What can you do with a sheet of paper? Hmm! You can make your shopping list, and still forget to buy milk, you can draw a picture of your beloved boss or you can cut it into pieces! This is exactly what Edyta Moson does.
Each paper strip is ⅛ ʺ – 1″ wide and she does what’s called Paper Quilling Art. She hand-rolls each strip into a coil, which is then squeezed into a desired shape. Once all pieces are ready, she glues them and creates astonishing designs.
As Edyta says: “I’ve always considered my Quilled Pieces as Gifts. Whether it’s a Housewarming Gift, Wedding Anniversary or Mother’s Day Gift, you’ll always find something that meets your expectations”. If not, she will move heaven and earth to make YOU happy.
More info by following the link
There is a village called Zalipie in the southeast of Poland which looks like a fairy tale brought to real life. It’s thanks to the colorful paintings of flowers which seem to be literally everywhere you look.
It all started in the 19th-century with the implementation of chimneys into houses. Before that, the smoke was supposed to come out through a hole in the ceiling, but instead was coming into the rooms, covering the walls with soot, so those often had to be whitened with lime. Chimneys helped white surfaces to remain white, so people decided to use those white walls as a canvas for flower paintings. And at some point, this flower painting spiraled out of control and engulfed the whole village, which even had the Painted Cottage Competition (Malowana Chata in Polish).
Now the painting is done and the whole village stands as an inhabited gallery, which celebrates color and nature’s beauty daily.
With WantedDesign 2019about to get underway in two distinct venues—Wanted Brooklyn at Industry City (May 16-20) and Wanted Manhattan at Terminal Stores (May 18-21)—we asked co-founders Odile Hainaut and Claire Pijoulat about the fair’s theme, its new student design awards, and the second year of its bespoke Look Book at the Manhattan edition. The duo, both born in France, worked in the design and art fields before founding WantedDesign in 2011 to coincide with ICFF (International Contemporary Furniture Fair) in New York. The event is now an integral part of the annual NYCxDESIGN calendar.
Interior Design: How would you describe the 2019 theme of “Conscious Design” in the context of the Manhattan and Brooklyn editions of WantedDesign?
Odile Hainaut and Claire Pijoulat: In 2018, “Conscious Design” was defined as a leading theme to present sustainable projects that foresee what the future can be, if supported by creative vision and smart decisions. In 2019, the notion of conscious design will be encouraged and more widely highlighted in the WantedDesign programming as it is an urgent and essential matter. Protecting the environment, achieving reasonable consumption, and reducing waste are all issues that designers face on their daily tasks to create our homes and our work spaces, in addition to bringing beauty to healthier living.
Facing climate change, evaluating the impact we have on our planet and on civilization itself, falls now more than ever under the scope of responsibilities of all designers and creatives at large. As event organizers, we have the opportunity to have a voice; these are issues that we want to address specifically and that we implement in the way we build the show itself in encouraging our exhibitors to embrace a zero-waste approach when producing their installation. Last year we were able to reduce our waste by 50 percent, and in 2019 our policy is the first item in the contract we send to our exhibitors.
The 2019 edition will challenge design professionals with original exhibits and showcases in order to forge their inspiration when drawing our future. Both destinations, Manhattan and Brooklyn, will include numerous educational (and fun) activities such as workshops, demos, and talks for the visitors and participants to connect, share, learn, and discover what should come next.
ID: What can student designers attending WantedDesign this year expect to gain from the different programming of the Brooklyn and Manhattan editions?
OH and CP: WantedDesign Brooklyn will have the Factory Floor dedicated to the Schools exhibit, with 30 schools coming from all over the world (France, China, Mexico, El Salvador, England, the United States, etc.). Now this show is becoming a not-to-be-missed destination to discover young talent. For the students, it’s a stepping stone to build up their professional network, which we know is essential.
Students will benefit directly from our ever-growing number of visitors, including design professionals and manufacturers. This year, for the first time, we have organized a jury to award the best design-student projects. It’s a way to highlight and support them even more. The jury will be led by Avinash Rajagopal, editor in chief of Metropolis, and includes Ayse Birsel, co-founder of Birsel + Seck; Andrea Lipps, assistant curator of contemporary design at Cooper Hewitt, Smithsonian Design Museum; and Jonsara Ruth, co-founder and design director of Healthy Materials Lab at Parsons School of Design.
Five Awards will be given to the following: Best Original Concept and Design, Best Sustainable Solution, Best Project with Social Impact, Best Ready-to-be-Implemented-or-Produced (Project or Product), and Best Conscious Design Project (that unites three of the four previous criteria). Those five students will benefit from special promotion, and this review is a chance to show their project to professionals who can help with constructive criticism and a real eye for design.
We are also hosting various activities and programming that will be learning experiences for the students. For schools, we are really building opportunities of exchange and partnerships, which is essential.
Lastly, we are partnering again with AIGANY to host the 3rd Spring Wanted Job Fair. It’s a “speed dating” format, not portfolio review, offering a chance for young designers to meet with creative firms.
ID: What can members of the trade attending WantedDesign this year expect to gain from the different programming of the Brooklyn and Manhattan editions?
OH and CP: In Manhattan, we always have a great presence of group exhibits from all over the world. This is really a unique feature of our show. This is how we share original design, new ideas, new material, new potential collaborations. Visitors will meet with Polish, Egyptian—for the first time in the U.S., and it’s a large group of 13 designers—Canadian, Mexican, and Colombian designers.
It’s also the second year of Look Book, a program dedicated to the promotion of the best high-end designers and makers in North America. This section of the show targets interior designers and architects who are looking for talented designers/makers with unique know-how to create bespoke pieces.
