowledge, we are ready to start creating a concept in which we will use the layers of experience and creativity. We will take the needs of the investor into a vision based on regional heritage, because only such architecture begins to live, becomes an important point, a determinant of urban space. It is not easy, but it can be extremely pleasant when we cooperate with people who are aware of and open to dialog between modernity and tradition. The context of the place is its physical and metaphorical foundation, not one of many elements of the project.
FS: Can you describe a day in your life?
MG: First - coffee and morning jogging. These are the things to keep us fit and happy. Then going to the office, some meetings, phonecalls. In the meantime there's still something to think over about the ongoing designs...something to improve or change or redesign. Sometimes the concept doesn't meet the investors expectations and we have to start over again. After work there's time for family and friends, for selfdevelopmnent, favorite books for just a walk with a dog.
FS: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
MG: The words we share at our website: “Design is so simple that's why it is so complicated”- Paul Rand. The simplest designs are the most complicated, because to get something that looks simple you have to reject a lot of complicated visions and solutions.
FS: From your perspective, what would you say are some positives and negatives of being a designer?
MG: The positive sides of being an architect are nice images, inspirations that we draw from the world, sometimes these are difficult, bad images, but in most cases we observe other realizations, beautiful places, contexts that often transfer us to a different dimension. Negative is often a barrier in the form of an office, budget or complicated relations on the construction site often associated with a lack of communication.
FS: What is your "golden rule" in design?
MG: We always go to the plot before starting the design work. Without this, it is difficult to refer to the context. The place you need to feel, see, analyze. This is very important to us.
FS: What skills are most important for a designer?
MG: Certainly spatial imagination but also logical thinking, overtaking the next steps of a given task and the ability to listen, patience and humility.
FS: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
MG: It is assumed that nothing will replace the traditional sketchbook and pencil, I always have it with me, and as soon as there is a thought, related to a given topic or another idea that will allow me to solve a project problem saves it or sketches it. Of course, modern technology helps us to work and we also use it, all graphics programs and 3d programs accelerate work and give great opportunities. Often on the Internet or available applications we look for inspiration and save them for later but we do not give up magazines, books and albums.
FS: Designing can sometimes be a really time consuming task, how do you manage your time?
MG: This is extremely difficult especially when you have to approach the construction, meet with the client and sit down to the desk to write down emails and then focus on the project and with full energy begin creative work. Our team of designers, assistants, people with whom we share ideas and who help us in the implementation of our tasks is a great support.
FS: How long does it take to design an object from beginning to end?
MG: Much depends on the scale of the object, the degree of complexity, formal matters. On average, it is a few months from the concept to drawings for construction.
FS: What is the most frequently asked question to you, as a designer?
MG: "Where do you take so many ideas", we often hear it, and the second "why is it so expensive".
FS: What was your most important job experience?
MG: I think that practice on the construction site, I learned a lot. I worked on the construction of a large factory as a contract engineer. We had a team of designers, contractors, customer also, there were a lot of meetings and issues related to implementation. Then I understood how complicated this process is and how much it depends on good design and interbranch cooperation.
FS: Who are some of your clients?
MG: We work with private investors, but also institutional investors. We take every project very seriously and approach everyone with due care. Corporate clients are usually more complex. All industries need to be coordinated, details need to be added, communication on many levels, and compromise often has to be reached. The comforting fact is that there are more and more conscious investors who decide to fully trust us.
FS: What type of design work do you enjoy the most and why?
MG: I really like the concept, this part makes me a lot of joy, inspires me, makes me move to another dimension, but when construction starts and our realization grows and takes form, I go down to the ground, we engage in every detail and stage to realize our hard work. This stage is probably the best, as we will see our realization in full.
FS: What are your future plans? What is next for you?
MG: We are not going too far into the future. We focus on what is here and now, so as not to miss anything. Life brings many surprises, and our plans quickly verify. The only thing that is certain is change. Some of them are ahead of us, so keep your fingers crossed for us!
FS: Do you work as a team, or do you develop your designs yourself?
MG: Teamwork means more opportunities. I like to do the concept myself, and then I can work together to refine it. The team is a great support.
FS: Do you have any works-in-progress being designed that you would like to talk about?
MG: I have many on going projects, one of the biggest is the horse stud design. The is a house for Investors and other infrastructure.
FS: How can people contact you?
MG: The best and fastest way is through social media - Instagram www.instagram.com/gornikarchitects
FS: Thank you for providing us with this opportunity to interview you.
A’ Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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