Maria Jeglinska
Office
for Design and Research

Series 3, Plato, 2019
Bellevue Bench, Fiskars Village Biennale, 2019
Portable Walls, Museum of Decorative Arts, 2019
Portable Landscape, Concept for Vitra, 2018
Maria Jeglinska Office for Design and Research

Information

Maria Jeglinska
Office for Design and Research

mail (at) mariajeglinska (dot) com
Warsaw, Poland

Maria Jeglinska, Office for Design & Research was founded in 2012 and is based in Warsaw, Poland. The office works on industrial design projects (products and furniture), exhibition design, curation and creative direction as well as research-based projects in the field of design.

Exhibitions

  • Social Seating, Fiskars Village Biennale, Finland, 2019
  • In Circulation, Portable Walls, IMM Budapest, 2019
  • Between Area and Space, 28thInternational Biennal of Graphic Design Brno, 2018
  • Is Coral a colour?, Superstudio, Prague, 2018
  • Typecasting by Vitra, Milan Design Week, 2018
  • My Canvas by Kvadrat, London Design Festival, 2017
  • Arrêt sur Image, Design Parade Hyeres, Villa Noailles, 2017
  • Breakfast Pavilion, A+A Gallery, Venice, 2017
  • Cadavre Exquis: an Anatomy of Utopia, London Design Biennale, 2016
  • Future Stars?, Aram Gallery, London, 2014
  • Wonder Cabinets of Europe in America, ICFF, New York, 2013
  • La Ville Mobile, St Etienne Design Biennale, 2010

Clients

  • 1882ltd
  • Actus Japan
  • Autor Rooms
  • Kvadrat
  • Ligne Roset
  • Puro Hotels
  • Vitra
  • The Adam Mickiewicz Institute
  • The Museum of Modern Art in Warsaw
  • London Design Biennale
  • Villa Noailles, Hyeres
  • Lodz Design Festival
  • Fiskars Village Biennale

About

Maria Jeglinska was born in Fontainebleau in 1983. In 2012 she established her Office for Design & Research. She graduated from ECAL’s industrial design course in 2007 and was awarded a scholarship from the IKEA foundation that led her to work for Galerie kreo in Paris, Konstantin Grcic in Munich and Alexander Taylor in London.
She works on a wide range of commissions: industrial design projects, exhibition design, as well as research-based projects in the field of design. She is convinced that in today’s world, research can trigger and generate new forms of answers and offers. Her clients include amongst others: Ligne Roset, Kvadrat, Actus, Vitra, 1882ltd, the St Etienne Design Biennale, the Museum of Modern Art in Warsaw. 
Her work is regularly exhibited internationally and was shown at: the Villa Noailles, the Aram gallery, Barbican Art Gallery, Centre Pompidou Metz and the Triennale di Milano. In October 2012 she curated and designed: “Ways Of Seeing/Sitting” at the Łódź Design Festival in Poland. She was also the co-curator and designer of the Polish Pavilion at the inaugural London Design Biennale in September 2016. In 2018 she was appointed creative director of the ARENA DESIGN Fair in Poland.

Series 3

Plato
Furniture
2019

The starting point was to create a collection based on a system that was universal enough to suit as many contexts as possible, from a classic wardrobe in a bedroom to a bookcase that would perfectly „make” the living room.
The construction of the entire Series 3 was based on a system of aluminum profiles. The leitmotif was corrugated glass, which gives a coherent rhythm to the whole and is one of the key decorative elements. The grooves continue in the form of carved drawer fronts made of solid wood. Throughout the design process, ergonomic aspects were as important as the joy of use. Many of the freestanding accessories will also work well in a living room. What is important is that the system allows you to combine many storage functions. In small spaces, a great solution may be to combine a wardrobe and a bookcase with a desk space.
Collection to be launched in the 2nd quarter of 2020.

Bellevue Bench

Fiskars Village Biennale
Furniture
2019

Bellevue was designed upon the invitation of Jasper Morrison, curator of the exhibition “Social Seating”, where 18 designers were invited to design and build a bench for the Fiskars Village Biennale. The exhibition is located outdoors along the river in Fiskars between the two venues of the Biennale.
BELLEVUE is inspired by archetypal 19th c. metal benches. It is a flatpack 2m-long bench made out of aluminium parts. Three disctint vertical profiles, with emphasized armrests on the extremities, support the horizontal aluminium extrusions. 
Then the colour comes a contrast with the rather classic shape of the bench, creating a background for the sitter. The bench is ultimately a tool which provides a view onto the surrounding context. A vantage point between private and public space for the flaneur. 


