Béton Brut’s Sophie Pearce & Pamono’s Órlaith Moore rhapsodize midcentury modernism
Overheard at the Gallery
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Sophie Pearce's Béton Brut gallery in Hackney Wick, East London
Photo © Marco Lehmbeck for Pamono
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The interior of Sophie Pearce's Béton Brut
Photo © Marco Lehmbeck for Pamono
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Béton Brut owner Sophie Pearce
Photo © Marco Lehmbeck for Pamono
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Inside Béton Brut, with the work of Dick Cordemeijer, Robin Day, Wim Rietveld, Dick Spierenburg, Hans Wegner, and more.
Photo © Marco Lehmbeck for Pamono
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Inside Béton Brut, with the work of Dick Cordemeijer, George Nelson, and Elio Martinelli
Photo © Marco Lehmbeck for Pamono
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Box Chair by Enzo Mari for Castelli (1971)
Photo © Marco Lehmbeck for Pamono
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FM62 Cube Chair by Radboud Van Beekum for Pastoe (1984)
Photo © Marco Lehmbeck for Pamono
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Inside Béton Brut with chairs by architect Roland Rainer
Photo © Marco Lehmbeck for Pamono
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Bent Plywood Chairs by architect Roland Rainer for the Vienna City Hall (1956)
Photo © Marco Lehmbeck for Pamono
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Hillestak Desk by Robin Day for Hille (1950s); SB02 Chair by Cees Braakman for Pastoe (1952)
Photo © Marco Lehmbeck for Pamono
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French Bentwood Armchair (1940s)
Photo © Marco Lehmbeck for Pamono
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Late 20th-Century French Brass Floor Lamp
Photo © Marco Lehmbeck for Pamono
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Armchair by Jindrich Halabala (1930s)
Photo © Marco Lehmbeck for Pamono
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Béton Brut owner Sophie Pearce
Photo © Marco Lehmbeck for Pamono
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Armchair by Lloyd Loom for Lusty (1950s); Midcentury French Floor Lamp
Photo © Marco Lehmbeck for Pamono
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Abitacolo Sofa by Bruno Munari for Robots (1972)
Photo © Marco Lehmbeck for Pamono
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Max Sauze Nesting Tables (1960s)
Photo © Marco Lehmbeck for Pamono
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Sculpture by contemporary British artist Gavin Turk
Photo © Marco Lehmbeck for Pamono
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Globe Floor Lamp by Aldo van den Nieuwelaar for Domani Designs (1967); Highback Armchair by Aksel Bender Madsen for Bovenkamp (1950s)
Photo © Marco Lehmbeck for Pamono
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Sophie Pearce showing off the details of a Mario Botta light for Artemide
Photo © Marco Lehmbeck for Pamono
What happens when two enthusiastic design lovers meet in a space teeming with rare specimens of 20th-century furniture and lighting? Design rhapsody, of course. On a recent spring morning, Pamono’s Órlaith Moore visited Sophie Pearce at her fabulous, East London vintage haven, Béton Brut. Read on for highlights from their conversation—in praise of midcentury modernism.
Órlaith Moore: But what do you love most about postwar design?
Sophie Pearce: Hmm… I’d say that postwar design is so enduring because modernism is all about “stripping back”—that is, stripping design back to its purest form and function. The beauty is in the simplicity. It's a visual expression of youthfulness.
That's why those designs have lasted; it's almost like...
ÓM: Like they’re timeless?
SP: Yeah, it's like a circle, a square, a triangle; you can't get any simpler shape than that, can you? Or like primary colors, like red, blue, and yellow. It’s quite a pure and pleasing expression of form.
ÓM: Is there anything that you don’t like about postwar design? Is there a certain design that you wouldn’t carry in your gallery, or something you would say is outside your remit?
SP: Generally, I specialize in pieces designed by architects; that is, most of the pieces I sell have been architect-designed. Not exclusively, but many of them. So often they’re quite… I guess it's the obvious word, but they are “architectural” in form. They are sculptural, and it’s all about the line and the shape. Also, I prefer to stock pieces that are no longer in production or are less likely to have been reissued. I have to like everything, personally, myself!
