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To Whom It May Concern:

Herewith I would like to write to enthusiastically recommend Mr.Farhang Alipour, who worked as an assistant architect with our studio during the winter of 2017. I have worked very closely with Farhang roughly 6 weeks in which he has served as an assistant in my office to participate in an invited competition called Chabahar Official Building. Farhang has excelled in this role, exhibiting one of the highest levels of productivity I have seen in an assistant during these years’ tenure with the company. He produces a high volume of work including illustrations, drawings, visualizing, etc. while consistently maintaining high standards for quality and accuracy. Farhang possesses the ultimate "can do" attitude while taking on all tasks with positive energy and a smile. His upbeat personality and engaging personal style enable him to interact effectively with staff. He is very well organized and keeps track of the details necessary to coordinate events of this kind and run an efficient office. Proactive in anticipating rising administrative needs, he takes initiative to go beyond the expected parameters of his job. All the intangibles that lead to success in the workplace are in order with Farhang. There will be no unpleasant surprises and I am confident he will fit in and add to office morale.

I volunteered to write this recommendation for Farhang because I am very grateful for his contributions to our office and very confident that he has the intelligence, work ethic, and communications skills to add value wherever he works. Please feel free to contact me if you have any questions about this outstanding young man.

Sincerely, my best regards,

Arash Nasiri

Founder & CEO of FEASTUDIO since 2006 fearchitecture@gmail.com //FEASTUDIO.com


METAMORPHOSIS METHOD

25th December 2018 To whom it may concern, It is with great pleasure and enthusiasm that I am writing to offer a formal recommendation for Farhang Alipour. I know Farhang through his work in my architecture office. He first contacted me almost two years ago about the possibility of work in my office as a full time intern student. He had been studying M.Arch at Art University of Tehran at the time, and at our first meeting I described the general outline of the way we work and the job requirements emphasizing the high degree of quality that we are requiring from our partners. He didn't let himself discouraged, instead he asked good questions and appeared intelligent. We had the pleasure to work with Farhang for one year and during that period I could see his blossom from a newcomer,student, into an equal position holder among the other senior architects in my firm. I am glad I had the opportunity to be part of his mentoring at the beginning of his career. For start, I had him teamed up with another architect on an on-going project of a housing building. I could see they were making a good team in solving problems on the project by working in tandem. The project was their full responsibility concerning the design. It included technical drawings, presentation imaging and meetings with the engineers and clients. During these meetings Farhang was always alert in providing explanations and arguments for choices made. This was only one of the five different project I assigned Farhang to work on during his stay, all of which were about team work. He became one of my reliable employees either it was about site visits and mapping, doing research on rules and regulations concerning a particular program, or completion of final drawings, concept graphics for presentations and imaging. Besides, I was Farhang’s tutor in a recent workshop named Invisible Tehran(s), held in Contemporary Architects Association in Tehran. He was very creative and hard working. He has a never ending imagination. He is eager to learn new things and really loves his field of studies. Farhang is an outstanding individual with a strong character. His punctuality, responsibility and deeply enthusiastic presence in the workshop which I mentioned above as surprising to me. Among his activities, his team work with other students in some projects shows his strong ability to cooperate with his friends. To sum up, he demonstrated the ability to work independently or in a team with great creativity and enthusiasm. I always appreciated his talent, his ability to stay focused and meet the deadlines. I am very pleased with Farhang's performance and, although I was hopping he would stay and work with us in the future, I believe he would be an outstanding asset to your programs. I therefore have no hesitation to recommend him, and lt is my hope that you will accept his admission. Please contact me if you would like further information.

Yours sincerely,

Amirhossein Taheri CEO, Metamorphosis Method //mmad.co@gmail.com Farabi Tower, Mahan Complex, Saadat Abad, Tehran, Iran

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23 Dec 2018 To whom it may concern; Hereby I would like to recommend Mr. Farhang Alipour based on his participation on my 3 weeks, intensive-course/workshop entitled “CRAFT 2015”. CRAFT is a series of workshops running under my guidance with my colleague Mehran Davari, each year in a public place in Tehran. The focus of the workshop is on digital design and fabrication techniques and technologies. In each of its rounds we teach our students about digital design tools in the design process of a pavilion/installation. We also equip them with methods of digital fabrication through the realisation of the pavilion in one to one scale. We select our students through a shortlist and each time we work hard to improve the quality of the work both in terms of its pedagogy as well as its Þnal product. The course includes various lectures by architects and designers who are active in the same Þeld or related disciplines. Projects are available to visit in my website. Farhang was one of the participants of the 2015 workshop in which we realised a pavilion, designed with a thin minimal surface, and made by Þbreglass and resin. He has been through various technical and analytical phases of the workshop and was working hard to develop the idea in the limited time of the work. He was successful to work and collaborate with other teammates and managed to deliver a project in a short time. He was very well active in the manual work of making and assembly, and made a good impression on heavy load tasks on that stage. I do like to recommend Farhang because of his kind personality and teamwork abilities, his skills in computer and his endeavour to improve himself. Should you require any further information, do not hesitate to contact me. Regards. Zubin Khabazi

