the poetic reveal

the poetic reveal

can the process of making cultivate a discernment of internal meaning? / zaeem ahmed / 15004968

/ techne /

/ poeisis /

is etymologically derived from the ancient Greek term τέχνη, often translated as “craftsmanship”, “craft”, or “art”.

is etymologically derived from the ancient Greek term ποιέω, often translated as “to make”. This word is the root of modern English for “poetry”.

Philosophers have often tried to unpack terms by way of questioning. To delve into the root of word structures could be seen as an important way of deriving meaning about the essence of a thing.

Epistêmê is the Greek word most often translated as knowledge, while technê is translated as either craft or art. Scientific theory cannot tell us how things should be, especially in the realm of ‘art’ or ‘craft’ . So we must turn elsewhere for answers to the profound questions about what the process of making tells us about our own existence.

Enframing is not seen as a tool, but the very condition of possibility for the truth of the real to be revealed, poetically to man. Heidegger presents art as a way to navigate this constellation, because the artist or poet views the world as it is and as it reveals itself.

Can this truth be realised upon reflecting on the process of making? In what way is this unconcealment attributed to a poetic unveiling?

Plato suggests poeisis in the soul is through the cultivation of virtue and knowledge. Heidegger calls poeisis a bringing forth, the blossoming of the bloom or the coming out of the butterfly from a coccoon.

In Aristotle’s Nicomachean Ethics, there are five virtues of thought; here are three relevant to the writing at hand: techne - what people can do; a state of capacity to make; the rational method involved in producing an object or accomplishing a goal or objective. episteme - a fixed set of information possessed by people; a system of understanding or a body of ideas which give shape to theoretical knowledge. poiesis - means ‘to make’; it is an action that transforms; it refers to ‘bringing-forth’; a threshold occasion: a moment of ecstasis when something/s becomes another.

Aristotle also suggests that techne could be thought of as the inward journey of the mind to the ancient world. Influenced by Aristotle, Martin Heidegger states techonology reveals something about our culture. In his works, he discusses how the essence of technology is nothing technological or a means to an end per se, but it’s essence being the poetic process of bringing something forth into presence in addition to being a mode of revealing.

He meantions a revealing called ‘enframing’ or Gestell which is seductive ‘opening up’ by a ‘gathering together of that setting upon that sets-up man, (that) challenges him forth, to reveal (to himself) the real’.0 The Question of Technology AR7008 2015/16 Module Leader: Alexander Catina

In the book ‘All things shining’, Drayfus and Kelly argue that embracing a meta-poetic midset is best, if not the only method, to authenticate meaning in a Nihillistic era. They urge each person to become a sort of ‘craftsmen’ whose responsibility it is to refine their poesis in order to acheive existential meaning in their lives. ‘The task of the craftsmen is not to generate the meaning, but rather to cultivate in himself the skill for discerning the meanings that are already there’.

Can various crafts then teach us about the meanings of architectural ornamentation and form a relation to the human condition? Semper categorises architectural elements into four; the hearth, the roof, the enclosure and the mound.

The origin of each element can be found in traditional crafts : ceramic for the design, carpentry for the roof, weaving for the textile and earthwork for the mound.

Semper regarded the ‘truth’ of a building did not reside in it’s construction, but rather in an appropraite surface dressing or art form.

The discussion of five crafts along the silk road may provide insight into the importance of the process of making. Do these various forms of techne help us to reflect on our own realities and assist in a poetic bringing forth of meaning?

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Martin Heidegger, QOT

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the poetic reveal:

can the process of making cultivate a discernment of internal meaning?

Contents 1 The calligrapher the power of the pen - The poet an interlude discussing the reed 2 The wood carver teaching and learning inherited knowledge 3 The stone sculptor ancient memory of a previous nation 4 The carpet weaver patience and perseverence 5 The ceramist development of an interactive tile

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fig. 1 / noble hilya (description of The Prophet ). artist: ebubekir altiok, 2013

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1 The calligrapher the power of the pen ‘By the pen! By all they write!’ 1. The first form of techne to discuss is the art of calligraphy. Beginning in the western echelons of the Silk Road, masterpieces of craftsmanship can be found.