As a dealer who sees midcentury design all the time, I prefer things that I’ve seen less of. I’m slightly over this kind of sea of Danish teak that often characterizes—or even caricatures—the period. At the moment, I am more interested in Dutch modernism, which is…
ÓM: A little more industrial?
SP: Yeah, it’s a little more robust and even more stripped back. I’m also increasingly into Italian modern and postmodern. I see those two areas as the next postwar furniture trends.
ÓM: I was about to ask. Do you think midcentury will ever die? What’s next or what will replace it?
SP: That’s the thing… it's so reassuring that so many sub-genres of 20th-century design exist. The UK market is only now becoming aware of Dutch modernism. Likewise with the late-Italian modernism and early postmodernism. With the recent auction of David Bowie’s "Memphis Collection," I would say that postmodern has reached a new level of public awareness and is no longer just in the collector’s little bubble. You can go in so many directions with it.
ÓM: What are some specific pieces that you really love; that best represent your taste?
SP: A couple of designers are inspiring me a lot at the moment. One is Italian-Swiss architect Mario Botta, who’s famous for these incredible churches. But he also designed these unbelievable metal lights and perforated metal chairs—all are expressions of his buildings. He is very fascinating to me at the moment!
I’m also very excited by Italian radical architectural collective Superstudio. Their Quaderna Table—basically a white laminate table with a black grid pattern—looks so simple, but actually has a very intricate honeycomb construction. If it were solid board or wood, you wouldn’t be able to even lift them. So what looks very angular and straight on the outside is actually really organic—like a beehive—on the inside. The vintage ones can be very heard to come by, so when I see one, I jump on it!
In terms of British design—not strictly an architect but among our biggest talents—I particularly admire Robin Day. He has gained a lot of recognition for his lifetime achievements in the last few years, like the retrospective at the V&A back in 2015. His classic Polypropylene Chair was produced in the millions and had a huge impact on British design culture. He invented a new kind of glue to bind the plywood so it could be bent in two directions while maintaining its strength. I love those little tidbits of history.
ÓM: Absolutely, I think the Polyprop is a chair that everyone knows—even if they don’t know they know it.
SP: Exactly! Day has had an influence on our lives, including those who don’t know him. So I collect his work personally.
ÓM: What designs do you rely on everyday? Are there pieces that simplify your life or make it easier? Does Robin Day fall into that category?
SP: Yes, he does. There’s a famous motto from Danish designer Hans Wegner (and a book that sums up his work): “Just one good chair.” It was Wegner’s lifetime ambition to design one really good chair—even though he had about 600 chair designs to his name. And with Day as well, he was obsessed by the idea of creating the ultimate chair. He was particularly pleased with his Reclining Chair, and I have one at home. It has a light steel-rod frame, so it looks like the chair is floating. But then the upholstered seating is very comfortable and ergonomic and sits at the perfect angle. And the headrest perfectly fits your neck, complemented by the wide, almost paddle-like wooden armrests that can be used as a side table. I use it everyday, and it's the ultimate expression of comfort in my mind.
ÓM: Do you have any advice for new collectors or design enthusiasts who are just starting to acquire vintage design?
SP: I mean the obvious thing is to pick what you like–to trust your eye—and chances are it will have some longevity. On a more collectible basis, look for things that you rarely see. Something well designed or beautifully constructed, for instance.
I currently have a piece by Ruud Jan Kokke called the Latjes Stoel, and it's made from many, many tiny oak staves—all intricately dovetailed onto the seat’s frame. It seems rather fragile, when you imagine sitting on a bunch of spindles that are less than 1cm wide. But, because it’s so well design, so that weight is evenly spread across the parts, it’s actually really strong. Although not many people have heard of Jan Kokke yet, the point is that the piece is beautiful and interesting and rare—too intricate to mass-produce and only made to order for private clients. All those things make it something quite special and collectible.
ÓM: Well, thank you for introducing me to it! It's lovely.
SP: A pleasure.
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Photos by
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Marco Lehmbeck
Born and raised between forests and lakes near Berlin, Marco studied creative writing in Hildesheim and photography in Berlin. He’s also part of the organizational team behind Immergut indie music festival. He loves backpacking, Club-Mate, and avocados, and he always wears a hat.
