Iron Homeware Design · 2025
Parawood Verso Wooden Wall Art
by Sinem Halli
- A' Design Award 2025 Iron Winner in Homeware Design
- Awarded April 15, 2025
- CLIENT: NeoDeco
- Estimated Number of Design Views: 18,089
- Verification code EFAD36CD78 · Verify this award
About Parawood Verso Wooden Wall Art
Parawood Verso transforms reclaimed wood into artistic, three dimensional wall pieces using high-precision laser cutting. This process optimizes material use by repurposing positive and negative wood spaces, ensuring zero waste. The frameless design enhances the natural beauty of layered wood, creating depth and movement. More than decoration, it embodies sustainable design, turning waste into functional, elegant art. It can be displayed horizontally, vertically, or combined in different sizes for versatile wall compositions.
NeoDeco's Parawood Verso Wooden Wall Art engages the rich traditions of material-centered decorative arts and biomorphic abstraction, positioning itself within a lineage that honors both the intrinsic beauty of natural materials and the transformative power of pattern-making as a fundamental human impulse spanning cultures and centuries. The work participates in a contemporary revival of interest in tactile, materially honest design objects that counter digital ephemerality with physical presence, warmth, and the irreplaceable character of organic substances shaped by growth, time, and skilled fabrication. The compositional achievement lies in the successful translation of natural phenomena such as wood grain itself, water ripples, wind-shaped sand, or botanical unfurling into a formally coherent abstract pattern that reads as both controlled and organic, structured and free, the radiating lines establishing clear directional flow while the subtle variations in curve, spacing, and width prevent mechanical rigidity, suggesting instead the beautiful irregularities inherent to living systems. The technical execution demonstrates sophisticated understanding of digital fabrication technologies married to traditional woodworking values, the precision routing or etching that defines each flowing band revealing meticulous planning and execution while never overwhelming the material's inherent character, allowing the wood's natural color variation, grain direction, and tonal shifts to collaborate with rather than merely receive the imposed pattern. Chromatically, the work achieves sophistication through restraint, finding extraordinary visual richness within the limited palette offered by a single wood species, the warm earth tones creating psychological comfort and spatial warmth while the tonal gradations from pale cream to deep umber provide sufficient contrast to articulate form and generate visual interest without requiring polychromatic intervention. Thematically, Parawood Verso Wooden Wall Art invites contemplation of growth, flow, natural order, and the poetry embedded in organic materials, the radiating pattern suggesting generative processes whether botanical development, geological formation, or the essential spiraling and radiating geometries that appear throughout natural systems at every scale from galactic arms to unfurling ferns. The work may reference the flowing hair motifs of Art Nouveau masters, the wave patterns of traditional Asian art, the marble papers of bookbinding traditions, or the topographic mapping of geological strata, yet it synthesizes these references into a contemporary statement that feels fresh rather than derivative, personal rather than generic. The dimensional relief created by the routed channels adds haptic invitation, suggesting the work rewards not only visual contemplation but also the desire to trace the flowing lines with one's fingers, engaging touch as well as sight in the aesthetic experience. As a decorative functional object designed for residential or hospitality environments, the piece fulfills the worthy aspiration of bringing handcrafted beauty, natural warmth, and visual poetry into daily lived spaces, elevating ordinary walls into opportunities for aesthetic engagement and contemplative pause. One might observe how the work demonstrates that abstraction need not abandon nature, that pattern can be both orderly and organic, and that contemporary design can honor material traditions while exploring new formal possibilities, inviting viewers to consider what stories wood itself tells when given elegant structure through which to speak.
Press Kit
- Unique Properties
- Parawood Verso Frameless is a sustainable 3D wooden wall art series with layered wood construction and gradient coloring for depth. Unlike traditional framed designs, its frameless structure enhances immersion. What sets it apart is its zero-waste approach - crafted from repurposed offcuts of the Parawood Framed collection. Versatile in display, it can be arranged horizontally, vertically, or in customizable compositions, blending ecological responsibility with artistic innovation.
