LEE- Mimari Tasarım Lisansüstü Programı

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http://hdl.handle.net/11527/19391

Gözat

Yazar "Avanoğlu, Emine Bahar" ile LEE- Mimari Tasarım Lisansüstü Programı'a göz atma
  • Öge
    Un-claiming the experience of the ends of the projected image: The loss and the survivals of architectural drawing in the shadow of projection
    (Graduate School, 2024-07-09) Avanoğlu, Emine Bahar ; Şentürer, Ayşe ; 502162005 ; Architectural Design
    This artistic research is presented around three chapters. Taking departure from the recent predictions of the end of the projected image and from the threat of the loss of drawing in architecture, it starts with a "wound-reading" of architectural drawing, which interrogates the wounds and survivals of architectural drawing in the shadow of projection. This wound-reading is an attempt to re-read and re-write my contextual studies, my theoretical readings, writings and artistic practices, not only in order to reflect on, interpret and understand my work, but also to share this process in a communicative manner, encouraging myself (and the reader) to palp the skin of my readings, and have an intimate understanding of the body of my reading. My wound-reading indicates mainly four constellations of quasi-artistic practices to discuss the complex experiences of loss/remain: 1) Anachronic collapse of the bodies of the past with the bodies of the present, 2) Estrangement, denial of the historical (patriarchal) passage, a historicity through an emotional charge, 3) Residues of being there, tracing the essence of corporeal touch 4) Recitations, drawing through lyric voice. Meanwhile, my wound-reading indicates a two-folded charge of remain/loss of architectural drawing: the loss and survival of the projective drawing as a historically repressed embodied practice, the loss and the survival of the projective drawing through unclaimed memories from childhood of the traumatic transition into the orders of the adult. Relying on this wound-reading, I continue with two coeval trials approaching a set of 'aged/'dead' drawings to un-claim the experience of their ends. With the intention to unfold the unclaimed characteristic of these experiences, I prefer to pursue a fictional indirectness instead of a historical scholarly study of archival materials. One of these trials tracks our repressed embodied engagement with an 'aged' projective drawing, astrolabe, while my other trial is an intimate embodied act of drawing that I perform mainly as a drawer, unfolding a fictional drawing table, for the investigation of the 'malady' of a set of 'dead'/'aged' drawings that have been historically categorized into the childhood of images: fragments of a set of Ottoman miniatures, the so-called 'ends' of which are rather controversial. In both of these trials, the lyric 'I's, by taking part in a quasi-historical imagination, test the limits of 'being there' in historical time. Where in time are the 'I's located in relation to a drawing? I think that these 'I's emerge as one of the para-scientific wit[h]nesses of the loss and survivals of architectural drawing.