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| The newest Albemarle Street shop top for Paul Smith builds using a familiar material tradition working in london. Cast iron forms an understated background into the city’s streets; its railings, gratings, balconies, and lamp posts. Paul’s brief was a eclectic collection of sources, images, textures and traditions, encompassing military medals, woven hats and finely drawn gold ingots alongside sharp tailoring, the soft fall of cloth, craftsmanship and delight in surprise. How these disparate influences might obtain the restraint needed to participate with the neighbourhood concurrently as contributing to the future identity was essential, in doing so giving a rare resistance on the increasingly homogenous global shopping.The ground floor rustication of Georgian townhouses and the ornamental language of eighteenth century shop fronts have been reinterpreted and abstracted in the sinuous pattern of interlocking circles cast into a new solid iron fa? ade. The repetition of the typical Regency shape produced an optical complexity which, with the play regarding sunlight and shadow, turns the pattern right deep surface texture. Seen obliquely it looks woven, like a fine pads. The surface is further enlivened from the latent makers’ marks in the casting process and the natural patination belonging to the cast iron. A more intimate discovery might be made in the trio of small drawings by Paul placed directly into panels scattered across the fa? Curved windows project in the darkly textured iron when luminous vitrines, with a nod towards curved glass of your nearby arcades. A secret door associated with stained oak lies flush with all the cast iron panels: the inverted carving of the timber recalls the would mould and sand bed prepared to the molten metal. The cast iron panels curve in to the recessed oak entrance doorway, a gently bowed in terms of iron step evokes worn away treads. Over time, the iron threshold may polish under foot, recording the life on the building in its substance.
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