FACADE AND THE PRODUCTION OF PLANES

EMBODIMENT OF IMAGINATIONS, INFORMATION AND SENSORY DATA

What is the relationship between drawing and construction?

Where is the boundary between architectural drawing and illustration?

The facade is the visible nature of every building in the city—a detached wall, a screen that stands alone on the ground, covering something behind it. At the same time, it has compressed layers on itself. These layers are a constant representation of history, so the past always floats on them. If there is no facade, the inside and the outside become meaningless, the duality between the two disappears, and it is also neutralized.

In the first encounter with the Zoqaliha Caravanserai, a facade and an entrance are visible, along with decorations, tiles, and other details on its entire front. However, confronting the separated space between the city and the facade, the repetition of multiple walls becomes apparent.

The walls are semi-complete with the parts that have been demolished and ruined. The existence of two-dimensional embossed plates in this building and its parallel repetition in its interior space remains a reproduction of two-dimensional subsets. The whole object (especially its facade part) has become a statue in the city due to its non-useless and fragmentation, which consists of rows of separated walls and a distinct headboard. The building is surrounded by railings, hiding a lost space behind its walls. A distinctive feature that has emerged compared to existing buildings is that, part of it is ruined and as a result parts of the back and inside space are exposed. This causes the facade to represent its interior space for now. This hidden and semi-obvious space is receptive to many forms. Its simplest forms are the display and objective presence of a building that is revealed after entering the inner. However, part of it, due to its absence (destruction in time), leads the viewer to imagine. The obviousness of the Empty section behind the building next to the fences, the entrance, and the facade, set up a show of absence, and this issue, in itself, is a stimulus, for the viewer’s mind, and the formation of imaginations; the embodiment or image of the part that is trapped behind the remaining parts.

Imagination is a chaotic and uncertain process, and apart from the uncertainty and infinity of its cases, its mental image is always fragmented and represents only some part of the truth. The same is true of drawings; The range of confidence in each drawing is relatively small. But in drawing, different visuality, information, and sensory data (ie: information about the original building, historical events, sources, events, etc.) can be frozen in one moment. And redefined the kind of imperfect world buried behind walls.