Sadra Civic Center
Professional Project | Nextoffice
+ Winner of World Architectural Festival 2018 | Nextoffice
My Role: Design Team Member; Modeling, Drafting, and Presenting Diagrams
Sadra social center project has been designed in the newly-built town of Sadra, which has practically turned into a subservient to a megacity like Shiraz as a result of its proximity to such large a city. For this reason, several thematically cultural projects have been designated in one of the major hubs of the town in order to raise the living and cultural standards of the town much further. The gradual expansion of a new town requires an adaptable and expandable spatial structure in order for it to hold the potentials for steady progression and excellence through time. Owing to the resemblance of the response to these questions, we came up with the idea of creating a ‘town within a town’ to disintegrate the entirety and build a town out of urban components, volumes and spaces. These are actually figures which despite structural resemblance and their being of a similar type, could adopt different shapes and forms.
Physical Model
The design of the buildings and the created spaces accordingly correspond with their antecedents that were thatched with clay and straw as well as the constructions holing a courtyard. The process of transforming minor residential structures to the major ones of more public spaces takes place gradually along with the conversion in form and size. In major constructions, the ceilings have the potentials of being applicable, mobile and retractable and the tracks in which the movements take place are practically placed inside either or both levels of ceilings and/or floors in order to several civil and social spatial strata within distinctive layers of separate social classes to be shaped inside these courtyards and routes.
Physical Model
The semi-open and flexible spaces in this project, based on different social events, take on a variety of themes such as Ta’zieh (an Iranian ceremonial performative form), storytelling, music, game, etc. while a fluid network has been created for access and inclination, it provides a good shading against the sunburn of the desert and makes it possible to do such acti ities. Volumes that, while are from a single formal family, can have different images in spite of structural similarities, brighten up sparklers and expose their cultural spaces so that readability and diversity can be shaped in the same harmony. They also create a social and civil environment in different layers and socialclasses.
Shadow Diagram
Rammed Earth Wall Section
Rammed Earth was the building method selected from among others as the best option for this project so that a material extracted from the same place could be applied to meet the requirements of the project itself. The project has the due potentials of being scheduled and executively phased in the course of several separate intervals and could be constructed and culminated over time.
Sadra Civic Center Section
Mashhad C.E.OHeadquarter
Professional Project | Nextoffice
+ Finalist of World Architectural Festival 2019 | Nextoffice
My Role: Design Team Member; Modeling, Drafting, and Presenting Diagrams
Generally speaking cities of iran suffer from maximum footprint and lack of urban open space. In a city like Mashhad, in a competition for designing a new headquarter for the organization itself. Is it possible to marry a city block with a pedestrian promenade by extending sidewalks? Hypering the existing potential of the program in a way that not only connects the alongside streets but also links the public zones of the building in the section. We recognized that Amphitheater carries the cultural mission and Hall of document approval pursues the professional duty of the organization in this type of building. Therefore, we locate them in a direct and steady relation with the path between urban streets in order to make a strong public loop in the project. And, more importantly, how does the ground we occupy from the city, is returned to the city through the open and public space at various levels.
Public zones are connected by vertical and horizontal voids or holes which also provide natural air circulation, ventilation and lighting for them. Similar to our historical precedents, that vast public interiorities became possible by large arches and vaults. Controlling the harsh sunlight of desert, a series of linear structural arches called Tawizeh, make these spaces habitable. In addition to shading and providing natural ventilation, they create multiple spatial values.
Hypering the existing potential of the program in a way that not only connects the alongside streets but also links the public zones of the building in the section.
we looked at how those circulation and programmatic scenarios, would more accurately nest in this volume/structure. solid brick surfaces were next to the facade of the office spaces that we had to strategize to catch and control the sunlight.
Yazd, Iran
Air Circulation Diagram
Section Perspective Diagram
What can be the relationship between our public space and this structural-spatial logic? In our practices, we examined numerous kinds of Tawizeh arches to cover horizontal voids. We were looking for a way to integrate the perception of the form and logic of structure as well as program scenarios. To achieve a unique character for this creature and also to enable vertical and horizontal connection with the sky or both sides streets.
Void Position: *
Study on Badgir (wind-tower) Structure
Void Section:
Study on 2D Patterns of Taq (Arch)
Scale
and Population:
Additional Levels:
literally “wind catcher,” a traditional structure used for passive air-conditioning of buildings.
And in addition to the structure, we studied this idea on full and empty samples to get the best space possible
This developed vaulted and light-catching strategy creates a free section for us. Which keeps a distance from a generic office space and creates variations of spatial qualities with varying degrees of light or co nection.
future development of the project: This void will probably be the only visual connection between the two streets in the future.