- Dimensions & Packaging
- Our product is available in three different sizes:
521 x 356 x 50 mm
686 x 457 x 50 mm
914 x 622 x 50 mm
These dimensions offer flexibility to suit various usage scenarios and spaces. - Tags
- wood wall art, sustainable art, parametric art, 3D panel, versatile use, Stained Birch Plywood Layers, abstract wall decor
- Production Technology
- Parawood Verso Frameless is crafted using high-precision laser cutting, optimizing both positive and negative spaces for zero waste. Stained birch plywood is carefully polished and layered to create depth while preserving natural texture. To enhance sustainability, leftover materials from the Parawood Framed series are repurposed, ensuring efficiency, durability, and refined aesthetics.
- Design Challenge
- The main challenge was achieving zero-waste production while maintaining artistic integrity and structural stability. Precise laser-cutting was essential to create complementary pieces without disrupting visual harmony. Balancing sustainability with scalable production was another hurdle, as wood grain variations and laser-cutting constraints affected consistency. These challenges were addressed through prototyping, refining cut patterns, and optimizing layering techniques, resulting in a modular, adaptable artwork.
- Project Duration
- The project commenced development in September 2022 in Istanbul, and the first prototype of the series was approved in September 2023. As of May 2024, the current version has been further developed.
- Operation Flow
- Parawood Verso Frameless is designed for versatility and engagement. Its layered wood structure creates a 3D effect, drawing attention to depth and natural beauty. The frameless design allows flexible display, both horizontally and vertically, or in custom compositions. The smooth, polished surface invites touch, enhancing the connection between the artwork and its surroundings. This design transforms spaces by offering a dynamic and immersive visual experience.
- Research
- This research focused on sustainable design by maximizing material efficiency and minimizing waste. A prototyping-based approach with laser-cutting technology was used to refine a zero-waste production method. The study analyzed how both positive and negative spaces in wooden sheets could be utilized. No human participants were involved, as the focus was on production optimization. Results confirmed that the method eliminates waste while preserving structural integrity and aesthetics, demonstrating the potential of zero-waste strategies in product design.
- Inspiration
- Inspired by the organic harmony of nature, Parawood Verso Frameless reflects the structure and movement of leaves. The goal was to translate this natural balance into a sustainable artwork while minimizing material waste. Repurposing surplus wood from the Parawood Framed series, the design merges ecological responsibility with craftsmanship, transforming discarded materials into functional, waste-free art.
- Image Credits
- Photographer: Erkan Ayan, Parawood series, 2024
- Patents
- not registered yet
Colors of Parawood Verso Wooden Wall Art
Get Parawood Verso Wooden Wall Art
Design Interview about Parawood Verso Wooden Wall Art
The core idea behind Parawood Verso was to create a product that is as thoughtful in its material use as it is in its form.
The collection was inspired by the desire to give new life to leftover materials—transforming production offcuts into something sculptural, functional, and emotionally resonant. Rather than designing from scratch, I began with what was already there.
Each piece in the collection complements the others, both visually and structurally. Their forms echo rhythm and balance, while their making reflects care for resources. It’s not just a decorative wall piece—it’s a quiet manifesto about zero waste, modular thinking, and circular aesthetics.
The collection was inspired by the desire to give new life to leftover materials—transforming production offcuts into something sculptural, functional, and emotionally resonant. Rather than designing from scratch, I began with what was already there.
Each piece in the collection complements the others, both visually and structurally. Their forms echo rhythm and balance, while their making reflects care for resources. It’s not just a decorative wall piece—it’s a quiet manifesto about zero waste, modular thinking, and circular aesthetics.
My main focus was to create a design that didn’t just “look” sustainable—but actually embodied sustainability at every level.
I wanted to show that waste could become form, and that circular design doesn’t have to compromise on aesthetics. Each piece in the collection is made by repurposing the material offcuts from another—so the collection completes itself.
I also aimed to design something that could quietly live in people’s spaces, not as a trend, but as a thoughtful presence—modular, minimal, and timeless.
