Diana A Side Table
Konstantin Grcic approached the Diana A as a sculptor approaches raw material: through subtraction. A single sheet of metal, bent and cut with precision, yields a form that reads differently from every angle. The interplay of positive and negative voids was not incidental but the subject of repeated, deliberate reworking.
The result resists easy categorization. It functions as a side table, yet operates as an object of contemplation in its own right. Powder coating in a range of colors allows the Diana A to shift in atmosphere, from industrial restraint to quiet warmth, depending on its context.
The Diana series spans models A through F, each a distinct formal gesture. Combined, they compose a personal visual grammar that can be rearranged freely within a room. Grcic, one of the defining voices in contemporary industrial design, consistently treats process and material as inseparable from form.
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Diana A Side Table
Konstantin Grcic approached the Diana A as a sculptor approaches raw material: through subtraction. A single sheet of metal, bent and cut with precision, yields a form that reads differently from every angle. The interplay of positive and negative voids was not incidental but the subject of repeated, deliberate reworking.
The result resists easy categorization. It functions as a side table, yet operates as an object of contemplation in its own right. Powder coating in a range of colors allows the Diana A to shift in atmosphere, from industrial restraint to quiet warmth, depending on its context.
The Diana series spans models A through F, each a distinct formal gesture. Combined, they compose a personal visual grammar that can be rearranged freely within a room. Grcic, one of the defining voices in contemporary industrial design, consistently treats process and material as inseparable from form.
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Konstantin Grcic approached the Diana A as a sculptor approaches raw material: through subtraction. A single sheet of metal, bent and cut with precision, yields a form that reads differently from every angle. The interplay of positive and negative voids was not incidental but the subject of repeated, deliberate reworking.
The result resists easy categorization. It functions as a side table, yet operates as an object of contemplation in its own right. Powder coating in a range of colors allows the Diana A to shift in atmosphere, from industrial restraint to quiet warmth, depending on its context.
The Diana series spans models A through F, each a distinct formal gesture. Combined, they compose a personal visual grammar that can be rearranged freely within a room. Grcic, one of the defining voices in contemporary industrial design, consistently treats process and material as inseparable from form.
