“Ubojnia” (slaughterhouse) is not only an interior design, but a combination of design and art.
The author’s assumption was not to create trite, fashionable interiors, but non-standard places, full of symbols and metaphors, at the borderline between architecture and performance.
Due to their nature, these are mostly commercial interiors, intended for use and reception by a larger group of people. Yet, it was not supposed to be an art gallery, in which art is merely watched, but places in which it could be put into use and to do virtually everything – depending on the purpose and function of the premises.
The author of the collection did not strive to artificially ascribe ideology to random ideas, but rather to make the entire design readable and coherent, and at the same time to design every item specifically for the given interior.
At first glance, "Ubojnia" shows a motif of hatching, a sketch which not only the main element of decoration, but also visually changes the scale of the room. People who stay in such an interior may get an impression that they are shrunk, or at least that they are in a fabulous and unreal world.
Yet, the very name of the establishment suggest another, hidden message (in Polish “ubojnia" means “slaughterhouse”). Seemingly-paper armchairs called “Szkic” (in Polish “szkic” means ”sketch”) are suspended on meat hooks or tied to chains, which is supposed to symbolize omnipresent restrictions to creativity in art and design. The very word “ubojnia” may indicate killing of talent and creation, though not necessarily by third parties (as these are not shown in the images), but by the artists and designers themselves. Yet, it is but one of numerous interpretations of symbols which anyone can understand in their own way, or not interpret at all. After all, it is a commercial interior, so any possible, more or less blatant, ideology can be treated with a pinch of salt, and in the case of this specific interior, even with slightly “noir” sense of humour.