Sarah Fallah

 

Born in Tehran, Iran in 1998, has an Associate degree in Architecture from Shariati Technical College.

She has found the techniques of representation available in architecture somewhat limiting, so she is currently focusing her research, at Tehran Innovation Center (TUIC), on finding a native and unequivocal language for architectural representation.

She has been working recently on a project called ReverCity, based on a temporal analysis of the cemetery—social, cultural, political, and ecological aspects—as a part of her participation in the Heterogeneity Studio held at Contemporary Architects Association of Iran (CAAI) school of architecture.

She is interested in ink art and has made multiple series’of experiments—including “Miniaturian Infiltration” and “Psychic Influx”—focusing on the concept of encountering a heterotopic space that has been, at some point, unknown.

In her further explorations of the potentials of ink art, Sarah has created a series of black and white abstract artworks illustrating the hidden side of the collective contemporary perspective regarding the other space of the dead.

Elaborating on that, she has also made a series of 3d molded models representing the same space, featuring delicate small details to make the visual experience more corporeal and tactile.

The heterotopia is capable of juxtaposing, in a single real place, Several spaces and/or several sites that are in themselves incompatible—a spatiotemporal juxtaposition overriding the functional zoning of the modernist. In the post-Fordist, post-capitalist constructed landscapes in which we exist, “emplacements” re-read through temporal differences, are the de-facto of the urban condition. Furthermore, the Anthropocene epoch is the vivid face of nature encountering an indigenously insidious mutation by the homo-sapien.

The city of the dead, as Foucault calls it, can be seen as the seismograph of the zeitgeist. An emplacement that is a contradicting resultant of the fast-paced City of the Living in the Indigo Era.

The City of the Dead with its metaphysical time dilation, is the other side of the society of the living, or, rather than the other side, its asynchronous, yet quite a corporeal reflection, so real that it cannot be assumed as a simulation of the past, but a timeless simulacra of the time continuum; “[f]or the dead have gone through the moment of change, and their monuments are the visible sign of the permanence of their city.”

To truly assimilate the City of the Dead, one needs to be either among its crowd or be a disinterested observing party, interested in a longitudinal study of the bio-chemical interactions, hidden six-feet-under.

The project is a conceptual investigation of what happens to such invisible cities through time and how the visible urbanity is interacting with or counteracting against the invisible real.