The fresh Albemarle Street shop front for Paul Smith builds on 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 suggestions, images, textures and traditions, encompassing military medals, woven hats and finely moved gold ingots alongside sharp tailoring, the soft fall with cloth, craftsmanship and delight in surprise. How these disparate influences might have the restraint needed to participate with the neighbourhood concurrently as contributing to its future identity was important, in doing so giving a rare resistance on the increasingly homogenous global traditional.The ground floor rustication of Georgian townhouses as well as the ornamental language of eighteenth century shop fronts were being reinterpreted and abstracted in a sinuous pattern of interlocking circles cast in to a new solid iron fa? ade. The repetition of that typical Regency shape delivered an optical complexity which often, with the play associated with sunlight and shadow, turns the pattern in to a deep surface texture. Seen obliquely it looks woven, like a fine pads. The surface is further enlivened through the latent makers’ marks from the casting process and the natural patination on the cast iron. A more intimate discovery is to be made in the trio regarding small drawings by Paul forged directly into panels scattered across the fa? Curved windows project through the darkly textured iron because luminous vitrines, with a nod towards curved glass of your nearby arcades. A secret door of stained oak lies flush with all the cast iron panels: the inverted carving in the timber recalls the mould and sand bed prepared for the molten metal. The cast iron panels curve in the recessed oak entrance entrance, a gently bowed flat iron step evokes worn absent treads. Over time, the iron threshold will polish under foot, recording the life on the building in its substance.
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