the catalog for Ideas of Imposibility
Impossibility referees to something that cannot be done or cannot happen. Ideas of impossibility is the topic of Studio for drawing architecture at CAAI School of architecture in 2017-2018.
Studio director and tutor: Peyman Esmaeelpour Studio assistant: Davoud Mohammas Hassan Team: Mahyar Rakei Nima Shoaee Arman Mashhadi Benyamin Mohammadzadeh Mahafarid Kazemi Navid Haj ali Akbare Ghomi Sarvenaz Mosmeri Somayeh Monfared Amin Barzegar Maryam Ayoobi Saba Mirhosseini Farbod Yamani Naghmeh Kasiri Peyman Barkhordari Ehsan Moohebat Sepehr Azizpour Ronak Monfared Neda Sadeghi Yasaman Setayesh Firouze Yazdipour Shakoora Rajaee Neda Kordbacheh Farnaz Khamushi Mahsa Esmaeili Mohammad Hosseini
ترســیم معمــاری از دیربــاز بــرای معمــاران بــه عنــوان ابــزاری کلیــدی بــرای بازنمایــی ســاختمان ،بســط یــک ایــدۀ طراحــی در قالبــی منســجم و بــرای بیــان ایــده هــا و کانســپت هــا تلقــی مــی شــده اســت کــه عمومـ ًا شــامل پــان و مقطــع و پرســپکتیو هســتند ،امــا ابــزار ترســیم تنهــا شــامل ابــزاری کــه عموم ـ ًا بــه عنــوان ابــزار فنــی بازنمایــی معمــاری شــناخته مــی شــوند ،نیســت.
Drawing architecture is considered as a key tool for architects from the past up to now to represent their buildings. Generally, drawing use is for developing an idea in a seamless format and to express the ideas and concepts which universally includes plan and section and perspective, but the drawing tools does not include the tools that we generally understand them as representive technical ones.
در دهــۀ هشــتاد معمارانــی همچــون برنــارد چومــی ،زاهــا حدیــد ،دنیــل لیبســکیندِ ،رم کولهــاس و تــام میــن دریافتنــد کــه پــان ،مقطــع ،پرســپکتیو و ترســیمات ایزومتریــک بــرای بیــان ایــده هــای نویــن آنهــا ابــزاری ناکارآمــد و کلیشــه ای هســتند و از ایــن رو دســت بــه ابــداع شــیوه هــای جدیــدی بــرای ترســیم کــردن زدنــد .زاهــا بــا مجموعــه نقاشــی هــای معمــاری اش بــه خصــوص کالب پیــک ،لیبســکیند بــا مجموعــۀ مایکرومــگا ،تــام میــن و انــدرو زاگــو بــا خانــۀ خیابــان ششــم ،کولهــاس بــا اگــزودوس و چومــی بــا رونوشــت هــای منهتــن هرکــدام تکنیــک هــای ترســیمی جدیــدی بــه معمــاری عرضــه کردنــد کــه بعضـ ًا ریشــه در دیســیپلین هــای دیگــری چــون هنــر و ســینما نیــز داشــت .ایــن دوران طالیــی کــه عموم ـ ًا در معــرض لبــۀ تیــز شمشــیر نقــادان بــا برچســب هایــی ماننــد «معمــاری خیالــی یــا معمــاری کاغــذی» قــرار گرفــت ،دورانــی بســیار ارزشــمند بــود و بــه موتــور محــرک معمــاری بــرای ســال هــای پــس از آن تبدیــل شــد.
During 80th architects such as Bernard Tschumi, Zaha Hadid, Daniel Libeskind, Rem Koolhaas and Thom Mayne found out that plan, section, perspective and isometric drawings are not efficient enough to communicate with their ideas, hence they commenced to create new ways of drawing. Zaha with all her painting architecture projects, more specific with Pick club in Hong Kong, Libeskind with his Mircomega series, Thom Mayne and Andrew Zago with House Sixth Street, Koolhaas with Exodus and Tschumi with Manhattan Transcripts. Each of them provided new drawing techniques to the discipline some rooted even in other disciplines such as art and cinema. This golden age, which sometimes cruelly criticized by marking with the titles such as “paper architecture”or“visionary architecture”, was a brilliant valuable period that became the motor engine of architecture for the upcoming decades.
