Collage: A Process in Architectural Design: Ali Asghar Adibi

University of Tehran Science and Humanities Series
Ali Asghar Adibi
Collage: A Process
in Architectural
Design
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and Humanities Series
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Ali Asghar Adibi
Collage: A Process
in Architectural Design
123
Ali Asghar Adibi
University of Tehran
Tehran, Iran
Translated by
Ali Yaser Jafari Reihaneh Khorramrouei
University of Tehran University of Tehran
Tehran, Iran Tehran, Iran
ISSN 2367-1092 ISSN 2367-1106 (electronic)

University of Tehran Science and Humanities Series
ISBN 978-3-030-63794-1 ISBN 978-3-030-63795-8 (eBook)
https://doi.org/10.1007/978-3-030-63795-8
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A city is never seen as a totality, but as an aggregate of
experiences, animated by use, by overlapping perspectives,
changing light, sounds, and smells. Similarly, a single work of
architecture is rarely experienced in its totality but as a series of
partial views and synthesized experiences. Questions of
meaning and understanding lie between the generating ideas,
forms, and the nature and quality of perception.
In generally, “The world is a COLLAGE”

“JuhaniPallasmaa”
Foreword
World as Complexity and Multiplication
Although lots of valuable intellectual, scientific and industrial achievements

came with the twenty-first century, modernism movement followed a linear
goal that was not quite aligned with the predominant economical–political
approaches in the world, and despite all its social claims, it can still be
characterized as a theatrical artistic movement. Relying on logical action,
essence is probably one of the important approaches of modernism and
consequently moving architecture from a classical metaphysic position to a
natural and empirical science position, and hence carrying a kind of
pseudo-wisdom positivism inside. Along with it, multiplicity of the evolving
world seems to be overshadowed, and some industrial countries known as
first world pursuing their ulterior colonial goals and taking advantage of new
combination of cold wars tend to dominate their own intellectual rules. In this
way, linear process of architecture as a well-known principle has developed
and human ascendancy has entered floating grounds and intends to establish
conceptual universalities that are never considered in square equilibriums.
Linear process of modernism has intensive vision intransigence which dis-
regards many visible and invisible strata of contemporary world and under
the name of “art” overrules the culture, tradition and history and replace the
fact and comprehensiveness of social paradigm with abstract artistic patterns.
Mottoes of absolute rules can only analyze some parts of the facts and the
phenomenon, and the diminution is recorded and implemented as scientific
salvation.
In which scientific-intellectual grounds has theatrical architecture taken its
strong roots and how can a culture and a continent bring the world’s
philosophical theatrical unrestricted rules under their domination? Unlike
apertures through which only a small portion of human cognition can be
seen, looking at architecture is like looking at the universe. Moving pass the
algorithms with mercurial expansion is an indicative of an apparent incon-
gruent development which betokens the complexity of the development that
needs to be further explored.
In liberation theory by Roland Barthes as a complementary ground, it is
aimed to implement a multidimensional changing approach whose basis can
receive various extremely complicated compounds in layers. Maintaining the
liaison of various segments in order to reach a practical depth is one of the
purposes of comprehensive outlook of diversities.
vii
viii Foreword
In collage, compared to other reductive methods, the span and dispersion

of the process to increase the reception of diffused thoughts with the purpose
of gaining expansion and vision multiplicity is discussed. Furthermore,
unlike Descartes and Kant’s rationalism in which logical reasoning for
phenomena was supported, deconstructionism is based on the lack of deci-
siveness and the interpretation of the occurred event is embedded in its core
approach. In spite of ostensible freedom of speech, the event aspect has the
history, culture and memory in its heart and its abstraction functions only as a
subject creator. In doing so, the visible mind and the invisible memory as the
essentials of the imprinted creativity phenomenon and detection and recep-
tion of image also carry the seeds of cultural–historical linkage.
In recent decade, the affinity between science, philosophy and art has been
noticeable in all phenomena and entering the various grounds has become
necessity. The discoveries begin with the unknowns, and subconscious and
intuition are among the topics that can merely be fertilized by an immense
capacity of multiplicity. Where should we start the line of architecture to
overcome the existing challenges and to dispose of the scholastic dogma? It
is only through interaction and capacity augmentation of the multicipities and
floating complexities that this question can be answered and probably
diversity of the recitative and conceptual demonstration are reliant on it.
Transformation of dogmas is the first requirement to be considered; and
establishing a principle under the name of science will result in diminishing
the universal cognition in some parts. Science, art, society, philosophy and
cognition have eternal affinity, and the line and discourse of architecture
unavoidably have to pass these intersections of incidents and conflicts and
endure its diverse conceptual difficulties.
Dr. Adibi has adopted this pluralistic approach in his layer exploration of
collage whose instantaneous occurrence encompasses the unknown images
of his freethinking mentality. Freedom is the first requirement of an artistic
approach, thus opposing all forms of dogmas or the absolute law of process
that by omitting the multicity creates an imperfect world.
For the last 15 years, we have witnessed all Ali Asghar Adibi’s exertions
to institute another stage of events which were sometimes impeded by some
objections. Are these objections new forms of historical and stereotypical
dogmas which have reared their ugly heads here again? We can deliberate.
Throughout history, there are numerous instances of human explorations.
The method presented in this study can be considered as means to eliminate
the old darkness, dogmas and empiric stereotypes and can be beneficial to all
the people who seek to discover the latent mentalities.
In music, the polyphonic phoneme is enormously comparable to the extent
of today’s world visual communication whose effect in architecture is
exposed as today’s multifaceted conceptual opening.
There are many mysteries resided in collage. Like discovery of the
floating particles looking for their totalities, anti-dogma and anti-stereotype
method of collage can lead us to the visual and then intellectual freedom
which is manifested in its shift in today’s holistic politics and globalization.
The verification of Adibi’s work and effort by an accredited scientific insti-
tution such as M.I.T. University is the confirmation of this fact which is also
Foreword ix
an indicative of an expansive universal scientific–artistic communication

imbedded in this invaluable and impressive message.
Adibi opines in the manner of “tendency for difference” that according to
Derrida, in the world of difference, one must look for the conceptual mul-
tiplicities. While leaning towards Maulana Jalaluddin Balkhi’s viewpoint,
interpretation generating is so close to Deleuze’s theorization and eventually
to Iranians’ convictional and original culture.
In the world of mysticism and spirituality, the multi-layered firmament is
referred to as the ascension in which the revelation is achieved in phases and
exceptional states of spirit, and the enlightenment of the fact is accompanied
by spirituality and cognition, a transcendental art produced by deep exis-
tential worship. Looking at these works and sympathizing with this end will
probably position us as an unbiased witness who is capable of observing the
events in a novel manner and perhaps on account of that, we can look at the
end of this collection of experiences and efforts delightedly. What is the
mystery of the world? It is what we have not discovered yet…
Tehran, Iran Darab Diba

November 2007
Preface of Translators
“Collage and montage” are quintessential techniques in modern and con-

temporary art and filmmaking. Collage combines pictorial motifs and frag-
ments from disconnected origins into a new synthetic entity which casts new
roles and meanings to the parts. It suggests new narratives, dialogues, jux-
tapositions and temporal durations. Its elements lead double-lives; the col-
laged ingredients are suspended between their originary essences and the new
roles assigned to them by the poetic ensemble.
The idea of collage has also been a conscious and deliberate artistic
method in architecture from Giulio Romano’s Palazzo Te in Mantua to Le
Corbusier’s and Alvar Aalto’s fusions of modernist and vernacular images in
their architectural assemblages, all the way to Jean Nouvel’s collaged walls
of the Belfort Theatre and David Chipperfield’s renovation of Neues
Museum in Berlin.
Using “collage” among Iranian students in architecture studio is vast. In
order to introduce the way these students use this technique to the English
reader, we have chosen the valuable book Collage: A Process in Architec-
tural Design by Ali Asghar Adibi to translate it in English, which we think
provides a representative samples of design through collage on other culture.
This book is originally collected and published in three chapters: “Collage
History in Different Arts, Objectives and Steps to Make Collage Images” and
the last chapter is “Two Experienced Examples”. Chapter 1 deals with the
origin of this technique and its usage in music, digital, architecture, etc. In
Chap. 2, Dr. Adibi wrote about aim of advantages of collage, tools and
materials and atmosphere in collage workshops.
In Chap. 3, two subjects of designing in Dr. Adibi and Dr. Farzin classes
(Design of architect’s house and Chizar cultural center) have been dealt with.
In generally, further explanatory materials are located in this chapter. Each
student express his/her experienced design and name it based on their feel-
ings on collage works and skills, for instance “From inside”, “Crossing the
limits”, “Hidden identity”, “From dynamism to inertia”, “The color of gray
mind”, etc. At the end, a summary of the whole book is represented.
Finally, we will be grateful for reports of any errors or omissions in this
file; they will be corrected in the future editions.
First and foremost, we’d like to especially thank our teacher, Dr. Ali
Asghar Adibi, provides the necessary time, guides us and translation of this
book would not have come to fruition without his efforts.
xi
xii Preface of Translators
We’d like to thank our parents for allowing us to follow our ambitions
throughout our childhoods. My family, including our mothers, have always
supported us throughout our careers, helped us to gather our precious pieces
of life like collage, and we really appreciate it.
Last, but definitely not least, I would like to express my gratitude to the
many people who saw me through this book; to all those who provided
support, talked things over, read, wrote, offered and assisted in the editing,
proofreading and design.
Eng. Ali Yaser Jafari

Ph.D. Candidate of Architecture
Tehran, Iran
Eng. Reihaneh Khorramrouei
Ph.D. Candidate of Landscape Architecture
Tehran, Iran
Author’s Prologue
The present book is the result of three decades of study, research and
teaching on the ground of creativity and self-fertility and their effects upon
the development of architectural design. In this book with regard to this
technique, initially, we will discover the space as the most fundamental and
structural concept in architecture and then we will continue with the essence
of primary aesthetics (which is the outcome of various innovative intuitive
practices) which based on the effects of environmental, cultural, logical and
functional factors will evolve and reach its final stage.
In this method, an effect based on images, sequence of mental creativity,
objective interpretation of abstract images and making them transferrable to
others is attained through three-dimensional simulation method whose result
is the effect which has direct relationship with designer’s depth of vision,
thought and imagination.
Even though, extracting the space from some integrated images can be a
challenge for any new art students, constant practice, interest and mutual trust
between teacher and the student can be considered as some solutions to this
problem. The first step in this method, hence, is summoning the courage to
experience it and building trust between teacher and student.
Regretfully, the majority of art students who choose to pursue the art
academically lack the artistic basis necessary to this field which can be
blamed on pre-university education structure for giving excess emphasis on
theoretic, mathematical and logical sciences, hence depriving them of artistic
creativity and leading them to experience a difficult time adapting to an actual
artistic environment. By making it their obligation to make this transition and
adaptation less painful for students, the teachers will also become involved.
The other problem needed to be addressed is the lack of possibility for the
students to change their field of study in case of failure to make the adap-
tation. We need to acknowledge the fact that despite their tremendous effort
to adapt to this field of study, only a few students possess the required
qualities to succeed. This heterogeneity will cause some difficulties. How-
ever, there are some diligent and self-confident students who will ultimately
manage to be a successful architect. This method which is brimful of cre-
ativity and innovation can be advantageous to these students.
In this collection, providing some overall explanation about this method,
we have presented the architectural designs created by the students who all
applied this method. It is also provided for them to express their personal
opinions individually. Regarding the students’ works, I have predominantly
xiii
xiv Author’s Prologue
strived to retain the originality of the designs and maintain the freedom in the
writings. I will never be to reciprocate the favour and the genuine kindness
that all my friends and colleagues had towards me in creating this book,
particularly, D.Eng. Ahmad Ali Farzin as my caring companion in guiding
the students, D.Eng. Seyedeh Neda Ghazi Zadeh, Ms. Parastoo Eshrati
(Eng.), Ms. Maryam Farhadi (Eng.) who kindly assisted me all the way
through the writing and particularly edition of this book. The constructive
role and accountability of students should also be appreciated, and I owe it to
myself to pay my tribute to all of them.
The present book has introduced a new trend in teaching process and
architectural design to our country’s scientific and academic community.
Acknowledging that it is not a flawless work, I look forward to receiving
criticisms and recommendations from readers, researchers and scholars of the
scientific community so that I could gladly implement them in the next
edition.
Tehran, Iran Ali Asghar Adibi

Introduction
Human awareness of his environment starts with his birth or even before. He
stares at his mother’s eyes, looks, sees his cradle, people and the world
around him and sometimes stares at something whose existence is unknown
to him. He has a small world. As he grows up, he starts walking with his
parents, his perception of the alley is not the same as his parents’, for him,
alley is a place to be covered: finding the answers to thousands of questions
imprinted in his mind. He has never seen the places he is seeing. The world is
like a big question to him.
He grows up and starts walking by himself. He alone travels; sees; learns.
Inadvertently and unknowingly, he sees more and more and learns more and
more. He passes through different stages of life carrying a large load of
questions and answers which becomes heavier with the passing of time. This
load is the one that forms his insight and shapes his personality. While
expressing love towards something, he walks past something else indiffer-
ently. While accepting something enthusiastically, he rejects something else
stubbornly. This insight formed in the cultural structure of society changes
constantly, yet it exists.
Using this “insight”, we can think, make decision and draw lines as a
designer. Some questionable decision! Good or bad, right or wrong, these
decisions are implemented.
But how do we draw a line? What process does something that flows
instantly and immediately on the paper go through? Such questions might
initially seem unanswerable. But without doubt “our creativity” plays a
critical role in this process. Our creativity is something that is unique to us
and is honed during our life.
Acknowledging that some people are “gifted artists”, we also emphasize
the fact that like our body, our mind needs to be trained too, or it will remain
limited and that unique creativity won’t be boosted.
One of the principles of creating a work of art is the visual accumulations
of one’s “invisible memory” and “visible memory”. Most of the images we
have in our mind are the repetition or the product of the existing facts
process. But these existing facts and new work of art are located at both ends
of the factors which embrace the overt and covert images.
New artwork and the hidden memory images We We We ,
new effect and visible memory images which direction we are drawn to is
directly dependent on our ability to discover “the hidden memory images” or
the selection of “the visible memory images”. In the process of creating the
xv
xvi Introduction
artwork, in the struggle between logic and imagination, consciousness and

subconscious, imagination and subconscious are always victorious.
The less “key images” derived from a work of art are affected by logic and
consciousness, the more successfully they are restated, thus all the points,
lines, images shapes, spaces, etc., are formed in designer’s mind and the
recreation of them in external world is a transition from “subconscious to
consciousness” which transfers the contexture and profoundness inspired by
“key images” to the created spaces.
There are images in our “visible memory” whose volume is dependent on
our amount of experiences. But invisible images are indicative of our other
side of personality which are only exposed in special conditions. Designing
the ideal spaces can serve as an opportunity to stimulate the designer’s
creativity. It is an effort to establish the communication with the infinite
external world, to identify the unique aptitudes of the designer, to believe
them, to build self-confidence, courage to create and ideate and finally to
reach an ideal space which is unique and genuine. The space which is
obtained via relying on facts and internal desires. What we are looking for is
to discover a way to reveal these hidden images; the images which are
dependent on “our” inside, insight formed during “our” history, “our”
personal anguish and the visualized ideals in “our” subconscious. “Collage”
is one of these ways.
Collage is a channel to the innermost recesses of “our” mind searching for
the source of images which regardless of scale, form and space frames flow
out of “our” subconscious and into the frame of each scale, form and space.
Contents
1 A Brief History of Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1.1 The Origins of This Method . . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Collage in Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.3 Collage in Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.4 Wooden Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.5 Collage in Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.6 Digital Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.7 Literary Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.8 Decoupage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.9 Photomontage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
2 Objectives and Steps to Make Collage Images . . . . . . . . . . . . . 7
2.1 Advantages and Objectives of Collage . . . . . . . . . . . . . . . . 7
2.2 Tools and Materials and How to Use Them . . . . . . . . . . . . 9
2.3 Design Method in Collaging . . . . . . . . . . . . . . . . . . . . . . . . 10
2.4 Color Painting in Collage . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.5 Collage Workshop Mood . . . . . . . . . . . . . . . . . . . . . . . . . . 15
3 Two Cases of Experienced Examples . . . . . . . . . . . . . . . . . . . . . 25
3.1 ■ Architect’s Housing Design (The Second Home) . . . . . . 25
3.2 Axes Fracture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3.3 “Collage”, a Novel Method in a Novel World . . . . . . . . . . 33
3.4 “Collage”, a Novel Dialog . . . . . . . . . . . . . . . . . . . . . . . . . 41
3.5 The Forgotten Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
3.6 Involvement with Tranquility . . . . . . . . . . . . . . . . . . . . . . . 51
3.7 An Ideal Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
3.8 Intellectual Motion from Inside to Outside . . . . . . . . . . . . . 59
3.9 The Sparkle of the Mind of “Collage” . . . . . . . . . . . . . . . . 63
3.10 From Inside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3.11 Searching for the Favorite Space . . . . . . . . . . . . . . . . . . . . 71
3.12 Recovering Spaces in the Hidden Corners
of the Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
3.13 Releasing from Red Lines . . . . . . . . . . . . . . . . . . . . . . . . . . 81
3.14 The Hidden Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
3.15 Awakening Pictures in the Memory . . . . . . . . . . . . . . . . . . 87
3.16 From Dynamism to Inertia, Without Cuts! . . . . . . . . . . . . . 91
3.17 Chizar Cultural Center ■ . . . . . . . . . . . . . . . . . . . . . . . . . . 95
3.18 Cube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
xvii
xviii Contents
3.19 Creation of Fluidity in Space . . . . . . . . . . . . . . . . . . . . . . . 101

3.20 High, Light, Transparent . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
3.21 Moving Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
3.22 Illogical Sincerity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
3.23 The Color of Grey Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
3.24 My Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
3.25 The Second Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
3.26 «Collage», Second Sequence . . . . . . . . . . . . . . . . . . . . . . . 138
3.27 Large Scale «Collage» . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
3.28 Reinvestigation in Labyrinth of Mind . . . . . . . . . . . . . . . . . 148
3.29 Spatiography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
3.30 A Trip to Inside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
3.31 Me and My Feeling, All Alone . . . . . . . . . . . . . . . . . . . . . . 164
3.32 Scattered Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
3.33 Creation of Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.34 My Neglected Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
3.35 Two Case Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
A Brief History of Collage
1
The word Collage is derived from the French

colle or coller meaning to glue in visual arts. It is
a work made by assembling various forms to
create a new whole. The spectacular and brilliant
form of this method was first introduced to oil
painting in the early years of the twentieth cen-
tury as an innovative art different from back-
ground. This term was then coined by Georges
Braque and Pablo Picasso as a part of modern art.
A work of “collage” is made of newspaper or
magazines clippings, ribbons, painted parts or
hand-made papers, parts taken from other art-
works, photographs and suchlike glued onto a
hard surface or a canvas. In an innovative move,
Jonathan Talbot, inventor of the “collage” with
multi-dimensional structure, omitted the glue A Collage Mixed Media
from the process of making “collage”.
1.1 The Origins of This Method
Technique of collage was first used at the same

time as paper was invented in China, around 200
BC. The use of collage, however, remained
limited until the tenth century when the Japanese
started applying papers glued together to write
poems. The European started using collage in the
thirteenth century (medieval). At this time, the
gold leaves were used in the fifteenth and six-
teenth Gothic cathedrals. Gems and other pre-
cious metals were used in images and religious
symbols and also to hide arms. Still Life with Chair Caning by Pablo Picasso (1912)
© Springer Nature Switzerland AG 2021 1

A. A. Adibi, Collage: A Process in Architectural Design,
University of Tehran Science and Humanities Series,
https://doi.org/10.1007/978-3-030-63795-8_1
2 1 A Brief History of Collage
In nineteenth century, this technique was used

by hobbyists for memorabilia such as photo
albums and books, e.g. the works by Christian
Andersen and Carl Spitzweg.
1.2 Collage in Painting
In cubism, Pablo Picasso was the first to apply

the collage technique in oil paintings. In 1912, he
pasted a piece of oilcloth fabric with a design of a
cane chair in his work called “still life with chair
caning”. Surrealist artists continued using this
technique. Cubomonia is a type of collage which
is created by cutting an image into square parts
and then assembling them randomly and uncon-
sciously. “Inimage” is a special style of surrealist Fruit Dish, Bottle and Violin by Pablo Picasso (1912)
collage which was invented by “Rene Paseson”.
But it might as well be called “decollage” in
which some parts of an image are cut out so that
another image can be illustrated. “Etrecisse-
ments” is the name that Richard Jonoz used to
refer to collages which Marcel Marien first using
the same technique presented.
He also introduced the “collage exploration”
which consists of the “decollage” elements and was
made of layers of painting images whose corners
were glued very loosely and then some parts of the
Two collages by Le Corbusier in architecture

1.2 Collage in Painting 3
upper layer were torn off to show the lower layer, 1.4 Wooden Collage
so a new type of “collage” came into existence.
Penelope Rosemont invented some surrealist col- In the mid-1940s, thanks to Lois Nolson’s
lage techniques termed “Prehensiilouette” and 15 years of experience, “Wood collage”, one of
“Landscapade”. “Collage” is often considered as an the recent types of “collage”, started to
artistic form of the twentieth century, but in fact, it develop. He created his statue-like “wood col-
was never fully materialized. In surrealist forms lages” using furniture pieces, boxes and wooden
like “Parallel Collage” a set of techniques are grids, railing, chair or ornamental margins.
applied. “Collage Canvas” is another technique in In the catalog of the museum of modern arts, it
which pieces of painted canvases are pasted on has been written about Sky Cathedral by “Nevel-
another canvas. In late 1970s, “John walker”, a son” that “it looks like a square airplane from the
British artist, created some prominent works front, Sky Cathedral has the pictorial quality of a
applying this style. This technique was also used in painting …” these pieces are seen as monolithic
mixed media works of the American artist, “Jane walls or rock pieces that sometimes can be looked
Nezalk”. “Lee krasner” was a highly self-critic at from different angles. Wood collages are much
person who repeatedly destroyed her own paintings smaller and, like a painting, can be framed and
by cutting them into small pieces and then rear- hung. Wood plays the central role in these works;
ranging them to create a new art.
1.3 Collage in Architecture
Even though Le Corbusier et al. have benefited

from techniques similar to collage, “collage” as a
theatrical concept came to attention only after
“Collage City” by “Colin Rowe “and “Fred
Koetter” in 1978. These authors did not support
the visualized feeling of “collage” nor did they
do anything to protect it from a conceptual col-
lapse. But they applied the “collage” with its
nonlinear orientation towards history and in the
face of modernism uniformity as a tool to revi-
talize the designing process. It included the urban Sky Cathedral by Nevelson (1958)
historical fabric and also helped the designers to
find a way to improve their performance.
Colin Rowe is a member of an architectural
group at Texas University with which he used
this method in teaching. Another member of this
group was Bernard Horsley, a Swiss architect,
who continued his work to become a well-known
professor in Zurich University. Although “col-
lage” was more of a metaphor than an actual act
to Colin Rowe, Horsley actively used “collage”
in some parts of his designing process. He had a
close relationship with Robert Slotzki, an artist
from New York, and always discussed the “col-
lage” and breaking in his workshop. Wood Collage by Jane Frank (1964)
4 1 A Brief History of Collage
the wood is cut into slices and assembled piece by 1.7 Literary Collage
piece on a blank canvas (which can be often inte-
grated with a painting) or a piece of wood. Novel collages are created through selecting and
These frames, paintings and wood-relief col- assembling the subject matters, narrations and
lages can provide the artist with the opportunity selected images from other works. “Discordian-
of taking advantage of the rules language and ism” whose author introduces it as a literary
historical reverberation ruling over the image collage belongs to this category. A literary col-
creation practice to hang on the wall. This tech- lage can be also used to classify various visions
nique can be also integrated into painting or other and views about a subject.
forms of art in a unified artwork.
In many cases, the natural wood such as rough
woods and tree branches, processed lumps or even 1.8 Decoupage
bark is used to make a “wood collage”. You might
ask if we can consider these works as actual col- Decoupage is often defined as a work of hand and
lages. It is because the original forms of collages includes placing a picture on a subject to be used
were mainly made by pieces of paper, pictures or in interior design. Decoupage causes the picture to
things made by people that could sometimes be completely exposed or makes the subject and
embrace special cultural concepts. Since a chopped the picture seem perfectly matched. The process
up chair or a broken ladder, which were used in of the decoupage begins with a picture pasted on a
Nevelson’s work, can embrace the original and subject, then more copies of the picture are added,
cultural defined contexts, they can also be consid- to the extent that the main setting is entirely
ered as a potential element in collage. Probably the covered and profound connotation of the picture is
natural and unprocessed woods, like the ones found exposed. The final picture is often protected by a
on forest floor, lack these contexts. Some woods are coat of varnish or other similar substances.
rough, ambiguous and unidentified, yet they can be
found in a woodwork. Like a shiphull which has
been so corroded and rusted by seawater that its past 1.9 Photomontage
functional identity can no longer be maintained.
Photomontage is a type of collage made of two or
more photographs or some parts of photographs.
1.5 Collage in Music Photomontage is a process through which some
photographs are cut and glued to make a new
The concept of “collage” has crossed the composite image. Sometimes, the final image is
boundaries of visual arts. The technologic photographed to create an interesting and unified
advances in voice recording have enabled the product. Today, special computer soft wares are
avant-garde artists to cut and join audio pieces. produced to assist the artists with photo editing. This
This move started in the mid-twentieth century, technique is called “combination” by professional
and during the 1990s, “musical collage” became artists and “combination printing” for informal
prevalent in electronic pope music. The collages internet application. Victorian “combination
made of recorded pieces by George Martin can printing” is another technique to integrate the
be mentioned as an example. photographs which contains the printing more
than one negative on a single piece of printing
paper (e.g. Rejlander 1857). “Front-projection and
1.6 Digital Collage computer montage are named as other methods”.
Sometimes a combination of these collage tech-
Digital Collage, utilizing computer soft wares, niques are applied by artists. A series of black and
integrates the incongruent visual elements to white “photomontage” by Romare Bearden
transform the visual outcomes of electronic media. (1912–1988) can be mentioned as a perfect
1.9 Photomontage 5
example. He started his work by combing paper,