What are the intentions behind these works and what do they reveal? As a civilization, the Islamic tradition has developed a conception of art which aims to refrain from reducing the sacred to mere corporeality. It is for that reason, for centuries, artists have sought to transform texts that describe the Prophet Muhammads physical and moral beauty in the best possible manner into exquisite works of calligraphy. In his work, Gottfried Semper emphasises the enclosure and it’s dressing as the foremost architectural element. Interesting then, that the traditions of the hilyah are often hung in houses with the intention of keeping the love of the Prophet alive in heart and soul. 2 The hilyah describes the Prophet , his physique, his virtuous beauty, his behaviour and outlook.

It is seen as an ode of longing hearts who seek to understand him through the accumulated curves of script, vivid colours and reflective composition. The hilyah is seen as an artform of remembrance of the Prophet , who related ‘Write my hilyah, seeing my qualities is as seeing me’.

Could this gathering of words in a visual form be seen as enframing or an opening-up? Whilst the poets bring-forth their thoughts in line , the calligraphers express yearning through letter.3 Master calligrapher Hasan Celebi unveils some secrets of the revival of a sacred art.

He states that progress in the field is not a shortterm event with maturation taking a lifetime of a hundred years. ‘The quality of the training method in this art inspires spiritual nurturing and induces consciousness in worship.’4 Since its inception, the main philosophy of the Ottomans was to establish justice in society, and this was aided with entrusting the task to the qualified, competent, expert.

They also did not see art as a tool for other means, the verses written on the inner walls of mosques are seen as a reminder of the fundamental essence of Islam, thus relaying the real spiritual message. In the present context, it is a visual way to instill the message to the people, ‘for those who see the calligraphy, even if they do not understand the meaning, finds themselves in a spiritual presence.’5 Does the process of this form of making unveil knowledge of the craftsman? Celebi states if the subtlety and the elegance of calligraphy is not softening the soul, and is not leading the person to humbleness, that means that person is not a calligrapher. The intention behind the art is to treat the souls of people. Calligraphy, among all the Islamic arts, due to its elaborateness, is harder, more demanding, and arguably visually more beautiful than any other. The beauty of calligraphy is crucial in reflecting its elegance. Is it possible to see the purpose behind the art by looking at it?

Can a refelcting on the art disclose whether it was done with the purpose of material gain, sole beauty, or spiritual gratification?

The care in prepartion may provide some insight.

For the calligrapher material is of primary importantance. An ancestral proverb states: ‘Evil material cannot produce perfect things’. For that reason, the place of pen, ink, and paper has a significant presence in calligraphy. The pen must to be hard and straight. Ink must to be thin, flowing and specially prepared. Paper is the field where both pen and ink prove their quality. If possible, non-acidic paper with good finishing should be preferred.

In addition to these, the mood of the calligrapher is also very significant. Celebi states ‘Art cannot be called art if it was written when angry, hurried, tired, hungry, and sleepless6. He advises to those who would like to learn calligraphy to not learn on their own. It requires a good education to perform professionally and consistent steadfasteness of not giving up. The apprentice must seek a master through patience and fortitude.

The Qur’an, a new translation by M.A.S Abdel Haleem LFTP Exhibition, Islamic Culture and Arts platform, Prof. Dr. Iskender Pala 4/5/6 Al-Madina Institute, Interview with Master Calligrapher Hasan Celebi 1

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- The poet an interlude discussing the reed

A Craftsman Pulled a Reed …

A craftsman pulled a reed from the reedbed, cut holes in it, and called it a human being.

Since then, it’s been wailing a tender agony of parting, never mentioning the skill that gave it life as a flute.7 - Maulana Rumi

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Maulana Rumi , Mathanwi

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reed pens at islamic exhibiton, british museum A tool of the calligrapher, the reed pen could be seen as an extension of the artists emotion, manifest in its gliding amongst the canvas. The historian al-Qalqashandi wrote about scribes and their pen boxes as follows: ‘know that it is necessary for the scribe to do his utmost to adorn the pen box, to make it excellent and look after it’. Why is such an importance placed on adorning the medium? Perhaps an ode of love for to the one the art is celebrating.

The reed flute, or ney, as termed in Arabic, is an instrument used in gatherings of remembrance that Rumi held with his disciples. The ney is known for its beautiful melancholy notes, attesting to its eerie broken-hearted cry. From the Quranic perspective, everything in creation is a sign drawing back to the Creator. As Rumi states, the reed, cut from its original home in the river bed and carved into an instrument, wails for its original source when blown into.8 Is there any significance for the reed pen used in Islamic calligraphy to attest to this wail of seperation? Could the calligrapher be visualising his remembrance through the use of the reed?

