Portfolio: Interdisciplinary Designer

P O R T F O L I O Dorna Shfieioun 2 0 1 5 - 2 0 2 3

Introductory

This portfolio serves as a visual narrative of my transformative journey through the realms of architecture and interdisciplinary art. It traces my evolution from a dedicated architecture student and professional architectural designer in Iran to a Master’s student in London. In this metamorphic process, I grappled with profound questions of identity, authenticity, and critical thinking, all while broadening my cultural horizons and breaking free from the constraints that once defined me as an architectural designer.

As a budding architect, I harbored a profound curiosity about the myriad ways modern architecture could be shaped by cultural identity. During my formative years in Iran, I delved deep into the principles of traditional Iranian architecture, embracing elements like open spaces and voids, the harmonious integration of nature, climate-responsive design, and spatial diversity. These foundational concepts led me to craft designs with a regional character, harmoniously blended with the requirements of contemporary living.

Subsequently, my pursuit of knowledge led me to the Bartlett School of Architecture, where I embarked on an exploratory quest to redefine architecture’s boundaries. This journey introduced me to fresh perspectives, novel mediums, and innovative modes of thought. I honed my research skills, gaining the ability to critically engage with the complex issues that shape our built environment. My experiences have made me more passionate than ever about interdisciplinary intersections between art and architecture, emphasizing innovation, creative problem-solving, and the art of storytelling. This portfolio reflects the essence of my growth and transformation, capturing the diverse facets of my architectural and artistic odyssey.

Table of Contents

Introduction

P.2

The Bartlett School of Architecture Kilburn Grange Park Conversations Column; The Storyteller The Double Entendre of the Covered Truth Other Works

P.3 P.7 P.10 P.12

Shahid Beheshti University Sonbolestan Hostel

P.13

Competition Small Ashayeri Library

P.16

Art and Graphcics

P.20

Kilburn Grange Park Conversa Design Practice for Historic Urban Environments Group Project: Dorna Shafieioun, Suhela Maini, Matthias Palla

‘S us taining and designing commons is a challenge for architects today: designing as commoning, designing for sharing, designing collectively, accessibly in such a way that design is not perceived as a privilege and a commodity any more, it does not segregate and exclude but assemble, socialise and eventually politicise.’ 1 Looking for an opportunity to design for the community, we chose Kilburn Grange Park and the area around Kilburn Community Garden to focus on. In search of a framework to begin our process with, we realized the shortage of such tools for the professional facilitators willing to follow co-design principles. This realization, shifted our focus from designing a physical structure to creating a framework based on which community-based projects can be implemented and sustained. Moreover, to test and criticize the process, we proposed a small-scale community project in the context of Kilburn Grange Park as an example of how a design intervention can be planned with respect to this framework.

1

(Petrescu 2013)

ations

Plan of Workrsations An Altered Version of RIBA Plan of Work RIBA Plan of work provides architects with a tool to organize different stages of a building project throughout its life. Although, it might not be applicable to community projects seeking co-design principals to make the project for and by the community.

In such projects a more cooperative, user friendly approach should be followed that may contradict with the somewhat patronizing point of view that RIBA Plan of Work suggests. As a result, we decided to alter this framework to provide a reference for SMALL SCALE designers and architects as professional facilitators intending to deliver small-scale COMMUNITY PROJECTS community projects.

A MANUAL FOR

COMMUNITY BUILDERS In order to design a new manual, we followed a critical approach towards the original Plan of Work as well as our altered version itself. Consequently, we tried to test the manual in the field, record every challenge carefully and edit and update the manual based on our findings. We consider this project as a process, not a finished product; with a self-critical attitude to make room for more explorations and improvements within the limited time-frame of this project and beyond.

SMALL SCALE COMMUNITY PROJECTS This plan of work describes the process undertaken to deliver small-scale community projects with the help of design interventions by putting together a Project Programme. The different stages identified serve as a guidance to present the work to the community and can be used as stages to plan a community project that is adaptable, and sustained over a period of time.

The manual works solely as a guide in the hope that communities at large can use and build by and for themselves. (based on RIBA Plan of Work 2020).

SCOPE OF WORK

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*Please Note: Stages 7 & 5,6 have not been tested at this time of the project, they are open to changes after they have been put through a round of testing.

