Interviews met Attila Stromajer

Basically I'm a clinical psychologist. Three years ago I started design on my own pleasure. At first I tried to implement my own ideas, but recently I have some private orders too.

I have always been interested in creative activities: DIY, modelling, drawing, making maquettes. In all areas of my life I have been looking for innovative and revolutionary solutions. I have become more serious about designing in the past 3 years. I started out by designing musical instruments and continued with furniture and home decor. It was a hobby that has turned into passion. I was also inspired by my father, who was an architect.

Besides the digital modelling (Rhinoceros, 3ds max) ways for me it is very important the self-manual, hand designing and modeling. I mean: paper drawing, paper-folding technique, clay work, modelling with wood, etc. Top three aspets of my design is brainstorming from instinctivity, expressing emotions and feelings, problem solving throught the realisation and functionality, intellectual play, beauty and aesthetics. For me it is important to give some message to all of my designs. Not for the reason of teaching, just I beleive that a particular furniture can be more than an aesthetic or functional object. Therefore, while designing I make use of my knowledge I gained as a psychologist about the needs and drives of human beings.

There are many types of emotions I have, when I design. But most of all I can mention the FLOW experience (Mihaly Csikszentmihalyi) where space and time disappear and the designer merge with design activity. Each part is exciting to design, but for me the most exciting part is the initial idea and the journey of design.

I really do not know what is the key to design success. I just design and follow my own path.

I would like to find more good designs and to realize them, that's it. And for the most important thing to learn, learn, learn…

I do not know I'm at the beginning of my career too.

It is a tough question because in many cases – at least in my experience – the opinion of experts about a design is different from the opinion of customers. We are different with different tastes, expectations but I think the most important things in a design are innovation in form, and use of material, in functionality and concept. I also think it is our aim to evoke feelings through our work.

There are no routines, each of my days are different.

I follow up the latest design trends but I trí to ignore that into my design work. I try to follow my own inspirations and ideas.

I think there is no good design, no good building, no paintings or no good art. Just there can be impacts and feeling which can effect us. With functionality, beauty, enthusiasm, specialty, with anything. In my experience, people mostly decide by their emotions. But this is a very subjective and complex process. I do not believe in the perfect and all-knowing design, but in my opinion, everyone could finds their own house, furniture, car, etc. which is the most appropriate for her.

I think a design can never be done. Planning is a process that can always be shaped, rewrapped and resumed at any moment. I also have a moment when I can say that this is done, if I do not look at it next day.

I do not think I made it yet.

There are many many good designers who have impressed me, but one of my favourite is Zaha Hadid.

I live in Hungary, I was born here, this is where I feel at home. I am proud to be a Hungarian. Our culture is really colorful and bears a lot of impacts, which makes it unique. Hungarians are said to be creative, innovative and resourceful, which I feel effects me, too. This, which is I think the result of our not really happy and carefree history, can be a blessing and a curse at the same time.

I work alone, but I hope it changes over time, I want to work in a team.

Az értékek előmozdítása és megteremtése létfontosságú, különösen olyan világban, ahol a tömegtermelés és a gyenge minőségű produtusok jelenlétét kompenzálni kell. Szeretném hangsúlyozni a hasznos és támogató funkciók fejlesztésének fontosságát is, amelyek a világot jobbá, szebbé és méltóbbá teszik. Véleményem szerint a tervezőnek meg kell próbálnia javítani az emberek életét akár esztétikai hatáson, akár funkcionalitáson keresztül. És mindig figyelembe kell venni a fenntarthatóságot és a környezetvédelmet.

It is a great honor and experience that A 'Design Award appreciates my creations, my design work and choose me the designer of the day. I see many adventages of this. I get feedback from my thoughts and art from serious and credible professionals. I feel good thank you.

“Faith” was inspired by our need to believe in something. No matter which culture we look at we will find that it is a universal need of human kind to have faith in something: either in himself, or in transcendence or in a religious concept. In ancient times faith was present in people’s homes in the form of sacred symbols. Nowadays, these seem to be fading from our present culture. Yet, we are longing more and more to hold onto something stable and eternal in our ever changing fast-paced and information-packed world. Our lamp, Faith, symbolizes this need. It got its statue-like shape from this idea. The lamp resembles two praying hands, the early symbol of turning upwards. The multiplied pieces indicate that we are all part of aunity pointing towards the same direction. It also reflects upon the fact that we build our own system of belief from our own experience. The hole inside the lamp shows that the essence of this faith is unique for everybody. We need to fill it with meaning for ourselves. In the middle we find emptiness and stillness which help us reach a meditative state. While ancient traditions used small lamps and candles, our”Faith” is different: suiting our modern time it has leds and its size represents the monumentality of faith and transcendence. In the middle we do not find material or light but emptiness, stillness and silence which help us reach a meditativestate. The metal bottom does not only multiply the visual experience but it show our faith is reflected in all our actions and that we are also reflected in our faith. The intensity of the light is adjustable, which expresses the role faith has in our lives: our changeable dynamism, our hopes and the light that shines on our paths. We can look at “Faith” both as a lamp and as a decoration that creates the ambiance for contemplation.

We had a dual purpose with this lamp. On the one part, I wanted to create an esthetic and usable design. On the other hand we wanted to create something to be more than it is, more than only a furniture and object. We would like to communicate with our designs. We do not want to create heartless products, we wanted to create designs which speak to us, which impact us. Stroodesgin has a foundation and purpose to make our objects or designs represent something more than mere materiality. Without a misunderstanding, we do not want to teach or educate. My aim is to create pieces of quality furniture that apart from fulfilling their functions add something to our lives emotionally. I believe that our furniture has an impact on us, triggering feelings and thoughts in us. It effects our well-being and inspires us. Therefore, while designing I make use of my knowledge I gained as a psychologist about the needs and drives of human beings. Besides being conscious during the procedure, I also like to rely on my intuitions. I look at furniture pieces as our partners in life. My goal is to help people realize that these are much more than objects. They should be seen as an important part of our every day lives and should reflect our personality.

The aim is to communicating with people, the world through our design, is to get more orders to accomplish many of my plans and to continue what we have started. In addition, we would like to sell our designs as a product as well, because we did not work so much for it to be in a warehouse or anything like that.

The geometry and the features of the lamp, the executing of the hidden lighting was very complicated. It took two year to get from the original idea to the final product.

No, this was not a commissioned design, it was based on my own idea.

No I intend to produce my work myself.

We were dedicated to create a piece that does not segregate people by the institutionalized forms of faith. By concentrating on the universal need of mankind to believe in something, we wanted to find the common parts, the parts that bind us together on the level of society. It was challenging to focus on the universality of this basic need for faith instead of turning to specific religions.

