The Dalmore and Zaha Hadid Architects Join Forces for 'The Luminary Series'

Sotheby's: How important is sketching and drawing in your idea generation process? 

Melodie Leung: I consider sketching as a way of communicating the broader trajectory of an idea, to explore concepts and how they might vary in terms of hierarchy, proportion, and form. Drawing, on the other hand, relates to the communication of a design at a resolution which can be reviewed, tested, and built. Both are essential and the tools which are used for sketching and drawing are also evolving. Increasingly computerised ways of working with digital fabrications, 3D modelling software, AI, and new hardware interfaces are opening up the possibilities for how we sketch and draw. However all of these new opportunities are still tools - they are only the means to the ultimate aim - to conceive and maintain ones artistic vision with clarity and focus.

S: What about the heritage, tradition, process of making The Dalmore spoke to you when working on the complimentary forms for the sculpture? 

ML: For over 180 years, The Dalmore has pushed the boundaries in whisky making, whilst seeking inspiration from the worlds of art, design, music and beyond. The invitation to work on a project that was evocative and embedded with memory and time in a way which transcends a singular art form was a premise that was incredibly exciting. The collaboration and friendship I've formed with Richard and Gregg has been one of admiration and respect, curiosity and creativity, all of which have informed the sculpture and the whisky.

I was very much inspired by the layers of age and the interactions of flavour found in the whisky making process and the understanding that many factors influence the whisky itself; from the cycles of seasons, to the sculptural shape of the copper stills, the history of each cask, the natural environment and the relationship to the water by the distillery and of course the craft of the master distiller.

S: As an architect, you must draw inspiration from many sources. Are there specific artists/ sculptors whose work you admire? 

ML: I'm always looking for inspiration - I believe this is what helps us to differentiate and mark meaning in our lives, individually and collectively. Intuitively I'm drawn towards works which speak to profound emotion, beauty, proportion, materiality, and scale in ways which often result in instilling a feeling of the sublime, or which transcends a moment in time. This can be found in nature, sculpture, music, architecture, choreography. These moments which capture and contextualise our experience as humans have been explored by many artists and can result in numerous expressions – too many to list in a few sentences – but they inspire me to seek out more.

S: The Dalmore’s values include exceptional craftsmanship and pursuing new perspectives. How do these resonate with you? 

ML: What I discovered through this project is the extent to which both Gregg and Richard at The Dalmore and our team at ZHA share an extraordinary commitment to a creative process which values new perspectives and is similarly dedicated to deliver to the highest standards. Similar to the team at The Dalmore, our team over the years, has been built up of architects whose designs were originally regarded as too visionary for their time. Our team proved through a very practical way of working, creative problem solving, determination and the help of equally determined collaborators, that we can deliver projects which advanced the field of architecture. In order to remain at the forefront of our field, it is essential to build up the next generation of architects who can contribute new ideas while learning from the expertise amongst the team. The solutions that will be called for in shaping the future of architecture relies not only on experience and knowledge but also on these new ways of thinking.

S: Does your process evolve when you begin designing a building or space, or do you have the finished product in your mind throughout? 

ML: Early on in the design process for a typical project, and similarly for the design of the sculpture for The Rare, we focus on understanding the brief - what a client and subsequent stakeholders would need, and how to ensure a project would be suitable for the long term. We then propose design concepts and sketches which are critiqued and developed over a number of iterations with a determination to find the best solution. Key to any project which incorporates new ideas or materials is a process of prototyping and testing these ideas physically. This ensures that the built result and the contractor's capabilities are fully aligned. The final design in high resolution is therefore only visible after having developed and progressed the design through these many steps and after numerous exchanges with specialists from a number of different fields of expertise.

S: As a creative, is collaboration important to you? 

ML: Collaboration is essential to any creative process with the goal of producing something new and visionary. It is through the exchange of ideas and experience with others that we expand our own horizons and ways of working. The nature of our work often means we develop incredibly rewarding relationships with collaborators who are equally driven to further their craft. At Zaha Hadid Architects, we often find that our projects help to propel forward the capabilities of the contractors and therefore become pivotal to further developments in the construction industry.

Working with The Glass Foundry on the glass sculpture involved a process of learning and experimentation - marrying our creative vision with their knowledge of working with glass. As the form is unlike anything they have worked on before, its complex curvature meant that it was not only a full test of their know-how but they also had to invent new tools for polishing such a unique shape. All of this comes back to then inform our next designs as we learn to trust and lean on the progress made previously.

S: The proceeds from the sale of this collaboration will be donated to the V&A Dundee. How important is it to you to support cultural institutions? 

ML: From the early days of Zaha Hadid Architects, we have held cultural projects and museums as invaluable custodians of shared histories which mark a time and place. They stand as a communal and civic space which promotes cultural understanding and pride for a place. Museums tie together an evolution of the history of a place and show what its people can create. We're pleased that this collaboration builds on a longstanding relationship of past work with the V&A and with the V&A Dundee through new work such as the ZHA contribution to the current exhibition 'Photo City'. As an architect, creator, and design leader, it’s vital to be able to layer a contribution into this collective endeavour.

S: Do you collect anything?

ML: Memories, experiences and friendship.

Past Auction

Finest Whisky | An Exclusive Dalmore & Kodawari Part II

14–31 May 2024 | 1:00 PM BST | London