I wanted to show that waste could become form, and that circular design doesn’t have to compromise on aesthetics. Each piece in the collection is made by repurposing the material offcuts from another—so the collection completes itself.
I also aimed to design something that could quietly live in people’s spaces, not as a trend, but as a thoughtful presence—modular, minimal, and timeless.
Winning this award is not the final step for Parawood Verso—it’s an invitation to explore further.
I’m currently in talks to expand the collection and introduce new variations, both in form and finish. I’d also love to see the pieces integrated into interior design projects where they can function as both sculptural and modular elements.
While the product is currently available for export, I hope to make it more accessible locally as well. And beyond sales, I see this collection as a conversation starter around circular design—so I’m also exploring exhibition and storytelling opportunities to share the thinking behind it.
I’m currently in talks to expand the collection and introduce new variations, both in form and finish. I’d also love to see the pieces integrated into interior design projects where they can function as both sculptural and modular elements.
While the product is currently available for export, I hope to make it more accessible locally as well. And beyond sales, I see this collection as a conversation starter around circular design—so I’m also exploring exhibition and storytelling opportunities to share the thinking behind it.
Designing Parawood Verso was not a linear process—it unfolded over several months of exploration, testing, and refinement.
From the initial idea of working with production offcuts to finalizing the modular geometry, it took around 4–5 months. But more than the duration, it was the rhythm of the project—going back and forth between form, material, and meaning—that shaped the final result.
It was less about rushing to finish and more about letting the right solution reveal itself through the process.
From the initial idea of working with production offcuts to finalizing the modular geometry, it took around 4–5 months. But more than the duration, it was the rhythm of the project—going back and forth between form, material, and meaning—that shaped the final result.
It was less about rushing to finish and more about letting the right solution reveal itself through the process.
The initial spark came from a collaboration with NeoDeco, but the concept itself grew from a personal drive to rethink how we use material waste.
While the project wasn’t a strict commission with a fixed brief, I saw an opportunity to develop something that reflected both the brand’s aesthetics and my own values around circular design.
So in a way, the design was born at the intersection of external collaboration and internal curiosity. It wasn’t just about fulfilling a need—it was about framing a new perspective.
While the project wasn’t a strict commission with a fixed brief, I saw an opportunity to develop something that reflected both the brand’s aesthetics and my own values around circular design.
So in a way, the design was born at the intersection of external collaboration and internal curiosity. It wasn’t just about fulfilling a need—it was about framing a new perspective.
The design was developed in collaboration with NeoDeco, and it is currently being produced and sold by the company, primarily for export.
While I’m not producing it myself, the design was created entirely by me—from concept to form—and reflects my own design philosophy. It’s a strong example of how designer-brand collaborations can bring meaningful ideas to life.
At this point, I’m also open to future collaborations or adaptations of the concept in different markets or materials, as long as the core values of the design remain intact.
While I’m not producing it myself, the design was created entirely by me—from concept to form—and reflects my own design philosophy. It’s a strong example of how designer-brand collaborations can bring meaningful ideas to life.
At this point, I’m also open to future collaborations or adaptations of the concept in different markets or materials, as long as the core values of the design remain intact.
I was drawn to designing a wall piece because I love the quiet power of objects that live in the background—but still shape how a space feels.
This type of work gave me room to experiment with form, rhythm, and material in a way that was both sculptural and responsible.
More than decoration, I saw it as a surface for storytelling—about modularity, zero waste, and how design can add depth without shouting for attention.
This type of work gave me room to experiment with form, rhythm, and material in a way that was both sculptural and responsible.
More than decoration, I saw it as a surface for storytelling—about modularity, zero waste, and how design can add depth without shouting for attention.
Rather than drawing from a specific designer, I was more influenced by materials, constraints, and the quiet elegance of modular systems.
I’ve always been inspired by the aesthetics of repetition and rhythm—how subtle shifts can create visual harmony.
