>TEHRAN: INTERIOR SEQUENCES
>Instructor:Rojia Forouhar
This workshop was to explore the notion of space through cinematographic investigations. To clarify, Rojia Forouhar, the tutor of the workshop, says “Wenders says that film-makers and architects have the same obsession with a sense of place, the difference being that buildings are very real, where as films form people's visions and dreams. What is problematic or rather enlightening is that forming visions and dreams of place is a spatial practice.
The course was to open with the question, Why should architects study films? Take note of the use of the word study versus watch and imagine this notion further extended to suggest architects should make films.
The workshop process was to explore a series of films as accidental archives of architecture to explore the Tehrani domestic setting in different decades as the starting point for our projects. Films are important references of place and living, a valuable source for the history of architecture. Films are an ingenious way of representing spaces and places unmatched by usual typologies of drawings and models, where space and place are revealed as they are in reality, in movement and time. Films are capable of recognising the excess potential over plans and sections, beyond the intentions of the architect; an architectural act in itself.
A balcony can be used for concealment for escape and for suicide too.”
>Instructor:Rojia Forouhar
This workshop was to explore the notion of space through cinematographic investigations. To clarify, Rojia Forouhar, the tutor of the workshop, says “Wenders says that film-makers and architects have the same obsession with a sense of place, the difference being that buildings are very real, where as films form people's visions and dreams. What is problematic or rather enlightening is that forming visions and dreams of place is a spatial practice.
The course was to open with the question, Why should architects study films? Take note of the use of the word study versus watch and imagine this notion further extended to suggest architects should make films.
The workshop process was to explore a series of films as accidental archives of architecture to explore the Tehrani domestic setting in different decades as the starting point for our projects. Films are important references of place and living, a valuable source for the history of architecture. Films are an ingenious way of representing spaces and places unmatched by usual typologies of drawings and models, where space and place are revealed as they are in reality, in movement and time. Films are capable of recognising the excess potential over plans and sections, beyond the intentions of the architect; an architectural act in itself.
A balcony can be used for concealment for escape and for suicide too.”
