Konstantin Grcic was born in Munich, Germany in 1965. He studied Design at the Royal College of Art in London from 1988-1990. Since setting up his own design practice Konstantin Grcic Industrial Design in Munich in 1991 he has developed furniture, products and lighting for some of Europe's leading design companies. He creates industrial products widely described as pared down, simple, minimalist. What sets him apart from the minimalism in fashionable currency today is that he defines function in human terms, combining maximum formal strictness with considerable mental acuity and humour. Some of his products have received prestigious design awards such as the Compasso D'Oro and they were selected into the permanent collection of the Museum of Modern Art in New York. In Oktober 2000 Konstantin Grcic is nominated "Guest of Honour" at the Interieur Biennial in Kortrijk (Belgium) presenting an extensive show of his work.Sleek, statuesque, and ready for anything, the Magis Table_One Bistro table is easily suited for all kinds of spaces. Its conical concrete base is rock solid, so the table won't wobble or creep. The pared-down industrial style of the table pairs nicely with Chair_One.
|Table_One Bistro Table||24 - 31" H x 24 - 31" W x 28 - 43" D||82.3 - 85.4 lbs|
|Product Category:||Dining Tables|
Questions & Answers
Magis Table_One Bistro Table
Magis seizes the day. It embraces the creativity of leading global designers (Richard Sapper, Jasper Morrison, Stefano Giovannoni, Marc Newson, James Irvine, Konstantin Grcic, Ron Arad, the Bouroullecs and many others)and channels it towards objects perched on the cutting edge.
The company even earned kudos from the trendsetter's bible, Wallpaper, which placed Perazza on top of its list of "Ten who will change the way we live".
Magis is a Factory-free organization: in order to enhance the flexibility of its R&D activities, the company opted to outsource its manufacturing and relies on a local area teeming with skilled contractors.
For example, the "Air-Chair" (2000) by Jasper Morrison combines deceivingly simple design with a sophisticated gas-assisted injection moulding process. "Chair_One" (2003) is a die-cast aluminium chair_cum_frame_cum_skeleton born of the talent of Konstantin Grcic, a design that propels the brand towards new manufacturing goals, and decrees “the end of the dictatorship of plastic”. One of the latest additions to the company’s classic collections is a new line called "Fuoritema", which forms a creative bridge into new worlds, such as products for pets; Michael Young "Magis Dog House" (2002) is an example. The challenge lying ahead of Magis is perhaps that of returning to simplicity, through the complexity of advanced technology.
In 2004 Magis also launched a new collection of objects and furniture for children between two and six years old, called Me Too Collection. Nine designers for twenty-some objects. It’s not a scale reduction of the adult world. It's more of an intermediate station, emotive equipment that stimulates the little ones' perceptions and helps them to take stock of what the adult dimension will be like. It's a token of love and an intelligent welcome to the smiles of tomorrow.
Magis is 30 years old. Until a short while ago Magis was one of the few companies that manufactured objects in plastic. Today the number has increased considerably. Still, Magis uses the most advanced moulding technologies and techniques; it was the first company in the world to apply air moulding to aesthetical goods. Plastic will remain Magis’ reference material, although it is now experimenting with others such as die-cast aluminium, aluminium metal sheet and wood.
Magis is a company in perfect health because it has good projects to develop as well as good intellectual capital, which is the distinguishing feature of the company. Excellent designers, a good design team and an extraordinary supply chain. Magis is characterised by the multiplicity of its expressive languages, its search for a deep meaning of the project, and its ethics instead of aesthetics.
Magis takes three/four years to turn the idea of a project into a finished product. Magis faces projects, both difficult and complex, taking high risks. Projects are completed as long as they are supported by a high spirit of experimentation and elevated technical cleverness.
Magis works with very well-known designers, but it has always been open to work with young designers, even at the outset of their careers. Jean-Marie Massaud and Jerszy Seymour made their debut on the design scene thanks to the opportunities Magis gave them. Now Magis discovers new passions and punctually chases former design glories, adding them to the mix. There was the interlude with Charlotte Perriand, and new design chapters are being written with Robin Day, a genius of English design, Eero Aarnio, a genius of Finnish design and Pierre Paulin, a genius of French design.
It is the price to pay for success. To reduce the possibility to be copied the entrance barrier needs to be elevated greatly. One will have to do complex projects with inventive loftiness and considerable engineering investments, and make moulds and equipment with high technical performance (technique is the ability of a company to make technology work). A qualitative distribution should too play an important role against copies selecting design-oriented companies and keeping me-too-oriented ones out.