The mission of the AJW Design Studio Collector’s Shop is to revive the most iconic design and art works of AJW’s career through limited-edition production runs. On this page, we welcome you to browse authentic AJW designs for purchase to add to your private collection. These limited edition production runs always come with a certificate of authenticity designed and signed by AJW himself. We invite you to subscribe to our email distribution list so that you can be among the first informed when opportunities to secure new AJW production runs are open for registration. By registering, you will also be informed of new retailer partnerships, as well as AJW exhibitions around the world. It has always been a dream for AJW to share his designs with the world. We hope that your purchase of authentic AJW products will bring you as much joy as AJW experienced when designing them.
The AJW Designs Studio Collector's Shop is the only place to purchase authentic AJW hand-finished productions. Each product finished by AJW and the AJW Studio production team always comes with a special certificate of authenticity containing a unique product registration card and serial number. Limited edition runs also feature hand-signed letters from AJW.
The Natural Luminance Light Sculpture Collection is the culmination of over 60 years of internationally-acclaimed designer Andrzej Jan Wroblewski’s (“AJW”) artistic pursuit of the ultimate harmony between light, form, and function. Featuring 3 unique configurations (ceiling, desktop, and floor) of AJW’s iconic light sculpture explorations, the Natural Luminance Collection has been showcased in artistic exhibitions worldwide, ranging from the Krannert Art Museum at the University of Illinois, to the Zacheta National Gallery of Art. Each model of the Natural Luminance Collection is hand-finished and assembled at the AJW Studio in Vancouver, British Columbia by AJW together with his grandsons Jan and Antoni Kindler. For the First Edition, only 10 pieces per model will be produced, and each production will come complete with a numbered certificate of authenticity designed and signed by AJW himself.
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Entering the 1957 International Competition for the design of the Auschwitz-Birkenau Monument became a defining moment in AJW’s artistic journey. This submission (co-designed with friend Andrzej Latos) was selected by the prestigious international jury chaired by Henry Moore as one of the top 7 finalists out of 426 designs presented by accomplished artists from around the world. This exceptional recognition of AJW’s creativity led to him being granted a Master’s of Art degree from the Academy of Fine Arts in Warsaw. As one of the two youngest laureates of the competition, along with Helmut Wolf from Germany, AJW was offered the prestigious 6-month scholarship from the Italian Ministry of Foreign Affairs that allowed AJW a rare opportunity during that time to travel outside the iron curtain to Italy. Upon successful completion of this scholarship, AJW received another recognition: the Ford Foundation grant that allowed him to travel to the USA and expand his education through visits in the studios of some of the most influential artists and designers of the 20th century.
This design of the memorial featured boulders of different sizes inscribed with the names of the Holocaust victims who perished at Aushwitz lined up along the path that the prisoners took on the way to the crematoria, creating a “March of Names.” The names were to be inscribed in the languages/using the alphabets reflecting the origins of all the victims. The different sizes of the boulders were a reference to both the young and the elderly who were killed at Aushwitz. Boulders were selected instead of statues to allow relatives of the victim to imaginatively superimpose the identities of their relatives onto the boulders so that everybody could have an intimate and deeply-personal reflection and experience.
Various newspaper clippings announcing AJW’s design being selected as a top-7 finalist in the competition
The “March of Names” was to culminate at the end of a vast, artificial ravine where a large, unnamed split stone was to be found. This was to symbolize the tragic end of the names, and represent the site where the victims of Aushwitz met their final resting place. Beyond the ravine there was a solid, vertical wall with a single stone urn, blocking the landscape to emphasize the finality of the journey and inviting a chance for reflection and solemn commemoration of the victims).