It was completely my own idea.

I think this lamp is suitable for in a flat too, but I can mostly imagine in communal areas, restaurants, bars, salons, halls as a decoration and mood lamp.

I did not see a similar lamp yet, but it's pretty subjective what is similar or resembling. This lamp can be used as a standing and ambiant lamp, as a reading lamp, or it can be placed on the wall too with a console. This lamp creates the ambiance for contemplation and symbolizes the significance of faith modified to suit our modern time. The diversely adjustable illuminants give many options for altering the lights expanding the mode of action from soft mood to full illumination. In addition to being a lamp, we wanted to communicate with this, it has a symbolic meaning.

I think I have answered this questions before.

At the first stage I do the planning mentally. I play with the ideas, variations, and give them a lot of thinking. Then I make one – or to be honest a hundred- rough sketches so that I would not forget the ideas. Later I sort the better ones to further develop them. After that I start the research. I also make sure not to design something that already exists. There is no challenge in copying. Then I go on with modelling some sketches in 3D program to check their feasibility. Then I continue designing. The final and hardest stage is when I finalize the model considering the advice of the executors. This covers economical use of material and technological solutions as well. I often do the modelling with wood, clay or paper.

I think the shape of the lamp and the concept which is behind of it and the both together.

Yes, I collaborated with joiners and a lighting professional.

This lamp has three hidden LED circuits: outside, inside and bottom. Wiring these was a huge challenge technically. You can switch and set the LEDs separately or together and the light intensity too by a remote control. That provides extraordinary variation options for adjusting the lights, thus expanding the mode of action from soft mood lighting to full illumination. By the fan-like rotation of the parts it provides a new visual experience from every different angle.

I started out by using organic forms that are built up of layers like onion. I transformed these into geometric forms, multiplied and rotated them. I wanted to symbolize that we are all embedded in some bigger unity. As a psychologists we studied the findings on faith, beliefs, metacommunication and sacred objects used in homes.

The geometry of the lamp was very complex and was difficult to bring to life. It was challenging to find the suitable angles, to plan and carry out the precise joining, to instal and hide the electrical device, LEDS, the wiring, the battery and the switch. We were also focusing on maximalizing the work’s functionality while respecting the design. The special surface treatment of each piece before the assembling was rather time consuming

I wanted to put myself to the test on an international scale. Our company could also benefit from the marketing power of this competition if the design is ranked high.

I learned from this project that it is hard work to get from the concept to the final piece and to keep this process and collaboration free of stress. As I see it, the main challenges are in the small but important details. Also, it is difficult to find the „perfect” version for even a well-developed design. To improve myself I did some research on the internet, read professional books, studied drawing, maths and geometry. I also learned about 3D softwares and the techniques of joinery.

I wanted to thank everybody who was involved in this project: Melinda Kalcsó: conceptual co-designer and consultant, Szergej Szergeev: constructor, executor. Photos: ASM Foto: Norbert Szilas, Marcell Mizik, Video and some of the photos: Imre Szalai.

I was inspired by the architecture of pyramid stairs and the movement of the waves. I was also inspired by organic principles that can be static and dynamic at the same time, like water.

I wanted to create interesting and original 3D structures by using simple geometric forms. My objective was to build a static object in which the steps of transformation can be traced so that it incorporates and expresses the dynamism of change. Beside being a static object, it also gives us the impression of dynamic motion by the fan-like rotation of the parts. It provides a new visual experience from every different angle. This table looks different from every pespective. This way it symbolizes the variety of nature.

I would like to show and sell my works to a wider audience and become an acknowledged designer.

The geometry and the characteristics of this table are quite complex. Finding the rotation point and the ideal size was the biggest challenge. That is why it took almost a year to create it.

No, this was not a commissioned design. It was based on my own idea. I mostly create my own designs but I am also open to produce to order if I can have my designer’s freedom.

No other company uses or produces this product at the moment. I might sell or lease the production rights in the future but only if the original name or brand is kept.

As a psychologist I know that people’s attention can easily be attracted by monumental or changing stimulus. Just like the giant pyramids or the movement of the waves. Unfortunately, these cannot easily be placed indoors. But Wave can do it. It unites the impression of the manmade monument and the dynamic flow of the natural element and it can be part of our everyday life.

It was completely my own idea.

I would recommend this design to those who like this modern, rectangular yet airy shape and to those who admirethe natural effect of wood. I can imagine it in a home, an office or a showroom.

I think what particularly distinguishes this table from other tables is the intresting, suprising perspective, the technical solutions, background work, process of the design, the quality of the wood (ash) and the execution. Only two materials -wood and glass-are used. To create an airy and natural effect we had to avoid using any supporters or mounts. It provides a new visual experience from every different angle. Another unique attribute of the piece is that it does not contain any fittings or stiffenings. It holds itself. It unites angularity and softness.

Although everyone associated different names - pyramyd, steps, etc. - with the table, I called it Wave as it reminds me of the movement and dynamism of waves.

I have done some research in modular, modularity design and paper (pop) up, paper folding techniques. As for design techniques I have tried to experiment a lot with modularity in design technique and read many articles about it. I tried to use smaller parts, modules or skids to create a more multiple and novel object. I experimented with many shapes and sizes of simple moduls, units and then I multiplied and rotated them in several ways. I always experimented with the paper folding techniques in a similar way. And finally I used 3D programs.

It provides a new visual experience from every different angle. It was made of one of the most beatiful woods: ash.

I worked with joiners on this project.

My goal was create an construction, which quite simple and spectacular together without any complicated technologycal solutions and metods. Anyway here comes the role of technology so how to do that, bacause it was a very difficult problem. We create a table without any equipment and appliance, because it holds itself.

We needed to find the balance between the angular shapes and the lightness of the object to reach its harmony. Besides, we had to find the ideal size and place the glass top exactly horizontally. Finding the precise joining points and the object’s fulcrum was also challenging. To create an airy and natural effect we had to avoid using any supporters or mounts. Only two materials -wood and glass-are used.

I wanted to put myself to the test on an international scale. Our start-up company could also benefit from the marketing power of this competition if the design is ranked high.

I learned from this project that it is hard work to get from the concept to the final piece and to keep this process and collaboration free of stress. As I see it, the main challenges are in the small but important details. Also, it is difficult to find the „perfect” version for even a well-developed design. To improve myself I did some research on the internet, read professional books, studied drawing, maths and geometry. I also learned about 3D softwares and the techniques of joinery.

