At this year’s Milan Design Week, DSCENE Magazine editors Katarina Doric and Zarko Davinic had the pleasure of sitting down with renowned designer Konstantin Grcic at the ALPI showroom to discuss his latest collaboration with the company.
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Known for his innovative approach and meticulous craftsmanship, Grcic has made a significant impact on contemporary design. With a background in industrial design and a deep understanding of materials, Grcic’s work often bridges the gap between functionality and artistic expression. His latest venture with ALPI showcases his ability to reimagine natural materials in striking new ways, continuing his legacy of pushing the boundaries of modern design.
First off, congratulations on your collaboration with ALPI! Can you tell us how this project started? – It started with them inviting me to work together. Did you see the project last year?
Yes, we remember the amazing colors. – Exactly. The idea came from Vittorio Alpi, who suggested we create a veneer based on the principle we developed last year, but using natural wood colors instead of artificial ones. That was our starting point. ALPI has an extensive range of natural wood colors, around 200 or so, and we began working with them to create something new.
We created two variations: one darker and one lighter. This panel here represents the veneer, showing its width and length. We then chopped it up and reassembled it into these totems, or whatever you want to call them, to demonstrate how the product would look on different surfaces. The totems help explain the versatility of the veneer in various applications.
How did you align your design aesthetic with this collaboration? – There are different stories to it. One is that when I started out, I was trained as a cabinetmaker. This goes back to 1986 or 87 when I went to London to buy veneer for a piece of furniture I had designed during my apprenticeship. I bought my first ALPI veneer then. In the 80s, ALPI was booming with their contemporary designs, which changed the classical world of cabinetmaking.
When Vittorio called me three years ago to start this collaboration, it was a bit different for me because I usually construct things rather than create surfaces. But I see designing a veneer as a form of construction, not just a graphic image. It involves a logic in how you build it, and that’s something I could relate to.
Design is about relationships, and that’s different from, say, architecture or other projects. As designers, we engage in a relationship that takes time to develop. The real joy of the work comes when the relationship helps you create something better than you could have done on your own.
How is designing a veneer different from, say, designing fabric? – Fabric is also three-dimensional, but constructing fabric is different. Designing veneer involves a lot of construction logic and finding a simple yet different approach. What’s challenging with ALPI is seeing everything they’ve done over decades and figuring out what you can do that’s different.
What inspired the new textures you created with ALPI? – The idea of color gradients was intriguing to me. This project involved creating patterns that are both simple and complex.
Are you inspired by the new texture you created to design a new furniture piece? – Absolutely, that’s what the idea of the totems was about—designing objects with the veneer. This is the fifth totem we’ve designed, and I really like it. Unfortunately, I don’t yet work with companies where we could use these concepts, but this definitely looks like a piece of furniture to me.
It really does! – The thing is, this project is about using natural wood colors to create the veneer. But even with the more artificial versions from last year, the effect was striking. From afar, you saw these beautiful rainbow colors, and up close, you noticed more details. This linear gradient is something you could find in a tree, so it’s very artificial yet it captures the essence of wood. I really like that.
It’s like a redesigned tree pattern. – Exactly, that’s a nice way of putting it. It wasn’t my initial intention, but it was a discovery. Recomposing pieces of wood, we created something that felt like wood again, rather than just an artificial, geometric version. It gave me a lot of satisfaction.
Good design has always made a lot out of nothing, been careful about resources, and created something long-lasting and of quality.
Do you see yourself creating another collection with ALPI? – That depends on them. I enjoy working with ALPI because they are a typical Italian family company with a rich history. They constantly update and reinvent their products, which is not easy. It’s about capturing the moment of today, which can lead to timeless designs.
Do you think there’s pressure to create trendy patterns, especially for brands like ALPI? – I wouldn’t call it pressure. I think it’s a choice, and I don’t dislike that choice at all. There’s nothing wrong with trend or fashion. We often say that things should be designed to last for reasons of sustainability, and that’s important. But if you think about it, many things we still appreciate today were designed in their time without the intention of being timeless.
So, they capture a moment in time? – Exactly. Designing with the idea of creating something timeless can be the wrong approach. It wouldn’t work. If you design something based on contemporary ideas and the moment of today, it might naturally become a timeless piece.
When we talk about sustainability, how important is it for you in your projects? Not just this collection, but your overall approach to design. – Let’s put it this way: I think good design has always followed the principle of sustainability. Good design has always made a lot out of nothing, been careful about resources, and created something long-lasting and of quality. We’ve become much more conscious about it now, and we talk about it more openly. There’s even a specific word for it now.
In my discussions with companies and my team, it’s not necessarily more important than it always was, but we are more conscious of it. We’re really pushing for it. It’s crucial. I think it’s the one big strategy all companies need to adopt now. Times are very uncertain, and no one knows exactly where we’re heading. Everyone is trying to find a direction.
We need to be very honest and precise about what sustainability means. Nobody achieves a hundred percent sustainable product—nobody does. It’s shocking how many people claim that. We need to be honest about our efforts and acknowledge that while we’re trying, we’re still far from achieving complete sustainability.
Sustainability is a broad term and can be used in many different contexts. There’s no one-size-fits-all formula for sustainability. What is sustainable for ALPI might differ from what is sustainable for another company, or what is sustainable today might not be in three years’ time. It changes constantly.
We need to be very honest and precise about what sustainability means. Nobody achieves a hundred percent sustainable product—nobody does. It’s shocking how many people claim that. We need to be honest about our efforts and acknowledge that while we’re trying, we’re still far from achieving complete sustainability. But the effort is what’s important.
Absolutely, there’s a lot of that going around. – Exactly. We need to be upfront about it. There’s so much greenwashing, and we need to cut through that and focus on genuine efforts.
What’s the key factor in deciding to collaborate? You don’t do many collaborations, and I’m sure you get a lot of approaches. – Design is about relationships, and that’s different from, say, architecture or other projects. As designers, we engage in a relationship that takes time to develop. Your question about continuing to work with ALPI is quite right. I’d say yes, and ALPI would probably say yes too, because it makes so much sense.
When you find that a relationship works, why give it up? Why not continue? Design is deeply rooted in relationships, and you can see this throughout the history of design. Most designers would agree. It’s not just about delivering work in an abstract context; it’s about the people involved.
I choose the companies I work with because of the people, their history, and the chemistry we share. It’s not necessarily about agreeing on everything but about feeling engaged. With ALPI, it clicked immediately when we met, and that doesn’t happen often.
I’ve been in the business for a long time and have tried many relationships. Some have worked out wonderfully, and I’ve been working with certain companies for over 20 years. Others haven’t worked as well, and I’ve learned from those experiences. My judgment has become sharper over time.
The real joy of the work comes when the relationship helps you create something better than you could have done on your own. That’s the kind of energy you get from a good collaboration.
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