Azhar: from the desk of the architect ‘dark blue crystals harvested’

In my new section at VK publication,  “Photography Exemplar”  a platform in which  I invite artists that work on the media of photography or architecture to share their experience working on a project, an idea, that it might  develop to a larger narrative or simply stay at the moment.  My second guest is Azhar (Azhar Architecture, London & Berlin ) with his project ‘Space’. Azhar is a multidisciplinary architect. Born in Lahore, trained in London, and shares his time between London and Berlin. All images and text below are courtesy of Azhar.(note from editor VK)

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This series of modified images, are about reverting these drawings into “Blueprints”, the original status of their creation, they return to be not descriptive but prescriptive.
SPACE SERIES _ The space race has created such incredible technological advancement and fundamental analysis on human support systems. It strikes me that we still have a lot to learn from that extensive research, not just stylistically but in multivalent ways.  These are for me an optimistic series, to be  extra-terrestrial was the combination of vision and technical challenge.
As an architect, I am often introduced as somebody who creates buildings, which is only partially true. I see myself as someone who devises “instructions”, the process of which is drawings, whether it is a concept sketch, or an intricate 3D model. These plans, sections, elevations, 3D models are the instructions for others to use, contribute, interrogate and build the ‘plan’.
I started experimenting with ink drawings as a child, the technical pens of Rotring and Faber Castell, working with a series of proportional pen thicknesses, in fractions of millimetres, 0.1mm, 0.13mm, 0.25mm, 0.35mm 0.5mm etc. I was enthralled by this proportional thicknesses and this absolute precision.

“Apollo Command Module” used for the Apollo program between 1969 and 1975

“Apollo Lunar Module” which was flown to and landed on the Moon. Ten lunar modules were launched into space, of these six successfully landed humans on the Moon between 1969 and 1972.

“Skylab” launched and operated by NASA and occupied for about 24 weeks between May 1973 and February 1974. Skylab included a workshop, a solar observatory and other systems for crew survival and scientific experiments. Three missions delivered three astronaut crews in the Apollo Command and service module.

“Space Shuttle”, taken from a 1969 plan for a reusable spacecraft, tge first orbital flights occurred in 1982. In addition to the prototype, five complete Shuttle systems were built and used on a total of 135 missions from 1981 to 2011.

 

“Spacelab” was a reusable laboratory used on certain spaceflights flown by the Space Shuttle. The laboratory comprised multiple components, including a pressurised module, an unpressurised carrier and other related hardware housed in the Shuttle’s cargo bay.

“Columbus” is a science laboratory module that is part of the ISS International Space Station and is the largest single contribution to the ISS made by the ESA European Space Agency. It was launched aboard Space Shuttle Atlantic on February 7th, 2008. It was designed for ten years of operation.
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THE ALCHEMY OF INK
The colour of blueprints, are a “Blue-Black”, I have an instinctive love for the colour. It is my favourite ink in my pens, I draw predominantly with ink-pens, I like the fact that ink is unforgiving, one can only with great difficulty correct an ink gesture on paper.
Blue Black ink is in a way in my blood, my maternal grandfather was an ink maker, amongst other roles. His factory made writing ink in Lahore, where I am born, and from my youngest memories of seeing dark blue crystals being harvested, ready to be made into precious formulas to be sent out in little bottles to scribe, create and record the world, for good or for bad. Ink is a magical, a crucial invention for the evolution of civilisation, and is still wondrous to me, it is an alchemy.
INK MASTERS
As a boy, I fell in love with the Victorian Aubrey Beardsely, the brilliant young illustrator, the gestures and commitment that he drew, often erotic, his drawings were produced with an absolute commitment to ink, his medium. It was the age of Orientalism, I learnt that Beardsley had fell in love with the great master Hokusai and sought out a large format monograph of the masters work at a local library, I fell into the world of this book, and I have never left.
                                                                            Azhar, Berlin, February 12, 2019