About Peter
Peter Nencini came to London in 1992, to study at the Royal College of Art. Aside from a three-year interlude working in Brussels, he stayed put. A designer and educator, he has worked across print and television for clients such as the New York Times and the BBC. More recently, he has gravitated towards editioned and exhibited work in ceramic, fabric, wood and metal — with a bonding interest in the space between typographic and figurative form. An interview about his work, with Ryan G. Nelson for the Walker Art Center, can be read here. His editioned box and wall works are currently showing at Partners & Spade, New York.
http://www.peternencini.co.uk
Current city: London
Peter Nencini came to London in 1992, to study at the Royal College of Art. Aside from a three-year interlude working in Brussels, he stayed put. A designer and educator, he has worked across print and television for clients such as the New York Times and the BBC. More recently, he has gravitated towards editioned and exhibited work in ceramic, fabric, wood and metal — with a bonding interest in the space between typographic and figurative form. An interview about his work, with Ryan G. Nelson for the Walker Art Center, can be read here. His editioned box and wall works are currently showing at Partners & Spade, New York.
 
In terms of materials and form, these galleries offer so much. On an abstract and typographic level, so useful. This is a section of an altar frieze, from the Eye Temple at Tell Brak (N.E. Syria), dated 3300–3000BC. The Egyptian rooms take the tourist weight; these spaces are much quieter and amenable time spent drawing and thinking.
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The gallery was extended into a neighbouring Victorian House space about a year and a half ago, with a real skill in judging the meeting point between the contemporary and the conserved. The architects — 6a — were also responsible for Raven Row near Spitalfields (another favourite place). I'm lucky enough to work part of the week next door, at Camberwell College of Arts. This is about great food and good books. The café — a real haven at breakfast time before work — is run by the nicest team of people, with intertwined relationships to Camberwell. This book, designed by James Langdon, represents the kind of find possible in the bookshop and also the quality of conversation content had, over the best coffee.
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The Lambeth Walk is not as billed in the song. Quite a bleak but somehow beautiful mishmash of architectural accident–or–design; a legacy of stray WWII bombs intended for more auspicious near-at-hand targets, such as the Houses of Parliament. I study sculpture here each Monday; a lovely workshop inside. The exterior features one of only a few examples of an outside pulpit, apparently for the minister to take his message direct to the shoppers, in the Walk's heyday.
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Not long in the custody of the National Trust, designed by Philip Webb and commissioned by William Morris, in 1859. Tucked away in Beckenham. William and Jane Morris only lived here for five years; not a happy time of their marriage. But there is humility, authority and even bite, in the domestic scale. The rigorous, holistic design-hand at work belies any sense of souvenir shop Morris-lite. The vegetable garden in late Summer is the place to be.
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I walk a lot; the best way to experience a city. So it's sometimes to do with the way places join up. This cast concrete letterform is a part of the Lycée's gateway. Each of the form's facets arrives at a different character, so six possible letters come from each cast object. I've never been inside the Lycée but always walked through this way up to the V&A, in order to examine again and again how each form works. The surfaces set the tone for the V&A and its incredible Ceramics floor, a perennial inspiration.
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A treasure trove in the The City of London. The Archive of London. Strongrooms hold kilometres of shelving; boxes of matter that has somehow been catalogued and categorised in a traceable manner by the public, for academic, genealogical and other research. This beautiful book is from a box on Epping Forest. On the same visit, I looked through photographs of Blitz singsongs in Bethnal Green Underground station, 1980s anti-Thatcher / pro-GLC gig posters and paper concertina optical models of the Crystal Palace.
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Interior designer living and working from East London.
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