Social Seating curated by Jasper Morrison 
Comissioned by Fiskars Village Biennale 
May 19th-Sept 15th, 2019

Portable Walls

Museum of Decorative Arts
Exhibition
2019

The Portable Walls collection is inspired by the architectural characteristics of Sándor Mikó’s armchair – reduced to a sign that can be read as either a 2d form or a 3d shape. The armchair’s style is extremely succinct – it functions as a symbol, a pictogram of an armchair while serving the primary function of supporting the sitter’s body. 

Studies on walls that support us when traveling in space. Portable Walls are objects which serve to create a context for other items. After all, it is the context that defines a designed object’s value and importance: their original purpose is to co-function with other items in specific spaces and to accompany us in our daily lives. 

The collection includes four “walls” which create a landscape of free-standing vertical or horizontal surfaces. They are abstract forms which do not point to a specific function, but rather offer freedom in choosing the way they are used and arranged. The portable walls’ distinctive feet were directly inspired by those of Mikó’s armchair and imply (with a dose of humor) the idea of movement. 

While different items may be displayed on the Portable Walls, they are also objects in themselves. They can be used to partition spaces or, with their assigned functionality removed (the piece of furniture and its content), be situated in another space. Portable Walls can function as some combination of museum display plinths, walls, pieces of furniture, theater props, and backdrops that support us in the activities which constitute our day. Motion is part of their form. 

In Circulation: Maria Jeglinska, 21 March – 9 June 2019, György Ráth Villa, Budapest
Exhibition and project commissioned by The Museum of Decorative Arts in Budapest supported by the Adam Mickiewicz Institute and the Polish Institute.

 

Patterns

Print Control
Publication
2018

These geometric compositions are made up of simple hand drawn geometric forms: lines, circles and grids. The latter are contrasted with abstract forms drawn upon a grid. 

As an (industrial) designer I always work within a framework and thus I decided to focus on a simple vocabulary of forms arranged in and on a grid. A constraint I set to myself within the plethora of possibilities. This surely comes from my designer’s background, the idea of creating a system out of one element and explore all its possibilities when multiplied… Afterwards I started reconfiguring these arrangements in grids of various divisions. As if a camera was zooming in and out of them. 

But above all the other element that was pivotal and even more important was the in between space. It created unexpected 2-dimensional architectures. If I were to sum up in one sentence what these compositions are about it would be: the arrangement of the space in between.

Vase Man

Autor Rooms
Product
2018

The latest addition to the hotel essentials collection, a vase, expands on the formal language of the glassware and of the mirrors designed for Autor Rooms. It is a body in the form of a large tube, the bottom sphere reminds legs, standing still and firmly. On each side, semi sphere-shaped tubes recalling the body language of power posing resemble hands. And then comes the most important, the head impossible to grasp, ultimately defined by the owner of the Vase-Man. Sometimes it is leafy, sometimes colourful, which exults a fresh aura, at times modest or of a royal presence. A welcoming presence.

Portable Landscape

Concept for Vitra
Product
2018

In the age of infinite data volume, acceleration and hyperconnectivity, we frequently move throughout the day between rooms with assigned functions and designated activities.
This results in a growing need to reconnect with the natural elements. The objects comprising The Portable Landscape, a collection designed by Maria Jeglinska, serve this very purpose. They aim to provide freedom and variety in our interiors, enabling us to repeatedly enter a space as if for the first time and to continually rearrange its contents adapting to our needs. 
Portable side tables, which can also serve as stools, offer many possible functions and options – to pause, reflect, regenerate. Planters and similar elements can be simultaneously used to form small, natural oases in a room, delineating more intimate areas within a larger space.. The order of panels can be continually repositioned. 