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SMALL SCALE COMMUNITY PROJECTS

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*Please Note: Stages 7 & 5,6 have not been tested at this time of the project, they are open to changes after they have been put through a round of testing.

desig Rec n on ord site use of in terv Mak entio e purp regular ns oses visits for m aint Mak enan ea no used ce as a te of ho prece w den the des t for ig futu n is us ed re co mm so it ca unity n proje be cts

Facilitating the community in reaching their tasks and goals by using punctured architectural interventions, offering initial and sustained engagement. The guide is also aimes at invloving the community by transforming the members of community from merely users to stakeholders.

of

A MANUAL FOR COMMUNITY BUILDERS

Stages 4-0 will generally be undertaken one after the other.

Stages 4 and 5 will overlap in the Project Programme for most projects.

Stage 5 commences when the protypes have been tested and feedback from the users/and community has been incorporated.

Stage 6 starts with the handover of the project entirely to the community, from whereon they manage the project by themselves. They run it and develop ways and means to understand and expand it.

Stage 7 starts concurrently with Stage 6 and lasts for the life of the intervention. It may be adapted over time as the needs of the community evolve.

USE

SMALL SCALE COMMUNITY PROJECTS

STAGE BOUNDARIES

Selection of the Plan of Work Pages The description of the stages (0-7) represented as a cycle

stag

e2 TECHNICAL DESIGN STAGE OUTCOME Test prototypes on users, i.e. community Start building on site with help of volunteers Create shop drawings for interventions.

L IA AT N SP TIO A

CORE TASKS Build Protoypes to test and receive feedback from community

DIN

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Finalise design based on feedback from community

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Create final shop drawings for interventions Identify volunteers from within community to build on site Finalise revenue of streams from community work, if applicable to project Identify vendors to procure materials for construction

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Stages 7 & 5,6 have not been tested the project, they are open to changes e been put through a round of testing.

concurrently with Stage 6 and lasts for intervention. It may be adapted over eds of the community evolve.

5 will overlap in the Project or most projects. mences when the protypes have been edback from the users/and community incorporated. with the handover of the project community, from whereon they roject by themselves. They run it and and means to understand and expand

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Stages of Worksations The Project‘s Stucture based on the Plan of Work

In a project based on co-design, community engagement is a process that starts before any decisions is made and goes beyond generating proposals. 2

The first stage of the project includes first hand community engagements and spatial, ecological and social analysis of the chosen site. This research process is supposed to result in deeper understanding of the community’s collective needs and existing network and infrastructure which leads to conscious planning for co-design.

The second stage of the project includes te s tin g o ur f in din g s an d ideas from stage I, to criticise the functionality of the networks we previously discovered and push our design process towards a more realistic and practical approach based on the community’s feedback.

The final stage of our work is a n implementation of co - d e sign id eas as a p o p - up p roje c t based on our findings in stage I and II. This is rather a conclusion to the process we went through to discover what people need and find a way to make it happen despite all the barriers.

2

(Sendra, The ethics of co-design 2023)

KILBURN GRANGE PARK KILBURN RESIDENTS 04. MARCH 2023

This is a summary of our second engagement with different groups of people in Kilburn Grange Park, in a series of interviews.

STAGE II TESTING IDEAS

ACTIVE COMMUNITY CONVERSATIONS

During these interviews, we made an attempt to test our initial ideas in the political and social settings of the park as well as understanding the communities’ needs.

This summary will assist us, designers, as a research tool to criticise the functionality of the network we previously discovered , and vto push our design process towards a more realistic and practical approach.

HOW ABOUT MORE COMMUNITY PROJECTS IN THE PARK?

THE PROJECT WILL BE IMPLEMENTED WITHIN 3-5 YEARS!

NO! IT‘S IMPOSSIBLE! YES! BUT IT‘S TOO MUCH BUREAUCRACY! SCURITY REASONS!

CAMDEN COUNCIL AND GLA ARE FUNDING THE KILBURN GRANGE PARK PROJECT!

KILBURN GRANGE PARK DEVELOPMENT PLAN

DO YOU WANT TO SELL WHAT GARDEN PRODUCES?

BARBEQUE SPACES! WHAT IS MISSING FROM THE PARK?

WE NEED MORE SECURITY IN THE PARK FOR YOUNG PEOPLE!

TOILETS!

YOUNG GIRLS NEED A SECURE SPACE TO HANG OUT!