painting and photograph on a board measuring
11 85 inches, and then using a hand roller and
some emulsion paint he fixed the photograph, and
as the final stage, he photographed and enlarged
them.
The traditional method of physical combina-
tion of some photographs and photographing
them and its uses in lithographic printing, Pearblossom Highway by David Hockney (1986)
prevalent in the fifth century, came to an end
with the advent of digital editing. Today, editors
produce the photographs of “layout” magazines
digitally.
With the advent of computer soft wares such
as “Adobe Photoshop”, “Pixel Image Editor”,
and “Gimp” this work has become much easier.
These soft wares accelerate the workflow and
also produce more accurate results. Furthermore,
by providing the possibility to correct the mis- Cloud Iron Designed by El Lissitzky (Photomontage)
takes via “undo” option they have enabled the
user to perform more effectively. However, some
artists still face the dilemma of choosing between
the traditional art and these soft wares with all
their astonishing image editing and combining
capabilities. The current trend is to create the
images that combine the painting, theater, illus-
tration and graphics in an integrated photo-
graphic whole.
The Secrets by Romare Bearden (1964)
Objectives and Steps to Make
Collage Images 2
In this collection, we aim to steer the architects

toward the challenge of self-analysis through
introducing the collage technique. The challenge
that familiarize them with the hidden aspects of
their material and spiritual life and direct them to
create the spaces that will be with them forever. In
doing so, we should have a throwback to our
hidden memory to discover the rich and life-giving
spaces which are strongly intertwined with human
entity. Now we intend to observe this technique
closely and despite the intricacy embedded in each
design, learn how this technique, like a replicating
The challenge of materialistic and spiritual pints of
cell, forms many activities and creates an integrated designer, to create a space which is related to his/her
whole and becomes a manifestation of the funda- characteristics
mental order rooted in our nature.
product of thinking. Conveying the spirit of science
in training and education exceeds the increase of
2.1 Advantages and Objectives knowledge. It means cleansing the learners’ souls
of Collage from the diseases that might distance them from the
truth and the spirit of truth seeking. The teacher’s
This technique pursues two objectives: objective must be training the learners’ intellectual
1. Boosting creativity power and vitalize the creativity power and inde-
2. Building self-confidence and self-belief. pendence of method in them (Motahari 1992: 54).
In architecture training these two issues, creativity
Agility, attention and attraction to mysteries and and independence in method, are considered as
unknowns are the requirements to receive new essential qualities required to be a successful
subjects. It also requires a risk taking and exploring architect. According to Amiral-Momenin Ali (a.s)
attitudes and of course, abandoning rigid and in Nahjolbalaghe, there are two types of sciences:
inflexible rules so that one can take creative actions Heard Science, the science obtained from an out-
when encountering new and unknown situations side source and Pleasant Science, the science
and based on his or her reasoning choose the best derived from human nature, the science that is not
approach. In other words, one can train his or her taken from others and is the product of one’s cre-
mind through the results which are themselves the ativity (ibid., p. 19). Because of the flaws in

https://doi.org/10.1007/978-3-030-63795-8_2
8 2 Objectives and Steps to Make Collage Images
architecture teaching system, and not the lack the This technique extends the boundaries of thinking
talent, some architects are deprived of the pleasant and helps the designers to imagine beyond what they
science; the flaws that prevent them from fostering have in their minds and look beyond what they can
their talents. Therefore, undoubtedly, the main see. Looking carefully at each phenomenon can result
purpose of teaching all types of sciences, archi- in new ideas. Looking closely at an image enables the
tecture in particular, should be to nurture the designers to make an emotional connection with its
learners’ mind. The teachers must impeccably ful- components and simply understand the ideal feeling
fill their responsibility for nurturing students’ needed in a desired environment. The feeling expe-
minds and creativity and analysis power (ibid., rienced by understanding an invisible object in col-
p. 24). The purpose of making special images in lage is as pleasant as feeling the real environment. We
collage is improving thinking abilities, boosting can easily shape collage images in our mind and even
creativity and innovation. The images are the create a place where we can blissfully walk and open
means to introduce tangible facts. There are vari- a window to our heart through which the self-created
ous functional ways to achieve this objective but breeze will move our mental waves. Collage is the
what matters is the possibility to convey the result. release of repetition tying designers’ wings and pre-
In this technique, visualizing a space without venting them from flying.
having some images of it is believed to be an Collage is one of the creative ways to design
impossibility, regardless of whether they are which builds up designers’ courage and because
subjective and emotional or they are chosen of its beauty, attraction and color variety helps
beforehand. These photographs act as means of them to stay energized. In reaching the goal, it
fostering the creativity, since the photographs creates a kind of ambiguity that can be consid-
used to make a collage are not final and ered as the secret of its success. The ambiguity
unchangeable but subjective which have been that helps the designers to develop curiosity and
emanated from designer’s nature and subcon- improve their intellectual abilities.
scious. Collage is the expression of an architect’s
inner and unconscious thoughts which cannot be
expressed through logical or conscious methods.
It can be said that collage is the transference of the
architects’ ideas from inside to outside. The
architects who cannot express what is going on in
their minds or are even unaware of what they want
and using logical conventional methods try to
spark some ideas. Losing the original idea in the
turmoil of chaotic and standard lines or expressing
it so faintly that might be ignored even by the
designer, thus taking refuge in standard designs
can be mentioned as some results. But collage
helps the architect to find on the outside what he
or she was looking for on the inside by uncon-
sciously generating some of designer’s ideals, and
it will be the reward of boosting creativity of inner
memory. Collage does not cause creativity in
designers, it mainly aids them to develop their
internal abilities through introducing the right
means. Of course, it does not mean that there are
no other ways to turn the original idea into a
design. It merely denotes the higher success rate In these two images, the designer meticulously is
compared to other methods. exploring his hidden memory
2.1 Advantages and Objectives of Collage 9
Collage provides us with the opportunity to rhythm, recurrence or even a kind of flooring,
know ourselves better and realize the fact that we and if the top picture is turned upside-down and
can also create impressive spaces for the first time looked again from that distance, it will be asso-
indicating self-confidence, self-belief, potential ciated with fake ceiling.
talents, avoiding interminable arguments, and After installing the photographs and making
creating an extraordinary and conveyable design. sure that we have the right combination, we glue
the photographs on the desired place. Subse-
quently, we detach the black cardboard, which
2.2 Tools and Materials and How has now been turned into a colorful board, from
to Use Them polystyrene and get ready for the next collage.
1. Selected photographs by designer with regard
to the desired subject
2. One sheet of A3 polystyrene
3. Some A3 black or white pieces of cardboard
(preferably black)
4. Paper and scissors
5. Some pins
6. Some glue.
First, fix one piece of A3 black cardboard on an

A3 polystyrene, then choose the appropriate pho-
tographs regarding the subject and pin it on the
working board, and then reevaluating the chosen
photographs repeat the process. It is worthy of
attention that after pinning each new part and eval-
uating its composition in comparison to previous
photographs and, if need be, changing the direction
or location so as to reach the best composition, the
working board is placed at a 3-m distance.
This tree-meter distance is emphasized
because the purpose of making such photographs
is not to reach an excellent combination of colors
or contexture, but to reach ideal spaces con-
cerning the design subject and this distance helps
the designer to pay no attention to the details and
focus on a whole different from a group of parts.
For example, looking at the row of chairs or table When this photographis looked at from a 3-m distance,
the row of tables can be associated with false ceiling and
at close range will reveal the fact, but when
when it is turned upside-down, it can be associated with
looked from a distance, it is associated with flooring
2.3 Design Method in Collaging exclusive to him, but during collaging the images
blossom and the seed of that vision gives fruits.
The design is not a grammatical and pre- So one should not fear collaging process, but
fabricated trend, but is a product of mental and just as the designer works on the images, he
objective activity with a complex mechanism of should allow the images to work on the mind of
creative action and rational action. It cannot be the designer, give shape to it and lead it the way
claimed that there is an absolute formula for they wish. For example, maybe the result of the
design trend and this trend is explained in a image expresses a kind of however, the type and
single manner. As is evident, though designing is intensity of the relationship with collage exercise
a process that is called “designing process”, is various depending on the character and inner
needs a sparkle to start. What a beautiful thing belief of the individual treatment with design
this sparkle is within the designer. From this subject and has a modern or traditional mood, or
point of view, collage in design process is a may rely on separate concepts of architecture and
method for the manifestation inside the designer, has specified its prominent aspects of the work,
which is explained in what follows. carries the message of the plan or explains con-
Before starting any collage, the design subject cepts such as rhythm, pause and motion, contrast,
should be deeply thought out and all its aspects be tranquility, balance, symmetry, etc. In any case,
considered and become familiar with its basics so as when this sparkle occurs it can be prolonged and
to view the designing subject, users, analyzing give wings to it by selecting images reinforcing it.
existing samples, etc. in a clear way. In the other This exercise is in fact a selective sketch. the
hand, the individual should be fully prepared psy- only difference is that, in the sketch, the main
chologically when selecting images and starting the tools of the designer is his thought who uses his
collage in order to act freely. It is recommended that inner self to express it so that he may manifest it
if the person is in inappropriate conditions and as a work of art. However, in this method the
under psychological pressure, postpone creating eyes also helps the thought and sees the thing
images to later. Before starting collaging, a scenario nurtured by the thought based on information
about the subject or images mood, because these are and data of the vision. In fact, in this method
as the continuation of fire flames which sparkles selects the data harmonic and coincident with the
suddenly: just as when the poet does not know the subject among numerous data with regard to
poem form before being revealed to him. Collaging personal view and interpretation of the subject.
has also a poet-like nature: that is, it may be that the Never data selection should be considered acci-
designer has no vision of what he is to design dental. Maybe the evident difference of the
2.3 Design Method in Collaging 11
obtained results is neglected by assuming that in is that it reduces the designing mentality, because
this method or other common methods of through using pragmatic tools and choices, the
designing the goal is to reach the final plan, but It individual can convert his mentality into objec-
should be noted that in sketch, the designer seeks tive things by passing this stage; but its differ-
help from his own unlimited mind but he faces ence with the abstract view is the restriction of
problems because he cannot visually express the choices because of considering the scope of the
wide and unlimited range of his mind simulta- work when exercising.
neously. In this case, he seeks help from collage
method since the creative mind of the designer
has more tools in its disposal and can compare
and contrast choices with design subject simul-
taneously with regard to its properties. In collage
process, there are two different views regarding
design subject:
The first being that a completely abstract and
2-dimensional treatment should be employed The images were chosen based on design and their
without investigating real criteria turning the idea perspective
into a practical pattern. Later, i.e. the stage of
sketching the images, the mind is allowed to turn When one of these methods is selected, the
what is abstract and unreal into a pragmatic and road of forming an ideal sphere starts. However,
real reality to provide more tools of a single plan there is a fundamental question and it is “what is
in order to arrive at an objective reality near or an ideal space?” the ideal space is a space in
away from what has been created. which humans achieve their wishes from corpo-
real and spiritual aspects and obtain the maxi-
mum level of tranquility: a space releasing
humans from mental preoccupation. This is a
pure and special space, which cannot be secured
without considering inner realities and wishes.
The pages of many magazines turn and many
images are seen; favorite images are cut and
separated from the magazine and are put in a file.
Some images have a favorite color and light and
others texture and material, and still others
favorite forms, others only depict the lines of
designer’s mind and express his inner feeling.
The designer is free to select whatever he likes.
What he selects among hundreds of thousands
images, shows his tastes, spirits, thoughts and
character and not anyone else, and the very
freedom restrict the arrangement of images to
himself. Now, the designer reviews the culled
Changing the abstract images to real usage
images with an extraordinary accuracy and
memorizes its mood, message and visual, tech-
The other view is that ideal mental images of nical, and graphical properties to use them when
the concerned pragmatic environment be created necessary and steps in the road of collaging.
through adherence to the realities of the pattern Then, he selects other collaging parts and
and through a rational thought and a 3- through appropriate cuts and symphonious jux-
dimensional vision. The advantage of this view taposing them creates new concepts in A3 cadre.
An inner force guides the designer in creating etc. This attraction encourages the designer to
images without knowing it. The enterprise starts create more images, since each time more belief
by a seemingly unreasonable cause to place is put into the capacities of the images being
special cutoffs in a special point with a special started and consequently the capability of images
angle. Other images are selected with patience, multiplies in spatial imagination. After creating a
accuracy and interest and are placed in other few images, the set of images are put side by side
points. The designer distances from his images and are evaluated. It is as though the whole
repeatedly, looks at it from a distance and from feeling of the designer, favorite colors and its
various angles, and dislocates the images pleasant mood have manifested in the work
repeatedly in relation to each other to achieve his which shows the ideals of the designer; the ideals
favorite combination. Each time, one piece is that guide him to select clothes, decorations,
added to the collage, from a distance of three resident, jewelry, etc. The collages of every
meters looks at it to visually criticize the com- person is in fact his hidden mind being illus-
bination of it with other pieces, and the images trated. The mind, which is pure, and numerous
are not fixed until the end, that is, arriving at the ideas have not had the opportunity to show off,
favorite combination. After completing three which the designer himself had not been capable
works and becoming skilled at selecting images of imaging it. Images are the articulating tongue
and arranging them, he starts to look at and of designer’s beliefs. Apart from color, which is
charting images; to see the images side by side is the individualized essence of images, something
a kind of sport, the result of which is the dis- as a personal signature exists in them.
covery of favorite spaces, which are proportion- Tension in one point, protrusion in the other,
ate to special and spiritual spaces and moods sinking in the other, using hard or soft lines,
manifested in a new form. The images created in liquidity or inertia, which they result in the per-
this way, despite the efforts for creativity com- son being satisfied of himself, all of these are the
pared to previous images, again is in the same result of the relationship of designer with his
framework: a framework seemingly stabilized by inner world. The world of personal tastes and
the same force. In fact, in the route of collage the interests, recorded tendencies and ideas in the
deciding element is that mentality and aesthetic unconscious mind, etc. However, there are two
sense formed and stabilized within the designer important points in the arrangement of pieces:
during years. The thing that makes this method transparency and integration, which are inherent
attractive is to select the images freely without to collage and prevent the formation of bound-
any restrictions and limitations and the freedom aries between images, unless it is intentional.
of imagination power to organize them, creating Images are put side by side smoothly and are
a deep bond between the designer and all ele- integrated. They do not exercise pressure on the
ments of the image such as light, color, material, other, do not cross each other or suppress others’
identity, but are placed next to each other to
manifest the concerned concept and finally turn
into a united set and its elements are juxtaposed
in a way that none of them can be removed at all.
In this way, the viewer’s look moves from one
image to the next one without being disrupted.
The presence of these features in all parts of an
image, helps the viewer to have a better per-
ception of the concepts within the image. Thus,
the images are formed in a context of trans-
parency and integration; therefore, the image is
The manifestation of designer’s ideals, favorite colors, perfect, and every time it is seen, it may convey a
material and mood new message. Thus, images form in a background
2.3 Design Method in Collaging 13
of transparency and integration; therefore, the characteristics, their inner essence and beliefs in
image is complete and anytime you look at it, it the formation of their corporeal and spiritual life.
may simply another message. Two-dimensional Freshness and dynamism are two key properties
images that were intentionally selected with of a favorite place and the more strongly these
utmost relaxation, and were put alongside each are achieved, the more inner forces are released
other, now are used to create three-dimensional and free him from the restrictions of acquired
spaces and something beyond ordinary emerges in contra dictions and manifest in a unified dynamic
the sight of the designer and in this manner the totality. The more is the dynamism and freshness
design concept is fashioned. The most critical part of a place, the will be more passion in the vessels
of designing a collage is to convert architect’s of life, the precious result of which is to protect
abstract thoughts into real spaces and volumes by the inner self. Human being perceives his ideal
observing proportions and scales. The important space by knowing himself and analyzing it,
point is to be completely loyal to the process of which is the criteria upon which he judges the
designing the collage and to create volumes rec- limit for the harmony of space with his needs and
ognizable through combining images. The spirit. The space is perceived through the
designer creates primary miniatures without the simultaneous activity of the body and soul and
concern about examples and images, which are the thing that results in perceiving ideal spaces is
created later; thus, he creates new spaces and the intuitive perceive or a supernatural power.
buildings and injects dynamism spirit into them. The thing manifested in the mind wants to
The reason is that when those ideal images take emerge in the external world. This concept is
form, there appear a way to enter them into incarnated by the hand of the paper and is real-
designing. One of the properties of this method is ized in a 3-dimensional shape in miniature space.
that you can see different persons with different The concept and incarnation are always simul-
personalities as well as different spaces and for taneous. The power and speed of the incarnation
everyone this can turn into an interesting and of this concept depends on designer’s capacity
marvellous game to: that is different in person to person. Spatial cre-
1. melt frosted minds. ativity finds the opportunity to represent itself so
2. Increasing imagination and creative power on that the individual does not fear and have self-
mind. confidence and good articulation. However, this
3. Better view and a more critical view of spaces does not happen unless with nurturing a good
and reaching to the conclusion that “archi- expression power. In a work of art, the necessi-
tecture is the combination of feelings and ties and necessaries are scientific and artistic
designer’s thoughts”. capability, laws of physics world, and the spiri-
tual world. When the architect discovers, ana-
The task of the architect is to understand the lyzes, and corrects the spaces of his life
life of users with all their needs, wishes, and maquette, can construct a new language and
concerns in order to create spaces for increasing maquette in every new design and create an ideal
their life quality; every solutions it offers should structure for himself composed of constantly
be in the direction of that final goal, i.e. shaping a evolving structures and become “our” common
place ideal for human life; a place full of life language. Any factor challenged in the educa-
spirit, dynamism, and freshness. In sum, archi- tional system for nurturing the creativity of
tect’s beliefs and ideals, which is a correct and humans is situated within the same creative
good understanding manifested in the creation of analysis trend. Realization the inherent unity of
place, and the more complete is this recognition; all of their images and manifestations in creative
the more comprehensive is the result, which efforts, which depends on an inner meaning. In
implies a recognition, which teaches the architect this regard, no image is in seclusion. Any shape
many lessons. The importance of this recognition is an incarnation of a collage and any piece
is due to the undeniable influence of individual’s indicates an aspect of self. The only thing that is
the result of inner feeling can have a spiritual

meaning. The images created are an inevitable wit-
ness to the internal order of the designer rooted as a
kind of architectural trend in all aspects of his life.
Mutual relationships and manifestations represent all
the arts and thus the paces represent themselves as
ideal spaces of the designer and a single art.
In other words, we can say that a professional
experience and a work of art depend on personal
and creative skills. These properties rooted in the
hidden memory of the artist, cannot be instructed.
The thing that should be mentioned is that attaining
the achievements of this method is dependent upon
the harmonious application of all mental forces of
the person not nurturing them separately; all of
them should be nurtured simultaneously.
2.4 Color Painting in Collage
Different colors have different influences on the

human’s body and soul, and influence a large part
of his visual understanding. Combining and
merging colors unconsciously give dimension to
images and create a space having 3-dimensions in
addition to the fourth dimension, that is, the time.
An immediate and unique experience deserved to
be released from the 2-dimensional paper sheet
and emerge in the stable form of architecture.
The thing that has happened is the manifes-
tation of the consciousness on the paper through
combining images and colors and poetic dis-
covery of the space or the poetic space. The life
hubbub was left behind red traffic light and
twenty-first century man could not meet it but in
dreams; this is our true “self”. “A self that is
original and free from all interests, pretentions,
and routines. The ideal space of designer’s mind
revives in the creative and free combination of
warm and cold colors, supplementary or contra-
dictory, organized in an ideal balance.”
The thing in this method attracts the attention Color variety of the works of different students and color
similarity in each work can be seen in these three
of all experts, is the dissimilarity of even two collections
images of two persons; because the whole thing
has progressed freely from the very start, and the In this way, the designer penetrates into the
person selects his ideal color spectrum in relation hidden aspect of his “inner self”. Ideal colors,
to his unique psychological and personal char- ideal light, selected material, and contradictions
acteristics and his understanding of the colors. and concepts; and in a contradiction and
2.4 Color Painting in Collage 15
combination tangible to him, paints his ideal an instrument based on which they design their
spaces and thus color is injected into the artificial perceptual spaces, and not the plan itself.
environment. To achieve the images forgotten by the mind
Though the only meaning of collage is not a and their basics (although in that special field)
beautiful combination of colors, we can say that requires a special accuracy. The collages con-
the combination of selected colors in collage tinued to the end of designing process each time
derived within the designer is one of its the students tries to discover a new space.
achievements. The achievement that is some- Michel-Angel has said; “patterns and bodies
times in the form of a challenge-place contesting exist and are composed of images full of space”.
the designer to create an ideal space. Sketching them and extracting personal
perceived spaces of students, which even sur-
prises themselves, is an exciting enterprise, but
2.5 Collage Workshop Mood is unbelievable for others to some extent. The
search for reaching 3-dimensional places is
There are various behaviors in a collage work- still going on. The images are broken into
shop. The work is started with a kind of ambiguity pieces and are prepared gradually. Each
and curiosity. A special feeling emboldens those specific space and image that should be jux-
entering this atelier. Some look at the collage taposed to create a single totality with regard
images unbelievably and with a smile and think to visual elements goes on. The images are
that such a method for designing is impossible to hanged on workshop wall, refresh the work
exist from the very start. Others try to understand atmosphere, call the addressee to themselves
it. Thus, active students of the workshop with a like an open door, and create question in his
special interest try to explain this method. mind and this curiosity causes the mind to
Getting started in the workshop is never been think.
subject to the essential entry of the teachers to the In the early session, the students are distressed
workshop. In this way without the feeling of because have little familiarity with this method
necessity to draw lines or to listen to the words of but, in the other hand, experience confronting
their teachers, each student can spend a long time with the masters paving the way with caring
on managing his/her works and offer various encouragement. Students’ images side by side
plans, and also the more student’s knowledge of and studying the differences in different areas and
and relationship with their pictures, the greater reaching personal beliefs, differences, and
their success will be. capacities the images of which have occupied a
The masters attend the works with a special corner of their minds and a part of them dis-
humiliation. Masters listen to students carefully played before the eyes of others and seeing
to teach them to transfer their work trend to oneself in the presence of the common people are
others as best as possible. To listen carefully, to discovered and perceived and this is the true life.
avoid mockery, and to encourage students, all The thing that an architect should grant human-
have an effective role in establishing a mutual ity. All of these moods and experience add
relationship. Then, efforts are made to find pos- excitement to the monotonous and sometimes
itive points the students have not spotted, dreary process of designing.
insisting on which creates more trust. Then, The works in this workshop are conducted in
negative points can be declared to the self- a space of metaphor and suggestion and the
confident students without prejudice. masters give no inspirations, because in this
In fact, in this way, teachers are good listen- method deductions are fully personal and unique
ers! They speak less or draw fewer lines. They (influenced by inner feelings, past and scientific
put emphasis on the structure and functions of knowledge of the individual). Every person per-
the space and if necessary provide required ceives the space in a way that is not necessarily
guidance. The ‘piece seemed’ to students is like the same as others and the same thing creates
variety in issues and generates many discussions Le Corbusier’s collages were mostly paper
in the workshop. ones which were a preface of the final work in
The variety of interpretations implies their the design process. He worked with painted
rich visual and conceptual richness. Thus, it newspaper, gauche and ink as seen in Picasso’s
creates 9 live and dynamic workshops in which paper collages. Le Corbusier used the collage in
there are discussions, dialogs, and confronting two scales, initial models and pictures with real
constructive confrontations. scale. While evidence shows Le Corbusier’s
In this section, the thematic and schematic applying collages two dimension of works, the
integration in three designers, works has been content of his collages include a regular ground
reviewed. These include synchrony. Overlap- in contrast fluid forms and lines and apparent
ping, space interpretation, physics, physical transparency is used as a tool to signify the depth
proximity and foreground and background, reg- of composition.
ularity and irregularity, as seen in producing Despite the powerful gestalt in Le Corbusier’s
collage and designs of these architects. They use architecture, synchrony and transparency are
the artifact materials dependent on the space and found in his architecture in the dialogs between
time as a physical representation, to produce an form and ground. Quoted from Collin row, “The
interwoven form and texture. These designers figure is simultaneously static and set in motion.
produce their intended plan, regarding the safe There is the primary surface of attack, the frontal
conditions. picture plane, and then, there is the convoluted
Robin Dripps proclaimed that: “As the junc- and serpentine territory which lies behind” (The
tures, seams, fissures and gaps in the figure are dynamic spaces taken from 2D collage combi-
revealed, these become significant moments of nation in Le Corbusier’s architecture are repre-
discontinuity, small hooks grabbing onto the sented in crochet house, Austin villa and
world beyond. Fragmentation and synthesis imbue Marseille residential apartment.).
meaning as a result of context, as the relationships
between elements become more important than
the objects themselves” (Shields 2014: 34).
By these designers, collage was valued as a
tangible quality of space and form and high-
lighted through the process of producing collage.
The partial transmission of transparency and
material layers to motivate and engage feeling
with work, evokes internal response with multi
facet policies to interpret that architectural works
present various and enriched methods in design
process for the presence of collage.
Le Corbusier, Taureau (1953) Tate, London/Art
1. Le Corbusier Resource, NY
Observe with what tools man experiences archi-

