[BLANK]Elements of the house as well as the site in one. The plaster castings were reinterpreted at different scales.
The analysis of the collapsed pot and its folds.The analysis of the collapsed pot and its folds.Interpretation of the pot cast as a seating and gathering space.Interpretation of the pot cast as a wall along a stair.The negative space of the collapsed pot as a seating wall.Castings of the collapsed and erect pots.Castings of the collapsed and erect pots.Collapsed pot was cast and cut into a grid with clay removed to show the negative space of the pot.Collapsed pot was cast and cut into a grid with clay removed to show the negative space of the pot.Negative space of the pot.Negative space of the pot as seating space.Negative space of the pot as a dome with four openings.Negative space of a corner of a pot.Negative space of a corner of a pot.Negative space of a corner of a pot.Negative space of a corner of a pot.Negative space of a corner of a pot.Negative space of the pot as an arch opening.The encased collapsed pot/negative space.The encased collapsed pot/negative space.The encased collapsed pot/negative space in plaster cast.Analysis of the collapsed pot encased in plaster and cut in sections.Analysis of the collapsed pot encased in plaster and cut in sectionsAnalysis of the collapsed pot encased in plaster and cut in sections.The erect and collapsed pots.The womb as the original clay pot.The pot as a burial vessel.
Abstract
The project was based on interpretations of the surrealist book, The Blind Owl, written in 1937 by Sadegh Hedayat, who was considered to be the father of modern Persian/Iranian literature. The house was an exercise is the interpretation of the space between the conscious and unconscious state which the book and the main character was going in and out of. The physical manifestation of this space was captured and analyzed through the process of pottery. Understanding the transformation of a piece clay on a wheel to emerging as a vessel and the moment it loses gravity and collapses, became the starting point of the analysis. The pots were encased in multiple plaster casts. They were cut, dissected and numbered in grids with clay removed to study the folds in the negative space. The plaster casts took on a new dimension with bone like quality that could be reconfigured to create infinite combination of shapes that were interpreted in different scale ranging from a landscape or necropolis to habitable spaces, stairs, openings, and furniture. The womb like quality of the pot became the birthplace of the house and simultaneously the burial ground of the character inhabiting it.
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The Blind Owl House
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