endless and fascinating. In total there were more than 150 exhibits, from historical pieces to signature icons, commercial products, prototypes, models, special commissions, films, and interactive elements. At the end of it all, visitors could grasp just how much design was essential to sporting performance, and how it had increasingly become data-driven. Without formulating any defi ning or specifi c interpretation, the question of the future of sport remained open, on the basis that robotics, technology and the general digitisation of sports will all continue to develop. Overall it was a truly immersive experience. It was designed by Grcic, together with
Nathalle Opris, and Jean-Christophe Denise working as project architect in Paris. Catalogue and exhibition graphics were by Bureau Borsche in Munich, led by Kolja Buscher. Grcic, a designer himself, studied cabinet
making at the John Makepeace School in Dorset, before studying industrial design at the RCA, and later working with Jasper Morrison for SCP. Today, his studio with nine designers is located in Berlin. He has been fêted with design awards and honours: twice winner of both the Compasso d’Oro and the Designpreis Deutschland, plus a Best of the Best Red Dot award and an IF design award,
he was named Designer of the Year at Design Miami, and Best Designer at the Salone del Mobile. He has created installations and developed furniture, lighting, watches, tableware, espresso makers and even umbrellas. A retrospective of his work was shown at the Chicago Art Institute and his ideas have been on display at the Vitra Design Museum. Some of his pieces are part of the permanent collection at both MoMA in New York and the Pompidou Centre in Paris. His spartan and functional approach to design was on display at the Luxembourg, an exhibition that was full of unusual angles and some hard edges. He conceived Match as a launch-pad for thinking about the future of sports by examining sports through the lens of design and exploring how design, in its many forms, is an integral component of it. Grcic said of the exhibition: ‘T e impact
of design within sports extends far beyond the shape, look and feel of equipment. A ball’s weight or the responsiveness of a keyboard actually defi ne the speed of a game. Technology enhances human capabilities and compensates for so-called defi ciencies. Games – both physical and digital – are controlled by the fine-tuned designs of rules and regulations. Even the spectators’ experience is carefully designed, from camera placements and drone footage to
online streaming platforms as well as the look and feel of a stadium. It is an expanded understanding and awareness of this ever-changing impact that drives the future of design and sports.’ He added: ‘T roughout the history of
sports, design has created lighter, safer, stronger, performance-enhancing products for athletes – professionally and otherwise. Design has also helped sports become more inclusive through the development of protheses as well as the creation of virtual games like eSports. Yet as design pushes sport forward through the incorporation of the latest technologies, sport also pushes design forward: athletes desire equipment that not only looks and feels good but also – and perhaps more importantly – refl ects their personal identity and gives them a boost of self-confi dence.’ And as for Paris, art, design and sport
met some sort of zenith when the Louvre organised yoga and sport sessions in its famed galleries as part of a city-wide cultural programme for the Olympics. T e world’s biggest museum off ered visitors the chance to take part in dance, yoga and work-out sessions with instructors and coaches while gazing upon its world- renowned paintings and sculptures. Game, set and match to Paris?
MATCH: DESIGN & SPORT - UNE HISTOIRE TOURNÉE VERS LE FUTUR, SCÉNOGRAPHIE KONSTANTIN GRCIC © PHOTO DIDIER PLOWY POUR GRANDPALAISRMN, 2024
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