Don't Say, "It Won't Work." A Conversation with Designer Evgeny Rumyantsev

Contents:

• About a Georgian narrow-gauge railway trolley and the search for a professional path
• About the "Under a Different Angle" laboratory: a unique approach to research
• About the bureau's projects and philosophy of approach to work
• Collaboration with creative individuals: experience of interaction with artists

Designer and founder of the Rumyantsev bureau, who lives and works in Nizhny Novgorod.

The Rumyantsev bureau, founded in 2017, focuses on the development of furniture design and interior elements for public spaces, as well as We also specialize in the mass production and creation of artistic objects conceived by various artists.

In 2023, artist Artem Filatov approached the bureau with a proposal to participate in a project entitled "Everything Will Disappear," which was held as part of the Cosmoscow exhibition. For this project, unique storage facilities were created to protect works of art exposed to environmental influences.

The bureau operates laboratories in the experimental workshop "Under a Different Angle," where free lectures and master classes are held, organized by professionals in the field of product design, as well as Rumyantsev Bureau specialists and artists. In addition, artists and designers, selected through an open competition, receive training in welding, modeling, and 3D printing.

We visited Nizhny Novgorod to understand the organization of the entire process. During our trip, we decided to talk to Evgeniy to learn more about his interactions with the artists from the Tikhaya studio, how he teaches his colleagues craft skills, and how to overcome the fear of new beginnings.

About a Georgian narrow-gauge railway trolley and finding a professional path

— What interesting things have you done recently?

There is a narrow-gauge railway connecting Borjomi and Bakuriani. This route starts at a considerable altitude in the mountains and leads to a famous ski resort, which is very popular in Georgia.

The railway line passes through mountainous areas, meandering among many sharp turns and crossing waterfalls along the way. The route includes a bridge designed based on sketches by Eiffel himself. This railway was built at the beginning of the 20th century, in 1901 or 1902, and is a fairly old structure, created on the initiative of the Tsar.

Borjomi is a sanatorium town famous for its mineral springs. The road in question was built to connect various points on a route that passes through picturesque landscapes. This section is 40 kilometers long, and the difference in altitude exceeds a thousand meters. It is a truly magnificent place, attracting many nature lovers.

I received this information at the beginning of the quarantine and a year later I came here. I was informed that this section of the road is currently not in use.

For four years, I regularly visited this place, and each time I came across mentions of some difficulties. A year ago, I had an idea: it would be great to travel along this section of the road on something that I could build myself. Then I realized that to realize this idea, I would need to create an electric handcar.

I completely forgot about it for a whole year. Around December 10th, it suddenly dawned on me and I remembered. At that moment, I quickly dialed my friends and started persuading them: "Listen, I have an idea, let's implement it." In response, they said: "I guess we can't participate in this."

I said: "Okay, then we can do without you." I quickly prepared the drawings, as usual, in CorelDRAW. I figured out how everything should function. In the end, we assembled the device in two weeks. Then we disassembled it, loaded it into my car and set off for Borjomi.

We arrived and had a great time riding it.

— What are the track dimensions?

The track width is 900 millimeters, which is typical for the southern territories of the former Soviet Union. In the modern world, such railways are practically non-existent. This line remains, perhaps, the only route that is still usable, albeit in a very poor condition. The rails are in a state of disrepair, and nails often come loose due to the outdated materials. Nevertheless, it is still possible to travel along this road.

This year there was a significant amount of snow. We went to places where there was no ice, which was about a kilometer and a half from us. We made four trips and left our things with friends until spring. In a couple of months, we plan to travel the entire forty-kilometer route.

The handcar requires no modifications. It was successfully assembled on the first try, and all its components function properly.

— When I look at you, I get the feeling that you don’t ask yourself: “This is impossible, how can I make it happen?” You seem to be striving to find an engineering solution. I get the impression that for you, everything comes down to technology. Am I thinking correctly? Is this your natural approach, or did you develop it over time?

— In any case, there is an opportunity to do something. The main question is whether you just need to think about it or do it together. Or you can ask someone for an opinion and reconsider the situation from a new perspective.

But was it innate or rather acquired? Most likely the latter. How can you be born with it? We absorb information about what fascinates us. When I travel, when I walk, I pay attention to details, study how everything works, constantly turn things over and take pictures.

So that in the future I can return to this and use the information in my further activities.

This cart is certainly a shining example, as its design harmoniously combines mechanical and electronic elements. For example, disc brakes did not fit it, so I designed them from scratch. I also made the sprockets that transmit torque from the motor myself. A furniture manufacturer likely doesn't have the necessary expertise for this kind of work.

— Did you consult with specialists or study the schematics of Soviet handcars?

I was actually looking for old blueprints for Soviet handcars, but I soon realized they were outdated and that a modern approach would allow for something more efficient. It was also important that the handcar fit into my small SUV. So I decided to make it foldable and lightweight so that both of us could easily remove it from the car. Otherwise, the structure might have been too heavy due to the metal disc wheels.

— How do you feel about all your endeavors? A designer, a car mechanic, an artist, or maybe a toy maker?