PhD fellowship, Singapore University of Technology and Design Master of Emergent Technologies and Design, Architectural Association (AA London) Master of Architecture, IAUM Director at Morphogenesism www.morphogenesism.com zubin@morphogenesism.com


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c o n t e n t

ACADEMIC

WORKSHOPS

+ Design studio two (MArch ) + Final thesis (MArch) + Design studio three (MArch ) + Design studio three (BArch)

+ Invisible Tehran[s] + Comstruct + CRAFT 2015 +De L’hospitalité

PROFESSIONAL + Pragmatica Studio, Next Office + FEA Studio + Metamorphosis Method +Personal Experiences +Visualizations


Academic s e l e c t e d

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w o r k s


+ Design studio two (MArch ) + Final thesis (MArch) + Design studio three (MArch ) + Design studio three (BSc)


DENT AL FAC ULTY PROJECT: Dental Faculty (Design Studio 2- M.Arch) LOCATION: Tehran - Iran DATE: 2nd Semester ( Feb-June 2015) DIRECTOR: B.Hosseini Ph.D. ASSISTANT: H.Yekita Ph.D.

The Dental Faculty functions both as a university and a public dental hospital. It houses both students and patients. A spacious vestibule with a triple high ceiling in the whole length of the building organizes the two groups effortlessly and creates a common space for the different users.

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The site given for the building was a neglected and overgrown part of the campus. It had two levels and both the levels were used to access the building for the public and students. To fulfill the requirements of its varied users the building was to house a substantial reference library, staff facilities, seminar facilities, wards, operation theatres, pathology laboratories, a mortuary as well as X-Ray rooms.

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The slope on the land is used to handle the main street entrance to the Faculty’s Courtyard on the lower ground floor, and a direct access from the hospital to the lecture theatre on the upper ground floor. The base of the the new teaching and research unit is held together by a large crossing space of twice the height, the entrance hall and the lecture theatre, linking up all the spaces, including with direct access to the lecture theatre. The patios running through the volumes of the clinical unit and the dental faculty help one find one’s way around the spaces with extra-comfortable lighting through natural daylight.


The teaching and research unit comprises a partial base on which rest on the north side of the plot three platforms slightly offset with respect to each other and the volume of the care centre to the south. The dynamic cutout expression of the units makes the associated activities immediately obvious without taking anything away from their monolithic intensity. A continuous glittering monochrome curtain comprising aluminium spheres threaded onto a stainless steel wire enshrouds the discontinuous buildings in a continuous fluid movement.

This weblike filter helps to subdue the lighting and the views. The dental care centre is set on two levels, lending its volume a degree of autonomy within the overall unit. The dental care rooms are arranged on either side of a reception hall lit by a patio. A metal grid made up of several floating louvres hanging outside the frontages gives the unit a fluid, mobile outline. Two programmes and an architecture with enough strength and presence to form a coherent building frontage, a main façade extension to dental care building.


//Faculty’s Entrance

//Faculty’s Court Yard

There is something special about teaching hospitals that make them different from other institutions. The Dental Faculty serves to provide dental care to the people in surrounding areas; So at one end the users are the common public and at the other end the users are the medical students. 14

The College was therefore a place where three users interacted with each other. The common public, the doctors who treated and taught and thirdly the students who learned and practiced. The programme was therefore conceived as a series of capsules which were designed to act as nodes for the three users.


A dental college is a very complex institution in which the users have to keep moving from one part to another. Combine this with the special use requirements of the students, their canteen, the teaching staff, the reference library etc; it was imperative to simplify the plan form of the building to make it readable to the constant stream of new first users who would keep flowing into the building. These facilities have been arranged in a rectilinear plan form that encloses two large courtyards and has a certain formality to it It was a design judgement to simplify the formal layout of the building in order to contain the enormous volumes of spaces in a simple form that would be easily readable by all three categories of users. //Ground Floor north

//+1 Floor


//+2 Floor north

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//D-D Section


//+3 Floor north

//D-D Section


PRI ORI TIE S

“I had three primary challenges unique to our large practice: (1) Standardizing operatories for multiple practitioners and specialists, (2) creating a small-scaled patient experience in a large-scaled facility (more than 60 operatories), and (3) achieving efficient access to operatories for patients and staff.