Baraka Blue, Reedbed diaspora Mariana Giovino, The Assyrian Sacred Tree

The ney is seen in Sufi tradition, as an allegory for the human condition. Each human being singing the song of their desire for reunion with their divine source, their primordial homeland. If this realm is seen as a world of seperation, are the Islamic arts showing painful nostalia for its origin?

‘If we listen closely we will find in it’s notes a means of return’9 The origins of architectural design also has claimed association with the humble reed.

Walter Andrae proposes this view in ‘The Assyrian Sacred tree: A history of interpretations’. He attempts to trace back the origins of the Ionic column back to depictions of reed plants in Mesopotamian art. Between the reed plant images and the Ionic column, Andrae saw a series of different symbols, each having developed out of the last. For example, he believed that images of reed plants were eventually transformed into the Mesopotamian ‘ring-staff’ stymbol, then the ‘emblem of stability’ , moving to a stylized date palm with close ties to nature . Finally this formed into the Ionic column. 10 The original narrative of a reed bundle being seperated from source may be of importance when considering the floral carving of wooden pillars.

Is there a concious narrative of symbolic design?

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fig. 2 / several styles of carved pillars in Juma Mosque, Uzbekistan

2 The wood carver teaching and learning inherited knowledge Journeying east along the Silk Road, the importance of knowledge derived form the heart of Uzbekistan can not be overstated. In the 9th century an Islamic golden age blossomed in Bukhara and it became an intellectual powerhouse. In Europe the texts of Greek philosophers were lost, however, Aristotilian works amongst others were preserved by interpretations of the Islamic philosophers such as Ibn Sina. When these works were later rediscovered in the West, the ancient ideas embedded were reliant on Arabic translations. Central to the thought of the philosophers was mathematics utilised in art. Islamic art could be seen framed on geometric patterns, repetitions and tesselations. Maths and geometry was everywhere, not surprising given that Al-Khwarizmi, the founder of algebra, resided in the region.

was governed by a harmonious system of relationships11. Could these claims of an inner disposition to observed proportions be helpful in the understanding of the human condition?

This association to preservation of geometry and allusion to natural forms can be found in the work of the wood carvers of Khiva. Juma Mosque is a place where there is a sense of history and preservation. A museum where more than a millenium of cultural change is carefully preserved. The extraordinary display of wood carving reveals even though the pillars have similar designs they are all noticeably different.

The creativity of the individual master carver plays a major role in shaping the various articulated forms.

Even though the material from which it is carved is the same , the constant change of design The Renaissance of Europe, could be seen as manifestation could allude to the unique quality indebted to these works and some many ideas of each individual. Just like the gathered reed may have stemmed from this inherited knowedge. bundle, an interpretation for the origin of the Renaissance architects claimed that every column, the severed reed sings its own song. part of the universe, from the revolving crys- Interestingly Semper regards the invention of the tal spheres to the humblest human being, structural frame as a secondary task for the architect and links carpentry to the roof structure12.

He states the material used should speak for it11 Colin Davies, Thinking about Architecture self and should be chosen and used according 12 Gottfried Semper, the four elements of architecture 8

fig. 4 / turgunch floral design sketched

fig. 3 / hand carved geometric column to the laws consitioned by nature, but their form and character should be dependant on the ideas embodied in them. The ideal expression of the building will thus gain in beauty and meaning by the materials as natural symbol.

The carvings of the pillars are of two types: one set of images are inspired by natural forms such as plants, mountains, plains and deserts. The other alludes to geometry and geometric patterns.

The sophistication of geometry can be seen in the carvings, the pillars serving as a celebration of the natural world, human knowledge and precision13.

This feature of measurement in line with patterns of floral beauty is one that has been transmitted from several generations.

Evidence of how the craft of woodcarving has been practiced in Khiva for centuries.

Even though the pillars are structural, the architectural ornamentation in Khiva is profound.

The refinement of the merely structural may pro us with clues into their meanings. The bark of the Elm wood is carefully peeled, with the natural material then left to cure for 5 years. After this development, the pillar is chipped away at with an axe.

