BETWEEN SPIRIT AND FLESH

Text: Aasim Akhtar
Photography:

Tassaduq Sohail’s paintings seem to move in a universe of perversity and sacrilege, touching upon all that is taboo, forbidden, hallowed. They draw from the cauldron of life and death, of normality and difference, and make these interchangeable, subjecting the imagery to a kind of diabolical surgery where sacred and profane, pain and pleasure, masculine and feminine are dissolved and transformed, intertwining with one another and creating a forbidden hybrid. In this process the artist takes his role as a creator to the extreme, putting himself in the place of the deity, to give life to a new reality grounded in the suppression of any notion of order or separation. He abolishes differences in order to subvert reality and bind it to the pleasure of transgression. He attacks prohibitions that are based on differences of sex and belief, in order to produce painterly tableaux that bring together freaks and pregnant women, transsexuals and animals, midgets and skeletons, fetuses and dissected skulls which, when combined with objects, landscapes, stage-sets, and backdrops engender a universe of extremes of which Sohail becomes the demiurge.

In assuming the role of creator, the artist establishes his own laws, which may discredit or overturn the common laws. This overturning, however, should not be seen only as licentiousness and deviance, but also as transformation and initiation enabling a return to a primitive state in which distinctions of value were different from today. If, in antiquity, monstrosity and hybrids did not constitute exceptions or arouse fears, but were actually cultivated as wonders and portents, then the same can occur in our present day: thus death, instead of being transformed into a repressed, anguished interdictum, may once again co-exist with life. And the hermaphrodite or androgyne, in all his sexual richness, may come once again to represent an exceptional wholeness, the wisdom from which the oracle springs. The freak must not be ostracized or considered undesirable as a nightmare of existence, but should rather be seen as an intimation of an absolutised sensibility whose mutant conditions or extremities become superior to equipment.

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DINING AS ART

Text: Maria A
Photography: Project: The Oriental Restaurant
Architect: Ayesha Aziz
Design team: Umar, Jasim, Sidra
Area: 5000 sq ft
Location: Faisalabad

The restaurant and bar industry is one of the largest profit centers of all service operations and not surprisingly it is a sector in which there is a lot of jostling going on between small and large scale businesses to get more customers. Decor and ambiance play a huge role in getting people through the door and the food is what keeps them returning- or not. With that said, we tend to see the most instrumental and over-the-top investments put into creatively designing the interiors of some of the top metropolitan trendy restaurant spaces or eatery joints. And these efforts almost never go in vain because most of us love and will always pay for great design and an even grander experience, won’t we!

Perhaps there is nothing more therapeutic than a fine dining experience. Culinary sophistication and high standards make for a memorable time for anyone in a restaurant. But we design freaks seek more and often end up lusting over great interiors at places like these. Challenges in design, is big adrenalin; to let all the creative juices flow. Restaurants are no big deal designing in the design world considering the number of eatery outlets that keep popping in the major cities of Pakistan. But a Restaurant in Faisalabad and designed on a theme, and this is not all, a restaurant in a basement sharing the space with a fast food eatery outlet is a definitely a challenge.

The name Kamran sheikh from Lahore is much acclaimed in hospitality design right from the north to the south of the country. KS has many known brands of restaurants to his credit where from the décor/ theme, cutlery, kitchen and the menu have been designed by the maestro to the minutest of details. Seems like a lot of time and money has gone into making these spaces perfect for food and conversations; not only do they manage to lure a large number of food junkies, their interiors serve as good inspiration for home dining spaces too.

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JAMIL NAQSH RETROSPECTIVE: ALBEMARLE GALLERY, LONDON 2011

Text: Marjorie Husain & Alison Darnborough
Photography:

The retrospective exhibition of Jamil Naqsh’s work mounted at the Albemarle Gallery, London W1 in July 2011, comprised of paintings produced by the artist within the past five years.