Pop-up Manual ns Implementable by the local community

BUILD A POP-UP

Who is the Manual for?

Modular-Based Design 1200

BUILD A POP-UP M A N UA L

FOR

T H E

COM M U N I T Y

The manual makes an attempt to provide a framework for members of this community to build the interventions and modify them as their needs change. The pop-ups are designed to be maintained and run by the Kilburn community.

SMALL SCALE COMMUNITY PROJECTS

The interventions are designed as pop-ups that will be present in the park for a duration of two weeks, on the conditions that the funding and planning permissions from the council are met in the timeframe provided in the timeline.

KILBURN GRANGE PARK LONDON

The pop-up can be seen as a testing phase for making these intereventions a more permanent feature in the Kilburn Grange Park

1. BUILD A TOILET

The design interventions presented in this manual are based on a modular design to make the project adaptable to accommodate different functions as they change over time.

1200

1200

1x Module

1200

[1200mm x 1200mm]

2. BUILD A BARBECUE 3x Module

Based on the findings in the first stages of this project in Kilburn Grange Park, the main intervention is a community-built toilet unit as will be presented later in this manual.

Additionally, as an exploration for more possible pop-up projects in Kilburn Grange Park, the following examples show how the module The size of a single module is 1200 can work if extended.

These have been designed to be e

functions as they change over time the module can work if extended.

[1200mm x 1200mm]

The size of a single module is 1200 The 1xmodule has been used to ill

These have been designed to be e The 3xmodule illustrates functions as they changethe overexam time the module can work if extended.

The 4xmodule illustrates the exam

1200

The 1xmodule has been used to ill

The 3xmodule illustrates the exam

The is a dry composting toile The toilet 4xmodule illustrates the exam for liquids and solids. This type of t option that works well in outdoor the park and the community garde of this intervention, the toilet stand be fixture in th Themade toiletaispermanent a dry composting toile intervention. for liquids and solids. This type of t

3. BUILD A SEATING AREA 4x Module [1200mm x 1200mm]

1200

1200

option that works well in outdoor the park and the community garde of this intervention, the toilet stan be made a permanent fixture in th intervention.

* Please Note that at this stage, in accordance with Stages 4 & 5 of the ‘Plan of Work’ manual, the prototypes have to go through another round of community testing.

9

Lay Corrugated Sheet for Roof:

8

Insert Rafters for Roofing Framework:

1400mmx1400mm

BUILD A TOILET

BUILD A TOILET

The 1xmodule: Example of the toilet

1200

MATERIALS 1xModule

The size of a single module is 1200mmx1200mm.

1400mmx75mmx19mm

[1200mm x 1200mm]

These have been designed to be extendable to accomodate different functions as they change over time. The following examples show how the module can work if extended.

The 1xmodule has been used to illustrate the example of the toilet.

7

Insert Rafters for Roofing Framework:

6

Insert Composting Toilet

5

Build Walls: 1200mmx100mm Curtain for Entrance to Toilet

4

Lay Wooden Planks for Flooring:

3

Lay Framework for Flooring:

1400mmx75mmx19mm

Concrete The 3xmodule illustrates the example of the barbecue space [150mmx150mmx75mm] 4xmodule illustrates the example of the seating 4x area.

1. TheFoundation 1x 10kg bag of concrete 1200 Timber The toilet is a dry composting toilet that uses a separator for liquids and solids. This type of toilet is an affordable,biodegradable

that works well in outdoor spaces. The compost can be used in 2. option Columns 4x [47mm x 100mm x 2250mm] the park and the community garden as natural fertilizer. For the purpose

1200mmx100mmx19mm

47mmx50mm

this intervention, the toilet stands for two weeks as a pop-up, but can 3. of Flooring Framework 4x [47mm x 50mm x 1200mm] be made a permanent fixture in the park if the users respond well to the intervention.

4. Planks for

57x [100mm x 1200mm x 19mm] 4x [47mm x 50mm x1200 1200mm]

6. Roofing Rafters

8x [1400mm x 75mm x 19mm]

Metal

MAINTENANCE

CLEANING & DISPOSAL

1.

12.5 The toilet has to be used inHOURS a seated position.

2.

12.5 HOURS No paper towels to be thrown into toilet.

3.

12.5 12.5 HOURS HOURS Please use taps in park to wash hands.

The toilet can be used only during the opening

4.

