EMAIL : diba.ghazia@gmail.com
INSTAGRAM : @diba.ghazia
LINKEDIN : www.linkedin.com/in/dibaghazia
Diba Ghazia is a developing architectural designer.
Having attended Iran University of Science and Technology where she received a master’s degree in Architectural Engineering, Diba is currently pursuing a second master’s degree in Architecture at SC-Arc where she aims to further advance her skills and knowledge in design. Prior to that she graduated from Shahid Beheshti University with a bachelor’s degree in Architecture .
While one could define architecture as creating spaces, experiences, built environments or simply a shelter for human kind, to Diba it is pushing the boundaries of creativity and technological advancement. In today’s era, human beings are being bombarded with inventions. She believes that architects need to utilize and implement such advancement and create new tools and spaces accordingly and look to the future.
3GBX . VERTICAL STUDIO 2 SCI-ARC . Spring 2023
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PARADISO
3GAX VERTICAL STUDIO 1 SCI-ARC . Fall 2022
ORDIBEHESHT SCHOOL Group Project
2GAX DESIGN STUDIO 1 SCI-ARC . Fall 2021
VARJAMKARD
2GBX . DESIGN STUDIO 2 SCI-ARC . Spring 2022
DESIGN DEVELOPMENT . Group Project
3GAX DESIGN DEVELOPMENT SCI-ARC . Fall 2022
SEATTLE PUBLIC LIBRARY Group Project
2GAX ADVANCED MATERIALS AND TECTONICS SCI-ARC . Fall 2021
HOTEL- MIXED USED TOWER . Group Project
REVIT FOLLY SCI-ARC . Summer 2023
2GAX - VISUAL STUDIES 1 _ Part1 SCI-ARC . Fall 2021
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LUSTER LAND Group Project
2GAX - VISUAL STUDIES 1 _ Part2 SCI-ARC . Fall 2021
2GAX - VISUAL STUDIES 1 _ Part3 SCI-ARC . Fall 2021
REVITALIZATION . Group Project
2GBX - VISUAL STUDIES 2 SCI-ARC . Spring 2022
SCI-ARC . Spring 2023
Instructor : Herwig Baumgartner
Software : Rhino7. Maya. Blender. Cinema 4D. Octan. Redshift. Unreal Engine . Adobe Suite
In this Studio, we worked on architectural materials that can either grow or degrade. We also designed tectonic components that change their form and appearance over time and used advanced fabrication techniques to build and rebuild, integrate alternative energy production technology into its skin, and design an architectural building that represents a different kind of sustainable future in architecture.
The project is an exploration of sustainable architecture through a multi-dimensional lens encompassing NANO, MICRO, and MACRO scales.
In the NANO phase, we meticulously researched various biodegradable materials, shaping their color, texture, expiration date, and narrative. In this project, integrating renewable energy technologies or carbon reduction strategies is a pivotal aspect.
In this research, I started with mycelium. Mycelium is the vegetative part of a fungus. We can design and build Mushroom Panels made of agricultural waste and mycelium. The advantage of these mushroom panels is they are made with two simple ingredients — hemp and mycelium. This mushroom hemp blend is naturally flame-retardant, providing insulation and noise-dampening benefits to any space. This material can grow in an endless variety of different shapes and sizes. Also, It is 100% biodegradable and a nutrient for soils and plants. Mycelium-based products are non-toxic and free of VOCs and formaldehyde.
Then, in the following, researched Cyanobacteria. Cyanobacteria, or blue-green algae, are photosynthetic bacteria found in various environments. They can perform oxygenic photosynthesis, producing oxygen and organic compounds. Cyanobacteria are considered environmentally friendly because they can be used in many applications without producing harmful waste products. They are highly adaptable and can grow in various conditions, from freshwater to saltwater, from the poles to the equator, and from dry deserts to humid rainforests.
Cyanobacteria have a fast growth rate, making them useful for bioremediation and producing biofuels, food, and other products. Also, they can produce biofuels such as bioethanol, biogas, and hydrogen, renewable energy sources that can help reduce greenhouse gas emissions. In the MICRO phase, we designed a series of tropes either as an interior environment or as an exterior component. The components applied materials and technologies previously designed at NANO part or researched and be the proof of concept for a biodegradable/ grown Architecture.
