{"id":21871,"date":"2024-06-28T12:59:16","date_gmt":"2024-06-28T10:59:16","guid":{"rendered":"https:\/\/www.die-neue-sammlung.de\/?post_type=article&p=21871"},"modified":"2024-06-28T16:28:54","modified_gmt":"2024-06-28T14:28:54","slug":"konstantin-grcic-design-is-work","status":"publish","type":"article","link":"https:\/\/staging.die-neue-sammlung.de\/en\/artikel\/konstantin-grcic-design-is-work\/","title":{"rendered":"Konstantin Grcic.\nDesign is Work"},"content":{"rendered":"
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\nApril 17, 2018<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n
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Konstantin Grcic.\nDesign is Work<\/h1>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n
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Author:<\/p>\n\t\t<\/div>\n\t\t

Tim Bechthold<\/p>\n\t<\/div>\n\n\t<\/div>\n<\/div>\n\n\n\n\n

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Design process of the chair_ONE, Konstantin Grcic \u2013 Design is Work, 2017. <\/div>\n\t\t\t\t\t\t\t\t\t\t
Film: Gereon Wetzel <\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n\n\n\n\n
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Workshop discussion on the chair_ONE design process<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n
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with Konstantin Grcic (designer, Konstantin Grcic Design, Berlin),
Tim Bechthold (Head of the Conservation Department, Die Neue Sammlung \u2013 The Design Museum) and
Hubert Filser (journalist)

on the occasion of the exhibition “The Good, The Bad, The Ugly<\/a>“. <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n

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Workshop discussion on the design process of chair_ONE, Konstantin Grcic – Design is Work, 2017. <\/div>\n\t\t\t\t\t\t\t\t\t\t
Film: Gereon Wetzel <\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n
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From model to object<\/h2>\n<\/div>\n<\/div>\n\n\n\n\n
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In August 2013 Konstantin Grcic donated to Die Neue Sammlung \u2013 The Design Museum twentyseven threedimensional models, which \u2013 all of them designed between 1999 and 2003 \u2013 eventually led to the serial production of the iconic chair_ONE.

A workshop discussion with Konstantin Grcic was appointed and soon took place \u2013 moderated by Hubert Filser. Its aim was to clarify the chronological sequence of the models and to obtain futher background information on the making-of and the used materials.

The aquired information and knowledge of the design process served both as basis for the required conservation measurements as well as for the preparation of the exhibition:<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n

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