Having an unusually shaped leasehold space, the design dictated attention to features such as a centrally-located sterilization; a formal, semi-private check-out area; a dedicated consultation room; and a secure back door egress for patients to use after surgical or longer appointments. The design improved traffic flow for both staff and patients while preserving privacy and standards of patient care.

On the site of project, the shape of the new teaching and research unit and dental care centre building is designed to make the two activities and units instantly distinguishable. The architectural project had to overcome a twofold difficulty: it had to give the new project a very clear identity of its own on an altogether different scale, while also offering a unique building asserting the existence of two readily identifiable and distinguishable entities. Two programmes and a building with enough presence to form a consistent frontage. The frontage is always the main feature, even from the rear of the hospital. 18


//Axonometric //D-D Section


FAC/ ADE SYS/ TEM Each façade of the building is treated as a canvas for artistic composition. The fenestration has been designed to have twin functions. On the north faces of the building, where the clinics have been located, the structural curtain wall glazing provides enormous daylight for dental treatment. So instead of the dentist twisting and turning angle poise lamps into the patient face and dreading a power cut, the doctor can rely on daylight to illuminate the patient’s condition. On the south side, the glazing has been confined to narrow slits which run horizontally and protect the south of the building in the clinic areas from heat gain. These staggered fenestrations also break the scale and the thin strips of windows help in exaggerating the horizontality of the structure

//Classrooms in-between Greenery 20


//Faculty’s Courtyard

In order to further reduce energy consumption, the treatment clinics have been provided with full 80% north side glazing that allows ample daylight to flood the clinics. This helps the treatment during power cuts and naturally light spaces ensure a higher level of cleanliness.

The materials used for the structure of the building are reinforced concrete frames, structural steel staircases and corridors, brick walls. Stone is used for cladding wall surfaces, structural glass for the north light window facades, aluminium sheeting for cladding the brisk walls.

//Classroom Layout


TEHRAN PERFORMING ARTS CENTER PROJECT: TPAC (Final Thesis- M.Arch) LOCATION: Tehran - Iran DATE: 4th Semester ( October 2017) DIRECTOR: M.R.Rahimzadeh Ph.D.

Tehran has always been the focus of the emergence of new and influential events in the field of performing arts, due to its political and economic centrality, and also because of the power of the accumulation of talents - the high educational potential - as well as the presence of a wide range of audiences, and each year hosts themes in different titles various arts in Iran and the world. But in spite of the substantial growth and aging of students and audiences, the context of the dramatic events is very old and small and even eroded, which is one of the reasons why the theater halls have independently acted like an island, which has given rise to isolation and separation from urban space. Therefore, the existence of centers for the preservation and dissemination of the art seems necessary, so that all the people of an influential class and artists and people under their roof will have a cultural impact and become a dramatic scene that reflects the city.

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The Performing Arts Center of today is a platform serving the exchange of knowledge in several different ways. My understanding of a PAC is therefore profoundly anti-hierarchical: I seek a dialogue with the audience. The concept of cospace is more appropriate to the ­institution of theis center than to some other establishments; the PAC as a living, emotional, collaborative and constantly changing place is a place of multi-functionality, multiculturalism and togetherness. Visitors choose what aspect of a particular theme they are interested in and narrative forms come from a multitude of perspectives; nevertheless, the original object in its spatial setting remains the starting point for every visitor experience.


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ideograms

In order to reach as many people as possible, a performing arts center today has to step out of its “comfort zone�, dismantle social barriers and obstacles and open itself up to a heterogeneous, multicultural audience. As exhibition makers I had to ask myself repeatedly how I can break down boundaries and make exhibitions as accessible to the public as possible. Every visitor should feel welcome. It is not just the experienced gaze that is to be catered to; all visitors, regardless of their individual backgrounds and prior knowledge should be able to gain an understanding of the space, the works and their narratives.

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//G Floor Plan


//+1 Floor Plan 30


//+2 Floor Plan


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//Hall’s Entrance

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//Event Passage


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//Plaza View


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//Event Passage


//Main Lobby

//Flexible Theater

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//East Elevation

//West Elevation


MOLLA------SADRA BRIDGE // PROJECT: Mollasadra Bridge (Design Studio Two- M.Arch) LOCATION: Tehran - Iran DATE: 3rd Semester ( October 2016) DIRECTOR: H.Mostaghni Ph.D.

The main purpose of design studio three was to design a bridge that reconnect East to West of Tehran which has been dismissed by Chamran highway. This bridge is supposed to blowover Darakeh river - one of those 6 water flows that descend from the north mountain of Tehran .

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Garden

Artist Residency

Bridge

Start up Space

Green House


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DESIGN STUDIO THREE PROJECT: School Design LOCATION: Mashhad - Iran DATE: 6th Semester ( Feb-June 2012) TUTORS: H.Kamelnia Ph.D. , F.Mousavinia Ph.D.

