Hanna Kossakowska is a designer and wood craver of diverse interests. She was nominated in the design discipline of the 43rd edition of the Maria Dokowicz Competition for the Best Master’s Degree Diploma of the University of Arts in Poznan, and her project received special recognition from the editors of Contemporary Lynx Magazine. Her project – “SATI – conscious presence. Design of objects using the influence of vibration and rhythm on human well-being”, takes up very current and urgent topics of conscious presence and mindfulness. Hanna graduated from the Faculty of Industrial Design at the University of Arts in Poznań. In our conversation, she told us how her interest in design started, what stands behind her aesthetics, and her approach to future projects.
Anna Halek: Where does your interest in design and the idea to study it come from? Do you see design as the primary form of your artistic expression?
Hanna Kossakowska: I studied at an art high school, where I honed my skills as a wood carver. During that period, I realised product design was the answer to my creative needs. I could not go along with defining myself as an artist since I never enjoyed typical artistic activities. I felt much better in technical tasks, and woodcarving was the perfect synthesis of these two worlds – combining the beauty of handcraft and material work with a practical approach to form. That is how the idea of choosing design studies was born. For me, design is not so much a form of artistic expression as an everyday puzzle, the solving of which provides immense satisfaction.
AH: Aside from Jon Kabat-Zinn’s philosophy, what inspired you to take up the theme of “Sati”- mindfulness, being present in the here and now?
HK: The main inspiration for the topic was my experiences and observations. It all started quite innocently- when I realised that the only moments in my life where I consciously lived every second of it were when I was working out at the gym. I have noticed that such extreme situations make us focus on the here and now instead of thinking about the future or the past. I could feel an analogous effect during massive events such as concerts, where the music, vibrations and all the other stimuli make you physically experience the moment around you. Sati is nothing more than a search for a way to nurture such a life in moments- outside of weightlifting or in the crowd at the stadium.
AH: What prompted you to create the kit in such a form, including the device, structure and application? Is it a result of your observations of the environment, or was it a response to aspects of your daily life and personal needs?
HK: The form of the kit results from analysing the users’ needs and ways to put theoretical mindfulness practices into actual use – in the least intrusive way possible. I was keen not to impose but subtly remind users to slow down sometimes. The main element of the kit is a fully functioning device – emitting vibration and temperature, which was consciously designed in a small and organic shape – that accompanies its user at any time of the day. The structure and the mobile application are additional components that work perfectly with it, but their use depends on personal needs. All these aspects stand behind the idea of “Sati, “ and the owner decides how it will be used.
AH: “Sati” is a very aesthetic and minimalist proposal. Buckwheat grains, Corian and ceramic balls are also very conscious choices of materials regarding the functionality and practicality of objects. What was your aesthetic inspiration for the design?
HK: I looked for inspiration in various fields, starting with analysing the structure of fruits and ending with percussion instruments. The form that emerged is a synthesis of many of these paths. The shape of individual components primarily responds to technical and practical needs; aesthetics come only later. The user first sees a device that looks like a pebble. However, once the case is opened, the complexity of the internal electronic puzzle is revealed. Corian, the material used for the casing, was chosen for its characteristics of subtle light diffusion as well as temperature and vibration conductivity. Thus, all described inspirations – such as the bionic ones – are not just about the case but the entire design and the operation system.
AH: Your project engages in a dialogue with the critical issues of today’s everydayness- stress, overstimulation, and lack of attention to the reality around us. How do you see the role of design today regarding these social issues?
HK: My project aims to draw attention to these problems, but solving them is a much more complex and long-term process, the end of which we probably can’t even imagine. With “Sati”, I simply wanted to send a message – ‘Don’t think about anything for a while.’. Nowadays, we are surrounded by hundreds of distractions, items that perform well in their daily roles, but we can’t properly “mute” them from our lives and relax. And it is this exact word that, in my opinion, contains the purpose of design concerning social issues. I would call it a twist on design, making things that could be “unused” sometimes. In other words, I see it as the responsibility of creating solutions that are great for making everyday life easier but also help bring balance back into people’s lives.
AH: What themes and topics are the most urgent to you, and would you like to develop them in the future?
HK: What I like most about design is the diversity and the opportunity to take on new challenges. That’s why I don’t limit myself to any topics. Creating “Sati” was a significant experience for me, not only in terms of design, but I see it more as a visualisation of my ideas and thoughts. This project was based on a more abstract concept, the creation of which I’m happy to have experienced; however, solving more empirical issues feels closer to me.
