Wool and Kicks of All Kinds

If Marcel Duchamp were alive and saw all this “Wool and Kicks” on the front desk of Shahrketab, wouldn’t he be pleased? How can one start with tradition, Persepolis, and the perfect human and arrive at criticism, the Museum of Jewish History, and roguery? Is it possible to be simple yet complex, detailed and broad, left and right? If this is a book, why does it lack a book-like structure? If it is a magazine, why has one person written all the content? Are these the outpourings of a decade-long architect-writer, graphic designer-teacher, or blogger-photographer? How has he organized congresses, earned a doctorate, worked in a specialized architectural NGO, formed a family, written critiques and research—from ancient Iranian architecture to the present—collaborated with specialized journals, held numerous critique sessions, done professional work and blogging, translated books, and taught? How does he manage to be both disillusioned and pragmatic, experimentally balancing family, profession, academia, and the web? Is he a clear example of pluralism or a disciple of Deleuze’s horizontal thinking school, moving simultaneously in several fields, or an admirer of Rorty’s “roguery in the private realm and liberalism in the public?” How has he moved from the stations of Duchamp and Le Corbusier to the path of Hedayat and Kiarostami and become immersed in Eisenman and Koolhaas? Is pluralism, flexibility, and constant self and other criticism an ideal trinity for today’s human? Is weaving wool and kicking not life?