Nowadays, sustainable principles are one of the most important and leading factors in school design process and other public architectures. School as second social basis, Plays a significant role in social, Economical and Cultural behaviors of people. Thus schools can be considered as the first learning launch pad to teach basic parameters of sustainable dealing with the nature and respecting it.So, we need to give students the educational program, physical place, and organizational culture to encourage the development of environmentally conscious global citizens. Students spend the majority of their day in a school building during their most crucial developmental years. In this time of pivotal growth, schools must be a space for creative thinking, a source of inspiration, and a starting point for developing a sense of awareness and responsibility. The journey to that goal begins with educating students in a healthy and sustainable environment.

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PRINCIPLES WHO ARE SUCCESSFUL LEARNERS?

Develop their capacity to learn and play an active role in their own learning (self education) Have the essential skills and are creative and productive users of technology, as a foundation for success in all learning areas (media knowledge) Are able to think deeply and logically, and obtain and evaluate evidence in a disciplined way as the result of studying fundamental disciplines (self management) Are creative, innovative and resourceful, and are able to solve problems in ways that draw upon a range of learning areas and disciplines (creativity, self management) Are able to plan activities independently, collaborate, work in teams and communicate ideas (independency, social behavior; communication) Are on a pathway towards continued success in further education, training or employment, and acquire the skills to make informed learning and employment decisions throughout their lives (self education) Are motivated to reach their full potential (self image) 54


INDIVIDUALS PRIORITIES

SOCIAL ACTIVITIES Act with moral and ethical integrity. (personal values) Appreciate Iran’s social, cultural, linguistic and religious diversity, and have an understanding of Iran’s history and culture. (national image) Are committed to national values of democracy, equity and justice, and participate in Iran’s civic life. (national image) Are able to relate to and communicate across cultures, especially the cultures and neighbor countries. (social behavior) Work for the common good, in particular sustaining and improving natural and social environments. (social behavior, sustainability) Are responsible global and local citizens. ( social behavior)

Self image

Creativity

Personal values

-personal property .personal special wall .personal tree .personal vase

-desire to explore

-defined territories for teacher

-trying different affairs .mixing education and plays .free workshop .wallshare

-defining different territories for class

-personal territory .each individuals has her/his -playing different sports own color. .creating solitary spaces which .such as using the sites mountain have one kid proportions -designing for limitted number of student

-trying different arts .children made spaces (help them to concrete their abstract mind) .art workshops

-creating spaces for pupils and their teacher out of the class boundary Self management -defining responsibilities for children .designing a special and brief space in each class like yard .place to specify daily or monthly schedule of pupils


//Top View

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//Collaborative Shared Space


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WORKSHOPS s e l e c t e d

62

w o r k s


+ Invisible Tehran[s] + COMSTRUCT + CRAFT 2015 +De L’hospitalité


Things are killed, And from their death, “words” arise; Likewise, this death gains a figure: “the image” There is world because we can hold it down, call it, postpone it, depict it and destroy it, so; Death is a possibility of life!

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in

visi PROJECT: Invisible Tehran[s] Studio LOCATION: Contemporary Architects Association DATE: Summer 2016 TUTORS: Amirhossein Taheri (Metamorphosis Method CEO, Rojia Foruhar (M.Arch , AA school)

ble

Tehrans Studio


//OASIS- FarhangAlipour

Course Description; In Safarnameh, an 11th-century Iranian travel book, Nasir Khusraw describes places he voyages through on his way to Mecca. At that time the Ghaznavids governed Iran by appointment of the Sunni Abbasid Caliphate in Baghdad and the Fatimids ruled in Egypt where their reputation for fairness had spread across the borders to Iran. Nasir Khusraw, a poet and scholar, became curious about this Shiite dynasty and the justice is promoted. However, the patronage of Sultan Mahmoud Ghaznavid and the political tensions between the Sunni and the Shiite caliphates made it dangerous to travel to Egypt. In Safarnameh no person or human interaction is mentioned so as not to raise suspicion about Nasir’s political endeavors; it is only in the final two pages of the book that we come to realize that throughout the journey Nasir’s brother had

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been traveling with him. Nasir Khusraw goes into great detail describing the cities, buildings, markets, mosques, streets, and gardens he encounters on his journey. Interestingly, at times, his objective prose escapes itself and the accumulation of very precise facts creates a kind of fiction, to the extent that the text brings to mind passages from Italo Calvino’s ‘Invisible Cities’. The proposed project explores the relationship between text and space - where their structures correspond, where they differ and the ways in which the gap between the two can become a creative architectural tool. It draws not only on the experience of Nasir’s poetic texts but builds on Calvino’s text and Situationist practice in resisting the facile recording of space only by images. It is a collaborative enterprise that seeks to offer a richness of texts, a new kind of brief. In this project ‘Invisible Tehran[s]’ participants are assigned sites on different scales throughout the city. Participants produce a text that meticulously describes their assigned site within an appropriate boundary. We practice both writing techniques and ways of seeing through elements that build space.


