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Reimagining Circular Design With a Perfectly Suited Collaboration Between Aquafil + noho

Reimagining Circular Design With a Perfectly Suited Collaboration Between Aquafil + noho

With Earth Day barely in our rearview mirrors, there may be no better time to highlight ECONYL®, a brand that’s been reimagining what eco-design looks like since 2011. Design plays such a large, important role in our everyday lives – from products to systems to services – and the brand has always sought to connect with those doing the creating. While our abilities to design and buy new products are limitless, the planet’s resources are not. But with ECONYL®’s regenerated nylon it’s possible to have both. “Innovation is a key part of securing a company’s future. It should always be coupled with sustainability for representing a key driver of profit and long-term growth for many of today’s businesses,” said Giulio Bonazzi, president and CEO of Aquafil Group, the company behind ECONYL®.

Photo: Aquafil

When it comes to the ecological impact of a product, 80% is determined during the design phase, making it crucial that we examine how products are produced and consumed from the start. Using ethical, sustainable principles and materials is essential to moving closer to the end goal of a circular economy, and we can continue the journey by “designing out waste and pollution,” keeping products and materials in use longer, and regenerating natural systems. For these reasons – and many more – Aquafil is focused on collaborating with brands to reimagine products for a better future.

regenerated nylon being made

Photo: Aquafil

ECONYL® regenerated nylon provides the high performance and durability brands have been relying on since hosiery became popular in the 1940s. Since then, the extremely versatile material has expanded into interior design, automotive manufacturing, and beyond for its unparalleled ability to be stretched and molded. Standard nylon comes at a high price to the environment, but ECONYL®’s regenerated nylon is a kinder choice that can be made without sacrificing on performance or durability. The brand goes to long lengths to collect and recycle nylon waste that includes carpets, fishing nets, and fabric scraps. All of it is depolymerized back into its raw form – caprolactam – during a chemical recycling process. It’s then polymerized once more, resulting in 100% usable nylon that can make new products. And because it’s infinitely regenerable, it can all happen again and again and again.

spools of various colors of regenerated nylon

Designers can understandably be a bit apprehensive about using recycled material, but customers who have created with ECONYL® nylon are pleasantly surprised. It’s chemically identical to nylon sourced from oil, has the same performance characteristics, there’s no downgrade in quality, and the solution-dyed yarn is bleach and fade resistant. ECONYL® nylon can be used in any product where nylon 6 is used: apparel, carpets, industrial ropes and cables, sunglasses, and even as a filament in furniture or 3D printing.

Brands around the world are finding value in regenerated nylon for its high performance and lower embodied carbon than its oil-sourced counterpart. Its regenerative properties can empower designers to reimagine their creative process by designing with the end in mind. Encouragement lies not only in the replacement of materials, but also with the possibilities of products that can be easily dismantled and reused again in a circular economy. The creative opportunities and possibilities are limitless.

modern black dining chair on white background

noho, a sustainable furniture company based in New Zealand, was on the hunt for a recycled, earth-friendly, raw material for an innovative chair design. ECONYL® regenerated nylon fit the bill, and soon a collaboration was launched by the two brands to create the noho move™ chair. “We love seeing ECONYL® nylon being used in innovative ways, especially now being sourced by an inventive company like noho, the first furniture brand in the world to see waste plastic as a long-term furniture solution,” said Bonazzi.

a dining table with two people surrounded by white modern dining chairs overlooking a large body of water

Designed by Formway, Lead Designer Paul Stevenson, shared, “I think we started working on noho move in 2014, and in all there were probably about three years of pretty intense design development, followed by two years of testing to meet furniture standards and get noho move ready for production.”

After observing the many different ways people use their dining room tables, the team came up with a plan for the chair. “We started building prototypes that had the types of movement we thought people would need. We saw a lot of leaning forward toward the table, so we wanted to make the seat respond to that by tipping forward with you. Lots of times when people were talking they would lean back to listen, then lean in to speak,” said Stevenson. “We know from our previous research that that movement is really healthy for your spine, so we wanted to integrate that as well.”

modern white chair at a desk with computer monitor

“For us, the idea to create a singular seamless motion was key, we really wanted to tie the movements together, and that’s where the idea for the auxetic shell started to come in, it had to be flexible but still supportive to fit people of different shapes, sizes, and ages,” Stevenson explained. Prototypes were then set up in people’s homes and filmed while in use. From the footage Formway was able to gather even more data about how people move during different activities to map out their posture and motions. In the end, it made for a better product that the user could comfortably enjoy.