I also find influence in traditional crafts and architectural surfaces, where design serves both function and emotion. So in a way, this piece is a blend of industrial precision and handmade sensibility.
I’ve always been inspired by the aesthetics of repetition and rhythm—how subtle shifts can create visual harmony.
I also find influence in traditional crafts and architectural surfaces, where design serves both function and emotion. So in a way, this piece is a blend of industrial precision and handmade sensibility.
This design is for people who appreciate quiet sophistication—those who value both aesthetics and intention in the objects they live with.
It’s aimed at individuals and design professionals who are mindful about sustainability and drawn to modular, timeless pieces that integrate easily into modern spaces.
Whether it’s a home, a boutique hotel, or a curated interior, Parawood Verso speaks to those who see design not just as decoration, but as a way of living with meaning.
It’s aimed at individuals and design professionals who are mindful about sustainability and drawn to modular, timeless pieces that integrate easily into modern spaces.
Whether it’s a home, a boutique hotel, or a curated interior, Parawood Verso speaks to those who see design not just as decoration, but as a way of living with meaning.
What truly sets Parawood Verso apart is that its circularity is not a marketing layer—it’s built into the design itself.
Each piece in the collection is created by using the offcuts of another, forming a material dialogue that eliminates waste and creates a closed loop within the production.
While many decorative products focus on form alone, this design integrates sustainability, modular thinking, and visual rhythm in a way that is both elegant and systemic. It’s not just designed to look good—it’s designed to make sense.
Each piece in the collection is created by using the offcuts of another, forming a material dialogue that eliminates waste and creates a closed loop within the production.
While many decorative products focus on form alone, this design integrates sustainability, modular thinking, and visual rhythm in a way that is both elegant and systemic. It’s not just designed to look good—it’s designed to make sense.
The name “Parawood Verso” reflects both the layered structure of the design and its underlying concept.
“Para” refers to a parametric approach—used to develop the rhythmic, modular surface geometry of the pieces. “Wood” anchors the materiality, while “Verso” comes from Latin, meaning the reverse or alternate side.
Together, the name expresses the dual nature of the collection: a structured, systematic design that turns production waste into new visual and functional value. It’s about uncovering what lies beneath the surface—materially and conceptually.
“Para” refers to a parametric approach—used to develop the rhythmic, modular surface geometry of the pieces. “Wood” anchors the materiality, while “Verso” comes from Latin, meaning the reverse or alternate side.
Together, the name expresses the dual nature of the collection: a structured, systematic design that turns production waste into new visual and functional value. It’s about uncovering what lies beneath the surface—materially and conceptually.
I used Adobe Illustrator to explore the layered geometry and the inner-outer logic of the form—since the goal was to create a single-piece outcome from a subtractive process.
Much of the refinement happened through hands-on material testing. I worked directly with physical samples, iterating through scale, depth, and texture until the right balance emerged. It was a very tactile and intuitive process, grounded in making rather than simulating.
Much of the refinement happened through hands-on material testing. I worked directly with physical samples, iterating through scale, depth, and texture until the right balance emerged. It was a very tactile and intuitive process, grounded in making rather than simulating.
The most unique aspect of Parawood Verso is that its aesthetic language is inseparable from its production logic.
Each piece is born out of the material leftover from another—so the collection completes itself, both visually and structurally.
This circular approach is embedded at the core, not added later. The modular layering isn’t just decorative—it reflects a deeper commitment to waste-conscious design, simplicity, and system thinking. That’s what makes it truly different.
Each piece is born out of the material leftover from another—so the collection completes itself, both visually and structurally.
This circular approach is embedded at the core, not added later. The modular layering isn’t just decorative—it reflects a deeper commitment to waste-conscious design, simplicity, and system thinking. That’s what makes it truly different.
The design concept, form development, and layout were entirely led by me.
However, I worked closely with NeoDeco’s production team—especially during material testing and refinement phases. Their hands-on knowledge helped translate the idea into a clean, efficient production process.
While I didn’t collaborate with external specialists, the in-house team’s practical insight played an important role in aligning the design with real-world constraints.
