DESIGN
APPROACH
AJW’s approach to design is rooted in his firmly held belief about the intricate relationship between art, design and society. For AJW, the essence of design is neither in “styling” by generating new creative visual interpretations of existing utilitarian objects nor in technological, engineering-focused solutions to practical problems. It is rather in seeking ways to improve life experience by focusing on real societal issues and needs and addressing them through the required innovation in the form and functionality of everyday objects and in re-defining the processes of engagement with the material world. For AJW, design is a form of social activism; is not about the designer but about the service that he or she can render to society.
For AJW, the ultimate test of good design is not in the quality of the object itself, but rather in the quality of experience that it affords and its fit with the environment. According to AJW, “the value of design work can only be evaluated when the work is being applied in practice; the evaluation depending on the degree to which we can befriend our surroundings.” High quality design fully integrates the form and the function with the design idea legible in the appearance of the object, with the visual structure conveying the functional process.
In AJW’s words, “design is the art that creates the face of our times more than any other artistic discipline. It is an art that shapes customs and decisively affects the forming of our views and aesthetic positions; art saturated with the everyday, penetrating into homes, and spilling out into the streets.” This understanding of design and its profound impact on the world has made AJW’s design always attentive to environmental concerns and social inclusion and sustainability. For AJW, every design has a consequence: imaginably positive and potentially detrimental and it is the designer’s moral prerogative to never forget about the impact of their work and the resulting responsibility to subjugate his or her own creativity and imagination to the scrutiny of a critical consideration: how will this design contribute to a better world?
MOTORIZED VEHICLES
MOTORIZED VEHICLES
HEAVY EQUIPMENT
HEAVY EQUIPMENT
IRONS
IRONS
CUSTOM PROJECTS
CUSTOM PROJECTS
DESIGN
APPROACH
AJW’s approach to design is rooted in his firmly held belief about the intricate relationship between art, design and society. For AJW, the essence of design is neither in “styling” by generating new creative visual interpretations of existing utilitarian objects nor in technological, engineering-focused solutions to practical problems. It is rather in seeking ways to improve life experience by focusing on real societal issues and needs and addressing them through the required innovation in the form and functionality of everyday objects and in re-defining the processes of engagement with the material world. For AJW, design is a form of social activism; is not about the designer but about the service that he or she can render to society.
For AJW, the ultimate test of good design is not in the quality of the object itself, but rather in the quality of experience that it affords and its fit with the environment. According to AJW, “the value of design work can only be evaluated when the work is being applied in practice; the evaluation depending on the degree to which we can befriend our surroundings.” High quality design fully integrates the form and the function with the design idea legible in the appearance of the object, with the visual structure conveying the functional process.
In AJW’s words, “design is the art that creates the face of our times more than any other artistic discipline. It is an art that shapes customs and decisively affects the forming of our views and aesthetic positions; art saturated with the everyday, penetrating into homes, and spilling out into the streets.” This understanding of design and its profound impact on the world has made AJW’s design always attentive to environmental concerns and social inclusion and sustainability. For AJW, every design has a consequence: imaginably positive and potentially detrimental and it is the designer’s moral prerogative to never forget about the impact of their work and the resulting responsibility to subjugate his or her own creativity and imagination to the scrutiny of a critical consideration: how will this design contribute to a better world?