[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-paged-meble-stylebook-2024":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":109},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":104,"matched_pages":105,"match_count":106,"two_pages":107,"show_text":108},18555,"Stylebook 2024","paged-meble-stylebook-2024","\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F5a\u002Fdc866b7371f2ecfd2bf051ab7c83a8-2895293f59.pdf","Paged Meble",2067,"paged-meble","2.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101],{"image":7,"text":15,"number":16},"      \nbending wood since 1881\nStylebook 2024\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.2.png","Since 1881, we have been passionately \ncreating furniture, utilising the her-\nitage of generations  and continually \nrefining the wood bending process \ninitiated by Michael Thonet. At Paged \nLabTech, we focus on ensuring long \nlasting comfort in the use of chairs \nand tables. Our team of professionals \nensures that our furniture, combining \naesthetics with durability, harmonises \nperfectly with any interior of homes, \noffices, restaurants, and hotels. Our \noffer is a combination of great design \nand functionality. We are constantly \nseeking new inspirations collaborating \nwith renowned designers, gaining rec-\nognition in Poland and internationally. \nBy manufacturing in Poland, we are \nguided by the principles of sustainable \ndevelopment, and our presence in \nover 40 global markets underscores \nPaged's commitment to combining \ntradition with modernity. \nIn this publication, we give \nvoice to designers, and from their \nperspective we want to discuss our \nclassic and latest products. \nOd 1881 roku z pasją tworzymy  \nmeble, wykorzystując dziedzictwo \npokoleń oraz ciągle doskonaląc  \nproces gięcia drewna, zapoczątkowany \nprzez Michaela Thoneta. W Paged \nLabTech skupiamy się na zapewnieniu \ndługotrwałego komfortu użytko-\nwania krzeseł i stołów. Nasz zespół \nprofesjonalistów dba o to, aby meble, \nłączące estetykę z wytrzymałością, \nidealnie komponowały się z każdym \nwnętrzem domu, biura, hotelu, czy \nlokalu gastronomicznego. Nasza oferta \nto połączenie świetnego wzornictwa \ni funkcjonalności. Stale poszukujemy \nnowych inspiracji, współpracujemy  \nz uznanymi projektantami, zdobywając \nklientów zarówno w Polsce, jak i na \narenie międzynarodowej. Produkując \nw Polsce, kierujemy się zasadami \nzrównoważonego rozwoju, a nasza \nobecność na ponad 40 globalnych ryn-\nkach podkreśla zaangażowanie Paged \nw łączenie tradycji z nowoczesnością. \nW tej publikacji oddajemy głos \nprojektantom, i z ich perspektywy \nchcemy opowiedzieć o naszych \nklasycznych i najnowszych produktach. \nwww.pagedmeble.pl\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.3.png","People create the factory,  \nnot machines. I have been working \nat Paged Meble for 17 years, most of \nthe time as a constructor. From the \nbeginning of my career, my interests \nhave been focused on working with \nwood, which allowed me to deepen  \nmy knowledge of wood bending \ntechniques, known as Thonet \ntechnology. This extensive knowledge \nhas proved invaluable in my design \nwork, as it allows me to leverage the \npractical aspects of this specialised \ntechnique.\nThonet bending method was \npatented and implemented over 150 \nyears ago. This technology is not \nonly about how a particular element \nis made, but above all, about who \nmakes it and how much experience \nthey have.