/æbdoɫhæmiːd ʔɑːliː hosejniː/
I’m a lifelong learner in the world of architecture and urban development, deeply passionate about the human experience. My dream job revolves around lending a helping hand to others, and with my boundless energy that brightens up any space, I often burn the candle at both ends. I strive to pump up urban vibes and infuse life into cities, all while strengthening social bonds and community ties.
• Regenerative design | Urban Resilience | Adaptive Reuse |
• Historical Context | Historical Ports | Ancient Site
• Water Management | Cultural Heritage | Energy Efficiency
• UniversityofTehran
Master of Architecture
Total GPA: 18.15/20 (4/4) [2020-2023]
• ShirazUniversity
AALIHOSSEINI.AH@UT.AC.IR
AALIHOSSEINI.AH@Gmail.com
LOCATION
Tehran, Iran
LINKDIN
https://www.linkedin.com/in/ abdolhamid-aalihosseini-115169164/
Research Gate
https://www.researchgate.net/ profile/Abdolhamid-Aalihosseini
Bushehr Port, Iran
Teamwork
Responsibility
Leadership
Self-Motivation
Negotiation
Flexibility
Time-Managment
Decisiveness
Problem Solving
AWhat? Where? About?
1997/06/27
Bachelor of Architecture
Total GPA: 17.29/20 (3.69/4) [2016-2020]
Title of thesis:
«Designing The House of Art & Culture for Children with Infill Design Approach in Historical Context of Bushehr Port»
Thesis Grade: A+ (Excellent)
[Supervisor] Dr. Parastoo Eshrati
«Design an Office Building (Energy and Environment Innovation Research Organization) with Reducing Energy Consumption Approach by Optimizing use of building Faces»
Thesis Grade: A+ (Excellent)
[Supervisor] Dr. Roza Vakilinezhad
1st Prize of International ISOCARP
Global Emigrant Interaction, Restorative Environments: Equality and Refugees
2nd Prize of International IFLA2023 [Applied Research]
Global Emergent Interaction and Landscape Architecture Restorative Landscapes, Equality, And Refugees; From Infor-mal Urban Settlements to Refugee Camps and The Homeless
Honorable mention of International GOLDEN TREZZINI AWARDS
Global Emigrant Interaction, Restorative Environments: Equality and Refugees
Honorable mention of 2A Continental Awards
Regenerative design and development of the Post-Industrial Site of Shiraz.
Honorable mention of International GOLDEN TREZZINI AWARDS
Regeneration of Cement Factory towards Sustainable Future.
Runner Up (2nd) of Miami Floating Housing International Competition
The CORAL: A Regenerative Approach to Explore Floating Housing Opportunities. The Top Secretary of the Associations
For Developing Green Architecture in University of Shiraz
[2024] Rank 6th In the Ph.D. University Entrance Exam of Iran.
[2024] Certified Member of National Elite Foundation of Iran
[2023] 1st Prize in Designing the Building of Mechanic Department in Shiraz University| Continuous sustained gene of the Shiraz University’s identity
[2023] Honorable mention of KOOCHE competition | Waltz house: A romance between Work and Life in a Tiny House
[2023] Honorable mention of 2A Continental Awards | Regenerative design and development of the Post-Industrial Site of Shiraz.
[2022] Honorable mention of International GOLDEN TREZZINI AWARDS | Regeneration of Cement Factory towards Sustainable Future.
[2022] Runner Up (2nd) of Miami Floating Housing International Competition | The CORAL: A Regenerative Approach to Explore Floating Housing Opportunities.
[2021] Honorable Mention of Steel Factory Entrance Competition | Companionship of Glass and Steel.
[2021] Third Place of Design the Building of the Counter of BEHESHTI University Competition | Companionship of People and Knowledge.
[2021] Reached the Final Stage of Nomadic Mobile Library Competition | Design a Deployable Structure Extracted from Nomadic Culture.
