{"id":27409,"date":"2024-06-04T23:47:14","date_gmt":"2024-06-04T22:47:14","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=27409"},"modified":"2024-07-12T12:56:08","modified_gmt":"2024-07-12T11:56:08","slug":"carpenters-workshop-gallery-visit","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/carpenters-workshop-gallery-visit\/","title":{"rendered":"Hidden Treasures of Ladbroke Hall: A Journey through Carpenters Workshop Gallery"},"content":{"rendered":"
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Fuse III <\/em>by Charles Trevelyan\u00a0<\/em>\u00a9 Il Gurn<\/figcaption><\/figure>\n

Upon entry, one is greeted by Yinka Shonibare\u2019s Windy Chair;<\/em> the placement of this whimsically curved, vivid object, resembling a sail or a piece of fabric frozen mid-billow, in the dimly lit reception area might symbolize the post-colonial narrative threading through Europe and Africa\u2014a recurring leitmotif in Shonibare\u2019s body of work. In 2014, he started a series of \u2018air sculptures,\u2019 crafted from materials like aluminum, bronze, or fiberglass, hand-painted to mimic Dutch wax patterns. Since then, these objects have adorned Central Park in New York, Expo 2020, and the lawns of various North American colleges.<\/span><\/p>\n

Adjacent, Charles Trevelyan\u2019s Vignettes<\/em> series blurs the lines between sculpture and functional object, deftly maintaining physical equilibrium and a balance of experimentation and functionality, ambiguity and recognizability. The console tables\u2014a cascading array of rounded forms with sinuous textures of natural marble\u2014themselves evoke surfboards cradled in a wave’s embrace.<\/p>\n

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Conference Table<\/em> by Charlotte Perriand \u00a9 Il Gurn<\/figcaption><\/figure>\n

Venturing further in, the Credenza<\/em> sideboard by Joaquim Tenreiro and Le Corbusier\u2019s Bureau des Ministres<\/em> command attention. The open-angled desk, a paragon of rationality and minimalism, was originally commissioned for the ministerial palace of Chandigarh\u2014a city whose master plan and key structures form part of the Swiss architect\u2019s monumental legacy.<\/p>\n

Across the last hall of the first floor, an 8-meter Conference Table<\/em> by Charlotte Perriand, a collaborator of Fernand L\u00e9ger, Jean Prouv\u00e9, and Le Corbusier, serpentines its aerodynamic form. Originally conceived for a Franco-American hospital in Normandy, it later adorned the UN headquarters in Geneva, in line with Perriand\u2019s esteemed post-war clientele, such as Air France and the League of Nations. While standing solitary as the hall\u2019s sole exhibit, it is complemented by another spectacle: a panoramic window framing the garden beyond, showcasing how architecture and minimalist interiors can mediate the contemplation of nature. Does this room really resemble the Ceylon house of the father of tropical modernism, Geoffrey Bawa, or perhaps a set from an Apichatpong Weerasethakul film? Alternatively, it\u2019s the rain\u2019s theatrical cadence against bamboo leaves that instills a sense of serenity and the anticipation of an ethereal event.<\/p>\n

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California with Love,<\/em> Installation view \u00a9 Il Gurn<\/figcaption><\/figure>\n

Ascending to the second floor, another brightly packaged surprise awaits: the exhibition From California with Love,<\/em> its title alone evoking sunny expectations. Here, Roger Herman’s ecstatic ceramics take the stage: 15 vases of irregular shapes and ambiguous perforations, each embodying the principle that \u2018Perfect is horrible.\u2019 These pieces, born of an intuitive approach to creation and glazing, invite comparison to a spontaneous yet joyful gathering attended by long-unseen friends. The abstract neo-expressionist canvases hung throughout, though somewhat overshadowed by the ceramics, represent an effort to translate the chromatic experiment into two dimensions.<\/p>\n

The building continues to unfold, ready to flaunt and boast, then transitions into a restaurant, then descends to a Rick Owens-designed bar on the first floor, and leads out to the garden where Jean Prouv\u00e9\u2019s 6×6 modular house stands\u2014a vision from the late 1940s, once imagined as a salve to the post-war housing crisis, now a sentinel of design history. The Carpenters Workshop Gallery<\/a> reveals itself as an ultra-minimalist core behind a demure yet inviting facade in London, ranking among the most captivating design and architecture experiences to grace the senses.<\/p>\n","protected":false},"excerpt":{"rendered":"

Upon the elongated facade of Ladbroke Hall, the historic Sunbeam-Talbot factory in Notting Hill, one would scarcely discern the ecosystem flourishing within\u2014a concert venue, restaurant, exhibition halls, and the hidden gem, the Carpenters Workshop Gallery. This space, diverging from the quintessential \u2018white cube\u2019 image so readily conjured at the mere utterance of an independent gallery, opened its doors to a series of exhibitions featuring collectible design objects on May 16th. Days later, on a drizzly morning, the absence of visitors lent the venue to personal contemplation, with the displayed objects and distinctive setting evoking the aura of a private museum or an abandoned film set.<\/p>\n","protected":false},"author":107,"featured_media":27410,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86,144,84],"tags":[],"type_post":[184],"column":[],"class_list":["post-27409","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-lifestyle","category-people"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/27409","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/107"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=27409"}],"version-history":[{"count":0,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/27409\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/27410"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=27409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=27409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=27409"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=27409"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=27409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}