\nAt Paged, we have specialists \nwith many years of experience who \nare able to apply complex technol-\nogies in practice, resulting in the \nexceptional quality of our furniture. \nThanks to their skills, furniture such \nas bentwood chairs, become virtually \nindestructible and can serve for many \ngenerations. \nTo ludzie tworzą fabrykę, nie  \nmaszyny. W Paged Meble pracuję  \n17 lat, większość czasu na stanowisku \nkonstruktora. Od początku kariery \nmoje zainteresowania skupiały się  \nna pracy z drewnem, co umożliwiło \nmi zgłębienie wiedzy na temat technik \ngięcia drewna, znanych jako technolo-\ngia thonetowska. Ta obszerna wiedza \nokazała się nieoceniona w mojej pracy \nprojektowej, ponieważ pozwala mi \nwykorzystywać praktyczne aspekty  \ntej specjalistycznej techniki.\nGięcie sztywne metodą \nthonetowską opatentowano i wdrożo-\nno ponad 150 lat temu. Ta technologia \nnie odnosi się jedynie do tego, w jaki \nsposób dany element jest wykonywa-\nny, ale przede wszystkim do tego, kto \ngo robi i jak długie ma doświadczenie.\nW Paged posiadamy specja-\nlistów z wieloletnim doświadczeniem, \nktórzy są w stanie zastosować skom-\nplikowane technologie w praktyce, co \nprzekłada się na wyjątkową jakość \nnaszych mebli. Dzięki ich umiejętno-\nściom, meble takie jak gięte krzesła, \nstają się niemal niezniszczalne i mogą \nsłużyć przez wiele pokoleń.\n \nGrzegorz Gancarczyk\nNODO B-1402\ndesign: Grzegorz Gancarczyk\n2021\nNODO\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.4.png","NODO A-1400 \u002F NODO CORDA B-1404 \u002F NODO B-1402\ndesign: Grzegorz Gancarczyk\n2021 \u002F 2023\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.5.png","SUDOKU\nSUDOKU  FILO \u002F SUDOKU H-9820 \u002F B-9820\ndesign: Grzegorz Gancarczyk\n2023 \u002F 2017 \n9\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.6.png","Creating FUOCO, we based it on the old \nJapanese technique of charring wood. \nWhat we liked most about our attempts  \nwas the fact that we were able to bring out  \na very interesting wood pattern by charring \nit to a greater or lesser extent. We also \nadded a small detail – a brass ball serving \nas a hanger.\nTworząc FUOCO bazowaliśmy na starej \njapońskiej technice opalania drewna.  \nTo co najbardziej nam się spodobało przy \nnaszych próbach to fakt, że byliśmy w stanie \nwydobyć bardzo ciekawy rysunek drewna \nopalając je w mniejszym lub większym \nstopniu. Dodaliśmy też drobny detal  \n– mosiężną kulkę, pełniącą rolę wieszaka.\n \nStudio Iskry\nFUOCO BLU \u002F A-1880\ndesign: Studio Iskry \n2023 \u002F 1881\nFUOCO\nStudio Iskry:  Marysia Gajewska, Michał Niedośpiał\n10\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.7.png","LA BENDA impresses with the subtlety \nof its construction, harmony, and \nextremely fluid form. It gives the \nimpression of being light, as if floating \nin space.\nLA BENDA zachwyca subtelnością \nbudowy, harmonią oraz niezwykle \npłynną formą. Sprawia wrażenie \nlekkiej, jakby unosiła się w przestrzeni.\nLA BENDA B-2960\ndesign: Pedro Salgado\n2021\nLA BENDA\n13\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.8.png","I am a designer specialising in seating \nfurniture, especially chairs and \narmchairs. For the past three years, \nI have been intensely painting, which \nhas given me a new perspective on \ndesign. It allows me to approach \nprojects with greater freedom and \ncreativity. I have been collaborating \nwith Paged for about 10 years, \ngrowing together with the company. \nRecently, I was given the opportunity \nto revisit and improve one of my pre-\nvious projects, ICHO, a very versatile \nmodel known for its simplicity and \nfunctionality. I decided to refine its \ndesign, adding more details, and \nchose to incorporate weaving into the \nchair. Experimenting with materials \nsuch as cotton and Danish paper \ncord, waxed for moisture resistance, \nI aimed to enhance both its aesthetic \nvalues and comfort. \nUltimately, I believe the \ncomfort of the chair should be \nparamount. From this point, I begin to \nexplore its shape and utilise various \ncomponents, drawing inspiration \nfrom the manufacturing process  to \ndiscover new possibilities.