[2020] Honorable Mention of Creative Rural School Competition | Exploring the Traditional Pattern of SISTAN Province.
[2019] Honorable Mention of Life Bridge of SHIRAZ Competition | Usage of Artificial Intelligence in Architecture.
[2018] The Top Secretary of the Associations | For Developing Green Architecture at the Shiraz University
[Submitted] Rediscovering Bushehr Port’s Architectural Legacy: A Novel Typological Method of Forgotten Buildings Through Historical Imagery. Extracted from My Master Thesis | P. Eshrati & A. Aalihosseini.
[Under Review] Impacts of Infill Design on the Historical Context; Case Study: The Construction of Persian Gulf University in Historic Port of Bushehr. Extracted from My Master Thesis | P. Eshrati & A. Aalihosseini.
[In preparation] Virtual Water Management in The Construction Process. Extracted from Research Project | R. Vakilinezhad & A. Aalihosseini
[2023] Feasibility of sustainable development of the ancient port of Siraf according to the cases of tourism development in the world’s ancient sites. Conference of Siraf - Extracted from University Architectural Design 1 - M.S. Mahmoodi & A. Aalihosseini & F. Salehi
[2022] A Comparative Analysis of Semiotics in Traditional Bazaar and Modern Commercial Center. Case study: Tajrish Old Bazaar and Tirajeh 1 Commercial Center. The Second International Conference on Architecture, Civil Engineering, Urban Planning, Environment and Horizons of Islamic Art | A. Aalihosseini & M. Motamed
[2022] Applying Proxemics in Sociability Evaluation of Campus Spaces (Case Study: Tehran University, Fine Arts Camus). 2nd International Conference on Smart City, Challenges and Strategies | A. Aalihosseini & M. Motamed
[2022] Recognition of the Criteria of Designing Neighborhoods’ Parks with the Approach of Children-Friendly-Cities. Kid’s Utopia Symposium - N. Jandagi & A. Aalihosseini
[2021] On the Way to the Birth of a Rebellion in Architecture. Darichee Promotional scientific magazine | A. Aalihosseini
[2020] Real Water and Virtual Water Assessment in Building Construction. Research Project | Shiraz University - R. Vakilinezhad & A. Aalihosseini
[2020] A Space for Green Minds; Active Transportation, Generator of Architectural Space. HAFT Student Scientific magazine | A. Aalihosseini
[2019] A Proposal for Application of Virtual Water Concept in Green Building Assessment Systems and Construction Materials. 3rd International Conference on Applied Researches in Structural Engineering and Construction Management | R. Vakilinezhad & A. Aalihosseini
[2018] Feasibility Study of Double-Skin Facades and Their Efficiency in Different Climate. 2nd International Conference on Smart City, Challenges and Strategies - R. Vakilinezhad & A. Aalihosseini
[2018-2019] Secretary of the Scientific Association of Architecture [Shiraz University]
[2018-2019] The Organizer of the Green Management and Sustainability Event [Shiraz University]
[2017] Cooperation in holding an exhibition of the achievements of Iranian universities in green management [Shiraz University] [2017] Coordinator of architectural technology events [Shiraz University]
[2016-2019] Member of the Scientific Association of Architecture [Shiraz University]
Iran’sMinistryofInterior[Collaboration with the University of Tehran] 2023-Present | [Supervisor] Dr. Elham Fallah
• Research Design: Developing The Design Model of “Indigenous Public Houses” in Iran
• Action: Providing Solutions for Conflicts of Interests Among People, Government, & Institutions
BandarImamPetrochemicalComplex
2024 | [Supervisor] Dr. Esmail Esmaeili Jelodar
• Architect of the First Iran’s Petroleum Museum (BIPC Museum)
• Research on the Historical Background of the Industrial Heritage of BIPC
RahYaftResearch&DesignStudio;ResearchAssistant
2019-Present | [Supervisor] Dr. Mahshid Motamed
• Research on Socio-Environmental Aspects with POE Approaches to Achieve Sustainable Development.
