Interview about Biroi Jewelry Collection, winner of the A' Jewelry Design Award 2021
Biroi is a 3D printed jewelry series that is inspired by the legendary phoenix of the sky, who throws itself into the flames and reborn from its own ashes. Dynamic lines forming the structure and the Voronoi pattern spread on the surface symbolize the phoenix that revives from the burning flames and flies into the sky. Pattern changes size to flow over the surface giving a sense of dynamism to the structure. The design, which shows off a sculpture-like presence by itself, gives the wearer the courage to take a step forward by drawing out their uniqueness.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsMy background in interior architecture shaped how I approach jewelry as spatial design. When creating Biroi, I imagined the human body as a space and each piece as an architectural object that inhabits it. This mindset helps me explore structure, rhythm, and materiality on a micro scale. Parametric tools allow me to express these ideas through fluid yet intentional forms.
Unlike rigid geometric patterns like triangles or grids, I chose Voronoi for its organic, living quality. Its fluid transitions from dense to open cells create a dynamic, flame-like surface that captures the essence of the phoenix's rebirth. It feels alive, constantly transforming, just like the myth itself. This natural flow makes it the perfect visual language to express regeneration through movement and form.
Biroi began when I started my nomadic journey. Living across multiple countries taught me how to reset mentally, observe with fresh eyes, and seek patterns beyond cultural borders. Rather than drawing from local traditions, I found inspiration in architecture, especially the structural harmony of Islamic ornament and European forms. Biroi reflects this mental state: fluid, transitional, and free from fixed identity.
The biggest challenge was matching material properties with Biroi's concept. Each 3D printing material has its own limits, like minimum thickness or how it handles fine details. Nylon gave a clean surface that made the design stand out sharply, while steel showed visible print lines. At first, this seemed like a flaw, but it added unexpected texture and depth. Understanding these traits took time and testing, so finishing the first Biroi pieces was a long, trial-based process.
I developed a parametric rule that allows the Voronoi pattern to shrink toward a defined point on any 3D surface. By controlling this point and the density flow, I could apply the same system across multiple pieces, ensuring visual consistency. Yet each form reacts differently based on its geometry, so every piece still has a unique expression. This method gave me both freedom and structure in shaping the Biroi Collection.
Biroi's geometry captures and breaks light to cast delicate shadows on both the body and surrounding space. Its perforated structure lets light pass through, projecting patterns that blur the line between jewelry and sculpture. I design with this spatial interaction in mind: the piece isn't complete until it merges with its environment, especially the body. This dynamic light play reinforces Biroi's identity as wearable architecture.
Biroi isn't designed as a decorative accessory. It's a bold object that claims presence. I wanted the wearer to feel like the phoenix: someone who has faced difficulty and still rises with strength. The form is unapologetically sculptural, meant to echo inner resilience. Wearing Biroi is a declaration. It's for those who move forward with courage and refuse to disappear. The design embodies that defiance through structure, weight, and form.
Biroi began as a single necklace, not a full collection. But over two years, while moving between cities almost monthly, I kept revisiting and refining the concept. Each shift in place gave me mental distance to reassess, while Tallinn became the moment of stillness where I finalized the forms and clarified the story. The collection grew slowly, shaped by constant movement, time, and the realization that this piece held more meaning than I first imagined.
For me, 3D printing removed limitations rather than adding them. Using professional services allowed me to focus almost entirely on design without worrying about mold constraints or production logistics. The materials offered both durability and comfort, which supported my vision of creating sculpture-like pieces that are still wearable. Rather than balancing trade-offs, the technology became a tool that amplified freedom and precision in my creative process.
3D printing shifts jewelry from a craft defined by technique to one open to any designer with a strong concept. It removes traditional barriers, enabling more designers to enter the field. From an architectural perspective, thinking in terms of structure, composition, and spatial context brings a new dimension to jewelry design. The scale may be small, but the design logic remains rich. I believe this fusion of digital fabrication and architectural thinking will redefine what jewelry can be.
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