Touring Sir John Soane’s London Museum with Erdem Moralıoğlu | Visitors’ Book

I think what's so extraordinary about the space itself and I can say this about the entire museum is that it's almost like Sir John Soane's just left the building and kind of shut the door and there's something that's so wonderfully kind of I imagine very close to what was originally here just an extraordinary maze and labyrinth of treasures. He was completely obsessed with collecting and there's such a mix of objects from different times and places everything from Hogarth to architectural models to an Egyptian sarcophagus downstairs. Someone from the museum actually said that there was a room that was going to eventually be open to the public but had never been seen before and of course I was immediately very curious and I was taken up here into what you see here which is the drawing office. As a fashion designer I always start with drawing actually drawing has always been something that I've done ever since I was a child and I tend to draw when I'm completely alone and as a way to just get out everything that's kind of happening in between my ears but I have to draw things in order to kind of resolve them in my head. The first thing that you notice of course are all the mouldings that are taken from either ancient Roman or ancient Grecian sections of buildings or monuments. I think architecture is such an interesting way to look at how someone lives particularly when you see this space you know you immediately understand maybe how these apprentices would have worked at these desks and the idea of storytelling is it's very very interesting and architecture of course can can tell a story very clearly. What I quite like about the Sir John Soane Museum in general there's this sense of kind of monumental object in a home so you have the intimacy of being in someone's home and effectively this was an office in his house you know he was working from home and you have that kind of extraordinary contrast between these objects that are so kind of grand and big in in actually quite small spaces. When I'm collecting something whether it's a painting, a drawing, a bust there's something that kind of speaks to you and sometimes the thread isn't so kind of linear as in you know objects all from one decade or one artist there's something kind of wonderful when there's like more of an emotional thread between objects. If I could take one object home with me it would probably be the face of a Roman fountain that's downstairs it's from the Hadrianic period and it's very beautiful and quite peculiar.