In an ever-fleeting world accelerating in its levels of communication, every story matters. Not being tamed anymore under the label of a grand narrative, our contemporary environment has opened itself up to the maximum level of interpretation, a time when narratives are being produced by anyone, about anything, from any place, all at the same time.
To me, contemporary architecture responds to this fleeting environment. Infinite possibilities of spatial scenarios conduct uncountable possibilities of forms and the reverse. My interest is to investigate this two-way relationship and utilize architecture as a medium of narrative making, remembering how every fragment of existence is fiction that needs to be read, represented, and responded to.
SAM SABZEVARI
[Architect/Designer/Author]
Education
Master of Architecture
Toronto Metropolitan University [24]
Bachelor of Architectural Engineering
University of Tehran-School of Fine Arts [21]
Publications
Vacant City
Toronto Metropolitan University
Studio in Critical Practice Publication [Supervised by Professor Paul Floerke & Professor Cheryl Atkinson-Collaborative Project]
A Pleasant Solitude: The Covid-19 Pandemic Nudging Architecture towards Providing a Pleasant Solitude Routledge Book Series-Health and the Built Environment
[Book Chapter in the book: The Future of Architecture and Urbanism in the Post-Covid Age [In collaboration with Professor Ehsan Masoud]
Umpteenth Edition: Studies on Narratives of a Living Room
Experience
Research Project Assistant
Open Architecture Collaborative Canada
Toronto Metropolitan University [24]Present
National research project Quality in Canada’s Built Environment / Supervised by Professor Marco Polo & OACC
Research Project Assistant
Toronto Metropolitan University
Graduate Assistant
Imaginative Pictures: Experiments on Architectural Drawing
Rasoulian’s House: Architecture/Non-Architecture
Daricheh Architectural Journal
University of Tehran
Awards/Honors/Exhibitions
Design Studio Guest Critic Toronto Metropolitan University
Educational Institution-Professor Michelle Grant / Farmer’s Market Pavilion-Professor Jurij Leshchyshyn / Community Center-Professor Michelle Grant / Concept City-Professor Marco L. Polo and Julia Jamrozik / Mending the Gap-Professor Paul Floerke and Will Galloway / Exsiting Potentials-Professor Julia Jamrozik and Joey Giaimo
Department of Architectural Science Year End Show- PHC Gallery
Toronto Metropolitan University
Graduate Design Studio Projects: Where the Trees Meet the Water [studio in Vacancy] -Who’s Afraid of Interpretation? [studio in Heritage]Narrative Architecture: Framing a Fleeting World [Thesis Project Exhibition
TMU Graduate Development Award
Toronto Metropolitan University
Top Candidate National University Entrance Exam
Ranked 9th among 20,000 competitors in Iran’s National University Entrance Exam
Graduated with the Highest Distinction Ranked 1st in Graduating Class of 2021 University of Tehran-School of Fine Arts
Toronto Metropolitan University [22-24]
Guidelines on Healthy Interior Design based on lessons from the Pandemic / Supervised by Professor Lois Weinthal Teaching Assistant in undergraduate courses in Architecture & Professional Communication / Graduate Thesis Exhibition curator / IT Assistant [Department of Architectural science] [23]Present
Architectural Designer
Atelier Sigman Collective Research & Design Studio [21-22]
Assistant Professor / TMU Department of Architectural Science / jamrozik@torontomu.ca
[CONTACT]
sam.sabzevari@torontomu.ca samisabz17@gmail.com
Toronto / Ontario
+1-647-7682085
/
+ Book Two / Selected Design Projects Academic & Professional Projects [2018-2023]
Book One / M.Arch Thesis
Narrative Architecture: Framing a Fleeting World
Souvenirs From AnOther World
Interactive Object Design
The project began by exploring three literary works from diverse cultures, each sharing a common theme: recounting tales of unknown places to a figure of authority. Italo Calvino’s “Invisible Cities” introduced fictional cities to Kublai Khan through Marco Polo, echoing similar narrative structures found in “Strange Tales from a Chinese Studio” and “One Thousand and One Nights.” Inspired by these narratives, the project crafted nine collages from a blend of European paintings, Asian woodblock prints, and Middle Eastern miniature drawings.
These collages formed the foundation for an interactive object designed to embody the concept of souvenirs. Featuring layered construction, the object’s lower level held the collages while its upper level featured nine individual aperture cones. Users could view each collage independently through these cones, revealing distinct worlds that, upon closer inspection, interconnected through an underlying layer of drawing.