tecture–thousands of successive perceptions cre-
In Le Corbusier’s works, understanding
ating his architectural sensation. His stroll, his interwoven spaces needs observer’s movement
moving around is what counts, the driving force (following the observation of a cubism collage in
behind the architectural happenings. The die is which observers movement demand synchronic
therefore not cast on a fixed point, one that is
central, ideal, rotary and with circular vision all at
viewpoints) the ambiguity in special hierarchy
the same time. (Le Corbusier describing the with space network situated in background, med
experience of Ronchamp, in Textes et dessins pour ground and foreground lead to the repeated
Ronchamp 1965) hesitation on the interpretation. Cubists considers
2.5 Collage Workshop Mood 17
the quality values of the single objects and

applied it in the structure of collage which was
followed by Le Corbusier. The art and architec-
ture works of Le Corbusier were represented with
apparent transparency theme, form ambiguity
and composition which influenced the design,
education and structure process of Hussley’s
collage and many others. Therefore, collage is
not a piece of objects and result but is a process.
2. Bernard Hussley
So collage is not only meant as an object, some- Bernard Hoesli, Untiteled (1966)
thing made, a result, but what is perhaps far more
interesting: a process. Moreover, that behind this
way of doing something which as a result then
leads to a collage, the collage could be meant as an
and connotation, showing that they are intu-
attitude of mind. (Hoesli 1983) itively and internally planed.
The trend of producing collage is found in
Hussley points out that value in abstract establishing some simple parameters. A general
painting and sculpture is the same as scaled parameter in Meier’s collage constitutes the main
object which is an immediate tangible method to stream. Continuity and adaptability are seen in
help to assess the architectures space. For Hassle, Meier’s architecture and collage. Meier explains:
collage acts as a tool to test the nature of pro-
In my work, I have come to rely more and more on
fessional exercises and educational approaches.
the juxtoposition of that which one makes against
He describe his interest in the dialog between that which one does not. This has to do with the
form and ground: full and empty are the same play of architecture’s inherent artificiality against
structurally in overlapping of interwoven spaces. an unpredictable and dynamidc context. I believe
that this dynamic quality of natural and urban
The space around building and the space within
phenomena is very much a part of man’s experi-
the building have the same comprehension. This ence of architecture. (Shields 2014: 56)
idea of dual space from continuity of ground
forms with emphasizes on what the building and Architectural phenomenology is an interpre-
complimentary space shows from the hole com- tation going beyond the simple analyses and
prehension as the characteristics of plan with the creeps pluralistically into architectural works to
built sample, is the idea of modern space. realize the innovations. It is seeking to expand
the sensual experiences and confront with work
3. Richard Meier in the extended realms of senses. Mental images
are tools which can promote this concept to turn
Architecture is a long term process, starting from architecture space into meaningful place; the
design and production to use. The design trend of hidden and apparent images representing mean-
a project takes 3–12 years while the collage ing, identity and culture with this approach, the
construction ends up rapidly. patch design method is introduced as multisense
Meier chooses pieces in collage based on layering that moves beyond restriction and dog-
texture, colure, form, meaning, value, authorship matism to reveal the hidden sense in the work.
18
Year of construction Architect Analytical features effective in design Collage

The three-fold combination of cow Le – The effect of regular ground of collage on apparent transparency of
(cow tower) 1958 Corbusier architectural work
– Synchronic and transparency harmony form and ground in collages and
architectural design
– Perceiving intermingled space in the design such as collage requiring
observer’s movement
Untitled (1976–1981) Bernard – Dialogue between form and ground in collage as the relationship of full and
Hussley empty space in design (duality idea of space)
– Using collage as a tangible tool in design
– Ambiguity in architectural space resulting from multiple interpret from
collage
S 12, 1987 Richard – Mutual effect of collage and architectural design

Meyer – Juxtaposition of roles in architect influenced by element selection in collages
– Simultaneous proceeding of continue and conformity features in design and
collage construction.
2 Objectives and Steps to Make Collage Images
The architects apply the collage drawings as a

tool to introduce geometrical order. Attraction
defined by geometrical order in collage and the
conceptual profundity represented by Miss van
de Rohe, Daniel Libskind and Rem Kolhass
layered shapes are based on structuralists, tech-
nics. These design-collages introduce 3D archi-
tectural compositions witch interweave the
simple geometrical forms to highlight the mate-
riality and spatial depth.
1. Mies van der Rohe
The long path through function to creative work

has only a single goal: to create order out of the
desperate confusion of our time. (Honey 1986: 37)
Organizing the unrelated pieces in producing

collage is in fact a relationship between collec-
tion of Mies’s individual collages and the
specific design trend showing his calling for
order in chaos world. Mies used collage in the
initial combination of design studies and per- Daniel Libskind, Collage Architecture Structure (1970)
spective representation. Collage provides a
means of interrogating materiality in the design heterogeneous elements can result only in “syn-
process. thetic flaws”… The analytic approach, devoid of
According to Mies, the dialogue between multiple means, limited to the existing materials,
architectural logic, Scaling figures and sur- determined by historical realities, can fashion a
rounding landscape can even be seen in the first new framework for concepts and ideas by
design sketches. releasing us from the determination in both
Drexler believes that in contrast to Construc- syntactic and semantic domains. It is a kind of
tivist and De Stijl artists, Mies used perspective poverty that is being proposed. A poverty of
with an abstraction which makes the ambiguity matter to be compensated by the development of
of interpretation of spatial features and materials the conceptual ideal. The use of garbage reveals a
of the proposed projects possible. He used col- possible method which can penetrate beyond the
lage structure to reveal the quality of materials surface appearance of meaning and form, and
and space of the proposed space along with a strike at the very depth of conditioned relations;
dialogue between architecture and natural con- generating through a new grammar radically
text (Drexler 1960). different ways of perceiving, thinking and ulti-
2. Daniel Libskind mately perhaps acting” (Daniel Libskind, in John
Hejduk’s Education of an Architect: The cooper
“Collage challenges the notion of architecture as Union School of art and Architecture, 1964–
a synthetic construct—a mixture of various cre- 1971).
ative disciplines. The idea of achieving such a Libskind represented a method to change
synthesis by a hollow manipulation of collage to three-dimensional form. His method
defines experience of both construction and objectivity of axonometric and through creating
deconstruction of geometric order in architectural plans and designs that make possible for multiple
design which he examined it in collage. readings according to the ambiguity of spatial
He worked in project in Cooper Union which referents. This is obvious in Collage Rebus 3
caused a series of explorations called Collage which angled elements and rotation of plan is
Rebus. This exploration shows deconstruction greatly reductive and dynamic spatial configura-
and separation of architectural plans that act as a tion is formed through orthogonal displacement.
main factor of analyzing of axonometric form Text—for Libskind—provides metaphorical
and space. purpose. He admit language as a tool for corre-
Libskind’s collage drawings employ a shallow lation with architecture. Selecting and ordering
pictorial space like the Cubists which express the elements, whether words or architectural
depth by displacement and fracturing of form. elements, represents concept with the ability for
Then these compositions show tectonic investi- multiple interpretation. Vesely explains: “The
gations through axonometric that influenced by visual reality of Daniel Libskind’s drawing is
the projects of Constructivist and De Stijl archi- situated very far beyond the reality of cubism,
tects. In Collage Rebus, overlaid grids—a constructivism, or collage, close to the horizon
orthogonal grid and a 30° counter-clockwise— where most of the non-figurative movements of
provides framework to arrange complex geo- this century fought their last battles and where
metric elements of designs. This geometry is our imagination is permanently challenged by
resulted to three-dimensional form through inner possibilities of abstraction” (Vesely 1981).
axonometric designs. The created works of Libskind are kinds of
Study of geometry and formal connections evidence of applying line as a tool to arrange
which are produced through abstraction of col- elements and unifying the form. The legacy of
lage drawings, represents series of spatial inter- Libskind’s academic pursuits within the peda-
pretations that is examined through axonometric gogical rubric offered by Cooper Union in the
perspective. Libskind deals with apparent late 1960s is embodied by his built work of the
Daniel Libskind, Collage Rebus (1970), collage and axonometric

past decade. In his construction, he has physi- Koolhaas’s interest is revealed in a reciprocal
cally and materially iterated architectural futures program linking the deferent applications of a
ordered and overlaid with history and narrative. collage in which he searches for combination of
We can understand the following strategy for unrelated elements.
collage—drawing as a preclude to his built work. According to Koolhaas “by not stacking activ-
Libskind wrote in “End Space”: “An architec- ities, but by positioning each programmatic particle
tural drawing is as much a prospective unfolding as part of a dense mosaic, our building contains the
of future possibilities as it is a recovery of a urban condition itself” (Koolhaas 2004).
particular history to whose intention it testifies Through this, a collage can be act as a tile or a
and whose limits it always challenges” (Libskind combination of unrelated elements of a plan. The
1990). composition attracts plan layers and circulation
Daniel Libskind, Collage Rebus 3(1970), collage and axonometric
3. Rem Koolhaas to serve in different scales to develop as a city or

internalize the city ground. The event space and
If there is a method in this work, it is a method of narration as a collage demands interest and
systematic idealization; a systematic overestima-
attention. In Koolhaas’s work, time plays a role
tion of the extant, a bombardment of speculation
that invests even the most mediocre aspects with in narration and fluid strategy revealing a link
retroactive conceptional and ideological charge. between his remarkable work in AA and later
(Koolhaas 1985) architectural projects.
22
Year of construction/name of artwork Architect Analytical features effective in design Collage

Proposed design for concert hall of Ludwig Mies – Organizing unrelated pieces in constructing collage represents
William and Meier company van der Rohe thought style in design
– Using collage to represent final perspective of project
– Using collage to reveal material quality
Pictorial architectural collage 1970 Daniel – Deconstructing geometric order and constructing pictorial
Libeskind architectural collage to analyze architectural design
– Using ergonometric perspectives to analyze architecture design
– Using line as organizing tool in assembling and integrating form
Mass migration of prisoners 1972 Rem Koolhaas – Linking different application to different lagers of collage
– Using time as the narrator of present design and future designs
– Fluid strategy of narration with geometric order in collage and
design
2 Objectives and Steps to Make Collage Images
According to Cohen, “Rem Koolhaas mea- of superimposing sections of geometric order to

sures and slices the body of architectural history make and develop a space for human being
with his retroactive scissors,” a process of activity within the narrative construct of social
decontextualization and transformation (Cohen, order.
The rational Rebel). He applies a formal method
Two Cases of Experienced Examples
3
1. Though release stage: in the first three weeks,

3.1 ■ Architect’s Housing Design
students’ talents are released and a belief is
(The Second Home)
created in them in the first exercise through
constructing and designing ideal and virtual
Introduction
spaces by a complete abstract and emotional
Human being and his living space are of a complex
expression through instructing and employing
essence. The issues and elements to be introduced
the collage method.
and analyzed when designing are numerous and is
2. The stage of transferring it to others: the
of different nature and properties.
images are placed in a 3 m distance and are
In architectural design 2, in addition to a resi-
recognized and considered with a sharp look
dential unit, there are other important educational
and ideal spaces are illustrated and offered
goals such as nurturing creativity capability, self-
through sketching and creating maquettes in a
confidence and self-esteem of students. Dealing with
completely loyal manner.
new issues requires speed and accuracy in one hand,
3. Planning and generating meaning: in this stage in
and unknown phenomena in the other. The con-
which students should pay attention to the site for
scious part is the mind and spirit of humans. Risk-
designing a residential unit, in the first place stu-
taking, searching and releasing from everyday con-
dents should offered their detailed designing plan
tracts, which have gradually become customs in
to one of the masters based on theoretical basics
designing process, are the requirements of receiving
and meaning of designing a residential unit, and
the creative thinking in designing.
when confirmed, they should consider the con-
Goals of lesson ceptual designing of unit volume based on the
Despite the final goal of this exercise, which is lessons learned from the plan background and
that students acquire necessary skills for other maquettes of residential spaces on the site.
designing a residential unit and shaping it and 4. Designing: after understanding the general
creating the possibility of living there through a meaning of a residential unit, its function
systematic and process according to the climate, design is carried out based on the plan and
culture, and needs of those living in that space, diagram of inter-spatial relationships in the
the most important goals of instructing architec- form of plans, facades, cuts, and plan site. In
tural pattern 2 include awaking latent talents. this stage, arriving at favorite spaces in the
exercised residential unit is possible. In this
The process and stages of the work process, in addition to replying to the
The work is conducted in three stages: demands and needs of the architect family,

https://doi.org/10.1007/978-3-030-63795-8_3
26 3 Two Cases of Experienced Examples
the students should consider creating and using room, kitchen, bedroom and relaxing room,
the material, equipment, and installations for a parents’ bedroom, guests’ bedroom, and
reliable and relaxing life in the residential unit. toilets.
It is necessary to offer the appropriate arrange- B. Workspace: the spaces predicted by those
ment of internal spaces regarding the use of coming to architect’s work space, which
colors, lights, and contexture in order to create a includes architect’s office, small designing
pleasant space in the residential unit. workshop, and peripheral services and
parking(s).
The program and plan properties: C. Common spaces: the paces both mentioned
The architect can think of this residential unit as if he spaces could use under certain circum-
should use this residential space in the future. He stances, such as spacing for children and the
should consider a small family that would have a yard, main entrance to the house, etc.
bigger family including two or three children
(daughters and sons) nurtured in this residential unit. Site Plan
And even with the presence of a grandmother and It is situated in a mountainous, cold region. Land
grandfather, they live in an ideal residential space. slope has been assumed to be 15% and there are
The main spaces of this residential unit are as beautiful natural scenes. The selected site ends in
follows: a mountain, in the southern part and has also
A. Residential space: the spaces designed by created the possibility to merge the site with hill
architect’s family and himself based on their nature. The estimated dimensions of the land is
needs, which includes the entrance, living 40 * 25 m2.
3.2 Axes Fracture 27
3.2 Axes Fracture
Design of the architect’s house

Low: Student Babak Shariati
Masters Dr Ali Asghar Adibi
Space for studying Dr Ahmad Ali Farzin
Next page, Right:
Collages
There are different solutions for any problem;
Next page, Left:
one is more rapid, the other more reliable, and
Sketches the other one more creative. The problem can be
solved more easily when we know different
solutions.
In plan 2, the architect which designed
architect’s house, in order to arrive at the answer
we assumed the problem has been solved. So that
we wanted to design interior spaces and then
develop it to arrive at the final complex.
This process was selected because interior
spaces are the main property of a residential unit.
The interior space is more important than the
prominence of a residential unit as an urban
element.
The effective factors in interior spaces include
lights, colors, material and the combination of
these elements.
The first process that stroke my mind was that
a volumetric concept be sketched, the relations
be solved, and spaces be designed in the plan and
section. Finally, lights, colors, and material
should be selected. But in this plan that the
problem was assumed to be solved, at first lights,
colors, and material were selected and then
interior spaces were imagined and plan and vol-
ume were developed.
Thus, the collage subject was put forward.
The first thing to do was to prepare the clip-

pings and pieces of magazines. The clippings
were from pictures reflecting my favorite colors,
lights, and gender. After preparing the clippings
and arranging them on the table, constructed my
collage. This collage was completely abstract and
light and color combination was among the
important things I controlled after distancing
from the collage.
After creating one or two warm up collages, I
assembled two main collages. These two pictures
were more consistent with my mood compared to
early pictures and this was the result of the
experience in selecting and cutting the pieces in
the early collages. The next stage was to sketch
the collages. The details were less observable
when sketching from a long distance. The inter-
esting thing was that I drew a space I liked,
which was due to the primary feeling of com-
bining collages or forcibly extracting a space I
liked. The sketching space meant with collages,
because volume was in the sketch and color,
light, and material were in collages.
Sketches were completed and I drew spatial

plan composed of the combination of two sket-
ches. Finally, I creates interior maquette accord-
ing to the plan and collages while trying to use
the same color and light I had seen in the collage.
There is living room space in the interior
maquette obtained from the collage, and this was
the first sparkle of designing architect’s house.
Here, explaining the house completed, the
spaces were defined and the site was determined.
I started to analyze spaces, their relations as well
as site analysis and locating the space in it. Based
on the locating diagram I determined interior
maquette space in the site and extended periph-
ery spaces from within. I would imagine the
space and constantly conducted interior sketch so
that spaces better take form.
The idea I got from plan sketch, was the

fracture in axes. Their repetition and connection
helped the integration of spaces. The spaces were
extended based on the diagrams of the relation-
ships and locating.
There is a cold space in one of the collages,
without any light, with concrete material and
cold and low diversity colors, while in other
collages the same colors have heated under the
light of the supposed sun. Thus, the same con-
crete and sun of the collage warm space is
obtained for the living room space.
In the same manner, the collage turned into a
3 dimensional volume by the process of sketch,
plan, interior maquette, analysis, locating, and
extension. The interesting thing is that only one
of these spaces form directly from the collage
and the rest followed the same system.
The motion of the crust helped to define the

interior space in the concave section and the
exterior volume in the convex part. Its red color
coordinated the interior and exterior.
Spaces are classified into three categories: 1.
Public ad workspaces, 2. Semi-public and service
spaces, 3. Private spaces. Empty space distin-
guish group 2 and group three spaces.
The entrance was designed by considering
reaching possibilities. After the entrance space,
the divided space formed between public and
semipublic space. Guests’ room can be reached
from the hall and, in emergency cases, from the
northern terrace there is a small salon in the
southern direction of the living room dedicated to
work and non-intimate guests that can be acces-
sed from the atelier and is separated from the
living room by a Paravan like wall. Dining room
is away from the living room so that the sound of
arranging the table does not disturb the guests.
Private spaces relate to the exterior spaces
through northern terrace, and in the interior
space, it relates to sauna, the yard and atelier.
3.3 “Collage”, a Novel Method in a Novel World 33
3.3 “Collage”, a Novel Method

in a Novel World

Student Yasaman Haji Esmaeeli
Dr Ahmad Ali Farzin
Collage belongs to another world. I stand on the

boundary of two worlds and create a supernatural
space using material world tools; a space having
eternal light and pure colors, a unique and
unrepeatable space that only derives from my
mind, not anyone else.
The stages to conduct the work
Firstly, we should more familiarize ourselves
with the collage meaning. Any person draws
completely different images and, more interest-
ingly, no image was similar to the main collage
because collage is like a window to the inner
world. There we face infinite spaces hidden in
our unconscious.
I draw the sketch with half-open eyes and
look at the collages in a long distance; some lines
highlight and the lines protrude from the page
that are beautifully combined.
The motion of these lines and the continuity
or fracture of spaces in each collage reminds me
of a special space. However, in this stage the
sketches belong to an imaginary world and have
a long way ahead to become real.
In the next stage, I collect the images that

attract me and juxtapose the colors and light
calling me to themselves to create the space that
should construct a house, a distinguished house
for an architect.
With the supposition that each picture is part

of my hidden dreams and are complementary
parts of a puzzle, I put pictures side by side. All
the things form beyond the boundaries of the
worlds and lines freely join each other.
The light give dimension to the space and

colors give life to pictures and therefor a space of
my unconscious is created. Forms and shapes are
completely in harmony and lead the mind into
perceiving a new space.
In the next stage, I created a plan according to

each collage indicative of the main space of that
collage. This plan completed using colors and
showing the gender and light.
These sketches were of considerable help to

me. At first I did not know what is to be drawn,
but as soon as the first line was drawn, other lines
were automatically drawn on the paper by
looking at the collage.
Though the collage itself shows the spaces

hidden in it, sketches made these space more
visible.
The first collage

The first collage I created was related to work
space; a room full of books, a live space with
happy colors. Volumes turn and slide on each
other, lines cuts create various levels, vertical
lines break these pages into pieces.
A thoughtful, meandrous, and dynamic space.

The light is broadcasted from every corner to the
space. Apart from the small lights broadcasting a
mild light to the space, it is the most important
color in collage center coming out of the land
core, a point the eyes are fixed upon. Flame
dance inside the ground, fire reflection on the
space. As if, things are thrown in a halo of light.
The red color in the center of the collage

attracts me and creates an excitement mixed with
reliability. Color change in the grey background
causes bottom break and various levels.
There are no horizontal or perpendicular lines.

