Showcase & Discover Creative Work Sign Up For Free
Hiring Talent? Post a Job

Bēhance

  • “Stolarnia” is the sixth and April (2013) design in the collection called “XII”, entirely designed by Karina Wiciak.
  • “Stolarnia” (in Polish - Carpenter’s Shop) was inspired by the landscapes of the Bory Tucholskie National Park, near which the author lives and works.
    According to the author, a forest is a unique carpenter’s shop, where the nature uses wood and plants to create the most beautiful forms.
    Thus, the forest in itself is a perfect, designer work and no man can invent anything more perfect than the nature itself. So why not transfer that which is perfect and which has already been invented by nature into an interior? 
    Pine trees, the most typical of the Tuchola forests, were used in the restaurant as a modern decoration, yet in a metal form. This is also a way of, and a pretext for, emphasizing the structural elements and fittings.
    Hills, which are also typical of the Tuchola forests, inspired creation of an undulating, wooden floor.Some plants (intentionally) cannot bear pressure and bend, giving life to the floor. As everybody knows, not everything in a forest is arranged perfectly, thus this symbolic disorder, which conforms to the natural trends in nature.
    One could say that pylons do not occur in forests, to say nothing of national parks. Yet, for many years they have been an inherent element of rural landscapes, and thus have integrated and almost blurred with the surrounding nature. And since the pylons are situated near forests, they can also function (as decoration) in a less natural space, which a restaurant is.
    The “Stolarnia” design includes also a design of chair and table impaled on nails, entitled “Szpilka” (Polish for pin), as well as a chair and a hocker “Ambona” (which means raised hide), inspired by the shape of a popular forest raised hide.
  • About the collection “XII”:
    The collection "XII" consist of 12 thematic interior designs, together with furniture and fittings, which in each part is interconnected, not only in terms of style, but also by name. Each subsequent design was created within one month, and the entire collection was take one year to create.
    Here, visualization is to constitute more than a design, which is thrown away after implementation of the interior design, but mainly animage, which has a deeper meaning and can function individually.
    These are not interiors made to a specific order, but designs based on theauthor’s fantasy and his fascinations of various sorts. It is possible to order a specific interior design in the form of adaptation of the selected part of the collection, on the basis ofexclusivity.
    The author’s assumption is not to create trite, fashionable interiors,but non-standard places, full of symbols and metaphors, at the borderline between architecture and scenography.
    Due to their nature, these are mostly commercial interiors, intended foruse and reception by a larger group of people. Yet, it is 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.