I was inspired by the image of setting fire which I placed indoors and modified its function. The table imitates the role of a fireplace with its lighting and the function of bringing people together. This reflects on the ancient tradition of sitting by the fire.

Evoking the image of fire was the focus of my design. I wanted to place it inside a home without really setting a fire. The inside light is supposed to recall the attributes of fire and the tranquility of a welcoming home. The antiqued and rustic surface generates the feeling of burning and ashes while bringing traits of modernity and functionality to the work. My aim was to present the element of fire and the warmth of a home in an item that has many functions. Beside being a table with big storage capacity the piece can be used to display the objects it holds. In a home, we can keep our personal items in it, while in a bar or café you can put wine bottles or home decor objects in it. In addition it binds the people sitting around it together. They can gather, eat and drink, talk or play cards. That is why I recommend it for social places.

I would like to show my works to a wider audience and to become an acknowledged designer.

The geometry and the features of the table are rather complicated. Besides, I work as a psychologist full time so I could only devote my free time to designing. That is why it took a year to get from the original idea to the final product.

No, this was not a commissioned design. It was based on my own idea. I mostly create my own designs but I am also open to produce to order if I can have my designer’s freedom.

No other company uses or produces this product at the moment. I might sell or lease the production rights in the future but only if the original name or brand is kept.

I am originally a psychologist and I still practise my profession. Through my work I can perfectly see how important real life relationships are in achieving balance in our lives. The power of the reality of „here and now.” Contacting through social media or other online surfaces cannot be compared to real, physical contact. Fireplace is a symbol I used to create the opportunity for people to be together and talk to each other within arm’s reach. This way we are able to look into each other’s eyes not just imagine them. The shining light melts us together giving us the feeling of belonging somewhere. This led me to come up with the concept of the piece.

It was completely my own idea.

This table can be suitable for anyone who likes it but I mostly recommend it for bars, restaurants, saloons or cafés, where people are likely to get together, eat, drink and talk. It would also perfectly fit in bigger apartments. It attracts people to sit around it and enjoy themselves.

I think the built-in lighting, the multiple functions, the storage capacity and the whole image make this design unique. It displays different geometric forms: circle, polygon, rectangle and cube. This product is a lamp and a table at the same time.

The table imitates a fireplace with its lighting. The inside light is supposed to evoke the attributes of fire and the tranquility of a welcoming home. This inspired the name.

I applied modular technique. I wanted to create a special form by multiplying simple elements and blending different geometric forms. First we perceive the table as having a cylindrical form but it is actually a polygon consisting of cubes.

The circular look is built up of modern, angular geometric shapes contrasting the modern and the traditional design, the surface treatment is antiqued both in its colour and material.

Yes, I collaborated with joiners and a lighting professional.

The role of technology appear in this design the built-in lighting and the different geometric forms. This product is a lamp and a table at the same time.

I researched geometric studies and paper folding techniques.

The geometry of the table is complex and was difficult to bring to life. It was challenging to find the suitable angles, to plan and carry out the precise joining, to instal and hide the electrical device, the wiring, the battery and the switch. We were also focusing on maximalizing the work’s functionality while respecting the design. The special surface treatment of each piece before the assembling was rather time consuming

I wanted to put myself to the test on an international scale. Our start-up company could also benefit from the marketing power of this competition if the design is ranked high.

I learned from this project that it is hard work to get from the concept to the final piece and to keep this process and collaboration free of stress. As I see it, the main challenges are in the small but important details. Also, it is difficult to find the „perfect” version for even a well-developed design. To improve myself I did some research on the internet, read professional books, studied drawing, maths and geometry. I also learned about 3D softwares and the techniques of joinery.

I started designing a couple of years ago. Mostly I educated myself. Then I took some professional courses where I learnt product design, drawing and 3D designing.

I have not really thought about it yet. It is new for me to be looked at as a designer. I am attracted to beautiful, special and unique things. I am inspired by the task of giving an already existing object further functions or designing something that has multiple functions and also catches the eye.

It was completely my decision. I take it seriously and I enjoy it. My aim is to become a full time designer.

Recently I have been focusing on designing furniture and lamps. I mostly use minimalist or modular design but I am open to other styles and pieces, too.

I am certainly not a design legend but I would advise them to stick to their own ideas when it becomes to the realization of a design. They should not make too big compromises. They should work out of pleasure and joy and not out of duty. I would advise them to try and create something as unique and progressive as possible.

I do not know but I would like to be one of the latter.

I think a good design should display innovation and novelty in functionality, usefulness or esthetics or in all three. It should be innovative, useful and inspiring. It should also trigger some feelings in people.

I think a design primarily has aesthetic and functional value which is always worth investing in. Its financial value may depend on many factors.

I would design anything for anybody if I am able to execute it. Industrial design or technology is a bit far from my profile but I am open to any challenges, maybe as part of a team. At the moment I am involved in designing outdoor and indoor furniture, installations, building parts and lamps. These also include kitchenware, home decor and handicraft.

I have many plans waiting to be realized. If only I had two lives… Architecture is my passion, I would love to work as a designer on such project. Basically, I am open to anything in designing.

During planning I realized that for me proportions are the most important. I would also stress the general effect we create by the use of certain shapes, colors, material and functions. The adjustment of the minor details is especially important. In my view, the key to success often lies in these minor details. Some designs do not look special or exceptional at first sight. However, if we look closely into the details, the original use of material, technology or joining method and the recommendations to the golden number, we can discover why a design is more exquisite than we previously judged.

I am a great fan of many masters. I could go on listing and praising them for hours. Let me just highlight some of my favorites: Zaha Hadid, Frank Gehry, Philippe Starck, Imre Makovecz, Ross Lovegrove, Pininfarina, Santiago Calatrava, Hakan Gürsü, Arne Jacobsen, Ora Ito, Scaglione Franco, Giorgetto Giugiaro, Eero Saarinen, Milo Baughmann, Ludwig Mies van der Rohe, Alvar Aalto, Greta Grossman, Daniel Libeskind, Sir Norman Foster, Oscar Niemeyer, Kris Lin, etc.

I have a lot of favorite desings, for example Deglon’s Meeting Knife Set is one of my favourite. Beautiful, pure functionality. Innovative and manly, which is also a factor for me.

Well, I am not sure I am the best person to judge this but to tell the truth, my table named "Wave" is my favourite. As I see it, it displays duality and combines opposites. It is standardized in its elements but unique as a whole. It seems technically easy but it is rather complex. It seems heavy and robust but at the same time light and transparent. It is traditional in material but modern in shape.