اســتودیوی ترســیم معمــاری بــر مســئلۀ ترســیم متمرکــز اســت و در قالب یــک اســتودیوی اکســپریمنتال و بینارشــته ای، بــا گریــز بــه دیســیپلین هــای دیگــری همچــون هنــر و ســینما بــه عنــوان زیرمجموعــه ای از اســتودیوهای همگــرای مدرســۀ معمــاری کانــون معمــاران معاصــر فعالیــت مــی کنــد .هــدف اســتودیو آزمــودن ،تحلیــل و اســتفاه از ابزارهــای ترســیم و بازنمایــی بــرای آفرینــش ســاختارهای معمــاری بــه واســطۀ امکاناتــی بدیــع بــوده و تــاش اســتودیو بــر ایــن اســت تــا از ابزارهــای کلیشــه ای بازنمایــی ترســیم معمــاری فاصلــه بگیــرد و در کنــار توســعۀ ایــده هــا بیــان هــای ترســیمی جدیــدی کشــف کنــد .موضــوع اســتودیو در ســالی کــه گذشــت «ایــده هــای غیرممکــن» مــی باشــد و دانشــجویان ســعی بــر ایــن داشــته اینــد تــا زیــر چترغیرممکــن بــودن در قالــب پــروژه هــای ترســیمی خــود پاســخ مناســبی بــه مســائلی کــه در دســت تحقیــق دارنــد بدهنــد .مشــاهدۀ فیلــم «هتل بــزرگ بوداپســت» اثــر ِوس اندرســون مبنــای کار اســتودیو قــرار گرفــت و اســتودیو کاوش خــود را بــا مشــاهدۀ ایــن فیلــم و همچنیــن تحلیــل «رونوشــت هــای منهتــن» اثــر برنــارد چومــی آغــاز کــرد .بــا توجــه بــه اینکــه فیلــم تصویــری از جهانــی خیالــی و وضعیــت هــای غیرمتعــارف و بعض ـ ًا حتــی ناممکــن عرضــه مــی کنــد ،اســتودیو بــا بررســی مســئلۀ غیرممکــن بــودن ،بــه خصــوص بــا مطالعــه و ترســیمات ا ِشِ ــر هنرمنــد هلنــدی ،نگاهــی بــه بــازی درۀ یادبــود و ترســیماتی از ال لیستســکی هنرمنــد آوانــگارد روس مســیرش را ادامــه داد.
Studio for drawing architecture is focusing on drawing in the form of an experimental, interdisciplinary studio with digression to other disciplines such as art and cinema. It operates as a subset of “converge studios” in CAAI School of architecture in Tehran under supervision of Peyman Esmaeelpour as its director. The goal of the studio is to experiment, analyze and use drawing and representative mediums to create new forms of architecture due to novel facilities. The studio’s endeavor is to take some distance from general technical methods.
دانشــجویان بــه گــروه هــای چنــد نفــره تقســیم شــده و هرگــروه صحنــه ای از فیلــم را انتخــاب کــرده و شــروع بــه خوانــش آن صحنــه ،بیــرون کشــیدن رویــداد ،کیفیــت هــا و مســائل بــه خصــوص آن و ترادیســی مســئلۀ خــود بــه ترســیمات معمــاری کردنــد .ایــن رویدادهــا بــا آشــنایی نویســنده و مصطفــی دروضعیتــی غیــر متعــارف درون حمــام آغــاز مــی شــوند ،بــا رویــداد فــرار از زنــدان گوســتاو و دوســتانش بــه اوج خــود مــی رســد .و بــا رویدادهــای قتــل در کلیســا، تعقیــب و گریــز گوســتاو و قاتــل ،تعقیــب و گریــز آگاتــا و دیمتــری در هتــل ،رویــداد تیرانــدازی پیرامــون ویــد را ادامــه مــی یابــد کــه هرکــدام ایــن رویدادهــا توســط گــروه هــای دانشــجویان تحلیــل و ترســیم شــده انــد ،محصــول اســتودیو بــرای هــر گــروه ســری از ترســیمات و یــک آبجکــت اســت کــه کیفیتــی غیرممکــن دارد. پیمان اسماعیل پور دایرکتور استودیوی ترسیم معماری
The studio’s topic during the current year has been the “ideas of impossibility” and Students trying to answer specific questions in related to what they have explored from the movie with their drawing projects under the umbrella of impossibility. Watching the movie of “Grand Budapest Hotel” by Wes Anderson became the base plane of our work and studio began to dig by watching this movie and reading Manhattan Transcripts project by Bernard Tschumi as a reference, which deals with cinema, narration and architectural drawing. Considering the movie shows an imagination of an unknown world and anomalistic conditions, even impossible, studio focused on the impossibility as an architectural condition. We also in some cases got inspired and referred our work to the drawings of Escher the Dutch artist and Monument valley gameplay and to some works of Russian Avant grade artists. Students divided into groups, each one observed a specific scene from the movie and began to read it, extract the events, qualities and special problems in that scene and then transform it into architectural drawings. Events begins with uncommon meeting of Mostafa and Author in an uncommon condition in the bathtubs and goes to its pick by prison break of Gustav and comrades, continue with the murder event in confess of the church, sequentially pursuit and escapes and so on. Each event is drawn by group of students, and the result for each is an architectural object consists of set of drawings has an impossible quality to it. Peyman Esmaeelpour Director of Studio for drawing architecture
