PHOTOGRAPHY: ADRIEN DUBOST WRITERS: EMMA MOORE, MARCO SAMMICHELITHIS PICTURE, ‘ALICE’S SALAD
BOWL’, $495; ‘ALICE’S MORTAR
AND PESTLE’, $200; ‘ALICE’S
EGG SPOON’, $275, ALL FROM
PERMANENT COLLECTION
BELOW, ‘BLOCK’ VESSEL,
£3,120, BY APPARATUS,
FROM WILLER. ‘ROUSSET’
RUG, PART OF THE NORD/SUD
COLLECTION, €2,700 PER SQ M,
BY STÉPHANE PARMENTIER,
FOR LA MANUFACTURE COGOLINAlice Waters is considered something of an icon in
culinary circles, so there was much excitement in the
Wallpaper* office when we discovered that Permanent
Collection, the California- and London-based purveyor
of timeless accessories for the body and home, is
producing a series of kitchen tools based on ones
Waters has cherished since her 1970s heyday. It helps
that one of the store’s founders, Fanny Singer, is Waters’
daughter. With co-founder Mariah Nielson, she
anticipated that some of her mother’s cooking staples
might have a life beyond her home hearth, and they
sought out local makers to bring them to a wider
audience. First up is an egg spoon, originally made for
Waters by blacksmith and cook Angelo Garro after she
learned about the 17th-century French technique of
cooking eggs in an open hearth with a long-handled
spoon. Singer and Nielson worked with blacksmith
Shawn Lovell to improve functionality on the original.
Then there is a pestle and mortar, based on a traditional
Japanese suribachi, a favourite in Waters’ large mortar
collection. The new rendition is made by ceramicist
Colleen Hennessey. A perfectly pared-back salad bowl,
meanwhile, is based on the shape of a ceramic bowl
Waters had for years, whose width and depth are
perfection but whose weight made it hard to easily pass
around the table. Sculpted from salvaged redwood by
artist Bruce Mitchell – a one-time apprentice of Nielson’s
father, sculptor JB Blunk – the 2019 version is extremely
light yet durable. permanentcollection.comBorn again
Fab gadgets from a gastronomic genius
HOT TROPIC
Sri Lankan architect Geoffrey Bawa, who
died in 2003, was one of the forerunners of
Tropical Modernism, the vernacular shaped
by the hot lush climates of the tropics.
He once described it as ‘an architecture that
is a blend of both modern and traditional,
East and West, formal and picturesque,
disrupting the walls between inside and
outside, building and landscape, offering
a blueprint of new ways to live and work
in a tropical city’. Milan-based editor and
photographer Giovanna Silva, a long-time
admirer of Bawa’s output, recently received
a grant from the Graham Foundation to
carry out a visual research project into the
architect’s body of work in Sri Lanka. The
project, entitled Mr Bawa, I Presume, charts
a trip Silva took to document the existing
buildings through photographs, and a
publication will be released in May 2020
for the Venice Architecture Biennale.
Left, Bentota railway station (architect
Geoffrey Bawa), by Giovanna Silva,
2018, Sri Lanka, courtesy of the artistNewspaper
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