Interviews met Ryszard Manczak

I graduated from the Academy of Fine Arts in Poznań, Department of Industrial Design. Before that, I studied mathematics and physics at a general secondary school, which influenced my approach to geometric design.

When Poland was under communist occupation, I frequently travelled to Germany. There, I saw a colourful world and dreamed of the same in our country.

I wanted to change my world for the better one and designing gave me this opportunity so in this way I have become a designer.

I enjoy designing things that we personally adapt to our needs. This makes my designs universal, timeless, and accessible to diverse communities.

I don't consider myself a design legend, I just do what I like and I recommend it to others as well.

This is a designer who doesn't limit himself culturally, and his designs are acceptable to the broadest possible community on our planet.

This is what happens when a design is not only a model for use but also possesses internal and external values.

Good design is timeless, eliminates barriers, and considers ecological materials for the sake of our planet.

I would be happy to design another mobile piece of furniture for a brand that recognizes the needs of globalization while respecting the ecosystem.

It's more like combining a product like Tango Pouf with an interactive sales platform that allows for real-time purchase configuration via App Store, but this requires ambitious investors.

The design should provide additional benefits and a pleasant experience during purchase and use.

The monumental Alessandro Mendini, the minimalist Giulio Cappellini, the colourful Pantone with a touch of the madness of Karim Rashid or Philippe Starck and a gentle note of Salvador Dali.

This is a design for a variable-height shelving unit by my mentor, Rajmund Teofil Hałas. It's an icon of Polish design. The shelving unit is timeless, simple, and allows for the height of the shelves and the entire unit to be adjusted.

I consider the Tango Pouf my best design so far because it offers so many possibilities and solves so many problems.

Everyone should find their own path; it stems from their childhood, dreams, and personality. It should develop along with your academic and professional path. I was helped by the Department of Bionics in Design and the Department of Inspirational Design at the Academy of Fine Arts.

I might have become an actor at the Łódź Film Academy because I was very sociable, but I also played a lot of sports, so the second option was the Physical Education Academy.

The art of creating a unique atmosphere created by our exceptional designs.

My greatest support came from my mentor, Rajmund Teofil Halas, from the Department of Inspirational Design at the Academy of Fine Arts, and from my parents.

Searching , noticing, and solving various social problems from everyday life.

I constantly have to prove that ambitious projects that solve many problems require ambitious and courageous investors.I constantly have to prove that ambitious projects that solve many problems require ambitious and courageous investors.

In the way investors demand.

I would like to create another geometric multifunctional piece of furniture that would provide even more fun and adaptability in the home and garden space, called Szarada but I need brave investors for this.

To satisfy as many lives as possible.

I think they expect my designs to be as accessible as possible.

Design helps teach aesthetics, ergonomics, and even logical thinking, depending on the type of solution.

I am currently working on a global multicultural project called Szarada which I mentioned and I am looking for an investor.

I was very satisfied with the design resembling the contour of the LoveSeat Grazia lips, which was included in my own exhibition at the Temporary Museum For New Design in Milan, because the exhibition was curated by Giulio Cappellini and Gisella Borioli.

The most important thing is the awareness of investors who, to reduce costs, often buy only photos of furniture and adapt them for production themselves. This changes the character of the furniture and interferes with its ability to use the right materials and production efficiency.

I hope that we will not reach the paranoia of producing visualizations instead of building furniture in accordance with the basics and standards of ergonomics with respect for materials and care for our planet.

It all depends on how complex the project is, what problems it is supposed to solve and who it is aimed at, what the target group is. In addition, the implementation capabilities of the company, the level of production, the type of sales, the target markets - all this influences the time of its implementation.

I start by drawing and analyzing all the aspects that accompany it.

Less is more

First, you have to create something that becomes a trend, so that design can then spread.

Technology is very important because it influences the use of materials, which is reflected in the form and shape of the design.

My designs are made using Corel Draw, 3D Studio MAx and AutoCad, but at the beginning I sketch and make models in 1:10 scale.

Color and materials are crucial for achieving the right atmosphere for the furniture, its intended use, its visual appeal in interiors, and also its tactile pleasure in everyday use.

The greatest satisfaction for a designer is when people ask about your design.

I'm satisfied that other designers are also doing great work.

There are many projects that require co-design because they involve different material technologies and applications, so I believe that we should complement each other and do what we do best.

Above all, my greatest influence on my design was my professor, Rajmund Teofil Hałas, from the Department of Inspirational Design and Industrial Design at the Academy of Fine Arts in Poznań. He showed me the meaning of subtlety, conciseness, and addressing multiple needs in a single subject. Thanks to this, my designs achieve more for less.