The overarching goal was to encourage interaction, prompting users to explore how these seemingly disparate narratives formed a cohesive metanarrative when viewed collectively. The project aimed to provoke three possible interpretations:
Firstly, the nine collages represented narratives of an imagined “Other Future World,” exploring architectural responses to evolving contextual narratives. Secondly, the connecting drawing symbolized the meta-narrative that unified these individual stories into a larger framework, emphasizing the project’s role in designing these connections. Lastly, by questioning the roles of object and subject, the project proposed that the nine drawings collectively represented various facets of a single narrative, with the cones and apertures acting as lenses offering different perspectives on this unified world.
Through this exploration, the project not only showcased the cultural richness and narrative complexity of its source materials but also invited viewers to engage actively in deciphering the layered meanings embedded within its design.
The cones can become an interpretive tool among definitions of the inside and outside to make room for arguments around scale and the relationship between architectural organs.
Chess vs. Backgammon
Analytical Comparison in Architectural Scenarios
The two games, Chess and Backgammon, stand in stark contrast despite sharing some fundamental traits. Both are strategic games requiring thoughtful decision-making, yet they diverge in their underlying philosophies and gameplay mechanics. Chess unfolds as a structured battle where opposing forces advance towards a central confrontation, aiming to capture the opponent’s king while strategically eliminating valuable pieces along the way. Each piece in Chess plays a distinct role akin to a classical army, with captured pieces permanently out of play, symbolizing casualties in a war-like scenario that culminates in a definitive endgame upon the king’s capture. In contrast, Backgammon operates with a cyclic approach, emphasizing movement and fluidity. Players navigate pieces across the board, aiming to bear them off while managing temporary occupancy of spaces. Pieces hit by opponents temporarily wait to re-enter the game upon a subsequent dice roll, reflecting a continuous cycle of engagement and re-engagement. From an architectural perspective, Backgammon suggests a cyclical view of space, time, and characters, mirroring the fluidity and adaptability in design trends. In contrast, Chess embodies a linear narrative where each move builds towards a decisive outcome, reflecting a historical trend in architectural thought that emphasizes structured, hierarchical design processes. However, contemporary architectural discourse increasingly favors a narrative that evolves with time, reflecting societal shifts and diverse perspectives. Just as Backgammon allows for reinterpretation based on dice rolls and ongoing strategy discussions, modern architecture embraces flexibility and responsiveness to contextual narratives. Thus, while Chess and Backgammon offer contrasting approaches to strategy and narrative, they serve as analogies for broader discussions on architectural evolution. Embracing narrative architecture allows for dynamic responses to contemporary challenges, moving away from rigid historical trends towards an adaptive, inclusive design ethos that resonates with evolving societal narratives.
In Chess, each game piece operates under a particular function that defines its movement. Rules are clear for each piece, and a hierarchy is defined for the match by labeling names and characters. The ultimate game for every player is to make the most logical decision considering each character’s value and moving function. You will win if you make the wisest decision [which can be predictable based on the odds]. In Backgammon, round pieces have no character or function before rolling the dice. The numbers from the dice define how the pieces should react, and the logical decision is about how to make the best move based on the dice number. The complete logical thought process of Chess here gets mixed with the negotiation characteristics of Backgammon; similar to life, one needs to make the best decision based on what one calls from the dice. + Sequencing + Overcoming
Place Taking
End Game
Stealing the Image
Architectural Experiment in Spatial Activism
The experiment Souvenirs from Another World explores the central void, revealing insights into communication and interpretation. It underscores that even within shared narratives, individuals, despite speaking the same language, interpret and communicate diverse meanings. Translation, far from being a barrier, serves as a generative process where fragmented perceptions are pieced together and conveyed.
Stealing the Image comprising various architectural instruments, focuses on random curvilinear shapes in distinct scenarios. Users engage with these instruments to gain partial insights into these shapes, necessitating collaborative interpretation for a comprehensive understanding of space. Conceptual drawings from this experiment serve as diagrams illustrating potential interactions within the “Cube Inverted” project’s cubes, emphasizing the precise sequencing required for functional coherence. Here, architecture functions more as a backdrop than a protagonist, shaping settings rather than dominating narratives.
Comparable architectural works, such as John Hejduk’s “Lancaster/Hanover Masque [1992]” and India’s ancient Jantar Mantar observatories, integrate spatial instruments as character-like entities with specific functions. These examples highlight architecture’s potential to embody functional roles within spatial narratives, influencing how spaces are perceived and utilized.