• Working on a Graphical History Book.
• Exploring Research Methods in Architecture.
ShirazUniversity
2017-2019 | [Supervisor] Dr. Roza Vakilinezhad
• Reseach on Virtual Water Assessment in Architecture.
ApadanaInstituteofHigherEducation
• Mechanical Systems for Architects [Lecturer]Fall 2023
• Construction Site visit [Lecturer] Fall 2023
• Regulating environmental conditions [Teaching Assistant] Spring 2022
RahYaft Research Studio
• Ai and Architecture [Lecturer] Fall 2023
• Research Methods for Architects [Lecturer] Fall 2023
UniversityofTehran-Dr.ParastooEshrati
• Research Methods in Interior Architecture (M.A) [Teaching Assistant] Fall 2023
• Human, Nature and Architecture [Teaching Assistant] Spring 2022
ShirazUniversity
• Applied Geometry for Architects [Teaching Assistant] Spring 2020 : Dr. Daneshmand
• biomimicry in Architecture [Lecturer] Spring 2019
Dr. Parastoo Eshrati
Associate professor at the University of Tehran
Dpartment of Architecture eshrati@ut.ac.ir
Dr. Roza Vakilinezhad
Associate professor at Shiraz University
Dpartment of Architecture
Arch.rv@shirazu.ac.ir
Dr. Mohammad Esmaeil Esmaeili Jelodar
Associate professor at the University of Tehran
Department of Archaeology Jelodar@ut.ac.ir
Dr. Mahshid Motamed
Assistant professor at Apadana Institute of Higher Education
Mahshid.Motamed@Apadana.ac.ir
Designing The House of Art & Culture for Children with Infill Design Approach in Historical Context of Bushehr Port (Master’s Thesis)
A Reflection of the Past as a Frame for the Present
“Architecture is the very mirror of life.You only have to cast your eyes on buildings to feel the presence of the past, the spirit of a place; they are the reflection of society.”
-I. M. Pei
Location: Bushehr Port, Iran
Children House
The recent intervention on site. This refers to the contemporary layer.
Transition from External Attachment to Active Emptiness
The Blur and Abstract Reflection of Past form
Due to its enduring influence across various historical periods and its distinctive cultural heritage, Bushehr›s historical fabric stands as a unique historical paradigm in Iran. Regrettably, due to the expansion of maritime facilities and a lack of profound architectural theorization regarding how to approach design within the historical context of Bushehr›s port area, its integrity faces significant threats such as losing livability. Children in particular are affected, as they are most likely to become disconnected users in the future. This research introduces an architectural interdisciplinary perspective to reconcile children with Bushehr›s historical fabric, paving the way for a more promising future within this historical context.
The research adopts a comprehensive and composite approach, incorporating historical interpretation, transcultural synthesis, case studies, and qualitative content analysis to gather essential data. It examines over 300 historical images, relevant documentary sources, interviews with native residents, and children›s artwork in Bushehr. Initially, it explores the theoretical aspects of interdisciplinary
architecture and its relation to the historical fabric. Infill architecture is discussed in terms of its dimensions, challenges, and potential. Subsequently, it thoroughly evaluates suitable spaces for children and scrutinizes the indigenous architecture of Bushehr›s port area, aligning these aspects with each other. Ultimately, it extracts design solutions to connect children with Bushehr›s historical fabric.
At the outset, the history of Bushehr was delved into, and the evolution of its architecture was explored in the context of three key periods. Following that, through examining historical records, documents, and available electronic data on Bushehr’s architecture, alongside cross-referencing with travelogues, memoirs, and interviews with local residents, over 45 architectural patterns were identified. These patterns were categorized into three levels—micro, meso, and macro—many of which have never been touched upon or even mentioned in any previous text or article.
