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They want us to be afraid, to hate, so we will rally behind them. Why on earth do you want to go there? The real tragedy of this attitude is that it is the result of the dividing line being deliberately blurred. True, concern is justified in the case of the religious government that has ruled the country for the last 25 years: but should it really apply to the million ordinary people that live there, or the country itself? I think we can agree that such a suggestion is obviously absurd. It is no different in Iran, a country around four times the size of France and the cradle of a civilisation that began well over years ago. Still, given the extent of misinformation the word is not too melodramatic , it was difficult not to feel slightly, well, scared as we flew across Europe heading east. And yet, indications that our fears were embarrassingly misplaced began the moment our plane touched down in Tehran, when Mahmood, our guide and soon to be lifelong friend, smilingly sorted out our visa hassles and laughed at our obvious discomfiture. It was a Sunday, and the large family groups sipping tea in the convivial atmosphere were visibly tickled to have a group of British white boys in their midst. It was a similar story later, when we walked through The Park of the Nation in the centre of the city. The feeling was heightened by the general activity in the park, with people sledging, strolling, chatting and, soon, mobbing us. Groups of girls caked in make-up flirted aggressively, while young Iranian lads told us their DJ names and offered to find us whiskey and vodka. By the time we left, a whole crew had gathered to escort us back to our van, cheerfully waving us off as we drove back to the hotel, exchanging glances and shaking our heads in embarrassment at seeing our prejudices so spectacularly debunked. And this was only day one. This inquisitive and heartfelt hospitality would be the recurring motif of our trip, and it soon became clear that our preconceptions were being challenged before our eyes. Soon we noticed it everywhere. It was written in such a style that you could almost see the raised eyebrow of the reporter. Most tellingly, we noticed it in the compulsive need among ordinary people to communicate this feeling to us. With his tattoos, trendy haircut and sunglasses, Reza, 23, was keen to tell us about his impressive playboy lifestyle. He runs his own construction firm in Tehran, but seemed to spend much of the time we spent with him maintaining an impressive social circle, drinking the alcohol that is strictly prohibited in Iran and smoking the marijuana he smuggled back with him from his three-month holiday in Thailand. European people think here we are very very bad. But we are not — we like to have a good time. According to Erik Lofgren, a Swede we met who had been living in Shemshak for a few months, more and more young people want to live like Reza. Part of it is the desire of any bored kid to own the latest technological gizmo, but in a country with religious strictures like Iran, openly pursuing such a lifestyle constitutes an act of very real rebellion. When we first met Reza we were surprised to find that Iranian kids even had the resources to be so up on the latest phone crazes sweeping the West. After all, as the biggest oil producer in the Middle East, Iran is the richest and most powerful country in the region. As previously noted, it is also huge, and this financial and geographical security perhaps explains why the US and Britain have preferred to follow a diplomatic route in their recent dealings with the country. It also explains why so many of the Iranians we met seemed to find the prospect of imminent Anglo-US invasion so hilariously unlikely. But less easy to square, in the light of the materialistic rebellion practised by Reza and friends, was their complex attitude to their own country. Scott Fitzgerald would have truly appreciated. Some of the young Iranians we met seemed able to flit between the two at will, alternatively hating their leaders while loving their land, appearing fiercely independent yet appealing to the rest of the world for understanding, and generally seeing the current situation as an aberration to be changed on their own terms. As we headed towards Isfahan, we began to realise that our view of the country had changed irrevocably, and that our constant surprise at the reality of life for ordinary people in Iran was beginning to diminish. Although he laboured away in upper class obscurity during his own lifetime, posterity has been kind to Byron and today he occupies a curious position as the unlikely poster boy of twentieth century literary travel. It deals in diary form with his s journey from England to Afghanistan and it is a very unusual kind of classic text. His paean of praise to the Sheik Luftullah Mosque in Isfahan must put him at least in the rank of Ruskin. Hell, it was why we were going to Isfahan and had been my main inspiration for the journey. An upper-class aesthete and fop like Robert Byron might seem an unlikely cheerleader for Iran, but today his influential alternative reading of the country is needed more than ever. But as the Safavids were eclipsed by raiding Afghans by , so Isfahan gradually slipped below the radar. It now has 2. We spent three days in Isfahan, and spent much of that time in the square. It felt strange, finally seeing a place I had for so long wanted to visit, and we concentrated on exploring the three architectural centrepieces in the square upon which the fame of the city largely rests: the Royal Palace, or Ali Qapu, the Imam Mosque, or Masjid-I- Shah, and the Sheik Luftullah Mosque that so enraptured Byron. But mostly, we walked around and goggled in awe at the architecture. But it is difficult to see how anybody can be anything but overwhelmed by the Sheik Luftullah Mosque. It is easily the most impressive building I have ever been in. I am not religious, but usually I like a cathedral or church mainly because of the efforts the architects and builders have gone to in confining a huge amount of open space in an effort to impress upon the visitor their devotion to God. Myself, I was just glad that others had definitively described the details of the room, leaving me free to enjoy its emotional effect. In contrast, with its music room, elaborate frescoes and view overlooking the square onto an ancient polo pitch, the Royal Palace betrayed its pleasure palace roots. In form, with its bowed and elegant wooden columns supporting the roof against seemingly impossible odds, it too is formidable and it is strange for the western eye to comprehend the different forms of beauty that these buildings represent. It was here in the 17th century, apparently, that a Russian ambassador became so overwhelmed with the surroundings and the excellence of the local wine that he was sick into his top hat. I almost knew how he felt. At sunset on our last day, we sat back at our teashop and watched flocks