At the site the act of writing becomes a device with which to see and experience. We are not interested in a purely intellectual approach - but in understanding the presence of space, that which is simply present in spam and the individual’s relationships within the space. Time spent is inherent in writing. Unlike a snapshot, writing is more in the nature of a sketch, where the action itself requires one to spend time with the subject. In an era saturated with images and imagery we break this trend, we break free from the relentless invasion of images toward a starker, slower form: text. Of interest is that traditionally the architects’ starting point has been a text: the brief. We practice and explore using the brief as something to work with rather than against.

In ‘Invisible Tehran[s]’, through writing focussed on mise-enscène, we will archive moments in the city and produce - from within new spaces, or additions to spaces that are familiar - an architecture of slow change and layering, away from total design and erasure: a written architecture formed not by revival, a return to the past or sentimentalism but in relation to what is. Whilst this project was conceived in Tehran we intend that our research will experiment with and explore a methodology that could be applicable to reading any city and could be carried out on different scales and time frames. This project started in July 2016 with a collective of 10 architecture students and we expect that the award will enable us to take the initial stages of this project further. The first phase of the experiment resulted in documentation in the form of 14 written texts made by the participants, supplemented by recordings and drawings.

//OASIS- FarhangAlipour


//OASIS- FarhangAlipour

The sites in Tehran ranged from a shopping center. a once residential neighbourhood that houses little workshops now, a working factory that was once outside the city, a fruit market that once a year turns into a place for a religious carnival, a metro station[1], a square[2] that has gone through many changes over the years as the city’s infrastructure has built up around it. One of the sites was a 17-story building built in 1960 named Plasco[3]: the tallest building of its time and a building that dictated a typology for new shopping centers, which, with the advent of shopping malls and the weakening of the Bazars, had been dying out.

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//OASIS- FarhangAlipour

After drawings had been made based on the descriptive textbrief the building burnt down; during the incident, twenty firefighters and seventy civilians were killed. We had one of the last records of the building; a text describing it, sound recordings and a drawing based on the text. What happened at Plasco is a more dramatic version of what is happening throughout the city: buildings are left abandoned till they are no longer fit to live in, so that they can be pulled down; others are pulled down regardless of their condition in order to be replaced. Tehran is a huge construction site.


For me, the imagination always appears in the foreground and it is severely a destroyer, and due to its non-existence, it occurs constantly and freezes time in one occurrence. But the Text is like an aloof thing for me, basically, in my view, the text is the same concept of the dwelling; An Object in a Field! The image is th e distance between the text and the imagination, and I reckon that this distance is a kind of bound, that implies the contradiction; The space that confronts the meanings, and dispossesses them from each other, to be seen.

//The 80 Best Architecture Drawings of 2017 Click to open link 70


//OASIS- FarhangAlipour


PROJECT: COMSTRUCT 2015 LOCATION: Contemporary Architects Association, Tehran, Iran DATE: Summer 2015 TUTORS: Kristjan Plagborg Nielsen (Arup), Mariam Khademi (La Sapienza University), Mehrad Mahnia (theALLIANCE), Ramtin Taherian (theALLIANCE), Vahid Eshraghi (VEA Studio) Collaborators: Elham Razavi / CEO at Contemporary Architects Association, Technical Support; Ali Zolfaghari / Majid Kazempour / Afshin Koupaei / Mehran Davari/ Farshid Esmaeili / Marab Mahbod Engineering & Technical Co., Faraz Maleki / Arpa Laser Group Cinematography and Video Director: Sepand Saedi

// Computational structures as form generator

//Links: (click to open) KARAMBA website COMSTRUCT 2015 Pavilion on Rhino3D website Design and Fabrication Video on Vimeo

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// ComStruct was a two-week workshop in summer of 2015 on computational structures as form generators, hosted by the Contemporary Architects Association in Tehran, Iran, and led by 5 tutors with 25 participants. The workshop aimed to explore material behavior and directionality of elements, as well as understanding structural potentiality of complex geometries, using algorithmic design and analysis potentials of Rhino, Grasshopper, and Karamba. It explored industrial fabrication techniques to design and construct a one to one scale canopy pavilion that covers a four by ten-meter area of an unused swimming pool, converting it to a vivid exhibition area. The canopy free-form surface was optimized through several steps including structural performance done with Karamba. The result was a design driven by information; the output from each step of the structural analysis led to the geometry and patterns choices. The result was a highly optimized 2.5mm aluminum tensegrity shell. The aesthetics were derived from calculations and structural needs, and the process from idea to production was entirely formed through algorithms.