MACRO SCALE
Bazzar (Roofed, Street, & Nowrooz)
Villages Cemeteries
MESO SCALE
Trading houses Houses
Qadamgah
Church
Caravanserai
Factory
Airport
MICRO SCALE
Interance
Room
Taromeh (With one porch & With two porches)
Shanashir (closed & Open)
Stretched porch
Bun & Pish Bun
Guest house
Kitchen
Staircase (round, three arms, two arms)
Ow.bordak
Round tower
Aftabgardan
Baad Bezan
Shaders
Doors and windows
Khorshidi
Owrsi
Moajjar
Eshkaf
Bel Platform
Shife
Lantern
Lukee
Hobane
Herre
Chishuk
Stone step
Serrated arch
Abshi
Muqrans
Se konj
Despite the typologies carried out in Bushehr port, reviewing historical images from the port of Bushehr reveals buildings that markedly differ from the identified types of historical buildings in this port.
Data triangulation method for identifying event occurrence points (in blue) and linking images using common markers (in yellow). a) Image depicting a set of buildings with different patterns (Ebrahimzadeh, 2018). b) Identification of a building within the image a: The German Consulate (Grottrup, 2013). c) Locating the German Consulate on a map from 1912 (based on Davis & Company, 1912).
The data derived from the quantitative and image analyses at the meso scale were then compared. Kernel density function analysis and hot spot analysis using Getis-Ord Gi* spatial statistics were conducted at the macro scale. The significance of the results was assessed using the Inverse Distance Weighting (IDW) method at the macro-scale. The findings indicate that these structures can be identified as a distinct architectural type in several villages on the Bushehr Peninsula and sporadically within the historical distinct of the port of Bushehr.
At the micro-scale, the elements used and the materials were analyzed both quantitatively and qualitatively. Given that the only available data consisted of historical images, SketchUp’s image alignment and projection features were employed to extract dimensions and analyzable data of the identified buildings. This allowed the creation of 3D forms from 2D images. From these 3D models, the dimensions of individual buildings, as well as their arrangement alongside one another, were extracted
In the second phase, quantitative analysis at the micro-scale was conducted using K-cluster analysis. The significance of the results was assessed using ANOVA at the micro-scale. The characteristics of this type include stone-built bodies, mostly sloped roofs with an average angle between 43 and 46 degrees, and entrances on the longitudinal side of the building. The plan emerged in two length-to-width ratios of 0.427 and 0.912, often exhibiting east-west elongation.
The boundary of the ground level aligns with the historical context, while the boundary of the first level corresponds with the sea
Creating a connection between past, present, and future is the purpose of the unite facade.
In summary, despite all the threats and challenges, infill design presents a valuable opportunity for architects and urban planners to protect and revitalize the life of historic fabrics. In this context, paying attention to the flows of life that arise from the shared mindset of the local residents takes precedence over the appearance of the buildings. Just as in the past, the formation of historic fabrics was based on the living conditions of its inhabitants, in the current era, as time has progressed and we’ve become distanced from that period, the sustainability of the design must first and foremost be rooted in the contemporary life flows of the region. Only then should it take a form that is either harmonious or contrasting with the historical values.
The harmony or disharmony of the architectural design depends on the ideology and decisions of the stakeholders, designers, and planners involved. In fact, various methods and strategies can be employed in this field, which have been elaborated upon in detail in this chapter. However, they revolve around a spectrum that ranges from maximum conformity to maximum contrast. Along this spectrum, there is no obligation to choose a single point - designers may opt for a range within the spectrum, depending on the project’s conditions at any given scale.
Each choice, due to the interactive nature of infill design with the surrounding fabric, will have noteworthy effects on its context, which have been addressed. Due to this fact, a quantitative survay has taken place by the authur to fin the importance of infill architecture aspects. The data were analysed by SPSS and ANOVA test.