Chapter 1: Prision
Chapter 4: Realizing of an Imagination
Chapter 2: Impossible Transition
Chapter 3: Piling of a murder
Chapter 5: Impossible escape
Chapter 6: Sixth floor
Student began to think about the importance and the influence of drawing and its ability to transform the ideas from into a solid language. What are the drawing mediums and how the architects deal with them? Manhattan Transcripts was a refrence for the students to look on how classical representation mediums can engeder new ways of drawing and new drawing technqiues whitin an interdisciplinary context where architecture, cinema and art comes together. It was our point of departure to re-think of cliches and conventional mediums.
Mc.Escher the dutsch graphic arist inspired us. His drawings and briliant techniques which produce impossible conditions becomes the engine of our ongoing work. As we had a lot of impossible conditions in the movie, in order to transform them into drawing language we looked at Escher›s art works, We could take the technqiues and even take them further somehow and bring them into the architecture.
Illusion can be taken into different disciplines as well. From art can be taken into the world of game plays. Our students played a lot with a great level joy with Monument valley game play. its a mobile phone game play developed based on the concept of Optical illusion and inspiration of Mc.Escher drawings. its very interesting how drawing can develop a compherensive platform for different artistic disciplines to come toghether. where gaming, architecture, art, cinema and photography shares their boundries together.
Chapter one: Prision
The prison break of Gustav and comrades is one the most exciting and the most attractive scenes and events in Grand Budapest Hotel. The scene, which characters are moving in two, axes, vertically and horizontally like the points in a Cartesian coordinate system. Their coordinates is changing constantly. This problematic condition made us to draw the prison inspired by Cartesian coordinate system. We drew a series of drawings in an experimental way. Tried to define the prison more as a system rather than being only a place. After looking at our drawings carefully we understood although our drawings are representing a single object but there can be different readings and this singularity can be read as a multiplicity because of the view and our perception from it, as if it is a constantly changing object which is based on the idea of cube and question the problem of inside and outside. We also got inspired from El Lissitzky’s interpretation of Hyper Cube; we took his drawing as a diagram for our work and tried to create a diagrammatic system that provides a series of different multiple conditions due to a dual condition of interior and exterior challenges our perception. The result is new object that lives on a different level of existence. Video link: https://youtu.be/qbCFgzcEE_Q
A prision, captivity, prison bars, a termination and a fully interiority condition. Can this prision have an endless quality with itself as well? can we transform interiority and exteriority into each other?
Wes Anderson challenges our perception of what a prision could be and how is an escape can be. Gustav and comrades are going down and down, like digging the ground. camera is moving in a parallel ortographic way. and the interior becomes exterior.
In a sequential timeline, they pass different places and different accidents
There is a very lengthy exaggerated ladder in the movie. ladder, a moving element which is generally considered as a vertical element is reversed and performs horizontally in the scene
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The first drawing that shows all the prision break events in a single drawing within a cube condition.