\nICHO A-4420\ndesign: Nikodem Szpunar\n2017  \nJestem projektantem specjalizującym \nsię w siedziskach, zwłaszcza krzesłach \ni fotelach. Przez ostatnie trzy lata \nintensywnie maluję, co dało mi  \nnową perspektywę na projektowanie. \nPozwala mi to podejść do projektów  \nz większą swobodą i kreatywnością.\nWspółpracuję z Pagedem od około \n10 lat, rozwijając się razem z firmą. \nOstatnio dostałem możliwość ponow-\nnego spojrzenia i ulepszenia jednego \nz moich poprzednich projektów, ICHO, \nbardzo wszechstronnego modelu \nznanego ze swojej prostoty i funkcjo-\nnalności. Postanowiłem dopracować  \njego design, dodając więcej detali  \ni zdecydowałem się wplatać w krzesło.\nEksperymentując z materiałami \ntakimi jak bawełna i duńska lina \npapierowa, zabezpieczona woskiem \ndla odporności na wilgoć, dążyłem do \npodniesienia zarówno jego walorów \nestetycznych, jak i komfortu. \nOstatecznie, jestem zdania, że \nwygoda krzesła powinna być najważ-\nniejsza. Od tego punktu z aczynam \nbadanie jego kształtu i wykorzystuję \nróżnorodne komponenty, inspirując się \nprocesem wytwarzania, by odszukać \nnowe możliwości.\n \nNikodem Szpunar\nICHO MIO\nICHO MIO A-4422\ndesign: Nikodem Szpunar\n2023  \n15\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.9.png","ICHO MIO A-4422\ndesign: Nikodem Szpunar\n2023  \nPROP\n16\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.10.png","PROP B-4390 \u002F PROP A-4390 \u002F PROP H-4390\ndesign: Nikodem Szpunar\n2014\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.11.png","The PLASA chair combines the classic \ndesign of bentwood cafe chairs with \nmodern wood  processing techno-\nlogies, ensuring  lightness without \nsacrificing strength.\nKrzesło PLASA łączy klasyczny design \ngiętych krzeseł kawiarnianych  \nz nowoczesnymi technologiami \nobróbki drewna, zapewniając  \nlekkość bez utraty wytrzymałości.\nPLASA\ndesign: Nikodem Szpunar\n2023\nPLASA\n21\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.12.png","DRUM\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.13.png","Traditional, truly artisanal woodwork-\ning techniques are a rarity in today’s \nworld. It was a great joy to have the \nopportunity to create furniture using \nsolely human craftsmanship.\nIn our first project for Paged, \nwe aimed to focus on our favorite \nelements, so essential of the brand: \nbentwood and rattan weaving. We \nare familiar with many iconic chairs \ncreated using these techniques. \nSomewhat rebelliously, we designed \ncoffee tables to showcase how \nversatile these traditional materials \ncan be.\nIn the DRUM table family, \nwe proposed two shapes and sizes \nthat can function independently \nor together. Both forms are based \non the same principle - a wooden \ntop is enclosed in a rounded loop \nof bentwood. The lower shelf, light \nand airy, made of natural weave \nis stretched over a wooden frame. \nThe quality of the furniture depends \non the proper tension, and it was \nprecisely this element, stretched  \nlike a drum, that inspired the name.\nI hope that this visually \nand physically lightweight table \nwill demonstrate how traditional \nmaterials - bentwood and classic \nweaving - can create contemporary \nforms for modern interiors.