I the collage, but any group of lines converged
toward a special point, as though there is an
extravagant perspective of the space.
In part of a high window, a natural mild light

shines into the room, where I after a hard work
the peace falls upon me by looking at the beau-
tiful azure sky.
The second collage

The central space of the house was drawn
according to this collage. In this collage, all
pictures are put side by side in a completely
abstract manner. The combination of red and
blue colors is evident in the collage. As if the red
pyramids and sheets hang smoothly between sky
and earth. Time is broken in this space and flow
inside these lines. It seems things revolve around
a central point in the depth of these pictures. The
space is illuminated with the lights extending to
the central point. Vertical distances become dark
in the sheet and consequently the space seems to
be deeper. An illuminated flame in the center
shines light into the space.
In the sketch extracted from this collage, the

light levels seem to be nearer and dark levels are
behind them. Lines and sheets gradually rise or
join each other. The sudden fracture in these lines
creates a new category.
The third collage

This collage, created for children’s sleep and
playing, is in fact the space of my childish hap-
piness; a place for playing and laughing, full of
light and full of happy colors. The ground is soft
and again all lines go to one direction. A glass
wall in the floor illuminates the space. The same
fire flame in other collages shines in the center,
but here it seems to be smaller and more intimate.
There is a safe space for sleeping in the right
corner of the collage and a blue and beautiful
scene formed by green trees can be seen from
behind the window glass.
The fourth collage

This collage was especially created as an external
space and for defining the entrance of the house.
A luminous lightning breaks the cold metallic
space and rises and opens a way beyond the
metallic surfaces. In the end of this road, we
enter the house entrance by passing illuminated
roads.
Volumetric maquette
In the next stage, the plan progresses in a volume
manner. The final volume is created after draw-
ing the plan of each maquette and applying the
necessary changes with regard to the form and
function.
Workspace
All the properties of the main collage were pre-
served in the maquette, though an abstract space
was created. However, when changing it and
identifying the function, a rational space
emerged. The maquette constitutes two parts of
work office and the workshop, the workshop
being situated above the work office. The
entrance door is beside a big window and a mild
light shines into the workshop through glass
grooves.
Central space of the house

Like the related collage, also this maquette is
completely abstract and created a different space.
The broken clock in the collage defines the
stairwell going up smoothly and ends in a big
vertical window in upstairs. Every elements are
fixed in their place but a dynamic space has been
created by changing sheets height and twisting.
Live and spicy colors in the maquette indicate

an intense and unending activity flowing inside
the house.
In the next stage, after summing up the

examinations about dwelling and related needs
and identifying necessary spaces, other maque-
ttes are created based on the primary one and
gradually the function the sections of the space is
determined and the main volume is completed by
juxtaposing interior spaces.
By conducting the required research about the

intended site in Lahijan City, northern Iran, with
15% slope, I constructed other maquettes on the
site and through creating necessary surface dif-
ferences; the volume completely corresponded
on the site.
The volume is created by two intersecting

ovals in the spot where the two squares meet, so
that the intersection points of the ovals corre-
spond the sides of the squares.
One of these squares has twisted toward the

other with regard to the directions of main lines
of the site. A translucent coating has covered the
first half of the second store and has created a
spiral space protruding from the northern part of
the volume.
This spiral space is heated by solar energy,

and can supply a large portion of the energy of
the house. By changing curved glass panels
covering this space, when needed a flow of fresh
air enters the house and ventilates the air
naturally.
The spiral volume, which exists in the north-

ern part of the building, has a very beautiful view
toward the periphery scene.
This space as the gallery and library is closely

related to workspace and sometimes is used as
atelier and a place for thinking and attaining
mysteries and new ideas.
Moreover, a small living room has been

defined in this space, which is a gathering place
for family members to enjoy the beautiful scenes
and the pleasant light of the sun.
Guests’ sleeping space is in the ground floor,

that of the children is located in the first floor,
and each floor has its own service.
The main sleeping space has been defined in

the upper part of the volume overlooking other
spaces.
Two independent entrances, one from the

main pedestrian path (the main entrance) and the
other from the parking (subsidiary entrance)
facilitate the availability of the house.
A grid wall is between private living area and

the kitchen, which both separates these areas and
creates a close relationship between them.
Finally, for better introducing the plan, the

sketches of interior and exterior spaces has been
depicted in later pages.
As can be seen from the pictures, the primary

spirit of the collage have been completely pre-
served in the space.
The reception room space has a beautiful and

panoramic view toward southern jungles. Living
room space is some stairs below the reception
room. Curved walls separate these spaces to
some extent, but they can be easily accessed.
For designing the site according to main lines

of the plan and topographic lines of the ground
and site territory, a graphical and abstract plan
has been drawn and the site was finalized by
defining and incorporating the necessary
function.
Small trees (nearly 2 m high) are planted in

the northern part of the site near the pool that bar
looking from outside the site and pool, but the
outside view is not restricted because of the slope
of the earth.
In the eastern direction, high conifers, creating

a special perspective in the space, create beautiful
walls. There are a number of weeping willows
with specific distance planted between this wall
and the building and there are relaxing beds
between these trees.
There are two joint pergolas in the western

direction of the site having bushes of red flowers
that define the parking. The green color of trees
with black background beside a white volume in
the red sun light create a beautiful combination
of colors.
3.4 “Collage”, a Novel Dialog 41
3.4 “Collage”, a Novel Dialog

Student Anahita Khodadadi
Dr Ahmad Ali Farzin
I had only the experience of one work. I accidently

put volumes side by side. By “conscious playing
of light volumes”, I combined things and finally
matched them with the informational set obtained
from field and library studies and regulations and
standards. To make the space pleasant, I imag-
ined myself in the obtained volume. Some ima-
ges and routes I liked to see in the framework
entered the concerned volume hardly. However, I
knew well that these images have hanged my
volume artificially to enliven existing spaces.
“Collage” was a new dialog. Due to its

freshness, my mind did not trust it and I hoped to
find a better way and a more appropriate answer.
I did not want my house, the house I lived in

my dreams, be merely a sculpture for the external
environment. I should have lived most of my life
in its interior spaces. It seemed rational to pri-
oritize “the hope for finding a better answer” and
test it like new experiences.
The road had already started.

I found my favorite images in books and

magazines. I would collect those I liked
respecting its shape, contexture, light, and pro-
portion and started my early experiences.
I feared. A fear of the wrong way taken. Maybe
the result be meaningless. Anyway, I would lost
nothing …
I advanced in doubt. Any piece I put beside the

other and looked at it from a distance, ambiguous
and vanished images enlivened before my eyes.
I do not remember to what corner of my mind
these images belonged. When the first collage
finished and I looked at that set, I remembered my
childhood house with that stout tree inside it, the
branches had bulged out of the roof and its trunk
had passed through the patio. I had seen it in my
childhood pictures because I was too little to
remember it in a corner of my mind. An open air in
the warm air of the house toward summer mild
breeze and hugging the external nature could be
interpreted easily from it.
My fear vanished.
A set of cold and hot motions and colors and

there being intertwined were the answers of the
second collage. The cool breeze having dessert
upon the fervent soil skin. A feeling that belong
to my childhood left behind the past memories.
This time I should searched the twists of my
mind a little more.
3.4 “Collage”, a Novel Dialog 43
The third experience was an intertwined spa-

tial experience creating an interesting framework.
A helicoid upward motion I was standing in and,
in one hand, I beheld the warm and illuminated
space of the below that called me to itself and, in
the other, a porch faced to the periphery nature
forming a corridor toward the infinite space. It
seemed that the twists of the coil had opened a
window in the heart of earth that could be the
place for my childhood plays. “Elf I the heart of
green valleys”. I remembered the days in which I
nurtured such a space, in the intertwined spaces
of collages I shaped my dreams. This road was to
arrive at the plan of a house ….
In the fourth collage, I saw the warm space of

a family. A space for gathering and relying on
being safe against the invasion of the cold
external environment. I had to define these
spaces for others.
I sketched.
My imagination were illustrated. There were
no light. There were no subtlety or coarseness.
I created the maquette of one of them. I enlivened
my imagination. The analysis of collages mean-
ing, not the consisting elements of them, as well
as constructing a volume of them, creates spaces
constituting every corner of my house. The issue
of moving in the space, inside view and scene to
outside, the intensity and light direction of the
sun, light reflections and fractures, shaped
building volume.
“My house” was shaped based on the inspi-

ration of the same upward spiral movement that
creped on the ground and the same crack that
took nature in.
Then it was necessary to consider the func-

tion, standards, proportions, and other study data
and correspond the plan with them. It was very
interesting that there were little need to change
and convert the data and it seemed completely
rational that my unconscious mind identified
appropriate and correct proportions and auto-
matically implemented them in the existing vol-
ume. An appropriate answer was found for the
ground and volume. Preparing the maps of
buildings, sections, plans, etc. were conducted in
the course of project design.
Site project design based on the plan and only

by considering the issue of function, view and
scope, sunlight, and the position of openings,
give a correct answer, which is the only answer
to this problem, and maybe the picture of “The
Favorite Garden of My House” does exist in it.
Though the collage of the site did not exactly
emerge in the plan, its properties of contexture
and material connectivity, plant coverage, light
direction and colorful stains in the green back-
ground were influential in designing complex
site.
3.5 The Forgotten Details 45
3.5 The Forgotten Details

Student Hatef Ghahrodi
Dr Ahmad Ali Farzin
In this abstract, I introduce a unitary plan in line

with concepts such nurturing the old structure
and elements psychological correspondence.
In the front sample, an effort has been made to

keep the unity of building elements and arrive at
the interior design (interior decoration, furniture,
etc.) and exterior design (total volume, facades,
site design, etc.) of the building.
Architecture is nothing but the unity of space

elements, because this unity influence the
addressee psychologically and visually. An
exalted collage helps the architect to arrive at a
harmonic space.
Generally, spaces can be classified into two

categories: open, exterior spaces and closed,
interior places. Thus, architecture design emerges
in the framework of these two types. If in
designing with collage a picture of both is pre-
sented, a picture with two aspects emerges.
The following explanation are something

more than word play. The obtained pictures are
the basis of concept formation and in some ways
are considered as the starting point of architec-
ture design. However, remember it could be of
great help when starting the design and the
course of it. In other words, the designer starts
with the collage and ends with collage too.
With repeated sketches from different aspects

and prevalent colors in the collages, we arrive at a
color key resulted for designer’s mind. We iden-
tify our ideal colors in collages and detect
designing route based on these ideals and recog-
nizing ourselves. The results of the first five col-
lages, which were intended to be experimental and
could be understood from the primary designing
trend, are used in shaping the spaces that could
form the primary material of the volume.
Shape and form
These meanings corresponded the concept origin,
which is the same as reconstructing or nurturing
culture and tradition after deconstructing
indigenous cliché structures so that the humans
see themselves in the previous spatial and tem-
poral dimension when faced with a new issue. In
the unitary design, geometry in the structure,
abstraction, logic, and order in the shape and
form of the offered products, the forms perform
in a logical correspondence.
Ergonomic and function
An effort has been made to arrive at some kind of
psychological and corporeal correspondence. All
building elements are integrated in the design
and create an overall unity. It is the very beauty
and unitary.
Malovic believes that “the art was a subsidiary
and excessive element from long before, per-
meating into the life and thought of humans
when integrated with other elements. Now is the
time of independence. We should learn how to
read the forms”. The majority of unitary building
and designs were focused on balanced, glorious,
souvenir structures and were designed as relies in
respect of using geometry and technology.
It should be noted that collage is closely related
to these meanings, because both are involved in a
unitary and dynamic game. Like me, your
undoubtedly believe that one should search a
background in when designing. The history will
not be repeated but at least it could be an example.
The first collage

There are columns in this collage. The overall
combination is completely systematic and
implies a reception or living space.
The second collage
The colder and less balanced spirit collage
compared to the first collage, implies the illu-
minations of an open space. In the left of the
picture, there is an unstable column. Decon-
struction order is evident in the left half of the
picture. The organic stairs in, which is in har-
mony with the scene and the red band in front of
the entrance, can be observed.
The third collage
The feeling I have about this seemingly beautiful
and enchanting picture cannot be expressed. In
the first plan, cold colors in the background are
seen with an explosion of yellow color spec-
trums, which my conception of a skyward mirror,
while there appeared a 10 m high wall from
within the water that acted as the building sky.
First, in face of the irritant winter wind and,
second, in face of the western light covered with
sun collectors and having a mirror-like manifes-
tation in face of the southwest wind. (Though
one of the terrace functions that has been design
accordingly, is to behold the sunset when having
dinner.) One of good elements and movements of
this tableau is the fractured longitudinal move-
ment of the lower one third.
The fourth collage
This required more thinking. The glaring light of
the collage 3, the sense of a yard with strange
decorations and a deep groove on the ground
intersected in some points, the red and yellow
lights of the right-hand window, and finally the
illuminated holes of the first collage, recalls
landscape illumination. Despite this expression
being a little ideal and having distance from the
reality, I was confident that the difference of my
goal with these details was not large and tried to
consider this difference only in reductions so as
to not hurt the spirit of collages. In conclusion,
the same way as the design result is hidden in the
heart of its process, I think it is not necessary to
make conclusions of this text.
The Maquette of concept 1 while designing the

form, the identity of collages (the first five collages)
I enjoyed its hue color (especially in the plan).
I discovered an important thing that more than
the pure form of the building indicating the unity
of the elements, human spaces should possess a
kind of psychological correspondence.
The combined concept resulted from the last
four collages, reaches the third concept after
analyzing it with the diagrams of the site and
topology. I the final nose (living room), various
directions could be considered based on the
general structure and in accordance with the
regulations of the site. The confrontation of unity
beauty and rational diagram leads to a solution
like the concept 4. The confrontation of unity
beauty and rational diagrams leads to a concept
like concept 4. This concept is the result of
passing from function and believing in tis
example that sometimes function follows the
form. Movement is one of the main organs of
unity. In this structure, building is as a factory
shapes the form of external dynamism through its
internal actions and behaviors including life flow
and daily affairs. However, its contradiction with
the environment is debatable. In the next stages, I
tried to arrive at a form corresponding with the
spirit of the building that is the warm environ-
ment of the family in the first place.
The final Maquette progressing with the
internal design, largely reached the ideal colors,
light movements, and volume combinations in
details and in macro level.
3.6 Involvement with Tranquility 51
3.6 Involvement with Tranquility

Student Mahan Javid
Dr Ahmad Ali Farzin
Passing the line, surface, reaching the infinite

space, searching for an ideal place in the corri-
dors of disturbed minds in the wastes of
disheveled thoughts in the vicissitudes of the
unconscious mind, how such a space has
formed? Where is the origin of these pictures?
An extensive world the more is sought the less is
found, a new experience among thousands ways
to create. Those experiences were sweet and
strange. What a fictional daring it granted me.
The though upon which one can rely throughout
the life: it seemed that I had started a road in
which more interesting events are ahead com-
pared to other roads. Some spaces are created
that do not exist in anywhere else. Some sites are
created not be found except by relying on our
unconscious mind. The range of these spaces are
far more than other roads. A glance revealed that
masters of this group are far more experienced
and aware than others.
I started creating Maquette when hearing the

words of masters. At first, I selected my favorite
pictures after reviewing magazines and books.
Not only architectural pictures, but also any
beautiful picture.
I started arranging the pictures side by side.

This had its root in unconscious mind and turned
into the conscious mind. At first. It was hard to
understand in the first place, but at last we arrived
at it (does the unconscious mind assist us in
reaching an ideal space?).
After arriving at the collage concerned, I fixed

the pictures and looked at them at long distances.
After some investigations, we arrived at spaces
very close to our ideals. There were intact and
strange spaces in every point.
The masters told us to hang them on the wall,
looked at them, and would discover new spaces
every day. We sketched according to the spaces,
and it was an extraordinary experience. After
some sketches, we fixed some spaces based on
each word.
It was interesting: the towel turned into cur-

tain, glass into fireplace, book into stairs, flower
into hole, and boat into dresser. We started cre-
ating partial maquttes according to the previous
sketches. It should be noted that the design
became more complete and comprehensive in
each stage to have a more tangible understanding
of a 3-dimensional sense of the space.
3.6 Involvement with Tranquility 53
After creating the maquettes, we generalized

them to the whole space. In this stage, at first I
depicted the concerned plan and arrived at the
whole space with the help of integrated plan and
partial Maquette.
Then I started creating the whole Maquette and
afterward incorporated it in the intended site
according to environmental and climatic conditions.
In all these stages, the plan became more

complete.
Then, we started designing the site.

After consulting the masters and applying the
changes, we began creating a more complete
Maquette that was intended to be the final
Maquette.
After reaching the total primary space, we
examined environmental, climatic, and access
conditions: issues such as ideal spaces direction,
number of family members, the direction of dis-
turbing winds, appropriate light absorption, bet-
ter scenes, appropriate locations to enter into the
site, etc.
Then, we started locating in the plan and
places and the intended cases and created the
final plan.
In conclusion, we examined building details,
placement of columns, building material, etc. and
completed the design.
The road that had to be tested.

The road we had to test.
The road good to have been tested.
An arrangement of beautiful and various pic-
tures, playing with puzzles, perplexity, arriving
at a balanced proportion, searching for the
internal utopia, consolidation on the paper, and
reaching the flower and part and again a trip to
the whole, solving standard problems in an
imaginative design. Attaining a dynamic balance.
Solving peripheral problems in the site.
Logical and total exposition, in a superficial

view only through principled dislocation and
imagination on the other side.
3.7 An Ideal Start 55
3.7 An Ideal Start
Designing architect’s dwelling

Student Negin Shakibi
Dr Ahmad Ali Farzin
Why collage?
During the short periods of workshop experi-
ence, which are summarized in five designs,
testing different methods and working with var-
ious masters are completely logical. I always
believe that we should experience various edu-
cational methods and choose the best. Thus, I
selected collage as a new route for architectural
design.
The first stage: seeing the collage example

Masters exhibited various collage examples and
asked the students to extract spaces from them in
a short period and draw their sketch. Despite the
collages being common to all students, there
resulted different spaces. Anyone searched the
infinite world of the constructed collage accord-
ing to his own mentality and view and no two
sketches were similar.
The second stage: the process of creating the

collage started
I put clippings of newspapers and magazines side
by side to create an ideal space. With favorite
colors, favorite combination of favorite parts.
The result was a picture seemingly displaying the
fingerprint of the creator. Collage parts tem-
porarily had joined each other. In any moment,
we could displace these parts and arrive at the
favorite combination. When looking at the col-
lage from a short distance, there were only torn
pieces of pictures. However, when looking at it
from a longer distance, a space within the inte-
grated picture would emerge. Ideal, unintentional
spaces were created only through our ideal
combination.
3.7 An Ideal Start 57
The third stage

I should make visible to the entire thing I saw.
Thus, I began depicting the sketch of collages
and spaces the way it should be done. The first
collage included a number of spaces, side by side
with a little surface difference. The lights and
colors of central part of the collage implied that
this space is the living room space separated
from the backspace by black walls. The yellow
and fire like colors inside this black wall could
evidently be a warm and ignited fireplace
between two spaces, heating both spaces. There
is a stairs in the right-hand corner of this collage
going upstairs. The black part beside this stairs
can be thought of as a wall in the end of a short
stairs upon which a poster has been installed.
There is a part in the center of the collage
through which mild green shadows along with a
little light enter the space. Because there is low
natural light in this space, probably the final
volume exists in the west direction. The right-
most corner of the collage shows parts of back-
space of the black wall. The intimate and warm
colors of this section can be considered a dining
room and a kitchen.
The fourth stage
The Maquette was created from interior space
with complete details and through using collage
colors and materials of the picture. Various
materials were used so that the Maquette
approaches the main spirit of the collage as far as
possible. The opaque plexi for generating indi-
rect light and various kinds of cardboards for
determining the genus in flooring and separating
walls. The created Maquette helped humaniza-
tion of dimensions and sizes and spaces seemed
more real. Everything was so exact and natural
that it was possible to sit in the reception room
for a moment and talk with the guests.
The fifth stage: designing

The starting point is one of the most important
stages of designing. May be we have always
asked ourselves, “should I start with the plan or
the main volume or …?” In fact, collage defines
a starting point for us. Using the spatial geometry
obtained from the collage, I started designing.
I assumed the primary space as the starting point
and extended the design to other directions. The
final design was obtained with a little change in
which the primary core was evident in it. The
locating of some functions was performed with
collage method, including reception salon, dining
room, entry stairs to upstairs, and the kitchen.
Then, the design of a two-store house with an
underground was obtained. The primary design
and final Maquette was created. The Maquette
contains interior details in which the primary
core is evident. Thus, the collage created from
pieces of my mind turned into the ideal house of
the architect!
3.8 Intellectual Motion from Inside to Outside 59
3.8 Intellectual Motion from Inside

to Outside
Designing architect’s design

Student Nina Goud Asiaee
Dr Ahmad Ali Farzin
The internal substance and material have been

the focus in designing this complex. Then, the
external form of the building was considered.
The intellectual motion has been from inside to
outside.
Firstly, with collage, which is an interesting
and attractive method, a part of the complex was
seen.
Working with this collage was such that
attractive pieces of magazines were selected and
cut. It should be noted that no rules were fol-
lowed when cutting the pieces.
The cut pieces due to having picture and
color, contained light, gender, and material and
constituted a 3 dimensional space when looked at
from a distance. This space may be the favorite
space of the individual creating the collage.
Six collages were created one after the other.
It is worth noting that in the first two collages,
the spaces were not very clear but in the next four
collages, due to experience increase in selecting
pictures, the relations of juxtaposed pictures
increased and thus there appeared a space that I
loved more and a better relationship was set
between the collage and me.
After reflecting upon the observed sections, I
tried to generalize and extend them.
The main issue put forward in this method is

to arrive at whole from part.
By part, it is meant a small section of the
design seen in the collage and an effort has been
made to preserve the main part and thus add the
other sections. It should pointed out that by using
other collages and creating a logical relationship
between them. It was tried to juxtapose other
sections through the defined relationships.
The collage helped to the progress in each
point and guided it and in some ways has been
the leader of this inside outside motion.
In all the designs in which this method has
been employed, there is a close relationship
between the design and the collage, which
implies that this method is very rich, analyzable,
and worth reflecting upon.
Even illumination and material have been
completed using this method.
3.8 Intellectual Motion from Inside to Outside 61
In this interpretation of this motion it should

be pointed out that, each stage progresses grad-
ually with the collage. Albeit, after seeing the
space in the collage they will be sketched. Then,
a Maquette seen in the space was created, leading
the creator into the space. Accordingly, the plan
related to this space was designed.
The important point is that the concerned
spaces were developed and sketches and
maquettes were made use of to advance the plan.
The best efforts have been made to define
spaces side by side with the help of the collage.
The sketches and maquettes created situate the
addressee inside the space.
Internal sketches and maquettes and inside

outside motion depended upon the plan program,
because it was the issue of residential house
design in which the most important issue of the
house interior was the relationship of internal
spaces and illumination that we considered
solving the most important issue using this
method. In other words, we deemed the issue as
solved and entered inside the house and designed
the house based on comfort, ease, and the access
of individuals. Then, we started illumination and
when interior spaces relationship was solved, we
considered the exterior spaces.
The material tangible in collages, were
employed in the façade. Tall windows were used
to provide internal light.
Due to the warm colors of the collage, tall
windows were used in all defined spaces as far as
possible.
After the façade, exterior spaces were
designed. The ways to access the building and
the relationship of spaces were observable when
deliberating upon the collage. In fact, the collage
was a sparkle that finally facilitated the access
between spaces, negative spaces the so call full
empty spaces.
In conclusion, it should be noted that in
designing a complex the focus of which is the
user, all conditions should be considered and in
fact, inside outside motion is the best solution to
arrive at the best result.
3.9 The Sparkle of the Mind of “Collage” 63
3.9 The Sparkle of the Mind

of “Collage”

Student Ali Sorush
Dr Ahmad Ali Farzin
When I entered architecture atelier 2, I thought

that I should pass the new design like other
designs, i.e. based on a general process call
architectural design. For doing this, at first
extensive studies should be conducted about the
site and climate as well as cultural and architec-
tural studies. Then, all information, views, and
tastes should be imagined as concepts and be
drawn on the paper. Afterward, the concepts
should be edited during the time period intended
for the design and implement it.
The main problem in designing using this

method was actually its momentariness, that is,
the method being based on mental sparkle that
could not be all the taste raw and comprehensive
data of the designer architect.
Collage is arriving at a general concept, space,

concept, and idea being an unconscious range of
momentary process. In collage, favorite picture
clippings are side by side through a spiritual
order, and the landscape of this work is to create
a space with regard to micro-tastes and forgotten
details of designer’s mind.
After it is created, then it should be looked at.