Not as delicate as first thought, but a process that has to be undertaken. Two masters and three apprentices are required for a period of six months, ultimately forming the craft of six complete pillars. Shavkat, the master carver tells of the key importance of precision in everything they make.

fig. 5 / dusted charcoal to traced opening

Could this measurement and precision be two elements that linked to the innate harmonic proportion of the human disposition as posited by the Renaissance architects?

The master observes his apprentices to ensure the maintenance of high levels of quality. Before carving the design, an old floral pattern, used for thousands of years, is sketched called Turgunch Naksh. Interestingly, ‘Naksh’ means the ‘copyists’ hand and was mainly used for copying the Qur’an and in the 12th century for writing government documents. Could the use of the script, also used in calligraphy, allude to spiritual significance of the design drawn? The communication and preservation of inherited knowledge has been vital in the pillars exquisite maintenance. Every flower drawn has a name, attention to detail is profuse.

Once traced , the design is pressed with charcoal through a pierced paper, transmitting onto the wood. By teaching the process of making to younger generations the craftsmen hope the world come to know of their ancient traditions.

The master carver states how the wood carver must be patient , and of the feeling of accomplishment when the masterpiece is complete. Finally the wood has to be polished with lacquer two to three times . Is the poiesis in this process the delicate carving of the wood? What if the pillar is a seen as a reflection of the designer himself? Or is a meaning in the constant allusion to the preservation of inherited knowledge?

13 Handmade on the Silk Road, BBC Four Documentary 9

fig. 6 / stone releifs in Persepolis

3 The stone sculptor ancient memory of a previous nation

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fig. 7 / cuneirform carved characters

fig. 8 / Sogdian traders of the Silk Road

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fig. 9 / women weaving a persian rug

4 The carpet weaver patience and perserverence Iran was certainly seen as a major force in the Silk Road trade. A product which mesmorises in it’s process of making is the Persian rug. An item of supreme intricacy and precision. Gottfried Semper saw textile art a the primary form of architectural element. It was characterised by flexibility, pliability and robustness: first, to arrange and bind them; second, to cover, protect and close off. Semper’s words could even be interpreted to mean that a wall construction only exists to enable textiles or carpets to be fixed to it. Semper attributed to the building shell a role often defined as the “theory of clothing”14. In Semper’s view, architecture has its origins in textiles, in weaving and braiding, in the light and often richly decorated nomad tent architecture. He stated that textile art and ceramics were undoubtedly the first fields in which the desire to beautify by design of form and decoration can be seen to take an important place alongside functionality.

The night itself is shade, that darkness can never become a mere blackness because as shade as shade, is wedded to light and remains cast to it’15 Heidegger states it is the taking of measure what is poetic about dwelling. Poetry is seen as a high type of measuring and when the poetic appropriately comes to light, man dwells poetically on earth. If poetry speaks in mysterious measure and speaks in images, what is the craft of ornamented carpets poeticising? When Holderlin speaks of dwelling he has before his eyes the basic character of human existence.

Semper judged the cultural role of the decorated wall to be more significant than its structural function, which in his view can be taken for granted and is therefore not an aesthetic function. The “clothing” of a building with its patterns and ornaments derives, in his opinion, directly from the building’s use. This therefore provided the aesThe woven carpet therfore could be seen as a po- thetic guiding principle for decoration: ornament etic response to human dwelling. But what was as a reflection of culture.The primary human act the enclosure before the carpet? The process of of world making is not in the construction of the the carpet weaving may provide clues to its light- primitive hut, but the weaving of the carpet, or ness, if any veiling at all. ultimately the tying of the single ornamental knot.

14 Gottfried Semper, the four elements of architecture 15 Martin Heidegger, Poetically man dwells 12

fig. 11 / process of unveiling

fig. 10 / stacked ornamental carpets For Semper, architecture is the making of an architectural world. It’s artificiality is it’s essence. he states it does not aspire to ‘be real’ or ‘natural’ or ‘true’16. The architecture is not in the buildings but in the pattern making, human kinds first attempt to come to terms with the world. He points to ornament being conceptually prior to problem solving with humankind percieving certain ryhmes or patterns in the world. For example, day and night, sun and rain, light and shade all conceive the possibility that they may be imitated in an art form. Ornament and imitation are inseperable with most ornament, imititative of natural and organic forms. Adament that pattern making is the essence of architecture, is Sempers vision still relevant today?