Land Block Division Based on Historical Patterns
Separation of Blocks from Each Other Based on Urban Planning System in Bushehr
Functional Interactions of New Building in the Site
Four Separate Blocks on the Site, Representing Four Historical Locations in Retreat from Historical Building as a Sign of Respect for It
Formation of Floors and Half-Floors Based on the Elevation Levels of the Historical Building Connection of Four blocks on the First-Floor Level
Negative Space, %24 Empty
After reviewing the theoretical background related to children›s art, several children were asked to draw their perception of the port city of Bushehr. A total of 29 drawings were collected. Following discussions with the children, the themes of their drawings, which seemed to represent what they saw as the defining features of Bushehr, were identified. Overall, isolated cottages and houses in open natural settings were the most common elements depicted. Of these, the majority were natural elements. The sky took up the largest portion in the children›s drawings. They often depicted Bushehr’s sky as blue, sometimes using warm colors, reflecting the influence of Bushehr’s heat on their minds. Following the sky, the sea held the second-largest share in their drawings; they viewed the sea as blue, even in an abstract sense. The sun was depicted in contrasting ways: in some drawings, it appeared smiling and happy, while in others, it was darkened and deformed. Flags were a recurring element in many of their artworks, symbolizing a sense of identity. Each child drew and colored a flag that they felt represented themselves.
2 nd P rize of IFLA 2023
“Refugees didn’t just escape a place. They had to escape a thousand memories until they’d put enough time and distance between them and their misery to wake to a better day.”
-Nadia Hashimi
This project focuses on creating restorative environments in Tehran›s Kan district for Afghan refugees who have improvised shelters in areas lacking municipal services. By conducting interviews with the refugees residing in Kan, the project identifies significant challenges including psychological stress, gender discrimination, economic hardship, public health issues, social inequality, homelessness, stray dogs, and the lack of recreational spaces for children. The project proposes contextually sensitive and financially feasible interventions in public spaces, community centers, housing, and infrastructure that prioritize equality by creating inclusive spaces for marginalized communities within the Afghan diaspora. Participatory design processes are used to engage both refugees and local stakeholders in the preparation of design solutions. Overall, the project aims to create a sustainable and inclusive society by improving the lives of Afghan immigrants in Tehran›s Kan district.
Location: Tehran, Iran
Poblic Landscape Design
Other group members:
Maryam Noroozi
Reza Farhadi
Amir Rahsaz
Majid Aghazadeh
In late 2023, I played a central role in designing a museum-exhibition at the Bandar Imam Petrochemical Complex, commemorating its 50th anniversary. Tasked with completing the project in just one month, I collaborated with a multidisciplinary team of archaeologists and museum experts under significant time constraints. The project involved repurposing two underutilized industrial spaces—the methanol building and an adjacent warehouse—into a cohesive museum-exhibition complex. My innovative approach addressed the spatial and functional challenges of the site by creating a seamless connection between the two spaces using large-scale cultural objects to transform the outdoor areas. Inside, the main gallery was designed to guide visitors through the petrochemical history of Iran, focusing on key periods such as the establishment of the complex, its role during the Iran-Iraq war, and post-war reconstruction. The methanol unit was reimagined as an interactive space where visitors could engage with educational tools and industrial artifacts, reflecting the site›s educational history. Special attention was given to the design of an immersive experience, with graphic elements complementing the displayed objects to provide historical and technical context. Despite the short timeline, the project successfully integrated various elements—architectural design, exhibition layout, and interactive experiences—resulting in a thoughtful, multi-layered tribute to the complex’s industrial heritage. My design not only respected the industrial character of the site but also enriched it with meaningful cultural and educational narratives, offering a glimpse into the potential future of industrial museums in Iran.