I find it very important to study other designers’ works. We should investigate why we like what we like, what is the secret behind it. Also, we should learn and use 3D softwares in modelling but drawing, mock-ups, paper-up technique, or claywork is also important. They help us feel the shapes, the proportions and the possible functions. If we can, we should also regularly visit exhibitions to get inspired.

For me designing is not the past but the future, but if I had to be something else, I would be an architect.

Considering my life, design for me is passion, a process of creation and a chance of revival. As a phenomenon, I see it as the merging of innovation, art and every day life.

My greatest help was certainly my wife, who has supported and still supports me on different levels. If I get tense, she tries to calm me down, if I am happy about something, she can be happy for me. She supplies the bits I am lacking. She is my private psychoanalyst.

I am still just dreaming about being a "great" designer, but now that I have received this award, I know it is worth being a dreamer.

I do not consider myself a master, but I faced many obstacles, especially at the stage of realization.

Ideally we should present our works live. Showing only a graphic design without making the prototype can raise different problems. But with the prototype at hand, who needs a graphic design?  Seriously, graphic design is a great tool to show the function, complexity of a piece, or visualizing its possible colors and surroundings. It can enhance the value of a product if you can attach a hand drawing to it, but it can be really time consuming. Therefore, I would recommend to use artistic photos to highlight the beauty and function of the piece as long as they do not distort its real qualities.

I am planning to create a lamp and a dresser. I cannot tell you more at the moment. You will see.

My ultimate goal is self-realization. This way I could serve my community the best. Who needs more?

I guess they expect more and more designs which make them happy. It is not directly about me but about my products, but this is the way it has to be.

Creating user-focused technological solutions and environmental friendly innovations is the most important. Our task is redeeming the damage mankind has caused to nature and creating a more environmental friendly, more human and peaceful way of living. I do believe that we can develop and create pieces without any destruction. However, „money” is not always interested in art and the establishment of values.

It is a secret.

Do you mean my project? It has not been created yet.

It might be a commonplace and naivety to say but I would like to see more handicraft and less technology used in the future. Especially if we consider that it can reduce lavishing our resources, the lack of workplaces, and producing waste. But it is more the job of the polititians and the tycoons to raise awareness about this not that of the designers. The latter know their jobs, I think.

I cannot tell. Maybe rise of the robots. :)

A project is never finished. You just stop working on it. :)

I start working on it in my head. I give it a lot of thought, then I make even more sketches.

If you cannot be free in other ways, at least be free in your thoughts.

I think it works both ways. A really strong and paradygm-shifting desing is capable of changing the trend, but I think in most cases, trends set the designs. Designing involves research of the current trends, partly copying them and being inspired by them, and it is also a business. If you want to be successful, and profitable you had better do something that is already accepted and favoured. Who would order furniture today that no one would buy? Even if it is really revolutionary.

It depends greatly on what I am working on.

I really like the 3D, vector and raster graphics editors too, but I'm just learning the most of them. For example Rhinoceros 5, Grasshoper, Vray, 3Ds max, Illustrator, Photoshop, Inventor, Fusion 360. They are great softwares! I am always amazed at what they can do.

They are very important for me. At least as important as the shape or functionality.

I would prefer them not to ask questions about it, just keep gazing at it.

Why did not I come up with this idea? 

The ideal partner for me is active, motivated, inspiring, witty, reliable and enjoys work. Later I would like to work in a team, too.

So far unfortunately nobody, personally. But I always try to get inspiration from great designers.

One of my favourites is: The Whole Story Paperback by Elizabeth Wilhide, Jonathan Glancey

I am not a master designer but when I look at the world I try to gain inspiration from what I see: nature, animals, any object around me. When I look at some object, I often examine what else it can be used for. I also study other designers’ works. Apart from that, I read books on the subject and perfect my knowledge about 3D softwares. I spend a lot of time modelling and going to exhibitions.

Anybody who is open and interested in the matters of the world and is not too preoccupied with himself.If he happens to be interested in design, it is the icing on the cake.

I am not yet famous, but at A' Design Award I have received two prestigeous awards as a beginner designer, which is really upliftingand reassuring. This feedback shows me I could have a future in designing. Since I got this award, I have received more positive feedback than in all my life. It is a bit strange, but I think I will be able to live with it. :)

I do not have one favorite color but I like blue, black and orange. My favorite place is the Alps, and other mountains. As for food, I like Hungarian cabbage stew „Székely” style, macaroni milanese, and knödel. My favourite seasons are spring and fall. My favorite object is the guitar. I have't got a favorite brands, but there are a lot of brands, which items I like, for example: Ibanez guitar, Alfa Romeo, Mazda, Tag Hauer, Fossil, Italian furniture brands in general.

One of my designs has been built by at least 4 constructors and it is about to arrive at a new one. Just like a traveling trophy...Nobody has been able to figure out what it is but everybody has liked it so far. They have called it mirror, statue, stand, rack, lamp and sliced whatsitsname. I have been working on it for two years and for a while I myself was not sure what it is going to turn out. I know by now. It is entertaining to obsesrve what people can see in the same thing, just like in a Rorschach test. Sometimes I find the form first and later the function.

Another story: someone said the other day that our daughter is our best design everI think he was right. Our daughter was planned although not on paper or by softwares, and we can hardly create anything nicer or better.

Unfortunately I can only work as a designer part time, because I have a full time job, so I have to divide my time. I hope to be a full time designer soon. If I look at my work and I feel that I have really achieved something, then I feel motivated. Maybe the next day I will not like it as much, but it gave me satisfaction for the day of creation.

No, not at all. I think you can be contented if you can live up to your potentials. And what else can be more important than to be contented in life?

I really don't know, but I hope the world will be more peaceful and livable place than now and the design can efficiently contribute to this.

Never give up your plans and dreams! Work on realizing your ideas.

I have always been interested in creative activities: DIY, modelling, drawing, making maquettes. In all areas of my life I have been looking for innovative and revolutionary solutions. I have become more serious about designing in the past 3 years. I started out by designing musical instruments and continued with furniture and home decor. It is a hobby that has turned into obsession. I was also inspired by my father, who is an architect.

The aim of Stroodesign is to create pieces of quality furniture that apart from fulfilling their functions add something to our lives emotionally. We pay attention to sustainability and creating durable furnishings. We believe that our furniture has an impact on us, triggering feelings and thoughts in us. It effects our well-being and inspires us. Therefore, while designing I make use of my knowledge I gained as a psychologist about the needs and drives of human beings. Besides being conscious during the procedure, I also like to rely on my intuitions. I look at furniture pieces as our partners in life. My goal is to help people realize that these are much more than objects. They should be seen as an important part of our every day lives and should reflect our personality. Keeping to our mission, apart from bringing our own ideas to life, we are open to subcontracting and creating furniture imagined or designed by our customers. In this case, we try to adapt the products to the customers’ style, personality, or image as much as possible.

