In the 1960s and 1970s, Chrząszczowa created a series of documentations of housing estates newly built in various districts of Warsaw, including Śródmieście, Rakowiec, Żoliborz and Bielany. Among them are high-rises, apartment blocks, multi-dwelling units, as well as residential complexes designed according to the socialist principles of the prewar Warsaw Housing Cooperative (WSM). Chrząszczowa photographed construction sites or, in some cases, freshly completed developments that had just been inhabited. The images of housing estates surrounded by large empty plots or, conversely, of gaps in the urban tissue being infilled with new buildings, constitute a unique documentation of Warsaw’s postwar architectural development.
The point of departure for Zamecznik’s third poster for the Warsaw Autumn contemporary art festival was a crayon drawing. Zamecznik rephotographed it, developed a print, and then scratched out fragments of it, avoiding the original drawn zigzag. The resulting image was superimposed by photomontage with a multiplied wavy line.
The final version of Zamecznik’s second poster for the Warsaw Autumn contemporary music festival is an effect of light experiments developed in colour. The work won gold medal at the 1st Biennial of Industrial Design (Moderna Galerija, Ljubljana, 1964) and a medal at the 1st ‘Golden Grape’ Nationwide Art Exhibition (Zielona Góra, 1963).