I had been privileged to view the work during this time as Naqsh always generously opened his studio for me on visits to his London home. I was particularly excited by his latest work which referred to his early years as a struggling artist in Karachi. In those days, before the establishment of art schools and advertising agencies in the city, there was little employment available for artists. Oil paint and canvases were unaffordable luxuries. Instead Jamil and his peers would explore the old books and paper markets situated off the Bunder Road, and acquire foreign newspapers to use as surfaces for their work. When Jamil first shared his `newspaper paintings’ with me, initially, gazing from a distance, it seemed to me that he had pasted newspapers on a board surface and painted over them. On a closer examination, I realised that every gesture of the work was painted, and the artist had reproduced facsimiles of newspaper print with his brushwork of marks, dots and gestural lines, and the result were astounding. I admit that on my first introduction to the work, the memories evoked in this reference to his early years were extremely moving.

It was a source of satisfaction to learn that Jamil Naqsh would show his work at the prestigious Albemarle Gallery, London, and one has to thank Edward Lucas Smith, Art Historian, Critic and writer, and Tony Pontone of the Albemarle Gallery for this very important event.

As the co/curator of Jamil Naqsh’s extensive retrospective at the Mohatta Palace 2003, I was determined to be there at the opening of the artist’s exhibition in London, and had planned to meet my friend, Alison Darnborough - who was to make the trip from Bradford University to London, so that we could visit Jamil Naqsh’s exhibition together. Alas, as John Lennon said, “Life is what happens when you are making plans.” Though it was impossible for me to reach London, Alison stuck to our plan and went alone to the exhibition.

Subsequently I heard that it was a great success, that many people attended and numerous art collectors were able to acquire beautiful pieces for their collections.

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Sense & Sustainability

Text: Ayeza R Qureshi
Photography:

The Big Issue
As the impact of development emerges from science fiction into our daily lives, designing for sustainability has become an important discourse in research, design & production.

An understood and widely accepted definition of sustainable development was circulated in 1986 through the Brutland Report.

‘Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.' There are a number of scales and standards established in the world to measure whether or not a particular structure is sustainable. The basis is to protect and preserve the resources, trade and culture of any particular place.

Sustainable architecture meets with much scrutiny and bias due to how it has been traditionally presented and promoted. Although there is no dearth of sustainable buildings that nurture cultural practice, address economic situation and conserve resources, there remain some pervasive misconceptions about the process and outcome.

Sustainable by Example

Tariq Qaiser’s, Ghori Infectious Diseases Clinic is a building that dispels a lot of misunderstanding about the design and making of sustainable structures.

The GhoriClinic, is a TB and infectious diseases outpatient facility commissioned by the Indus Hospital Trust. The single storey Clinic supports operations for the Indus Hospital TB Program. To walk one through the plan, the patient arrives at the registration office and is then directed to the patient waiting area. The patient’s weight, height and blood pressure is recorded in a semi private and outdoor niche. Next the patient waits in the designated waiting area, for each clinic, to be seen by a doctor. The building contains the clinics, a research office, medicine store, ration distribution store and public toilets. Removed from the building and waiting areas, the sputum collection booth is tucked away in a private corner of the site.

Sensible by Design

The master plan for Indus Hospital in Korangi Town has been designed and executed by Tariq Qaiser. The key principle in designing for the hospital facility is to provide quality healthcare while protecting and preserving the patients’ sense of self respect and dignity.

Each building constructed is scrutinized by a conscientious board that is scrupulous in the allocation of funding and resources. The cost of making and maintaining buildings, in the course of their life, must be minimal without compromising on the quality of design, execution, functionality and patient experience.

‘We wanted the users to feel special, protected and well catered to.’ Tariq Alexander Qaiser

One of the most important features and challenges in the making of this facility is to control airborne infection in patient waiting areas and clinics. Typically achieved by the installation of HVAC services, Tariq Qaiser has designed in infection control through naturally ventilated technology. This intervention has significantly reduced the running cost for the facility without compromising on functionality and experience. A value resonated by the architects and the hospital board.

‘The initial design principles of economy, sustainability and human dignity have been followed though into this component of the hospital.’ Tariq Alexander Qaiser

In addition to this, by careful consideration of the program of the facility, built form has been inserted and reinforced only where necessary. The natural landscape has thus been creatively engaged to provide enclosed and comfortable spaces; another design decision that has allowed the architects to allocate funding appropriately to the programmatic requirements from the built environment.

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