Panels created at this part look like tectonic surfaces made by Mycellium. From the research, I found Mycelium is composed of a mass of thread-like structures called hyphae, which can be used as a substrate for Cyanobacteria to grow on. The dead mycelium can provide a source of nutrients and a physical support structure for the Cyanobacteria. Then, I imagined what would happen if the cyanobacteria were injected into these blocks.
In this process, The bacteria grow onto the panels, beginning to absorb carbon dioxide and produce oxygen through photosynthesis. Within this process, the bacteria changes color to better absorb sunlight producing different color tones on the façade panels.
The appearance of our building can vary daily, influenced by factors like carbon dioxide levels, natural light, and temperature .With regards to using robots to inject moisture, it is possible to automate many aspects of Cyanobacteria cultivation, including the addition of water or other growth media.The use of robots in Cyanobacteria cultivation can help to increase the efficiency and precision of the growth process and reduce the time and effort required for manual maintenance.
It should be said that the blocks are to be replaced when they completely perish within a few years. This project incorporates these blocks within its interior, exterior, and landscape elements.
The MACRO phase includes two designs, one addressing the Ground and the other designing the object in the landscape. At this phase, the previous design and research were applied to a single building and ground. The object design engaged topics like porosity, biodegradable supertectonics, alternative energy production, and a timeline of change showing the different stages of its lifespan.
In this project, we collaborated with nature in designing the building. The result of this collaboration is a building that changes its color to absorb more CO2 and produce more O2 in each second.
SCI-ARC . Fall 2022
Instructor : Elena Manferdini
Software : Rhino7. Maya. Cinema 4D. Octane. Redshift. Adobe Suite
Fabrication : 3D Printing . Laser Cut
This project begins with experimentations with the MidJourney app, an attempt to create an avatar that resembles my identity. Working with MidJourney I became familiar with how A.I. works and uses my text input and that the results were transitional collages of many images merged into one another. I tried to use the same language in creating my avatar as my identity is also a collage of my experiences, feelings, immigration etc.
In the next part, with the help of A.I., created patterns that I would later use in my project as floor and ceiling patterns of the spaces I designed. Use of these patterns creates a sense of removed boundaries and walls within my project, similar to MidJourney images, where all the spaces merge into one other. Nature and its inclusivity is at the core of my design proposal. The aim of the design was to replicate the qualities of nature in the built environment so that all human beings could empathically connect to the organic interiors. Following such ideas, in the design of this project, no specific function was given to a single space. All areas hold different functions simultaneously including gallery space, library, vertical gardens, offices etc. placement within the space. For instance, the organic shape and orientation of library shelves inspired by the green leaves and petal arrangement shown in the Midjourney image. Additionally, walls separating the tunnels as well as the walls closing them off were turned into aquariums to deepen the sight and to bring natural light into the underground. The same ideas and design strategies were extended into the larger space in between the tunnels. The larger space includes the casino and restaurants with a number of different accesses. Landscaping and voids in some places were merged with the larger space to help with interior natural lighting.
Over the rails, bridges create easier access from one point to the other following the same organic design language. this project, an attempt was made in both larger and smaller scales to remove boundaries between functions, layouts, colors and textures of spaces and for the forms to freely move and organically occupy the space.
SCI-ARC . Fall 2021
Instructor : Soomeen Hahm
Partner : Meng Jung Ho
Software : Rhino7. Maya. Arnold. Cinema 4D. Octane. Redshift. Unity. Adobe Suite
In nature, we can often see a lot of aggregation from self-similar geometries such as flowers, plants…etc. We can also often see subtractive forms such as winds and waters leaving trail of their movement on earth and land. Our project specifically utilize the two methods of formation in our modeling process.
One part focus on the aggregation from, and the second one develop from the Subtractive Forms. We focus on both ground and underground level designs. In such a way, the landscape is combined with the site smoothly. We can learn the way nature has used its lightweight materials to gain strength and keep things in place. We can learn the way nature has used its lightweight materials to gain strength and keep things in place. The natural balance of a floral bloom and stone texture lends itself perfectly to structural composition.