However, I worked closely with NeoDeco’s production team—especially during material testing and refinement phases. Their hands-on knowledge helped translate the idea into a clean, efficient production process.
While I didn’t collaborate with external specialists, the in-house team’s practical insight played an important role in aligning the design with real-world constraints.
Technology played a supporting role in this project—quiet but essential.
I used digital tools like Adobe Illustrator to develop the layered geometry and control spatial relationships precisely. But much of the design emerged through hands-on material testing, outside the screen.
In terms of production, simple but smart technologies—like precise cutting techniques—were important in realizing the design as a single, waste-minimizing piece. So while the idea was driven by intuition and material, technology made its realization efficient and clean.
I used digital tools like Adobe Illustrator to develop the layered geometry and control spatial relationships precisely. But much of the design emerged through hands-on material testing, outside the screen.
In terms of production, simple but smart technologies—like precise cutting techniques—were important in realizing the design as a single, waste-minimizing piece. So while the idea was driven by intuition and material, technology made its realization efficient and clean.
This design wasn’t driven by data or numerical research—but it was deeply shaped by physical experimentation.
I conducted iterative material tests to understand how to minimize waste, how the layers could interlock, and how form could evolve from constraint rather than abundance.
It was a research-through-making process—focused on rhythm, proportion, and the functional possibilities of a single material sheet.
I conducted iterative material tests to understand how to minimize waste, how the layers could interlock, and how form could evolve from constraint rather than abundance.
It was a research-through-making process—focused on rhythm, proportion, and the functional possibilities of a single material sheet.
One of the main challenges was staying true to the zero-waste principle—not just conceptually, but structurally.
It wasn’t enough to “look” sustainable; each piece had to emerge from the leftover of another, and that required a lot of precision in layout, proportion, and production logic.
Another challenge was designing a surface that felt expressive and rhythmic, while keeping it minimal and modular. Balancing these tensions—between simplicity and intention—was both the hardest and most rewarding part of the process.
It wasn’t enough to “look” sustainable; each piece had to emerge from the leftover of another, and that required a lot of precision in layout, proportion, and production logic.
Another challenge was designing a surface that felt expressive and rhythmic, while keeping it minimal and modular. Balancing these tensions—between simplicity and intention—was both the hardest and most rewarding part of the process.
As someone who has participated in and won competitions before, I’ve developed a certain intuition—you can sense when a design has the potential to stand out.
Parawood Verso gave me that feeling. It wasn’t created specifically for a competition, but once it was completed, I knew it carried the kind of clarity and depth that juries look for: thoughtful, circular, and quietly confident.
After spending years away from the commercial design scene and focusing on academia, I felt the need to reconnect and reassert my design voice. Entering this competition was not just a professional step—it was also a personal statement. I needed to win. And I believed this project could.
Parawood Verso gave me that feeling. It wasn’t created specifically for a competition, but once it was completed, I knew it carried the kind of clarity and depth that juries look for: thoughtful, circular, and quietly confident.
After spending years away from the commercial design scene and focusing on academia, I felt the need to reconnect and reassert my design voice. Entering this competition was not just a professional step—it was also a personal statement. I needed to win. And I believed this project could.
This project reminded me that simplicity is not always easy—but it can be incredibly powerful.
Working within strict material constraints forced me to be more intentional, and helped me trust the quiet clarity of the design rather than trying to over-express.
It also deepened my appreciation for production thinking—how design decisions affect waste, effort, and long-term value. In a way, this project taught me to listen more carefully: to materials, to context, and to myself.
Working within strict material constraints forced me to be more intentional, and helped me trust the quiet clarity of the design rather than trying to over-express.
It also deepened my appreciation for production thinking—how design decisions affect waste, effort, and long-term value. In a way, this project taught me to listen more carefully: to materials, to context, and to myself.
Beyond what’s already been said, I just want to express that this project carries more than a design story for me—it marks a personal transition.
I’m currently rebuilding—professionally and creatively—and design is where I find both grounding and expression.
