context, of course, making both video and
still images more dynamic. It’s also an easy
way to communicate the quality of material
using immaterial means: the intensity of light
filtered through such objects can accurately
transmit the craftsmanship of the product via
the screen in a way that close-ups of joinery
detailing or stone finishes do not. These attrib-
utes combine to create the sort of spaces many
aspire to share, and having guests regram your
bathroom is perhaps now a more important
value exchange than having them bring the
right bottle of wine to your dinner party.
A less cynical take would be that
translucent materials, especially when
strongly coloured like the modules that
comprise RGB, provide a newly coveted ele-
ment of visual maximization – a turn we’ve
argued may be due to the median millennial
having reached an income threshold that
allows for choices less defined by austerity
- without contravening the desire of many
European consumers for formal exactitude
and functional necessity. The Bauhaus may be
a century old, but its influence is ever fresh.
Indeed, the ability of the RGB range to cast
such perfectly defined shadows lies in the
discreetness of Diez’s rail-mounting system,
a clever symbiosis of art and engineering.
RGB is a compromise that somehow doesn’t
feel compromised, like an incongruous brand
collab between Vitsoe and Jolly Rancher that
nonetheless ends up improving the product
of both. Call it sugar for the pill if you want,
but we’re swallowing it up. – PM
diezoffice.com
20 OBJECTS