In essence, Stealing the Image and related architectural experiments challenge conventional notions of communication and interpretation. They illustrate how architectural instruments can actively contribute to spatial narratives, facilitating multifaceted understandings of built environments beyond traditional roles as mere settings.
The user of the first instrument has a visual overview of the shape but can only orally describe what they see to the others through the pipes.
Users
The fourth instrument is a periscopelike object that users wear on their heads. They can move all around the shape, although their vision is confounded.
The
Two overall viewports are made with the fifth instrument, which does not view the curvilinear shape but sees how each user tries to assemble a piece of information and will help the others communicate.
Similar to the third instrument, the final instrument reflects a geometry fragment to a person who lies down in the instrument cabin.
of the second instrument will hear the descriptions from the first person while confusingly looking at each other through the spaces.
third instrument sits on top of a part of the shared shape. The user of this instrument sees an orthogonal reflection of a fragment of the shape and draws it.
Where Does the Author Stand?
Architectural Experiment in Authorship
Considering both architects and writers as authors, what can we learn from various mediums of making narratives in terms of flexing the definition and sharing the authority with the audience to engage in the process of narrative making? The painting Las Meninas (1656), mostly known as a painting about painting, is going to be explored in this design experiment to show the relationship between the story and its representation, the narrative. Through a forensic analysis of the layers, one sees how the narrative questions the truth about the painting and dissolves the borders between the real, ideal, and reflected.
Observing the role of narratives as representatives of events in various mediums it is the time to ask what is the role of narratives in shaping historyspecifically, architectural history - and how that has shaped our perception of reality. Section Four investigates this question in detail.
The painting was made in Velazquez’s studio in Philip IV’s palace, Alcazar in Madrid. Looking at the painting in comparison to the existing plans of the palace I could draw the architecture of the location.
At the back of the painting, we see Don Jose Nieto Velazquez, the Queen’s chamberlain who is holding the curtain. This means that the King and Queen have just walked into the studio, or are leaving.
Drawing the vanishing point of the painting one can see that it doesn’t land on the King and Queen or their daughter’s eyes, but it is on the hand of the chamberlain. We, as observers of the painting, might be the subject and a part of the scene ourselves.
At the back of the painting, we see Don Jose Nieto Velazquez, the Queen’s chamberlain who is holding the curtain. This means that the King and Queen have just walked into the studio, or are leaving.
In the background, we see a reflection of the King and Queen in a framed mirror. They might also be the subject of the painting. The reflection either comes from them actually standing in front of the mirror, or from their painted picture on the canvas. This specific painting does not exist in reality therefore the first guess is true, the king and queen are standing there in the studio for a moment.
Velazquez himself is also in the painting and the artwork acts as a self portrait too. We can see him drawing the knighthood sign on his chest which he received a year before making this painting; this gives the painter the authority to play this visual game with all of us!
The painting in the picture, is the same size as the actual painting. Velazquez therefore is painting the painting! There must be a massive mirror in the studio which is reflecting this whole scene to be painted on the canvas.
It is hard to imagine how a mirror can reflect all of this scene in the geometry of a room like this. Considering points 2 and 3 about it being a snapshot, the whole settings of the studio and the formation of the characters can be an imaginative product of Velazquez. By standing to one side and sharing his role as the author, Velazquez opens up this story to multiple interpretations.
[Las Meninas, Diego Velázquez, 1656]
Find & Tell
Imagining DataCenters as new Dream Commissions
The design experiment Find & Tell envisions a novel hybrid space that merges elements of home, vessel, data center, and personal archive into a cohesive environment. It posits that managing digital data is akin to stewarding physical land and buildings, emphasizing the interdependence between data and its physical infrastructure.
At its core, the environment minimally comprises essentials like a mattress and basic kitchen and bathroom facilities, with ancillary spaces designed for interpreting and interacting with data. These include rooms dedicated to various media forms—videography, text, voice recordings, and photography—enabling users to derive meaning and construct personal archives from the dataset.
Central to the concept is the concept of “finding and telling,” where individuals navigate their personal narratives through data exploration and interaction. This environment facilitates communal engagement through “traveling cubes” and public spaces, fostering connectivity and narrative exchange.
The experiment marks a conceptual exploration of narrative architecture principles, laying the groundwork for subsequent design iterations. However, it acknowledges the speculative nature of envisioning a space where physical and digital realms converge, challenging traditional architectural norms.