\nTradycyjne, prawdziwie rzemieśl-\nniczne techniki pracy z drewnem  \nto w dzisiejszych czasach rzadkość.  \nTym większą radością była możli-\nwość stworzenia mebla właśnie  \nza pomocą pracy ludzkich rąk.\nW naszym pierwszym projekcie \ndla Paged chcieliśmy skupić się na \nnaszych ulubionych elementach,  \ntak charakterystycznych dla marki: \ngiętym drewnie i wyplocie z rattanu. \nZnamy wiele ikonicznych krzeseł \nstworzonych tą techniką. Trochę \nprzekornie, zaprojektowaliśmy stoliki \nkawowe, po to, by pokazać jak uniwer-\nsalne są te tradycyjne materiały.\nW rodzinie stolików DRUM \nzapropnowaliśmy dwa kształty  \ni rozmiary, mogące funkcjonować \nosobno i razem. Obie formy oparte  \nsą na tej samej zasadzie – drewniany \nblat zamknięty został w obłej pętli  \nz gięciny, a dolna półka, lekka i ażuro-\nwa, to naturalny wyplot, naciągnięty  \nna drewnianej ramie. To od właści-\nwego naciągu zależy jakość mebla \ni właśnie ten element, napięty jak \nbębenek, stał się inspiracją dla nazwy.\nMam nadzieję, że ten wizual-\nnie i fizycznie lekki stolik, pokaże jak \ntradycyjne materiały – gięte drewno \ni klasyczny wyplot, mogą tworzyć \naktualne formy do współczesnych \nwnętrz.\n \nMaja Ganszyniec\nDRUM\ndesign: Maja Ganszyniec \u002F Maja Ganszyniec Studio\n2024\n25\n24\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.14.png","The chair BENKO reinterprets the 19th \ncentury wood bending technique.  \nA modern model was created combin-\ning durability, careful workmanship \nand versatility – the key values of \noriginal bentwood furniture. \nKrzesło BENKO reinterpretuje \nXIX-wieczną technikę gięcia drewna. \nPowstał współczesny model łączący  \nw sobie trwałość, staranność wyko-\nnania i wszechstronność – kluczowe \nwartości oryginalnych mebli giętych.\nBENKO B-8130 \u002F A-8130\ndesign: Tomek Rygalik  \n\u002F Studio Rygalik\n2016\nBENKO\n27\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.15.png","A-6010 \u002F B-6010\n6O1O\nThe history of this model dates back \nto the 1930s, and it has been pro-\nduced by Paged since the 1990s. This \nfurniture is made of bent beech wood, \nfeaturing distinctive cutouts  \nin the backrest.\nHistoria tego modelu sięga lat 30.  \nXX wieku, a od lat 90. jest produkowa-\nny przez Paged. Mebel wykonany  \njest z giętego drewna bukowego,  \nz charakterystycznymi wycięciami  \nw oparciu.\n29\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.16.png","ANTILLA C-9850 \u002F B-9850 \u002F \nA-9850 \u002F ANTILLA FILO\ndesign: Paged Design Team\n1950s \u002F 2023\nThe furniture family produced since \nthe 1950s is characterised by vintage \nstyle and a unique backrest made of \nturned beech rods, crowned with  \na 'comb'. Both the chair and armchair \nare designed for stacking, which \nfacilitates storage and saves space.\nRodzina mebli produkowana od lat \n50., charakteryzuje unikalnym opar-\nciem z toczonych prętów bukowych, \nzwieńczonych „grzebieniem”. Zarówno \nkrzesło, jak i fotel zaprojektowano \nz myślą o sztaplowaniu, co ułatwia \nprzechowywanie i oszczędza \nprzestrzeń.