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Drawing the prision aparat from the limitations of cinema gives a new single object that can be read differently with multiple views, like each view is a view from a different object
Reading of El Lissitzky›s drawings, especially the proun series was very inspiring for our project and its continuing, where 2D elements constructs a 3D quality, a 3D spatial effect.
El Lissitzky›s interpretation of Hyper cube is a master piece, we looked at how he has challenged the relation between the inside and outside and our perception due to means of drawing by defining a 4th dimension.
We took El Lissitzky›s drawing as a diagram for our work and developed it. so a transformation of interior and exterior occurs. different views gives us the possibility to read it differently and in each time providing a different story line.
The object itself can be cloned and provide another level of interiority exteriority interrelation by rotation of each part. We increase up the scale, make it a system. A system, which periodically transforms interior and exterior into each other.
And again represent it as a series of drawings ...
Chapter two: The impossible transition
The event, which we explored, was consisting of a series of transitional accidents in an unknown place. In this scene, characters of Gustav and Zero constantly and sequentially are placing in different condition of transitions, transition by tele cabin, transition by skiing, transition by motorcycle and so on. The movie sequence includes some paths that leads to nowhere but our heroes passing them. The paths, which represents an end but not truly, one’s conscious can be careless about these environmental conditions. The cinematic image is consisting of a series of places and spaces that are placing next to each other in an impossible condition. In the first phase we tried to use mapping technique, we defined the relation between the parts and just like a map drew a diagram that indicates these complex relations. We used frontal layering technique to create the map and navigate our characters on different part of it. In the next phase, we transformed our drawing from two dimension into the three dimension and explored its geographical and spatial qualities in our drawings; we gave it a kind of architectural object quality. The new 3D drawing includes elements of surfaces and different connections that redefine the relation of parts. In first perception, it looks like a whole world but by rotation and turning around it, we can see separation of parts and having different readings. And our transition becomes an impossible one‌
These drawings shows our imagination of such an impossible world ...
In this diagram we mapped the events of transition in the scene. Fragment the church and made a geography out of its pieces, construct a new environment and tophographic land out of falling down of murderer. we tried to connect all the transitions happening in the movie using frontal layering technique.
Diagramatically, we made an impossible construction that seems complete in some specefic views but differentiation of views reveal the truth of it as in incomplete construction.
Series of drawings that deals with the impossible construction
Chapter three: Piling of a murder
The strange world of Grand Budapest Hotel by Wes Anderson is not following the common rules and principles. Murder which happens in the confess of the church is one of the main events in the movie. Characters of Gustav and Zero enter to the church’s court from a door at the end of yard. They get the cowl from a man, enter the church and then go into the confess. The scene has a nesting quality with it, similar to structure of whole movie, like Matryoshka dolls. Murder happens in the confess, the most interior part of its architecture. Two characters enter the confess and suddenly the murderer comes out from somewhere else in the church which reminds us teleportation condition in the game plays, like people teleporting from a place into another. The main drawing is based on the idea of nesting structure. We gave an impossible quality to it by turning our 2D drawing into a 3D object. An architectural object that can have various readings because of different optical conditions. In reality, they are detached from each other. We piled it from various optical conditions and increased the scale from a single object into a more kind of mechanism. Video link: https://youtu.be/pe8yGDe3yn8
There is a novel story about the interior ... Where it pushes its boundries on an interioirty/exteriority level....
Our main drawing is indicating the complexity of interrelation, where the confess is not only a place for a murder but also an articulation for a new body.
After the murder an exciting pursuit and escape beween the murderer and Gustav/ Zero occures. each one see his environment differently, the murderer see it distorted ...
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Chapter four: Realizing of an imagination
The bathhouse scene in the movie of “Grand Budapest Hotel” is one the first sequences and is a excuse For narrating the other events. Characters of Mostafa and the Author are meeting for the first time in an uncommon condition and in an uncommon place. The meet in the semi-private part of a public bath and it is where the author is asking a key question “How did you come to but it? If I may ask the grand Budapest hotel”. Mostafa hesitate to answer and postpone it to a dinner meeting. This situation for us is the key to enter the Mostafa’s mind as such a question for him is mind provoking and reminder of many memories and various events by the Grand Budapest hotel. It is Mostafa’s world that we tried to draw. A complex condition of his thoughts, which is organized in an installation of pipes. We can find the memorable elements of Grand Budapest hotel everywhere in the drawing. The result for us is a series of drawings that blur the boundary between dream and reality, fantasy and actuality and has an object quality with itself.