Space Time

Villa Noailles
Publication
2018

SPACE TIME, the film that preferred to be a book. 
A book is a space time sequence.
The publication is the continuation of the exhibition “Arrêt sur Image”, which took place at the Villa Noailles in the summer of 2017 and opened during the Design Parade Festival. The exhibition presented a pause in an emerging sequence through 3 walls showing the various facets of the office: design, drawing and research. 
SPACE TIME gives insight into Jeglinska’s practice presented in the form of a three-chapter film. Subtitles on the pages guide the viewer/reader and slowly introduces the audience to Jeglinska’s world. The publication starts within the four walls of the office, showing the physical space and then bounces to works in the field of product and furniture design, exhibition. It also explores her curatorial projects completed since setting up her own office 6 years ago. The film/publication shows works created for clients such as Ligne Roset, Kvadrat, 1882 ltd, Autor Rooms, London Design Biennale and the Museum of Modern Art in Warsaw.
Olivier Lebrun, a long time collaborator with whom Jeglinska realized in 2010‘s “the Lift & the Space/Object”, designed the publication. Contributions include “The World Famous Drinking Chair,” a short story about Jeglinska’s 2014 “Little Black” chair by Disegno Magazine Editor-in-Chief Oli Stratford, and an exclusive series of photographs by Katrin Greiling commissioned especially for the publication. 

Background(s)

Kvadrat
One-Off
2017

The temporary wall as a backdrop.

When working on exhibition designs, I often have to deal with the challenge of designing the background in such a way as to highlight the exhibited artefact.

Background(s) is a series of large and small panels hung from the ceiling and connected to each other to form a continuous 10 meter long surface. It can be freely arranged in space to respond to social forms and encourage human interaction. Neither object nor architecture but an extension of both, Background(s) is a spatial device that frames situations. It can contain, divide or be rearranged, and exposes everyday events through colour, surface and tactility.

As a design material, textile has the great advantage of being easily scaled: from micro to macro. The weave structure of Canvas lends itself to vibrant, geometric, cut-out figures, which are then sewn onto the surface of the large panels. The order of panels can be continually repositioned.

Commissioned by Kvadrat 
Curator: Constance Rubini
Canvas Textile by Giulio Ridolfo

Cadavre Exquis

London Design Biennale
Exhibition
2016

Cadavre Exquis: An Anatomy of Utopia
Created especially for the London Design Biennale, Jeglinska and Czerniewska’s installation questions how the 21st century creates space for new utopias as it reflects on the numerous crises and failures of modernist social, political and urban projects from the previous century. Borrowing from the form of the surrealist word association game, the exquisite corpse, it invites the viewer to act as a co-creator of a proposed narrative. 
By assuming the role of the wanderer, visitors will face the choice between their own path towards an idyllic utopia or a disturbing dystopia. Whether their vision will be positive or negative will be up to them. The journey examines questions relevant to the current era and the collective search for a new utopia. Does the age of diversity allow space for idealist uniformity and totality? How can Utopia be designed? Is it possible to devise an algorithm to generate a utopian future? 
By confronting two streams of (un)consciousness, Jeglinska and Czerniewska have chosen six concepts relating to the problems of the world of today. Distilled to abstract ideas (cloud, sun, house, high-rise, fossil, artificial intelligence) and presented in unexpected juxtapositions, these notions comprise fragments that amount to a symbolic anatomy of Utopia as an inventive tool for change. 
Commissioned by Culture.pl 
Curated by Klara Czerniewska & Maria Jeglinska 
Design Team: Maria Jeglinska (designer); Krzysztof Pyda (visual identity); Kaja Kusztra (epilogue); Paweł Andryszczyk (sound) 
London Design Biennale, Somerset House, 07.09-27.09.2016 

The Nightingale ceramic collection

1882ltd
Product
2016

The “Nightingale” is a tale written in 1843 by Andersen and tells the story of Chinese Emperor who prefers the tinkling of a mechanical bird (who eventually breaks down) to the song of a real nightingale. 

“The Nightingale” pattern is composed of two surfaces treated differently one involving a mechanical reproduction of a hand drawn pattern and a second one performed by a skilled crafstman. The latter is hand glazed and does not involve a delibarate decor. It is beautiful in its imperfection. Though different, both surfaces at some point involved a hand generated pattern. 

The set is built on contrats of techniques and surfacing: a precise hand drawn decor versus abstract surfaces which form chance patterns. It is precisely that contrast that interests me. 

