“Szmaciarnia” is the twelfth project of the collection “XII”, entirely designed by Karina Wiciak.”Szmaciarnia” (which in Polish means “rag-house”) is the latest project from the collection of “XII”.
This is the interior gently referring to the “Szwalnia” project, but the architecture of interior is created by the cloth alone, and actually by the patchwork.
If you can create the interior with the old board (“Papiernia”), or with scribbled paper sheets (“Ubojnia”), you can also use old cloths, clumsily stitched with thick thread.
After all, “Szmaciarnia” is not a tribute to the idea of recycling, but a proof that the elegant interior may be created not just with popular glass or metal.
The rough texture of the fabric does not need to be associated with cheapness and mediocrity, and the possibilities of its application are still endless.
The “Szmaciarnia” project also includes:
– armchair “zszyty” (which in Polish means “stitched”)
– hooker chair “zszyty”
– chandelier “szmatka” (which in Polish means “cloth”)
– sink “zszyta”
– toilet bowl “zszyta”
About the collection “XII” (entirely designed by Karina Wiciak).
The collection “XII” will consist of 12 thematic interior designs, together with furniture and fittings, which in each part will be interconnected, not only in terms of style, but also by name. Each subsequent design will be created within one month, and the entire collection will 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 an image, which has a deeper meaning and can function individually.
These will not be interiors made to a specific order, but designs based on the author’s fantasy and his fascinations of various sorts. It will be possible to order a specific interior design in the form of adaptation of the selected part of the collection, on the basis of exclusivity.
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 scenography.
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.