The final challenge came when it was time to make the ergonomics aesthetically appealing in the home. Stevenson said, “We really wanted the chair design to be clean and simple so that it looks good at a dining table, but it still had to allude to the performance we had integrated. We wanted to show that it’s a moving, flexing, comfortable chair. I think we achieved that with noho move and I’m really proud of it.” The team at noho appreciated being able to work directly with the nylon scientists and technicians at Aquafil, with the two brands truly supporting one another throughout the process. noho move was successfully launched in 2020.

modern black dining chair with a lit fireplace in the background

The noho move chair is a concrete example of how high design and the sustainability of ECONYL® nylon can coexist. “noho found meaningful alignment with Aquafil, as both our companies are on a mission to produce products that reduce harm to our planet through thoughtful design and the implementation of sustainable materials,” added Bonazzi. “The noho move chair is revolutionizing residential seating design by addressing issues of health, movement, multifunction, and sustainability in monumental ways, while also pushing the boundaries and performance capabilities of the material. This is part of noho’s DNA, and I firmly believe they will amaze us with other beautiful pieces of sustainable design.” You can make the noho move chair part of your own space through ECONYL®’s e-shop.

Moving forward, industries will continue to move toward sustainable ingredients like ECONYL® nylon. Bonazzi said, “The interior design and furniture industries, as well as the textile industry, will have to be sustainable both socially and environmentally in order to survive. There are lots of issues to be considered and lots of challenges to face. It will be a long and hard journey, but starting with the right materials (and for sure, ECONYL® nylon is on the top of the list) is part of the solution.”

Learn more about recycled, sustainable ECONYL® regenerated nylon and its capabilities at econyl.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

‘Street photography’ focus of next Delta Photo Club workshop

‘Street photography’ focus of next Delta Photo Club workshop

Acclaimed photographer and long-time Delta Photo Club member Jean-Francois Cleroux will be offering an “Introduction to the Art of Street Photography” for the club’s next online workshop.

Happening Wednesday, May 3 on Zoom, Cleroux’s two-hour class provide a quick history of street photography, discuss what street photography is and is not, as well as “why it’s important for you to understand what street photography is for you,” according to the event’s description.

Cleroux will also cover being comfortable photographing people,“you and the law,” gear and settings, as well as the compositional and artistic elements that make for great street photography.

An internationally award-winning photographer, instructor and photo judge, Cleroux has been doing photography since eighth grade. His images have been published in magazines in Europe, India and North America, including on the covers of Popular Photography and Photo magazines. He has exhibited works in Canada, the U.S. and India, and has taught in Europe and in America.

“Francois loves creating images from very simple minimalist works to very large complex installations. Although most of his artistic projects are personal and not shared, he has created ‘tabulaRASA,’ a photographic artists collective, which helps other artists create, cultivate and refine their works and projects,” reads a bio included with the event’s description, adding he has also started a photographic artists mentorship program.

SEE ALSO: Echoes of George Floyd death in Charles Campbell’s new ‘Ocean to Livity’ art show in Surrey

In recent years, Cleroux has pursued his passion for street photography, establishing streetsihavewalked.com to promote street photography in the Vancouver area and offering a free self-paced street photography class.

For DPC members in good standing, this upcoming session will be followed with outings guided by Cleroux, as well as a show-and-tell session with him to discuss images taken during the outings and submitted by club members.

“An Introduction to the Art of Street Photography” will take place on Wednesday, May 3 from 7:30 to 9:30 p.m. via Zoom.

To attend, you must either be a member of the Delta Photo Club (memberships cost $40/year for individuals, $70 for families, and $25 for youth and students; join by filling out the form at deltaphotoclub.com/member-sign-up-form) or, to join as a guest, send an e-transfer of $10 to treasurer@deltaphotoclub.com by noon on May 3 (please include your name, email address and club affiliation with the transfer).

For more info about other upcoming club events, visit deltaphotoclub.com/workshops.

To learn more about the Delta Photo Club or using the Zoom platform, email president@deltaphotoclub.com.