I’m always open to collaborations that share a commitment to thoughtful, sustainable, and quietly powerful design. If this project resonates with anyone, I’d be happy to connect.
I’m currently rebuilding—professionally and creatively—and design is where I find both grounding and expression.
I’m always open to collaborations that share a commitment to thoughtful, sustainable, and quietly powerful design. If this project resonates with anyone, I’d be happy to connect.
Grand Interview about Parawood Verso Wooden Wall Art
In Parawood Verso, zero-waste is not a feature—it is the very structure of the design. The high-precision laser cutting technique plays a central role in turning this principle into practice by allowing me to treat both positive and negative spaces as equally intentional.Rather than generating waste through subtraction, each cut becomes a constructive act: what is removed from one piece becomes the seed of another. This approach requires designing the layout of parts not just as isolated forms but as interdependent geometries. The laser’s millimetric accuracy enables this synchronization—ensuring that the offcut of one panel fits perfectly into the next, visually and materially.This production logic demanded a deep alignment between form, function, and sustainability. It wasn't about using leftover pieces after the fact—it was about starting from them. That’s why I describe Parawood Verso as a self-completing system: each module emerges from the remnants of the other, closing the loop not just environmentally, but also narratively.The result is a layered, rhythmic composition where artistic integrity is not sacrificed for efficiency—instead, it is enhanced by it. The negative spaces aren’t voids; they are visual pauses, designed absences that allow the positive forms to breathe. Together, they form a sculptural dialogue—quiet, modular, and circular in every sense.
Nature doesn’t waste space—and neither does Parawood Verso. The inspiration drawn from leaf structures wasn’t merely visual; it was structural. Leaves are efficient systems: rhythmic, layered, and self-supporting. I was drawn to how their forms achieve strength through thinness, and complexity through subtle repetition. Translating this into design meant thinking in terms of systems rather than symbols.Instead of mimicking nature’s patterns decoratively, I aimed to embed their logic into the behavior of the material itself. The layered geometry—cut using high-precision laser techniques—echoes the branching flow of veins, where every line holds both a functional and aesthetic role. This enabled the design to remain lightweight yet expressive, modular yet fluid.The frameless construction was part of the same natural logic. In nature, forms evolve from within—not around an imposed boundary. By removing the frame, I allowed the piece to breathe with its environment rather than be confined by it. This openness enhances its perceptual depth—allowing light and shadow to interact more freely with the layered surfaces, which amplifies the three-dimensional effect in a subtle, immersive way.At the same time, it aligns with the sustainability goal: no added material, no artificial enclosure—just the piece as it is: rhythmically complete, quietly alive, and embedded in a larger system of spatial continuity and ecological thought.
One of the key challenges in developing Parawood Verso was to design a layered structure where each piece could interlock seamlessly with minimal material waste. Since the concept relied on using the offcuts from one panel to create another, the geometry had to be precisely calculated—down to the millimeter.This meant designing not just a single form, but a repeating logic—a system where subtraction from one layer would automatically construct the next. Getting that alignment right took time and experimentation. It wasn’t enough for the pieces to simply "fit"—they had to complete each other both visually and structurally.The resulting nested composition minimized waste while maximizing form continuity. And because the layers interlocked without gaps or external frames, the design gained unexpected structural stability. What began as a constraint around material use became a method for depth, rhythm, and resilience.
From the beginning, Parawood Verso was designed with a modular, frameless logic—structured enough to hold rhythm, yet open enough to adapt. The geometry was carefully balanced to work as a single statement or as part of a larger configuration. While I initially envisioned the panels in horizontal sequences, we deliberately avoided imposing a fixed direction.Interestingly, it was a client who first displayed the piece vertically—and that unexpected rotation revealed an entirely new spatial quality. It didn’t just “still work”; it felt purposeful. That moment confirmed something I had intuitively sensed during development: that the design could live across multiple orientations without losing coherence.Since then, the vertical and mixed arrangements have become part of the collection’s identity. People began composing their own versions—grouping panels, rotating directions, forming personalized layouts. Rather than resisting this, we embraced it. To me, this capacity for reinterpretation is what gives the work emotional longevity. When people see themselves reflected in a piece—when they co-author its meaning—it stays with them longer.
