Almost 500 objects of different kinds were selected to illustrate and remind us of the impact of the short lived but fertile period of Modernism, which flowered between the two World Wars.
Within all the sections of the exhibition the walls were increased to maximum height to give more display area to the numerous flat, two dimensional objects included.
Big graphics were applied in various walls of the exhibition with an ‘old’ poster/wallpaper imprint to symbolise the wealth of ideas and creation that occurred within the Modernism movement.
The showcases were conceived as frameless glass enclosures carefully balancing an unobstructed view of the exhibits with the security requirements of the museum.
Screens for projection were incorporated as an integral part of the exhibition varying from small monitors to full height projections animating the individual sections. Labels were intentionally featured so the learning process could be made as easy as possible.
Close collaboration with the graphic designers made it possible to bring back feelings and recollections of an era through forms, details, colours and textures that were originally invented and used within that period.
The overriding architectural desire was to express the energy and speed of the era, to provide an interesting route through the exhibition and as many ‘surprises’ as possible given the overwhelming number and diversity of the objects on display.
Client : Victoria & Albert Museum
Completion April 2006
The new Tiffany installation itself is an independent gallery on the 4th floor of the New York Historical Society Museum.
The space is split on two levels and the glass spiral glass staircase connects the lower level with the mezzanine suspended in the centre of the space.
On the lower level individual Tiffany lamps, lit by modern LED sources, are “floating” in the space on specially designed pedestals and shelves that are enclosed by curved antireflective glass panels allowing an almost uninterrupted 360 degrees view.
The East and West walls are articulated as double height exhibition areas using a combination of display, graphics and moving image that enhance the exhibition narrative.
On the mezzanine level Tiffany lamps and other glass objects from the Tiffany factory are shown in bespoke glass cases giving an in-depth account of the specific period in the American and especially the Tiffany history.
The staircase is designed as an integral part of the Gallery. Similarly to the Tiffany Lamps which are representing an inventive use of advanced glass and metal technology of their time, the newly installed curved glass staircase is trying to stretch the present glass technology to its limits too. Being fabricated by almost totally glass material, that form supporting members as much as supported ones; we have achieved a glass sculpture unique to this Exhibition.
The ethereal appearance of the stairs is enhanced by integral dimmable LED strips concealed within the layers of the laminated glass treads.
Client : New York Historical Society Museum
Contract Completion Date : April 2017
Skin and Bones was first shown in MOCA, Los Angeles in 2007. It explores the parallel and complex relationships of strategies, techniques and disciplines between fashion and architecture.
In 2008 Somerset House launched the new Embankment Galleries and chose Skin and Bones as their first exhibition.
The proposed galleries proved to be a challenge because of their long, narrow, rectangular proportions, their Grade 1 status, which meant that no exhibit or supporting structure could touch the walls and ceiling and the requirement to enter and exit the exhibition at the same point.
As a consequence a long journey was created over the two levels of the galleries starting on the ground floor exploring and setting the intellectual background of the 1980’s, where the exhibition starts.
The top gallery was divided by a long flowing curved wall where different fashion pieces could be viewed from both sides.
A raised plinth created a continuous catwalk effect allowing the visitor to admire the exhibits in close proximity. Free standing walls were erected on the perimeter walls where the architectural exhibits could be placed in juxtaposition to the fashion.
At the end Hussein Chalayan’s “Afterwards” installation explores the notions of refugees and fashion whilst on the south elevation three full height display windows explore the voluptuous shapes of Vivienne Westwood’s fashion, the famous Miyake pleats and the richness of colour and pattern in Mirrales’ St Catherine Market. Light fittings are discreetly fixed to the top of the walls creating a soft glow among the gothic arches.
Client: Somerset House Trust
Completion date: 24 April 2008
We were approached by the National Gallery of Prague and the Giacometti Foundation to create the scenography for a major retrospective of one of the major 20th-century artists, sculptor and painter Alberto Giacometti (1901–1966) and for the first time in the Czech Republic.
The exhibition includes more than a hundred sculptures some of which have rarely been exhibited as well as drawings and paintings.
The selection of exhibits was shown on the Fair Trade Palace one of Czech’s modernist gems that was built in 1932 to host trade exhibition and later converted in 1970’s into an art gallery.
Both the art and the building had such a powerful presence that we decided to use the architecture of the scenography to gracefully and seamlessly marry those two elements and create a clear narrative for the visitor.
As a result series of walls in a shaped configuration created a central route and sectional enclosures for the objects allowing the visitor to freely wander through. Generous niches were introduced in the perimeter walls for the more delicate sculptures which incorporated concealed LEDs, that allowed the sculptures to float in a pool of light.
Big scale graphics were introduced, in collaboration with Studio Najbrt, to offer the visitor an immerse experience to the sculptural world of Giacometti.
Client : National Gallery Prague, Czech Republic
Completed July 2019
We were instructed to look at the possibility of refurbishing the Jewellery Gallery at the V&A which since the time of its completion (10 years ago) hosted almost 5 million visitors.
Ten years is a period of time which allows certain parts of the display to still look their best, but also requires the other parts to be adjusted, rebuilt or altered in order to respond to the ever changing technology.
In our case we have kept majority of display cases around the perimeter and in the middle of the Gallery but changed the floor covering, refurbished the lacquered ceiling and wall panels, reconditioned the stainless steel and leather benches and updated all interactive AVs. Most importantly we implemented state of the art lighting that gave the objects a new lease of life.
We also added two new cases in the gallery. The first one is a 3.5m tall circular glass case for Queen Victoria’s coronet designed and given to her by Prince Albert and which we suspended within a pool of light. And the second one is a glass case to display 49 vanity boxes of different material and conservation requirements.
Finally for the existing glass staircase we maintained the shape and central spine and replaced all other glass and metal components using the most advanced glass technology.
Client: Victoria & Albert Museum
Completion Date: March 2019
The project marks the centenary of the first intake of the school’s women students in 1917 and takes the form of an exhibition, accompanying book and three-day international conference.
Celebrating the history, global reach, ambition and influence of AA-trained women, this free-to-visit exhibition includes paintings, drawings and models by the likes of Dame Zaha Hadid, Amanda Levete, Julia Barfield and Patty Hopkins.
Archival material and historic photographs shine light on the life of women at the AA since 1917 as well as the AA XX 100 Oral History Project – which offers an interactive collection of interviews with esteemed AA alumnae.
Client : Architectural Association, London
From 7 October to 9 December, 2017
