Salar Keshavarz / DEEVSAAL Portfolio
PERSONAL INFO
and career overview
Architekt
Tel: +49 157 339 931 62
Email: deevsaal@gmail.com
ZIPCode: 70569
Address: Allmandring Stuttgart, Germany
I am a passionate and driven graduate student currently pursuing my Master’s degree in Architecture and urban planning at the University of Stuttgart, having previously completed my undergraduate studies at Azad University in Tehran.
To me, architecture is a form of thought—a cognitive process that transforms ideas into tangible, communicable forms. This process not only reveals but also records human awareness of reality, making a significant contribution to culture. Throughout my educational journey, I have strived to learn and incorporate conscious art and architecture into my design process.
To further develop my skills, I have worked in esteemed architectural offices in Iran, contributing to various projects from large urban developments to small villas and pavilions. With a talented team, we earned several international awards, including the World Architecture Festival (WAF), the Asian Continental Architecture Award (2A), and the Non-Architecture Award.
Driven by my passion for learning and new challenges, I am now seeking opportunities to expand my knowledge and gain international experience. I am eager to work on diverse projects that push boundaries and advance the field of a rchitecture globally.
In the following pages, you will find a selection of my projects that showcase my design philosophy and creative approach.
Salar Keshavarz
SOFTWARE SKILLS
ARTISTRY LANGUAGE SKILLS
Rhinoceros:
ZBrush: AutoCAd
Touch Designer: Cinema 4D: Grasshpper:
V-ray for Rhino:
Keyshot:
Lumion: Enscape:
Dialux Evo:
Sketch Up:
Adobe Illustrator:
Adobe Photoshop:
Adobe Premier: Microsoft Office: Ableton: Persian: English: Deutsch: Electronic Music Sculpting Oil painting Product Designing Photography Sketching Model making Advanced Intermediate Intermediate Basic Intermediate Basic Advanced Advanced Advanced Advanced Intermediate Advanced Advanced Advanced Advanced Advanced Advanced Native Fluent Intermediate (B1.2)Learning
BUILT PROJECTS
STUDY AND COMPETITION PROJECTS
PROFESSIONAL AND TEAM PROJECTS
WALNUT GARDEN VILLA
CHILDHOOD HOUSE
Project Architect, In collaboration with Sepide Elmi Studio
Program: Villa
Location: Tabriz -Iran
Status: Built
Awards: Shortlisted in The Villa Magazine 2021 Unbuilt projects
The project was defined for us as a house for childhood nostalgia by a pleasant old man (employer). The project site is in a small village around Tabriz, their birthplace. We tried to make the project language very pure and simple. In the center of the interior is a museum of old man images and childhood objects, with thick red walls organizing the space. The project was in four levels, the two final levels were intended for solitude and watching the pristine scenery around. The uncertainty of the presence of the ceiling is a space for the fantasies of an old man who wanted to return to childhood.
Our client has kept this project entirely confidential, not disclosing any details to anyone, including his family members. It is a confidential collaboration between him and our team, and he has explicitly prohibited us from capturing professional images of this special project.
The only picture we have it is this picture taken by my iPhone camera.
Void / Gallery of Childhood Objects and Pictures
Interior
Physical Model
Animation
THE MOTHER’S HOUSE
Project Architect - In collaboration with Sepide Elmi Studio Program: Family House
Status: Built
Location: Karaj-Iran
Awards: longlisted in Archdaily 2021 Building of the year
Published on reputable architectural websites and magazines
The project is located in the center of Karaj city in a residential context, somewhere in the narrow alleys where old houses are rapidly being demolished and turned into apartments with a maximum construction area and overlooking each other. The house belongs to an old family in this neighborhood, who have a table in the language of the parish people, which means the house is the place where religious-culture events are held. It is not possible to discover people except by recognizing the meanings they use in life, and it was important to know what these rituals mean and value to them. The mother’s house (Sarv banoo), which was previously integrated, must be redefined in two layers. Also, the upper layer must be sufficiently independent for children and grandchildren.
One of our main challenges was the need to create a structure that responds to the ideological dichotomy of generations, which at the same time creates differences as a hole in proportion to the age of the house in the neighborhood and meets the needs for the icon of the house object in the neighborhood, on the other hand, the economic conditions of a cultured family were limiting. The first step in the direction of independence is to remove the surfaces of the internal communication staircase and place it in the yard with more emphasis, so that it’s known as an intermediate space in defining the independence of two layers, both from inside the yard and from the alley space. Stairs act as a platform for interaction, especially on religious event days.
