The new Albemarle Street shop entrance for Paul Smith builds over a familiar material tradition london. Cast iron forms an understated background on the city’s streets; its railings, gratings, balconies, and lamp posts. Paul’s brief was a great eclectic collection of recommendations, images, textures and traditions, encompassing military medals, woven hats and finely used gold ingots alongside well-defined tailoring, the soft fall connected with cloth, craftsmanship and delight inside surprise. How these disparate influences might find the restraint needed to activate with the neighbourhood concurrently as contributing to it has the future identity was key, in doing so presenting a rare resistance on the increasingly homogenous global high street.The ground floor rustication of Georgian townhouses plus the ornamental language of 18th century shop fronts was reinterpreted and abstracted within a sinuous pattern of interlocking circles cast into a new solid iron fa? ade. The repetition of that typical Regency shape introduced an optical complexity that, with the play associated with sunlight and shadow, turns the pattern suitable deep surface texture. Seen obliquely it seems woven, like a fine pads. The surface is further enlivened from the latent makers’ marks belonging to the casting process and the natural patination belonging to the cast iron. A more intimate discovery shall be made in the trio of small drawings by Paul placed directly into panels scattered over the fa? Curved windows project from your darkly textured iron when luminous vitrines, with a nod into the curved glass of your nearby arcades. A secret door regarding stained oak lies flush with the cast iron panels: the inverted carving from the timber recalls the mould and sand bed prepared for your molten metal. The cast iron panels curve in to the recessed oak entrance entry, a gently bowed in terms of iron step evokes worn at a distance treads. Over time, the iron threshold can polish under foot, recording the life on the building in its material.
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