Architecture is the dressing. It is the clothes, the adornment of the body, but not the body itself. A fiction that relies on imitation, creates a new world by borrowing. Semper says this is what architecture has always done and this in turn what architecture means. But what and whom are we borrowing from? Is it from natural forms, an allusion to our environent or from another source? What does the process of weaving the carpets tell us about our levels of conciousness. One argument could be an unveiling of a masterpiece develops in stages, where one can not see the greatness of the plan until seen from afar.

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fig. 12 / intricate details of floral pattern A intrinsic human love for beauty and symmetry could be another debate. The Master weavers and dyers of Kashan seek out certain ingredients from merchants of the Silk Road to develop their intricately woven carpets. Silk, wool, camel hair and colour dyes are required. Ranging from pomegranate, azure, ivory, red cochineal, yellow larkspur and the most precious of them all tirion purple. The product created has become a byword for luxury and have been exported far beyond the borders of Iran. Under Shah Abbas, the carpets were said to have reached a zenith in reputation.

The carpets are generally woven by women, and the tradition handed down from mother to daughter. A single carpet takes eight people over a year and a half to complete. Each knot made is gracefully sewn by the women at speeds that are barely visible to the naked eye. A poetic process resembling the playing of a harp. The continual integration of colour and pattern give the production process a feeling of life, with vibrations and a growth physically felt through its core.

The poetic revealing of this craft is felt throughout the process of making , but realised through patience and perserverence.

Gottfried Semper, the four elements of architecture

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fig. 13 / interior of rustem pasha mosque

5 the ceramist development of an interactive tile Semperian thought leads to the architectural element of the hearth relating to cermaics.

Blatter suggest that the elements represent symbolic functions. Could the ceramics allude to the soul or heart of the human?

Loos states a concern with a buildings interior space, and provides the dilemma that the concept and symbolic nature of the hearth no longer suffices for our extensive systems of piping, ductwork, air conditioning units and heating. Does that tell us about the current human consition? What can be unveiled from modern day ceramic production? A return along the road to Turkey beckons.

to the building structure for purposes of decoration within the context of an aesthetic trend.

The approach is much more nuanced and subtle however, with the tiles in Rustem adorning every vertical surface and the scheme composed of modular tiles17. For Sinan, the imagery and calligraphy contained within the tiles were more important than the art from in itself. The Iznik tiles were favoured for their white backgrounds, better blending in with the local structural materials of sandstone and marble. It is argued that Sinan wanted to blend the cermaic medium with the materiality of the building, allowing the vivid colours, graphical content and sensuous experience of the decoration to take the lead. Floral imagery , graphically translated on the tiles surface, represent gateways to paradise18. The manufacturing technque of these tiles was key in theatrically enhancing the experience whilst in worship.

The tiles , seen as an ideal medium, were in great contrast to tiles previously used in sacred architecture, often finished in matt and lacking graphic impact.Sinan chose colours of vivacity , featuring a raised red pigement briniging floral forms into physical relief, offering a certain precision and clarity and allowing the delivery of a religious message to all

Historically, by integrating Iznik tiles into the fabric of the building and making full use of their aesthetic potential, Sinan clarified a sensory and visual communication of a religious narrative. The ceramic ateliers of Iznik rose to prominence under Sinans patronage by developing a ceramic product that would satisfy Imperial tastes. They manifested a flourishing of technical achievement in the Ottoman ceramic art, which located Iznik as the centre of manufacture in the western world.

We can see a chronological development in the Rustem Pasha Mosque, where in first instance it may seem like the tiles adhere 17/18 Mimar Sinan: the first Starchitect, Katerina Dionysopoulou / Billy Mavropoulos

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fig. 14 / concept for interactive tiles in a more accessible and understandable way.

Furthermore, he magnified imagery and calligraphy for ease of reading, and the texture of the tiles were used to extend the sensory experience and religious narrative. Light , of great significance in Islamic tradition, bounces around space as it hits the glazed surfaces of the tiles. A strippling effect of light when experienced, is said to bring an extra textural depth to the multilayered imagery portrayed.

Could the symbolic nature of these ceramics, representative of the hearth, be developed via a new process of making? London based architects Bureau de Change intend to explore how modern and traditional techniques can be combined to create a product that responds to the broader aesthetic project of the master architect. The aim of the research project is to produce a ceramic tile with an interactive function, catalysed by the use of space.