The role of data centers emerges as pivotal within this framework, not merely as infrastructure but as a conceptual framework shaping contemporary identity and societal context. The experiment critiques conventional notions of space and communication, suggesting a paradigm shift towards digital interconnectivity as a defining aspect of modern architectural discourse.
Looking ahead, the thesis intends to delve deeper into the implications of data centers and digital exchanges, positioning them as central to understanding how architecture shapes and reflects our evolving identities and environments. This perspective aims to blend theoretical critique with practical design insights, exploring new frontiers in spatial innovation and narrative expression.
Living
overall plan is made of two nine square grids that use the intersection as a place to house the data centers.
The
Vertical and Horizontal access for public spaces merges with virtual connections of data centers reaching out to rooms.
Gathered around public spaces, rooms for living and rooms for interpretation are shaped.
An Ever Performative Environemnt of Everything
An Ever Performative Environemnt of Everything attempts to frame our fleeting world to overlay what has been discussed in the past experiments of the thesis. This final experiment begins with a fundamental unit that is allegorically designed under the inspiration of the performance units of a theatre, a structure that can potentially host any event and human activity. Here, living in reality becomes an art form, a performance in a world where you can exist solely in your imagination. Players choose to perform their human experience. As life becomes an ever-changing theatre, performance units come together to shape the bigger theatre. The whole environment becomes a system, and machinery is no longer limited to equipment; the environment itself is a system. Programs start to blend in novel ways as life has become an active performance to acquire meaning. A bedroom becomes also a backstage; waking up and getting ready equals getting ready for a scene. The living room is also the performance stage, while the dining room has become a discussion area. You can keep imagining. As it seems, if this were the system, life would happen in negative space. Traveling among the circuits creates an actual performance. How you move from one to another story, from one to another role, becomes a point of conscious decision-making. The first attempt is to draw improvisation tools as scenarios for navigating the negative space. Scenario one is “You have to!” with these architectural apparatuses, you can limit the direction of movements, connect a number of performance units to make them one, and define levels of privacy within the system. Scenario two is “You might be interested!” the architectural objects of this scenario provide options of sneaking in, taking a look, or somehow getting information about what is going on in a unit to decide if you are interested in joining. Scenario three is “You better not!” This takes you to a locked door and tries to be monumental enough to make you take the journey, but it also limits you to unavailable access. Scenario four, the final one, is “You ask!” As the chances might be low for the players to know where they are and why, and for what, gardens within potential dialogue scenarios give opportunities to the lost ones. The image of them all coming together highlights how the negative space becomes where life blossoms.
Poetics of the Digital
A Narrative System of Understanding Environment
Overlaying all the pieces together, one can observe how, in the bigger picture, the positive, the system is still highly dominant to the image of the environment in the former experiment. Also, The tools of improvisation are too complex yet too restrictive. For each scenario, several forms are suggested, while the possibilities of making a synthesis are limited. In response, The gridded background pattern needs to be revised to solve the first issue. By overlapping square spaces and not labeling them as positive or negative, each square becomes a potential of any space, whether lived, systematized, or shared. The overlapping geometry enables the network to define four to five access layers and penetration to each space. The inbetween is appreciated here as it becomes another way of reading the privacy layered diagram of the Caravanserai moving from outside the outside to inside the inside. The diagram is modified as the definition of traveling through a network has been altered. The new set of architectural apparatuses is introduced as more fundamental and more conceptually open to interpretation; they are not actual spaces but allegorical representations of events that can be tied together through a constant system of moving in space. From all these considerations come uncountable possibilities for defining a spatial boundary based on how it relates to its surroundings, such as architecture as an exchange and vessel. The activity mapping enables the reader to understand the formation of space, types of activities and movement, and the ambiguity of the light source, which can be tracked in the rotating shadows of vertical movements. The activity mapping is meant to communicate a sense of what goes on in a part of this network while highlighting the fact that your reading might be different from someone else’s interpretation. Therefore it’s preferred to look at each one of the formal arrangements as probable narratives…
Leaving the Back Door Open
a System Beyond Its Own Logic
The final step of the thesis is to introduce a level of openness orchestrated around individual interpretations to create rooms and open threads in an ever-evolving diagram. The six primary characters from the experiment Poetics of the Digital are summarized as abstract objects, each big enough to be held with two fingers. Characters: Despite, Along, and Via are represented by the author annotating the process and accompanying the players in making stories. Each player is introduced to the idea of improvisation. In this experiment, the physical dimensionality of the objects and the relationships between their scales become the framework for making preferred scenarios around the formations of pieces. Pieces are discussed neither as spaces nor as activities. The prepositional way of naming them has been carried from the experiment to allow the player to see them as formal objects that can make sentences and narrate a spatial experience or as poetic objects. By rotating them around the ground, players can shift them; this allows them to use each piece in several ways or change the axis of the plane. Under this ambiguity of objects, the players are asked to think about a place of exchange. Since any human interaction is labeled as exchange, a place of exchange can be anything based on one’s interpretation. This becomes a clue for players to start the play while showing their reading of a place of exchange formed by the available framework.