HOURS 10 TONNES

10 TONNES

10 TONNES

hours of the Kilburn Grange Park (7:30am-8pm)

1.

Cleaning and disposal should be done by members of Kilburn Community.

2.

The liquid-waste can be used as a fertilizer for plants.

3.

The solid-waste are collected in a bucket and emptied every few weeks on to a compost heap, after it reaches a maximum of 10 tonnes.

10 TONNES

12.5

12.5 HOURS

Lay Foundation Beds: 150mmx150mm

10 TONNES

10 TONNES

Clean the toilet with citric acid powder.*

9. Grab bar

BUILD A BARBECUE

BUILD A TOILET

[1200mm x 1200mm]

Pre-Made 8. Curtain & Curtain Rod

1

1xModule

4.

Insert Columns in Centre of Foundation Beds: 47mmx100mm

*Mix citric acid powder with water in the ratio 2tbsps:500ml.Pour into spray bottle for efficient use. Use only with latex gloves. ** Please read Guidance: Treating solid waste from composting toilets: LRWP 90, https://www.gov.uk/government/publications/lowrisk-waste-positions-effluent-and-sludge/treating-solid-waste-from-composting-toilets-lrwp-90)

12x [100mm x 1200mm x 19mm]

Floor & Walls 5. Flooring Framework

7. Corrugated Sheet for Roofin

2

The manual as prepared for the community

A

This manual is designed for members of the Kilburn community. The manual contains interventions devised from reasearch and testing phases carried out with the users of the Kilburn Grange Park.

3xModule [1200mm x 1200mm]

1x [1400mm x 1400mm x 5mm]

1x Curtain for entrance area 1x Curtain rod [1200mm long] 1x Grab Bar

1200

1200

1200

1200

1200

1200

1200

1200

The idea of the pop-up project is to empower people of the community to build the design interventions and modify them if their needs change. As a result, based upon the proposal, we came up with a modular-based design.

The single module unit has been designed as a toilet, with the possibility of the units’ expansion to accommodate various functions.

For example, the 3 and 4 module units can be proposed as a barbecue space and seating area.

1200

1200

1200

1200

0mmx1200mm.

extendable to accomodate different e. The following examples show how

The 3xmodule: Example of the barbeque space

0mmx1200mm. lustrate the example of the toilet.

extendable to accomodate different mple of following the barbecue space show how e. The examples

1200

1200

mple of the seating area.

lustrate the example of the toilet.

1200

mple of the barbecue space

et that a separator mple of uses the seating area. toilet is an affordable,biodegradable spaces. The compost can be used in en as natural fertilizer. For the purpose ds for two weeks as a pop-up, but can he parkuses if theausers respond well to the et that separator

1200

toilet is an affordable,biodegradable spaces. The compost can be used in en as natural fertilizer. For the purpose nds for two weeks as a pop-up, but can he park if the users respond well to the 1200

1200

The 4xmodule: Example of the seating area

In the pop-up manual we have covered the construction stages as well as maintenance and cleaning instructions, an almost complete manual for the community to build and sustain the units as a pop-up project.

COMPOSTING TOILET The toilet is a dry composting toilet that uses a separator 1200 for liquid and solid waste. This type of toilet is an affordable, biodegradable option that works well in outdoor spaces.

1200

The compost can be used in the park and the community garden as natural fertilizer. For the purpose of this intervention, the toilet stands for two weeks as a pop-up, but can be made a permanent fixture in the park if the users respond well to the intervention.

Composting toilet separator

Solids Container: 22L Liquids Container: 10L

What else can be made?

BUILDING A BARBECUE 1. The Barbecue pop-up is built by combining three 1200mmx1200mm modules.

2. They can be increased in size by adding a 1200mmx1200mm module.

3. This can be replicated in different parts of the park to accommodate more barbecue areas.

MAINTENANCE: 1. The grill is powered by charcoal.

2. All items for grilling to be brought by users, cleaned and taken back after their session.

3. The barbecue area can be used only during the opening hours of the Kilburn Grange Park (7:30am-8pm)

BUILD A SEATING AREA

Box for sawdust

What else can be made?

BUILDING A SEATING AREA 1. The Seating Area pop-up is built by combining four 1200mmx1200mm modules.

2. They can be increased in size by adding a 1200mmx1200mm module.

3. All the furniture is modelled around the columns so as to keep it secure 4. This can be replicated in different parts of the park to accommodate more covered seating areas.

