“My parents wouldn’t call it courage,” he says ironically. At only 17, shortly before his graduation, Pawson gathered the courage to flee the oppressive environment of the prestigious Eton College and embark on a journey of discovery through Asia and Australia. Japan inspired Pawson’s interest in architecture. And that’s a pity, because on other issues, like the environment, he has been a very positive voice.” Saatchi sink prototype (1987). “I’ve been lucky enough to be fairly independent and have never relied on his patronage, but his opinions have made it very difficult for architecture in the U.K. He then commented on the new monarch’s well-known tendency to criticize architecture. “At home, there was some confusion about who the king was,” he jokes. The problem was that it was a rental, and the landlord got a bit angry,” Pawson recalls from his studio in London on the first workday after the coronation of King Charles III (which coincided with his birthday). I tore down the apartment and rebuilt it. An architect’s first job is usually a house for his parents or girlfriend. The apartment belonged to gallerist Hester van Royen, Pawson’s partner at the time the initiative was a sort of self-managed end-of-degree project, for which he did not earn a degree but received a lot of publicity. His renovation of the apartment in Elvaston Place was the first milestone in Pawson’s late-blooming career, which began in his 30s after leaving his studies at the School of the Architectural Association in London. He has also created a new formula for opulence, based on absence, the precision of each gesture and the quality of the materials. Pawson’s work engages in an essential exploration of masses and volumes, of light and space, to create a void defined by accuracy and discipline, as one of the architect’s earliest supporters and clients, the late writer Bruce Chatwin, noted. His work reflects the rethinking of interiors it removes anything that might distract or disturb the space from view and dispenses with taken-for-granted accessory and routine elements like baseboards, which almost always disappear in Pawson’s projects, sometimes in favor of a poetic hollowness that sublimates the intersection between the floor and the wall. If today our walls are smooth, and we are comfortable with the fact that nothing is hanging on them, it is partly because of the success and relative democratization of Pawson’s style, which Sudjic’s book explores in depth. Pawson was the precursor of a style that has since become known as minimalism, and he is one of the most influential space creators in recent decades. Just white walls,” writes Deyan Sudjic in John Pawson: Making Life Simpler (Phaidon), the book that the critic, writer and former director of London’s Design Museum published about the British architect. There was no visible trace of clothing or other possessions. Of course, there was nothing on the walls, no books in sight, no pictures or tableware. “In the main room, there was a single table, a black LC6 designed by Le Corbusier, Jeanneret & Perriand. Alongside the images of the Paris home of banker David de Rothschild - which featured a sumptuous festival of marble busts, gilded moldings and heavy upholstery orchestrated by interior designer and antiques dealer Geoffrey Bennison - the pristine panorama of uncluttered surfaces and Venetian blinds of that seemingly uninhabited apartment amounted to a sort of manifesto. In the process, the images planted the unexpected seed of simplicity in the postmodern and neo-baroque aesthetic luxury of the early 1980s. Forty years ago, in 1983, photos of a spartan-looking London apartment contrasted with the opulent summer issue of World of Interiors magazine.
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