Nowy Styl Fair Stand

The initial idea came from a very simple but important observation: office furniture should not be experienced as isolated objects. In everyday life, people do not encounter desks, chairs, sofas, or acoustic solutions as separate products standing in a showroom. They experience them within a context — in offices, homes, meeting areas, public spaces, waiting zones, and informal places of work.This became the foundation of the concept. We wanted to move away from a conventional product display and instead create an environment where furniture could function in a way closer to real life. The question was not only: “How do we show the products?” but rather: “How do people actually live, work, rest, meet, and feel around these products?”That shift naturally opened a more human and anthropological perspective. Workplace wellbeing is not only about ergonomics or visual comfort; it is about the emotional and psychological context in which a person spends a significant part of the day. Furniture becomes meaningful when it supports human behavior, concentration, communication, regeneration, and a sense of belonging.The key realization was that the stand should not present furniture as a catalogue translated into space. It should present a possible world — a spatial experience where the visitor can understand the brand through use, atmosphere, and emotion. In that sense, the Nowy Styl Fair Stand was built around the idea that design is not only about objects, but about the conditions in which people feel and function better.

For us, biophilic design in this project was not limited to adding plants or natural finishes. The most important decision was to create a spatial structure in which nature could be felt as scale, rhythm, softness, light, and atmosphere. The central elements of the stand were three dominant suspended forms rising above the exhibition area. In the project drawings and visualizations, these elements were described as “parasols,” but conceptually they functioned more like organic canopies or spatial trees: large, soft, protective structures that organized the stand visually and emotionally. The plan clearly shows the three main parasol elements distributed across the stand, while the technical pages define their radial, leaf-like construction.Their organic form was important because it gave the stand a recognizable emotional identity. They were not only decorative objects; they created orientation, atmosphere, and a sense of shelter. In a trade fair environment, where visitors are usually surrounded by noise, visual overload, and commercial messages, these large organic forms helped introduce a calmer and more human spatial rhythm.The biophilic principles we focused on were therefore connected with immersion rather than quotation. We were interested in the feeling of being under a canopy, in the softness of filtered light, in natural associations with shade, protection, and pause. The stand still needed to present furniture and support business meetings, but the emotional goal was to make the visitor feel that this was not just another commercial booth. It was a workplace environment imagined through the lens of comfort, nature, and wellbeing.The decisions were informed by the client’s direction, our design experience, observation of how people behave in exhibition spaces, and the functional need to create different zones within a large footprint. We wanted the natural references to support the way people moved, stopped, sat, talked, and experienced the products in context.At the same time, this project was only one stage in our exploration of biophilic design. This year, we have decided to develop the subject even further — but for that, you will have to wait for the next ORGATEC.

At Konarski Bzowski, designers use AI tools mainly as support for prototyping, exploration, and post-production. In this project, AI was not treated as an author of the design, but as an additional instrument within the creative process — a way to test atmospheres faster, expand visual references, refine images, and open new directions that could then be evaluated by the team.There is a common misunderstanding that AI “does the work” for designers. In reality, the most important principle in working with AI is “human in the loop.” The designer must remain responsible for intention, judgment, taste, context, and final decision-making. AI can produce possibilities, but it does not understand the brand, the visitor, the production constraints, or the emotional precision required by a project like the Nowy Styl Fair Stand.This balance was especially important here because the project was centered on human experience, nature, wellbeing, and emotional perception. Using advanced digital tools to explore a more organic and humanistic spatial language may seem paradoxical, but for us it was a productive tension. Technology helped us accelerate parts of the process, but the meaning of the project came from human observation and design intuition.Ultimately, AI remained a tool for expanding imagination, not replacing it. The final stand was shaped by designers, conversations, functional decisions, production knowledge, and the collective experience of the team. AI supported the process, but the human layer gave the project its direction, sensitivity, and coherence.