One of the con­tem­po­rary de­sign world’s most fa­mil­iar names, Kon­stantin Gr­cic re­de­fines our no­tions of fur­ni­ture and the cre­ative process that un­der­lines it

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For Kon­stantin Gr­cic, cre­ation is de­fined by a care­ful process of ad­di­tion as op­posed to sub­trac­tion. The de­signer’s works marry an in­dus­trial aes­thetic with ex­per­i­men­tal el­e­ments; which are a re­sult of in-depth in­ves­ti­ga­tions on ma­te­ri­als, tech­nolo­gies and pro­duc­tion pro­cesses, as well as the re­la­tion­ship be­tween hu­man be­ings and ob­jects. At his Hierony­mus ex­hi­bi­tion at Ga­lerie Kreo in Paris last year, he dis­played spa­tial fur­ni­ture that users could phys­i­cally en­ter, ex­pand­ing the con­cept of what fur­ni­ture can be. “I’m in­ter­ested in ex­plor­ing a new gram­mar: the cul­ture of ob­jects and fur­ni­ture and how it re­lates to changes in so­ci­ety,” he says. “With so­ci­ety chang­ing so much to­day, we can find new ty­polo­gies and ways of mak­ing fur­ni­ture. That’s what I find ex­tremely ex­cit­ing.” Gr­cic be­lieves in fer­tile di­a­logue be­tween a fur­ni­ture man­u­fac­turer and a de­signer as they pur­sue a shared goal – but not without dis­agree­ment. For him, the most pro­duc­tive and in­ter­est­ing re­la­tion­ships are those that al­low room for dis­cord, where both sides push each other’s lim­its. De­sign his­tory is filled with fine ex­am­ples of such pair­ings, such as Char­lotte Per­riand for Cassina, An­to­nio Cit­te­rio for Vi­tra, Charles and Ray Eames for Herman Miller, and Et­tore Sottsass for Knoll.

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