MAINTENANCE: 1. No grilling should be done in covered seating areas

YOUR FEEDBACK IS IMPORTANT TO US! kilburngrangepark.conversations@gmail.com

3. The seating area can be used only during the opening hours of the Kilburn Grange Park (7:30am-8pm)

4xModule [1200mm x 1200mm]

STAGE III - IMPLEMENTATION Kliburn Grange Park Conversations

Co-design in Every Stages

Transparency and Clarity

Time and Resources

Pl an

.

Sum me ry

Interactive Decision Making

Existing Social Infrastructure

Power Imbalance

Local Partnerships

Collective Thinking

Infor ma tio nP Po roc liti c

..

. .

.

is ent lys na agem ng

line ime lysis nT er Ana ithi kehold w Assesment of Ideas ta s s S e Particip oc Pr atin g in ng Kil ni bu Co rn P mm ar un k i sis y l a n A l a i g c nal sin d So Activity A ysis s l n e a ia Social and Ecol al Soc Coom ogica uni l A ty E

p II p-u tage Po nt S cil me un age Co Eng ty

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Inclusive Events and Language

. . . .

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Collective Benefit

Conclusion Self-critical Approach Design interventions especially if they involve a community’s collaboration are inescapably political. What started off as an ambitious community project to produce social processes to reinvent, maintain and reproduce the commons, became the documentation of an experimental process based on political and social challenges.

To conclude this self-critical process, we assessed our work based on the ethics of co-design to update the Plan of Work manual with a new focus on co-design principals and community’s active participations. As mentioned earlier, the project never ends, it’s a repeating cycle and the ending point, can be just another beginning.

Column: The Storyteller 3D Scanning for Urban Environments Individual Project

There is no right or wrong way of experiencing the world. Each of us perceives our surrounding differently, based on our culture and social background as well as our personal interests and approach. This project illustrates the lens through which I see the world, not necessarily as an artist or a designer but as an explorer trying to re-tell forgotten stories.

Fascinated by sculptures, their forms, details, the story they carry, their materials, and the changes they have been through, I decided to conduct this experimental project to document, re-compose and re-create sculptures in a form of an architectural element. The project itself carries the story of my recent trip to Italy, where there is always a story to tell in the form of an artefact. The final output is not supposed to be a work of art, but a physically interpreted model holding the memory of this experiment.

Re-Composition Techniques and Softwares: Agisoft, Rhino 7 Base Layer

Base Column

Genoa Chunks

Turin Chunks

Florence Chunks

Rome Chunks

Final Additions

0 Front View

1 Front View

2 Front View

3 Front View

4 Front View

5 Front View

6 Front View

0 Shaded Isometric

1 Shaded Isometric

2 Shaded Isometric

3 Shaded Isometric

4 Shaded Isometric

5 Shaded Isometric

6 Shaded Isometric

0 Shaded Isometric

1 Shaded Isometric

2 Shaded Isometric

3 Shaded Isometric

4 Shaded Isometric

5 Shaded Isometric

6 Shaded Isometric

0 Textured Isometric

1 Textured Isometric

2 Textured Isometric

3 Textured Isometric

4 Textured Isometric

5 Textured Isometric

6 Textured Isometric

NW

NE

NW

NW

NE

NW

NW

NE

NW

NW

NE

NW

NW

NE

NW

NW

NE

NW

NW

NE

NW

Final Rendered Model Isometric NE View

Final Rendered Model Front View

Final Rendered Model Isometric NW View

3D Printed Models - Similarities and Contrasts

Re-Creation Softwares and Techno;logies: Magics, GRABCad, SLS, Polyjet

In the previous stages of the project, the physical forms of the sculptures have been scanned and digitalized, decomposed, and recomposed in a new form. The final stage of the project includes bringing this recomposed model into a physical form, so the cycle of re-creation would be completed.

I decided to use the 3D printing method to bring the re-composed model into reality. To further explore the potential of different materials and technologies, I made two prototypes of the collaged column: a monochrome and a colored version. These two versions are completely similar in terms of size and shape, to highlight the difference that the color information would make.

The monochrome version was made using SLS, which prints models using opaque white powdered nylon. Prior to the print, the exported mesh model from Rhino needed some refinements to be ready for the print. Hence, the model was refined and rewrapped in Magics by adding thickness and merging different fragments to make a whole.