Form Generation;

The venue at the Contemporary Architects Association is located in a converted residential house, with an unused and empty swimming pool in the front yard. The task of the workshop participants was to design a structure covering the 4x10m pool, converting it into a vivid exhibition area. To this end, the parametric FEM program Karamba was used to aid design development, where a four-step structural analysis resulted in the final optimised design:

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First step was to find an optimal shape taking into account boundary conditions of the site and the use of material. A multi-objective optimisation was performed using Octopus.e. The optimisation led to a hybrid form between a shell and a cantilever structure. The goals were to minimise the deflection of the structure under the self-weight, while maximising the projection area of the canopy. This resulted in a form of non-trivial nature, however still highly optimised concerning downwards loading.


Patterns 3DTruss

+

In the second step the surface was discretised into different folding patterns to increase the stiffness by creating inertia. Comparing the structural performance of folded surfaces resulted in a structurally optimised folding methodology that was also easy to erect.

The third step was to analyse again the now folded shape under the gravity load, the utilisation of each triangular panel was obtained and translated into a differentiation of hole sizes that was cut in the middle of each pair of panels. Thus, the panels in each pair were mirrored. The triangular holes were laser cut on two sides and bend around the last, rotating the cut material upwards with varying heights reflecting the local utilisation. The directionality of the folding methodology was such that two adjacent panels’ cut material would meet and form an out-of-plane triangle

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Tension // Com

pression

In the fourth and final stage, a zig-zag cable pattern joined these bent triangles to form a three-dimensional tension truss. Furthermore, multiple load cases were introduced and combined with the selfweight, in order to simulate the structural behaviour under snow and wind loads. Using karamba, it was confirmed that all cables were activated – however some only under some load cases. To avoid pre-tensioning each cable segment, a continuous cable pattern was applied connecting all out-of-plane triangle nodes, making a whole. As each node connects four cable segments, the cables were weaved in and out with a zig-zag pattern. This method also implied that the cables could be pre-stressed from the ground after the structural erection was complete. At the free edges the cable ends were hidden in a designed connection that incorporated an edge-beam.


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// a research on composite materials and fabrication of double curved surfaces

//Links: (click to open) Tehran CRAFT website Design and Fabrication Video on Vimeo CRAFT 2015 Pavilion on Architizer

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- 2015 -

PROJECT: CRAFT 2015 LOCATION: Tehran Architecture Biennale -Vartan House DATE: September 2015 TUTORS: Zubin Khabazi, Mehran Davari ASSISTANT: Ramtin Taherian Material: Composite Material Size: 3m x 3m x 3m

CRAFT initiated as an annual event to foster computational design and digital fabrication with realization of a 1:1 pavilion, through collaborative design and collective work. This event has been crowdsourced and was independent. CRAFT.2015 has happened in Vartan historical house in the center of Tehran, featured a 3*3*3 m pavilion. The design of the pavilion was based on mathematical Gyroid surface, encapsulated inside a cube. So instead of exposure of thin surfaces, it was a cubic space, subtracted by all those undulated surfaces. Fabrication of the pavilion again happened by flexible formwork strategy, with large waffle structures underneath. The pavilion has been used to launch a mobile app later in an event. Craft 2015 pavilion has been assembled together in Vartan historical house in the central areas of Tehran.


Final form

The selected surface will be subtracted from this cube

Gyroid surface

Blue points represents the answers of gyroid equation:

sin(x) . cos(y) + sin(y) . cos(z) + sin(z) . cos(x) = 0

Grid of Points

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Selected surface

// some of the alternatives for the subtractive surface

Design Phase; briefly, the design agenda was to build a pavilion with the limitations in size, material use, internal space conditions and construction technique. while the main idea was about the fabrication with composites on curved surfaces, this has been approached by the use of minimal surface classes in education and design phase. after studies on several surface classes, the selected formula recreated a ‘gyroid’ geometry in digital media using various rhino and grasshopper techniques. while the technique of minimal surface creation developed carefully, groups of educators started to design their alternatives based on gyroid’s geometrical variations and they generated series of models ranging from simple to complex, spacious to iconic, some more volumetric and some more programmatic. after various sessions of tutorial, presentation and joury, one of the products has been chosen for construction. it was important to arrive at this point with the collaboration of all team members. the final product was bounded by its cubic boundary and all curved surfaces were elements to shape the interior space of the pavilion. after several discussions about fabrication strategies and tests about material properties, the final product has been manipulated to meet the fabrication necessities. this was the point where all fabrication files should have been extracted from the model to kick off the construction part.