I really enjoyed the book "Futerał O urządzaniu mieszkań w PRL-u" about Polish design in the post-communist era of the Polish People's Republic, where material shortages influenced minimalist design. Thanks to this, the design thinking was very good; unfortunately, due to the lack of ecological technologies, it was destroying the natural environment. However, the way of thinking about solving practical problems was unique.

Above all, I loved nature and active sports. This instilled in me a respect for the materials I use in my designs. That's why I chose the Bionics in Design Department at the Academy of Fine Arts in Poznań, because it allowed me to interpret and adopt the best solutions our planet offers us.

Since my LoveSeat Grazia has created new design canons in the form of lips, I'd love to discuss this topic with Maestro Salvador Dali in our vivid imagination.

I'm very pleased that my designs are recognized worldwide and appreciated by leading design experts. This is an invaluable asset. I don't seek fame because I design with others in mind, not myself, and my own personal gain is secondary.

My favorite color palette is orange and blue with a touch of white. I enjoy every season because it brings the necessary changes. This is why I love the mountains in winter and seaside walks in summer. This deepens the culinary experience, as each region has its own delicacies. In the mountains in Poland there's oscypek cheese and in the Baltic Sea there is a flounder fish. My favourite brand is Alfa Romeo and that is why I own one of the sophisticated car of this automotive concern.

It was after the Milan exhibition. Gisella Borioli featured my design on Grazia.it platform as one of the ten most interesting objects in the exhibition. And then I was inspired to name my LoveSeat Grazia by the following recommendation which turned out to be a bull's eye, for which I am very grateful.

I find the most energy and motivation when I open the patio door to the garden. There, over my morning coffee, I can listen to the sounds of nature teeming with life among the trees. And the breeze and sunshine warm my mind to action.

When I was a little child, I dreamed of becoming a designer because I wanted to change the monotonous inaccessible world around me. If something is born from the passion of dreams, it can achieve exceptional results, and only the satisfaction of other people gives us the feeling that we have done something good.

I hope that our civilization will survive this turbulent period of history. It will rise to the heights of its potential and open up even new horizons for us. But this will not happen without respect for our Mother Earth.

I am always extremely pleased when I can satisfy my recipients with my projects.

I wanted to change the world

I am a freelance designer

The project is a challenge for me

I have no design limitations

My favorite design are the multifunctional Tango pouffes

When I was little, I cut my aunt's fytro with a pair of scissors

Each material is worth attention

When I am not limited by the client's limitations

To meet the need

I am glad that I can change the world for the better

I am glad that contracting authorities feel the same positive emotions

Positive customer feedback

The basis is the correct concept of creating and functioning of the project

The designer should minimize the costs and losses resulting from design and production

This field is developing fantastically as long as the designers take environmental conditions into account

The last exhibition was in Como but my dream is to show my project in Japan at Tokyo Design Week

My projects are inspired by nature and the resulting geometry of the structure of the matter of the universe

My style depends on the design challenge and my features define the situation they create

Nothing defines my projects, they depend on the market culture and customer needs, try to change their environment for the better

In B2B relations

A good designer must know what and how to design, it is not enough to make a nice visualization, he must be aware of how it can be implemented in production

He always designs from solving a given problem to dressing it in an ergonomic and environmentally friendly design

Sofa, lamp, table, pouffe, ceramics

It starts late and ends not too early

The basis is knowledge of materials and technology, thanks to which we can start designing

We try to change the world for the better but it can be accepted by societies much later

The less the more

Must see space

The base is a pencil

I try to adapt to the situation

It all depends on the complexity of the problem to be solved

Designing visual information for the revitalization of an old brewery shopping center

Industrial, automotive, furniture corporations or shopping malls

Independent and direct

I would like to change the world for the better with the innovative features and purpose of my projects

Depending on the complexity of the project, I will do it alone or in a team meeting my requirements

I have work in progress but I don't know if I can talk about them

I suggest contacting me by e-mail (ryszard.manczak@gmail.com) or optionally by telephone

My professor said "break whatever your mind won't break, reach where your eyes cannot reach" that says more than questions

I believe my early education had a significant impact on my interpretation of reality. My high school mathematics and physics curriculum shaped my analytical thinking. Therefore, the Bionics in Design Department perfectly complemented my understanding of geometric structures found in nature. So, because I strive to solve our interior design demands in my design, I created the Tango Pouf project. The idea for a multifunctional piece of furniture for small living spaces, which I named Tango.

I isolated the stem and divided it into growth stages. Nature itself demonstrated how stems change their structures during development. Within these structures, I identified a repeating shape in the form of a triangle. The outer flange surrounded four triangle-like shapes, so I considered this a perfect symbiosis. The resulting model consisted of four triangles mounted on an outer flange resembling a caterpillar. This created a movable linear shape that moved like a snake, allowing for folding and complementing each other. I achieved the best effect by using right-angled triangles, which allowed them to interlock perfectly. One set produced two usable shapes, and two sets combined produced two more. This resulted in a set of geometric, multi-functional seats that interact with each other and the surroundings.