By adding a layer to the facade, we tried to deal with the problem of the view of the opposite apartments and light, creating an arcade with the desired spatial (space) quality for both layers of the house. For the shelters and the exterior view of the staircase, we used turquoise glass with a spectrum from dark to light to have shade at different times of the day and, on the other hand, to recall the role of the event at home in the scale of the neighborhood. The courtyard garden was removed to create more space for events, and smaller gardens were placed in the space between the columns of the porch, so that the trees could be used to control the light and visibility of the opposite apartments and also play a role in the exclusive character of the house.
we designed a totally eco-friendly recycled glass material with a chemist group to enhance the quality of sight on both sides and control the light.
Lead Architect
Program : Open air Swimming pool
Location : karaj , Iran under construction paused because of WOMEN-LIFE-FREEDOM MOVEMENT
My proposed program targets a landowner in a severely disadvantaged economic and cultural context in the suburbs of the city, adjacent to a large prison. The local population primarily comprises immigrants, former prisoners, and their families. Recognizing the profound impact that a cultural and sports initiative could have, I proposed the development of an open air pool complex. This facility has the potential to transform lives, especially since many residents have never experienced swimming in a pool.
The project was designed to be cost-effective for the landowner, who owns an abandoned plot in the area as well as a ceramic tile factory. Utilizing resources from the factory would minimize expenses, making the development economically feasible. The primary aim was to generate a cultural revitalization in the community through innovative architectural design, fostering a sense of inclusion and engagement among the residents.
In Iran, many olympic champions emerge from underprivileged urban backgrounds. Countless talented children play football on clay fields daily. My employer, himself originated in this environment and strongly advocated for establishing a hub of vitality within the community—a potential station for cultivating a new generation of swimmers on the outskirts of Karaj city. Though this project remains unfinished and I am no longer in my home country to oversee its continuation, we persist in our efforts to bring it to fruition.
Karaj Prison
TAAR O POOL
Karaj Prison
Ceramic Factory Storage
First Idea Sketch, drawn in swimming pool
The project’s primary structure consists of parallel walls (strings) varying in height to create a hierarchical design. Functional spaces and swimming pools are positioned between these walls. The silhouettes created by the sunset turned into walls with black tiles, providing privacy from external views. As one moves through the interior spaces, these walls gradually increase in height, ultimately reaching the level of the pool and the diving board.
Silhouettes created by the sunset
Tehran Javan Swimming Pool
Scan for a video game demo of this project.
Lead Architect
Program: Platform for Street Musicians
Location: Tehran , Iran 2022
Live music thrives in Tehran. In my neighborhood (Shahrak e Ekbatan) , vibrant street musicians frequently gather and perform on a platform within our community. The atmosphere is eclectic, ranging from jazz and rock to rap and beatboxing. Despite government restrictions, these musicians persist, driven not by financial gain but by their passion for music.
Inspired by this lively scene, my project aims to transform one of these platforms into a dedicated concert stage for local artists. The envisioned stage is designed to be affordable yet impactful, shaped in a semi-circle with soft pastel pink hues inviting passersby to pause and enjoy the music. The space is thoughtfully crafted to accommodate the diverse talents of our street artists, creating a welcoming environment for both the city and its citizens to embrace the artistry that defines our streets.
By integrating this stage into the community, the project aims to promote social interaction and local pride. It serves as a gathering space for residents and visitors to enjoy live music and appreciate street artists, contributing to a vibrant and culturally enriched atmosphere.
The project’s affordability ensures scalability and replicability in other locations, fostering creativity and community engagement through simple innovative architectural design centered around music and urban space.
I hope to build this platform one day and perform electronic music on it.
Lead
Architect
Program: Residential House
Location: Tehran , Iran 2022
Dwarf House is a cozy haven nestled in the vibrant locale of southwest Tehran, designed exclusively for a dynamic queer DJ couple. Inspired by the mystical concept of “deevs,” mythical creatures known for dwelling in solitary caves, this unique dwelling reflects a desire for individuality and a safe space for self-expression.