A look with architectural and creative eyes see-
ing the context side by side, color and form as the
raw material of designing, which the concept.
Then, it creates this space in the mind and its
Maquette was created for transferring mental
meanings and stabilizing them.
The Maquette that expresses a feeling and is
different from the regular modelling. In this
Maquette, the architectural mind simulates the
space and contexture.
A Maquette, a space!
3.9 The Sparkle of the Mind of “Collage” 65
The next stage is to convert his landscape into

space and volume. This method that accompa-
nies creativity during the process of arriving at
the design, considers flexibility in work stages as
its inherent principles.
Selecting the size, form, and the cut graphic,
and placing it in the intended position, and then
after creating the collage, the manner and view
angle as well as sketching, are among the issues
available for the designer to create a work
encompassing all thoughts and interests.
The development of the same mental sparkle

or the same collage in this section that is the
concept and space, is completely different with
the general method. General principles are the
same. Complete studies have been conducted
about the design in the area of site, climate,
culture, and civilization as well as extracting a
concept out of the collage.
One of the very useful methods is to edit and
reform the concept and the maps of Maquette
construction in each stage as well constantly
observing the space created.
(Top-down)
Collage Maquette and
project progress stages
3.10 From Inside 67
3.10 From Inside

Student Farhad Binazadeh
Dr Ahmad Ali Farzin
At first, collage was a new experience to arrive at

the design. The interesting point in this method
was to reach something that forms within the
humans. The method, which was possible in this
design that was a residential house, was the
method that could not emerge in other methods
to attain the form and design of this issue.
Because in working with plan geometry only 2
dimensional spaces were created, which were
very vapid; but in this method instead of using 2
dimensional spaces, we had pictures of our
favorite house, which the space was obtained in
addition to the plan. As mentioned above, the
interesting result obtained using this method, is
that all the pictures created using collage, though
simple in the first glance and for the common
people, due to selecting colors of the magazines
by the individual, it was possible that the color of
spaces or even their being introspective and
extrovert be pointed out.
For example, using natural colors such as blue

and green is indicative of individual’s inclination
toward extroversion and even in the next section,
i.e. illumination, it is evident; so that the color of
these lights showed that whether the light is
natural or artificial and internal. In case of cre-
ating spaces was to displacing the surfaces, so
that all the cases mentioned were visible in the
collage from a distance of three meters, so that
even in season change little change occurred in
these spaces. The interesting point in the collages
is that even in the longest distance the space can
be observed in the collage.
Due to unfamiliarity with the new method, at
first, the constructed collages did not help cre-
ating and designing the spaces, I had in my mind.
However, the same collages because were the
result of selected elements, could be of help in
choosing the material and light, so that from
these early collages, the extroversion sense and
the inclination to have a high view toward out-
side was evident. Every piece were place in a
location after being cut.
Above: second collage

Below: third collage
3.10 From Inside 69
All in all, when looked at from a distance or at

least at from 3 m distance, due to the juxtaposi-
tion of paper clippings it seemed the lighted
shone into it from a certain point. In the next
stage, I created a collage and in the end, I saw
that unconsciously the favorite space has been
created and is pleasant for the collage creator.
One should be aware that magazine clippings
that create a pleasant space when put side by side
that should be thought of as one of the spaced
intended by the collage creator, so that other
issues such as light and material were determined
to some extent, have obtained this collage.
The next section was to sketch the collages,
during which the spaces had to be drawn on the
paper and draw plans of the sketches. In fact, part
of the favorite plan of the building has been
obtained. In this stage, an internal Maquette from
the same section was created, so that one should
be careful even when choosing the material of
this Maquette and here the material are high-
lighted as one of the important issues.
Other important parts of the building can be
created with this collage method. I created the
main part using the collage, the first part of it
being the reception salon; so that there are
external light and wide windows with a southern
view to the nature. Here is the point where the
building starts. The relations of spaces were
created like previous methods, so that buildings
were placed side by side using various relations
Above: fourth collage of these spaces using the collage.
Below: fifth collage
When reflected upon, this method can be

considered an internal method to arrive at the
intended plan. Selecting this method was at first
for testing a new method to obtain the architec-
tural design, but it can be deemed an effective
method in reaching the design using spatial view
and without 2 dimensional paper depictions.
Because from the very beginning there are 3
dimensional perspective and internal Maquette,
the design which could be worked upon using the
collage are those designs in which external vol-
ume of the internal space is less important, the
residential dwelling is the best instance. In con-
clusion, it should be pointed out that maybe
using collage method to get the dwelling design
be more appropriate than other methods, so that
the method of solving relations in this design
using bubble diagrams, etc. is as the previous
methods. Using the collage is in fact using
ordinary methods for solving relations along with
a spatial view of the space.
Right: final Maquette

3.11 Searching for the Favorite Space 71
3.11 Searching for the Favorite

Space

Student Laleh Reshad
Dr Ahmad Ali Farzin
In my opinion, collage is to visualize the spaces

maybe hard to draw. Collage is to look at and
search favorite spaces carefully amongst the
pictures and photos we love.
At first I considered the colors I loved, such as
chocolate, brown, and yellow, each indicating
certain material, like wood, brick, and colored
glass.
In fact, it was to find dark spaces of mind
among favorite spaces and arranging them.
Sometimes beautiful and similar spaces were
created from various spaces; i.e. between those
spaces, I wanted to have more options.
I looked at the collage with a multi sketch
view, so that when I combine them, there emer-
ges a more interesting form.
I combined the spaces. The combination of
spaces and sketches created a new space from a
longer distance.
I planned to create a collage for each design
stage.
At first, I thought no results would be

obtained because it was the first time I drew
using this method. However, after observing
different pictures and arranging them side by side
as a collage, new sparkles hit my mind.
At first, I created collage for interior spaces;
from the furniture to interior spaces and various
material to be used in interior architecture. Then,
I started creating various green spaces, which
there appeared interesting landscapes. Then, I
constructed façade collage, which helped me in
selecting the material and roof slope greatly.
The first collage
This collage is composed of various forms
including curved and cubic spaces that imply a
general cubic form. Of the spaces seen in this
collage are corridors ending in a warm salon and
an intimate family space. A house summarized in
a single story. Before using collage method, I
liked half-story states of the house. When I cre-
ated the collage, the juxtaposition of spaces and
their combination implied half story states.
Moreover, I could use various forms of spaces
and various light states of spaces in the archi-
tecture of the house. There were wide corridors
facing entrances and separating spaces in the
collage.
The second collage

The building façade is used to construct the
façade, implying a stair building with various
slopes. Materials such stone, brick, concrete and
clay are could be seen in the collage. The stone
and bricks used in the façade and roof clay have
been obtained from the collage.
The third collage

The third collage was the start of site design.
Natural forms, green trees, and pavement were of
the results of the collage. The stair form was used
in the second collage and it was in turn merged
with site topography.
Design process
At first, I created the collage when seeing various
pictures and combining them. It was difficult to
select the color and space arrangement.
When I completed the collage, I carefully

searched all interior spaces to find the favorite
space made from merging the pictures. I sketched
based on collages. As the master recommended, I
dedicated about 3 min for each collage to draw
exactly the same space. Sketching the collage
was like tripping in the heart of collage spaces,
so that I felt I have stepped into various spaces of
a house. In these circumstances, I only searched
for a common aspect of these spaces.
In the next stage, I began creating the collage
Maquette because I’d seen the collage and know
its different spaces. Only through constructing it,
there emerged the routes connecting the spaces,
the result of which was half stories next to each
other.
After creating different maquettes, I obtained

most of the spaces I wished. Then, I create façade
collage to advance exterior spaces along with
interior ones. The stair shape of the façade col-
lage followed half story form of my house. These
similarities in collages were interesting to me.
After implementing functions in the plan
completely and incorporating various spatial
links in it, the primary plan took form, which was
only a single story. Then, I considered making
the plan beautiful and I changed slope forms and
their angles. Thus, I designed the plan along with
the façade.
Among the issues added later, were deter-
mining the height of half stories, creating
greenhouse spaces and different entrances for
different parts. When spaces were created com-
pletely, I finished the slope of the roofs, a sepa-
rate slope for each part of the building.
Then I created the collage and considered
various views and scopes of the site. I tried to use
site topography for designing it. Short tress in
front of the building did not bar the view toward
the city.
3.12 Recovering Spaces in the Hidden Corners of the Mind 77
3.12 Recovering Spaces

in the Hidden Corners
of the Mind

Student Niloofar Zarnegar
Dr Ahmad Ali Farzin
The start of collaging was the beginning of a new

experience. The first time I started exercising
collaging, I felt it is an unprecedented experi-
ence. Cutting clippings of newspapers and
magazines, pieces in which certain characteristics
such as light, combination, spatial sense, etc.
attracts the attention, and then arranging these
clippings next to each other upon a black card-
board ….
The exercise was at first a bit ambiguous but

interesting. When turning the pages of some
magazines, it seemed some pictures called me to
themselves. Maybe I could not say that what
characteristic of a certain picture attracted my
attention, but it seemed the pictures were selected
with me not being aware of it.
After cutting many pieces of these magazines,

I entered into a more critical stage to merge these
pieces and arranging them on a black back-
ground. It was difficult to select the first piece.
I tested a number of pieces on the cardboard and
finally the first piece was placed on it. In a dis-
tance from the picture, one could see something,
and when approaching it, there appeared some-
thing else. It can be likened into a kind of
“tranquility” for the imagination power.
The first picture was a cautious picture of

“myself”
When creating the first collage, the goal was not
important to me. What is to happen to this pic-
ture? Should I use the same characteristics in the
final design? Can it be possible to imagine a 3-
dimensional picture among the clippings of these
magazines? These and several other questions
were in my mind when creating these pictures. It
was the reason why I dealt with the first collage
very carefully. I selected the first collage after
considerable investigation; the obscure picture of
the organ of a human being was placed in the
center of the page. After selecting this piece, it
seemed that the orientation of the work was
determined. The textured surfaces of the azure
sky next to the white shiny textures and a golden
curve closing the cadre.
The result was incredible; a cautious picture
made by me. A reflection of personal tastes and
my interests placed upon an A3 paper. It seemed
part of the hidden dimensions of my mind was
revealed.
The sketch, Maquette, and 3 dimensional view
Sketching based on the pictures was not that easy
at first; I constantly approached and distanced
from the pictures. I tried to forget the reality of
each piece. I forgot the column being a column,
and the cup being a cup and forgot to use my
imagination. It was a difficult exercise, but after a
couple of efforts and the recommendations of the
master, I managed to put on the paper my vision
of the hidden space of the picture in the form of a
one point perspective; an ideal space for me. For
doing this, I used blue wallpaper and newspaper.
Finally, the picture that seemed to be 2 dimen-
sional and subjective, turned into a 3 dimensional
and objective reality.
3.12 Recovering Spaces in the Hidden Corners of the Mind 79
The fourth collage

The most effective picture in designing process
I created some other pictures after the first col-
lage, and then other sketches, maquettes, etc.
When reaching a stage in which the collage
process was completely known, I decided to
create other pictures without any fear or ambi-
guity. This was my fourth collaging experience.
I selected fearlessly and combined the pieces in a
full cautious manner. The result was evident.
I created a completely fearless picture.
An arched, silver element was placed in the
center and two spaces with different states were
placed in either sides. In the final design, this was
defined as guests’ terrace and the spaces in either
sides were the reception and living rooms.
The combination of collages and the start of

dwelling design
The work site was a completely slope ground.
The site maquette had already been created; I
analyzed it and now was the time to put all the
activities—including studies and pictures-side by
side to arrive at architect dwelling in Lahijan.
The project site was on Sheitan hillside and it
should include dwelling and atelier of an archi-
tect. The work started by specifying reception
and living rooms and their terraces northward,
the direction having the best view. Then, the
entrance and dividing space related to the first
collage was situated in southern and southeast
directions.
Then, other parts took form. The sleeping

rooms in second floor, work office on work ter-
race in southeast and the kitchen in southwest for
better light absorption and solving all relations,
were other stages of the work. One other
important matter was to putting this design in
harmony with the slope site of Sheitan hillside,
which hidden space were incorporated into the
collage with regard to this slope and surface
differences. Consequently, the final design was in
harmony with topography of project ground.
Contrary to what was assumed to be an
abstract and imaginative work, the projects were
very pragmatic and functional and all relations
and requirements were appropriately solved. The
spaces having origins in the unconscious mind.
Generally, I can state that architectural design
experience was two separate experiences of a
single design. Instead of previous semesters’
process—i.e. considering a certain volumetric
combination and then solving its relations—this
time it had experience a specific trend resulting in
creating more humanistic spaces. Instead of
focusing on volumetric combination of the work
and paying attention to bird view, this time
human view and interior spaces quality were
prioritized and then volumetric beauty was con-
sidered. Because work has its roots in the hidden
corners of the mind, the architectural character-
istics were more in harmony with human prop-
erties. For me, it was the first experience in
which the process of my design was different
from the process of a sculptor; a full humanist
design.
3.13 Releasing from Red Lines 81
3.13 Releasing from Red Lines

Student Fatemeh Hashemi
Dr Ahmad Ali Farzin
The difference of this design with the previous

one and generally with previous designs, was to
select our favorite design among two methods.
The first method that was the previous common
method, was designing based on concept or a
primary idea. The second was to design using
ideas extracted form collaging and based on the
spirit governing the space.
This time I decided to attain a new experience

by designing using the collage. At first, I had no
exact and complete understanding. I knew, I had
to collect and juxtapose various pictures and
finally turn them into spaces. It seemed very
difficult to me. At times, I frustrated and decided
to change my method but soon changed my
mind.
The most important matter in this method was
to obtain a spirit appropriate for the space. In my
opinion, the combination of pictures along with
its conscious aspect, which is the same as cre-
ating visual harmony between pictures, has also a
conscious aspect that is here the harmony and
cooperation between the pictures and we may say
that the effect of second aspect is more than the
first one when designing with collage.
In any case, I had selected this method and
had to compete it. Despite the difficulties of
starting the work making it difficult to spot
spaces among numerous pictures, for them, but
now spaces displayed themselves before my

eyes. The pictures went next to each other
automatically and told me how to draw. Finally,
when I looked at my design, I could see my
favorite tranquility in it that was also in my
collages. I managed to release my mind from the
impediments of red lines and obtain a valuable
experience.
The first collage

The pictures of this collage were very clear and
the element of widow was used in them. The
light of day coming into the space transferred
tranquility and motion senses simultaneously.
The spaces of these spaces are more like the
spaces that require light, such as kitchen and
living room as well as windows, which conduce
close relationship with the nature.
The second collage

This one is the combination of light and shadow
and constitutes those spaces that need less light.
Entrance hues and the terrace can be observed in
these pictures.
3.13 Releasing from Red Lines 83
The third collage

This collage shows spaces in night light. Living
room, corridors, entrance, etc. can be seen in the
collage. Contrary to the first collage, which was
enlivened by a great deal of light, this collage
with its low light granted more tranquility to the
night.
In the final design, the points of collages were
observed as far as possible. The accesses have
been considered based on the function and value
of each space and with regard to design climate,
ventilation and high light.
There are different sections in the designed

dwelling regarding the usage of spaces including
public section (guests’ living room, guests’ din-
ing room), semi-private section (family’s living
and dining rooms, playing field for children),
private section (parent’s workspace, sleeping
rooms). The location of these spaces is based on
different factors (light, sound, access, etc.).
Generally, the kitchen and family’s living room
and private entrance are in northern direction.
Moreover, this section has a very beautiful view
toward the lake.
Guests’ living and sleeping room is southward

so that it is near the main entrance and has
enough light. The sleeping rooms for family
members and playing field of the children are in a
separate section in the second floor, which has a
good ventilation as well as an appropriate view to
the periphery; moreover, they are away from
movement and activity centers.
A four-season room that acts as a greenhouse
is in the second floor and southward. It can be
used as a living room and a small kitchen for
family members. When designing the ambit I
tried to use low-height vegetation to create a
pause space among the condense periphery trees.
However, in north and west directions high
vegetation has been used due to adverse winds.
3.14 The Hidden Identity 85
3.14 The Hidden Identity

Student Shila Ahsaee
Dr Ahmad Ali Farzin
Awakening the slept creativity

There are various ways of obtaining a strong
design and effective use of mind creativity,
which we experienced one of them in this
semester called “designing according to the col-
lage”. We cut some pieces or pictures of news-
papers, magazines, and books with regard to their
color, form, and subject, and freely arranged
them according to light, color, space, and mate-
rial and thus obtained various collages using
personal taste in which the presence of light,
darkness, surface difference, and color harmony
can be observed. The ideal space of these col-
lages in fact showed us the spirit of the work, and
accidently introduced our ideal and interesting
space for living, resting, etc. after obtaining
various collages and consulting with the masters,
we extracted this ideal and interesting space from
the collages. We installed on the wall the col-
lages in a distance away from where we sat and
extracted these spaces by focusing on them and
sketched them. The result was various sketches
with a high compatibility with our spirit and each
one was more complete than the previous one.
This shows the expansion of our view and greater
success in extracting ideal spaces from collages.
Creating an ideal space

Then, a maquette was created according to
sketches and collages that should indicates all
details of the interior space of the element idea in
which colors and genders should fully represent
themselves. Collages are still sources of inspira-
tion. The color and light harmony were intro-
duced into the work to display the real identity of
collages in the maquette.
Thus, we arrived at a maquette of interior
space called our favorite space. In this stage, we
should consider developing this space and
reaching a complete, ideal design.
I had problem communicating these collages
at first and only some repetitive designs destitute
of identity existed in my mind, which I forced
myself to use them.
Because this was my first experience in col-
lage, I dealt with it quite primarily, but in later
designs, I will be more successful through nur-
turing my inner creativity.
After designing the plan, I started designing
the façade and then created the final maquette
and thus the task of our designing an architect’s
house ended.
3.15 Awakening Pictures in the Memory 87
3.15 Awakening Pictures

in the Memory

Dr Ahmad Ali Farzin
The human being and his life environment are of

a complex essence. Moreover, there are numer-
ous issues having different characteristics. The
need for new methods and making the pictures
visible open up an extensive field for creativity
and developing imagination power and these
methods should be exploited.
One of the educational goals of this semester
was to nurture creativity potential. The ease of
designing and dealing with new issues requires
speed, accuracy, and being attracted by
unknowns and unbeknown. It also requires risk-
taking and search spirit and being released from
rigid and formal contracts. Given the issue of
design 2, i.e. “designing a house for the future”,
any individual needs to create interior spaces
with regard to his moods. To achieve this goal,
visual tools method was used.
Given the issue of design 2, i.e. “designing a
house for the future”, any individual needs to
create interior spaces with regard to his moods.
To achieve this goal, visual tools method was
used.
The “picture” in our architecture shows a tool
we think a tangible reality can be introduced
using it. To achieve these goals, it is important
that the result can be transferred to others. When
we stand in front of these pictures, this visual
tool evolves us and creates actions and reactions.
The mind is activated and, by referring to the
memory, the picture of various spaces from the
unconscious mind and innate predisposition is
extracted.
The similarity of spaces in the memory are

analyzed and criticized. A relationship is created
between the spaces, are finally turned into a
metaphor, and emerge in a tangible form.
Awakening pictures in the memory, under-
standing the similarities, turning pictures into a
metaphor, all of them nurture the mind and
creativity.
I drew sketches of them. In these sketches, the

surface, light sources, and the general space
essence are introduced. Based on the sketches, I
selected the collage for the rest of my work
having a shadow of the peripheral spaces in it
and it could be situated in the heart of the house.
I considered this collage in more details. How-
ever, other pictures were used to create the
details of the design.
3.15 Awakening Pictures in the Memory 89
Analyzing the collage

By looking at the pictures infused by colors and
material, I felt being in a warm family sphere.
Thus, undoubtedly, this picture does not imply a
private space like that of a sleeping room and
introduces itself such as the private living room
of family members. I analyzed collage elements
part by part to create peripheral spaces and
developing this space. For example, there is a
light reflection in the left-hand picture, illumi-
nating part of the short wall in front of us. I de-
fined an opening to the patio based on the
existence of this narrow light, which acts as the
main entrance pattern. There is a penumbra in the
end of the space, between two end walls. My
interpretation of the space between these two
walls is a staircase toward sleeping rooms. Based
on these examinations, I developed the primary
plan obtained from the collage and the final plan
was designed through organizing the plans. For
corresponding the plan with the site regarding
roadway access, pedestrian access, view and
scope, ground slope, etc. I compared it with
north-south axis symmetrically. The final plan
corresponds with the site and its characteristics in
all aspects.
3.16 From Dynamism to Inertia, Without Cuts! 91
3.16 From Dynamism to Inertia,

Without Cuts!
Student Ali Mansouri
Dr Ahmad Ali Farzin
In any enterprise, work is the start of the road.

The same applies in designing. The thing we call
designing process is in fact a set of choices
illuminating the road to achieve the final result.
In the process of this design, we confront a new
option; designing using the collage. The results
of this method were incredible in recent years.
A set of intensely 2-dimensional pictures had
created real and tangible spaces and when I
looked more carefully, spaces had an evident and
hidden harmony with early pictures. Despite
encouraging and repeated comments of the
masters, I opted the road of collage with a sense
of ambiguity and adventure.
As the route of this designing method has
been defined in details in the introductory of this
book and comments of other friends, I avoid
repeating the design process.
The second and third collages

Due to reasons to be explained, I start from the
second and third collages. The collages in the
first glance I believed had no deep relationship
with me. I accede that when arranging these
collages, I tried to fit together those pictures
capable of producing space. This tendency was
lower in the second collage and culminated in the
third collage. However, the result was disap-
pointing. This was the reason these two collages
and all their lights and colors were forgotten for a
long time. I put aside the third collage forever,
but the second collage came in handy later.
The first collage

In fact, the first collage I “authored” was the most
important collage. My opinion was the same as
my master that given the time available to me,
this collage was excessively abstract and
demanded interpretation. In first glance, none of
the elements of the picture attracts the attention
to a particular space, especially that big and live
knob insisting on being “the door knob” even in
the farthest distance to the collage! However, the
colors and lights of the collage were interesting
to me. Thus, I concentrated, looked, and drew,
and finally arrived at an acceptable picture.
A smooth space with mild lights. In fact, the
obtained sketch had become more complex than
the collage itself. For example, my interpretation
of the powerful presence of that knob was that
such a tranquility and concentration exists that
doorknobs, even in a long distance, greatly
influence the viewer! Alternatively, I had placed
something in the semi-translucent, middle wall
that even myself did not knew its meaning; a
window to be opened on darkness! (Moreover,
later put it aside for the lack of enough time).
Even the strange roof that huge knob had fallen
on the space remained unknown for a while.
However, in fact, the first and second sketches
were depicted simultaneously, which were
extracted from the left and bottom sides of the
collage: a space greatly relying on warm colors
of this part of the collage, and with a new idea:
the pendant, wooden bridge passing through
darkness, submerging in end of the light. Intense
dynamism of surfaces, warm colors, artificial
lights of spaces, and curved staircase were
among the characteristics of this sketch, pro-
truding from the orange stains of the corner of
the picture that had penetrated into upstairs.
A maquette was created based on the sketches
of the first collage in which the lights of spaces
and general spirit of the collage were
emphasized.
Two depicted sketches were highly

contradictory;
One side, a bright and flat space and the other, a
dynamic and dark one. In doing so, these spaces
were improved as two level structure (slope of
site makes it possible). Therefore, my house was
defined as:
Dynamism of exterior space extend into more
public and active part of interior space. While we
are going up to spiral stair, its curve is gradually
reduced, till we get to silence and calmness of
private space.
We confront mentioned definition in two ways:

First, all events, from public to private space, are
only obvious in plan. A plan, full of curves, for
ground level, and linear one for upper level.
Second, I represent space modifications in
movement of one or two continuous planes; A
plane, in manner of continuously rotating wall,
which start to rotate from ground level (its rota-
tion form a stunning spiral stair) and end in upper
level and provide a ceiling or floor. There was
also same rotation in second collage and it
wonder me and if I could imagine better, I might
achieve these rotating stair in initial collages.
A stair, in a free planar cover, rotated and
ascended. This rotation needed continuous
movement, from vertical to horizontal, of mem-
brane without disturbing the stair.
To solve this problem, It required different
continuous paper planes which I designed them
differently to provide variety ways and stairs, in
the middle, to reach upper levels.
Actually selection, in this part, was based on
aesthetic, function, proportion of space occupy-
ing and selected plane. Beside irregularity of
plane which had not specific geometry, it should
not exceed more than usual in order to not only
preserving dignity of structure but also drawing
of planes were improved to design a plan.
Before final selection of plane, I had to draw a

plan based on site analyzing and studying of
personalities of people which planes were
defined inside it later. This scaled diagram of
correlation, after planes locating, was modified
due to some reasons. First, scale of spiral stair
was almost huge. Second, it was view to stair in
order to make visible reference point of structure.
Moreover, after locating planes in volume, it was
time to define axis of column which it also
caused modification.
In this step, final function of planes was

defined which both were changed in sloping
roofs of ground and first levels. In addition,
plane, moved beside bridge and went down,
formed an entrance when it was going to be
horizontal. It went out horizontally and created a
semi-open space. Moreover, this plane along
with a plane which appeared in the middle of
north wall were considered as connection points
with exterior.
Following step was formation of details

including color, light and furniture base on col-
lage. For instance, the wooden bridge at the top
of empty space and fireplace of living room.
Parking was provided by eaves of first floor. It
made possible to design a wall in location of
column. Extension which formed by turbulence
motion of two planes, provided entrance. Angle
between two plane in interior caused view and
motion an manner that view to private space was
almost limited and motion unconsciously direc-
ted to living and activity rooms. The matter
which leaded me from beginning, is that spaces
where social life and activity happen, there
should not be inaction point and home is motive
of life. Moreover, when families need to be
alone, home as a membrane keeps them away; in
continuous path and no pause.
Then, we continue the project to make our 3.17 Chizar Cultural Center ■
ideal images by collage technique, sketch the
result images and make a model of that images
Introduction
during two weeks and the goal is to arouse our
hidden mind and find out the general concept. Designing is result of subjective and objective
activity, needs and realization of project special
In the next step, not only the special point for functions that is hidden complicated step of
instance the color, light, material, sound, interior creativity and logical action in it.
and exterior relation, space dimension and pro-
portions etc. but also their positive and negative Designing is kind of process that is called «de-
points will be reconsidered. sign process», but sparking at the beginning of
formation is necessary. If this lightening getting
Finally, knowing about intended standards up from designer, it will be valuable.
and surfaces, we select the most suitable physical
Before starting to design, we should think
and psychological dimension, moreover, regard-
about subject and analyze the detail and basis of
ing to the site and choosing the best place for
project. The aim is to deal with the subject,
cultural center, we study to find the acceptable
analyzing the work sample and site
location in terms of accessibilities.
knowledgeably.
Characteristic of the cultural center
Aim
The Chizar cultural center in local scale,
The project purpose is to let student know about
regarding to the space for service, education and
interior space of an architecture structure, that in
leisure
this the effects of space interior function to space
1. Amphitheater for 200 person
exterior form is being considered. These con-
2. 5 educational-workshop class for 30 person
sideration is being dealt with in three below
3. A 400 m2 exhibition hall
aspects:
4. Library for 3000 book
1. Realization and analyzing interior space
5. Space for office work (management, 2 official
function and consider their regulation and
room, service, etc.)
relation of these function;
6. Other space (buffet, praying room, entrance
2. Selection of Material, element and detail of
place, shop for selling products, installation,
interior space based on their importance and
rest rooms, storages, etc.).
suitable composition;
3. Pay attention to the space elements effect on
Design site
each other.
Design site is in Tehran, that is shown in the in
following page figure.
Design steps
At the beginning, in addition to visit the project
site and analyze the case studies, we start to
sketch then study the effect of different envi-
ronmental factors on the existing design and
evaluate the function and their relation to
understand the elements and whole the project
entirely.
3.18 Cube 97
3.18 Cube
Designing the Chizar cultural center

