It’s tough to say how our culture’s blossoming love of faceted geometry originated. Some credit the popularity of certain 3-D modeling software, which produces faceted digital artifacts when models are moved between different programs, often intentionally (see: Zaha in Guangzhou). Others say we love facets because we love the elegance of origami. For German designer Elisa Strozyk, though, facets are simply a means to an end, a repetitive geometry that renders complex, dynamic objects from simple chips of wood.
According to Dwell, during her years at school, Strozyk randomly came upon an image of water-damaged parquet floor. She was transfixed by the organic curves of the wood tiles, thinking, “My God, the wood came back to life and is frozen in motion.” Wondering how she could replicate the effect in a controlled way, she tried attaching tiny facets of wood parquet to a piece of fabric, giving them order and flexibility. The resulting objects, which Strozyk calls Wooden Textiles, are hybrids: parquet when laid flat, blanket when in motion. They won a number of awards, launching Strozyk’s career after she graduated from school with a degree in textile design.
Strozyk’s subsequent work is animated by the same fascination with replicating the effects of time and decay. In Cut and Paste Wallpaper, the designer slices delicate patterns into an ornately embossed wallpaper, which at a distance seems to be peeling away with age. Strozyk’s Furniture Objects works again with facets, juxtaposing them with antique period furniture with amazingly alien results.
Her full website is here.