Real Studios will soon be luring the public to Walthamstow Wetlands' new visitor centre, with displays that layer information and activities around a lively central café in the refurbished Victorian Triple Engine House. It opens summer 2017.
Currently one of Thames Water's best-kept secrets, Real Studios' scheme is designed to encourage exploration of the vast reservoir landscape, with AV's revealing the workings and history of the site, its flora and fauna. A key feature of the design, an iconic installation, will be suspended over the ground floor café: 150 glass bottles, their contents gathered and displayed through engagement with local community groups and schools.
For the Royal Academy's new blockbuster, Revolution (now open), Real Studios has deployed a revolutionary sensibility using graphics, structures and colours inspired by Russian design of the period. This acts as a frame to the extraordinary (and sometimes controversial) art works of the period.
Revolution: Russian Art 1917-1932 charts the period when artists and designers looked to reinvent what and indeed who their art was for. Real Studios' bold design takes visitors on a dynamic journey through the mixed media content, harnessing the dynamism of the period's flourishing visual language, with a 'Russian' sense of colour, large graphic propaganda and dynamic structural interventions.
'Stylishly designed, the show proceeds with verve, and has a lovely flow.' The Telegraph - 7th Feb
'you can expect something vivid and varied - and often viscerally moving' The Times - 7th Feb
'In a brilliant (and un-signposted) coup de théâtre, the ceiling of this ornate, neoclassical gallery is hung with recreations of the abstract forms designed by Nathan Altman for Palace Square in St. Petersburg' Art News - 8th Feb
'The brief but soaring flight of the Russian Avant Garde falls to earth in a silt of Stalinist kitsch, and what follows is condensed in the intensely moving Room of Memory.' The Guardian - 12th Feb
'The dizzying idealism reaches its height in one of the exhibition's most striking rooms where, bird-like, a wood and canvas flying machine is suspended from a vaulting rotunda ceiling.' The Economist - 16th Feb