\nANTILLA\n31\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.17.png","I like to think of my designs as \nfunctional sculptures, so form is of \nimmense importance to me. I am  \na graduate of industrial design at \nthe Academy of Fine Arts in Warsaw, \ncurrently a product designer and the \nauthor of the EVO chair. \nIn my work, priorities include \nform, functionality, timelessness, \nand material exploration. Evo is my \nfirst chair, created when I was still a \nstudent. Returning to it years later \nallowed me to see how design trends \nand my own style had evolved. I \nwanted to add a contemporary accent \nwhile maintaining clarity. I focused \non improving the backrest and the \nseat, exploring various concepts such \nas rope weaving. Matching the solid \nwood chair structure, I chose durable, \nUV-resistant rope, ensuring durability \nboth indoors and outdoors. I also \nexperimented with soft, upholstered \nbackrests, transforming EVO's min-\nimalist design into a cosier version. \nThese different variants represent \ncontrasting features, almost like alter \negos, reflecting the dynamic nature of \ndesign evolution.\nLubię myśleć o moich projektach jako \no funkcjonalnych rzeźbach, dlatego \nforma ma dla mnie ogromne znacze-\nnie. Jestem absolwentką wzornictwa  \nprzemysłowego na Akademii Sztuk \nPięknych w Warszawie, obecnie \nprojektantką produktu i autorką \nkrzesła EVO. \nW mojej pracy priorytetem są \nforma, funkcjonalność, ponadczaso-\nwość i eksploracja materiału. Evo to \nmoje pierwsze krzesło, które powstało \njeszcze w czasie studiów. Powrót do \nniego po latach pozwolił mi dostrzec \newolucję trendów projektowych  \ni mojego własnego stylu. Pragnęłam \ndodać współczesny akcent, zachowu-\njąc jednocześnie klarowność. Skupiłam \nsię na udoskonaleniu obszaru oparcia  \ni siedziska, eksplorując różne \nkoncepcje, takie jak plecionka z liny. \nEksperymentowałam z miękkimi, \ntapicerowanymi oparciami, zmieniając \nminimalistyczny design EVO w bardziej \nprzytulną wersję. Te różne warianty \nreprezentują przeciwstawne cechy, \nniemal jak alter ego, odzwiercie-\ndlając dynamiczną naturę ewolucji \nprojektowania.\n \nAgnieszka Pikus\nEVO\nEVO B-2940 \u002F EVO H-2940\ndesign: Agnieszka Pikus\n2014\n33\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.18.png","EVO B-2948\ndesign: Agnieszka Pikus\n2023\n1890\nB-1890\ndesign: Grzegorz Gancarczyk\n2017 \n34\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.19.png","PERLINE B-1838\ndesign: Ola Mirecka\n2023 \nMy role in designing PERLINE was to \nbring lightness, a touch of novelty, \nand a bit of madness to the classic \nThonet model. The idea for the project \nemerged quite early and initially \nseemed too simple. My goal was to \nadd a backrest for greater comfort \nand introduce an element of fun and \npersonal narrative into the project.  \nThe premise of the design was \nnot only to perfectly blend into the \nspace, but also  to express femininity. \nTherefore, I decided to introduce an \nelement into the project that could \nappeal to women, such as jewellery \nlike beads or pearls. I began experi-\nmenting with prototypes, introducing \nbeads on the backrests and armrests \nof the chair, giving the project a more \nmature character. Through these spe-\ncial additions such as beads,  I create \nan interactive relationship with the \nuser, building a dialogue on multiple \nlevels through the piece of furniture.\nMoja rola w projektowaniu PERLINE \npolegała  na wniesieniu lekkości, \npowiewu nowości i odrobiny szaleń-\nstwa do klasycznego thonetowskiego \nmodelu. Pomysł na projekt zrodził się \ndość wcześnie i początkowo wydawał \nsię zbyt prosty. Moim celem było \ndodanie oparcia dla większej wygody \noraz wprowadzenie elementu zabawy \ni osobistej narracji do projektu. \nZałożeniem projektu było nie \ntylko doskonałe komponowanie się  \nw przestrzeni, ale również wyrażanie \nkobiecości. Dlatego zdecydowałam \nsię wprowadzić do projektu element, \nktóry mógłby przemawiać do kobiet, \nbiżuterię taką jak korale czy perły. \nZaczęłam eksperymentować  \nz prototypami, wprowadzając koraliki \nna oparcia i ramiona fotela, nadając \nprojektowi bardziej dojrzały charakter. \nPrzez te szczególne dodatki jakimi są \nkorale, tworzę interaktywną relację \nz użytkownikiem, budując dialog na \nwielu poziomach za pomocą mebla.