The team is investigating how ceramic manufacture techniques can be used and adapted to produce an immersive experience within mosque architecture. More specifically, the project explores the potential of thermochromatic pigments in the creation of environmentally responsive tiles19. Can changing temperature activate a visual transformation?

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fig. 15 / prccess of unveiling When the mosque is empty and at it’s lowest temperature, tiles are pure and white, allowing the grandeur of the surrounding architecture to take the lead. As space gradually fills with worshippers the temperature rises, and the tendrils of floral imagery begin to appear. This poetic reveal could be seen to illustrate a standing reserve of beauty, ready to blossom at any moment. Traditional Iznik imagery is dissected into layers of colour, including blue, turquoise and red, which would be engineered at different increments in temperature. With rising heat in the mosque, a visual narrative would develop in vertical motion across the floor to ceiling field panels.

Does this show that the individual is not in control of how the world is revealed?

Towards the floor level, a layer of blue imagery appears. The complexity of the imagery seems to grow up the wall as patterns in turqiouse subsequently emerge. The visitors eye is drwan upwards to meet the floral patterns in their full vibrancy, as red is introduced and a full and dense body of imagery is revealed at the top.

The act of gathering for prayer visually enriches the environment with the flourishing imagery, which enhances the sensorial experience20.

Is the collective gathering of reflection a key for the poetic revealing of the flower?

If so, what is the flowers reminder?

Mimar Sinan: the first Starchitect, Katerina Dionysopoulou / Billy Mavropoulos

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appendix seminar progress

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question of technology abstract words as design generators

If technology is seen as a means to an end, could the means be derived from the core meaning of a word itself. Could root words therefore, act as design generators in architectural terms? Take the word aesthetics for example.

In the English language, we normally relate the meaning to one of denoting the sense of visuals, however when the word derives from the Greek “aisthetikos”, meaning “of sense perception”, the meaning encompasses all senses.

Evidently, an awful lot lost in translation. Now what if this added richness could be translated into a manifest design. Could it not be argued that the word itself is a means of technology?

If we were to be considerate to the name Za’atari itself and its root meaning in Arabic we find it refers to a family of middle eastern herbs such as oregano or thyme. Also referred to hyssop in Biblical terms, it is seen as an antiseptic and medicinal plant. Interestingly, it is resistant to drought and thrives in warm climates. It’s not wild to expect the name and the named to be one of the same, yet there are no signs of these herbs being grown in an otherwise barren wasteland in Za’atari. Why not? Could Za’tari and it’s residents not be enhanced through the word manifesting into organic agriculture, and would it allude to nostalgic memories of their homeland?

We have begun to test this in our module - Design a ‘Rapidly deployable home’. Home being a key word here. What makes a home? In general discussion myself and a colleague were of the opinion a home is a peaceful abode where you abide with your loved ones. A place of beauty and remembrance. Initially looking into the Za’atari camp in Jordan we found interesting examples of refugees trying to adapt the monotonous planned layout into flexible shared spaces with the people they associated. Fitting then we base our ‘premise’ on the quote: ‘First the neighbour then the home’. Can the neighbour not also denote other living forms?

First the neighbour then the home. Indebted students, the homeless and already a countless number of refugees with more expected to come into the UK. How can we facilitate a self-build community based on the power of words? Taking lessons from our research on Za’atari and Calais, the importance for a central hub and communal gathering space is strengthened. There is a double meaning to the central Hub by utilizing language as a technology for design. Hubb - means love in Arabic and comes from the root word Habba, which means a seed. A seed is an embryonic plant which has the potential to grow into another plant. But the strength of that new plant depends on the nurturing it was given in the first place. Our Hub hopes to act as this seed. The initial seed for knowledge, the seed to nurture horticultural and human growth, from where it’s offshoots hope to create ‘rapidly deployable homes’.

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petcha kutcha

Seeing Sounds: Re-examining the progress of dwelling via the medium of language as design generator

session 2: beyond mortality image: khyle alexander raja - soul in the machine haiku: a gem glistening fragments of light reflecting the green but what does it contain?