The coffee collection comprises: a Sugar Box, Creamer, Demitasse Coffee Cups and Saucers, plate 

Production discontinued

Circles Tables

Ligne Roset
Furniture
2016

A steel structure standing on two legs, independent from its top. The tables respond to today’s increased need for flexible pieces. They can be easily moved around, and adapt to the users’ various activities. Not being the central objects in space, they rather aim to complete existing ones. 
After the successful launch of the Circles side tables in 2010, the collection extends with a third member. For the taller version a removable glass top was used to allow it to be used in a variety of environments: outdoor, indoor, residential… 

The Faces of Autor

Autor Rooms
Product
2016

For each of these objects, I tried to imagine people’s arrival at Autor Rooms and how they would relate to the space. Guests and visitors interact with the space for a limited amount of time. Therefore, materials were chosen for their warmth and how they relate to the space. First and foremost, they needed to convey a deep sensory sensation. Three copper presences greet guests upon arrival. These large, face-shaped, polished copper-surfaces mounted on square wooden bases appear to playfully wink at anyone entering the room.
The vocabulary of forms developed throughout these essentials are simple geometric shapes. Materials were selected for their warmth and accentuated with generous shapes. Ultimately these faces, objects and materials are there to provide you with simple joys. Small tactile and visual pleasures for the mind and the body. They are the symbols of hospitality.
The Autor Rooms’ Hotel essentials are made up of a set of The Faces of Autor three free-standing mirrors, a carafe and a glass set, a tray, a doorknob, a shelf and a wall-mounted mirror.
The collection is available here
Project assistant: Maja Szczypek

Hotel Essentials

Autor Rooms
Product
2016

“For each of these objects, I tried to imagine people’s arrival at Autor Rooms and how they would relate to the space. Guests and visitors interact with the space for a limited amount of time. Therefore, materials were chosen for their warmth and how they relate to the space. First and foremost, they needed to convey a deep sensory sensation. Three copper presences greet guests upon arrival. These large, face-shaped, polished copper-surfaces mounted on square wooden bases appear to playfully wink at anyone entering the room. The wooden tray’s massive rim highlights the ash wood’s grain. The bases of the glassware are shaped to reflect a maximum of light, while invoking the concave underside of a wine bottle. The robust glasses sit elegantly in your hand. I initially designed the wooden doorknob for the sliding bathroom doors. Later, the idea evolved to also inspire the shelves and a the wooden brackets supporting the mirror.
The vocabulary of forms developed throughout these essentials are simple geometric shapes. Materials were selected for their warmth and accentuated with generous shapes. Ultimately these faces, objects and materials are there to provide you with simple joys. Small tactile and visual pleasures for the mind and the body. They are the symbols of hospitality.
The Autor Rooms’ Hotel essentials are made up of a set of The Faces of Autor three free-standing mirrors, a carafe and a glass set, a tray, a doorknob, a shelf and a wall-mounted mirror.
The collection is available here
Project assistant: Maja Szczypek

Art, Incidentally

Museum of Modern Art Warsaw
Exhibition design
2014

“In the past, WARSAW UNDER CONSTRUCTION festival dealt with architecture and its designers, advertising in the public space, and participation processes. And now, the time came for artists. Warsaw of the year 2014 is a centre of the Polish artistic life, being the seat for the most important Polish cultural institutions, commercial galleries and cultural periodicals. Every month, Warsaw witnesses dozens of new exhibitions, book presentations, performances, discussions and film shows. As a result of symbolic installations in the city public space (such as Greetings from Aleje Jerozolimskie by Joanna Rajkowska or The Rainbow by Julita Wójcik), Warsaw art is commented on the front-pages of the biggest papers, and is well-known to the city inhabitants. Through their lifestyles, also artists themselves set trends that, after a while, become popular in the society as a whole or in some of its sections. Thus, artists and their art play an important role in emancipatory processes.”
(excerpt from the curator’s statement). 
Exhibition curated by Klara Czerniewska

Henryk Stażewski. Always There

Museum of Modern Art Warsaw
Exhibition design
2014

“In the past, WARSAW UNDER CONSTRUCTION festival dealt with architecture and its designers, advertising in the public space, and participation processes. And now, the time came for artists. Warsaw of the year 2014 is a centre of the Polish artistic life, being the seat for the most important Polish cultural institutions, commercial galleries and cultural periodicals. Every month, Warsaw witnesses dozens of new exhibitions, book presentations, performances, discussions and film shows. As a result of symbolic installations in the city public space (such as Greetings from Aleje Jerozolimskie by Joanna Rajkowska or The Rainbow by Julita Wójcik), Warsaw art is commented on the front-pages of the biggest papers, and is well-known to the city inhabitants. Through their lifestyles, also artists themselves set trends that, after a while, become popular in the society as a whole or in some of its sections. Thus, artists and their art play an important role in emancipatory processes.” (excerpt from the curator’s statement). 
Exhibition curated by Klara Czerniewska

Little Black outdoor collection

Furniture
2014

The project refers to the Warsaw cafes that were created between 1955 and 1965. A period which saw the renaissance of socialising over a cup of coffee. ‘Mała czarna’ is a nickname for coffee which translates as ‘the little black’, hence the name of the collection. 