Location: Mahshahr, Iran
Museum
Other group members: Dr. Esmail Esmaeili Jelodar
Dr. Ashkan Pooryan Mostafa Qalavand
In the larger warehouse of the Petrochemical Museum exhibition, the design incorporated several unique elements that blended history and abstraction. Key features included abstract structures inspired by oil extraction rigs, damaged war shells to symbolize conflict, and a prominent display window showcasing a massive war relic outside the building. The interior also held a collection of early computers, representing the site›s technological beginnings, alongside a video mapping projection on a significant historical piece. The spatial organization was structured into three distinct layers: a narrative layer conveying historical events through a fusion of architecture and storytelling, a central display area with eight showcases representing the complex’s diverse disciplines, and a transitional layer highlighting the growth of the complex.
Intracts the employees’ attention by huge old devices
One of the most captivating features of the larger warehouse was a wall abstractly filled with portrait photos of veteran staff members. This wall, dedicated to honoring those who played a significant role in the development of the complex, sparked a great deal of interaction among visitors. Many carefully searched through the photos, hoping to find images of their fathers, grandfathers, or acquaintances, creating a profound sense of connection to the site’s history. This wall not only served as an exhibition element but also acted as a bridge between the past and present, strengthening visitors› personal ties to the legacy of the complex.
In the larger warehouse, an installation of stacked early computers symbolized the complex’s technological beginnings. The chaotic yet purposeful arrangement highlighted the rapid evolution of technology in the petrochemical industry, showing how these early machines paved the way for modern advancements. This display reminded visitors of the industry›s growth through innovation.
In the larger warehouse, a memorial wall featuring damaged shells from the war stood as a powerful symbol of resilience and history. Adjacent to this, a showcase faced outward toward a massive war remnant, creating a direct visual link between the interior exhibition and the external historical artifact. This arrangement allowed visitors to reflect on the impact of the war both inside the museum and in the broader context, bridging the past and present through a striking visual narrative.
The Methanol Warehouse was a distinct part of the exhibition, designed to highlight the technical and industrial significance of the petrochemical industry. Inside, the spatial design was minimalistic, allowing the industrial machinery and processes to take center stage. The raw, exposed structure of the warehouse echoed the harsh environments of industrial sites, creating an authentic atmosphere. The exhibition showcased the methanol production process in a series of carefully curated displays, each offering insights into the technology and engineering behind the factory’s operations. This approach engaged visitors with the technical history of the site, grounding them in the complexity and scale of methanol production.
At the heart of the Methanol Warehouse was an interactive section, where visitors could explore detailed models and diagrams of the chemical processes. The space also featured a blend of old and new technology, with vintage machines standing beside modern innovations, symbolizing the evolution of the industry over time. The contrast between past and present not only highlighted the progress of industrial technology but also paid homage to the legacy of the site and the workers who contributed to its development. This immersive experience allowed visitors to connect with the technical achievements of the petrochemical complex in a deeper, more meaningful way.
From the Memory Shed
The Methanol Warehouse featured a unique display of educational cut sections from machinery previously used for training workers. These pieces, originally sourced from Japan, not only served as vital components in the educational process but also represented the historical legacy of the facility. Many of these sections remain intact, and by activating them, I created a symbolic representation of their functionality, allowing visitors to experience the essence of the training environment. This deliberate activation evoked a sense of nostalgia, bridging the past with the present and immersing viewers in the operational spirit of the warehouse. The combination of preserved machinery and the interactive nature of the display provided a tangible connection to the skills and knowledge imparted to generations of workers, enriching the overall narrative of the exhibition.
We found a bus that transported Japanese workers to their jobs 50 years ago, which we symbolically placed at the junction between the two warehouses. This bus serves as a poignant reminder of the workforce that shaped the site’s history, inviting visitors to reflect on the human stories behind the industrial legacy.
Regenerative Design and Development of the Post-Industrial Site of Shiraz
Areas left over from closed industries are known as post-industrial landscapes, which are the cultural heritage of the modern era. These kind of places are an integral part of the identity of cities and the collective memories of communities. Due to the complexities and damage to the ecosystem, these heritage areas require a comprehensive and integrated approach to restoration. The regenerative design and development approach goes beyond ecological and sustainability approaches. With the participation of experts and designers and also a systematic approach, presents a multifaceted plan in response to the capacities of space in a way that promotes the coexistence of human and nature.