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Text by
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Órlaith Moore
Originally from Ireland, Órlaith studied French and history, and inevitably fell in love with architecture and design while working as a tour guide on the Eiffel Tower. Since moving to Berlin, she’s committed to creating a beautiful, encyclopedic guide of vintage designers for Pamono, mastering the complexities of German grammar, and discovering every Biergarten in the city.
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More to Love
5451 Side Tables by George Nelson for Herman Miller, 1950s, Set of 2
Italian Superstudio/Archizoom Poster for Poltronova, 1969
The Measurement Series Poster by Superstudio, 1972
Dutch Geometric Postmodern Coffee Table, 1970s
French Black Display Stand or Side Table by Max Sauze, 1960s
Walnut Cloud Table by Neil Morris of Glasgow, UK, 1948
Fishing Rod Lamp by JJM Hoogervorst for ANVIA, 1960s
Black French Floor Lamp, 1950s
French Art Deco Bentwood Armchair, 1940s
Mid-Century Globe Floor Lamp by Aldo van den Nieuwelaar for Domani Designs
Dutch Illuminated Mirror by Mathieu Mategot for Artimeta, 1950s
Dutch Basket Armchair, 1950s
Swiss Bent Ply Chair by Roland Rainer for E & A Pollack, 1956
Large Mid-Century Teak Dining Table, 1960s
Dutch Wenge Side Tables by Martin Visser for ‘t Spectrum, 1950s, Set of 2
Armchair by Lloyd Loom for Lusty, 1950s
Large Pyramid Table by Wim Rietveld for Ahrend de Cirkel, 1950s
Taraxacum 2 Ceiling Light by Achille & Pier Giacomo Castiglioni for Flos, 1960
Burnished Slate Coffee Table from Metaform, 1960s
Mid-Century Yellow Table by Paul Bridston for Kandya, 1950s
Red Easy Chair by W.H. Gispen for Kembo, 1954
Dutch Model 302 Oval Fauteuil by WH Gispen for Kembo, 1954
Dutch Perforated Wall Lamp by Willem Hagoort, 1950s
Yellow British Modular Sofa by Don Chadwick for Herman Miller, 1970s
Dutch L-Shaped Desk by Cees Braakman for Pastoe, 1950s
Italian Postmodern White Desk and Chair, 1970s
Italian Triangle Pendant Lamp by Mario Botta for Artemide, 1980s
White Table Lamp by Elio Martinelli for Martinelli Luce, 1970s
Paperclip Wall Lamp by JJM Hoogervorst for Anvia, 1950s
T-Line Armchairs by Vogtherr Burkhard for Arflex, 1984, Set of 2
No. 60 Oval Lounge Chair by WH Gispen for Kembo, 1950s
Scottish Walnut Cloud Table by Neil Morris for Morris & Co, 1947
GE50 Table Lamp by Christophe Gevers for Light, 1975
Table Lamp by Umberto Riva for Bieffeplast, 1969
Italian 330 Chair by Silvio Coppola for Bernini, 1969
Vintage Italian Round Gold Glass Frame-Less Mirror
Italian Cocoon Lamp by Castiglioni Brothers for Flos
Adjustable Paperclip Wall Lamp by J.J.M. Hoogervorst for Anvia, 1950s
Italian Coat Stand by Campo & Graffi Prisco for Home, 1961
Italian Nickel Mirror by Sergio Mazza Narcisso for Artemide, 1960s
Italian Congresso Shelving Unit from Lips Vago, 1960s
Italian Terracotta Fabric Armchairs, 1960s, Set of 2
Italian Medea Chair by Vittorio Nobili for Fratelli Tagliabue, 1955
Medea Chairs by Vittorio Nobili for Fratelli Tagliabue, 1955, Set of 4
Rosewood Dining Table by Kai Kristiansen for Skovmand & Andersen, 1950s
Post Modern Italian Desk Chair, 1970s
