Currently living in London, Kornelia Kulik is a young designer who has already obtained years of experience in her work. She is passionate in design and exudes maturity. “My mantra is ‘less is more’ by Mies van der Rohe and ‘form follows function’ by Louis Sullivan,” she says.
Growing up in Poland, Kornelia highlights that she received education in two cities – Zamość and Łódź, the former more on the renaissance spectrum and the latter post-industrial.
“Life in these cities surely has an influence in shaping my point of view and inspiring my creativity. In Zamość, I went to high school and attended consultation on painting while in Łódź I attended The Strzemiński Academy of Fine Arts,” says Kornelia.
Before the calling of industrial and product design, Kornelia tended to express her creativity in the form of painting. When she was young, she told herself that she would be a painter. Along the way she realised something was “not enough.”
“I wanted to create something helpful and useful for others. The study of industrial design showed me unrestricted possibilities of creating things and objects.”
Kornelia decided to focus on this subject and since then has been training her observation skills as she thinks the biggest daily problem of design is that the proportion between the quantity of designed products and their usefulness is imbalanced. This often leads to people losing sense of what they really need, she says.
Combining her skills in painting and design, she started being more sensitive towards aesthetics and beauty from painting and highlighted practical approaches towards different objects. “Paying attention to the surroundings, trying out new things and searching for a new point of view – these actions built my database.”
Among her various projects, she is most satisfied with her MA diploma project “NOM + ADD Furniture System Project for the Modern Nomad.”
“I was fully dedicated to this project and have put a lot of work and time to become nuanced in every aspect. I wanted to create a concept of furniture that would improve the living of users for whom I have dedicated the project to. The project was a great success and attracted a lot of interest in exhibitions,” explains Kornelia.
Her design style is simple and functional in which she tries to emphasise the beauty of form without unnecessary ornaments but instead the true beauty of materials. Most importantly she says, the design has to be pleasant to the eye.
During her design process, Kornelia starts with research, which is not only based on the given project but also for inspiration. This is followed by some sketching where she uses paper and computer to picture the most accurate thoughts she has in mind. “Sometimes my initial assumptions change during work in the programme since I am dealing with complete solid materials, so sometimes I have to compromise.”
Kornelia owes her work ethic to her past experiences in Poland. “Studying in Łódź was a long adventure for me,” she says. “Artists, individualists who saw the world differently, surrounded me and they have taught me a lot. We can’t design ‘designer’s rubbish;’ everything being designed has to bear something new and innovative. Without it, it is not design,” expressed Kornelia.
Product design is a process of object creation and implementation. Design has to go a long way from an idea to execution and bear in mind what is best for the recipient and consumers. The subject shapes the look of the future.
“I am currently working on my entry for the design contest ‘Patterns of Europe.’ The aim is to design urban furniture relating to the city of Lublin – the organiser’s folks and modern traditions.”
Kornelia ends with a whisper of her aspirations: “I hope to build my own recognisable brand of design in five years. That would be great! I want to do design wisely, humanly and leave something behind.”
即便還很年輕，現在居住於倫敦的Kornelia Kulik已經擁有好些年的設計經驗。她對於設計充滿熱誠亦同樣有著成熟的視野。「我的宗旨是來自著名建築師密斯•凡德羅的『less is more（以少為多）』和路易•蘇利文的『forms follows function（形隨機能）』。」
在波蘭長大的Kornelia多次強調她曾在扎莫希奇和羅茨上學 – 前者為她帶來文藝復興的知識；後者則是後工業時期的眼光。
在受到工業和產品設計的「感召」之前，Kornelia本想以繪畫表達自己的創意並以其為業，她年輕的時候亦矢志成為畫家 – 直到她發現繪畫還是有些「不足夠」。
在繪畫和設計當中，她從前者訓練了自己對於「美」的觸覺並利用後者的知識學習著重物件的實用性。「對於身邊事物多加留意、嘗試新的事物並搜尋新的觀點 – 這些練習都讓我豐富起來。」
在Kornelia的芸芸項目當中，她最喜歡自己碩士文憑課程的作業《NOM + ADD 現代流浪者的家具系統》。
在設計過程當中，Kornelia會先做資料搜集 – 這個過程不單止讓她了解到項目本身，更能搜集靈感。下一步是做草圖，她會先用紙再用電腦將最完整的構思描繪下來。「有時候我最初的構想需要在過程中不斷修改，因為我是在以硬性的媒體去設計，所以有些想法也不能夠太天馬行空。」
產品設計也是物件創造和實用的過程。設計從點子到實行之間有一條很長的路，設計師必須無時無刻都想著對於受眾對好的做法 – 創造之物同時塑造了未來的可能性。
「我現在整在一頭埋在我想用以參加設計比賽『Patterns of Europe』的項目上面。那是一個以盧布林市的人們和現代傳統為核心來設計家具的比賽。」
Kornelia最後總結說：「我希望我可以在五年之內創立自己的品牌並獲得讚賞 – 那該有多好！我同時希望創作更多有用並讓人們生活變得更好的設計。」