But eventually because of the large-scale arches and due to structural designer’s consult, we have considered the Tawizeh structural method. Therefore, we tried to practice different ways of brickwork for covering vast surfaces. In a 1 to 10 scale mock-up
We observed the effects of these formal, structural organization on the mass and void distribution in the building. And we looked at how those circulation and programmatic scenarios, would more accurately nest in this volume/structure. And, more importantly, how does the ground we occupy from the city, is returned to the city through the open and public space at various levels.
Everything, Everywhere, All at One
During my first days in the city of Winnipeg, one of the things that caught my attention during my observations was the number of multi-story parking garages in the city center, especially in the downtown area. Moreover, things like the number of cars, the population of the city, and comparing it
with the number of parking garages in downtown and the highrise office buildings always made me question whether this high number of parking structures is consistent with the population and the number of cars in Winnipeg. Is this high number of parking garages really necessary for the existing population and cars in Winnipeg?
M1 Studio Project | U of M
Several factors drive the proliferation of parking structures in cities like Winnipeg and other North American cities:
Increased Car Traffic: As the number of cars rises, the demand for parking also increases. Building parking structures helps meet this need.
Urban Space Constraints: Cit ies with limited space due to zoning laws or natural barriers build vertically with parking garages to maximize space use.
Accessibility and Convenience: Multi-level parking structures efficiently use space, accommodate more vehicles, and offer easy access from major roads or public areas.
Economic Considerations: Parking structures can generate revenue through parking fees and are more cost-effective than large surface parking lots in dense urban areas.
Regulations and Zoning Laws: Many cities require a minimum number of parking spaces for new developments, leading to more parking structures.
After reviewing various precedents and potential responses I could give to this parking garage, I went to the site plan and started scanning my project site using 3D scanning technology. I took precise measurements of the site to create a digital model in the computer. The initial scan results I obtained gave me a nearly accurate concept that I had in mind. Cars driving on the open ramps at the upper levels were visible, and at the same time, in this scanned image, one could see the parking garage while also getting a glimpse of what seemed like a hidden city within the heart of a parking garage.
The initial idea I had for this parking garage was actually something I had thought about a long time ago. In fact, during a topic course in the previous fall semester, I drew a sketch of this idea. The concept was to consider parking garages as empty platforms and try to activate each level by inserting modules that contain various programs. This way, each level of the parking garage would come to life with the program introduced to it.
Everything Everywhere All at Once!
In the next stage after the design, I considered making the plan a bit more practical and cost-effective. Because in this model, the parking garages and the role of developers in running them involved a lot of money. So, I decided to cut unnecessary costs from the project. The idea of being able to move the modules gave me the opportunity to utilize fixed modules, allowing me to designate fixed locations within the project for developers. They could then rent out these modules to interested parties and generate income. Therefore, the upper drawing was a conceptual image of the project that I had in mind, with everything in one place.
Structure of the Parkade and Design:
What kept me occupied was the presence of multiple ramps. If I wanted to add a program to the parking garage for use during the night, after working hours, when the garage is mostly empty and the number of cars is minimal, I had to think about how to bring life back to the parking structure. The challenge posed by the sloping levels first made me realize I needed an engineering detail that would allow me to insert modules into these ramps in a way that would maintain flat floors and ceilings. This would let people interact and be present within these new modules, despite the existing sloped surfaces.
Restaurants and Food trucks
Stage for Events
Retailers
Art Gallery
This question that came to my mind was, what happens to these massive parking structures at night when all the employees have gone home and downtown is emptied of any office-goers and almost all workers? I started wondering what happens to this large amount of unused and empty space in the city center, where the land is sold at the highest prices for office use. What happens to these empty parking spaces at night? Do they have a plan for utilizing them? Isn’t this a loss of valuable land and an inefficient use of space? Designing the modules in the way to reduce their footprint in order to keep as much as space available for parking lots.