SEE ALSO: Happening around Delta: week of April 20



editor@northdeltareporter.com

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DeltaPhotography

‘Street photography’ focus of next Delta Photo Club workshop – Surrey Now-Leader

‘Street photography’ focus of next Delta Photo Club workshop – Surrey Now-Leader

Acclaimed photographer and long-time Delta Photo Club member Jean-Francois Cleroux will be offering an “Introduction to the Art of Street Photography” for the club’s next online workshop.

Happening Wednesday, May 3 on Zoom, Cleroux’s two-hour class provide a quick history of street photography, discuss what street photography is and is not, as well as “why it’s important for you to understand what street photography is for you,” according to the event’s description.

Cleroux will also cover being comfortable photographing people,“you and the law,” gear and settings, as well as the compositional and artistic elements that make for great street photography.

An internationally award-winning photographer, instructor and photo judge, Cleroux has been doing photography since eighth grade. His images have been published in magazines in Europe, India and North America, including on the covers of Popular Photography and Photo magazines. He has exhibited works in Canada, the U.S. and India, and has taught in Europe and in America.

“Francois loves creating images from very simple minimalist works to very large complex installations. Although most of his artistic projects are personal and not shared, he has created ‘tabulaRASA,’ a photographic artists collective, which helps other artists create, cultivate and refine their works and projects,” reads a bio included with the event’s description, adding he has also started a photographic artists mentorship program.

SEE ALSO: Echoes of George Floyd death in Charles Campbell’s new ‘Ocean to Livity’ art show in Surrey

In recent years, Cleroux has pursued his passion for street photography, establishing streetsihavewalked.com to promote street photography in the Vancouver area and offering a free self-paced street photography class.

For DPC members in good standing, this upcoming session will be followed with outings guided by Cleroux, as well as a show-and-tell session with him to discuss images taken during the outings and submitted by club members.

“An Introduction to the Art of Street Photography” will take place on Wednesday, May 3 from 7:30 to 9:30 p.m. via Zoom.

To attend, you must either be a member of the Delta Photo Club (memberships cost $40/year for individuals, $70 for families, and $25 for youth and students; join by filling out the form at deltaphotoclub.com/member-sign-up-form) or, to join as a guest, send an e-transfer of $10 to treasurer@deltaphotoclub.com by noon on May 3 (please include your name, email address and club affiliation with the transfer).

For more info about other upcoming club events, visit deltaphotoclub.com/workshops.

To learn more about the Delta Photo Club or using the Zoom platform, email president@deltaphotoclub.com.

SEE ALSO: Happening around Delta: week of April 20



editor@northdeltareporter.com

Like us on Facebook and follow us on Twitter

DeltaPhotography

Cheat sheet: Five factors that affect exposure in photography

Cheat sheet: Five factors that affect exposure in photography

Aperture is just one of the factors that controls exposure – and the amount of light that creates the image on the camera’s CMOS sensor. In fact, there are five different factors that make up the right exposure for your photographs. To understand how the factors work together, it can help to think of exposure as being similar to filling a cup with water…

Click the top-right-hand corner of the image to enlarge (Image credit: Future)

(opens in new tab)

Think of the aperture is how far the faucet is turned on – do you want a trickle or a torrent? Think of shutter speed as the amount of time the tap is left turned on. It works hand in hand with aperture – you can have the tap on full for a short time,
or open just a little bit for longer to get the same volume of water. The ISO sensitivity setting is like the size of the glass. For short exposures, choose a small cup! Exposure is also dependent on the light intensity; This is like the water pressure – and this affects how far the tap is turned on, and for how long. Finally, exposure is not all about science – it is also about artistic interpretation. Exactly how full do you prefer your cup of water to be?

Altering the aperture is one of the photographer’s most potent  weapons, but this apparently simple control can lead to confusion. The exact setting used can create varied – and seemingly contradictory – effects. And then there is the peculiar number scale used – the numbers themselves appear randomly generated, and arranged in the wrong order!

First and foremost, the aperture is a simple hole – an opening that can be varied in size, so as to control the amount of light reaching the camera sensor. Used in conjunction with shutter speed (the length of time the sensor is exposed to light), the aperture lets you match the exposure to the brightness of the scene. The wider the hole, the more light that is let in – helping you to compensate for darker conditions, say, or letting you use a faster shutter speed.

The aperture is not actually in the camera – but in the lens. As a mirrorless camera’s or DSLR’s lens is interchangeable, the range of aperture settings available varies depending on the particular lens used. Notably, expensive lenses tend to have significantly wider maximum apertures than budget zooms.