Student Babak Shariati
Dr Ahmad Ali Farzin
Third architectural design was the second expe-

rience in the collage group. I think explaining
collage technique is not necessary but to explain
summarily this technique, the newspapers or
journals clippings assemble near each other in
abstract way to create a new whole. The portions
is selected by your enthusiasm and the result
images will be formed considering nothing.
Having intended space collage, designers are
able to sketch the space from the collage and then
make model from the sketch. The interior model
give us the space which is definable or even
developable, after the space is developed the
design space will be created.
Experienced the collage with the colorful
portions and too many varieties, I decided to use
less variety and more balanced colors, so I
respect my eagerness and pay more attention
when choosing the images.
The two first collage, unlike the third and
fourth, were kind of warm-up and the third one
was the main, so I sketch from that to make a
model.
Although the image were few, they glued
close to each other because of big images. The
color ranged from light cream to dark brown.
The collage space seemed shiny, deep and
high. Materials were burned wood, concrete and
stucco and floor sounds glossy. I made and effort
to make a model in accordance to the sketch and
the sketch lightening perceive on it the same.
After modeling the interior space, the fol-

lowing step is studying and analyzing the spaces,
their relations and summary of analyzing works.
I divided spaces in two categories: the educa-
tional space and other. The basis of category was
silent, so the class and library were in distinct
category from other spaces.
Spaces including restaurant and coffee shop,

is separated and the reason is this space are open
even when are close.
As a result, it is better to locate lobby, galley,

Amphitheater and official spaces close.
Accessibility and entrance were considered in

site analyzing. Eastern and western Street were
narrow but the southern street is wide and easy
access, so it has capability to locate the main
entrance. Except the school in southern street,
whole around are 3–6 floor residential buildings.
After this kind of analyzing, it was time to

come back to the collage process and define
functions for model space. Lobby was the func-
tion that I make a choice for it, in this way, I find
in that model, the place for galleries, amphithe-
ater and offices. The space density project for-
ward the architectural mass to the cubic form that
I consider this problem to mass imagination.
3.18 Cube 99
I started to prepare the plan and arrange the

spaces same as model. Except at least changing
in dimensions and areas, no changing was nec-
essary. In order to control the whole mass, I
designed the plan in square-shaped and place
lobby, amphitheater, gallery, official part and rest
room.
The heavy hanging mass seen in collage and
model, functions as gallery that the visible
staircase the access path. The galleries have
connection to form an integrated gallery in great
exhibition.
Lobby 12 m high in its main parts and a rib-

bon of light near the ceiling guide the eye toward
the space depth. Behind the hanging surface in
south of lobby was a way to penetrate light. The
west part of lobby should be made empty to have
this light into space that in order to have a good
obligatory cubic mass, hypostyle space in ground
floor, pathway in upper level, it was created.
Library located at the top of amphitheater and
planned an access way from interior.
Now the result mass is cuboid form with

square-shaped section and 12 m high which its
height damage the surrounding buildings view.
So I decided to deep the building down into
ground and surround it by ribbon of yard. The
barren yard is 8 m lower than the ground and the
planted ground is the sole green landscape that is
observable from yard to ground.
Building a pool in the upper ground around

the yard was another idea that passed by, to
reflect the sky and mass and also show the mass
hanging. I also could place the restaurant under
this ribbon of water.
The other structure that should be away from

other building was coffee shop. Since coffee shop
same as restaurant should be opened all days and
nights—even holidays-separate access way is
necessary. So I decided to design the coffee shop
as intermediate mass between ground and heavy
mass. The cubic and glass material coffee shop
start from ground and penetrate into heavy mass.
Being light mass, there was contradiction
between coffee shop and heavy mass. From dis-
tance, coffee shop seems a hanging plane that
people walk on this horizontal plane. The exact
location of whole mass was known based on the
main entrance from the lower part of site, parking
place and present Populus trees.
Have a courtyard, a ribbon of pool and park-

ing, there was no more place remained.
All designing step had been done through free
hand sketching, model making and primary
plans. After these steps, the final design was
modeled in computer with somehow changing.
At last, I compare the rendered image of lobby
by the collage, sketches and model of interior
space.
In conclusion, I experienced in second time, it

is possible to design interior space light in the
best manner by the image of a excellent com-
position. So finally we are able to design a space
light base on the rendered image light. I think
that this class was more successful than the first
time.
3.19 Creation of Fluidity in Space 101
3.19 Creation of Fluidity in Space
Chizar cultural center

Student Yasaman Haji Esmaili
Dr Ahmad Ali Farzin
Again Collage, experience of excellent time and

thought flying toward unknown world. This time,
collage is being served to create a public place,
design a space to spend beautiful moment.
A place to walk around and discover creative
idea in each side. Spaces for children to have
connection with each other; Place far from busy
city, car pollution and to experience new world.
Transparent wall for the one who escape from

the repetitive life and gather together and spend
their wonderful hour of their life.
Flexible planes slide on each other and people

can walk around, sit in pleasant place and look
around.
Time spend and people because of in their

busy life accompany with each other and move
forward. The only reason is willingness of
people.
They are part of my thought to design a cul-

tural center according to people interest and their
needs; so I select the photos and paste on a paper
to create my ideal space.
The first collage
The first chosen photo is reference point of my

space. The point that start and end everything
from it.
A crooked cross. Soft light make bold this

cross that seems I can touch boldness.
Spaces have been design along main axis.

Collage space is full of people. People are not
only representative of themselves but also rep-
resentative of space and dominant feeling on it.
The second collage
Movement toward light, full of freshness, in

narrow space that become wider at the end.
Trees and plants grow up from the lowest part

of space till they blossom up on the floating
surfaces of the chess pieces.
Points that all part of space move toward them

are behind the forms and shapes. To create them
in our thought, they are invisible in our view.
Shiny floor reflects the sky light and make the
space bright, fresh and also secure.
The third collage
Human being come out of access point and

move, dance or run into space. There is signifi-
cant correlation between this and previous col-
lage. Part of space along with its terrace seems
hanging. People can observe the stellar sky.
Colorful and shiny mass blossom in spiral

movement from this space. Space had been
designed like mezzanine up on each other that
rotating stairs connect them. A hole in the ceiling
covered by convex glass make possible to
observe the blue sky and because of glass char-
acteristic the observed part of sky seems more
extensive than usual. The central hall, with the
purple and reflective floor and mirror decoration
walls, is more deeper than meets the eye. The
corridor on the left side of the hall, stand firm on
the ground, invite us to get into it and discover
other world of cultural center.
The forth collage
This collage function as variety, small and big

spaces, for instance a library and classes. Like the
previous collage, here again there is a back-
ground of night sky. No different between the
color composition of this and other collages,
sparkle of red light in blue and purple back-
ground scene along with bright light like sun
shine. I feel that cultural activities will be done
rapidly in spaces created in this collage. Book
protect the history narrative and secure the cul-
ture. In addition, Iranian carpet represent the my
country traditions.
The forth collage

Life, the fresh life, can be seen in all thing
horizon. Children movement on muddy domes
and blue sky full of transparent cloud.
Red planes flow into water surface in front our

eye. Muddy wall stand firm at the back.
In each side, there is new discoverable space,

where we can play, walk around, run, or relax,
draw, stitch a carpet or make pottery.
Actually, this collage show landscape and

mass connection. This initiate idea help us to
design site.
Finished the collage, model have been made

based on abstraction in collage.
Thus restaurant was created. Free movement

of main wall cause a fresh space and the plants
connect the planes at the center.
Passing by the rotating stair, Music sound at

the second floor excite us. Maybe we stand at
half way or climb up small stair to listen the
music at the second floor.
At the end of model an opening toward sky is

defined. Blue sky and fountain at the first floor
catch our eye.
By composing the collages, spaces is defined

and all together create the cultural center.
A central glass corridor, visible of surround-

ing, make possible connection among spaces.
Beside entrance, mezzanines for lobby, restau-
rant and exhibition are defined.
Restaurant as can be seen in collage is

designed so that we can observe surrounding
landscape from the first floor and interior space
of cultural center and music hall from the second
floor.
In exhibition as the first collage, glass vol-

umes come out of one side of it and reflect red
light to objects, similarly, flexible forms are
defined on the wall of other side so that rotating
on its axis, landscape and variety status of light
can be seen in exhibition.
Amphitheater, the other side, stand firm and

its order and symmetry induce peace and silent
feeling.
In second floor, classes and library on one

side and official room and computer site on other
side are defined. In third, there are two work-
shops as governing space on all site.
Finally, direct and indirect access path are

defined to among spaces and also to exterior
space in best way.
Soft lights in ceiling are designed so that

when variety type of light penetrate into space,
their reflection on the wall and floor cause
diversity in space.
Flexible space is also firm and silent in order
to induce peace feeling. The crossed form mass
connect all space together. Places where walls
and ceiling or decorative beams and column join,
this form is obvious.
Form continuity in surrounding landscape is
also obvious. In landscape design, some places to
sit and relax are defined.
Artificial lighting is designed into fountain to
create a wonderful space during nighttime hours.
Lighting is used to emphasize on the main
entrance and also contradiction between void or
occupied spaces. In addition to that, lighting
cause beautiful parts of mass seem more
wonderful.
In each side, light invite us and define our
movement way in site and ensure us where to go.
In other word, lighting is our guidance and also
forms space and volume.
Based on main idea of design and using the There is a parking and a amphitheater in
site collage, the site plan was designed. southeast, next to main entrance.
A mall in northeast and a wooden cottage for I use collage in whole design steps, from the
art class at the top of the hill in northwest of site first spark of design till end, from main idea of
are considered. To have a beautiful landscape for design till completing the mass and architecture
exhibition, a plant fair was defined. design.
3.20 High, Light, Transparent 109
3.20 High, Light, Transparent

Student Anahita Khodadadi
Dr Ahmad Ali Farzin
Designing the cultural center was began by

analyzing the characteristic of the present cul-
tural center including Daneshjo and Arasbaran
cultural center. we visited and took photography
of the mentioned Arasbaran cultural center, when
people of Abbas abad region were preparing for
the days of Tasu’a and Ashura. Some people
were practicing the Tazi’eh and a narrator told a
epic of Shahnameh and Ashura in entrance lobby
of cultural center and some came to the class
there. An artwork exhibition about battle of
Karbala and Shahnameh was organized. Gener-
ally, groups of people were doing activities in
each side of cultural center in order to hold the
ceremony as well.
Chizar site analyzing including weather, cul-

ture, people behavior and building usage made it
obvious to select my desired images in my
thought that was suitable for mentioned space.
I chose my desired images and it was time

illustrate my idea in by collage.
The first collage
When I was looking for images, Lightness and
vastness of space was the first thing attracted me.
Glass and steel made network plane induce
feeling of lightness and vastness. The space was
like a natural landscape of dessert, with sky and
white lines on it, it not only cause heaviness but
also give variety. Beside the calm blue space,
dark red bricks caught my eyes. I like the light-
ness continue through the arch above the space.
Second piece was chosen network plane, which
its color was same as red brick of the last part of
first collage.
It was better to pay attention to the reference

point of image, the redness of brick at the end of
space, and use this attraction in collage.
Curvilinear line pattern of floor represented a

wavy path that ended to a light space in a red
colored context. The question passed by in my
thought was: what happen out of this space, not
far from it. Maybe there was a porch around the
building or a central house and planting site at
the center.
The second collage
Intensive light, penetrated into space from ceiling

and cause along the spiral form stair, ramp or
something like that, was chosen as main factor in
collage. I extended the spiral movement around
light corridor and enlarged the downstairs ceiling
parallel to other curve toward infinite point. It
provided a vast and friendly space to public
gathering and watching theater, movie and music
playing. Space, down the ramp, should be a cozy
and comfortable and also warm and bright to
speak to your friend or stay there for a short time.
I chose dark red and white to emphasize on red
color of context. To avoid a massive space and
find a way toward or provide fresh air, a garden
was defined behind the wall that remind us plant
blossom in the spring.
The third collage

I preferred to walk out and notice the exterior
space. There were some frame outside of build-
ing but I could not guess What they could have
been. I colored the horizontal and vertical ele-
ments of frame white in order to set up desirable
contradiction between frame and dark green
background of out. The first one, white vertical
element with a rotating cap up on it, defined a
place to stop and rest that was lower that the
ground surface. Sun shone on the long beam of
porch, the porch around the first element, and
caused dark-light on the building face. A stone
stair went up and cut the porch and ended to a
green landscape. On the other hand, the reflection
of tree on the blue plane around the porch that
wind cause it unorganized, could be seen on the
floor of space easily.
I sketched the resulted colleges. The black

background collages were my vague and general
image of ideas about considered space. In this
step, I added or subtract to this image whatever
was necessary.
The second collage that defined rising spiral

space and porch around it and open light space to
speak and rest at center was chosen as main mass
of cultural center. First, I made a amateur model
based on the sketch of second collage. Long
bright hole and dark-light caused by the porch on
the ground were defined by slice plane. But I had
to show the bright state as best as possible in the
next steps.
The next step, I considered the model as a real

project and upgraded it. The first subject that
occupied my mine was, how it was possible to
keep the high porch as hanging planes, and the
second was, which part of building the light
behind the rotating stair should penetrate into
interior space. I considered and analyzed differ-
ent ways to solve them. The result was a mass.
passing by its entrance and light corridor, there
was a spiral stair. Upstairs, a space to public
activity and gathering was defined that some part
of it continued through a hanging porch that in a
spiral rotation ended to the ground.
I used some ideas of light space of first col-

lage, its grid ceiling and brightness passed
through it, in my exhibition situated in the
gathering space in order to harmony with the
collage approach because the collage approach
was lightness, coldness and well integrated with
nature.
The significant subject in the first and second

collage which I dealt with them, was a hidden
space. It was felt easily but had no objective
definition. It caused me to think about the hidden
space limitless and apply my imagination force
to materialize it. Finally, Amphitheater was hid-
den space.
In third collage, there could be seen reflection

of a semi-open space along with a closed build-
ing behind it in the ground. I used the reflection
of present mass in my middle space. So, classes
were defined along the hanging porch. This part
of design not only completed the rotating
movement of space but also caused to show the
massive space behind it more lightweight.
In order to close the spaces ring and according

to the collages based on a lightweight and semi
open space, the hanging porch around the central
yard was closed and caused to connect separated
parts of complex. Furthermore, the official and
management spaces were designed second floor
of it.
Finished the whole volume, plans and archi-

tectural documents based upon the existing
architectural standards were completed. I ana-
lyzed different building systems and finally chose
the cable system along with space frame struc-
ture. Details of small beam, cables joint and
system of setting up hanging the porch on the
cables were examined and designed by computer
software to make the project as real as possible.
At the final stage, model of cultural center
showed better image of design. Reconsidering
color, material and texture of collages, I sketched
the resulted space to define the cultural center
structure as well.
Cultural center design was prepared. I used

collage as source of inspiration from start till end.
Once again, my imagination and mind images
came true.
3.21 Moving Surfaces 115
3.21 Moving Surfaces

Student Hatef Ghahrodi
Dr Ahmad Ali Farzin
How is it possible to organize urban activity

among work, business, leisure time as well to
enjoy significant potential of private life and
human scale with the nature? Architectural works
depends on variety and complex factors of lin-
guistics, global values, etc. In addition, it is
possible to represent these works as white color
by emphasizing on light using material charac-
teristic and purity. Light, has special implication
and usage, acts as decriminalization factor in the
world, actually, there is correlation between it
and nature.
Iranian architecture and traditional and Isla-
mic architecture define reflection of a sustainable
thought of a prototype that correlates past, pre-
sent and future when creation activities have
been vanished into some parts of vast horizons.
Although, it is a controversial subject, it is con-
sidered one of necessary principle in Iranian-
cultural design.
Earth is other subject. It is important to learn
to live successfully and more sensitive related to
earth, as a source of life. We need to change our
behavior with the planet that creature are living.
Instead of trying to dominate it, it is better to
think about, respect and work on it.
Although dignity and reputation of our pro-
fessional architecture has been destroyed by
merchandise and bureaucracy, we are still able to
improve the correlation between human being
and earth fundamentally.
After short introduction, I will deal with some Articulated ceilings is open hydraulically.
aspect of designing. Experience of architectural This subject is considered a kind of dramatic
designer show that it is possible to reduce the aspects of design and make possible some parts
energy level extremely by using the respiration of gallery multi-function.
layers of building. I realized a fascinating color composition
Aerodynamics planes protect the building including white, black, red, jade green and dur-
from the heavy winds, possible indirect move- ing designing which acted on design creativity
ments and dangerous upward forces. effectively.
3.21 Moving Surfaces 117
The first collage

Design steps started with a stunning background.
A blue background that showed unification and
endless space. Correlation between earth and sky
is established by a connection bridge and this
sample is considered as evidence for it. A color
balanced stair, heavy planes but weightless like
feather, induce the feeling of ascension toward
unknown point. The mentioned point settle in far
away. Moving forward and fearless to concen-
tration point. The concentration point of lights.
Green bridge at the right side of scene empha-
sizes on subject more. The constant blue current,
hanging projectors in path, variety architectural
shells, downfall grids of building facades and
vertical fraction define entrance and invitation.
The second collage
The most difficult case in collage is knowledge of
each artist about nature of each piece but this
causes him/her to do not know what the roles of
each is. This subject may seem hopeless factor at
first glimpse, but by watching the pieces in dis-
tance, artists can imagine whatever they want to
know. At the beginning, my first imagination
plan is some light radiations. This method of
light dispersing on a plane is one of wonderful
technique is obtained using a suitable light filter.
Light halo at the left side of image is certainly
sunlight penetrated through elements and set up
on decoration fountain, it can be seen in second
plan.
I cannot accept copper decoration on ceiling,
instead, in my view the wooden agree with my
design identity. Brass and copper materials show
spaces more massive and heavier.
The green color of Plexiglas was not my
interest, just for composition. Plexiglas induce
feeling of lightweight and vastness. In addition, it
establish more powerful spacial connections
regardless of endless field of view. The up hor-
izontal piece show a stunning sectional imagi-
nation and induce feeling of two floors
architecture.
Therefore, horizontal movement at the top,
rotating and deep movement at middle, and
fountain in second floor are advantages point.
The third collage

Billboard and red, yellow and orange colors
arose happiness and freshness. If there were not
horizontal astonishing panels at the top, space
seems like a nursery school. Nevertheless, cul-
tural center and nursery school are somehow
same as each other including colors, childish
feeling of people when they enter a cultural
center, cooperation sensation in performances,
discussion and different cultural and educational
activities for instance difference in colors and
fabric.
• Orange decoration (ceiling fabric)

• Skylight and its continuous panels that
emphasize on horizontal direction. Vertical
elements such as low-rise yellow stucco semi
walls are in accordance with horizontal path
of top level
• Right side counter for instance reception or
pre-space
• Distance between two neighboring pieces, an
opening from inside to outside toward us
based on billboard attraction and its direction
continues at the end of picture and so imagi-
nation of staircase to upper platform. Gener-
ally, a first and second order lobby, a high
division space.
The forth collage

I always think why light on floor that penetrated
into space from an aperture is so beautiful; its
value rise up in visual art extremely. It is result of
hard working of sun and finally a great art! The
collage started with slight color. The upper sky-
light induce two feelings: (1) Opening,
(2) Building slab or hydraulic shell.
I observed the incomplete pieces sliding
behind each other. These layers induce feeling of
movement and sliding of these slabs.
Floor, walls and ceiling were integrated. On
the other hand, they are at the same level. All are
the same color, fabric and even lightness (rect-
angular light). This characteristic of sequence
continue the whole design.
3.22 Illogical Sincerity 119
3.22 Illogical Sincerity

Student Mahan Javid
Dr Ahmad Ali Farzin
At the beginning, I went to Arasbaran cultural

center to understand the my design space as well
and sketched some places that seemed wonder-
ful. Then, I started to research and analyze the
advantage and disadvantage points of cultural
center and continued it thoughtfully.
I began to assemble some collages based on

last semester (Thoughts sprang to my mind and
caused me to choose special images. It seemed I
heard slow shouting from inside myself).
First collage showed cozy and friendly space

that its density, walls, ceiling and floor were the
same size. Its characteristics would be explain
more.
There were photos defined a high density wall

covered by picture. In addition, cafeteria could
be seen. Second collage was an unfriendly space
which a red colored line overwhelmed its
unfriendliness. There was an exhibition that its
door and zigzag form walls set up near each
other.
In third collage, lobby and educational com-

plex induce feeling of serenity and was colored
attractive and stunning. In addition, I observed
part of hanging and open exhibition, the zigzag
form one, in this collage!
Last collage was ragged and unfriendly which

I obviously saw the official part in it. A formal
and authorized space with decorative walls.
General space of collage form in my thought.
Whereas I cut rectangular papers, I feel that all
spaces are rectangular form. I began to sketch the
collages. I had four or five sketch each of collage
because I needed all side of space. Some collages
even seemed different several days later. In next
step, I started to make a model of spaces. The
subject arose my wonder was a small model
needed six picture because I thought they were
pictures of a model from different sides.
Finally, main part of design was formed.
Next, I started to draw a plan based on model.
Two lines break the regular spaces in two. I de-
cided to put aside the regular approach, without
trouble in sense of space, (I felt that this method
is based upon collage more), so according to this
the general plan was changed.
3.22 Illogical Sincerity 121
The design idea was based on two near zigzag

lines, without natural light, the width of one
could pass. There were pictures inside its walls.
One find her/himself alone there and therefore
has to see and think about them. A space at the
end of path, is applied to represent pictures on its
walls, ceiling and floor. It means passing by one
dimensional space, you get to three dimensional
space.
There is a high rise exhibition without stair,

the only access way is elevator. Coming back
from exhibition, a wall beside the glass elevator
is full of pictures. So people can see new ones.
Following the first exhibition, a corridor is
defined as cafe exhibition. Thus, after ordering
for drinking, person start to observe pictures and
tools.
We began to site analyzing at last weeks.