Currently, there is a similar phenomenon in Poland. A common feature was to furnish these cafes and bars with metal wire furniture designed by either architects or designers. The aim of this collection is to recreate – in a utopian way – a disrupted continuity. To find the essence of what could have been a Polish design identity. The project tries to look into the future but with an understanding of the past. 

Due to the lack of material and technological capabilities this has resulted in finding solutions with minimal resources (in terms of form and use of material). To date, the most associated is the “Polish Poster School”. Lines were directed on a piece of paper in such a way to be able to narrate the maximum using minimum means. As seen in the works of Henryk Tomaszewski, Jan Mlodozeniec. 

On the basis of two elements the entire collection is formed, which consists of: a chair, an armchair, a stool, a bar stool and tables. Following this line of reasoning the distinctive form of the collection was shaped.

Drawn Objects

Self-commissioned
Product
2014

My research in that case always starts with endless drawings. It also helps me to develop a language that later might be applied on serially produced objects. They could be compared to musical “études”, that help me shape a language. A daily training of the hand and the mind in order to keep them fit. Wood is immediately recognizable, Its tactile, visual and olfactive qualities cannot be denied. 
My recent fascination for patterns, motifs was also one of the primary motive for this project. Here patterns are treated in two ways: inherent to the object’s form (3d) and applied onto the form (2d). I wanted to keep the object’s use extremely simple, so obvious that you almost stop looking at them through the function they are meant to perform. A simplicity that tries to transcend the objects function. 
You are never truly sure of the outcome produced, doubt is an inherent basis of this kind of projects. You never know what its “music” will sound like in the end. But precisely this interests me, to leave space for the unknown and try out things, even if they are failures… On industrial projects the tools and the process we use allow us to predict every mm of the object. Here the manual skills of the wood-turner and mine (for the hand-painting) determine the final quality of the object. 
Materials: Acrylic and waxed ash 

Ways of Seeing/Sitting

Lodz Design Festival
Exhibition
2012

Each context defines its way of sitting, like each society defines its set of rules within which it operates. Beyond its end purpose, each object raises a number of issues, including production, environment, culture, and socio-political considerations, global and local production.
By presenting thirty-two produced objects this exhibition explores the ongoing changes in the Man-made world. Sixteen seats are placed next to sixteen objects. Each pair consists of a “chair” juxtaposed with another object – its “analogy”. The goal is to extract the main characteristic common to both of them: the “idea”. The exhibition is thought out as analogue software: a system of representation operating with tags and associations, where a seat guides a category (the idea), which, in turn, defines the object (the analogy).
Show curated & designed for the Łódź Design Festival (Poland)
18.10.2012 – 28.10.2012

Goodie

Ligne Roset
Furniture
2012

Goodie is an upholstered stool based on the same formal construction principles that were applied on the previous pieces for Ligne Roset (Maré lamp & Circles tables). 

Tie glassware

DesignMarketo
Product
2011

The TIE range is based on two separate elements: a glass container and handles. A simple gesture of tying plastic ties around a vessel in order to achieve handles. 

Commissioned by DesignMarketo for the Barbican Art Gallery 

Maurizio

DesignMarketo
Product
2011

The beautiful and perfect Duralex tumbler meets Maurizio from Bar Basso. Conceived as a souvenir of the event rather than a reinterpretation of the iconic glass. Commissioned for the event „Bar Alto” during London Design Festival in September 2011.

Disneymotionland

St Etienne Design Biennale
Film
2010

It is a short study filmed in Disneyland, Paris. Assuming that almost all forms of transport mankind created exist in this corporate microcosm (ferry, cars, trains, spaceships, roller coasters, etc). Some being pastiche representations part of the entertainment, and some developed for the parks and designed by Disney’s Imagineers to help the visiting guests to commute from one attraction to the other.
Film realised in collaboration with Zaq Foltest with music by Marcin Masecki.
Commissioned for the exhibition “la Ville Mobile”, curated by Constance Rubini for the St Etienne Design Biennale.