Obtaining the correct zipper shape was a unique challenge, as the single geometric shape was very demanding, ensuring its pure form was not compromised. The primary goal was to enable easy removal and reinstallation of the cover during production and cleaning. This allowed for the use of zippers extending from two corners and connected by a gentle arc in the center, creating a triangular configuration. This design allowed for ideal access to the interior and the ability to correctly insert the zippers without unnecessary tension. The repetitive zipper arrangement created a geometric pattern that, depending on its position, always forms a triangle, emphasizing the furniture's character.

This multifunctional solution allows for the flexible connection of a selected number of triangular elements into a single unit. This allows you to create two types of seating with just four elements. Using two identical sets that interlock, you can create two additional mattress types. To emphasize the dynamics between the same segments, I introduced slightly inclined side walls and contrasting colors, creating a shark's teeth effect. This solution can be a form of educational play, teaching the basic principles of geometry.

Recycled foam gives materials a second life, allowing them to be reused. However, it also has the disadvantage of still not being a natural, biodegradable material. It provides an internal, flexible structure that allows for bonding with other materials. Therefore, in my solution, I used an outer layer of natural material such as coconut, felt, or seagrass. This allows for the creation of a natural layer that breathes and creates a proper microclimate for our bodies. All of this is covered with a natural wool fabric for the interior of buildings, and a fabric for the exterior, preventing water and dirt from entering. Because current technology allows for the cutting of entire blocks from uniform materials, the mattress's inner beams can also be made entirely from coconut and using a water-permeable fabric. This utilizes natural materials created as a byproduct of production. Such solutions contribute to sustainable development and the proper functioning of our planet's ecosystem.

The most important improvements concern the pouf's internal cross-section. Initially, it was made of ordinary polyurethane foam with a soft texture resembling the flesh of a stem. The use of readily available natural materials emphasizes the design, which originated from nature and perfectly fits its character. Therefore, the best direction for development is for the materials from which it can be made to come from renewable resources. And since technology allows for this, this is the ideal direction. The next planned step is to divide the individual track beams so that the Tango poufs can be personalized with colors. This also allows for the linear connection of any number of tines to create other geometric shapes.

I determined the proportions based on dimensions that are comfortable for a universal user. Additionally, I perfectly matched the external dimensions to the size of standard packaging designed for shipping options. This standard, symmetrical packaging simplifies storage and transport. I also designed a set of covers for the poufs, allowing for easy transport and storage at home.

The Tango Pouf's design evolved in stages, and was and remains dependent on production capabilities and technology.When the project was created, there were no such opportunities as there are now.The technology had to mature, in a sense, to properly implement my project. The goal was to achieve excellent quality in both workmanship and the use of appropriate materials. CNC cutting of large-volume materials according to CAD patterns allowed for repeatability, quality, and the correct shape of individual elements. Contrary to appearance, the simplest items are the most difficult to successfully complete because they require appropriate materials, which are developed with the market's technological awareness. Thus, the initial step was polyurethane foam filling, followed by the use of recycled foam and combining it with coconut mat, seagrass, or felt. Currently, it is possible to create entire inserts from coconut fiber, which is the most ecological and versatile material, but requires a comprehensive implementation process to properly utilize the advantages of this material in such a product. Furthermore, comfort is enhanced by natural Italian wool fabrics for living spaces, and on the outside, waterproof fabrics with OEKO-TEX certification and recycling. Another, but not the last, way of making my Tango pouf could be the use of 3D printing from PET bottles as openwork elements, which is possible thanks to the latest technology.

Tango, because it takes two to tango—two identical elements that fit together perfectly and create a unique harmony. My poufs are precisely this perfectly matched shape, which also interacts with each other, changing depending on our needs. That's why this name struck me as unique for this multifunctional set that offers a multitude of solutions.

I'm incredibly pleased to have the opportunity to shape trends in furniture design for multi-purpose furniture. Since Tango Pouf was created, the awareness of interior design has changed significantly. As a result, many designers have begun to recognize the need for changes in furniture designs to make them more functional. This can be applied to various types of furniture, from sofas for relaxing to shelves for storing clothes or books. This allows furniture to be adapted to various interiors with varying surface areas or heights. The use of appropriate, universal materials allows for greater functionality. Consequently, this also translates into appropriate sales and production methods. This solves many problems, increases the production of a single set without the need to produce additional interior furnishing. It eliminates the need for additional waste in the production of subsequent sets of furniture when the arrangement needs to be changed. I hope that we will continue to move towards universalism and modularity, making it possible to move together with basic equipment, just like Nomads. By minimizing the items we need to meet our existential needs, we provide maximum comfort in a minimal environment, respecting the environment and using what nature gives us as a gift.Thank you for your time.