What frustrates everyone new to photography is the f/stop scale used to measure the size of the aperture. The strange numbering system, however, is not random. The first thing to realize is that the numbers are not integers, but fractions. So f/4 is not 4 but a quarter.

Read more
The exposure triangle explained (opens in new tab)
How to understand f-stops (opens in new tab)
How to understand ISO settings (opens in new tab)
Photography tips (opens in new tab)
Photography cheat sheets

Augmented Reality Art Takes Over the Roofs of a British City

Augmented Reality Art Takes Over the Roofs of a British City

In the summer of 2016, Pokémon Go took the world by storm. Obsessive teenagers (and adults) crisscrossed cities—public restrooms and cemeteries included—on the hunt for Pikachus, Charizards, and Squirtles. Almost overnight, the game revolutionized both the mobile gaming industry and the public’s awareness of the power of augmented reality as millions of people learned that accessing a virtual world was as simple as holding your phone in front of you.

Today, a similar concept with an arguably much nobler mission has taken over Sheffield, a British city just south of Manchester with a population of 580,000. But instead of heading out to catch collectible monsters, the people of Sheffield can wander off to iconic buildings in the city center and marvel at the digital artworks springing from their rooftops.

Person holding up a smartphone showing an augmented reality character

Visitors to the art installation can download an app, then use their phone’s camera to unlock virtual artworks on the rooftops of nearby buildings.

Photograph: Marketing Sheffield

In February, Sheffield launched one of the world’s biggest augmented-reality art trails. Titled “Look Up!,” the trail counts four buildings, each of them paired with a QR code on the sidewalk below. Using a free app, viewers can scan that QR code to follow a bunch of animated arrows that lead their gaze upward. There, from the roof of a building, they can watch a stick figure made of different-colored balloons drift up, swirl around, and fade into the sky—all through their phone’s screen. (In the week following the launch, over 1,500 people had downloaded the app and almost 2,000 QR codes had been scanned.)

Augmented reality characters on top of a real building

Peek-a-boo.

Photograph: Marketing Sheffield

The platform and app were created by a local company called Megaverse, which worked closely with Niantic, the San Francisco company behind Pokémon Go. The virtual artworks were created by two other local firms: Universal Everything and Human Studio. The impetus of the project goes back to a single building located smack dab in the middle of Sheffield. The John Lewis department store had been an anchor in Sheffield since the 1960s, when the building was still known as the Cole Brothers store. And then the pandemic hit, the store closed, and John Lewis withdrew from the building. “Cue a massive outpouring of grief and frustration,” says Mark Mobbs, the city’s place brand and marketing manager. One resident told The Guardian that the closure felt “as bad as a death in the family.”

What locals didn’t know was that the city council had bought the building (which had by then been designated as a landmark) and made grand plans for its revival. In fact, it sat right in the middle of a regeneration project worth £470 million (about $580 million) that will bring new living spaces, offices, cultural venues, and food halls to the city center. “But because there’s all of that change being planned, and the general member of public doesn’t know the ins and outs of that, it just looks like shops have left town,” says Mobbs. In other words, the big narrative among locals was that Sheffield had lost its spirit.

To shake things up a bit, Mobbs was tasked with designing the kind of branded fences that make a construction site look a little more cheerful for the duration of the project. But Mobbs wasn’t kidding himself about the impact this kind of messaging would have. “Anything I write I felt could be easily criticized by people,” he says. “If you try to tell people something positive, it could create the opposite reaction, and the only way that I’ve ever seen of transforming a narrative around a place is public art.” But instead of static artworks, Mobbs had something more dynamic in mind.

Enter “Look Up!” The project quickly grew from an intervention on this one building to a citywide attempt to reengage residents with their city. On the roof of the former John Lewis building, for example, Universal Everything designed a parade of colorful characters that look like buildings with little dots for eyes. And at the city’s Central Library, which holds an art gallery, Human Studio rendered a gray cat called Hank, which slowly emerges from the roof to become about as tall as the building it sits on, then gazes down at you with quintessentially catlike nonchalance.

Sheffield isn’t the first city to leverage technology to strengthen people’s engagement. In 2018, Buffalo, New York’s Olmsted Park Conservancy turned two newly installed signs into “AR portals” to show visitors what two Frederick Law Olmsted-designed parks would have looked like if they still existed today. And earlier this year, the city of Phoenix, working with the Thunderbird School of Global Management at Arizona State University, developed an augmented-reality scavenger hunt that allows visitors to learn more about the city’s past and future in half a dozen locations across the city center.

