The Allstar chair defies conventional categorisations: is it a chair for office workplaces or the home office? What period is it from? Does it fulfil specific functions? What is it made of? In developing Allstar, Konstantin Grcic kept such formulations open in order to provide office workers with a relaxed home-like feel and sense of familiarity. The form of Allstar is emblematic and appealing. It seems as though this chair has always existed, which inspires a feeling of trust and security. Exuding casual ease and comfort, it yields a calming influence and de-accelerates the fast-paced dynamic of today’s offices.
At the same time – though concealed from the eye – Allstar contains the necessary functional features of an office chair: a synchronised mechanism with lockable positioning, seat depth and height adjustment, and an adjustable backrest. A stout loop frame made of robust plastic simultaneously performs the function of armrests, backrest support and extended arm of the mechanical unit. It enables the separate movement of seat and backrest and transfers the forces to the mechanical unit under the seat. The organically shaped cushions of the seat and back work together with the technical functions to ensure a high level of comfort. This makes Allstar suited to a wide variety of settings where high functional performance is desired but a classic office chair would not be appropriate for aesthetic reasons – an ideal choice for modern workplace concepts or co-working spaces as well as home offices.
Allstar comes in different colour versions. The base and fabric seat cushion are always black while the armrests and backrest are coordinated in various colour combinations. Allstar is also available with covers in leather.
Konstantin Grcic trained as a cabinetmaker at the John Makepeace School in Dorset, England, before studying industrial design at the Royal College of Art in London. Since founding his Munich-based practice Konstantin Grcic Industrial Design (KGID) in 1991, he has developed products, furniture and lighting for leading design companies. Many of Grcic's products have received international design awards and his work can also be found in the permanent collections of important design museums (such as MoMA, New York, and Centre Georges Pompidou, Paris). He has curated a number of design exhibitions, including DESIGN REAL for the Serpentine Gallery, London (2009), COMFORT for the Saint-Etienne Design Biennale (2010) and black2 for the Istituto Svizzero in Rome (2010). In 2012 he was responsible for the exhibition design of the German Pavilion at the 13th Architecture Biennale in Venice.