Tehran’s Elusive Fashion Salons

TANK, 2014 — with Shirin Fathi

Wild Physics: Design at the Outskirts of Town

Log, 2012 — essay by Brian Boigon; artwork with Brian Boigon

Who’s Afraid of Theory

Memar, 2017

Excerpt

Banham uses the shipyard as a demonstrative example, focusing on how loading docks have changed from being rigid to ephemeral. He compares The Albert Dock in Liverpool (1846) with the port of Tilbury in London. The former is a vertical factory with thick cast-iron columns that hold up manual cranes for stacking shipment boxes. The latter is a vast concrete flatscape; its gantries are placed outside by the waterside. Pointing to this comparison, Banham argues that the high-rise dock (along with its iconography) is obsolete. Buildings no longer shelter the imported goods; packaging (along with shipping containers) provide the necessary protection. In other words, the loading dock was once a building typology; now it is only an agglomerate of functional equipment.

Bathroom Patterns

Platform 28, 2016 — with Ladan Sharifpour

Roman Construction in Tehran

Place-Holder, 2016 — with Ladan Sharifpour

A View from Inside?

Memar, 2015 — with Ladan Sharifpour

Excerpt

We kids had fun because we lived in Park Prince. As you know, we are the post-revolution generation. We grew up in an atmosphere where a group of girls and boys could almost never gather in public places. It was hard and a little risky to gather for fun, to exchange ideas, for sports, or even to pass time. The Park Prince grounds had a semi-public and semi-private nature. For us young people living in its towers, it was a paradise. It was like a park, but a private one. Of course, it was not fully private, because the public also had access from outside. Everything that was forbidden for us girls and boys in public spaces was possible in Park Prince. It was a safe shelter where we were free.