Nature has used its elements to gain maximum performance in structure and design.One can explore such features of nature and can benefit from it to get aesthetic and functional designs.
We can also look at the topology of how creatures grow. These natural element can also be a symbol of the unity of mankind.
The design process in this studio started with designing 2 chairs. These three chairs designed by inspiration from natural elements and modeled by deformation, mirror, duplication etc. these chairs used for rest of the school design process.
Instead of blocky, geometric-looking structures, this school is created by light, flowing, organically rounded shaped structures. All the classes have different shapes and, at the same time, are from the same family.
In the whole project, curved lines created safe and energetic spaces for children along with beauty. Everything is designed with an inspiration of natural forms, from the furniture size to the whole size of our classroom.
Integrating ground level design with under layers is another feature of this school. Like walking in nature, students can explore new things in this school.
They can use all the indoor spaces, landscape, and rock spaces for various activities in the school.The experience of a welcoming school is emphasized in the school’s layout as opening up to the surroundings and establishing many diverse and interesting landscaping and building spaces. You can see how different shapes with the multitaxonomics combine.
Along with different geometry, each part has a special function as school places in outdoor and indoor. Meanwhile, you can see that the existing axis on the site plan continues to create one of the school entrances, which can be seen as a whole. Also, each cluster has multicolors. So Children can see how different spaces with various visual features, colors, and potentials can create harmony and create one successful whole. Some of the key characteristics were transparency into and between spaces, a variety of spatial types, interconnectivity, multiple-use, flexibility, and adaptability of the learning spaces. To sum up, buildings, outdoor activities, and other man-made structures would function like leaves, rocks, and flowers under this new order of sustainability. The design strategy echoes nature’s own logic. In nature, we can often see a lot of aggregation from logic. In nature, we can often see a lot of aggregation from self-similar geometries such as flowers, plants, rocks…etc.
we can also often see subtractive forms such as windsand waters leaving trail of their movement on earth and land. Therefore, we started to think about how can we be inspired by nature in general, and the site specifically, to give us forms we wouldn’t have thought of? Our project specifically utilize the two methods of formation in our modeling process. One part focus on the flowers, and the second one develop from the rocks .We focus on both ground and underground level designs. In such a way, the landscape is combined with the site smoothly. The natural balance of a floral bloom and stone texture lends itself perfectly to structural composition.Nature has used its elements to gain maximum performance in structure and design. We can learn the way nature has used its lightweight materials to gain strength and keep things in place. We can also look at the topology when it means study of how creatures grow. One can explore such features of nature and can benefit from it to get aesthetic and functional designs.learned early on in development, and children receive many messages about race and racism from a young age.” (Farzana Saleem, 2019) This is important to learn to the children about race and raise the non-racist person children about race and raise the non-racist person for society. These natural element can also be a symbol of the unity of mankind.
SCI-ARC . Spring 2022
Instructor : Karel Klein
Software : Rhino7. Maya. Blender. Unreal Engine . Adobe Suite
Following the crisis created on planet earth due to environmental problems caused by humankind, the conditions are not suitable for many species to survive.
Varjamkard, a bio lab located in the El Segundo area of Los Angeles, CA, attempts to offer a solution to this crisis. By creating an ecosystem resilient to outer harms including air and soil pollution, climate change. An ecosystem capable of growing in uninviting situations and reverse the course of destruction and pollution.
In year 2150 environmental problems caused by humankind has left planet earth in a state of crisis. Industrialization of human civilizations has brought detrimental harm to our surroundings to the degree that life on earth has become impossible.
In response to this crisis humans have turned to advanced technologies to protect the survival of their planet and themselves.
Varjamkard, similar to its ancient historical accounts as a Persian mythological utopia built to protect humans from the natural disasters, is a response to such crisis using technological advancements and artificial intelligence by creating an ecosystem resilient to outer harms including air and soil pollution, climate change and other toxic environments. An ecosystem capable of growing in uninviting conditions and reverse the course of destruction and pollution. One that brings life to earth again and could possibly be replicated on other planets.