From the beginning, we planned to use birch plywood—not just because of its visual qualities, but because it aligned with both our sustainability goals and production realities. Its layered composition, light weight, and material efficiency made it a strong candidate for a design that needed to be both expressive and economical. As a team, we valued materials that could do more with less—and birch gave us that possibility.Still, we didn’t want the surface to feel flat or predictable. I wanted to enhance the sense of depth—not by adding volume, but by working with tone. We began experimenting with gentle staining techniques, testing how each layer could catch light differently without obscuring the wood’s texture. These weren’t full coats of paint, but nuanced treatments—dillamas, in a way—that allowed the natural grain to remain visible while emphasizing the layered relief.Through this process, something poetic emerged: each cut panel was paired with its inverse—just like positive and negative forms. But beyond the geometry, we decided to invert their color tones as well. One piece became the visual echo of the other—not just in shape, but in lightness and darkness. This contrast deepened the modular dialogue and made the pairing feel intentional, even emotional.In the end, the material did more than support the form—it became an active part of its language. And that’s what we always hope for: not just a technical resolution, but a quiet visual harmony that invites people to look again, and again.
The gradient coloring technique used in Parawood Verso didn’t begin as a defining feature—it evolved slowly, as the project itself changed shape. When we started in September 2022, the idea was simply to create a layered wood piece. I was initially brought on just to develop the surface geometry. There wasn’t yet a collection, or even a clear decision about framing.But once the first prototypes came out, something shifted. There was an unexpected sense of rhythm and subtlety in the layering, and we began to realize that the piece could carry more than just form—it could hold light and mood as well. That’s when we started experimenting with color. Not paint, but tone—stains and treatments that could follow the logic of the layers.The goal was to create a soft gradient—not applied uniformly, but revealed through the architecture of the cut. We tested how each plywood layer absorbed pigment differently, and how to emphasize depth without losing texture. Eventually, we extended that logic further: each panel had a counterpart—positive and negative forms, mirrored in both shape and tone. One dark, one light. Like shadows talking to their own silhouettes.Meanwhile, what started as a single-panel artwork grew. We explored frame/no-frame options, then realized that with minimal adjustments, each framed piece could give birth to an unframed one—and vice versa. That realization expanded the design into a four-piece collection, where every part was materially and conceptually connected.Since then, this layered-gradient approach has become part of our wider design language. We’ve begun applying it to other NeoDeco pieces as well. It speaks to more than just aesthetics—it speaks to transformation, circularity, and the quiet logic of modular design.
Sustainability, for me, is never a single-axis concept. In Parawood Verso, it manifests not only through environmental responsibility, but also through emotional durability, ethical production, and systemic design thinking.At the material level, we work with responsibly sourced birch plywood—lightweight, layered, and efficient—and our production model generates no waste. One of the collection’s key innovations is its circular logic: each framed piece gives birth to a frameless counterpart, with nearly zero leftover material. What might have been discarded becomes the foundation for another design. The inner becomes the outer. Form follows form.This allowed us to develop a four-piece series in which every part is intrinsically connected. Each shape echoes another; each decision leads to multiple outcomes. Sustainability here is not a constraint—it’s a design strategy that adds meaning, logic, and rhythm.But material efficiency is only one part of the story. Sustainability also lives in the relationship between the object and its user. Parawood Verso was designed to be adaptable—displayable in horizontal, vertical, or clustered arrangements. This flexibility invites people to compose their own configurations, to rotate, rehang, and reinterpret. In doing so, they become co-authors of the piece’s meaning. That emotional investment—the ability to shape how a design lives in your space—is what gives it longevity beyond trend or season.On the production side, we collaborate with local craftspeople and produce each item per order. This supports local economies, respects craftsmanship, and avoids the waste of overproduction. It’s a quiet but firm commitment to working slower, smarter, and more intentionally.In our staining and tonal layering process, we also sought to echo this principle. Through what we called “layered dillamas,” we created subtle tonal gradients that deepen the sense of relief and shadow. Each panel’s counterpart carries an inverted tone, reinforcing the idea of reciprocal design—where positive and negative forms, light and dark, frame and no-frame, all speak to one another.In this sense, Parawood Verso is not just about what it’s made of—it’s about how it’s made, how it evolves, and how it invites meaning. True sustainability is not a checklist. It’s a design ethic. And this piece reflects that in every layer, line, and relationship.
