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Primo epitomizes the archetypal chair. Its design comprises of only the most basic elements: four legs, seat and backrest.
The strictly vertical orientation of its legs gives the chair a strong architectural presence. However, the formal strictness is disrupted by the curved backrest which seems to levitate on the ends of the chair’s back legs.
Standing on its own, primo is distinctively sculptural. When multiplied, the chair conveys an unassuming rationality – making it ideal for a wide variety of uses in the home and contract markets (dining, working, auditorium seating, waiting, and the like).
Available in solid beech, black lacquered beech and solid oak with an upholstered leather seat. The chair is stackable 3 high.
- Konstantin Grcic, Germany c.2017
- Solid, waxed beech and beech plywood of European origin
- Made in Italy
- Depth 45cm / 17.7"
- Width 40cm / 15.7"
- Height 78cm / 31"
- Seat Height 45cm / 17.7"
Konstantin Grcic (b.1965) was trained as a cabinet maker at The John Makepeace School for Craftsmen in Wood before studying Design at the Royal College of Art in London. He set up his own office in Munich in 1991. Today, Konstantin Grcic Design GmbH is based in Berlin. The office is active in several fields ranging from industrial design projects, exhibition design and architectural collaborations. Amongst his renowned clients are Aeance, Authentics, Cassina, ClassiCon, Flötotto, Flos, Galerie Kreo, Kettal, Laufen, Magis, Muji, Mattiazzi, Nespresso, Plank, Smart and Vitra. He is the recipient of numerous awards such as the Compasso d`Oro for his MAYDAY lamp (Flos, 2001), the MYTO chair (Plank, 2011) and the OK lamp (Flos 2016). Work by Konstantin Grcic forms part of the permanent collections of the world´s most important design museums (a.o. MoMA/New York, Centre Georges Pompidou/Paris). Grcic defines function in human terms, combining formal strictness with considerable mental acuity and humour. His work is characterised by a careful research into the history of art, design and architecture and his passion for technology and materials.
Among contemporary furniture manufacturers, Mattiazzi, the family owned producer of wooden furniture in Udine, Italy, is uncommon. While many producers in that region rely on third party factories and work in diverse materials, Mattiazzi operates with their own machines and hands, and has developed a healthy obsession for woodworking. Since 1978, when brothers Nevio and Fabiano Mattiazzi founded the company, Mattiazzi has steadily cultivated its local manufacturing culture. Their network of wood shops is diverse enough to support any manufacturing process the brand may need. Every shop has its own focus, from milling to lacquering, and a particular process always belongs to a specific part of town. But don’t let the neighborhood approach confuse you: Mattiazzi is no backyard shop. Their highly specialized craftsmen operate the most sophisticated machinery available to the wood industry. An eight-axis CNC milling machine allows wood to take the complex shapes associated with injection-molded plastic. Operating such a machine is an art and Mattiazzi disproves the modern myth that mechanized manufacturing is not a craft.