In order to find novel ways to effectively combine the natural world and technological advancements with the help of artificial intelligence, a dataset was created of different images including sea creatures, industrial engines, office spaces and forests and then processed through machine vision algorithms.
Using the results obtained from the combination of these images, the initial outer shape of the building was formed and then different parts of the building, similar to organs of living beings, were placed inside the structure.
Lastly the relationships between the spaces were designed
were the relationship of AI machine outputs become evident within the design process of this project, both in the overall form and also in its details.
Varjamkard is designed in 14 floors and consists of 5 main areas. One is the Wet Lab where genetic modifications to different organs are researched and experimented. Adjacent to the Wet Lab is the Terraform which is an extension to it.
This is where the genetically modified species are grown and studies in an isolated environment. The other significant part of the building is the Dry Lab where programing and algorithm systems are developed and expanded.
This area operates as a central computer where the data from the wet lab and other parts of the building are stored and processed. Tube columns acting as the structural components of the bio lab also transfer data from all areas to the Dry Lab.
Within this biolab exists an agent, which connects all the systems and experiments.
SCI-ARC . Fall 2022
Instructors : Herwig Baumgartner , Zach Burns , Matthew Melnyk , Sophie Pennetier , Jamey Lyzun
Partners : Chen Wanyu , Xu Jinxin , Arjun Bharat , Qingyang Zong , Xiao Jin , Alejandro Aguilera , Hiwot Zegeye
Software : Rhino7. AutoCAD . Unreal Engine. Adobe Suite
This course investigates issues related to the implementation of design such as technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. In this course we learned and worked on the basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems in our building as a group.
SCI-ARC . Fall 2021
INSTRUCTOR : Randy Jefferson , Dwayne Oyler
PARTNERS: Jack Freedman , Hongwon Suh
Software : Rhino7. AutoCAD
The main idea of this design is the close analysis and interrogation of the Seattle Public Library through tectonic assemblies.
This process creates a clear relationship between individual parts and their composite whole.
These relationships mediate the multiple aspects of the composite whole: function, performance, durability, economy, aesthetics, assembly, installation, sequencing, availability, and climate.
This project consists of two parts: an in-depth tectonic analysis of a “chunk” of the Seattle public library, as well as a structural transformation of this chunk, using systems from a second precedent - in our case, Frank Gehry’s Louis Vuitton Foundation.
In the Seattle Central Library, we selected a piece as our chunk that can show most of the systems that make this building fascinating. From the underslung facade to the floating program volume to the seismic steel diagrid, this chunk had it all.
SCI-ARC . Summer 2023
Instructor : Andrea Cadioli
Partners : Wan-Yu Chen, Meng-Jung Ho, Wei-Chieh Wang, Lexin Liu
Software : Revit. Rhino 7. Enscape. VERAS
This course delves into Autodesk Revit software, emphasizing digital design, collaboration, and a creative approach. We gained hands-on experience in 3D modeling, data design, and procedural workflows, all centered around Building Information Modeling (BIM) principles. Using Autodesk BIM360, the course created a dynamic office environment that promoted teamwork.
Within this class, our individual design choices had a direct impact on the overall composition of the studio, fostering an iterative and self-organizing system. In collaborative teams, we defined various aspects of a collective design, including a tower with diverse ground conditions, elevations, and roof spaces.
Throughout the course, we encountered real-world challenges and harnessed advanced software tools, honing our practical skills in digital design and collaboration. The interactive and creative environment encouraged us to explore BIM’s potential, showcasing our proficiency in Autodesk Revit.
2GAX - VISUAL STUDIES 1 _ Part1
SCI-ARC . Fall 2021
Instructor : William Virgil
Software : ZBrush. Maya. Cinema 4D. Octane.
Redshift
Fabrication : 3D Printing
As a device placed on the face, the mask can be a symbol of an unreal face trying to hide the real face.
In many cultures, masks are used to tell stories in traditional celebrations, but in this design, the main idea is taken from the pain and suffering that we are hiding for various reasons.
Here the monster metaphor is an important tool in symbolizing the history of suffering among a particular ethnic group.
know a visual artist, Shirin Neshat, who tries to explore the relationship between women and the religious and cultural value systems in my home country,Iran.