The colored version was made to add another layer of information showing the colors and textures using Polyjet. Using GrabCAD Print to prepare the model prior to the print, the base layer on which different chunks were composed was printed with VeroClear (the clear material) in comparison to VeroVivid (the colored material) to emphasize the collage nature of the column while exploring the machine’s features and various materials composition.

The Double Entendre of the Covered Trut Final Project (Un)Veiling // An exhibition based on stories of Iranian women

This journey unfolds from the women of Iran to a small enclosed space in London, and then to the individuals who visited and engaged with these Iranian women‘s stories through the exhibition‘s space.

Using Woman, Life, Freedom movement as a focal point, this project aims to bring attention to the transitionary concept of ‘self, home, city’ from traditional mindset to ungoing social changes in cotemporary context of Iran.

(Un)Veiling is an intervention in the space using veils along with mirrors and textual elements to communicate profound meanings. Considering women as agents of change, regardless of their age and background, the experiential exhibition is curated using headscarves and narratives gathered from eleven Iranian women residing within Iran, which changes as the viewer walks through the space: the double entendre of the covered truth.

*Visit the (Un)Veiling website for complete information and videos*

th

(Un)Veilingrsations Exhibition // 5-7 August 2023 As one navigates the exhibition space, the process of unveiling takes place. To engage with the narratives, the observer is enveloped within the headscarves, feeling their embrace, experiencing their simultaneous transparency and concealment – a representation of the struggle to unearth the truth, the desire to unveil. Stepping inside, the viewer establishes a closer connection with the women who‘ve shared their experiences. Within each narrative, they glimpse a subtle reflection of themselves, suggesting that anyone could embody the depicted figure.

In contrast to the headscarves that symbolize the veiled concept of ‚self, home, city‘ in the traditional mindset, the mirrors embody the idea of the unveiled truth. Beyond the layers and layers of veils, which might hinder viewers from perceiving their genuine reflections, mirrors are affixed to the walls, similar to those found within homes.

The presence of eleven mirrors, each one designated for a woman and her story, adds a personal touch to the setup. This arrangement establishes a visual representation of the connection between the women‘s experiences and the idea of self-reflection.

Embrace of Headscarves

Narratives on Mirror Cards

Exhibition Space

Visitors‘ Feedback

Mirrors and Self-reflection

Visitors‘ Experiences

Other Works Animations and Videos: Experimenting new mediums

Somewhere Over the Rainbow Animation // Narratine the story of Kilburn‘s different communities https://youtu.be/kMRBSFsHZpg

Overheard C

Film // Documentation o Kilburn Grange park a

https://youtu.be/

Conversations

of public engagement in and community garden

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Stopmotion Model Video Stopmotion// The process of model making and different layers of the project https://youtu.be/0Hj-DoetN6c

Sonbolestan Hostel Academic Project . Final thesis, Term 9, 2019 . Isfahan, Iran

Iran is of great significance in cultural, historical, and natural attractions with numerous unused potential in the tourism industry. Among its several amazing cities, Isfahan is one of the most popular destinations for travelers worldwide. However, the importance of staying in a hostel that provides for an economical, vibrant experience enabling people to expand their cultural horizon has been constantly overlooked in this city, making it a less probable destination for foreign visitors.

Since architecture is believed to have a social objective of serving and developing the community, I proposed this project as my final thesis to design in the cultural and traditional context of the city. During the project, I made an effort to employ my knowledge to make a difference in my hometown by preserving original Iranian architectural values while introducing modern principles in a new function.

Initial hand drawing sketch of the project

St Majles i

uare

Valiasr St

St olrazagh

Hatef St

Abd

Chahar

Bagh P a

een St

stan St Sonbole

Sq Kohneh

Residential buildings with relatively religious elderly residents

Noticable v with divers trees, almo than the bu Historical houses being used as hotels in Sonbolestan st

Capacity: 200

Site Analysis The site of the project has been chosen with regard to a hostel’s requirements; for it to be in the traditional context of the city and close enough to tourist attractions.

As most of Isfahan’s sights are located in district 3, the project is decided to be located here, at the corner of Abdolrazagh and Sonbolestan streets.