\n \nOla Mirecka\nPERLINE\n37\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.20.png","NOTE\nNOTE\ndesign: Bartłomiej Lewandowski\n2023\nI wanted to create a model perfect \nfor the office and home.  I aimed to \ncombine practicality and comfort.  \nI believe the Note chair will fit well  \ninto contemporary interiors. \nChciałem stworzyć model doskonały \ndla biura i domu. Zależało mi na \npołączeniu praktyczności i komfortu. \nWierzę, że fotel Note dobrze wpisze  \nsię we współczesne wnętrza.\n \n \nBartłomiej Lewandowski\n38\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F63\u002Fff59afd6b023cbb487b587c1f4e7ef-289529b4a9.21.png","34Z\nterracotta\n2024 \nColor palette\n366 \nwhite\n32P \nlight grey\n342 \nblack\n31Z \nindigo\n35C \ngreen grass\n390 \nsky blue\n35D \nyellow\n388\nbrick red\n34U\ndusty blue\n34C\nolive green\n358 \ncream\n35A \nochre\n34W\nmaroon\n32J\ndark blue\n33J\nforrest green\n35B\nmist\nM87 \nsky blue\nM29 \nolive green\n779 \nblu\nM84 \ndark blue\nM67 \nforrest green\nM28 \nmist\n778 \narancia\nWyjątkowy charakter każdego \nnaszego produktu wynika z użycia \nmateriałów naturalnego pochodzenia, \ndrewna bukowego, dębowego  \ni jesionowego. Nasze podejście do \nprodukcji opiera się na szacunku dla \nnatury i jej zasobów. Akceptujemy \nnaturalne właściwości drewna, takie \njak sęki czy przebarwienia, które \nnie są usuwane podczas produkcji. \nTraktujemy je jako elementy, które \nzwiększają świadomość o naturalnych \nmateriałach.\nWiosną tego roku wprowa-\ndzamy nową paletę kolorów, efekt \nwspółpracy z uznaną projektantką \nMają Ganszyniec i jej studiem. \n„Zaczęliśmy od pracy z drewnem i jego \nodcieniami, ponieważ opowiadają one \ndla mnie historię bogactwa natury” \n— mówi Ganszyniec. Wśród kolorów \nznajduje się pięć ciepłych tonów, które \nmożna zestawić z naturalnym bukiem, \njesionem i dębem. Odcienie zieleni  \ni niebieskiego, stonowane i ziemiste, \nbalansują paletę. Do chłodnych tonów  \ndostępne są komplementarne bejce, \npodkreślające naturalny rysunek \nsłojów drewna. Zestawienie zamykają \ncztery bardziej energetyczne kolory. \nMamy nadzieję, że nowa paleta stanie \nsię Państwa ulubionym narzędziem do \ntworzenia komfortowych wnętrz.\nOur furniture production, crafted \nfrom beech, oak, and ash wood, \nhighlights the distinctive character of \neach piece through the utilization of \nnatural materials. Our manufacturing \nphilosophy centers around respecting \nnature and its resources, acknowl-\nedging the inherent qualities of wood, \nincluding knots, discolorations, and \ncore rays. These features are em-\nbraced rather than eliminated during \nproduction, serving as reminders of \nthe authenticity of natural materials.\nThis spring, we introduce \na new color palette, the result of \ncollaboration with renowned designer \nMaja Ganszyniec and her studio. \n“The starting point of the process was \nwood and it’s shades, as they tell the \nstory of the richness of nature” – says \nGanszyniec. Among colors you will \nfind five warm tones, to be paired with \nnatural beech, ash, and oak. Shades \nof green and blue, toned down and \nearthy, balance the palette. There \nare complementary stains for cool \ntones highlighting the natural grain \npattern of wood, along with four more \nenergetic colors. 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