“Konj-e-Hess” represents a set of designed objects which are following a same statement.
In Konje Hess, we encounter objects that are in a harmony next to each other, like an arranged orchestra; they play the same melody, but they also have their own characteristics.
In Persian, “Konj-e-Hess” could be roughly translates to “a perceptual corner”.
Konj-e-Hess, seeks that feeling we are already familiar with but can’t quite put to words. A feeling that has framed a part of our memories and banding with streaks of nostalgia, creates a desire or a sense of sorrow that captivates us with some fond life moments.
It is as if the Iranian today look for solace in the past and try to recreate an adaptation of it in the present.
Konj-e-Hess is a place to detach; Not an isolation so to speak, but rather a deliberate retreat to return to oneself, get to know her, live with her, and eventually forge a mark out of this loneliness; a serenade maybe, the peace one feels after a midday nap.
This collection is an exploration through which we try to answer a question:
“Unrelated to the surrounding space, can we create objects that intrinsically radiate a place of their own, and create a “Konj-e-Hess”?
“Konj-e-Hess” doesn’t shrink to the mere mental notion behind the artwork. It morphs and evolves as it is chiseled into reality. So, impromptu changes have to be made along the way.
Although it can erect a meticulously real version of what it imagines, Konj-e-Hess consciously segues along the way. It is important to realize these detours are not a mere coincidence.
In a way, the process through which Konj-e-Hess blossoms out of a mental vision and melds into a final form is not random.
This means Konj-e-Hess objects are not the product of only one individual, but the offspring of impressions, collective wisdom, and artistic touch of both their designers and craftsmen.
Konj-e-Hess is the middle ground in the standoff between form and meaning; yet it doesn’t abandon either one.
Konj-e-Hess realizes the underlying story in each Object as its meaningful soul, and similarly interprets the face as formal expression.
Without pitting one against the other, Konj-e-Hess beholds soul and form as one and attempts to create an essence-of-an-artwork.
Konj-e-Hess is after a new measuring unit for aesthetics in design. A carat that would be impartial to the progressive Western principles; nor would it lean towards the Orient’s thread-bare contemporary art. It doesn’t aspire a Holly Grail in the East nor it scours the West for an answer. It simply looks within.
Without soliciting any guide or leader, Konj-e-Hess seeks itself. Almost like it knows a treasure inside. Yet in a sense it is both Western and Eastern; not geographically so to speak, but in terms of what these names represent. Quite similar to how Iran and its culture sit in the middle on the world map, Konj-e-Hess tells a centrist narrative too. Somewhere on a sharp blade it cuts off “tenacious design assumptions”; preconceived notions of the sort that “Media” inundates our minds with.
Gis – /gīs/
Gis has odd yet familiar visual qualities. That is why it steals the spotlight and sets its own place. The main leg’s dainty form is inspired by a girl’s ponytail; the premise from which the chair takes its name from*.
* In Farsi, “Gis” means the tumble of a woman’s hair.
Sheyda
The design takes after post-Islam Iranian motifs. “Sheyda” -means lovelorn in Persian- narrates the saga of an infatuated mystic. An old gnostic who suffers in separation of the “beloved” like a burning incense. and at last he finds catharsis at the “Mehrab”and runs to its fall.
Irandokht:
From the designer: Warming up the idea, I was after a parallel between a lifeless object and the concept of “sexuality”. It was originally named “IranDokht” which roughly translates to “the Daughter of Persia”. Along exploring the concept and gazing at its provocative dance, male fantasies wore off and a purely formal attitude emerged. I got solely engaged with the female body’s being and aesthetics. It was still bearing the name “IranDokht”.
Sepehr Mehrdadfar – March 2018
Tara
Tara comes from a study in morphology of classical Persian string instruments. Tara could act as a lighting at night and as a statue in the daylight. Tara’s form inspired from “Tar”, an Iranian long-necked instrument in Persian classical music, and the favoured instrument for Radifs.
Majnun:
Majnun lacks something. This defect is a part of its essence; an inherent, authentic emblem sealing its origin. Authenticity suggests honesty, especially when it is unconscious and unintentional. Majnun was first designed for and debuted on the “Where were you exactly 9 years, 3 months, and 20 days ago?” theatre set; The play was written and directed by Seyyed Farshad Hashemi; a 4-piece monologue, with each one telling the story of one mental patient and his struggles with the society. Majnun went on stage over the course of the show’s run in winter and spring 2019 at the Neauphle-le-Château Mansion.
The name of “Majnun” is taken from “Leili o Majnūn” is a narrative poem composed in 584/1188 by the Persian poet Niẓāmi Ganjavi based on a semi-historical Persian story about the 7th century Nejdi Bedouin poet Qays ibn al-Mullawah and his ladylove Layla bint Mahdi (or Layla al-Aamiriya).
Sohrab – Second Edition.
Sohrab is HAMOUN’s next effort in coming up with “new distinct ways to sitting”. It is named after Sohrab; son of Rostam, the mythical hero in Shahnameh. Sohrab led the Touranian host against Iran and was defeated and killed by his father, Rostam, in a duel, when neither one knew whom they were fighting against. “The tragedy of Rostam and Sohrab, is the tragedy of ignorance”. Sohrab’s fall symbolizes the decapitation of a new generation and their fresh beliefs by their predecessors. A phenomenan not so unknown to today’s cultural sphere.
Soraya:
Soraya is a low table with a fresh take on the classic Iranian architectural geometry and forms. The chunky and malleable approach to its design and craftsmanship contradicts those of a table’s surface which is flat; a contrast that is meant to help hatch a new impression.
Tara:
Tara is an experience with a study on Iranian string instruments and their form. It functions as an illumination source at night and stands as a sculpture during the day.
Turknaz:
Turknaz is a chair. It is made of an orderly steel structure that props black and scarlet pieces of natural leather atop. Turknaz is named after the dainty Queen in Nezami’s Haft-Peikar story, known as “Gonbad-e-Siah”. She hosts the storyteller while being tended to by her comely maids.
Shahrokh:
As a chair, Shahrokh conjures up an ancient way of sitting, a bit closer to the earth, and inspired by our ancestors’ lifestyle, as in a royal dais.
Burzin:
Accordig to Shahnameh, Burzin, son of Gorshasp and grandson to Jamshid, is a hero from Nowzar. He was handsomely rewarded for his triumph over the Touranians. Furthermore he accompanied Keikavous on his war against Mazandaran. In his second offensive, avenging Siavash, he displayed great valor. This chair’s formal shape is meant to embody Burzin’s strength and exquisite battle prowess.
Mah-Monir:
From a formal perspective, Mah-Monir is indebted to Iranian drum-based instruments. It doesn’t part from the surface and so casts a loaf of light up close over the floor. Given its light body and form, it creates the feel of its own place wherever it is taken.
Saqar:
Saqar is a song commemorating an old “forbidden” but “not forgotten” ritual; one that is traded for a new custom. Above its functional use, Saqar has a curvy sculpture-like feel to it; so it connects with the user as it spins.