Fourth Floor Plan
Axonometric View
PRECAST CONC. COL. (UPPER)
FILL POCKET SOLID W/ GROUT AFTER ERECTION
BARS DRILLED AND SET INTO BEAM W/ EPOXY
SLEEVE CAST IN BEAM TO BE GROUTED SOLID
BEARING PAD
CORBEL PL-ASSEMBLY W/ D.S.COIL NUTS & ANCHORS
CANT./CONT. PRECAST CONC. BEAM
PRECAST CONC. COL. (LOWER)
Cantilever or Continuous Beam / Column Connection
Precast Facade Elements with facing panel anchors
Cantilever or Continous Beam / Column Connection
Spacer Bolt Restraint Fixing
Precast Concrete Cladding Wall Anchor
Precast Facade Elements with facing panel anchors
Flitted[s]
2021 - Bachelor s Thesis - Living With Objects ,
+ Winner in Iran Thesis Of The Year 2020-2021 Competition
+ Selected as one of 10 Runner-Up in Architizer One Drawing Challenge 2021
+ Highly Commended in WAF Visualization Prize 2021
Slums are actually the result of people migrating uncontrollably to work in big cities. The high cost of renting and living in metropolitan areas is driving migrants to the outskirts of cities. And as a result of these irregular migrations, slums were created People move farther away from the city and start building illegal settlements on cheaper land or without a specific owner. In this way, smaller cities appear in the marginal path between big cities, And over time, construction on land without owners increases, one of the main problems of slums is their uncontrolled growth. Due to the cultural differences in this group of immigrants, different lifestyles emerge that to meet all their needs during the life of the sheds in which they live must be flexible and the possibility of adding or any change over time Have. In other words, in this informal life, the design starts from the details, which over time and with the emergence of needs, appropriate responses to the situation, are added to their living space and finally form a whole.
Designing by Objects
In the process, I realized the important role of objects in these sheds, when physical architecture was unable to produce space and draw definite boundaries between spaces, they were able to go beyond a level and embody collages of different spaces in the same small chambers. First, by observing the purposeful arrangement of slum dwellers to respond comprehensively to their daily needs, I came up with techniques that raised this question. Is it possible to build a dwelling for them using these objects? In such a way that both their programmatic production properties and their physics can be used to replace them with physical architectural elements. Then, by reading more about
the type of placement of these objects in sheds. techniques such as adding more uses to an object in addition to maintaining its original use, merging two objects so that both can be used in less space, or Perhaps with a bit of a combination of the previous method, it even had other uses in addition to the one previously defined for them.
To answer the problem of growth control, I thought of the grid as a rigid system, and the question arose as to whether the Cartesian order and properties of the grid could be used to control and predict the growth of urban slums in such a way that they retained their organic form. But in general, are they in order? In fact, can an irregular being be divided into small, regular, equal modules of itself and then use it to expand itself?
level 6
Cinema and public space
level 5
Habitable Surfaces
level 1
School and classrooms
level 2
Residents handicrafts and bazaar
Medical clinic for slum dwellers
level 4
Habitable Surfaces
Restaurant
level 3 Habitable Surfaces
With the importance of being an object in the life of slum dwellers and placing indigenous programs and handicraft markets at different levels of the structure and meeting the health, cultural, and recreational needs, finally with a closer look at the deja vu of the layouts and the same life We come across the past style of slum dwellers that has grown within a modern urban system. dwellers that has grown within a modern urban system.
Vanishing Mediator
Team: Amin Zargar, Saba Mirhosseini, Neda Kordbacheh
My
role: Designing, Researching, Material Analysis, 3D Modeling, and Presenting
Tutor:
Hooman Talebi | hooman.talebi@marz-design.com
The basis of the present project resulted from the superposition of two systems on top of one another, each of which are geometrically different and whose principles of formation differ from each other. The first system is a three-dime sional grid derived from the intersection of vertical and horizontal elements which construct an organized network. The second system is made up of warm paraffin with organic geometry, whose final geometry is formed in interference with the first system. The final product is the result of the superposition of an independent system and a shapeless fluid. Eventually the first grid leaves the final geometry, in other words, the initial grid plays an intermediary role between the two initial and final states of paraffin: the liquid paraffin before e tering the grid system and the solid paraffin formed in the final geometry. For this reason the grid is considered an itermediary structure.
Melted paraffin
2017 - CAAI School Of Architecture
Paraffin after removing the grid
The main challenge of this project was controlling of a self-forming substance by trial and error. Even though the final result can be predicted to some extent and formulaed by frequent testing, the result remains yet still unpredictable By controlling testing varables, such as the environment, the shape and structure of the grid, and so on, it can be concluded that the results may not be predictable but can be categorized within specific categories. This approach provi es the possibility of comparing and estimating the spatial quality of the system’s products, and can be optimized to produce in a category of results.
Start point for Paraffin leaking
Analyzing paraffin distribution methods on the grid
Sliping
Ethology of interaction between paraffin and grid
Physical Model | Paraffin after removing the grid
Mass
Objects
2018
Team: Amin Zargar, Saba Mirhosseini, Neda Kordbacheh
My role: Designing, Researching, Material Analysis, 3D Modeling, and Presenting Tutor: Hooman Talebi | hooman.talebi@marz-design.com
Revision of Lalehzar Street as one of the most important streets in Tehran, which has inherited from the past architecture of Iran and today has become a hub for the sale and storage of electrical appliances and lighting in Tehran. Using the reading obtained in the previous project (fading mediator) of the behavior of paraffin with the grid is one of the primary goals of this project. Observing the current situation of Lalehzar and the corresponding economic layers, one can see a range of overlapping of the body and structure, public commercial spaces for the people and the layers behind the street wall that became the warehouses of the shops.