— It's hard for me to give a definitive answer to that question. It's probably something in between. I wouldn't want to limit myself to any particular group.

About the "Under a Different Angle" Lab: A Unique Approach to Research

— We met at the "Under a Different Angle" Lab. Could you share what inspired you to start training designers and artists in skills like modeling, welding, and 3D printing?

— Our goal was to organize a hands-on school. This will allow participants to stay with our company and continue their creative work or even manufacturing. We are also considering opportunities for outreach, which is also an important aspect. We are currently thinking about the second season and how we can implement it on a larger scale.

— What are your plans for next season?

We organized an open competition for the entire country and received applications from cities such as Sochi, Novosibirsk, Samara, Moscow, and St. Petersburg. However, a problem arose: not everyone could come to Nizhny Novgorod for a full month. For many of a certain age, this proves quite a challenge, especially considering that the time from the announcement of the results to the start of the program was less than a week.

In the second season, we plan to significantly increase the duration of this stage to give more participants the opportunity to prepare. However, the most difficult thing remains the fact that the process of creating any object requires a significant investment of time. We realized that before starting production, it is necessary to spend at least a week with the participants. This will allow us to better unite and give them the opportunity to support each other.

The opening season became a kind of experiment, which, in our opinion, proved to be very successful. Thanks to our professional team, we managed to overcome many difficulties.

— What conclusions did you draw after the first lab work?

I'm sometimes amazed that not everyone realizes the opportunities that open up for them through participation in such initiatives. Surprisingly, some people, from whom you wouldn't expect it at all, can demonstrate incredible persistence in striving to achieve success in their projects. In particular, two participants, who would be hard to imagine, surprised me with their energy and determination, implementing their ideas with great enthusiasm.

— How do you understand the word "fight"?

One of the lab participants faced a very difficult project, both in terms of choosing materials and the process of its implementation. She proved herself a real fighter, striving to complete her plan. It was clear that this required more hours than allowed, but she was determined to create exactly the object she had in mind and did not want to hear refusals related to lack of time or experience.

— How can you convey to someone that their idea may be excessively expensive and require significant effort?

— I prefer to be straightforward. Should I refuse? They were told that it would not be easy, that serious work lay ahead. They replied, "Okay then."

"So, if everything is in order, you come in and finish it, because at the end of it there is an exhibition. You absolutely must make it on time. Invite your friends, your children, even your father-in-law."

In reality, the idea was for them to cope with the tasks themselves. Of course, we provided them with some support, but we didn't take on all the work.

We tried to explain that there might be some issues with the quality of the work performed, but overall, they had every chance of completing the task on time.

For example, we were using an infrared oven to dry fiberglass and, unfortunately, forgot to turn it off. As a result, the matrix used to produce the fiberglass completely burned and melted. This incident threw us off our work schedule for the entire day and was extremely unpleasant. Nevertheless, even under these conditions, we managed to complete all the planned work.

— You know, I think work has a way of filling up all the time allotted to it. If you allocate, say, not a week, but two or even a month, then it will take exactly that much time.

— Yes, in this regard, the time should be reduced.

— Weren't you planning to extend the lab's operating hours?

— It would be great to allocate more time, but you're absolutely right: no matter how much time they give us, it still won't be enough. We'll be doing things at a leisurely pace for three weeks, and then we'll have to rush in the fourth week.

A Gantt chart was created for each team member, clearly showing the process schedule. Every day, we summarized the results, analyzing progress and determining who is coping with the assigned tasks.

Indeed, some people can complete a task in 30 hours, while others need as many as 90. Nastya's work was not intended to be part of our project, as the time spent on it clearly exceeded the scope of the lab. Nevertheless, we thought it could be exciting and decided to take the risk. Nastya wasn't afraid to try it either. She really did come to the opening and stayed 5-6 hours longer after closing.

About the bureau's projects and philosophy approach to work

— Are there any projects that you prefer to refuse or that you refuse to work on on principle?

— Probably about 90% of all projects. Today we encountered three of them.

— What is the reason for your refusal?

— I'm not interested.

We are not interested in decorating private apartments or country houses—we prefer impressive public spaces. We are drawn to art, and we also adore TV series.

Speaking of the latter, we regularly think about opportunities for improvement. For example, this spring we plan to introduce tables for summer terraces with folding tabletops. This solution is very practical, and similar designs have long been used in Europe. We are actively working on this idea, and will most likely be able to implement it within a month.

In one of the interviews for the publication "Interior + Design" you mentioned creating a catalog of defects during the production of the first batch of chairs. Was this said jokingly, or does such a document really exist?

— This document does exist. I believe it has about 30 pages, containing detailed and high-quality photographs. Defects are highlighted in red, and they are accompanied by explanations of what these defects are and how they arose.

— Is it being updated?

— At the moment there is none.

Because such defects simply do not exist. Why should they arise? This can only happen if there is some vulnerability in the process. If there is no such vulnerability, then defects cannot appear. Either the cause lies in carelessness, or it is a deliberate act. There are simply no other options.

— Which aspect is of primary importance: usability, visual appeal, or the main idea?