Considering my life, design for me is passion, a process of creation and a chance of revival. As a phenomenon, I see it as the merging of innovation, art and every day life.

At the moment I am focusing on designing furniture, lamps but I am also interested wall covering, panelling, kitchen tools, architectural designs, spatial installations, etc.

I like modern, minimalist and futuristic design, but I like Bauhaus, Art Deco, etc. One of my favourites is the modular and parametric design, which usually uses simple and organic forms.

I have a couple of ongoing plans, but I can not say anything factual about these yet.

I like to work with natural or recycled material like wood, metal and glass. Respect of nature and sustainability is very important for me.

When I can submerge in work. Stillness, peace and nature inspires my creativity. And of course, my daughter’s smile

I put emphasis on form, innovation and function as well. The most important aspect for me is the artistic effect and the emotions a piece triggers in people. As my objects are used in the households, I also concentrate on functionality. In the most desired but rare case artistic expression can meet functionality without either of them get hurt. However, in most cases we have to make compromises and decide in favor of one or the other. As for me design is primarily art, I usually favor artistic effect.

I can experience flow. Time and space disappears. I am alone with my design. However, I do not strive to have only positive feelings. As a human being I am prone to having bad moods and emotions as well. I have to accept them, too.

I feel happy, contented and most of all relieved as usually realization is the most difficult stage in design.

It is a tough question because in many cases – at least in my experience – the opinion of experts about a design is different from the opinion of customers. We are different with different tastes, expectations but I think the most important things in a design are innovation in form, and use of material, in functionality and concept. I also think it is our aim to evoke feelings through our work.

I choose not to judge others’ designs as I think it is a matter of taste what we consider good or bad, nice or ugly, useful or useless.

The promotion and establishment of values is of vital importance, especially in a world where the presence of mass production and poor quality produts need to be compensated. I would also like to stress the importance of developing helpful and supporting functions as in Hakan Gürsu’s "Shelter Pack Post Disaster Shelter" or in other designs that make or world better, nicer and more worthy. In my opinion a designer should try to improve people’s lives either through esthetic impact or functionality. And we should always take sustainability and environmental protection into consideration.

I think the future of design lies in user-focused technological solutions and environmental friendly innovations. Our task is redeeming the damage mankind has caused to nature and creating a more environmental friendly way of living. I do believe that we can develop and create pieces without any destruction.

I have been exhibitoin in Hungary last year. I was invited to abroad many times but I have not been able to go abroad untill this time. But we plan to go this year.

I was inspired by the architecture of pyramid stairs and also the movement of the waves. I wanted to create interesting and original 3D structures by using simple geometric forms. I multiplied and then rotated the frames. My objective was to build a static object in which the steps of transformation can be traced so that it incorporates and expresses the dynamism of change. I was also inspired by organic principles that can be static and dynamic at the same time, like water.

My design style involves modern minimalist and some futuristic attributes. To balance this, I use recyclable, natural and environmental friendly material. I try to achieve a rustic effect by using wood to balance the overwhelming use of plastic I notice nowadays. I would like to create designs that are simple yet innovative at the same time and fulfil their functions.

I live in Hungary, I was born here, this is where I feel at home. I am proud to be a Hungarian. Our culture is really colorful and bears a lot of impacts, which makes it unique. Hungarians are said to be creative, innovative and resourceful, which I feel effects me, too. This, which is I think the result of our not really happy and carefree history, can be a blessing and a curse at the same time.

It is very difficult to find a reliable and talented partner with the right capacity. But it seems I'm on the way now.

I do not know. I do not know that side of the business.

At the first stage I do the planning mentally. I play with the ideas, variations, and give them a lot of thinking. Then I make one – or to be honest a hundred- rough sketches so that I would not forget the ideas. Later I sort the better ones to further develop them. After that I start the research. I also make sure not to design something that already exists. There is no challenge in copying. Then I go on with modelling some sketches in 3D program to check their feasibility. Then I continue designing. The final and hardest stage is when I finalize the model considering the advice of the executors. This covers economical use of material and technological solutions as well. I often do the modelling with wood, clay or paper. Then instead of sitting in front of the computer I carve and drill. If it does not turn out to be a masterpiece, my daughter can always use it as a toy.

One of my guitars, my favourite glass, my laptop mouse, one of our vases and of course, our daugter: our most beautiful and most precious „design”.

There are no routines, each of my days are different.

I would advise them not to be influenced by others, not to make huge compromizes in creating their pieces. They should aim at creating out of passion not out of duty. Try to create something unique and innovative. Sometimes it is hard to let ourselves enjoy the freedom we have in creating.

For me nothing compares to the flow it gives, or to the desire of creating something new. However, I have to admit that sometimes the constant brainstorming that can keep me from sleeping is really exhausting. It can result in sleeping disorders. Furthermore, it reduces the time I can spend with my family, which is hard to digest. I am a perfectionist with all its positive and negative effects.

The golden rule for me is to be unique and innovative, to create value and quality. I would never copy someone else’s work. In planning the main task is finding the right proportions. For me, esthetically this is the key for a good design. And of course daring to be as free as you actually are when you start a design.

Creativity, knowledge, wide circle of interest, accuracy, elaboration, strong imagination, good perception of depth, drawing skills, experience in digital modelling, art history, science, sensitivity to novelty, to new technologies, buta t the same time, respect for traditions, styles and designers. Sensitivity to social problems, open mind, love of liberty… I could go on and on….

Drawing, digital modelling, paper-folding technique, clay work and books on the subject. Rhinoceros, 3ds max, research, studying the literature. Sometimes just contemplating on the everyday world around us.

Time management is really tough. I have no idea how I do it but I try to do my best and it usually works.

It depends on the actual work. One piece took 15 minutes, while another has been preoccupying my mind for a year. I have found that the great ideas come out of the blue and take a short time to design but with the modifications and final touches it could take quite a long time to bring them to life.

People usually ask me how on earth I got this idea to be a designer.

As I am at the very beginning of this carreer I cannot identify such thing yet. But as soon as I can, I will share it with you.

I would like to talk about this later.

I like all of them, because I like the designing process.

I would like to create my designs and design new furniture or decorative objects. I am looking forward to getting orders. I am going to put emphasis on building my brand and working on two new pieces in the near future.

I do the planning and designing all by myself but in the creation and development of the pieces I cooperate with joiners.