- CAAI School Of Architecture 2/3
And with its help, we realized the role of mass-producing objects that organize it with their spatial logic. These space-building masses are sometimes fixed or sometimes moving and are constantly changing and creating new space that originates from the primary physical structure in which they are located and the response to the secondary need formed over time for them. This time, objects, elevators and warehouses next to humans change the architectural trajectory in Lalehzar. They create changes such as reorganizing spaces to become the most suitable storage of objects, facilitating movement circulation, temporarily increasing the border and dividing multi-user spaces, etc.
Ethology of interaction between paraffin and grid
Ethology of interaction between paraffin and grid
Ethology of interaction between paraffin and grid
Ethology of interaction between paraffin and grid
Finally we used paraffin diagram and grid by removing the existing structure. We find a place full of objects that have infiltrated the formal structures of this site over time, inherited the features and order of the structure or made changes in it, and at the same time is trying to grow and move freely in space.
Map of Lalehzar and it’s objects
Objective Lalehzar
.Obj
Team: Amin Zargar, Saba Mirhosseini, Neda Kordbacheh
My role: Designing, Researching, Material Analysis, 3D Modeling, and Presenting
Tutor: Hooman Talebi | hooman.talebi@marz-design.com
Lalehzar’s problem is the excessive accumulation of objects in it, which has damaged its historic buildings
The placement of objects in Lalehzar is such that it first follows the empty and geometric spaces of buildings or structures. In such a way that by removing the buildings, its effects will still be readable. And in the next stages, according to their biological laws, they organize space. Thus, a new structure is created that redefines definitions such as floor, ceiling, walls, boundaries ownership and circulation. An architecture that continuously changes due to the variation of its elements which causes different spatial qualities. In this way, the circulations and access paths to the objects are left empty. The initial circulation and movement of the body in space is limited or completely defined. These activities have gradually turned Lalehzar into a mass of warehouses and shops that are constantly growing and expanding and removing valuable historical buildings.
2018 - Final project - CAAI School Of Architecture 3/3
The answer of this project in order to save and create a two-way dialogue between Lalehzar and warehouses is to use some selected empty spaces in Lalehzar to provide warehouses and organize objects in it with their own rules that we have previously studied on them. These spaces are created in such a way that in addition to maximizing the use of space for warehouses of shops.
of interaction between paraffin and grid
The first system is the frames that play a structural role and the second system is the containers that are designed to fit the structure of the frames and are stacked. The small motors and cranes built between them have the ability to slide on top of each other to shrink at night or when the complex is closed and cut off access to all containers and also increase the amount of void to mass.
Ethology
and seeds of cultural and recreational activities are planted that previously existed in Lalehzar to allow people to pass through some layers To turn it from an abandoned warehouse into an active space. And to have the opportunity to return to its previous identity in the future, as in the past, with the arrival of the people and the spread of more cultural programs.
Distribution of cultural and public programs among the warehouse
“if may i ask the grand budapest”
howdidyou cometobuy it?
2018 - CAAI School Of Architecture
Team: Amin Zargar, Saba Mirhosseini, Maryam Mehrizi
My Role: contributed to 3D modeling, theorizing our findings, and rendering all aspects of the project shown on the following pages. Most ideas were generated through team brainstorming and discussions. Tutor: Peyman esmaeilpour
Technical Studios: According to the studio brief, students were required to produce architectural drawings from a sequence they selected based on the story, dialogue, and architectural elements within that sequence.
The bathhouse scene in the movie of “Grand Budapest Hotel” is one the first sequences and is a excuse For narrating the other events. Characters of Mostafa and the Author are meeting for the first time in an uncommon condition and in an uncommon place. The meet in the semi-private part of a public bath and it is where the author is asking a key question “How did you come to but it? If I may ask the grandBudapest hotel”.Mostafa hesitate to answer and postpone it. This situation for us is the key to enter the Mostafa’s mind as such a question for him is mind provoking and reminder of many memories and various events by the Grand Budapest hotel.