— In general, every detail matters. When we create an object that will be used, all aspects are important. The aesthetic component takes up 34%, ergonomics - 32%. And what else? The conceptual basis - 31%.

Collaboration with creative individuals: experience of interaction with artists

The project developed by Artem Filatov for the Cosmoscow exhibition has become a true example of an innovative approach in the field of art and engineering. This project implemented a number of unique engineering solutions aimed at creating an interactive and visually engaging experience for viewers.

One of the key aspects of the project was the sophisticated technology that allowed for the integration of art and modern equipment. For example, the use of touchscreen technologies and software for audience interaction allowed viewers not only to observe the exhibition but also to actively participate in the creation of artistic content.

However, the implementation of such ideas was not without difficulties. One of the main pitfalls was the need to harmoniously combine artistic and technical aspects. At times, issues with equipment integration arose, requiring additional effort and time for refinement.

Despite all the challenges, Artem Filatov's project brought a fresh perspective on the interaction of art and technology to Cosmoscow. We can only guess at much of what went on behind the scenes—sometimes, a brilliant execution conceals countless details that require meticulous attention and thought.

The graphic series, titled "Everything Will Disappear," includes three drawings that respond to changes in the environment, along with sculptures created to protect them. These drawings are made using an aniline dye known as "brilliant green," or simply "brilliant green." This dye gradually fades when exposed to light, which in turn imposes significant restrictions on those who own these works: they must be stored in specialized folders, and each display inevitably leads to a shortening of the image's lifespan. All responsibility for the safety of the works rests with the owner, who decides whether to display them.

Each drawing is accompanied by a storage sculpture, which not only protects the fragile work but also gives it an impressive spatial structure. These sculptures are made of metal and equipped with amazingly complex mechanisms—for example, the "Long Box" with an extra-long container, the "Box of Shame" with a secret device, and a unique corner mount called "Into the Urn." All these elements transform the process of storing and observing the drawing into something ritualistic, as indicated in the description of the work.

— The more information you share, the less there is for the next story. These projects required careful planning. Since I don't have 3D modeling skills, I have to limit myself to 2D drawings, as if I were creating plans for a handcar.

Artem Filatov and I worked on a rather complex project, meticulously working out all the details so that the structure could be disassembled. In our work on the "Long Box," we used guides designed for industrial CNC machines for the first time. This allowed the long drawer to slide out without sagging. To ensure its opening to a full five-foot opening, we needed to develop a special button to activate the mechanism and create a folding leg.

We should have initially come up with solutions that were so robust as to eliminate the need for subsequent refinement. Unfortunately, this led to certain difficulties within the team. I questioned the developers' solutions, as they seemed unconvincing. This could have resulted in equipment failure during use.

The "Box of Shame" turned out to have a very complex mechanism. During the process, we had to create numerous parts using 3D printing. The handle required the manufacture of a large, round loose bearing to ensure its smooth rotation and ease of movement.

— This is really something special, and if the owner accidentally damages this thing, he will have to come to you in Nizhny Novgorod for repairs, right?

— Of course, such situations happen. In fact, exactly such an incident happened once. At the Cosmoscow exhibition, we had a guitar pick at our booth, and suddenly a man ran by and, without waiting for instructions, decided he could interact with the "Long Box." He started sliding the parts out without pressing the button, and the mechanism jammed. The malfunction turned out to be so serious that it could only be fixed by completely disassembling the box. This happened at the end of the day, and a show was scheduled for the next day. Artyom called me and said, "Zhenya, some guy pulled something out, and everything broke." We immediately got ready and went to Moscow to fix everything in the morning.

Should an art object be protected from inappropriate use?

— Undoubtedly, precautions against unreasonable actions are necessary, but they do not guarantee protection for the object itself unreasonable.

— What about the art object?

— Not always. Sometimes absurd circumstances arise that simply could not have been predicted.

— Can an artist approach you with a proposal for collaboration, as happened with Artem Filatov? How did you actually meet?

About 15 years ago, I was creating graffiti together with Artem Filatov and Nikita Nomerz.

We met at that time, but soon our paths diverged: I began doing graffiti in more difficult conditions, painting train cars and the subway. Five or six years later, our paths crossed again through common projects, when I already had my own studio. We began implementing our first small projects. One of the very first was an art object called "The Tree of Time," created for School 800 in Nizhny Novgorod by Artem Filatov and Anton Morokov.

Everyone was absolutely delighted. After that, we started working together, and soon all the members of the Tikhaya studio started contacting us.

For a long time, creators were faced with the need to independently create various objects, spending a lot of time on this. hours, but not always achieving the desired result. Alternatively, they could invest significant funds to obtain exactly what met their requirements and be confident that this work was worthy of presentation at an international exhibition.

Currently, artists prefer the second approach: we work together to develop various production options for these products and begin their implementation.

How do you think the authorship of an art object should be interpreted if the artist proposed the concept, and the person involved in the practical implementation realized it in material form? Who of them, and to what extent, has the right to be considered the author of this work?

— Ultimately, the artist remains the creator of the work. The one who developed the concept gets all the credit. Perhaps this is so.

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