Text Dzenana MUJADZIC
Der Name der zeitgenössischen Design Galerie Béton Brut in London erweckt auf den ersten Blick einen statischen Eindruck, eigentlich aber steht er für eine unvollkommene Rohheit, die Gründerin Sophie Pearce als symbolischer Ausgangspunkt dient, von dem aus sie Räume mit Intention und Instinkt – einem der wichtigsten Pfeiler ihres Ansatzes – in eine klare Form und Funktion bringt.
Chapter What are the origins of Béton Brut, and how has the gallery’s philosophy evolved since its founding in 2013?
Sophie Pearce I co-founded Béton Brut in 2013 with a desire to present vintage in a way that felt fresh and intentional. Over a decade ago we were at the peak of midcentury mania—lots of teak and rosewood—and that kind of offering had become intrinsically linked with the image of a »vintage dealer«. Though I also started with modernism, I was trying to buy pieces around its margins—Dutch De Stijl, Finnish modern—and curate them in a unified aesthetic more akin to a fashion brand. As such, as my tastes evolve and the subgenres I collect have changed, the brand remains recognizably »Béton Brut«. So while I now have works of 1930s functionalism and art deco intermixing with 1970s Italian and 1980s French design, there are key aesthetic signatures that endure: Sculptural silhouettes, a balance of rational and organic, with interplays in texture and scale, set in a monochromatic palette.
Chapter In what ways does the name »Béton Brut« reflect its curation and aesthetics?
Sophie Pearce Béton Brut comes from the concrete finish used in modernist architecture. It is left »unfinished« after it’s cast, so there are seams in the surface from the formwork. It feels representative of the collection somehow—rational and honest, with this sense of organicism and past life. We wanted a strong name that gave a nod to the vintage side of the business, but didn’t limit us to it because we are also a contemporary design gallery and offer prop hire. In the broadest sense, our aesthetic will always be informed by the principles of modernism. While I seek patina, I’m fundamentally drawn to clean and streamlined forms, strong geometries, neutral shades and of course function.
Chapter In your opinion, what makes a space interesting?
Sophie Pearce Fundamentally I think it’s about contrast and a curiosity for unexpected combinations. There are so many ways to approach this as a concept. Plays on scale—so thinking about something quite oversized or totemic versus a really precious small piece or a fine detail. You can think about lightness versus darkness, and the way a piece can shift in spirit based on the way it’s lit or what other tones are nearby. Contrasting textures is often a good place to start. There’s so much richness in the juxtaposition of a long-pile mohair with, say, a pale gloss lacquer or paper lamp. Patina is often a shortcut to interest. The accumulated character of a piece over time can act as a wonderful anchor for a scheme or bring another dimension to something that’s otherwise quite muted or rationalist.
Chapter How would you describe your own taste and what role does instinct play in forming such a thing as »personal taste«?
Sophie Pearce In the simplest terms I’m particularly drawn by strong sculptural forms, which are often grounded in minimalism. Though I don’t restrict the collection to modernism as a design movement or fixed era, it’s definitely rooted in those guiding principles. Instinct has always been a key tenet of my approach. Instinct is taste. Generally, I’m an »ask questions later« kind of dealer. If I see something I love, that I would present in my real or imagined home, then my boxes are ticked. I then go down the rabbit hole, finding out everything I can about the piece and designer. I also think instinct comes from accumulation. A steady accumulation of visual references in your mind’s eye over time that drive your autonomic response to a work in the future. Taste is therefore having eyes on things, again and again.
ERSTMALS VERÖFFENTLICHT IN CHAPTER №XI »TASTEMAKERS« – WINTER 2024/25