Kidney Mirror by Gio Ponti for Fontana Arte, 1950
Postmodern Italian Vase, 1980s
Taccia Table Lamp by Castiglioni Brothers for Flos, 1962
Dutch Postmodern Chair by Dick Spierenburg for Castelijn, 1978
Italian Tubino Table Lamp by Achille Castiglioni for Flos, 1970s
Shogun Parete Wall Lamp by Mario Botta for Artemide
Beech Armchairs with Rush Seats, 1950s, Set of 2
Dutch White FM62 Cube Chairs by Radboud Van Beekum for Pastoe, 1984, Set of 2
Dutch 1262 Chair by A R Cordemeijer for Gispen, 1959
Dutch Armchair by Rudolf Wolf for Elsrijk, 1955
Red Mushroom Chair by Pierre Paulin for Artifort, 1960
Box Chair by Enzo Mari for Castelli, 1971
Nesting Tables by Max Sauze, 1968, Set of 3
Rattan Backed 519 Arm Chair by Hans Olsen for Juul Kristensen, 1950s
D2300 Floor Lamp from Raak, 1960s
Revolt Chair by Friso Kramer for Ahrend De Cirkel, 1966
Mug Coffee Table by Wim Rietveld for Gispen, 1950s
Dutch 1262 Chair by W.H Gispen for Cordemeijer, 1965
British Counterweight Desk Lamp from Hadrill & Horstmann, 1940s
British Mod. 700 Festival Hall Chair by Robin Day for Hille, 1951
Vintage Dutch Floor Lamp by J.J.M Hoogervorst for Anvia
TE06 Dining Table by Martin Visser for t'Spectrum, 1960s
Model 1516 Clair Obscur Wall Light from Raak, 1960s
British Hillestak Desk by Robin Day for Hille, 1950s
Facet Pop Lamp by Louis Weisdorf for Lyfa, 1970s
Postmodern Italian Floor Lamp from Guzzini, 1980s
Abitacalo Wire Sofa by Bruno Munari for Robots, 1972
Italian Postmodern Table by Castelli Ferrieri for Kartell, 1983
Italian White Pendant Lamp from Stilnovo, 1970s
English Armchairs by Robin Day for Hille, 1967, Set of 2
Vintage Melanos Table Lamp by Mario Botta for Artemide
Shogun Floor Lamp by Mario Botta for Artemide, 1986
Dutch Mid-Century Black Floor Lamp, 1960s
P70 Postmodern Dining Chair by Giancarlo Vegni for Fasem, 1980s
British Festival Hall Chair by Robin Day for Hille, 1951
AP 103 Dining Table by Hein Salomonson for AP Originals, 1950s
Highback Armchair by Aksel Bender Madsen for Bovenkamp, 1950s
Italian Box Chair by Enzo Mari for Castelli, 1971
Program Bar Stool by Frank Guille for Kandya, 1950s
Dutch Modern Shelving Unit, 1950s
GE236/3 Sofa & Daybed by Hans J. Wegner for Getama, 1960s
Floor Lamp by JJM Hoogervorst for Anvia, Holland 1950s
Glass Coffee Table by Arnold Buena De Mesquita for Spurs, 1955
BZ72 Bench by Martin Visser for ’t Spectrum
Czech Art Deco H269 Chair by Jindrich Halabala, 1930s
GE236/4 Teak Sofa by Hans J. Wegner for Getama, 1955
Danish Leather Footstool, 1950s
Model 4050 Red Panama Lamp by Wim Rietveld for Gispen, 1953
Vintage Dutch Armchair by Rudolf Wolf for Elsrijk, 1955
Dutch Daybed by Martin Visser for ‘t Spectrum, 1950s
Dutch Leather & Metal Chair by WH Gispen for Kembo, 1950s
Shogun Floor Lamp by Mario Botta for Artemide
Jupiter 5 Print by Rafael Bogarin, 1981
Swiss Brushed Chrome Desk Lamp by Koch & Lowy, 1950s
Tan Leather Sofa by Erik Jørgensen, 1960s
Fishing Rod Wall Lamp by Jan Hoogervorsrt for Anvia, 1950s
Sun Series Floor Lamp by H. Th. J. A. Busquet for Hala Zeist, 1950s
EB02 Desk by Cees Braakman for Pastoe, 1952
SB02 Chair by Cees Braakman for UMS Pastoe, 1952
Shogun Wall Lamp by Mario Botta for Artemide, 1986