Material Tapestry: Decolonising the Horizon explores contrasting cultural approaches to architectural representation, examining the western construct of linear perspective alongside non-western systems of spatial thought. While western drawing has historically privileged a single, detached observer governed by strict geometric rules, Persian painting, exemplified by Kamal ud-Din Behzad’s work, conceptualises space through active participation rather than fixed observation. By examining Behzad’s 1530 painting The Construction of the Fort of Kharnaq, the project foregrounds a non-hierarchical ‘assemblage of actions,’ in which the self is situated within the world rather than positioned outside it as a detached viewer.