Material Research; Composite material systems were the initial idea to be used in this work. The important part was to make sure that the flexible formwork system would match the desired material outcome, based on its size and geometry. Polyester resins was the material we chose. Because of the controlability it brings, and also its ability to be combined with layers of fiber glass as reinforcment, which gives desired strength and structural stability. Polyester resin is of the ‘unsaturated’ type which is thermo-set, capable of being cured from a liquid or solid state when subject to the right conditions. The polyester resin consist of two essential components: a base resin and a hardener to initiate a reaction whereby the liquid materials will solidify into a hard, durable plastic.

// RCA-0206004

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Activator

Polyester Resin

Hardner

Temperature

Time


Fabrication Process; For the fabrication we subdivided the model into 12 pieces to have smaller parts to handle. Then, made a waffle structure, made of cnc cutted sheets of MDF, for each piece to act as a formwork for our double curve surface. After that we covered the waffle structure with a layer of fabric as the base layer and applied a layer of polyester resin, fiberglass, and again a layer of resin, This would be our composite material. Finally, when the pieces were cured and ready we had to assemble these 12 pieces to get the final model which then was polished and painted and refined.

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Boundry Surface

Waffle Structure

Resin Fiber-Glass Composite

Final Piece Ready to be Assembled


Final Piece Ready to be Assembled

Resin Fiber-Glass Composite

Waffle Structure

Boundry Surface


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de L’HOS PITAL ITE /

PROJECT: De l’hospitalité Studio LOCATION: Contemporary Architects Association DATE: August 2016 TUTORS: Frédéric Borel, Richard Scoffier ASSISTANT: Sina Abedi

With regard to a visitor, I have two possible attitudes: the invitation if I receive it according to the rules in use at home; visitation if I leave my house open. In the first case, hospitality is conditional; in the second it is unconditional, or “pure”, or absolute. The foreigner of the visitation, who is also called absolute arrival, is indeterminate. It can be anyone. To welcome him, the host lifts the immune barriers with which he protected himself. He agrees to expose himself to this visitor whose laws and behaviors are unpredictable, to change in function of what happens, at the risk of losing his identity. He accepts that the visitor makes the law at home, even if this “home” becomes impossible to live. Pure hospitality is not a program, nor a rule of conduct, nor a political or legal concept. It is not morality, but rather culture as it implies a way of being at home and with others, a style, an ethos. Jacques Derrida proposes a strict, conceptual definition. His unconditional hospitality (or visitation) is a principle to maintain, a concept related to the messianic structure that characterizes the human experience of belief: we are irreducibly exposed to the coming of the other.

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28


PROFESSIONAL s e l e c t e d

30

w o r k s


+ Pragmatica Studio, Next Office + FEA Studio + Metamorphosis Method +Personal Experiences +Visualizations


SABA NAFT competition TYPE: Invited Competition LOCATION: Tehran - Iran DATE: Febuary 2017 PRINCIPAL ARCHITECT: Alireza Taghaboni (CEO, NextOffice) PROJECT ARCHITECTS: NextOffice + Pragmatica Design Studio + Role in the process: design process, Visualization,Presentation.

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Emergency Exit Elevator

Emergency Exit Elevator

Office 180 sqm

Emergency Exit

Emergency Exit Office 205 sqm

Office 230 sqm

Office 65 sqm

Office 80 sqm

Office 175 sqm

Office 100 sqm

Office 130 sqm

Book Store/Café

Gallery/Store

Elevator (commercial flats only)

Gallery/Café

Store 210 sqm

Store 60 sqm

Store 70 sqm

Store 135 sqm

Store 110 sqm

Store 90 sqm

Restroom

Store 50 sqm Store 60 sqm Store 90 sqm

Outdoor Escalator

Store 65 sqm Store 135 sqm Store 150 sqm

Store 90 sqm

Control room/ Security Store 50 sqm Store 60 sqm

Store 90 sqm

Slope (Access to -2 Parking

Restroom

Access to Commercial Session

Access to Official Session WestTower

Restroom

Access to Official Session East Tower

Parking (47) Parking (43) Parking (47)

Equipements

Parking (47) Parking (49) SUM: 233

Additional Parking Flat (according to program change)

//Exploded Axonometric

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//Keshavarz Street View

//Basement Plan -4,-5,-6

//Basement Plan -3

//Basement Plan -2


//Interior View

//+1 Floor Plan

//Ground Floor Plan

//-1 Floor Plan

//Interior View 36


//Food Court View

//6,+7,+8 Floor Plan

//+3,+4,+5 Floor Plan

//Bird-eye View

//+2 Floor Plan

//Section


//Main Entrance View 38


//Gallery and CafĂŠ View


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//Main Entrance View


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CHABAHAR competition

TYPE: Invited Competition LOCATION: Chabahar - SouthEast of Iran DATE: March 2017 PRINCIPAL ARCHITECT: Arash Nasiri (CEO, FEA Studio)

+ Role in the process: design process, Visualization,Presentation.