3.2 Km to: Zayaderood River, Khajoo Bridge

vegetation se types of ost taller uildings

Low-rise small buildings; mostly commercial in Abdolrazagh st

1.5 Km to: Naqsh e Jahan Square, Hasht Behesht Palace

0.8 Km to: Kohne Square, Jame Mosque, Hakim Bazaar

Circulation To value the historical context of this neighborhood, the project follows some main principles of traditional Iranian architecture: spatial diversity, the significance of open spaces, axial design, and the use of traditional materials.

Therefore, a 45-degree axis has been defined alongside Abdolrazagh and Sonbolestan’s intersection, where important spaces have been situated.

2

1

1. Porches Along The Sidewalk, r bling historical alleys, keep the b connected with the neighborhood

resembuilding d

3

2. Small Yards in between the mass to provide light and view, keeping the building connected with the nature

3. The Connection Joint between main yards, since the yards are distinct characters yet visually connected.

Small Ashayeri Library Competition Group Project . Iran Fablab, 2019 . Iran

Proper cultural infrastructure and facilities are crucial for every community. Nomads or “Ashayer” account for more than 1.5% of Iranian’s population, and despite leading numerous domains of art and science, they have always suffered from a lack of adequate cultural facilities such as libraries and schools.

The challenge of designing a portable library for various tribes of Iranian nomads was posed by Iran Fablab in collaboration with Iran Public Libraries’ Institution. This library should function as a place for cultural interaction, IT services, and education, along with its’ traditional role as a place to borrow and read books. It is of great importance to consider each tribe’s unique cultural values and technological considerations while designing.

Initial hand drawing sketch of the project

Where and F

Iranian Nomads’ Habitats Bohun Alachigh

Northwest and West nomads consist of various tribes, including Shahseven and Bakhtiari. They Live in cold weather beside mountains in tents made of goats’ hair to keep warm during the winter and circulate the air in summer. They also have exquisite art crafts in various colors and forms.

Bohun

West Nomads consist of Ghashghaee and Kurd tribes, living in relatively moderate habitats on hillsides of the Zagros mountains. They usually accommodate in rectangular-shaped tents, which are less decorated and lively than the Bakhtiaris’, though they have numerous unique traditions and customs.

There are 1 million Iranian no 104 ethnic groups, divided int culture and habitat’s climate original, unique culture, they interaction with nature. It is o study each ethnic’s and tribe’s carefully. In addition, seasona ments, and Iran’s diverse clima guarantee climate comfort. Fin entirely on their own, each gro housing, made of traditional h rials.

For Whom?

s and Traditional Homes

omads or “Ashayer” living in to four groups based on their es similarities. Coming from y all live sustainably in close of great significance, thus, to s aesthetics and living habits al migration, various placemate should be considered to inally, as Ashayer tend to live oup has their own traditional handcrafts and natural mate-

Alachigh

Northeast Nomads consist of Turkoman and some other Kurdish and Turkish tribes. Living by the Caspian Sea has enabled them to benefit from pleasant weather as well as numerous greeneries. Besides, as they live by the borders, the diversity of their customs is noticeable and different from other tribes.

Kapar

South Nomads consist of Arab and Baloch tribes who accommodate in the deserts under severely harsh weather conditions. They live in circular-shaped tents made of wood, straws, and other natural materials. As a result of limited natural resources, these tribes have special characteristics.

Design process

Initial Ste

Designing for Ashayer can be challenging since they have an independent lifestyle with a rich culture and tradition of art, housing, and techniques.

As a result, this project has been designed based on Ashayer’s current housing and their specific sense of art and space to be compatible with their desires.

1.

The

Since Ashayer are constantly migrating, it is also vital for these freestanding structures to be easily transported, assembled, and dismantled by Ashayer themselves without any help from specialists.

2. F

Furthermore, innovative details and the use of modern technology are also essential factors in this design to develop Ashayer’s current technical knowledge regarding their own traditions.