It is Mostafa’s world that we tried to draw. A complex condition of his thoughts, which is organized in an installation of pipes. Just like the bathroom sequence, the moment when Mustafa, with all the memories he was going through, had his head under water and everything was suspended. We can find the memorable elements of Grand Budapest hotel everywhere in the drawing. The result is a series of drawings that blur the boundary between dream and reality, fantasy and actuality and has an object quality with itself.
ARTWORKS
Individual and Professional
Motion Graphics:
Selected works 2020 to 2022
Individual works and collaborations with Archi-Kid, Nextoffice, etc Tap The link to watch the video: https://youtu.be/jzgRJddXyCU
This is a demo reel of animations I’ve done apart from my academic studies. Aside from my academic career, I have always been interested in animation and storytelling because I believe this medium can create long-lasting memories and have a great impact on humans and also allows me to create my own fantasy worlds and artworks. The skills I gained in this field also helped me enhance my architectural presentations with techniques such as chromakey and motion graphics. Three project animations I made using the same technique in collaboration with Nextoffice as an illustrator and animator were later shortlisted for the WAF visualization prize in 2019.
Motion Graohics and Video Arts
Bachelors Thesis Animation: 2021
Individual Project
Highly Commended in WAF Visualization Prize 2021
My bachelor’s thesis animation, with a lot of attention paid to modeling and rendering, was announced as a highly commended in the Visualization Prize at the World Architecture Festival (WAF) in November 2021.
Craft Cabinetry Object
Designed and directed: Amin Zargar
Client: Craft Cabinetry
For Kraft Cabinet System, a renowned kitchen cabinet manufacturing and installation company in Iran, we at Unit.X were tasked with designing a unique Nowruz gift package that would serve as a memorable keepsake for their valued clients. The objective was to strengthen client relationships and reinforce brand presence through a thoughtful, elegant gesture. The Nowruz greeting package, curated by our team, features a bespoke wooden object, exclusively crafted for Kraft. This wooden piece, designed with a balance of sophistication and simplicity, was meticulously created to showcase Kraft’s exceptional craftsmanship and attention to detail.
First Design Attempts
The object is versatile in its use—it can serve as a stylish container for accessories, a snack tray, or a fruit holder on a dining table, adding both functionality and elegance to everyday living spaces. Complementing the wooden object are handmade ceramic items from Eshk Object and artisanal almond chocolates, carefully selected to add an authentic touch to the package. These elements, combined, create a harmonious and aesthetically pleasing gift that speaks to the quality and creativity of Kraft’s brand.
Furthermore, an animated concept video, produced by myself, accompanied the package, providing a narrative that visually captured the essence and thoughtfulness behind the design. Additionally, the package included a small artistic sculpture by a talented Iranian artist, which was carefully chosen to complete the overall presentation and enhance the experience for the recipients. By combining these thoughtfully designed and curated elements, the Nowruz gift package not only reflects the brand’s values but also serves as a symbol of appreciation and a means to sustain meaningful connections with Kraft’s clients.
Graphic Designs and layouts
Projects in this Chapter: Craft Cabinetry Catalogue, SEFI Properties Seasonal Journal, Nastaran Residential book
Designed and directed: Amin Zargar
Motion Designer: Amin Zargar
Editor-In-Chief: Hilda Hasani
Photographer: Parham Raoufi
CRAFT Cabinetry Catalog Published in 1,000 pcs
A brand can introduce itself through a tailored presentation—a catalog combining well-curated images, a structured layout, and text that aligns with the brand’s tone and character. This custom content package embodies everything a brand needs to communicate its identity.
For the Kraft catalog, I faced multiple challenges in graphic design, including numerous meetings with the client to emphasize the need for a brand-focused catalog, listening to their expectations, and working within a limited budget. Managing print and distribution costs, as well as experimenting with different cover techniques and materials, were also critical considerations during the design process.
The introduction book for the Nastaran project was created as a detailed record for residents of this luxurious apartment complex in northern Tehran. It covers everything from the historical and contextual background of the site to the initial design ideas and philosophy, as well as detailed descriptions of each space and its features. A project-specific book like this captures the architectural DNA of the building, preserving its essence for years to come. The book also includes brief interviews with the heads of various departments involved in the project. Due to the limited edition, great care was taken in selecting premium paper and cover materials, with colors chosen for their optimal print quality on 150gsm glossy paper.
We collaborated with Safi Construction Group to design a quarterly magazine that shares the latest industry updates and the group’s viewpoints. Each issue, released in the second month of every season, features articles and interviews on current construction trends, project stories, and conversations with architects and partners. The magazine, with a print run of 12,000 copies, is distributed to past clients and architectural firms. As the graphic designer and art director, I focused on ensuring print accuracy for high volumes, managing color adjustments based on printing palettes, and overseeing the offset printing process.