In Sheffield, the team developed the art trail across four key locations in the city, all within roughly a mile radius. (After all, it’s meant to be a walkable trail.) The John Lewis building is intended to be a “beacon of change,” says Mobbs. The University building can help wow prospective students on Open Days. And the Central Library, located in the city’s theater district, just “made sense” as a stop on the tour, says Mobbs. The team plans to expand the art walk to include more buildings soon.

You may wonder why all the virtual art appears on rooftops when so much city life happens at street level. For one thing, Sheffield’s hilly topography makes it easy for people to appreciate the AR-enhanced rooftops from various vantage points. But most importantly, says Mobbs, when you put a piece of artwork on a rooftop, “the sky is your canvas.”

It also makes for a solid Instagram post.

Richard Avedon at 100

Richard Avedon at 100

Richard Avedon

© The Richard Avedon Foundation
In a sneak peek of a centennial celebration at Gagosian, Tom Ford, Anjelica Huston, Thelma Golden, and more share their favorite portraits by the legendary photographer.

April 24, 2023

Richard AVEDON (1993), above

“Of all his portraits and self-portraits, this is the most authentic,” says former colleague Kara Glynn. “Dick always invited his subjects into his world and then proceeded to capture their essence, the truth or his truth—or as he used to say (in jest), ‘Steal their soul.’Dick invites us into his world in this photograph. Literally. I love this image for its truth.”


Anjelica Huston
© The Richard Avedon Foundation

Anjelica HUSTON (1972)

“I was furious when Dick told me he had decided to publish this portrait—I thought it desperately unflattering! Now, of course, I see it for what it is—intimate and unapologetic—pure Avedon.”


Richard Avedon at 100
© The Richard Avedon Foundation

Tom FORD (2002)

“I was photographed by Irving Penn that morning and then Avedon in the afternoon. The photographic styles of the two could not have been more different. Penn looked and looked at every angle of my face and tried to make me feel uncomfortable so that in the end he would capture something that I would not normally present to the world.… Avedon, on the other hand, wanted me to feel absolutely comfortable.”


Marian Anderson
© The Richard Avedon Foundation

Marian ANDERSON (1955)

“Each and every time I see this photo, it moves me,” says Harper’s Bazaar editor in chief Samira Nasr. “Avedon was masterful because he could also seemingly effortlessly capture honesty and emotion. In 1955, the same year this photo was taken, Marian Anderson became the first Black opera singer to perform a lead role at New York’s Metropolitan Opera. This photo captures beauty, emotion, and the possibilities that come with freedom.”


Stephen Sondheim
© The Richard Avedon Foundation

Stephen Sondheim (2004)

In this portrait, says musician Mark Ronson, “he’s 74 and unquestionably the greatest living American composer…with a ‘Whaddayouwanna take this guy’s picture for?’ look about him. It appears he might not have wanted to stay long enough to take his coat off, but he’s obviously there out of his reverence for the photographer.”


Shirley Chisholm
© The Richard Avedon Foundation

Shirley CHISHOLM (1976)

“The first Black woman elected to Congress, and the first Black candidate to run for a major party’s nomination for president, [she] campaigned as the unbought and unbossed ‘Fighting Shirley Chisholm,’ which is exactly how Avedon photographed her,” says Thelma Golden, director and chief curator of the Studio Museum in Harlem.

Portraits and text adapted and excerpted from Avedon 100, to be published May 4 by Gagosian and distributed by Rizzoli. Copyright © 2023.

Cleaner’s cupboard becomes a walk-in camera obscura: hidden backrooms of London’s V&A transformed into new photography centre

Cleaner’s cupboard becomes a walk-in camera obscura: hidden backrooms of London’s V&A transformed into new photography centre

The Victoria and Albert Museum (V&A) in London began to develop a permanent collection of photography in 1852, the year it was founded. This early recognition of photography was pioneering, marking the V&A out as the first museum to collect photography in the world. Today, the museum holds upwards of 800,000 photographic items. But, for much of its history, the V&A only exhibited tiny fragments of its world-renowned collection of photography to the public.

Not any more. On 25 May, the museum will mark the long-awaited completion of the Photography Centre. “The momentum behind photography at the V&A is bigger now than ever before,” says Marta Weiss, a senior curator of photography at the V&A.