Thre

1. M

Divi

1. West Tribes: Turkish and Kurdish

2. North-West Tribes: Trukish and Lor

3. North-East Tr

eps

Module’s features

Bohun

Required Area

Bohun

Arrange-

Bohun

Chit

Chit

Chit

Wood

Wood

Wood

1. Materials

1. Flexibility

Tribe’s traditional crafts

Various arrangments

Functions

2. Flexibility

2. Functions

ee different parts

For different weathers

Seperated modules

Modules

3. Surfaces

3. Extentions

iding different parts

Merging structure and cover

Interacting with nature

designated

area

Tribes: Turkoman

4. South Tribes: Arabic and Baloch

5. Central Areas’ Tribes

Modules and Furniture Arrangments 8.5 m

1. West Tribes

6.5 m

IT Services

Class

A variety of closed, open, and semiopen spaces

Library

7m

2. Northwest Tribes

7.5 m

A closed area to retain the heat, made of traditional fabrics

Library

IT Services

Class

Library

Class

Diverse and flexible arrangement based on the tribes’ culture

IT Services

7m

8.5 m

3. Northeast Tribes

6m

For air to be circulated easily to mitigate the hot weather

Library

Class

Library

IT Services

7.5 m

4. South Tribes

Library

7m

Enabling numerous ways of interaction based on their culture

IT Services

5. Central Tribes

Class

8.5

Library

Scale: 1.300

Exploring Art, Graphics, and Boundless Imagination My artistic and design endeavors go beyond architectural visualization, encompassing a wide spectrum of visual mediums.

My exploration started with photography, collage, and illustration, leading me on a voyage of discovery into the boundless potential of diverse artistic forms for expressing innovative ideas.

This section of my portfolio serves as a showcase of my personal and professional projects in this multifaceted realm, spanning visual storytelling, graphic design, and the exciting world of 3D creation. These explorations are expansive and ongoing, transcending the confines of this portfolio. Drawing inspiration from literature, architecture, and contemporary art, I continuously enrich my understanding of visualization, pushing the boundaries of creative thought.

The Beauty of Abandonment - An Alley in Kashan

I’ve been utilizing a combination of Illustrator and Photoshop, employing collage techniques to craft a series of images spanning diverse concepts.

These encompass visual storytelling, environmental design, and architectural elements, all serving as vehicles to express my ideas. Through this creative process, I not only honed my software skills but also ventured beyond conventional perceptions of reality, constructing imaginative and fantastical environments by manipulating my own photographs.

Visual Storytelling and Perspective Design

Haft Peikar Illustration - Khawarnaq Palace

The Beauty of Abandonment - A House in Kashan

Haft Peikar Illustration - City of Madness

Dance of Light - Based on an Imaginary Design

Architectural Clipart - Dream Centre

Perfection of Perspective -Imaginary Design

Poster Design Since 2020, I have been designing posters for different academic, personal and professional projects, Using each project’s unique charasteristics and concepts, I have used a style to celebrate the project’s overal character.

These posters have usually expanded to different visuals for social media and cover pages to ceompelete the project’s visual series.

Big Fish Film Poster Redesign, Personal Project

The Double Entendre of the Covered Truth Artist’s Book

Bozorgmehr Hosseinpour Exhibition’s Poster Redesign, Personal Project

(Un)Veiling Exhibition Poster

Modern Visuals from Cultural Heritage By delving into the visual representation of cultural identity in the contemporary world, I’ve embarked on an artistic journey. I’ve harnessed collage techniques and employed various algorithms to construct fresh imagery rooted in Irano-Islamic motifs. My approach involves blending multiple images of Islamic patterns found on architectural surfaces, resulting in the creation of innovative motifs with a modern perspective, which pays homage to the echoes of the past and cultural heritage.

This project is just one of several explorations aimed at generating novel visual elements for upcoming graphic design endeavors centered on cultural identity. The methodology applied here has the potential to be adapted for crafting an array of motifs from different patterns, ultimately yielding compelling visuals for both print and digital materials.

Holding (2021)

Since 2021, my artistic journey has led me into the world of clay and ceramics, where I’ve embarked on a captivating exploration of this versatile medium. I’ve harnessed its potential to breathe life into a range of artworks inspired by original Iranian myths, or to reinterpret well-known stories with a touch of irony.

This creative endeavor has not only deepened my appreciation for spatial dimensions but has also given me a profound understanding of the unique potential and limitations of various materials. Through this journey, I’ve ventured into the realms of art and design from a fresh perspective, enriching my storytelling abilities.

Clay and Ceramics My Mythical and Ironic Artistic Odyssey

The Thinker! (2022)

The Donkey’s Legend (2022)

Celebration of Female Figure (2021)

Big Fish (2021)

Shirin in Spring Water (2021)

Fetneh (2022)

Email: dornashafieyoon@gmail.com