This paper traces the continuities between the post-war Polish husband-and-wife architect duo of Oskar and Zofia Hansen, and their predecessors from the interwar avant-garde, the husband-and-wife artist duo of painter Władysław Strzemiński and sculptor Katarzyna Kobro. It argues that the Hansens’ Open Form (1958) approach extended the essentialism of Strzemiński and Kobro’s theory of Unism […]