The design centers around a small cubic building with a 4x4 square meter footprint. A commanding main wall, flanked by a spiraling staircase, serves as the heart of the home, organizing the space and connecting its distinct halves. Mezzanines on upper floors are tailored for lively gatherings, embodying the couple’s spirit of creativity and celebration.
The use of strategic openings in the main wall optimizes space efficiency, incorporating functions like entrances, bookcases, and windows without the need for additional columns. This design approach maximizes both functionality and visual appeal, ensuring a seamless flow throughout the dwelling.
Inside, you’ll find a variety of spaces, including dance floors, studios for music creation, and intimate areas for contemplation.
The interior design of the Dwarf House blends neutral tones with accents of bloodish red, creating a serene atmosphere. This color scheme influences the choice and arrangement of furniture and decor elements throughout the building.
Within its walls, a vibrant and close-knit group flourishes, exploring the realms of music, art, spirituality, and connection with genuine passion. The Dwarf House stands as a testament to resilience and creativity within a marginalized society.
Video
Saralanj Residential Complex
Project Architect In collaboration with Sepide Elmi Studio
Program: Residential and Comercial
Location: Yerevan - Armenia
Status: Under Construction
This project is located on a land of 12.000 square meters in the center of Yerevan, above the cascade. From the southern front, it overlooks Heraparak Square and the Ararat Mountains. The aim was to create a residential complex for the young and often single with low-rise units. The project was divided into four sections: public, semi-public, private, and semi-private. The commercial program that works with the city is placed on the lower layer on the northern front, and the residents on the upper layer need the retail spaces. The semi-private space is stretched from the first layer to the final layer to activate the life of the inhabitants and create a platform for the coexistence of inhabitants.
It organizes the main structure of the program and the form of the project. In such a way, the project’s cross-section has formed the facade. With its split in two, the residential part has provided the possibility of collective living within itself and has provided a different experience from urban apartments. The movement from the city to private life slowly with a tonality from the maximum crowd to the minimum. The penetration of the collective space into personal space occurs, from the micro-plazas in the commercial sector to the colonies of the units in the residential sector.
Walnut Garden Villa
Project Architect In collaboration with Sepide Elmi Studio
Status: Under Construction
Location: Karaj -Iran
The villa was defined for us as an aged walnut garden with old trees. Initially, the employer wanted a Two storey villa. Examining the garden, we decided to spread it among the trees instead of placing the plan in two layers and compacting it at a specific point in the garden. With this approach, we both prevented the felling of trees and placed courtyards between the spaces that activated the interior space. With the presence of these courtyards, we created a glass corridor between the two main spaces and We used this opportunity to show the dried bodies of garden trees.
PALIMPSEST
Project Architect In collaboration with Sepide Elmi Studio
Program: Urban Project
Location: Karaj -Iran
Status: Under Construction
Awards:
• Finalist World Architecture Festival (WAF2021)
• Shortlisted for NON-ARCHITECTURE Award 2021
• Candidate in 2A Continental Architecture Award 2021
Published on reputable International architectural websites such as Archdaily, etc
The project is situated in Karaj, an independent city that reads as an annexation to Tehran, the capital; an annexation with a population growth rate higher than Tehran, yet lacking a proportionate development of infrastructure and facilities. Intersecting with the urban grid in a diagonal manner, Palimpsest expands by 1.5 kilometers and occupies an area of 200,000 square meters on the section of the Tehran-Karaj highway that runs towards the city center metro station.
The longitudinal axis of the project is divided into a series of smaller blocks welded to each other on a higher level and informed an elongated street. On the borderlines of the street and each block, interstitial areas functioning as a number of micro-plazas are generated through the subtraction of void spaces. The micro-plazas that face each other, on the one hand, fashion an open space that activates urban interactions, and on the other hand, perform as a battleground between the paradoxical values of the liberated urban life and capitalism.
One of the key challenges of the Palimpsest was posed by the congested urban fabric of the illegally built adjacent buildings on the fringe of the longer axis of the project.The employment of monolithic mass for the commercial program of the project and its presence could have blocked the penetration of the visual access and the light for the settlements, eventually, causing their destruction.
Therefore, as a response to the challenge, by deploying a wall-less flexible design strategy in the formation of the commercial part of the program and putting the garden on the edges of it, the blockage of view and light of the neighboring settlements was avoided. Moreover, the flexibility and the openness on the edge of the plan provided an opportunity to respond to the future developments according to the masterplan of the city.