Phase one

The centre, which is situated in the north-east wing of the museum in South Kensington, has had a long gestation period. Phase one of the project opened in 2018, attracting three times as many visitors as expected. “It was our first proper attempt to claim a space within the museum,” says Martin Barnes, a senior curator of photographs who runs the V&A’s photography department.

imageimage

A rendering of the Parasol Foundation Gallery (room 97) in the V&A’s Photography Centre, which was funded by a donation from Ruth Monicka Parasol, who made her fortune selling adult entertainment
© Gibson Thornley Architects

But phase one comprised just three galleries. Now, a second and final phase has added four more. Combined, the centre’s seven galleries now total more than 1,000 sq. m of exhibition space along the full length of the museum’s north-east quarter.

“We wanted to show photography in all of the ways it exists, from the book page to the glass negative to the print on a wall to the digital,” Barnes says. “We are one of the few places in the world you can come to and reliably be able to see that range.”

The Photography Centre gathered pace when the photography department’s already expansive holdings were bolstered by the addition, in 2016, of the Royal Photographic Society’s archive of photographs, books and cameras. The collection was formerly held at the National Science and Media Museum in the Yorkshire city of Bradford.

Endowment

But the collection is not inert. It is a living, evolving and ever-changing thing—one driven by a dynamic contemporary acquisitions programme. In September 2021, the V&A announced the Parasol Women in Photography Project, made possible via a £3m endowment from the Parasol Foundation Trust. The funding comes from Ruth Monicka Parasol, a billionaire philanthropist from San Francisco, who, somewhat ironically, made her fortune in part by selling adult entertainment.

In March 2022, the V&A appointed Fiona Rogers, the former chief operating officer of Magnum, the prestigious photography co-operative, as the Parasol Foundation curator of women in photography, a newly created post. Her appointment reflected the need to “rebalance” the collection, she says. Only 15% of the existing collection is by women, a statistic Rogers is keen to change.

“We are in the process of mapping the existing collection,” Rogers says.

imageimage

Tarrah Krajnak’s Self Portrait as Walking Woman with Bag, 1979 Lima, Peru 2019 Los Angeles, CA, from the series 1979 Contact Negatives (2019–22) © Tarrah Krajnak

Alternative histories

Rogers’s work is reflected in the centre’s inaugural exhibition, which will feature—alongside ephemera dating back to the birth of the medium—new creations by the contemporary British photographer Liz Johnson Artur and the German artist Vera Lutter, as well as a Parasol Foundation Trust-funded series of contemporary self-portraits by the Peruvian photographer Tarrah Krajnak. “We are trying to be strategic in our acquisition and programming activities,” Rogers says.

“We’ve searched for underrepresented communities and overlooked stories, primarily by women artists”

Fiona Rogers, the V&A’s Parasol Foundation curator of women in photography

As well as championing new artists, Rogers and her team have mined the collection, searching for photography that might have been ignored by generations but sheds light on alternative histories. On social media, Rogers has revisited the photography of Julia Margaret Cameron, who was given her first show at the then South Kensington Museum in 1865. But she is also sharing the contents of hand-adorned photography albums created by unknown women from the Victorian era, as well as sharing Isabel Agnes Cowper’s 19th-century documentation of the V&A’s objects and spaces in her capacity as the first female official museum photographer of the South Kensington Museum, as the V&A was known from its official opening in 1857 to 1899. “We’ve searched for underrepresented communities and overlooked stories, primarily by women artists,” Rogers says.

imageimage

Fred Zinnemann’s Madison Square Garden, Velodrome (1932) Museum no. E.1683-1989 © The Estate of Fred Zinnemann Courtesy Peter Fetterman Gallery

Inner space

Most institutions would build something entirely new to house this kind of venture. The V&A, by contrast, has pursued a principle of inward expansion, aiming to return the building to its original 19th-century glories while also making it accessible to a 21st-century audience.

The Photography Centre is comprised of new galleries that, for decades, were back-of-house rooms. Before the restoration, rooms 96, 97 and 98 were variously used as student classrooms and storage rooms for the museum’s textiles. But the restoration has revealed the secrets of the V&A’s history. Vaulted ceilings and archways with original timber panelling covered in hessian were uncovered and refurbished. Room 95 was a cleaner’s cupboard, which, for much of the building’s 166-year history, has never been made accessible to the public. It will now play host to a walk-in camera obscura.