I was inspired by her works to design my mask. I chose a phrase from my first language that means “ I can do that “ and then I created a blue part of the mask with the words and fonts of this phrase as my alphas.
Also, this mask has another layer too, this gray layer of the mask has some holes and effects from the hard times in the past.
Another part of this mask is the flower part, you can see how the peace and beauty try to grow as flowers under the wires, wires show whatever limited us, and butterflies, the symbol of transformation, are trying to make a change on this cage of limits to release the flowers.
_ Part2
SCI-ARC . Fall 2021
Instructor : Kumaran Parthiban
Partner: Omar Alrejaib
Software : ZBrush. Maya. Cinema 4D. Octane. Redshift
Terraforming or terraformation (Ueto Uh “Earthshaping”) is the hypothetical process of deliberately modifying the atmosphere, temperature, surface topography, or ecology of a planet, moon, or other body to be similar to the environment of Earth to make it habitable by Earth-like life.
In this part of Visual Studies we explored a small but essential part of world-building - environment design and actively transgressing its principles to create fantastic immersive landscapes. Rather than creating a sense of grounded realism, we worked in the realm of non-logic, with flexible rules and the unknown. In this project, we used our mask result, which was designed in the previous part, as our land or part of our land.
Luster Land is the place that we created as unreal world. In the pictures, Luster Land is depicted as being located in a system about 4.37 light-years (316,205 AU) from Earth.
This land is far from bright stars, and therefore little light enters it, but there are gases in this land’s atmosphere that have caused the emergence of unusual plants and animals. These poison gases caused these creatures always to shine.
Part3
SCI-ARC . Fall 2021
Instructor : Rachael Mccall
Software : Cinema 4D. Octane. Redshift. Adobe Suite
Taking on the work from the previous two projects, project three will be focused on post-production and compositing: imbuing, concealing, and revealing new layers and visual narrative in the work.
In this project, we worked with layering and dynamics in form, multiple opacities within materials, as well as focus on masking, sequences, and adjacencies in post-production software.
The work is oscillating between 2D and 3D worlds, the virtual, augmented, and real. As much as post-production and overlaying is a process of refinement, there are always opportunities in filtering for percolation, over-flow, escape and new oozeness in the project.
Challenging the smooth slickness of spline and polygon modeling of the 1990s and early 2000s, this project operated within the current post-digital context, investigating ideas of precise and intentional unruliness, mixing rustication and delicacy, and how formal legibility is affected by layering, filtering, rips, wrinkles, peeling, and fuzz. It seems everything we do at the moment is overlaid, filtered and masked - once, twice or in many ways.
Formally and texturally, “overlaid” elicits thoughts of many layers of fine detailed mesh, multi-layered semi-opaque synthetic materials, murky reflections, and bundles of particles.
In these pictures, we see a lost civilization. A civilization buried under layers. The mask designed in the first part is a symbol of the royal cover seen in these images, hidden among many sharp corner elements and in the dark place under the colorful and calm world. This collection is exactly the model of Luster Land, which defines a new story with different materials and lighting.
ISCI-ARC . Spring 2022
Instructor : Damjan Jovanovic
Partner : Wei-Chieh Wang
Software : Blender. Unreal Engine
In 2050, the whole planet was suffering from extreme climates. Specifically, the drastic temperature damaged the vegetation, which turned 90 percent of the planetary surface into an uninhabitable desert. However, humans at that time failed to build an accurate climate model due to the complicated global climate information, which impeded planetary rehabilitation. Under this circumstance, the biological computer, a new organism, is derived from the intersection of biology and computation science in 2080.
The organism can store several exabytes of data in only one gram of its DNA, and it can process information thousands of times faster than any other life form or machine on Earth. Basically, they feed on vegetation to acquire sufficient nutrients. The synthetic biocomputers are members of the Global Ecosystem Committee (GEC) that collect and analyze climate information worldwide and then make the best solutions for recovering the extreme climates. After 20 years, these new residents on Earth restore the ecosystem successfully.
All the trees, flowers, grass are reborn, the once devastated world is turned into a Utopia. Now, they are all retired from the GEC, settling in forests and grasslands and enjoying pastoral life.