The camera first show the public part of the bathhouse, then moves horizontally and after passing the threshold stops at the semipublic place behind the curtain. Two bathtubs are located with a one bathtub as a distance. Mostafa and the author began to talk to each other and camera has a very static condition, changes only orthographically. It was a challenge to draw a condition where the characters only talk and look at each other. So we went into the mind of Mostafa.....
The timeline of the scene
Section of the bathhouse
It is all about the memories and fantasies. Memories are constructing the architecture. Stairs, trolley, a car, a bathtub and other elements are the organizing the space. It is the most interior part of The Grand Budapest Hotel, in the mind of Mostafa.
Chapter five: Impossible Escape
Time is the most complicated thing that human being deals with. It is simultaneously perceivable and not perceivable. With a reading on the movie of Grand Budapest hotel and analyzing the escape scene of Agatha and her confrontation with Dimitri in lobby we figured out some interesting points including different stories for different characters are happening at the same time, And also Agatha’s entry to the hotel and her confrontation with Dimitri. In our main drawing we tried to answer the question that how we can draw two different simultaneous events in a single drawing. In order to do that we folded the place to provide two characters confrontation and bring them together, Afterwards the drawing provided us with a three dimensional object. Something that remind us the famus game of Monument valley. We also referred our work to drawings of Escher, Dutch artist who was dealing with optical illusion to provide impossible conditions. We used optical illusion as a technique to develop our drawn object in a way to show an impossiblity of pursuit and escape. By each view angle, various facilities of a visionary condition is provided which gives us a different reading.
Plans transforms into the sections and elevations. It is a c plane transformation that have an impossible quality with it. transformation of place and time. and characters who can walk the space out of the order of a Cartesian system.
Folding the place, make it possible to have different narrations and break the linear structure of time. It gives us an opportunity to go further of time linearity limitations and also the opportunity of having a drawn 3dimensional object.
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We developed our three dimensional object using isometric illusion as a technique. walking on different Cplanes. experience of a non linear time. and experience of different conditions of single object gives us various stories, various narrations which redifine Agatha›s escape and her confrontation with Dimitri. it is a new system. a new system that challenges the ordinary perception of space and time.
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A different view angle, indicates a different condition. it embeds a different story line
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they can be separated as well in an other view which challenges the reality of the system
Chapter Six: Sixth floor
In the sixth floor of Grand Budapest Hotel an event happens around the central void. The event of shooting and confliction between series of characters. This event is intensively associated with architecture of space and the void itself. Considering the importance of void in this scene, we focused on the void and tried to create different conditions of a single object by unfolding the void wings and reorganizing them in a way to open all 12 main surfaces of sixth floor and rearranged them by a new paradigm. To do that we considered a system that provide us three different reading because of optical illusion and these readings create different narrations of the sixth floor event in Grand Budapest Hotel. The technique we used was a kind of opening and reorganizing the void wings within emptiness of the void. We called it unvoiding, a condition that happens because of void reorganization. Video links: https://youtu.be/OiwJ0Zc847Q https://youtu.be/EtFwdepBmDo
Void is an empty space, but it can be re-organized as well. the wings are the medium
The void is a classical part of the Grand Budapest which embeds a series of events
Drawing shows an impossibility of a void. different floors seems connected but are they in reality? the drawing challenges the reality and our perception of a void
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Transformations of different surfaces into each other is a key tool to develop new conditions of the void. It is the offspring of cplanes that turns into each other, For instance a top turns into a front and etc. it gives the characters various settings of space and as result various storylines that can be followed.
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It is the end of the catalog for ideas of Impossibility. Thanks to Adil Bokhari, Victor Sardenberg, Damjan Jovanovic, Amir Hessam Mirsadeghi, Lida Badafrah, Behdad Dadgostar and Mehrshad Atashi who collaborated and shared their knowledge with us by holding workshops or giving lectures during the studio time. With a special thanks to dear Hooman Talebi, The academic director and Mrs.Elham Razavi the founder of CAAI for their always great supports. Peyman Esmaeelpour May of 2018