A German designer Constantin Grcic, who has made many of his products to pubic with Magis, owns his studio in Munich. The studio is the place closely associated with his creativity which has won worldwide reputations. You will see numbers of pictures taken for this meet and also his words spoken at his own studio, both so golden.






Constantin Grcic was born in 1965 in Munich. After studying wooden furniture in the UK, he entered Royal College of Art in London. In 1991 he moved back to Munich to set up his own design studio. Since then Grcic has provided his designs to Magis and other world-class brands, actively working internationally.


“Ever since when I set up business on my account with only one assistant, we have always used this studio. I set up an office in Berlin two years ago, where is a space only for me. I regularly move between Munich and Berlin in turn staying for one week each, while I always keep in touch with my staff using email or skype. My girlfriend and my children live in Berlin.” Grcic said. He carries out several projects at the same time, but an even relaxed atmosphere prevails in the studio.




Grcic sits down in front of his desk. The desk, the chair, and the shelves behind him are all Grcic’s designs. In the picture, sparkling yellow color of the cap on the shelf catches the eyes, and this color is used in several spots around his desk. The color may appear in his work piece in the future.




Transparent stripes used as curtain, which we sometimes see at a factory, are hung up in front of Grcic’s desk. Through this transparent curtain, we can see the atelier space where models are produced. On the left in the picture, on the wall is a splint of leg for wounded soldier manufactured by Charles & Ray Eames at their early stage. Likewise many of other designers’ work pieces are displayed at Grcic’s studio.




The space for the assistant designers is also equipped with many of Grcic’s furniture.




The wooden boards contacted each other, shown in the upper picture between the two, are the models which has just been put into public at Galerie Kreo in March.




It is typical that a studio of a German designer is in general not decorative. But, the impressive combinations of color among the furniture or tools are often seen. The picture shows the great color combination between the Chair_One red and the closet green. Through the door in beige the people come to and go out of the studio.




The arrangement of the atelier space, where is in front of Grcic’s desk, is truly symbolic. The picture shows one lack in blue and yellow in the right side, the place where bolts and other small pieces are stored.
“Compared to the time when I developed Chair_One, nowadays we use computer-made 3D data in much earlier stages, and such 3D design data will be transferred to the manufacturing processes. That means, what we produce here by hands is a prototype at a very early phase. Still now, highly important is the initial process to put a concept into an existent by using a three-dimensional model in actual size, just like doing a sketch work.” Grcic said.




The studio has a small terrace, where the people sometimes put a tea set and pieces of cakes on the table to have a rest here. Tea pot and cups are Grcic’s design likewise. An engineering machine is here on the terrace to process some works making a loud noise. The chairs shown forepart in the picture, as yet unconfirmed, may be particular models of particular new products.






A Magis stool “360°” stands adjacent to a desk of an assistant designer to Grcic. That stool easily swivels and pulls around, leading people to sit on from any direction. Grcic perches on it, on his talking to or on his giving orders to a particular assistant designer. This scene in the picture makes us realize that the stool is designed for a use in an active working space.




Several pieces of works created by other designers as well as anonymous ones stand about the desk of Grcic.
“The pieces here are a source of my inspiration, and I’m always aware of associations between the designs of mine and the creations of other designers.” Grcic said. The best in such associations may be brought out in some projects in an open manner, as well as in a quiet manner in the other projects.



A black meeting desk shown in the upper picture between the two is Magis’s “Table_One”.





What inspires Grcic more than the work pieces stand in the studio is a huge number of visual books stored in the studio, reportedly. Most of the books concern design, architecture, fine art, or industrial product including automobile. The library has many copies of the books bought in Japan, too.
“Creations given birth from points of view or ideas different from mine, which is quite stimulating for me.” He said.





Inside of Grcic’s studio in Munich looks neither very elegant nor very artistic. Instead, what’s impressive was straightforward inclination toward production. The studio has the goods that stimulate Grcic standing in a well-balanced arrangement, encouraging Grcic’s designing creativity.
In respect that many of his design works are of industrial products, the studio is also given to be logically organized.
Still, the scent of fine aesthetic appreciation, acute awareness, and highly sensitive nature were in the air. Such stylishness lives in every of his works. We may have found why Grcic keeps creating a large number of products that exude mild but attractive aura in any daily occasion, after seeing and feeling how Grcic’s studio actually is at the site.



ORIGINAL TEXT IN JAPANESE & PHOTO 土田貴宏 | Takahiro Tsuchida