The Building as a Landscape The white volume is somehow located on the site that appears to be part of the Earth’s field of view. The building looks like a part of the landscape and draws nature in a different way by picturing the mountains. Empty spaces that are mapped onto the project, such as the veiled women, are the gaps that open the interior space to the outside. The movement of wind and sunlight in these empty spaces and the central courtyard creates a dance of wind and sunlight, which, by poetic conception, relate to the passage of time and the movement of the wind.

develope horizontal empty spaces 44

define the entrances

develope a middle empty space

project

form chang


ge diagram

landscape

program and network adaption

influence of network

Program


Network strategy

The northwest part of the site has a natural slope to the south-east with a height difference of about 5 m. This topography helped solve the parking problem. Thus, parking starts at a -1 level at the center of the site and starts at the end of the western part of the site is connected to the ground level.

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Parking strategy

Given the natural shape of the Earth and the angle of sunlight and the direction of the winds, and the adaptation of these parameters across the network, we were able to define the site and the future development of the site. Point-based networking helps meet the needs of the site’s components and future development to better connect the building, green space, and other areas to the project ground.


-2.0 -5.0

-1.2

‫پیشنهادی‬ ‫توسعه ی آتی‬ future development

0.0

p


Restaurant

Sport

Circulation

Offices

Shopping Library

Administrators

Bank Theater

Elevator

Elevator

Elevator

Stairs

Stairs

Stairs

Exhibition

48


People Connection Horizontal Circulation

Parking

Staff Connection

Parking Connection

Entrance

Elevator

Elevator

Stairs

Stairs


50


52

//+2 Floor Plan

//+1 Floor Plan

//Ground Floor Plan

//-1 Floor Plan


//+4 Floor Plan

//Site Plan

//+3 Floor Plan

//+5 Floor Plan


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C O U R T 56


T Y A R D


META MOPH OSIS METH OD experiences PRINCIPAL ARCHITECT: Amirhossein Taheri (CEO, Metamorphosis Method Architecture Studio) ROLE: Architect Assistant- Project Developer- Visualizer LOCATION: Chabahar - SouthEast of Iran DATE: October 2015- 2016

/ / mmad.co@gmai l.com Farabi Tower , Mahan Complex , Saadat Abad, Tehran, Iran

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//Villa Kalak - No 61 +Design Developing +Visualizing +Presentation

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//Villa Kalak - No 61 +Design Developing +Visualizing +Presentation


//Villa Kalak - No 61 +Design Developing +Visualizing +Presentation

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//Villa Kalak - No 61 +Design Developing +Visualizing +Presentation


//Villa Kalak - No 26 +Design Developing +Visualizing +Presentation

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//Villa Kalak - No 26 +Design Developing +Visualizing +Presentation


//Farmanieh Building +Design Developing +Visualizing +Presentation

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//Farmanieh Building +Design Developing +Visualizing +Presentation


SO ME PER SO NAL/ experiences

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//Padin Fast Food

- Winter 2016

+Interior Design

+ Alternative two

//Padin Fast Food

- Winter 2016

+Interior Design

+ Alternative one


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//Livingroom

//My House

- Spring and Summer 2018

+renovation


+ VISUALIZATION selected works

// these projects are not personal and were not designed by me I just visualized them

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//Library and Archive (Mrs.Daneshvar, Final Thesis)

-January 2018

+Rhino +Keyshot +V-Ray +Adobe PS


//Library and Archive (Mrs.Daneshvar, Final Thesis) - January 2018 +Rhino +Keyshot +V-Ray +Adobe PS

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//Leisure Center (Yalda Amin Shahidi, Master Thesis) - January 2019 +Rhino +Keyshot +V-Ray +Adobe PS

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//Leisure Center (Yalda Amin Shahidi, Master Thesis) - January 2019 +Rhino +Keyshot +V-Ray +Adobe PS


//Leisure Center (Yalda Amin Shahidi, Master Thesis) - January 2019 +Rhino +Keyshot +V-Ray +Adobe PS

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//Solgi House ( Collaboration with Pragmatica Studio) - August 2017 +Rhino +Keyshot +V-Ray +Adobe PS

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//Solgi House ( Collaboration with Pragmatica Studio) - August 2017 +Rhino +Keyshot +V-Ray +Adobe PS


//Launching a Course at Contemporary Architects Assiciation (CAAI School) , about drawing - Winter2016 +Adobe Illustrator +Adobe Photoshop

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//Launching a Course at Contemporary Architects Assiciation (CAAI School) , about drawing //Time Line and Events Brochure - Winter 2016 +Adobe Illustrator +Adobe Photoshop


February2019

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