Wall art often lives in the background—quiet, decorative, static. With Parawood Verso, I wanted to challenge that passivity. I was drawn to the idea of creating a piece that could move without moving—one that invited the eye to travel, to linger, to discover rhythm in stillness.The focus on depth came from this desire to build a sense of visual movement—using nothing but form, light, and shadow. I’ve always been inspired by surfaces that do more than decorate; surfaces that shape the room around them. A piece that lives on the wall, but doesn’t flatten into it.I approached this project thinking: what if a wall piece could feel like it was breathing with the space? The layered geometry, with its gradual relief and mirrored patterns, allows light to shift across the surface throughout the day—making the work feel alive, dynamic, yet calm.Beyond aesthetics, depth also holds emotional weight. It slows people down. You don’t just glance at it—you trace it. That slowing down is a kind of presence, and for me, that’s where the value of decorative design really lies: in creating quiet moments of connection between space, object, and observer.
Winning the A' Design Award for Parawood Verso was a pivotal moment—not just for the project itself, but for my overall design philosophy. It marked the point where years of academic research, conceptual thinking, and lived values began to converge into a tangible, recognized form.For the past several years, I’ve been pursuing a PhD focused on sustainable design systems—exploring how material reuse, emotional attachment, and value-based decision-making can be integrated into product design. This work has always extended beyond theory. My goal was never to separate design and research, but to let them inform and transform each other.Parawood Verso became the first clear reflection of that vision in object form. The piece was never about surface-level eco aesthetics—it was about building sustainability into the very structure of how things are made and experienced. From modular reuse to minimal waste to adaptable interaction, the award confirmed that these principles are not just academically sound—they’re also emotionally and culturally resonant.This recognition has given me both visibility and renewed motivation to expand this approach into future collections. We’ve already begun developing new series that build on the same logic: one piece’s negative becomes another’s positive, tonal inversions echo structural relationships, and local, per-order production ensures minimal environmental impact. These aren't just design decisions—they’re systemic gestures of care.Personally, the award also gave me clarity. It reminded me that design is not separate from the values we research or the questions we ask—it’s where those values become visible. I’m now channeling more of this thinking into my individual practice as well, exploring how decorative design can be used as a platform for systemic storytelling—where form becomes a medium for values, rhythm, and responsibility.
I believe Parawood Verso has the potential to shift the way we think about decorative design—not just as ornament, but as a vehicle for material storytelling and ecological consciousness.In the context of sustainable home décor, it’s easy to focus on materials in isolation: is it recycled, renewable, biodegradable? But true impact comes when materials are rethought within systems. With Parawood Verso, the concept of waste was not something to manage after the fact—it was a starting point. Every piece in the series was designed with a counterpart in mind; every offcut had a future. The entire collection exists because of that logic: material becomes narrative, absence becomes form.As conversations around sustainability evolve, I see decorative wall art as an untapped space for experimentation and education. It’s often overlooked as purely aesthetic—but in reality, it occupies a central place in our homes, our visual culture, and our emotional atmosphere. What if those pieces could also reflect values? What if they could be quiet statements about circularity, interdependence, and care?I hope Parawood Verso contributes to this broader conversation—not as a singular solution, but as an example of what becomes possible when form, ethics, and process are aligned. For me, it's not just about reducing waste—it's about changing our expectations of what design can be responsible for. That’s the shift I’d like to see.