No, not at the moment.

https://stroodesign.hu/contact/

Well, the idea was basically simple, the shape of a piano inspired me to design a piano-shaped desk. The desk was inspired by the role of the piano in modern and classic homes. The formal analogy and transformation was just one aspect. The other was that the form represented and symbolized the flow of creativity and music through another modality. Through the form, you can not only see the piano, but also hear its sound.

With the parametric form and the function of the table, I wanted to highlight the flow of music and creative work, and that the table symbolizes musicality and the transition between sensory modalities, modality shift, and modal transformation. With a more modern parametric design, I tried to preserve the elegance and charm of the piano with a rustic finish that contrasts with it, while trying to make it as functional as possible. The goal was for the table to bring auditory modality and musicality into our homes through visual modality, and to symbolize the flow experience of music and creative processes across different modalities.

The geometry of the desk was very complex and difficult to design in a way that remained functional, combining modern, parametric design while still being reminiscent of the shape of a traditional piano and representing the ideas behind the design. Finding the right dimensions, proportions, angles, designing and executing precise joints and special surface treatments for each piece were a great challenge, and the assembly process was quite time-consuming.

Well, during the design, the coordination of hearing and visuality only affected the basic overall form, in the specific details, I followed the coordination of the shape of the desk and the piano during the geometric design.

I used a wide variety of design processes during the experiment, paper and then wooden models were also made. The main direction was 3D modeling, without which it was almost impossible to design, we could only measure and calculate these angles with a program, the model versions were also made based on this. By the way, as far as manual design is concerned, paper plastic helped a lot in creating the basic form, I really like it, it is a very exciting method.

The desk is made of antiqued plywood, copper drawer handles and legs. I initially wanted it to be made of solid wood, but in many places the text is so sharp that we could not exactly make it out of it, only thinner materials. The appearance is built up by modern, angular and parametric geometric shapes, which create a contrast between modern and traditional design, here the shape represents the modernity, so to speak, and the wood and rustic surface treatment the archaizing effect. In addition, there was no other connection in the choice of materials regarding auditory and visual coordination, the role of the latter was only in the choice of form representing the basic idea. Visuality primarily represents functionality and a more modern zeitgeist, style, while the rustic surface treatment and choice of materials are a kind of tribute to the piano as a classical instrument and the tradition of its musicality.

The folding lid mechanism of the Intermodality Desk also evokes the traditions of the classical piano. This is not the most obvious and simplest solution functionally. I would probably say that if I were just designing a desk, I would definitely not make it foldable, although it is quite common for drawing and planning desks. I started from this during the design, I looked at how many such desks work. So the "life partner" approach stems from the fact that this object is not just a desk, but a symbolic representation of the piano and at the same time musicality, just like when someone designs a guitar-shaped pool. In design, function should be primary, it cannot be sacrificed on the altar of design, but with an object like this, some level of compromise in functionality is inevitable.

Well, I basically intended this design as an artistic concept, I have no further plans for it. For me, the beauty of design is finding the reasonable, acceptable, yet experiential boundary between functionality and symbolic design. Perhaps this concept goes a little beyond the boundaries of "good" functionality in terms of compromises, but I think pushing the boundaries within reasonable limits is one of the essences of art.

If it had been so conscious, I would say so, but I consider myself more of an intuitive artist than a designer, but this may be due to my self-taught, contemporary approach. Recently, I have turned more towards painting and I apply these guidelines there as well. For me, effective, interesting and unique art is based on a mixture of conscious planning, intuition, spontaneous emotional flow, and not only in the planning phase, but also in the implementation phase. This can be But there was also rationality in it, obviously, because parametric planning and design, which represents modernity for me, was a conscious choice, so to speak, in contrast to the combination of the traditional, classical form of the piano. If there had been no consciousness in it, then of course I would have designed a desk in the shape of a classical piano.

Well, it depends on what we mean by welfare-enhancing views. I was obviously pleased with the high-level recognition and I would like to thank you for this, especially for the fact that they recognize the design and artistic process where not only the lean, but obviously very important functionality is the only main consideration. Symbolism, ambiguity, movement on the thin border between concretism and symbolism are both very important in my creative work and in my work as a psychologist, and I can express my thoughts on this border with the tools of visuality. This pushing of the boundaries is reflected in all my creations and designs. The most important benefit of this symbolic transfer of thoughts or emotions for me is that for me, free art does not teach, does not suggest, does not influence and manipulate, does not want to tell the recipient what to see, feel, think, but involves the viewer, user, recipient in the creative process and through their subject, feelings and thoughts gives them the freedom to freely shape their own perception. It is important to me that we leave the possibility and freedom for the recipient's interpretation and feelings to flow freely!

Well, I think my broad and diverse experience of human functioning has shaped my outlook and thinking. The consequence of this is a different kind of vision and perspective, which I also apply in my art. What I did in these tenders is not furniture design in the traditional sense, but a kind of mixture of design and industrial art. Basically, I'm not a furniture designer, I've never claimed that, I'm just a person approaching from a different direction, who uses his previous knowledge and point of view to design. I also study graphics and paint, and this approach appears everywhere in my work. I think that I am a psychologist and an artist at the same time, since both professions require a way of seeing and an approach that is different from the average. I think that what makes an artist is not only his knowledge or his technique, but also his ability to think and express emotions. The fact that he has something to say with his works, which he can express through visual means. In this respect, psychology and art are very similar. The essence of both professions is a change of perspective.

This lamp has three hidden LED circuits: outside, inside and bottom. Wiring these was a huge challenge technically. You can switch and set the LEDs separately or together and the light intensity too by a remote control. That provides extraordinary variation options for adjusting the lights, thus expanding the mode of action from soft mood lighting to full illumination. By the fan-like rotation of the parts it provides a new visual experience from every different angle. This all creates an opportunity for different scattering and display of light. This is also an opportunity to display and express different moods. It is possible to fully illuminate the given room, or to create a slight mood light. The user thus has the opportunity to control his mood, feelings or spiritual attitude at the moment, i.e. he can adjust the lights as he likes for the specific activity he is doing. Be it yoga, gymnastics, reading, relaxation.

I started out by using organic forms that are built up of layers like onion. I transformed these into geometric forms, multiplied and rotated them. I wanted to symbolize that we are all embedded in some bigger unity. As a psychologists we studied the findings on faith, beliefs, metacommunication and sacred objects used in homes. I was committed to creating a piece that did not separate people by institutionalized forms of faith. Focusing on humanity's universal need to believe in something, we wanted to find the commonalities, the parts that connect us at the level of society. It was challenging to focus on the universality of this basic need for faith rather than turning to specific religions. The multiplied and upward pointing elements symbolize that we are all pointing towards unity. It also suggests that we build our own belief system from our own experiences. The hole in it shows that the essence of this faith is unique to everyone. We need to fill it with meaning. In the center we find emptiness and stillness, which help us reach the meditative state. The reflective metal base multiplies the visual experience and shows that our faith is reflected in all our actions and we are reflected in them.

