We had the distinct pleasure to interview award winning designer Sinem Halli about their original and creative Wooden Wall Art design work. Sinem Halli is an award-winning creative designer, that makes our world a better place with their original wooden wall art works.
Sinem Halli ("SH") answered Design Interview ("DI") questions about their award-winning work Parawood Verso Wooden Wall Art. Interview questions prepared by Frank Scott.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
SH : 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.