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essay workshop (unpacking the word transcience) image: mahdara in mauritania (greyscale) haiku: here today, gone tommorrow rain clouds coming, soon a deluge revival of pasture, beauty adorned men of knowledge, death inevitable, so what remains?

essay workshop (lived experience in setting) image: mahdara in mauritania (colour) haiku: barefoot destitute, sand covered white rage draped amidst whistling winds, treading carefully, the terrain changes, from locked and hard, to green...to nothing, except the sound of light

image: rapidly deployable home, studio project haiku: first the neighbour, then the home, but who is the companion? enter the sanctuary, gaze above, refine space they say, stairs or a slide?

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session 6: future architectures image: concept of green skyscraper concise commentary: what’s the fascination with mimickery in architectural design? an overload of vegetation, clasped over skyward monuments, an allusion to safety, whatever happened to sowing a seed in the ground where it can be nurtured and grown? rather, here we see a seperation of being from it’s inherent place of rest, the higher we want to rise, the more soil we want to take with us...the sky celestial, the soil material...but there’s still no letting go.

image: dna code haiku: give up your name, for you have seven, do you know them? do you know Him?

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Bibliography The Qu’ran A new translation by: M.A.S Abdel Haleem Oxford World Classics Love for the Prophet Prof. Dr. Iskender Pala Islam Culture and Arts Platform (ICAP) 2016 Mathnawi Jalāl ad-Dīn Muhammad Rūmī Rumi Poems Selected and Edited by Peter Washington Everymans Library 2006 The Reedbed Diaspora Baraka Blue Dhikr Wagon 2014 The Question concerning technology Martin Heidegger Garland Science 1954 The Savage Mind Claude Levis-Strauss 1962 Building, Thinking, Dwelling Martin Heidegger Poetry, Language, Thought 1951 Poetically man dwells Martin Heidegger Harper and Row 1971

The Listening Reader (the imaginary sensory) Joseph Kohlmaier The four elements of architecture Gottfried Semper Cambridge University Press 1851 Frame and generic space Bernard Leupen 010 Uitgeverij 2006 Materials, form and architecture Richard Weston Yale University Press 2003 Thinking about architecture Colin Davies Laurence King 2011 Aristotles Physics Book 2 Progress Joh Dewey Arabic-English Lexicon Edward William Lane Mimar Sinan: the first Starchitect Katerina Dionysopoulou / Billy Mavropoulos Architects Journal http://www.carpetandspace.com/index. php?id=43 http://almadinainstitute.org/blog/the-reviver-of-islamic-calligraphy-an-interview-with-hasan-celebi/ Documentaries

The Thing Martin Heidegger Poetry, Language, Thought 1971

The Silk Road BBC four 2016

Soft Architecture Machines Nicholas Negroponte 1975

Handmade on the Silk Road BBC four 2016

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Image Reference Front/ Back Cover Image: Architects Journal, Mimar Sinan: the first Starchitect Fig. 1 (Noble Hilya): Calligrapher: Ebubekir Altiok, 2013, Love for the Prophet exhibition Fig. 2 (wooden columns in Juma Mosque, Uzbekisatn): BBC Silk Road Documentary Ep.2 Fig. 3 (geometry of handcarved pillar): Master carver: Shavkat, BBC Handmade on the Silk Road Documentary Fig. 4 (drawing of turgunch pattern): Designer: Shavkat, BBC Handmade on the Silk Road Documentary Fig. 5 (charcoal trace of floral design): BBC Handmade on the Silk Road Documentary Fig. 6 (stone releif in Persepolis): BBC Silk Road Documentary Ep.3 Fig. 7 (cuneiform carved characters): BBC Silk Road Documentary Ep.3 Fig. 8 (releif of Sogdian traders): BBC Silk Road Documentary Ep.3 Fig. 9 (women weaving a persian rug): BBC Silk Road Documentary Ep.3 Fig. 10 (stacked ornamental carpets): BBC Silk Road Documentary Ep.3 Fig. 11 (process of unveiling): BBC Silk Road Documentary Ep.3 Fig. 12 (intricate details of floral pattern):BBC Silk Road Documentary Ep.3 Fig. 13 (interior of Rustem Pasha Mosque):http:// www.islamichistoryandtravel.com/ILDSC_0131.jpg Fig. 14 (concept for interactive tiles): Architects Journal, Mimar Sinan: the first Starchitect Fig. 15 (process of unveiling): Architects Journal, Mimar Sinan: the first Starchitect 22

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