Basically, I imagined a world of shapes born intuitively in my head, which does not clearly follow either traditions or contemporary trends. I was thinking in terms of modern forms, but traditional values. Our world does, but I don't think humans have changed much over time. At least its basic nature, needs and values ​​are almost timeless. At least that's how I see it as a psychologist. I just wanted its design and functionality to express the point of view I described above. I wanted to symbolize the universal faith with the upward shape, and with the diversity of form and perspective, and with the complex and variable light settings, our diversity.

I think that geometry, like metimatics, is a kind of universal code, tool, form of communication and understanding for humanity. Maybe geometric shapes are more universal because of this, but this is just an assumption on my part. It's interesting, because I'm a big fan of the uniqueness, style, and decoration of different cultural tours and religions. This variety is absolutely amazing to me, so the temptation was quite great. However, I wanted to avoid forms and decorations linked to specific religions and cultural tours. The reason for this lies in the symbolism carried by the lamp, which draws our attention to our diversity and uniqueness as well as to our universal characteristics.

This lamp was made of ash wood, the bottom is stainless steel. Natural varnish was applied on the surface, which gives the structure lightness and balances the stability and rigidness of the angular forms. The natural finish, the size, the adjustable illumination and the shape of turning upwards may remind the feeling of intimateness while bringing traits of modernity and functionality to the project. The organic character of the tree reflects the closeness to nature that lives in us to this day, and the desire for it. The metal base multiplies the visual experience, scatters the light and shows that our faith is reflected in all our actions and we in them. LED lighting represents our technological world today.

Well, I think my diverse and multifaceted experience in the field of human functioning has shaped my approach and thinking. The result is a different way of seeing and perspective that I apply in my works. I also follow this approach in my graphic and painting works.

My concept advisor is my wife, who is also a clinical psychologist. He mostly contributed greatly to the development of the intellectual and spiritual concept. And Sergej is a woodworking engineer, he was the one who turned my 3D designs into a production plan, refined them and made the lamp itself. Without them, this lamp could not have been created, it was really a piece of work. It is the result of two difficult but very exciting years of development.

The empty space in the lamp is the space and place that the individual fills with content. In the center we find emptiness and stillness, which help us reach the meditative state. This emptiness depends on the individual, to whom, lack of self-knowledge, loneliness, other deficiencies, lack of self-identity, lack of identity, cultural alienation, whatever. But it's not just a lack, it's a place and time for inner silence, thoughtlessness, or pure attention to ourselves. But let everyone decide what it can mean to him, that's the point.

I guess it depends on the individual how and where he wants to do this for himself. I think that real contemplative spaces are not in people's homes, but that's why it was an interesting concept for me to bring this into our homes. Anyway, I think that everyone tries to create their own contemplative or meditative space at home, I am thinking of things like a yoga corner, a playroom, a reading corner, a small fitness or wellness room, a creative space, a studio, or just plain atmospheric elements, candles, perfumes, music, festive occasions, etc.

The fireplace table imitates the role of traditional internal combustion fireplaces, stoves, i.e. indoor fireplaces, in a modern design and placed in the function of the table. The interior light evokes the qualities of fire and the tranquility of a friendly home. Fire is one of man's most ancient companions and at the same time a tool. To this day, one of humanity's favorite social pastimes is grilling by an open fire in the garden or camping. The antiqued and rustic surface creates a feeling of burning and ashes, while bringing notes of modernity and functionality to the space. The circular appearance is also based on the shape of the fire pit.

We wanted a fire pit in our garden, but we didn't want to buy one, nor did we want to pour it out of concrete. So I started laying bricks in a circle, skipping one place at a time, in several rows. When it was ready and we used it many times, I watched the light shine through the alternating gaps and then I thought about what it would be like if I somehow put this inside. Anyway, my entire design career began with this project. I think my psychological background influenced me the other way around, I became a psychologist because I often see things differently, from a different perspective. Creativity and problem solving are common in that I chose the profession of psychologist and creative activities. It's like an unusual usage test applied as a creativity task. What else can a thing, object, sight, thought, etc. be used for? Creativity can also be interpreted as orientation in the wide association space.

Since I wanted to bring the concept and atmosphere of the fireplace into the interior, functionality was also very important in addition to the atmosphere. Since it is a utility item, I tried to make it possible to place all kinds of objects, CDs, books, wine bottles, glasses, etc., in almost every opening. The interior lighting had to evoke the qualities of fire and the tranquility of a friendly home. The antiqued and rustic surface creates a feeling of burning and ashes, while bringing notes of modernity and functionality to the project. The table is made up of angular geometric shapes, which create a contrast with the modern and traditional design, symbolizing the confinement to our modern world.

The geometry of the table is complex and was difficult to bring to life. It was challenging to find the suitable angles, to plan and carry out the precise joining, to instal and hide the electrical device, the wiring, the battery and the switch. We were also focusing on maximalizing the work’s functionality while respecting the design. The special surface treatment of each piece before the assembling was rather time consuming.

For the antiquing, we used both manual and machine techniques with the carpenter. I deliberately chose spruce as the material for the table, which has both soft and hard parts. In the beginning, I deepened the soft parts with sandpaper by hand, then we milled the soft parts with an anitizing machine made for this purpose. This machine is practically a rotating wire disc that functions as a core. During the second phase of antiquing, we dropped black paint into the milled parts, which we wiped back. Then came the pickling, and then the entire surface was sanded at the same time. That is, we antiqued the surface. And at the end, we treated it with matte varnish. This is a rather time-consuming task, and it is not an easy procedure to pay off in series production.

During creating this table I researched geometry and we made a lot of attempts until we managed to build this rather complex structure. I started with paper up, paper folding techniques, but it was not enough. Then my constructor’s form erexperiences and 3D softwares helped us to arrive at the final solution. The biggest challenge was to adjust the angles of the cubes precisely both inside and outside considering the radius, diameter, practicality, measures and proportions. The geometry of the table is complex and difficult to bring to life. It was a challenge to find the right angles, plan and execute the precise fitting, install and hide the electrical device, wires, battery and switch. We also focused on maximizing the functionality of the work while respecting the design.