The experiment is designed to be a dialogue among the pieces, the author, and the player. The overall framework was similarly introduced to every player, and then the moment of interpretation began. Every player describes how they pull pieces in their work and what they meant by that. Soon, the rule of starting with one of the “about” pieces was broken, and games began to go beyond the defined white platform. Although it was planned to have as few frames as possible, it was observed that interpretation asks for no limits at all.
Evolving
Book Two / Selected Design Projects
Academic & Professional Projects 2018-2023
House
of Kamaluddin Behzad
Designing the thesis project was a chance to look for my interests: history, visual arts, and architecture. This project is an effort to develop a complicated historical concept of arts and geometry into an architectural project. I first started my studies by looking through historical aspects of Persian Miniature. The second step was to make conceptual collages of Miniature samples to get a personal vision of forms and images. Thirdly, I made some graphical recreations of these pieces of art to comprehend architectural relations in paintings. According to the “Intellectual House” concept and historical studies, there were some scenes that I had to design; the final form was built after putting all the pieces together. My thesis project tries to redefine a historical concept into a contemporary architecture piece to find new forms and possibilities from the context.
A Journey Through Persian Miniature & Architecture
Where the Trees Meet the Water
Where the Trees meet the Water is a master plan proposal for the vacant lands on the East side of the mouth of the Don Valley River. The proposal acts as a provocation in response to the currently ongoing development plans for the Portlands and the mouth of the Don River. Although these developments, such as the Portlands, are mitigating flooding through proposed natural wetlands, the infrastructure and Architecture still don’t respond to the natural environment. Instead, the segregation is perpetuated by pushing the mouth of the Don Valley River out into Lake Ontario and diving it with poorly regulated housing developments. The pedestrian divide between the East, West, and South of the city caused by the Don Valley Highway persists and people are still alienated from the River and will struggle to access the future Portlands on foot. With that, our proposal aims to address this persistent divide between the urban and the natural, the individual’s body and the landscape. The conceptual approach to this was how might the artificial learn from the Natural and how can architecture be used to create harmony between the two while not neglecting the necessary tensions required to sustain the urban fabric. Where the Trees meet the Water materializes these concepts through four distinct interventions that act as individual layers but operate as a harmonious whole in the construction of one’s experience.
Re imagining Toronto’s Public Landscaping
In collaboration with Caleb Culmone
The Glove of Myself
The tendency for designing a visual center in Tehran started with theoretical studies on contemporary arts and galleries, knowing that galleries are today’s world’s cathedrals. I focused on Salvador Dali’s work to find inspirations for making a conceptual model, expressing my inner feelings. The next step was to draw some spatial sketches of the vision that I had on my mind; which led to the first tectonic model of the project. The project tries to distinct itself encountering Tehran’s dense urban fabrication by the hollow layers running across each other. Public platforms could be home to artistic events while making a pose to the city at the same time. A combination of inter-focused areas and public spaces define the project.
Public Perfomative Arts Center
Spaces in Between
Urban Residential Complex
My first essential issue on this project was how to deal with the non-geometrical shape of the site. It was necessary to make additional models and find a logical set of blocks connecting the complex to the neighborhood, city parks, and the inner yards. At each step of the design process, I drew some personal sketches to define a scenario of how a habitat should look. After finding a rough form of the area, I designed five different types of plans focusing on equity; I wanted each apartment to use the facilities practically. From small individual terraces to public yards and gathering places, this project tries to prepare quality for the residents
ApartmentType#1/70-90m 2
Apartment
ApartmentType#3/120-150m2
ApartmentType#2/90-120m2
Apartment
Zvuk
‘Sound’, or ‘Zvuk’ when spelled in Russian, is an interactive installation that admires visual and auditory characteristics of the MUTEK Universe and explores temporal and spatial experience in parallel with the existing values of the wondrous artistry of MUTEK curations. The inspiration behind the concept is the power of information; this idea touches on the unconscious contrast between ready-made information, available daily and ready for consumption, and the contradicting idea of purposeful search for ‘truths’, when one is faced with a situation through a personal confrontation happened intentionally or as an outcome of a contextual exploration. This installation is made to showcase how purposeful interactions can reveal much more than expected or visible from afar.
