Urban Journeys of the Rhizomatic Line

Using visual hierarchy, representational media often separate diverse urban experiences. Three categories of foreground, middle ground, and background are easily distinguished in photography and painting. Urban sketches separate buildings, figures, and natural features. In architectural working draw...

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Veröffentlicht in:Streetnotes (Sacramento, Calif.) Calif.), 2023-04, Vol.30 (1)
1. Verfasser: Moezzi, Mohammad
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Sprache:eng
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Zusammenfassung:Using visual hierarchy, representational media often separate diverse urban experiences. Three categories of foreground, middle ground, and background are easily distinguished in photography and painting. Urban sketches separate buildings, figures, and natural features. In architectural working drawing, “poché, entourage, and mosaïque” forms a structural system for representing cut walls, environment, and texture respectively[1]. Recently, photogrammetry or Lidar scanning claim to break these hierarchies by creating “a uniform unbiased document of things in space as they exist.”[2] However, these tools fail to reveal the speculative imaginary experiences hidden behind surfaces. This series of my drawings that I named “rhizomatic line”, is the result of a non-hierarchical process inspired by French philosophers Gilles Deleuze and Felix Guattari's concept of rhizomes. Described as an array of attractions without beginning or end, a rhizome negotiates between things, “fosters connections between fields, the removal of blockages.”[3] Rather than producing fragmented shapes, the rhizomatic line moves between the objects and intertwines them. Seemingly recording eye movement, rhizomatic, line does not construct complete outlines, but through loosing their completion, it connects them. As it explores the city, it does not differentiate between humans, pedestrian lines, high-rise building edges, urban skylines, stairways, leaves of a small plant hiding behind a window in a private room, entrances to residential units atop towers, or imaginative spaces. When looking at similar images, different people show different eye movements.[4] A designer sees the world in the process of construction, and from multiple perspectives at once. Architects use a specific language to draw rhizomatic lines. Axonometric projection takes advantage of both the visual aspect of perspective in photography, as well as the mathematical precision of orthographic projection in computer cartesian systems. Although I do not claim that my rhizomatic lines are true or close to the vision, I emphasize on " a continuous space in which elements are in constant motion."[5] The dotted texture suggests one understanding of the scene's porosity, among many others. Through the blurring of boundaries between poché, entourage, and mosaïque, only a portion of the image is displayed as a work under construction, inviting the viewer to complete it with their imagination. In this sense, a rhizomatic line is n
ISSN:2159-2926
2159-2926
DOI:10.5070/S530160047