Dirty Drawings Wednesday Talks, organized by Bilge Bal, hosted by Istanbul Kent University
27.04.2022 Clement Luk Laurencio (France), Drawing Spatial Fictions
11.05.2022 Hakan Tüzün Şengün (Turkey), Fail Forward
18.05.2022 Fırat Erdim (USA), Lines: An Inquiry About the Veiled Matrix of Architectural Imagination
25.05.2022 Corpo Atelier (Portugal), In Completeness It is Finished
01.06.2022 Ertuğ Uçar (Turkey), Drawing as Remembering
What we mean by Dirty Drawings is drawing as a creative and sensitive way of imagining, thinking and making, celebrating the humanity/being of dirty hand, considering the materiality of line and the reality of drawing. The process of drawing is as important as the result of it. We do not talk about a discipline trapped in its own boundary. Instead, we stress multi-disciplinary and multi-sensory drawings which are not only based on endemic methods and acts, surfaces and tools, materials and instruments, but also include the borrowed one and the invented one, pushing their limits to incredible ends. ... other two/three dimensionalities and technicalities, projections; the anatomy of line, the construction and materiality of line, the knowledge of line; the slowness of method; diverse mediums, tools and materials; the situations of drawing and its surface, embodied factures, palimpsest relationships, visual conversations, transparency and layering, alternative resolutions and densities; manifold points of view, dynamic mutual re-formations, combinations, hybrid becomings… a tailored visualization for a personal architectural imagination and world making instead of the established hierarchies and traditional forms of drawing. We expect to increase the heterogeneity in architectural drawing and expand the field of it. Our main references are Helen Frichot’s Dirty theory: Troubling architecture (2019), Corpo Atelier’s manifesto called “Mess is More”, Flores & Prats Studio’s way of drawing and its relation to their practice, their published article titled “Dirty Drawings” and “ On Drawing by Hand”, Tod Williams & Billie Tsien Architects’ essay of “On Slowness” and “Slowly (improving) Vision” and lastly, Tim Ingold’s book chapters titled “Drawing the Line” and “Telling by Hand”, books entitled Making (2013), the Life of Lines (2015), Lines: A Brief Story (2016) and Correspondences (2020) which stress more the tactility and materiality of line and drawing as a way of making. Even though they are unique approaches for themselves, we feel that all are in company with each other.