In the Launch Pad program, visitors will discover a large selection of 33 international designers, in two categories, furniture and lighting, who have a product ready to be launched in the U.S. market and are looking for the right partner to do it.
Wanted Interiors will explore the Future of Water/Bathroom 2025, a research project resulting from a collaboration between a team from Pratt Accelerator and the American Standard creative team, which is sponsoring this program. It involves how to change behaviors when using water, new scenarios and new ways to build bathroom for a sustainable urban living.
Last but not least, our talk series presented by DesignMilk and Clever is also a great focus for people who want to use WantedDesign as a resource and networking platform.
In 1994, a year after the release of Steven Spielberg’s movie Schindler’s List, the director founded a nonprofit organization to videotape and preserve the testimonies of survivors and witnesses of the Holocaust (or Shoah in Hebrew). Initially, its home was a series of trailers on a Universal Studios Hollywood backlot. A dozen years later, the organization relocated to the University of Southern California in Los Angeles, where, renamed the USC Shoah Foundation–The Institute for Visual History and Education, it occupied cramped offices on the ground floor of the Leavey Library.
Designing and constructing the new headquarters was a 3 1/2-year, multifaceted project, but one that was full of resonance and personal meaning for Belzberg Architects. While the firm had already shown poetic sensitivity in its 2010 design of the mostly subterranean Los Angeles Museum of the Holocaust, founding partner and Interior Design Hall of Fame member Hagy Belzberg can also recall hearing stories of his own father’s escape from Poland and the Nazis.
The foundation’s previous chopped-up quarters had fostered tribal work habits among the permanent staff, which now numbers 82. “We aimed for an open, hyper-functional plan,” Belzberg begins. “There would be a level of scales: from neighborhoods and clusters to the larger whole,” lead architect Lindsey Sherman Contento adds, outlining the collaborative, flexible environment they envisaged, which would include opportunities of respite from the frequently harrowing work.
This dual essence—remembering hatred in order to overcome it, an endeavor at once painful and healing—is palpable right out of the elevator into the central lobby, which functions as both reception and an exhibition space. “It’s intentionally warm and dark,” Belzberg notes of this public zone, an environment designed to generate a sense of safety while providing museum-quality viewing conditions. Subdued LED light filters through perforated powder-coated-aluminum ceiling panels. Opposite the elevator bank, a wall sheathed in seven floor-to-ceiling touch screens offers a panorama of interactive content. Visitors can further explore foundation programs at freestanding digital kiosks—individual touch screens set in totemlike panels of backlit perforated aluminum framed in dark walnut—that fill the room. “It’s like walking through a forest,” Belzberg says.
The tenebrous space doesn’t feel claustrophobic, however, because a broad portal at one end opens onto a semicircular skylit area that commands views of the campus and cityscape beyond. Suspended beneath the skylight, Nicola Anthony’s stainless-steel text sculpture incorporates the testimony of a Holocaust survivor. Passageways on the left and right lead to private wings.
The larger, predominantly open-plan wing houses most of the full-time staff. A broad blond pathway of engineered-oak flooring and nylon-carpet tiles cuts a diagonal swath through the light and airy work space. Right up front, a casual visitors lounge hugs the wall of windows so that its colorful ottomans and cushy lounge chairs sit in the abundant sunshine. Facing them across the central aisle is an open kitchen that, for film screenings and other events, conjoins with adjacent classroom and conference spaces via sliding glass panels.
As the pathway proceeds deeper into the office area proper, it is flanked by open bays of workstations that provide bench seating, sit-stand desks, and other individual or group work options. Every staff member has a designated place, but each “neighborhood” includes a central table that encourages collaboration. Sculptural built-in banquettes, finished in gleaming white paint, line one section of the path, which culminates in what Belzberg calls the “think tank”—a quiet space divisible by pocket doors into two separate niches.
The smaller wing accommodates distinguished guests and researchers needing the privacy of enclosed rooms. It also has facilities for recording and editing survivor testimonies—the most compelling example of which can be viewed in the distinguished guests lounge: Here, Pinchas Gutter, a Polish survivor born in 1932, appears as a life-size interactive-screen image to tell his story and answer viewers’ questions with the help of AI.
The wing is notable for its tranquil, light-filled atmosphere. “Early on, we learned that trauma victims can be sensitive to certain triggers,” interior design lead Jennifer Wu explains, which determined the calm, neutral palette with particularly thoughtful textile and wall-covering choices. “We called for artwork and artifacts from affected countries and used them as inspiration for digitally printed patterns.” Examples appear on lounge seating, pedestal cushions, and phone-booth walls.
Despite the overwhelmingly painful histories with which the foundation must deal, its aura remains positive and hopeful. “We were able to avoid genocide tropes,” Belzberg says. “There is no manipulated emotional response.” With perseverance, study and education will preserve the past and help prevent its recurrence.
Project Team: Cory Taylor; Ashley Coon; Adrian Cortez; Barry Gartin; Aaron Leshtz; Corie Saxman; J. Joshua Hanley; Alexis Roohani; Susan Nwankpa Gillespie; Katelyn Miersma; Melissa Yip: Belzberg Architects. Egg Office: Custom Signage. Maude Group: Exhibition Consultant. Mad Systems: Audiovisual Consultant. Newson Brown Acoustics: Acoustics Consultant. Burohappold Engineering: Lighting Consultant, Structural Engineer, MEP. USC Capital Construction Development: Project Management. Clune Construction Company: General Contractor