For me, the fireplace table project symbolizes not only the importance of fire and the use of fire, but also the ancient environment and way of life of man. Today's people also yearn to return to this environment, to nature, to the proximity of the waters, to the experience of sitting around the fire, cooking, baking and generally belonging to the community. Amai urbanized people, forced into cars, apartments, and closed spaces, somehow lost not only the experience of connecting with nature, but also the experience of belonging to traditional communities. I perceive our increasingly alienated world more and more dramatically in my own life and in my daily work. I love technology and I'm not against technology or modernity, but I feel that today's people don't live in the way that would actually be true to their nature. This table is an artificial and at the same time somewhat ironic manifestation of this. We force things into rooms that don't belong there, including ancient elements, plants, animals, and ourselves.

The answer is related to the previous question, because the idea, like most things born in nature, was inspired by it. This was followed by the layout of the real outdoor fire pit, and then I modeled it out of wood. After that came the most difficult part, creating the geometry of the table, which was extremely complex and difficult. The biggest challenge was to create the right size, where the angles exactly meet, to plan and execute the precise fit. Then installing and hiding the electric wires, the battery and the switch, etc. This was perhaps the most difficult project I've worked on, and it doesn't look like it.

For me, traditional and modern woodworking crafts have merged very effectively with contemporary design, both in terms of approach and execution. stroodesign, although it was built on my initiative and ideas, as a company it actually remained a one-man project. That's why I can only speak in my own name and I think that I am the amalgamation of traditional and modern views. In all my creations, be it graphics, painting or design, I really like to combine tradition and modernity. Not necessarily in style, but in approach and concepts. There are two reasons for this. I respect traditions and the creators of traditions, because they carry all the knowledge of humanity, so I don't want to identify with their complete rejection, like, say, Dadaism. Another thing is that we live in today's world and we have to live and create in it. A recognized and respected Hungarian painter told me that what distinguishes an amateur and a professional artist, or even a creator from an artist, is that the latter places its themes and what it has to say in the present, seeks answers to the questions of the given age, but does not forget it, or it lacks its roots, the knowledge and quality we inherited. I believe that too.

I don't believe that my furniture influences anything, but fortunately I see many examples of an excellent combination of organic and modern materials and approach. I wish everyone, if possible, not to sit next to my table, but to go out into nature and experience things as they really are, as long as you can. Make a fire or take a walk and have a good chat outside. When it comes to interior spaces or meeting spaces, I like those where there are organic materials in addition to plastics. That makes it homely for me, and I think this is independent of the style. But I think there are as many different tastes and views as there are people.

I was inspired by the architecture of pyramid stairs and the movement of the waves. I wanted to create interesting and original 3D structures by using simple geometric forms. I multiplied and then rotated the frames. My objective was to build a static object in which the steps of transformation can be traced so that it incorporates and expresses the dynamism of change. I was also inspired by organic principles that can be static and dynamic at the same time, like water.

The wooden structure and the large tempered glass top meet only on a thin surface. It was made without the use of any fittings or stiffenings. The structure holds itself. It gives stability and at the same time strengthens its lightness and airiness. The bright natural colouring gives the structure lightness, which balances the stability and rigidness of the angular forms. Beside being a static object, it also gives us the impression of dynamic motion by the fan-like rotation of the parts. It provides a new visual experience from every different angle. Another unique attribute of the piece is that it does not contain any fittings or stiffenings. It holds itself. It unites angularity and softness. The sights of this table is different from every pespective symbolize varied of nature. Only two materials, wood and glass are used. To create an airy and natural effect we had to avoid using any supporters or mounts. Finding the precise joining points and the object’s fulcrum was also challenging. Besides, we had to find the ideal size and place the glass top exactly horizontally. We needed to find the balance between the angular shapes and the lightness of the object to reach its harmony.

Well, I think my wide-ranging and multifaceted experience of human functioning shaped my approach and thinking. The consequence of this is a different way of seeing and perspective that I apply in my art. What I did in these applications is actually not furniture design, but a kind of unique mixture of design and industrial art. Basically, I'm not a furniture designer, I've never claimed that, I'm just a person coming from a different direction, who designs and creates using his previous knowledge and perspective. I am also studying graphic design, and I also paint, and this approach appears everywhere in my work.

I think that I am both a psychologist and an artist, since in both professions a different vision and approach than the average is necessary. I think that an artist is not only made by his knowledge or technique, but by his ability to think and express emotions. The fact that he has something to say with his works, which he can express through visual means. In this respect, psychology and art are very similar. The essence of both professions is a change of perspective.

Well, they mainly helped with modeling, making the first models. The idea was born in my head, after that I designed it on paper in two dimensions and cut out the elements, which I rotated on top of each other and thus the elements were already placed in three dimensions. Then I made it out of wood, and then came the prototype.

I'm glad you think so. Well, that was simple, because the rotation of the elements itself also brought stability. As the fan shape opened, it created a stable point on the ground at both ends. Anyway, in principle, its stability is far from perfect and it goes without saying, since the thinner side of the table has less stability, since it is in contact with the ground with a smaller axis. But the weight of the table with the belt plate solves this problem, the practical end result resulted in an absolutely stable structure.

Yes, I conservatively still believe in organic materials and sustainability is one of the most important challenges today. Of course, this comes at the expense of weight, transportability and saleability, but I don't care about that. I basically created these objects because of the call and the idea, I did not intend them for the market or for mass production. When I paint, I try to use organic ingredients.

Thank you for seeing it that way. Well, I think that the rotation of the elements creates the visual effect and at the same time becomes functional. The most exciting part of the design for me was how a two-dimensional static view turns into a three-dimensional, functional structure. I wanted to create interesting and original 3D structures using simple geometric shapes. I multiplied and then rotated the frames. That is why I am always fascinated by modular or organic design and architecture, which is basically built from simple elements and the multitude, the dynamic relationship and position of the elements creates new views and new structures, and even many novel functional solutions.

I think that creation or art is good and interesting if it always remains experimental. Part of this process is a change in attitude. Discovering the unusual use of objects and shapes, intuition, monitoring our moods and impressions and striving for problem solving. The design of this table is also the result of experimentation. I am also experimental in design, graphics and painting. And this experimentation is the result of the continuous and dynamic evolution of our thinking and emotional processes.

Well, basically, it doesn't affect me, since Stroodesign was actually a one-man experimental project and will remain so for me. There are several reasons for this, but at the moment I prefer to continue my creative experimental journey in the field of graphics and painting. The main reason for this, by the way, is that I believe that it is good if the creative process remains in one hand, from the idea to the implementation. I have now found myself in graphics, but mostly in painting, but who knows what the future will bring.