The experience urges one to explore the darkness and uses light as a path-finding guide. The proposed space is dimly lit with a white grid (30x30cm) covering vertical and horizontal surfaces of floor and proposed platforms, which resemble the premade organized existing structures of reality. Platforms are strategically scattered throughout the room urging users to wander and explore the space. While a series of rear projections use microphones to create a personal interaction between each individual and the animation. The audience’s voice creates a series of abstract forms that constantly appear when the sound is produced and fading away right after. Each projection creates a personal ‘scene’ that invites the audience to engage with it and make a personalized experiment out of their presence.
Installation Proposal for Mutek Festival, Montreal
In collaboration with Anna Kosichenko
The Noise of Time
InstallationProposalforanExperimentalPreservation
Considering the historical context of the Alamut fortress and all the official/non-official narratives behind it, this architecture can be imagined as a 200 years old crime scene in first expression. The building is disregarded by heritage cases because of its back story of being the headquarter of the Assassins led by Hassan-I Sabbah as it brings up stories of betrayal, political disagreements, religious radicalism, and even brutal terror and obstructions. It’s arguable that there are no factual references in numerous narratives while the building itself is the only remaining evidence of this chaotic story.
This project focuses on the book “Rubayiat Of Omar Khayyam”, which was stolen by the assassins before being available to the public and kept away, hidden in the castle, for two centuries. Therefore the artifact resembles a crime scene where the building itself has become the murdered body throughout time while the cultural material of Khayyam’s poetry has survived and nudged the public by running through the crime scene and appearing on the caution tapes.
“The noise of time” preserves the cultural values of literature and nudges the significance of the right of free information circulation by preserving one of the architectural pieces that have acted as a prison cell for an influential book.
of the Alamut Fortress
Literature to Architecture
Competition Prize Winner / Architectural Realization from the novel High Rise by J.G.Ballard
In collaboration with Yasaman Nedjati, Omid Khoein, & Kimia Noorinejad
We designed this project through a four-day workshop/competition titled “Cross Encounters: A Journey through Literature & Architecture” held in Tehran, as a collaboration between Geneva University & Khatam University. Each team had to make an architectural interpretation of a worldfamous novel; where we chose the book “HighRise”. While reading this book, my teammates and I, found some repetitive impressive images that could express the essence of what Ballard has wanted to say. We wrote down myriad keywords to brainstorm and decided to make six narrative collages to define what was on our minds. Although there was no standard architecture evidence according to what we designed, the judges loved our short storytelling movie and we won the competition. During the process, we collaborated evenly to develop our ideas and collages. I was also responsible for making the 3D model and the poster for the competition’s exhibition.
Umpteenth Edition
The usual passion for construction kills the chance to have a pure moment with places and stories. Events happen, while the unstoppable process of designing new things won’t let us have a glimpse. Imagine a living room in a home; instead of building thousands of them, we can study thousands of narrative stories of existing living rooms. None of them would be the same. In Manhattan, Woody Allen takes a shot of dialogs in a living room. A photographer may shoot a family taking a lazy afternoon nap in a living room. Or, a philosopher, Heidegger may write something down sitting in his living room: “A border is not where in which something is stopped; rather a border is where presence starts from there.” Living rooms are familiar as they may be mysterious or weird. It seems like there are myriad scenarios to talk about when it comes to living rooms In this project, I directed the idea of making some scenography’s of living rooms scenarios by looking for them in five books: One hundred years of solitude, The metamorphosis, Notes from underground, As if I’m not there, and The invention of solitude.
Visual Article Commissioned by Daricheh Architectural Journal
In collaboration with Yasaman Nedjati & Sara Mohammadi
As If I’m Not There / Novel by Slavenka Drakulic
The Metamorphosis / Novella by Franz Kafka
One Hundred Years of Solitude / Novel by Gabriel García Márquez
The Invention of Solitude / Book by Paul Auster Notes from Underground / Novella by Fyodor Dostoevsky
