Architecture academies are acutely aware of the interconnectedness of their work with social, economic, and environmental realities. Drawing, often relegated to the realm of the impractical, is seen as a hobby, a nostalgic pursuit, a mere custom, or even an unnecessary endeavor. At best, it’s viewed as a means to an end, and at worst, questioned as a sign of irresponsibility towards pressing social issues. Somol argues that drawing’s role in architectural production has been overlooked, with its use often limited to a neutral tool for representing the final product.
This course delves into Iranian architecture in the post-Islamic period, using its architectural works as a springboard for producing architectural drawings. The premise of this course is that drawing is not a neutral tool for representing a finished work but a vital and creative tool for thinking and generating architectural ideas. The aim is to explore the productive and critical functions of drawing by moving beyond its role as mere representation. The goal is for these drawings, starting from Iranian historical architectural works, to reimagine the existing context of each work, expand its possibilities, and explore alternative, potential outcomes. In this way, the drawings produced are not just distinct and novel works, but also create a new lens through which to perceive the original works. This course will specifically focus on diverse representation methods and works that have employed these methods concurrently throughout the history of architecture. This simultaneous use of methods, initially a product of the lack of established drawing conventions, has been consciously employed in recent times to challenge these conventions. This workshop will explore the interplay of drawing customs.
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