STYLEPARK PLANK
Desire for tomorrow

Anna Moldenhauer: What was the initial idea or question behind the development of ‘Sol’ and ‘Sombra’?

Konstantin Grcic: The development of the new designs goes back to the ‘Monza’ chair and its revised version with an upholstered seat. ‘Monza Soft’ exudes a warm, homely atmosphere, which marked a certain change in the direction of the collection. During joint discussions, the desire arose to add a lounge chair to the range. The first step was to define what a lounge chair could mean for the Plank company: what level of comfort should it offer? And what type would suit us? I wanted to try out different concepts – both the idea of a compact armchair and a more generous model that takes up more space, both physically and visually. The project thus developed in two directions early on, ultimately resulting in two different lounge chairs.

Comfort is a matter of personal preference. How would you define it in terms of lounge chairs?

Konstantin Grcic: ‘Sol’ and ‘Sombra’ were deliberately designed as a pair – two armchairs with a mutual base but clearly different identities. Instead of combining different qualities in one model, they were deliberately separated: ‘Sol’ is compact and agile, while ‘Sombra’ is generous and relaxed. Both models are made of solid ash wood – a durable material that also has historical references. The vertically aligned legs and strictly horizontal armrests create an open feeling of space and give the furniture a calm presence. Details such as tapered feet and hollowed-out armrests emphasise the handcrafted character of the designs. ‘Sol’ has a compact footprint and offers a low but active sitting position. The seat and backrest are made of moulded plywood and interlock so that the backrest can move freely. ‘Sombra’ is wider, softer and more classic in design. It has a padded seat and back cushion and wide armrests that are ideal for storing books, drinks or phones.

It is also more closed on the outside.

Konstantin Grcic: That was an important point. Initially, this closed design was not planned. But we realised that it made the furniture feel less intimate. The wooden panels on the sides create precisely this sense of protection. At the same time, they clearly differentiate the model from ‘Sol’. In ‘Sombra’, the backrest is not free-floating for structural reasons, but the entire chair is upholstered, which creates a different kind of comfort.

The design appears seamless, as if the components were simply slotted together, especially in the case of ‘Sol’. Are there any hidden screws?

Konstantin Grcic: The screws are visible when you turn the chairs upside down – we don't make a secret of them. They are mechanical connections that can be loosened. This makes it possible to repair and replace parts. Plank thinks industrially and strives for lean, efficient production processes, but combines this with a deep understanding of craftsmanship. This expertise – which also stems from the company's own history – shapes the work of the company. In this sense, the term ‘classic’ fits these pieces of furniture very well. And that is precisely what makes them so beautiful and contemporary.

I find it interesting that the classic approach does not come across as nostalgic. At least in my view, there is no nostalgia in your work.

Konstantin Grcic: That is actually a central theme for me. I don't feel any longing for the romance of the past. But I can certainly get excited about historical things if they still contain a progressive idea – an attitude that has endured beyond its time. I believe in learning from history and in the further development of things that have always been good in essence.

You have been working with Plank for over 20 years and have helped shape the company's development. How has your relationship changed over the years?

Konstantin Grcic: We met at imm cologne, which was still a central meeting place for the industry at the time. A few years later, we presented the prototype of our first joint project there: the ‘Miura’ bar stool. That was in 2005, and Plank was on the rise. The company underwent a fundamental restructuring in the 2000s. Martin Plank wanted to hand over a future-proof company to his son Michael. To achieve this, he radically transformed the previously very successful production of alpine board stools – moving towards contemporary design. It was a bold step. Martin Plank had a clear vision. He talked about installing satellite dishes on the roofs of his factory buildings to capture the latest developments from around the world. It is important to note that Plank comes from a small village south of Bolzano, surrounded by mountains. A view of the world is not a given there – and that is precisely why it is associated with so much curiosity and openness. Being rooted in one's origins and the urge for something new are not mutually exclusive; they promote each other. Martin Plank's untimely death in 2015 was a profound blow. But Michael has grown into his role with great dedication. Now his son Martin Junior is also bringing new, fresh impetus to the company.

In my view, you both also bring a seriousness and sensitivity that enables you to think processes through down to the last detail. In general, what do you think is important in furniture design today?

Konstantin Grcic: There are many answers to that question, but there is one clear priority: sustainability. Today, this term encompasses many aspects, but at its core it is about responsibility. No matter which trend you follow, every project must be subordinate to this idea. It always starts with the fundamental question: What do we want to design? For whom? And above all, why? It's about meaning. Only when this is clear can you look for suitable means of implementation. Looking back, I would say that I work in a much more reflective way today than I did in the past. The challenges are more complex, more pressing – and they demand an honest confrontation with reality. But this is precisely where enormous creative potential lies. Designing sustainably does not mean not designing anything anymore.

...but the right one.

Konstantin Grcic: It's about designing what's essential. And I hope that this focus on relevance will also create space for more radical, new ideas. Our industry – and therefore we designers too – has often been characterised by uncertainty in recent years. But right now, we need attitude and courage. We need the willingness to take responsibility and develop creative power from it. In close collaboration with Plank, I find exactly the right conditions for this – trust, clarity and a shared conviction that good design must always be a response to its time.