To view the works exhibited and the exhibition space, please visit:
https://koelgallery.com/exhibitions/copper-steel-iron-silver-1080-666/#works
ARTIST'S STATEMENT
June 2021
If one could choose one word, what would embrace today’s Zeitgeist the best? Without a scientific evidence, “remote” seems to be this world. In more recent time, we all got used to remote working, remote learning and remote socializing. The technology we are using is very basic compared to other remote activities. Think of remote operation or teleoperation, where the surgeon sits in one corner of the world and the patient in another. In all these remote activities, we trust – and hope – in a loss-free transportation of information. And so, two architects, designers and friends embarked on an experiment of “remote design.”
The design process started in Dubai. Possibilities and limitations of copper smithing were researched in order to understanding what shapes are feasible and how they could be created. After some initial sketches, the copper vessels were created as digital designs in 3d. This would not only allow to properly understand the shapes from all sides but also to visualize them. By adding material properties to the digital files, computer generated images (renderings) could be produced for explanatory purposes. These objects were then translated into 2d drawings, showing plans, elevations and sections including the respective dimensions. In the field of architecture, every design is reduced to 2d drawings – a common denominator in construction globally. Sketches, renderings and drawings were sent to Karachi for the next steps.
It soon became evident that sketches, renderings and drawings were inadequate information for the local copper smiths to translate into a physical piece. Not only had the designs to be explained face to face by the partner based in Karachi, he also had to provide additional sketches and create models out of paper to further illustrate the intended design. Every vessel was crafted as a prototype first. Various iterations nudged the physical shape towards the original idea. Nevertheless, precisely placed patterns freed themselves from their rigid geometry and softened during the tactile crafting process. Minimalistic shapes receive an artistic makeover from a traditional smithing repertoire. Engineered information experiences free-spirited interpretation resulting in unexpected, new composition.
People might conclude with this experiment that “remote design” is challenging or impossible. However, we think differently. Any remote activity needs a medium to transport information from one location to another. Since in our case, the receiving end was not a digitally driven entity but a human being, a de-codification and possibly reinterpretation of the information happens. The “different” outcome should not be seen as a deficiency to the design and its intent but an enrichment, an added dimension, of culture, of material understanding and of human perception. While perfection is a virtue of art, it is the human essence that gives soul to design.
The “remote design” team:
Arshad Faruqui, architect, designer
André C. Meyerhans, architect, designer
Nassim, copper smith
Photo Credit:
Farah Mahbub
www.farahmahbub.com
farahmahbub@me.com