In the revitalization of Fars Cement Factory site, with the help of regenerative design and development concepts, the factors affecting the postindustrial perspective have been presented in the form of a general framework. In addition to emphasizing the industrial use of the place, solutions have been proposed to repair the damage and create a multifaceted landscape.
Location: Shiraz, Iran
Poblic complex
Other group members: Samira Khosravi Hadis Saleh nezhad Parisa Rafie
Regenerative design and regenerative development directly address the shortcomings of the sustainability paradigm. Regenerative design as the replacement of linear systems of throughput flows with cyclical flows at sources, consumption centers and sinks, distinguish regenerative development from design. Regenerative design entails self-renewing system components. Regenerative development has two different aspects:Identification of phenomena for fruitful regenerative design and cultivation of evolving systems
The play of light and color is a distinctive feature of Shiraz native architecture. Including the Nasir alMolk mosque with colored windows spread a range of colors in the space and add soul to the space.
The Persian Garden, as one of the most important achievements of Iranian culture, is a reflection of the Iranian worldview. The geometric pattern of the Iranian garden, which is known as the pattern of the four gardens, can be seen in all Iranian gardens.
In addition to the four divisions, the Persian garden is an axial garden in which an axis plays an essential role in shaping the geometry of the garden.
The Persian Garden, along with its ability to respond to climatic conditions, is the main result of the intelligent application of various fields of knowledge, including technology, water management and engineering, architecture, botany and agriculture.
Toward nurturing more creative architecture I developed a creative process aimed at enhancing students› creativity in addressing architectural challenges, which I implemented in one of my classes. The initial step involved resolving students› software issues, followed by a lecture on Peircean semiotics. After this, students were grouped to analyze a film through a semiotic perspective. An architectural problem was then presented, specifically focusing on the task of holding a full water bottle at a height of one meter. This led to a debate where students critiqued each other›s interpretations. Each student then created individual mind maps reflecting the discussion, which were later combined for further refinement. This culminated in the construction of a small-scale conceptual model, which was assessed for structural integrity before executing the final model.
Location: Tehran, Iran
Location: Shiraz, Iran
- Addressed students’ software issues
- Delivered a lecture on Peircean semiotics
- Grouped students to analyze a film through a semiotic lens
- Presented an architectural challenge (holding a full water bottle at 1-meter height)
- Facilitated a debate where students critiqued each other’s interpretations
- Students individually created mind maps based on the debate
- Regrouped to combine mind maps and refine ideas
- Constructed a small-scale conceptual model
- Conducted structural corrections on the model
- Executed the final model
At the end of the class process, to familiarize students with modern technology, their models were transformed into realistic images using AI based on DALL-E. This step allowed students to convert their conceptual designs from physical models into lifelike visualizations, bridging the gap between the virtual world and architecture. It also opened new horizons for them in terms of design and presentation of architectural projects.
Location: Shiraz, Iran
I consider myself a multidimensional individual, actively engaging in cultural initiatives alongside my professional work. For example, I successfully earned the award for Best Secretary of Scientific Associations at Shiraz University. This recognition came from my leadership in organizing symposiums, events, and issue-driven classes centered on topics related to humanity, culture, and the environment.
I participate the event «Zi-Bazafat,» a national competition focused on building structures from recycled materials. Held five times, this event attracted participants from all over Iran, who traveled to Shiraz to take part. It spanned two days and
I am passionate about working with my hands, as it sparks my creativity and deepens my understanding. In my free time, I immerse myself in painting, sketching, and calligraphy. Additionally, I enjoy traveling to various locations, where I create on-site sketches that allow me to uncover the subtle intricacies of the world. This practice helps me stay connected to the art of observation and manual creation.
Hich Callighraphy
. Thanks for your attention