of crows fly towards the sun as smaller unidentifiable birds flitted around them. The mountains on the outskirts of the city looked like a lilac smudge on the horizon, while the sinking sun caused an orange glow to irradiate the outlines of the silhouetted buildings. As we sat in silence, a nomad broke the reverie by coming over and asking us how many languages we could speak. He shrugged when we told him English and French. Equally as compelling were the souks we spent an evening exploring, and the other architectural masterpiece that stopped Byron in his tracks, the Friday Mosque, where we spent a morning being escorted around by a blind man, bursting with pride at finding British people in his city and keen to tell us the history of the building. Welcome to Iran! I know 20, English words! I know words that that even English people do not know! For example, philanthropy. Do you know the word philanthropy? Speaking English makes my head hurt! By the time we reached Tehran and prepared to travel home, we realised that there was no escaping the fact that our views of our own country and our own lives had changed as well. Not any more. According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. What can we do to make the snow last a little bit longer, after the worst European season on record it,s about time we all Last year saw a break with tradition as a second British snowboard movie, Hungerpain, was released. Please enter your email so we can keep you updated with news, features and the latest offers. If you are not interested you can unsubscribe at any time. We will never sell your data and you'll only get messages from us and our partners whose products and services we think you'll enjoy. Home Share Search. Lebanon — The Axis of Powder According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. Features Green Snowboarding What can we do to make the snow last a little bit longer, after the worst European season on record it,s about time we all Travel Stories Lebanon — The Axis of Powder According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. Interviews Playground Rules - A new approach Last year saw a break with tradition as a second British snowboard movie, Hungerpain, was released. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. However, you may visit 'Cookie Settings' to provide a controlled consent. Cookie Settings Accept All. Manage consent. 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The Axis of Powder Tour, Part II – Snowboarding In Iran

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Body is in an action of change as a whole. While it rewrites the entire memory backwards it changes the social structures those it owns and realized by itself, in every experience. Everything is in a change with the body. Space becomes an extension of the body. While time is out of body, linear and fictioned, body lives in duration. That is why, space is named as lived space, time as a duration and social structure as structure-in-process. In this study, a holistic approach about the body will be presented and it will be argued where architecture is located in this whole. Also, by understanding this whole there will be a study of researching architectural education through this corporeality. Body exists in a multiplicity because of its vital situation. This multiplicity takes root from sheltering infinite but unknown possibilities. Because of this, all approaches those make the body stable, frozen and fixed are laying on a slippery earth. The limits of genders become vague, identities are reformed, movements change, body is re-embodied. Body that mentioned in this study is a body which is incomplete, open, changable and has no limits. It is discussed that how this kind of a corporeality can be realized, by associating with notions of space, time, duration, habitus and change. In this research about multiplicity and changeability of bodies, it will be questioned how architecture and architectural education may be practiced through those discussions. Body approaches formed by the context of paradigms, create their own historicity with or without looking after vital situation of bodies. Architecture takes place in these approaches. This study also researches how the structure of the body, which is multiplicity in change, can be understood in architectural education and how this understanding may affect design education. In this study, although the relations of different notions are argued one by one, thinking this approach as a whole that tries to understand the body in a holistic way would be useful. As much as possible, it is avoided to tell how body is discussed in different disciplines which is because of such an approach would be reducable. Disciplines are randomly categorized and made their own impassable limits. If one of these area of disciplines would be chosen to understand the body, only a limited area would be researched in an infinite selection. However in this situation, the body is? This study, which supports experience and projects an architecture and architectural education working with experiments, consists of six sections. In the first section the content of the thesis is explained. The second section consist of the discussions about the relations of? Also, in this section, the general approach of the thesis is introduced and explanations about living body are made. Space and Body? It is discussed how space can be understood by carrying it from the representations plane and through a critique of perspectivist paradigm and eye-centrism which used to be the way to understand the world. At the same time, by going beyond the perceived space which is a reading of spatial forces and the conceived space considered as the space of representations, it is explained that the space is a multiplicity takes its roots from multiplicity of bodies, an extension of the body and the? Time, Duration, Movement and Body? Time can be divided by infinite numbers without changing its nature. On the other hand, duration is defined as? It is a qualitative, unmeasurable multiplicity: If it is divided, its nature changes. The record of duration is related with memory. Memory, as a sum of life, is carried to today and now by changing with every single experience. Every experience that constructs the body is being related with movement. So movement, or in other words being alive, becomes the condition of duration and memory. Habitus and Body? Habitus which pervasives into the body but can only be realized by the body and changed by the change of body, is being discussed as the? By presenting that people can construct their own habitus, it is indicated that this construction is a structure that produces representation. It is also explained in the further parts that architecture has the same constructive potencial. The notion? Change and Body? Change is realized while understanding to own a body and at the same time to be a body itself. The form of queer theory which melts the limits and ensures unidentification