ABSTRACT
Attempts to reconcile the chasm between creative work and research often end in understandable frustration. If hunting for incremental advancement of knowledge as the gatekeeper of research, designers appear childish and distracted when compared to the sciences. The majority of researchers thrive on the stability of the scientific method for good reason, but creative individuals relish the opportunity to shift tracks. Consider the geometric dance that produces MoMA Fabrications. The ingredients are a static orthogonal grid and a distorted plane—constant and variable. Tehrani conically projects the grid to intersect with the distorted plane, resulting in a complex geometric collision. This act transforms a static geometry into a dynamic and unique figural expression. Casa La Roca is presented as designed in 1994–1995, but for Tehrani, this is a living project. It was conceived through the detail as a point of generation and drawn by hand.