Therefore, a group of our classmates went to the
site in order to observe it and study problems
such as tree position, present building surround-
ing to access way, views, etc. Next step, I gath-
ered information based on library books. Then I
began to find solution for spatial and interior
correlations. Knowledgeably, designing the
space was done in best manner. First plan, for
instance its spaces and windows position and
height of different spaces, was changed accord-
ing to gathered information.
Next step, site plan was designed. I extended

all lines of plan, planes were acquired from the
cross and parallel lines. Each of plane defined a
position such as fountain, pool, park, restaurant,
etc.
Finally, I made a model and realized the

design problems during it, for instance to bring
down the amphitheater in the ground, add several
floors to exhibition, reduction of unsuitable
fraction and locate the building on proper site
plan. Following step, I organized the plan
equipments and improve the slight problem. At
the end the design steps were finished.
3.23 The Color of Grey Mind 123
3.23 The Color of Grey Mind

Student Negin Shakibi
Dr Ahmad Ali Farzin
I always look for a start point to do a work. This

time is a cultural center! I should start now. But
from where?! Plan? Section? Concept or ….
Vague images spring in my mind. Black,

white, grey images. It seems I do not dare to
color my mind spaces. I got confused among
thousands of images spring in my mind. I should
find a solution. Maybe the solution is collage. It
may be a good start. A method that some reject it
without trying it! But I tried it once and found the
solution. Maybe it is start of wonderful end.
Finally, I decided to experience collage again.
Using the piece of papers form my imagination
and color it. The unvalued pieces that gather
together to shape my ideal space.
I flipped through the magazines one by one

and cut suitable photos, rectangular form. I con-
cluded to cut all of them in rectangular form
because type of cut effects the space difference.
Red, grey, orange, cream, white and black pie-
ces. It was meant to compose the spiritless and
cold colors and warm and fresh color like red and
orange. I pasted the photos on a sheet and looked
it in distance and replaced them with other pho-
tos to get a proper composition. The result was
wonderful. Two different composition collages;
But same feeling.
Colors of first collage were grey, black, white,

orange and the second one were cream, red,
white, black. Looking the collages vaguely,
photos resulted in detail and accurate. Interior
space of cultural center could be seen in collage.
It was time to sketch these mental spaces.
The black and white sketches could not

express the space same as collage. Making a
model of interior space is certainly the correct
answer. A model based on collage color and
sketches.
The first collage, the grey and orange one,
define a gallery that heightened 0.5 m upper
ground. There is a black partition wall in the
middle of gallery to locate drawings. Reflected
green light of trees behind long vertical and
opaque windows of corridor-formed space, at the
right side of mentioned gallery, exhilarate the
space. A column between each two windows
present rhythm and movement in corridor. Nat-
ural light penetrate into space in this way and
lighten one side of collage. This corridor would
be entrance path to gallery.
The colors of left side of collage, grey and
black, tend to warmer colors and space seems
pale. Artificial lightening is used in this part and
its lights glint and reflection of brightness on the
floor and walls are obvious. There also was
defined a slope path to gallery.
The second collage is full of warm color and

its red colored parts wonder your eyes. Atmo-
sphere of Space at the right of second collage, the
cream colored one, is same as the left side of first
one. Maybe these two parts are correlation of two
collage. There is a glass space with natural light
in the middle. This part is defined as entrance
space, located lower than other. High red space,
left side of collage, is narrow walls and heightens
one meter upper than entrance. There is a parti-
tion above the mentioned space, that a string of
decorative dark color spiral form is added to this
partition. The connection path between this space
and ground floor is stair. The created space
define a gallery bigger than previous one.
The light, radiated to a white wall at the end

this gallery, is so attractive. This shows that
space do not end to this collage and will be
continue. Light of all these spaces generated
artificially and reflection of everything and walls
is obvious on shiny flooring. The spaces are
create in detail in a way that all can walk on
galleries and watch the pictures. Part of design-
ing were finished when two galleries were con-
nected by entrance. General geometry of
designing was completed. Then I improved the
geometry. The first space, lobby, was created
based on the mentioned geometry. I continued
designing by drawing a section of created space
and kept on this section based on three dimen-
sional view. To vitalize my thought imagina-
tions, I tried to make a volumetric model. After
model making, most of space were placed as
well. General volume was created by two folded
shells.
Galleries, entrance, lobby, official part and

classes were organized in space made by first
shell. This shell goes up in entrance, hangs up
and again comes down to earth. I designed an
open coffee shop and restaurant. The second shell
created an amphitheater above ground level.
Restaurant floor plane goes up, folds and forms a
wall of amphitheater. Western and eastern walls
of cultural center are covered by dark metal
planes. There are grooved in the folded shell to
have north and south light.
Lobby, gallery, classes and offices are supply

by this light. I defined a cuboid library that its
mass penetrate into first shell, pass it and finally
come out from southern part and keep oblique
and narrow columns hanging. The library sha-
dow define entrance as well. There is a lawn
space in the middle of shell, at the top of ceiling
that huge and tall trees, in the lobby, get through
it and come out of it. In addition, stair, started
form ground floor, pass by this part of ceiling and
end to library volume.
Spaces are completed now; colored spaces,
places where all can walk on. The result is not
only plans of building, but also lively cultural
center. Spaces were created carefully using just
vague pieces of images were gathered on a
paper! The collage which give live to my grey
thought.
3.24 My Scheme 129
3.24 My Scheme

Student Nina Godasiaie
Dr Ahmad Ali Farzin
Third architectural design was cultural center.

I did all steps based on collage same as last
semester. Experiencing of collage attracted me
and also the consequence of my scheme resulted
from unconscious wondered me. I really inter-
ested in the pictures of collage without logical
reason. Therefore, based on the experienced
collage, I applied it again eagerly. I started to cut
the images and pasted them in a way attracted
me; the scheme which is for me; in other words,
it is me. The images were colorful and I chose
some just for its light characteristics. I began to
prepare the collage. I had sense of belonging
related to the four collage prepared sequentially
and also enjoyed them. I found images in col-
lages which resembled to the images seen in my
Up: The first and second collage childhood. I sketched the images of my collage.
Low: Third collage The sketched spaces looked similar to collage
spaces.
The fascinating point is, the images resulted tinuous movement from inside to outside and
from collage were obvious, complete and con- vice versa. It is a reciprocating motion, which
templative. I gained a new space, using the started from inside and is repetitive. I feel
resulted images from collage, which resembled calmness, when designing improve. It is my
to a restaurant and other space was a corridor. designing and I sense it. Because the designing
I chose the best sketch and based on its color I method, There is obligatory framework. Collage
made a interior model that represented the col- never induce constraint.
lage atmosphere. Then I improved it and main- The important point in this method is, one’s
tained the best one, in the next step, upgraded designing is particular based on his/her idea. All
other parts. capacities are considered in collage, therefore it
In my view, this kind of motion is admirable is a complete and perfect method.
and contemplative. The movement which started
from inside and get out. In fact, there is a con-
3.24 My Scheme 131
Collage represent a designing which I

improve and sense it. It means that I walk into
my spaces and imagine them using collage.
I think about people attend in these space, how
they feel visually. How high is ceiling and win-
dows and what can I induce them using these
space?
Up: The model of collage

Down up and right: sketch
The glory of spaces is obvious; The open and

high rise spaces. I started designing from inside
and thought about outside. I kept my thought
continuously. In my view, the result was attrac-
tive, it was a reference point which I pursued it,
Because I saw the outer form in collage, a rotated
and continuous shell. Its material, concrete, was
even obvious in collage.
The collage talked to me. I found out about
color, light, height, interior space, material and
outer form using collage. It is not only the best
method to gain a final design, but also help the
designer to recognize his/her thought back-
ground. I have answered some questions which
occupied my mind for a long time. I confront by
strange and sudden subject but known during
3.24 My Scheme 133
collage. The resulted images of collage reflect

our mentality more than our expectation. If stu-
dent apply collage, their work improve easily and
guide them to gain the best result.
A motion from inside to outside and space

understanding that achieving the best designing
is the only result. Plans of project
Collage understanding, as a important

method, is space and its user understanding.
I ended up the designing and gained a won-
derful result.
3.25 The Second Experience

Student Ali Soroush
Dr Ahmad Ali Farzin
Designing condition was strange at the beginning

of semester, because a residential building had
been designed using collage last term, but this
time, I started a new subject with the same tea-
cher and method; a cultural center.
When we began collage last semester, teach-
ers learned us to have building design based on
your feeling and mentality, gather whole your
interested pieces, according to their color, light,
fabric and form, in one collage sheet. Is it pos-
sible to design a cultural center using those
interested collage of residential building?
The main collage of cultural center

3.25 The Second Experience 135
I started to prepare a collage after site ana-

lyzing and studying the teacher’s desires. The
only different between this and last term collages
was: I chose the suitable pieces of cultural center
and did not use all arbitrary ones.
I started to prepare a collage after site ana- The main collage of cultural center
lyzing and studying the teacher’s desires. The
only different between this and last term collages
was: I chose the suitable pieces of cultural center
and did not use all arbitrary ones.
I paid attention during gathering the pieces.

Unlike last semester, cutting lots of images from
magazines, I chose the pieces carefully and
thoughtfully this time. The model of collage
The resulted collage, after preparing some

colleges, showed that creativity in collage is
important factor in interior designing.
The model of collage

My collage, with its colors and forms, defines designs based on my initial principle of idea, it
a feeling which is not possible without it. When made me happy.
Dr Adibi (Group supervisor) provided the sket- I sketched the collages; drew a plan; and made
ches of my classmates and Tabriz university a model.
students of my collage. I found out that they are This was undoubtedly the best experience for
me in last semester.
Top: Sketch of main collage

Right: Model if collage
Below: Site design
3.25 The Second Experience 137
When I realized my sense of local cultural sketches caused me, same as adult, to walk on
center was formed in final design, I got close to the my ideal cultural center and experienced the
my architecture. Light and color of model and childhood and adulthood my best memories.
Top: Second collage

Left: Model of collage
3.26 «Collage», Second Sequence

Student Farhad Binazadeh
Dr Ahmad Ali Farzin
The purposes of reselection of collage, as a

design method, in this semester were to know it
better and completion of previous experience,
although there was difference between this and
last terms: the importance of outer form of new
design.
Top: Collage
Below: Model of collage Unlike previous term, first step, preparing
collage, progressed rapidly, without confusion.
Therefore, sketching and collage was purposeful.
Design began by preparing two collage. I tried to
make a space instead of sketching, so I made a
model after collage immediately. In addition,
colors was applied in model making. Like the
previous term, the initial model defined the
resulted sense of collage not the architectural
space.
Fortunately/unfortunately, I came across a

problem in designing which was a great personal
experience. It must have helped me to know this
method more.
The problem was, I lost the early collages.

3.26 «Collage», Second Sequence 139
As regards I had a model based on collages,

my teacher guided me to restart and prepare new
collages. I thought that making a collage depends
on time, but when I ended up new collages, I
found out these ones are the same sense of pre-
vious collages, however more developed.
I made a model based on new collages

immediately but paid more attention to archi-
tectural space because the short time. I even tried
to represent the outer volume in one of model.
Like previous term, I designed spaces such as
gallery, amphitheater, etc. After that, the
designing went on more accurate.
Applying the collage in plan was the subject

helped me to design the plan and organize two
dimensional lines. Finally, I realized the rotation
angles of lines of plan, same as collage, are 18°,
34° and 90°. These lines were used as guidance
in site design; actually, this geometry was not as
a limitation factor. In addition to organizing the
design, it was a guidance element which help me
to get closer to the purpose, defining the sense of
collage using the spaces. At the end, the result
was satisfying.
I experienced by the new design that collage

is a starting point and guidance for architectural
trend. Based on one’s creativity, approach of
people toward space is different. Even the results
of two persons designs, based on their activity
trends, are different for a collage.
My experience of collage was improving

during two design classes. First term for getting
familiar it and its usage, but creativity and per-
sonal approach is considered in the second one.
In my view, collage is significance method as

a starting point. When our conscious minds are
not able to choose the best method to begin, we
can use our semiconscious minds and interior
Top: Final model abilities. Collage is the most suitable method to
start and finalize a design.
Below: Model of collage
3.26 «Collage», Second Sequence 141
Top right: Computer base model

Top left: Final Plan
Below right: Final model
3.27 Large Scale «Collage»

Student Laleh Reshad
Dr Ahmad Ali Farzin
Chizar cultural center was the subject of this term

designing. The scale of mentioned design is larger
than residential building one. Circular form,
defined the entrance, was first element which used
in collage. When I observed this form, I felt that a
buffet or mall should be behind it.
Pasting several images on sheet, it formed

sequentially and induced sense of depth. Domi-
nant colors were tones of dark brown and black.
In order to enliven the spaces, they needed light.
I decided to define low depth yellow space
behind the curvilinear volume and after that
design a friendly, not a formal, space. A space
that excite feeling of proper coldness, acceptable
light and ideal silence, or stunning light which
absorbs and invite inside. I was interested in
gaining a semi-open green space, defined at
center of spaces. In this step, I added spaces a
image which induced a four side space, sur-
rounded with rooms. A space which might define
the mentioned green space.
Collage was divided in two parts including,

yellow and green space with stunning light and
the other is dark and brown space.
3.27 Large Scale «Collage» 143
Also spaces were created behind the men-

tioned space. Intensity of light and long corridor
absorbed me inside. I walked on spaces of col-
lage. If I took straight path, I might arrive to blue
space, induced a pool, or stairs to mezzanine.
When I went to down stairs, one way guided me
to vast hall with stunning light. There was a
curvilinear space at the right side that seemed to
define end of space.
Design process
At the beginning, I started to make a model.

Colors were organized beside each other same as
model and I defined spaces based on it. A stair-
formed space and its long corridors caught my
eye. Gradually spaces were defined by organiz-
ing the space beside each other. New spaces were
formed at the center of spaces. Distances
between these spaces and corridor and stairs
should be defined. I decided to work on each
spaces and found the function of them.
In this step, different spaces of cultural center Tope: Sketch of collage

were defined and attached each collage space a Middle: Computer base
model
function. I work on spaces separately. I started Below: Model of collage
with sketches of collage and tried to complete
them by model and collage. In doing so, whole
spaces were created in my mind and I just
organized them. I reused the collage to realize the
location of spaces. The resulted structure seemed
horizontally more than expected. So I relocated
and put them behind each other. At first, the
square stair absorbed visitors. There were a
curvilinear form at left side and depth space at
the right side.
Moving forward, a semi-open space defined

as central point. Spaces such as gallery, classes
and amphitheater were organized surround it.
The central part should seem more noticeable.

So, I made a decision to design its ceiling dif-
ferently and tried several types of glass ceiling.
Finally I arrived at a conclusion which it was
possible to define a movement way (corridors) in
this space. A garden gradually was set up in the
center of space that waterway flowed toward it.
The idea of glass staircase came to my mind; a
glass wall with stair and fountain surrounding it.
To have unity among spaces and because the
spaces were organized separately, I decided to
apply ceiling in whole spaces. Each of them was
defined by colored glass in ceiling.
Spaces description
Central space
Looking to the center of collage, it reminded me
a glass or blue plane. This caused to apply a glass
plane and fountain at the center. The ceiling of
space, because it considered as prominent place,
was different. There were sitting platform at the
edge of space. Garden surrounded by gathering
places.
Class
This part was a four side space with rooms sur-
rounding it. This design was resulted by left side
of collage.
At the beginning, I decided to set it up at the
center, but located it beside based on its position
on collage.
Site design
To strengthen the sense of main entrance and
provide a gathering place, I planned to create a
vast step form space in front of the structure.
Moreover, the southeast axis were powered by
defining squares and ribbon of water. I designed
a place for gardener at the end of site. Space such
as buffet, cozy place and playground for children
were part of site. Also, there was an open
amphitheater at the top part of site.
Gallery
Gallery was somehow glass made. A garden in
the middle divided it in two. Green and cream
yellow spaces gave sense of freshness and cool-
Top: Sketch of collage
ness. A skylight was defined at top of garden. Below: Computer base modeling
The space form strengthened movement toward
open space. This part was designed base on left
side of collage.
Playground for children

This part was resulted from curvilinear form at
the center of collage. A form which ascended
step by step. Children could play, draw, sit or
make a model at the center part or between steps.
Library
A light and deep space could be sensed at the
center of upper part of project. This space caused
me idea of a long cubic space next to entrance
come to my mind. This space was for library, sub
gallery and a drawing place. I was interested in
defining a long windows for library.
Second collage
The second collage was based on curvilinear
form, but it seemed as a medium and division
space this time. I felt the entrance is in the right
side of image. The light, penetrated into space,
intensified this feeling. There was a formal space
in the left side that seemed a conference hall.
Door at the right side of stair guided us toward
upper level. A long corridor with warm and red
colors and prolonged windows directed us
toward the end and exterior space.
Top: Second collage

Middle: Computer base
modeling
Below: Sketch of collage
1 Entrance
2 Restaurant
3 Library
4 Amphitheatre
5 Central space
6 Mall
7 Playground
8 Gallery
9 Minor gallery
10 Offices
11 Rest room
12 Installation room
3.28 Reinvestigation in Labyrinth

of Mind
Student Nilofar Zarnegar
Dr Ahmad Ali Farzin
… Restart
It seemed no vague this time. We knew the path,
but at first “what to arrive” was not important.
“How to arrive” was considered. The path which
experienced before and would be examined again
willingly.
At the beginning, It was important to inves-
tigate some information about cultural center.
Our collages must be our cultural center but mind
needed sparkle to start. So we decided to go
Arasbaran cultural center one day before day of
Taso’a. There were painting of Ashura in its
lobby. Passion readers performed Tazia and
mournful people gathered around them. I con-
cluded cultural center is not considered as several
separated spaces with its functions; it is gathering
place for people have in common such as cul-
tural, historical and religious. I began to made a
collage based on these ideas and thought. They
were not as residential building. Its scale, colors
and space feeling represented a cultural center.
3.28 Reinvestigation in Labyrinth of Mind 149
First collage
Personal calmness and privacy dominated this
collage. There is red beam at the corner and their
soft reflection can be seen in blue backgrounds.
Forms were combined and colors were mixed
together quietly. Horizontal and vertical border
lines are visible and it is small scale.
Second collage
This collage is full of attractiveness and it seems
each part tells something. Transparent frames at
the right, obvious and curvilinear motion at the
left and a hidden softness in straight lines at the
center. At the beginning, I could see the exhibi-
tion in collage. A dynamic one point perspective
along with a pure curvature at the front …
Third collage
There is motion in this collage in a manner that
can be felt in each side. Colors combine and
masses are organized beside each other. The
image is full of curvilinear and reflective
motions.
Forth collage
Similarly, this collage is full of dynamic move-
ment. Combination of rigid and transparent vol-
umes, curvilinear with straight line forms and
finally a frame-form and different motion at the
center.
Combination of two collages, a fresh image

The two last collages were full of important
subjects, but I cannot separate their spaces in my
mind. It seemed invisible strings linked them.
Their common characteristics caused me, after
consulting with my teacher, mixed them. It was
amazing, it seemed the result image was unite
from the beginning. The unity between images
leaded to formation of lobby and general geom-
etry in my mind. An empty space, shiny and
circular, at the center and a space with difference
in its height under it and kindergarten and play-
ground at the left and finally main entrance at the
right …. This image formed the general lines.
… and the third designing

I observed the site location and analyzed it at
this semester.
The general idea was formed in our minds.

We applied them in paper, sketched the collages
and made models. Providing the design necessity
was following step. The design was done step by
step and our teacher guided us.
The designing was over. A remarkable expe-

rience of designing, same as previous one.
3.28 Reinvestigation in Labyrinth of Mind 151
3.29 Spatiography

Student Parisa Torabi
Dr Ahmad Ali Farzin
… A restart
Bahman (eleventh month of the Iranian calendar)
of year of 1384 (in lunar year). Sixth semester.
Third architectural design. The subject was
designing of a local cultural center located at site
in Chizar-Tehran. I was always waiting an
opportunity to represent my skill in this kind of
design.
What should I do? Should I apply past method
so as to examine my ability? or should I use
collage again and represent a design to experi-
ence a new method?
I chose the second one and started designing.
First step: endless research;
What is cultural center? What is culture?
Should I design based on culture or its appear-
ance according to nowadays and its inside based
on original and traditional actions?
I had to research and preferred to study built
structure. We (along with our teacher and my
classmates) went to visit two local cultural cen-
ters; Shafaq and Arasbaran cultural center. I was
so effective. I walked on these space unlike
before. I was not same as theatre audience or
music listener, I should study interior space
program and provide the great situation. Visited
the site, I had to analyze results. This step is
important and time-consuming. But I did it
greatly.
3.29 Spatiography 153
Second step: Being at real action;

It was time to begin practical part. I knew
somehow what I should do. Hence, I gathered
whatever were needed such as images. At the
beginning, I looked them over and over and each
time got new point. I gradually cut images. The
ones which formed my designing. I promised to
privilege collage in all spaces designing. In doing
so, I had to prepare collages in manner that
answer whole design necessities. I stayed loyal to
this action and it was so valuable.
At first, the cut images seemed inharmonic
and irregular. But after short time, I realized it is
possible to categorize them based on color.
Arranged them in group, I found that there is
pleasant harmony between images according to
their colors or lights or even space atmosphere.
The project necessity was provided and I had to
began designing.
First collage
The first collage should represent main entrance.
I tended to do it step by step so as to not to get
confused. Fresh images, red color ones which
imposed cozy spaces, was used in this collage.
Finished the collage, I looked it from distance.
A cylindrical space could be seen in the middle
of collage. It was entrance with a long windows.
After it and passing a level difference, we can get
into main space, a friendly and cozy one. Place to
standing, sitting and getting familiar. There is a
fountain at the center. Light beam behind it
represented that something relation with cultural
center was happening.
Squares could be seen at the bottom of collage
which showed regularity of rotating geometry of
entrance. Hence, program happened inside it,
seemed important, such as visiting of exhibition
galleries on the part of artists and art lovers.
At the right side, passing by a curtain wall,

there was a space behind and next to entrance
which is out of sight. It was suitable for spaces
like restrooms or secondary paths for exit and
entrance.
Image, at the right side of collage, ascended

curvedly, guided us toward upper level. Hence,
this space should be defined in two levels.
Second collage
Images were dark this time and narrated spaces
without relation with exterior. I preferred to make
a collage for amphitheater. I gathered the images
and looked them from distance. I realized dif-
ferent space each time. I sometimes recalled long
years ago but sometimes found myself in
nowadays atmosphere.
None of them satisfied me but I achieved
better result and combination after period of
time. The result was neither modern nor monu-
ment. Instead, it was a space based on traditional
root. Moreover, it imposed freshness and nov-
elty. Its colors not only, beside its at most
transparency and clarity, did not reduce the space
importance but also it gave space special atmo-
sphere. Interior and exterior of hall seemed dif-
ferent. In doing so, to get into the hall, we should
pause and prepare ourselves, then enter it.
A space was defined to pause so as to separate
the visitors from outside and next get into it.
Walls were transparent in order to people do not
feel themselves in other world suddenly. Part of
ceiling was transparent to penetrate light.
Generally, amphitheater was formed based on

cylindrical entrance and the main curve. There-
fore, it probably was defined beside main space.
Third collage
Different entrances was one of characteristics
considered for my cultural center. I did not tend
to define an entrance because visitors felt that
there is one way to get into space. Hence, beside
main entrance, more ones should be defined so as
to not to concentrate on main entrance and
emphasize on other spaces. Moreover, it caused
to provide more access way.
So I prepared other entrance collage. The

chosen images had to represent all matters
because a lot might happen outside the cultural
center. I tried to use images irrelevant to subject
to find out the desirable space abstractly. The
important point was presence of people. They
had to define whatever happened outside. How-
ever I applied personage previous time acci-
dently, but its usage was deliberately this time.
To show people gathering, a lot was used.
Fresh experience in each step of design is

privilege of collage method. Designer think
about one part of design anytime and assume
each part new matter. This characteristics cause
the designing continues from part to total and
conversely. Hence, it grow regularly. While other
method improve without consideration of special
characteristics of space or main space often is
designed and other spaces are attached based on
it. In doing so, all spaces are considered impor-
tant according to main one. This means “anni-
hilation of space values”.
This process never happen in collage and each

space has its value and protect it, as I achieved
my ideal space in second experience. This
entrance located behind amphitheater, so visitors
could get in intermediate space then to the
amphitheater and conversely. There was a gath-
ering space, pavilions, next to entrance to rep-
resent handicrafts. A joyful and fresh space was
provided. Galleries which located behind pavil-
ions on a platform, surrounded by platform and
main space (as it was expressed in first collage).
Fountains and element of landscape design

could be seen around site which improved
beauty.
Forth collage
It was necessary to think about forth and last
collage. I wanted to prepare a collage irrelevant
to subject. So I thought and reviewed results of
previous collages. Most spaces were designed
and main geometry was obvious. I almost real-
ized relation between cultural center and land-
scape. Site and its design were last matters. The
subject of forth collage: Designing of site
landscape.
I applied abstract again. Images were chosen

based on their color and light. I put them beside
each other several times; different arrangement.
Each seemed beautiful. Finally, I chose the one
which was based on cultural center geometry
more. Curved lines, intermediate between outer
shell of structure and outside, represented curvi-
linear geometry of interior. Too bright light
showed that surrounding of site was open and
light penetrated interior space without barrier.
I used personages again, people who gathered

circular and looked at one point. In fact, the
geometry of circular open air amphitheater
formed a complex which due to its distance with
building, located at the top part of site and its
connection with all complex was provided by
curved path. The site designing was almost done
and following step started.
Third step: … main part

I had to gather previous results and form
generality. In doing so, I sketched collages,
whatever felt or observed in it.
This helped me to continue more seriously

and realistic. Next step was vitalization of space
which one part of designing was considered as
starting point, then I made model of its space.
However, the model was scaleless or propor-
tionless but guided me to continue better.
I imagined several spaces beside and made sec-
ond model. It improved more realistic step by
step. I had to continue scale based using metric
handbook. Third model was made according to
standards and scale. While the site slope was 5%,
so I had to locate the model on it. Therefore, I
prepared site and place the model. In this step, I
could tell “the designing is running out”.
Detailed plans were prepared. Consulting with
teacher over and over, I changed the plan and
model. Finally, designing of Chizar cultural
center was done.
Last words I especially appreciate our teachers to allow

We examined ourselves by designing of a com- me a chance to achieve one of the best during
plex. I experience new matters and this made me education. I hope to have chance in future to
happy. Designing by collage. However, space offer it to other student and they also use this
assumption is better title. valuable method.
3.30 A Trip to Inside