has a continuous change inside. Additionally, it is explained that power realizes itself through bodies and blocks the bodies by presenting that gender, which is a matter of queer theory, is formed by the existence of the power. Any blockage in the body that is caused by the power, resolves by ekstatis and by turning into an open, grotesque body in carnivals. The body which is unfinished and always in the act becoming goes between openness and blockage and changes to be never finished. In the third section, body approaches have been addressed through paradigms and history-writing. The importance of looking to body approaches and bodies exhibited by various disciplines in the context of paradigms and examining how history is written in order to understand the multiplicity of the body is being emphasized. All mind systems struggling with each other have an inner structure and with that structure they make themselves exist. The changes derived from the unsolvable problems in those structures are examined in the context of paradigms. In this part of the section it is indicated that history is not an objective record but a fictioned narrative and it is questioned where the body is located in these narratives and mediums. The body approaches are seperated into two parts as approaches which predict that bodies change and approaches which assume the body as stable. The clinic body takes place in the first part and constructed body, lived-body and? In the fourth section as all the notions that are previously discussed are brought together, it is being discussed that how architecture is realized, what kind of bodies it produces, how it is experienced, in which circumstaces production is being realized and what the tools of an architect are. To answer these questions, it is necessary to understand where the body is located in the whole and which body is being mentioned. In the entire study, there is an open and unfinished body which is being affirmed. Just like turning into an unclosed body with other bodies that ecstasy provides and experiencing being a different body, using tools while designing provides the same effect. While a tool unites with a body, it expands the body and makes the incompleteness continuous. While it is pointed to search the paradigms and the history as a creation, in order to understand the body approaches of past and today, in the context of these body approaches the body constructive attitude of architecture is also explained. An architect thinking with tools, while fictioning the areas of movement-duration, she adds those tools to the body which become limbs. In this part which asks if habitus may be counted as one of these tools or not, it is assumed that actually the architect fictions new corporealities through his own corporeality. Especially because of the possibility of different tools to open the blockages, the importance of using tools is being emphasized and defined that it is an important way to understand the multiplicty of the body. Thinking the direct relation of architecture with power and assuming the embodiment of power, the designing action is being materialized by providing or questioning this embodiment. On the other side, because the corporeality that the architect designs is constructed on a slippery earth, all frozen moments corrupt because of living and all structures are to collapse. In this case, it is an important question that how the designing happens. A design made in the process of questioning should be seen as a thinking-production which thinks about what body is and what kind of a corporeality the design has. This is why the importance of understanding the ongoing, the experience and experiment are emphasized. In the fifth section, how the situations related with body that were explained in other sections can be involved in architectural education is being discussed over experiences, various experiments and opinions. In this part which emphasizes the importance of the student having met with the? Approaching critical to everything that is served in education as information is noticed as one of these ways. The topics of assuming history of architecture as history of the body, simultaneity as being a way of this and critical approach to narratives are the subjects which are examined. By getting rid of methods which are fixed in nature, create stability and remove the change needed to solve problems, it is thought what can provide the change in process. A student can only be in a position of being in the middle of situations, places, people, structures and be? The importance of knowing the body, social structures, changes and adding them to her experiences to understand this change is being emphasized: Design, happens when the designer is involved into situations. Depending on the body, which is consisted of experiences, expanded and open or blocked and fixed by experiences, it is emphasized the architectural education to be aware of this corporeality and be executed with those experiments and experiences. In this case some workshops that were conducted with students have been analyzed, some works' contribution like contact improvisations that is not in the area of architecture were observed and some workshops are executed which were intended for experiencing. Body notion is revised over all these workshops done. Studies, which were made in order to experience an open and incomplete body with students and have been explained in the fifth section, show the importance of experience and stands in the way that provides that kind of a body. Especially, the studies at the part titled 'BodySpace Workshops' show that students get blocked when they try to produce by not getting experienced and not seeing their body as a part of the work. On the other hand, for example having mapping as a performance makes it the most important input of the designing process. BodySpace Workshops are formed by the notions that are related to body in this thesis. Thinking and producing about these notions, thinking while producing is aimed. Notions of those productions are determined as body and space, lived space, cartesian space, change, representation, record, movement, ambiguity, owned body and being a body. As a result, the attained point is that a body is a location where it is always changed. Every moment that body lives is a duration and it is reformed with all experiences. Body changes, because of having unregulated potential, while producing space, constructing habitus and transforming structures. It is never completed because of the changing situation, openning and blocking of body happens at the process of realizing itself. Architecture's experience area is this body. To know the body and the importance of experience must be the ground that architectural education is structured on and even that ground is not stable. In a world that all limits are melted, in all multiplicities, on slippery earths the only thing that is valuable is experiencing.

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