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Glass furniture by Konstantin Grcic for the Gallery Kreo

30 January 2015

Cristina Morozzi

by

Konstantin Grcic is a designer who loves challenges, which he has always faced with passion and precision. For his collection “Man Machine”, name of the 1978 album of the legendary band Kraftwerk of which he is an enthusiast, he has only worked plate glass.
By working with a studio in Frankfurt, he has created a limited edition furniture collection for the Kreo Gallery utilising industrial architectural glass. Thanks to pistons, hinges and the use of silicone, his objects, unlike all the others in glass, are dynamic. From the combination of transparency with mechanics, from which the Monaco designer gets his inspiration, was born a series absolutely new in concept, in which transparency assumes, aesthetically, an aggressive trait, far from the traditional fluidity of glass furniture and where fragility looks robust.

Konstantin_Grcic_Deux_tables
Grcic_Konstantin_ManMachine_TableXL
Man-Machine_Grci_Konstantin_Chair

WHERE: 31, rue Dauphine 75006 Paris, France

Konstantin Grcic is a designer who loves challenges, which he has always faced with passion and precision. For his collection “Man Machine”, name of the 1978 album of the legendary band Kraftwerk of which he is an enthusiast, he has only worked plate glass.
By working with a studio in Frankfurt, he has created a limited edition furniture collection for the Kreo Gallery utilising industrial architectural glass. Thanks to pistons, hinges and the use of silicone, his objects, unlike all the others in glass, are dynamic. From the combination of transparency with mechanics, from which the Monaco designer gets his inspiration, was born a series absolutely new in concept, in which transparency assumes, aesthetically, an aggressive trait, far from the traditional fluidity of glass furniture and where fragility looks robust.
WHERE: 31, rue Dauphine 75006 Paris, France

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The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.