Student Shila Ahsaie
Dr Ahmad Ali Farzin
Neglected creativity
Starting the design was easier due to previous
experiences. I personally accepted and did not
stand against it. I thought that understanding of
images of collage needs remarkable feeling, but
it is not. It is necessary to think ideally and
submerge into collages. Design started with
studying magazines, finding and cutting images
according to patterns and colors.
I like warm colors and ones, with better light,

was chosen to show materials obviously. Then, I
attached images beside each other, looked them
from distance to arrange more. This method is
particular and it is impossible to have same col-
lages or spaces. I could see space in collage this
time. Bulges and depressions were completely
obvious. Colors, beside each other, seemed
beautiful and attractive. Unity among spaces
could be felt and they represented themselves.
I saw an enormous shiny space, planes came out
of it and moved around and finally, they
diverged. There were spaces among them which
differed according their colors, lights and height.
3.30 A Trip to Inside 161
Images seemed explicit; A long plane with

light point at the end, A short dead end plane, a
string of vertical plane which seemed hanging
between ground and sky and go up and down till
find an end point. All elements speak and tell
their reasons of existence.
There were lots of narrow line lights which

showed that open end corridors are too many.
A rigid volume could be seen in the corner and
seemed to sink into ground. There were dots
around volume which should be correlated to it.
Gaps were into walls that may wanted to absorb
us toward middle of walls, place which ceiling
heightened and light penetrated inside suddenly.
A narrow line of light, penetrated into one of
volumes, was connected and disconnected con-
tinuously, it seemed walls disconnected it, but
the light hoped to continue its way. All features
were mixed and unity could be felt between
them. Several rectangles were combined explic-
itly which their movements provided different
spaces and stairs, corridors and main space inside
it. Squares formed a repetitive and rhythmic line
and its interior was light which none could enter
it. It was not appropriate for human or movement
but a motionless or static elements such as tree.
The rhythms separated two vast spaces sud-

denly. Summarily, these line are bold which
represented its dignity and we could stare, move
on it and create new spaces. It was time to sketch.
I drew line that ascended and descended. Situa-
tion of planes, ups and downs are obvious in
sketches, but planes with level difference should
be connected. Grooves of wall were drown but I
should think about it to know its end. It might
end to sunken building into ground; or to the
combined rectangles; or It might ascend to a
bright surface; At first, I drew several columns to
create mentioned rhythms but changed them to
closed space after a while and drew some trees
inside it. The extended line which cut by wall,
might be creek passing walls and penetrated into
spaces. Some friends sketched my collage, their
thought seemed same as me and it showed my
spaces were based on reality. All obtained their
identities. I started to make a model. At first
entrance should be made. I was continuously
looking at collages which were like compact
disks included all matters. Designing went on
progressively. Cutting cardboards and pasting
them, I felt to define behavior of people in
spaces. Since user came from all masses with
different interests, the designing was getting
harder gradually. Spaces were being arranged
one by one and my desired spaces were formed.
I gradually improved my ideal spaces which
finally whole the designing was over and differ-
ent functions were defined in that. “All parts of
design belong me”, this is advantage point of this
method.
3.30 A Trip to Inside 163
3.31 Me and My Feeling, All Alone

Dr Ahmad Ali Farzin
I closed my eyes to sense loneliness before image

selection. Me and my feeling, all alone. Peace
and quiet. All around surrounded in silence.
Feeling of lightness, rotation, etc. were moving
down slowly. A motion from darkness to light-
ness. I sensed presence of brightness gradually.
I was moving to static point in wind flowing and
light weight, quiet and scented space and sat as
soft as feather.
I opened my eyes and imagined the moving

direction of feather in space. I looked for images
among planes which were responsive to my
necessity to lightness, softness, rotation, motion,
silence, brightness and shadow. I put all parts
together. The whole senses were active. A com-
plicated ribbon was turning point of collage
which ascended rotating from ground to a bright
point. It had to perform independent role, the first
role in space. I chose a image that imposed sense
of light reflection, like a fist spread yellowish
beam of light and the mentioned ribbon is
rotating around it and ascending.
To impose rotation, curved sections and

images were put together.
3.31 Me and My Feeling, All Alone 165
Dark and bright spaces, spaces with different

tones of lightness were combined dancingly. It
seemed eyes were on lines and planes and sliding
on hanging space and correlating spaces one by
one and finally, this motion would be ended to
silence.
When I analyzed spaces of first collage, I

found out they were enough to all cultural center
functions except amphitheater. Needed lights and
shadows for amphitheater could not be seen in
collage. Therefore, I decided to make a fresh one
or it.
Top: Second collage

I was interested in light playing in amphithe- Below: Sketch of second collage
ater. Dark and semi-dark spaces and light strips
cutting the volumes. Therefore, I found warm
color images and semi-dark ones, based on nee-
ded lightness. Parts were put together, absence of
something could be felt. I wanted to design
special ceiling of amphitheater. An attractive
one. I found a element with particular lightening
and suitable for other ones. Images was com-
pleted in manner that if I changed my view point,
I would see entrance and exit doors and all sec-
ondary needed spaces. I even could tell where the
connection between this collage and first one
happened.
I tried to create open and semi-open space in Top: Last collage

final collage. Personages play important role in Below: Sketch of last collage
animating these spaces. The social space were
created. All were moving. A space for interac-
tion. The exterior space of first collage was
obvious in this collage. A ramp was rotating
around curved volume of first collage and pass-
ing through ground slope and finally ended to
one of cultural center entrance.
Prepared the collages, I dealt with sketches.

Then plans were provided based on perspective
sketches, initial models were made so imagina-
tion come true. I used the first collage to design
main spaces. At first, I tried to make obvious the
vague images of collage. A stone made ramp
which sand covered its floor as representative of
earthy world rotated around an aquarium, as
representative of life in sea. It seemed water
donate it life and give to soil so as to bestow it to
sky. Ceiling of complex was the blue in this side
and seemed that naked water narrate the story of
sun, moon and stars on the presence of sky.
I thought the elements should be defined in

space at which people spread their wings and
travel to imagination world; A space to talk in
emotion language. Then, I designed the galleries
around imagination core.
It was time to step from emotion to logic

world. I dealt with result plan and models and
tried to define access ways. It seemed one con-
tinued the line on plane using invisible ink and I
just colored it. I simultaneously analyzed the
needed functions and tried to place them based
on spaces of collage. In doing so, library was
defined in first floor and official and educational
Top: Plan rooms in second floor.
Below: Section
3.31 Me and My Feeling, All Alone 167
Designing of ceiling and floor were done as

best as possible to provide absorbing image of
space from everywhere. Whatever one could see
in gallery, other could see it from different point
as beauty as the one in gallery.
I defined cafeteria in semi-open space up the

gallery to provide eye-catching landscape for
who is resting. In doing so, I designed other
spaces.
Finally, I had to design suitable landscape. Its

design had been formed in my mind when I was
designing spaces. Site was also based on hierar-
chy and nature. I provided feeling of rotation and
moving toward upside using present motions in
site. Trees, fountains and flowers were included
in site and at last designed was done.
Top- Middle- Below: Images of model

Right column (top to down): 3.32 Scattered Ideas

First collage
Second collage
Third collage Chizar cultural center
Sketch of dark opening Student Ali Mansouri
Left column: Masters Dr Ali Asghar Adibi
Left corner of first collage, Dr Ahmad Ali Farzin
dark opening
Having problem through timing and collage

usage in previous experience, it might cause me
to choose other designing method. Instead,
pleasure of understanding of architectural space
using collage directed me toward it once more.
However, there happened problem such as tim-
ing again, but result and understanding of pro-
ject, its architectural space, which achieved at the
end, would provide feeling of enjoyment but not
regret.
First collaged was created and it approxi-

mately resembled to my ideal color and light.
Sections and lines of images caused a non-
perspective formation of images and no more
was suitable to represent a space. The collage
possessed the whole main characteristics of
spaces. I perceived it as a section of spaces after a
while.
Darkness, narrow and low impact lights, at the

left side of collage, formed a space in my mind
and I named it “Dark hole”, which was a dark
and heightened space at. There were some access
ways passing it in the middle and water flowing,
which water motion and its elongation from
north to south were considered in site detail.
Access way which was in the middle, based on
Persian garden, directed toward water source
(against direction of water flowing).
3.32 Scattered Ideas 169
Light penetrated through narrow and long Right column (top to down):
Lobby in first collage
groove of south wall and shone in water and its Stair of lobby in second
reflection occurred in north wall and ceiling. This Left column (top to down): collage
space later was defined as intermediate between Design steps of lobby in sketch and
plan
amphitheater and exterior due to its lightening,
silence and calmness.
Dark space, groove of green space and central

space, lobby, with its warm colors and natural
and superficial light were followed one by one.
No more information related to mentioned space
was in this collage. Actually, designing of lobby
had been started in second collage before it
resulted from first one. Teachers considered this
space in front of main one, which important
matters happened in rear space. There were stairs
which supported by a pair of vertical walls and a
gallery that light penetrated inside it through
groove at the end and its height was adjusted by
an upper space. Wall at right side of gallery
extended in exterior. There was rotation angle
between directions of stair and main space.
However, it was omitted due to some reason.
Therefore, the whole space directed north-south
or east-west. Upper part of gallery which
heightened 3 m above ground level, was modi-
fied to access way gradually and correlated all
spaces. It later appeared to be the most obvious
element. The correlation between this path and
stair was the prime reason of omitting the rota-
tion angle between direction of stair and other
walls of lobby; In doing so, the mentioned path,
in its way, had rotation angle related to walls
which it was absent due to its extension toward
direction of spaces such as dark hole and light
hole. Designing the circulation paths of spaces,
requirement of gallery to separator in right side
wall caused me to define a thick curtain. Entrance
was designed based on geometry of this space
and its planned facade.
There was a long light place other side of

lobby in first collage which named it “light hole”.
It was semi-open space, at which present Popu-
lous trees located, half of it was covered by lawn
and it connected office rooms, classes and library
with lobby. Green color and light penetrated
through transparent wall between lobby and the
mentioned space. Passing a space full of light
and nature to enter calm spaces including class or
library, make people feel peaceful and out of
busy world which is necessary to be present in
mentioned spaces. Access way to library was
separated from one to classes about 3 m above
ground level.
Beside third collage was based on previous

collage, it included ideas of volume related to
combination of exterior and interior spaces,
applying landscape and some spaces with warm
colors which formed outer shell of open space.
Left side of second collage included ideas related
to volumes which volume of amphitheater was
Right column, top to down designed based upon it.
First sketch of light opening
Main corner of Second and third
collage
Arranging the scattered ideas and change
Left column, top to down them into one was the main problem. I tried to
Light opening in first collage
Sketch of second and third volume provide unity among ideas for a while but I could
West view not. Finally, I decided to represent them sepa-
rately, instead of combining them. Therefore,
access ways which located at 3 m above ground
level, passed through spaces. Even this path
differ step by step from beginning, in exhibition,
to end, in gallery.
3.32 Scattered Ideas 171
Locating spaces in site, connection among

spaces and also between them and open space
were remained till this step of designing. Group
of membranes were defined to make connection
between volume and shell of general structure.
They ascended from ground and it was possible
to donate some information to users.
Generally, design is based on prime charac-

teristic of spaces of first collage including long
and separated shells. For color and light of
spaces, I tried to apply heat of central space and
colors which were based on nature.
3.33 Creation of Space

Student Majid Gharibian Lavasani
Dr Ahmad Ali Farzin
It is hard to explain where creation will be

occurred or it is hidden.
Nature of our witness is particular when we

are observing creation of something, therefore
explanation of that time is impossible. Prime
principle of this method is perhaps process of
form and artistic combination of elements,
materials and structure. Understanding of this
subject needs long time especially one who,
Up: Interior space same as me, is not familiar with collage.
Low: Ground floor
Collage opens new field of understanding,
fresh designing and talking. It is pure of the
whole previous guaranteed principles which
cause none charging. Creation of new spaces,
based on its functions, inform us a fresh life
which is changeable and possess different
meaning and talk about new matters.
I started designing. At the beginning, I rep-

resented my spaces. Walls, light, structure and
elements related to technology or full and empty
planes were perfect and flawless.
This space was what it should to be, following

steps was considered as effort to design it better.
3.33 Creation of Space 173
First collage was not suitable, in the other

word, none space defined cultural center, It rather
than resembled to a barber shop. First collage
was not suitable, in the other word, none space
defined cultural center, It rather than resembled
to a barber shop.
Therefore, I immediately started to make

another one. Images and parts were chosen based
on form and its material. I used big images of
architectural spaces less and was interested in
rhythmic lines and colors of them. For instance,
when I applied image of airplane, I found lines
and bulges of its propeller like ceiling of corridor
which its rhythm directed us forward.
Arrangement of images created a composition Top, Right: First collage
which was strange, even for me. Two reason Top, Left: Sketch of first collage
Down, Right: Sketch of second collage
caused special lines in abstract of collage: rare, Down, Left: Second collage
trapezoidal and pyramidal forms of pieces and
their strange arrangement.
This created duality. Should I design based on sensible instead of abstract and flawless space.
sketch or my feeling? I could get closer to design after some quick
Initial sketches were quick or even incorrect sketches. I sketched once more but more detailed
which caused formation of imperfect space but and accurate to make a model.
Up: Second Collage

Low: Sketch of second collage
Right: Third and forth
collages
3.33 Creation of Space 175
Making model was simple or even attractive

because I knew model so well and freedom of
action by collage. Problems of sketch solved and
designing got closer to collage. In this step, using
real type and color of materials formed interior
spaces. Moreover, facade of cultural center was
designed in my mind. It caused to improve
rapidly.
Models of lobby, amphitheater and gallery
were done and main entrance was defined.
I completed geometry of design including in plan
and section, So that I could continue the design
without collage. However I planned access way
among classes, library and computer center. It
was no more time to apply this method further.
Up: Second floor plan
Low: First floor plan
Left: Sections
3.34 My Neglected Pictures

Student Fatemeh Vahid
Dr Ahmad Ali Farzin
I attached the collage on windows of design

studio, came back a little to look at it. I realized
interesting matter, that bright golden sunshine all
around world penetrated into my project (col-
lage). It was totally by accident but showed the
space unitedly. I felt amazing because it learnt
me how to perceive separated spaces in one
through single light and space.
It finally happened!
It was first time which I understood space after

efforts! It was wonderful experience. I tried to
observed with eyes which help me to see will-
ingly or unwillingly, intentional or unintentional,
at last happened. I could move into different
levels and arranged spaces continuously and
fluidly. Blue-golden, light and transparent
spaces. I assume selection of these images was
based on effect of culture on my unconscious
mind. The space was fluid and rotating. Beside
its present internal attraction, it directed your eye
Up: Computer base modelling outside.
Left: First collage
3.34 My Neglected Pictures 177
This collage which was close to my ideal

mind, I looked for a light behind different bar-
riers and materials. I felt it at the center of collage
(interior yard was defined at the center after a
while). Created space and access ways directed
eyes inside of plan. This kind of flexible and
interactive space was certainly effected by cul-
ture. I mean that if I designed a educational or art
center, selected images would not be like these
ones.
What is position of innovation in this method? Up: Model of collage

Does selected images bind the creative mind? Low: Computer base modelling
Is mind achieve of images?
Being alive (notion of space designers (Spa-

tiography) who tell starting point of our method
is realistic and alive spaces) or make alive? (It is
the matter happened in classic system). Both
have common goal and that is “thinking and
presenting a valuable design based on architec-
ture principle”. The single difference is about
starting point. In spatiography, we work
according to objective images (ones in front of
you) but in classical method based on mental
images. Are mental images the ones we are
observing in real world? None can claim that
there is nothing in real world for each mental
image, generally, It means basic elements are
same in both (mental image in classical method
and objective one in collage). Their difference is
obvious, when creative mind start to choose and
combine images. Thus, this process is exactly in
common (classical) method but its image process
is invisible and we just observe final result and
sketches effected by it.
One of advantages of collage is that we never

forget how we get from a to b, c, d, …. This
management make the process easier or more
active, because design sometimes gets changed
more than usual which even its creator mind gets
confused to recognize it. Since first images are
considered reference in collage, problems and
difficulties in managing the design are less.
Selected the ideal images of magazines and

journals, next step is began; arrangement of
images (collage elements). I arranged them in
manner that space connections are maintained.
This connection are caused by preserving conti-
nuity in common visual elements such as color,
Up: Initial sketch of collage
Left: Model of collage form, etc. Due to this reason, I do not recom-
Low: second collage mend this method to amateur students unlike
ideas of opponents of this method (based on their
opinion, collage is, because of its suitable for first
year of university students for subjects including
composition and basic of design) because start-
ing point as reference event, requires personal
management of student, also it is individual
process which knowledge, inside and conscious
mind of students cause it to create and certainly
he understands whatever in collage, his teacher
understands differently. Therefore, teacher just
guide students and imposing personal interest of
teacher in student designing is against the prin-
ciple this process. Therefore, since principle of
design is necessary for amateur students, this
method is not suitable.
3.34 My Neglected Pictures 179
It is assumed that students who choose col-

lage, they know principles of visual arts because
these principles is necessary from the beginning
(selection and arrangement of images) and
managing the project (unconsciously).
As collage encourages creative student but

fearful, it also covers inability of amateur in the
context of representation and performance.
Last words
Imagine a professional painter draw his works
with six colors; this method adds neglected col-
ors to his/her color palette. It means that collage
make obvious intentional or unintentional
neglected matters to recall his/her forgotten
images.
Top to down: Model of collage - second model -
Computer base modelling
3.35 Two Case Studies Recognizing his/her nature or generally self-

knowledge leads designer to fundamental regu-
■ Conclusion of collage process larity. In other word, collage never increases
Actually, changing from collage to three- knowledge of designer, instead, it recalls
dimensional space is modification of subjective neglected knowledge, the one which is hidden
and abstract phenomenon to objective reality behind imposed idea. This fresh and hidden
which requires creativity and vast horizon, opening of mind provides context to the leakage
moreover, since it is considered as natural pro- of designer’s internal essence.
cess, it seems no more difficult. It is proved that it is necessary to create
Thinking about created images in collage, we images in mind, previously, in order to achieve a
realize each element includes subelements that dynamic and unity whole which hopeless is its
appear as a complex and integrated form. In result and it causes deviation and recession in
addition, none space is wasted among them, designer’s mind. Therefore, it is urged that no
because even distances is part of general. images should not form in mind before
Moreover, hierarchy of this complex is not designing.
completely separated, so that each space through Confidence and self-esteem and avoiding
intervene in other create a whole. It is impossible to anxiety are necessities of this process to forget
remove unstable and slippery borders, because obvious images of our mind.
these border cause unity of complex. Finally, an At the beginning, ones may refer to that
integrated complex is provided with no more con- familiar images, because he/she thinks if one
tradiction; an identified, continual and combined forgets them, no more images will maintain.
complex as a regular whole which attain particular However, based on design subject, site and
harmony between regularity and irregularity. analyzing, as soon as looking them, they will
It is a fact this fresh and dynamic identity is mark in designer’s mind. Moreover, real spaces
formed in a way that allows each subelement of are created according to these abstract images
complex correlate with surrounding. Collage which increases confidence of designer more.
which defined as pure of arrogance and respon- For one who is not able to avoid these images,
sive to real necessities of images of collage that because one assumes it as source of information,
may solve at the first glimpse, is changed to the it is impossible to imagine creativity without that
most fundamental characteristics of ideal life and predefined images. But when one believes this
these values is result of internal force and hidden and feel comfortable, one realizes that ideal
memory of designing. images will be created by looking images well,
When internal gestures of structure are united processing in mind and thinking.
regularly and geometrically, its exterior will be Collage is started from inside and allows
arranged. Thereby, each fresh and dynamic images to create interior spaces. In doing so, It
structure reach its particular identity which all direct designers to ideal space.
admire it and removes anxiety of designer, one Naturally designing without precognition is
who was follower or conservationism before. significant matter. Believing the collage, Fear of
An explicit and obvious principles make the creation of strange space is neglected and
complex attractive; Principles based on nature, designer feels peace using these method and
designer interest and law of nature, guides realizes how his/her mental abilities is limitless
designer to self-knowledge. and make it possible to combine realities, at the
Through deeper understanding of images, we absence of imposing, with mentalities.
realize, if nature of project and necessities of Finally, one greatly believes that when he/she
designer is in harmony more, the mentioned understands result of forces, free of any ambition
identity is more dynamic which its results are and truth exploring, a dynamic and fresh com-
formation of reference point and creation of plex will be created and one can continue the
design. way knowledgeable.
3.35 Two Case Studies 181
Being loyal to these images, designers gradually Drexler A (1960) Ludwig Mies van der Rohe. Goerge
feel that they can be free of artificial images imposed Braziller, New York, p 17
Hejduk J (1971) Education of an architect: the Cooper
by nature and deal with three-dimensional modeling Union School of Art and Architecture, 1964–1971.
through realizing the direct material of images. Cooper Union, New York, p 280
These created spaces and images make person Holl S (1996) Interwining. Princeton Architectural Press,
free to recognize him/herself and do and manage New York, p 12
Honey S (1986) Mies van der rohe architect and teacher in
anything which is in harmony with his/her Germany. In: Achilles R, Harrington K, Myhrum C
essence and nature in order to create a natural (eds) Mies van der Rohe: architect as educator. Illinois
thing at the presence of exterior pressure which institute of Technology, Chicago, pp 37–48
affect his/her interior feelings. Jennifer AE (2014) Shields. Collage and Architecture,
Routledge, pp 34, 56
When designers confront images, actions and Koolhaas R (1991) The terrifying beauty of the twentieth
reactions will happen. These evolution in thought century (1985). In: Lucan J (ed) OMA-Rem Koolhas:
reminds designer different images of hidden per- architecture 1970–1990. Princeton Architectural Press,
spective of his/her essence. Later, nature of ima- New York, p 155
Koolhas R (2004) McCormick Tribune Campus Center.
ges are studied and his/her mind forms necessary In: Kiser K (ed) Arcspace.com, Feb 18. https://www.
connection among them through understanding of arcspace.com/architects/koolhas/McCormick-Tribune
characteristics and similarities of space and Le Corbusier (1965) Textes et dessins pour Ron-
finally, portrays them in objective spaces; champ. Association oeuvre de Notre-Dame-du-Haut
Les nouveaux systemes de representation en Architecture
Understandable spaces and transferable to other. 1000 jour pour L’Architecture
Libskind D (1990) Between the lines: extention to the
Berlin Museum. Assemblage, pp 18–57
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Rowe C (1987) The provocative facade frontality and
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Besancon, CRDP, Paris, p 12
Cohen. The rational rebel, p 9

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University of Tehran Science and Humanities Series

Ali Asghar Adibi

More information about this series at http://www.springer.com/series/14538

ISSN 2367-1092 ISSN 2367-1106 (electronic)

© Springer Nature Switzerland AG 2021

In generally, “The world is a COLLAGE”

World as Complexity and Multiplication

Although lots of valuable intellectual, scientiﬁc and industrial achievements

In collage, compared to other reductive methods, the span and dispersion

an indicative of an expansive universal scientiﬁc–artistic communication

Tehran, Iran Darab Diba

“Collage and montage” are quintessential techniques in modern and con-

Eng. Ali Yaser Jafari

Tehran, Iran Ali Asghar Adibi

artwork, in the struggle between logic and imagination, consciousness and

1 A Brief History of Collage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

3.19 Creation of Fluidity in Space . . . . . . . . . . . . . . . . . . . . . . . 101

The word Collage is derived from the French

1.1 The Origins of This Method

Technique of collage was ﬁrst used at the same

© Springer Nature Switzerland AG 2021 1

In nineteenth century, this technique was used

1.2 Collage in Painting

In cubism, Pablo Picasso was the ﬁrst to apply

Two collages by Le Corbusier in architecture

1.3 Collage in Architecture

Even though Le Corbusier et al. have beneﬁted

example. He started his work by combing paper,

In this collection, we aim to steer the architects

© Springer Nature Switzerland AG 2021 7

First, ﬁx one piece of A3 black cardboard on an

the result of inner feeling can have a spiritual

2.4 Color Painting in Collage

Different colors have different influences on the

Observe with what tools man experiences archi-

the quality values of the single objects and

Year of construction Architect Analytical features effective in design Collage

S 12, 1987 Richard – Mutual effect of collage and architectural design

The architects apply the collage drawings as a

1. Mies van der Rohe

The long path through function to creative work

Organizing the unrelated pieces in producing

Daniel Libskind, Collage Rebus (1970), collage and axonometric

Daniel Libskind, Collage Rebus 3(1970), collage and axonometric

3. Rem Koolhaas to serve in different scales to develop as a city or

Year of construction/name of artwork Architect Analytical features effective in design Collage

According to Cohen, “Rem Koolhaas mea- of superimposing sections of geometric order to

1. Though release stage: in the ﬁrst three weeks,

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3.2 Axes Fracture

Design of the architect’s house

The ﬁrst thing to do was to prepare the clip-

Sketches were completed and I drew spatial

The idea I got from plan sketch, was the

The motion of the crust helped to deﬁne the

3.3 “Collage”, a Novel Method

Design of the architect’s house

Collage belongs to another world. I stand on the

In the next stage, I collect the images that